About 

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Haddas Eshel was born in 1990 in Kibbutz Nir Oz in Israel, and currently resides in Tel Aviv. She is a freelance dancer & choreographer, and a ballet, contemporary dance, improvisation and Pilates instructor.

Eshel was introduced to dance at the age 6 in her first ballet class, and then enrolled to the Ashkelon School of Arts – choosing to major in dance, focusing on ballet, modern (Graham technique) and composition. During her training, dance became an integral component, the desire towards the art continuously grew and it was made extremely significant in her life. 

Through high school her interest in creation was increasing, and she started creating short pieces of her own and choreographed in the school’s theater productions. 

She then went on to professional training in various programs, in her home country and internationally, focusing on technique, improvisation and dance making. Her attraction in dance making came from physicality, movement research, somatic exploration and the spontaneous body intelligence. If the initial desire came from the technical knowledge and the esthetics of dance, in time, with further training and experience, a voice of authenticity and honesty of the creation process turned out to be more dominant. 

In her work process, Eshel is trying to obtain depth and specificity from choosing a coherent concept, or a notion that produces questions and accumulating research materials. In her solo piece ‘Drive’, she tried to artificially separate between the external and internal eye of the performer – creating an empty environment, forcing movement from the here and now, without relying on shape, sound, external view and visuals. The forced situation manifested an inner body-mind dialogue, and a performative paradox of audiences that are invited to observe the internal research, the invisible bubble the performer created to herself, mostly in her mind.

The relationship between guidance and product became prominent in her work, revealing potential for new qualities and fresh movements, as well as possibilities for sustained research. 

 

Haddas wishes to convey audiences the non-narrative, still questioning and ever evolving process, inviting them to ask about the general concept with their own perspectives and thoughts, while she remains ambiguous with some details and disclosing others. However, a cohesive signature movement language is being weaved through the pieces, depending on a feminine, strong, flexible body, constantly exploring for articulate ways to move, being specific and accurate in its intentions. 

She is dancing in many choreographers' pieces, continually exploring and working on new materials, embarking on artistic collaborations and performing internationally. 

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Photo credit: Gitit Orlin