“The attack of a sound is not its character... Decay, however, this departing landscape, this expresses where the sound exists in our hearing — leaving us rather than coming towards us. “ (Morton Feldman)

In a self-contained space of memory and detail, Keren Levi narows down her choreographic scope to the movement of her own body. Limited in space and fields of mobility, Levi is shfiting between storytelling and dance in a solo piece which she created and perom by herself.
Into this very personal inquiry, Levi has invited long-term collaborators and friends, dramaturg Igor Dobričić, composer Tom Parkinson to join her quiet mediation on lost, time, sound and memory. 

Upon Levi’s request, artist Noa Giniger created a watercolor drawing out of the title of the piece. This artwork is in line with Giniger’s ongoing project SPELLS, a text writing system which she developed based on the structure of stencil lettering.

Choreography & performance Keren Levi
Dramaturgy Igor Dobričić
Music Tom Parkinson 

Video Assi Weitz
Light Martin Kaffarnik 
Artwork Noa Giniger, Spells (Departing Landscapes),  2018.
Photography Eti Steinberg
Supported by Veem house for performance Amsterdam, Theater im Pumpenhaus, Münster, BAU dance & performance platform amsterdam & Keren Levi | NeverLike

© Eti Steinberg
© Eti Steinberg
© Eti Steinberg
© Eti Steinberg
© Eti Steinberg
© Eti Steinberg


Marcelle Schots | 5 December 2018 | Theaterkrant

Departing Landscapes is a new solo with which choreographer Keren Levi has been on stage for a long time. During the performance, the space of the Veem House for Performance is blank and darkly framed, except for a white illuminated horizontal track on the back cloth. In the first movement, Levi moves slowly and perpendicularly from the center of that orbit, while she recounts the coming together at a cemetery. The stone on the grave of a relative is placed after a period of 30 days of mourning. Family members as father and brother are gradually introduced, without sacrificing too many details. This creates an image of the situation in which intimacy and distance between the family members are outlined in passing. Telling sometimes turns into singing, which gives some air to the heavy subject.
Right before the public, the family in her story moved to the apartment of the deceased.  Levi can pick out a souvenir. The white box she held until then in her hands is opened. By moving in the poses she took on photographs, she creates an image of the deceased woman. Levi wears a blouse with ruffles, high-trousers and white shiny platform soles, references to the vanity of the woman?
Near the audience also comes the tipping point between telling and moving, at this place they do both before the same route in the last part is taken back. Now she is silent and takes over her body and the movements she makes. Bending hands and arms in repeated sequences. It is scanned, searched for balance, handed out to eventually end at the starting point. The circle is round.
Departing Landscapes  is an intimate and integer performance and has a clear design. Levi is a convincing mover, subtle details attract attention immediately. She also knows how to effortlessly get into her story, you see the images and landscapes that she sketches. That makes the game tangible with memories, family ties, loss and the awareness of finiteness.
Departing Landscapes  was on view during the three-day event Polyphonic Songs , where mainly female voices sounded. Prior to the presentation of Levi, composer Genevieve Murphy presented her music performance installation The One I Feed . In addition to two accordion players, the audience gets an active role in bringing the installation into motion, creating a cohesive atmosphere. The solo 1: Songs by Nicole Beutler was shown as the last album, not in the strongest performance this time. Unfortunately, it also made the evening unnecessarily long.  

A Dance With Its Own Shadow

Helmut Jasn Westfalische Nachrichten | 18 February 2019 | WN MÜNSTER

In a dark frilly blouse and white platform shoes, Keren Levi stands at the back of the pump house stage. Then she moves slowly to the front of the stage in a narrow strip of light that leads like a road through an indefinite landscape. She's on her way to a funeral. She tells this with quiet words, getting deeper and deeper into a past in which she herself was still a child and the dead still alive. In her hands she holds a shoebox full of pictures - what remains of a human being when he is no longer himself. With "Departing Landscapes", Israeli choreographer Keren Levi has created a solo that is as sensitive as it is minimalist, musically referring to the no less minimalist piano work "Triadic Memories" by American composer Morton Feldman. Shimmering, imperceptibly rising and falling tones determine the soundscape and create a spherical landscape into which, as if from far away, short melody bows mix. After "Footnotes", which was on display in Pumpenhaus last year, "Departing Landscapes" is already Levi's second occupation with Feldman's music. The dancer's journey through remembering is an arrival and disappearance. In the first part of the nearly one-hour performance, she approaches the past through words. In the second part she dances it out. The transition from language to movement is fluent, illustrating narration with small movements of the hands. Later, when there's nothing left to say, the expression increasingly shifts to the body, which now writhes and twists, buckling in the knees and swinging its arms wide. It is a dance with its own shadow that takes place here. Whereby the shadow turns out to be a slightly displaced video projection when viewed attentively. This fuzziness had already found its equivalent in the text, which had gone unnoticed by the live-spoken word into a playback for the audience. Thus, "Departing Landscapes" can also be seen as a piece about the illusion that can be found in any kind of memory, if you look closely enough.
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