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Yasmeen Godder’s Impressive Dance Piece Shout Aloud in St. Pölten – DERSTANDARD

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Helmut Ploebst
28.11.2024

Yasmeen Godder’s Impressive Dance Piece Shout Aloud in St. Pölten
After its world premiere in Frankfurt, the Israeli choreographer’s production arrives this coming Saturday at the Festspielhaus on the Traisen.

Yasmeen Godder’s Shout Aloud conveys even the utopian hope that society may not completely disintegrate.

A Star on Stage
 Is this a form of reverence? On a small pedestal at the center of the stage in her new piece Shout Aloud, Yasmeen Godder lets the charismatic singer Dikla shine in a glamorous black dress while eight dancers surround her like colorful tulle fairies. At first glance, it may seem as though the Israeli choreographer is paying homage to the fetishized, often archaic pop industry, which is known for its relentless idolization of stars.

However, as the performance progresses, it becomes clear that this initial impression is misleading. The evening’s singing star appears somewhat commanding onstage, and Dikla, who comes from an Egyptian-Iraqi family, melts even the toughest hearts with her deep, rough voice and live-band accompaniment. Yet the suspicion that the dancers are mere adornments for the diva fades as complex and ever-changing dynamics develop between the monolithic vocal performer and the dynamic group of dancers.

Longing for Security
 With romantic grandeur, Dikla revives the essence of old sentimental ballads: “If you don’t come to me, I’ll stay in bed and pray for you to send me a sign.” It’s unapologetically schmaltzy, but her voice conveys an urgency that feels neither artificial nor insincere. This suggests that beneath the “Where are you, my love” sentiment lies an existential yearning for security in a “new world.”

Another woman joins Godder and Dikla: fashion designer Shahar Avnet. She has outfitted the dancers with vibrant costumes, frequently changing throughout the performance. These “disguises” emphasize the constant transformations that make every life a unique story, told in harmony with others. In Shout Aloud, each character dances as an individual—sometimes alone, more often in duets, quartets, or as part of a group that repeatedly forms a collective being, only to dissolve again.

The Impact of Hamas’s Crimes
 The dancers’ movements are remarkably refined—unsurprising, given that the Israeli Godder (51) is no longer a hidden gem but a major player in the global dance scene. For Shout Aloud, Godder’s company, founded in 2001, engaged in an extensive developmental and rehearsal process, already underway when Hamas launched its mass attacks on Israel on October 7, 2023. The cultural and emotional upheavals caused by this collective act of terror and its consequences are subtly reflected in the movements on stage.

Through her rich and, at times, conflict-laden dance language, Godder seems to articulate how deeply social structures have eroded today. Yet Shout Aloud also suggests that this disintegration need not lead to chaos. The work conveys a utopian hope for finding security in the world, offering a vision that resists complete societal collapse. Dikla’s vocal yearning could serve as the soundtrack for future social cohesion, while Avnet’s exuberant costumes signal defiant survival, rather than depressive resignation.

Every Voice Counts
 A plethora of choreographic approaches propels the group through this piece, with no regard for maintaining a single unified dance style. Gestures, grimaces, phrases, and poses from vastly different origins crash into one another. In the turmoil of this uproar and the power of the music, the dancers occasionally let out piercing cries. These underscore a key message: every voice matters—not just those of stars and leaders. (Helmut Ploebst, Frankfurt, 28.11.2024)