Artistic Research

I WORK COLLABORATIVLEY and my work is process oriented. I don’t start knowing where I want to go, and what I want to do or show, it is through a long process and dialogue with the dancers that things start to be clearer to me. Through working on group dynamic and allowing strong relationships to develop in between the dancers and between the dancers and myself I start to realize what about the subject matter I am offering is interesting for us all, and what are the relationships that are developing between us can convey. From the exploration in the studio I pick up different situations, narratives, experiences and images to explore further and structure together.

I look at the notion of experience through the analysis of Walter Benjamin a German philosopher from the beginning of the 20s Century. Experience for Benjamin doesn’t need to be described or informative, but instead it should be communicated in a more sensual way, where the audience can understand and interpret what they see the way they want and wish. The details are important just as long as they help in conveying a feeling, emotions, sensation and a psychological event. And it should stay as open as possible.

I also work through autobiography but the way autobiography is perceived in feminist theories from the 60s and the 70s; where collaboration is needed in order for a self to know itself; where a self needs others in order to form an identity and a sense of being. It is through identification, interdependence, and community that a story of one’ self can be discovered.

The exploration is physical, I work through repetition and time and within it, the sense of exhaustion of time and exhaustion of an experience or a situation is happening.

Through out the pieces I create there is a dialogue between freedom and structure; on the one hand we have the expression and the exploration of the dancers, and on the other hand the set material and set rules. Sometimes the dancers go through or to arrive at an emotional state, this is very important.

I should say that the dancers don't play characters, and at the same time I am not trying to tell or to follow a linear narrative, but rather I am telling stories, journeys, processes in a different way. The way I structure these stories is in time in order to create a dissonance and a counter point.


HAGIT WORKED AS A DANCER and a dance teacher in Israel for seven years; she was then trained as a dance movement therapist. She came to London seven years ago, and did her MA at Laban. During this period choreography has become her central preoccupation. Hagit’s years as a Dance Movement Therapist influence significantly the way she works: from the topic she chooses, through the creative process, to the way she structures a piece, and the points she highlights in the work. Even though the process is not a therapy, Hagit does aim to create a safe space and a supportive environment for the dancers and for everyone else involved. She considers it part of the creative process.

During the creative work Hagit challenges the dancers (and herself) to confront their feelings and emotions, to reflect and discus the creative process, to bring forward and process memories, fears and hope, fragility, openness and uncertainty. She begins with just defining a subject matter and then let the project evolve gradually in time and through dialogue with the participants. She also tries to create intimacy with the audience, and this is why she uses personal elements and make clear that the dancers she is working with are first of all human being.

Although Hagit works with concrete material, she never remains at the concrete level. She tries to extract from what the immediately given an abstract structure. She aims to break the narratives, to play with the text, to create an uncertainty about the characters, the stories being told, and the relationships being displayed.