Reviews

“Throughout the performance, the choreography succeeds in matching the musical imagery – Ginz adopts a literal approach, where every movement carries meaning. This choreography not only aligns with the music but brings it to life through motion – Ginz is bold in his use of various means, each movement contributing to a rich tapestry of expression that conveys emotion and musical imagery...the choreographer meticulously dissects rituals of courtship, flirtation, and marital games. Ultimately, all this culminates in an extravagant, wild fantasy – a hymn to the drunken freedom from propriety, a catharsis of both spiritual and physical love.”
By Lina Goncharskaya 12.01.25
CULBYT | Carmina Burana 2.0
“'Wild Awake' is one of the most aesthetically beautiful dance performances I have ever witnessed. It has stylistic perfection that blends with a color scheme that is sometimes monochromatic and sometimes a combination of colors, such as black, white, and red, all enhanced by ingenious lighting. This is why I went to see the performance again after first seeing it in March 2023, about a year and a half ago.”
By Aviva Rosen 22.09.24
Biluy Naim | WILD AWAKE
“A Performance of Contrasts and Catharsis [...] it takes the audience on a journey between frustration and hope, pain and healing, from the fragmented to the whole [...] This is not a piece that seeks to please. It strikes hard, straight to the gut [...] "Gnawa" acts as the catharsis to "White Face," making Kamea’s choice to pair the two in a single evening so fitting [...] the dancers of Kamea showcase a broad range of physical and performative skills in this program.”
By Dana Khan 07.07.24
Spot it | White Face
“"The experience I had during the performance is difficult to articulate, because it is preferable to actually experience it… I can describe it as a captivating performance. The dance is extremely physical, one can feel the lust, passion, erotica and the human flows. From the first moment, the audience was swept along with the dancers into what was happening on stage…. and at times, I even felt like dancing myself…"”
By Orit Inbar 27.05.24
The Beautiful Life | Carmina Burana 2.0
“A spectacular and captivating show, filled with beauty and grandeur, intense and energetic—a true experience for the eyes, ears, and soul... Impressive, bold, and captivating choreography by Tamir Ginz”
By Roth Keinan 26.05.24
Cultural and art events - public opinion | Carmina Burana 2.0
“Only five performances of the renewed production were staged in Herzliya, and all of them were sold out, and rightfully so. Tamir Ginz created a dance that was entirely magnificent alongside Carl Orff's classical masterpiece, with powerful compositions and perfect costumes”
By Sarah Peled 26.05.24
Megafon News | Carmina Burana 2.0
“"From the moment the curtain rose, the energy and talent of the dancers were captivated. Ginz's updated choreography breathes new life into Carl Orff's iconic music, blending contemporary and classical elements in a way that feels both fresh and timeless.... ....The synchronization between the music and the movement was perfect, highlighting Ginz's keen musical sense and his ability to translate it into dance."”
By Nira Perry 26.05.24
Saloona | Carmina Burana 2.0
“The show was an aesthetic work full of imagination [...] "Wild Awake" serves as a reminder that it's okay to sometimes escape the pressures of reality and lose oneself in imagination. For in these moments of escapism, one finds not only refuge but the freedom to grow.”
By Timon Brombach 18.05.24
Kölner Stadt-Anzeiger | WILD AWAKE
“Kamea Dance Company and Tamir Ginz's choreography are nothing short of genius. There's a perfection in its imperfection, as modern dance doesn't strive for beauty like classical ballet. Instead, it seeks to touch on social phenomena, deep emotions of all kinds, including pain, conflict, and both personal and societal suffering [...] Ginz’s choreography is the kind I’d recommend even to people who don’t particularly understand or love dance. His language, the intensity of the moments, and the thought-provoking situations would likely resonate even with those who aren’t typically fans of dance.”
By Aviva Rosen 01.04.24
Biluy Naim | White Face
“Excellent bodywork by the company’s dancers in two different pieces, both exploring physicality and the internal emotional struggle stemming from different motivations [...] Ginz presents frustration in the most physical way possible, with dancers fully committing to these feelings [...] dramatic and powerful bodywork.”
By Sarah Peled 13.03.24
Megafon News | White Face
“This evening of the Kamea Dance Company - LEGENDS, which was composed of two works by well-known artists, is going to be a landmark in the company's journey. It was an impressive evening that included strong works excellently performed by a team of dancers from Kamea, which is also reinforced by dancers from different countries.”
By Ora Brafman 23.02.23
Dance Talk | Legends
“Tamir Ginz, artistic director of Beersheba-based Kamea Dance Company, managed in his Neverland to take this company to a new performance level, with dancers that looked better than ever. The group, composed of a dozen local and foreign dancers, has good technique and proven dedication, stamina and energy.”
By Ora Brafman 23.02.23
The Jerusalem Post | Neverland
“After the performance, nobody could bear staying seated anymore. And certainly not the choreographer. Tamir Ginz sat watching the performance of his dancers of the Israeli Kamea Dance Company with a mixture of nervousness and being under a spell, holding his finger in front of his mouth, giving short notes to the assistant sitting next to him and not once losing sight of the stage. And when the story of St. Matthew Passion was over, his tears began flowing. Which meant nothing else but Ginz being enormously proud of his dancers. He knew that they had achieved something extraordinary.”
By Frank Weifen 23.02.23
Leverkusener Stadtanzeiger | Matthaus Passion 2727
“It was a thrilling concert, offered by the highly motivated professionalists of l’arte del mondo and the perfectly prepared lay choristers of the Barmen-Gemarke choir from Wuppertal (who sang the whole piece by heart at the stage’s edge). At the same time it was an extraordinary dance evening of the Kamea Dance Company with pictures that have deeply immersed themselves in the memory of the audience of Bayer Kultur. Images, movements and moods that will likely be present again when Johann Sebastian Bach’s complete St. Matthew Passion will be listened to.”
By Monika Klein 23.02.23
RP Magazine | Matthaus Passion 2727
“Opera is a musical total artwork: as outworn this set phrase may be, as little it is transferred into reality. And when it happens, it is an uplifting experience. This is proven by a premiere in the Erholungshaus in Leverkusen, of all places. Announced as a “breathtaking evening of dance”, the performance is quick to prove itself to be a total artwork. Everything fits perfectly, and the audience is enchained for an hour and a half.”
By Michael S. Zerban 23.02.23
O-Ton Culture Magazine | Matthaus Passion 2727
“Between ballet and rock, between delicacy and sharpness, between bodysuit and tattoo sleeve. What happens when you connect two world-class choreographers with one of the leading dance companies in Israel, to perform works for two rock legends? Not what you expected.”
By Adir Finkelstein 23.02.23
Maamol | Legends
“Both works were found in the repertoire of leading troupes in the world, praises were written about them, but here, I want to concentrate on the performance of the great dancers.”
By Ruth Eshel 23.02.23
Dance Diaries | Legends
“Perhaps logistical constraints led choreographer Tamir Ginz to put on a show where the audience sits on the sides of the stage / dance floor but it may be first and foremost an artistic choice. After a year of social distance, there seems to be a strong desire to bring the dancers and the audience closer. This requires the abolition of the clear and distinct line between the stage raised above the seats, between what takes place on it in a stormy movement, and those who watch it passively and silently.”
By Tal Levin 23.02.23
Haaretz | Kumzitz
“We loved what we saw on Suzan Dellal's stage, in the performance of the Kamea Dance Company: the setting of the school, boys and girls, teachers, accepted socially and less accepted, immature loves and moments of adolescent conflicts.”
By Ito Aviram 23.02.23
Impressions | Gleech
“Neuss The international dance weeks have started: The Kamea Dance Company kicked off with their “Rage” program. Anger, anger, and frenzy were depicted in strong body images. But it was also about the trigger for these states of mind.”
By Claus Clemens 28.10.21
NGZ Online | Rage
“A sizable group of dancers stands still under cold white light. Original music by Avi Balleli rocks the stage with its rhythmic high decibels. One can see that the dancers are loaded with emotion waiting to erupt. They run all over the stage as their contained energies break loose. They jump wildly, roll on the floor, and soon challenge their mates.”
By Ora Brafman 13.06.21
The Jerusalem Post | Rage