Kang: I grew up playing the violin and going to the orchestra. In fourth grade my parents took me to my first concerto philharmonic. They dressed me in typical 70s fashion; not matching, plaid pants and a clip on bow-tie, and that’s when I heard Müllers Third Symphony. There was such incredible sound coming out of an orchestra, I was amazed. That performance stayed with me ever since 1977.

 After a short stint working at an art gallery, I decided to pursue a career in orchestra management in which I became the youngest ever president of a major orchestra. This was the pinnacle of my dreams—to have that impact on field that I loved so much! After sixteen years of that, I was recruited to come to Chapel Hill with the directive to establish a major performing arts program; it was unusual that a university of our stature didn’t have one yet.

I have this desire to sit in wonder of incredible artists around the world

My time at the orchestra helped me to see the virtuosity of transcendence of art and its ability to broaden one’s knowledge base.

At Chapel Hill, I wanted to broaden artistic horizons, with a focus on the contemporary.

I spent over ten years travelling, learning and developing relationships with artists all around the world—from all disciplines and genres

 2)      How were you introduced to Batsheva Dance Troupe? What about them interested you?

 I knew about them at the very beginning thanks to my friends at American Dance Festival.

It was during my trips to Israel- I’ve made three in the last five years- that I got to actually meet them.

‘Rawness’ is a quality that is often used to describe them, but that doesn’t explain in properly. Ohad’s vision of dance is this return to the fundamental essence of human beings and movement where dance is this primal form of artistic expression. Letting one’s body tell one where to move next

Also, this year it’s the fiftieth anniversary of the Batsheva Dance troupe which is very meaningful.

You have that legacy of Ohad’s dance language as well as the troupe’s history. This performance will showcase both of these aspects with laser like focus.

 3)      What do you think is most powerful about dance as an artistic medium? What is your personal favorite artistic medium?

 I probably should not say this, but dance has become my most favorite dance form to enjoy as an audience member.

I love the idea that the art is coming from within. Choreographers and dances are able to make something from what G-d’s given us. It’s such a powerful form; I especially enjoy modern dance.

In modern dance there is this authenticity—for example; Ohad collaborates with the actual dancers in the troupe. The dancers have opportunity to lend ideas to the choreography.

 4)      For those that enjoy the Batsheva Dance troupe, are there any additional performances at the UNC that may be of interest?

Shan

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la Shivalingappa, a South Asian dancer, will be performing the Kuchipudi dance from South India on Februrary 18^th 2015.

She actually has a lot in common with the Batsheva Dance Troupe. They both acknowledge that one can never depart from one’s folk tradition. I think that it’s important to understand that in order to move forwards you need to look backwards.

There is genius in expansion and evolution of the past.