Itzik Galili was born in Tel Aviv, Israel. He began his dance training at the age of 24. In 1985, he joined the Bat-Dor Dance Company and two years after started his career with Batsheva Dance Company. In 1989, Itzik moved to Britain to continue his training in choreography upon Robert Cohan’s advice. A year later, he choreographed his first piece “Double Time” and in 1990, he won the Originality Price at the Gvanim Choreographic Competition for his piece “Old Cartoon”. He moved to the Netherlands in 1991 and founded his own Compagnie Galilli Dance. He is internationally known for his choreography for “The Butterfly Effect” and in 2009 came back to the Netherlands and worked for Dansgroep Amsterdam as artistic director.
His work distinguishes itself through dance expressed from different perspectives. He likes to instill the values of creativity and independent thinking among his dancers, hence he founded the Groningen International Competition for Choreographers in 1998 and 2011. Itzik also worked in two dance films for British and Dutch television – “Come Across” in 1996 and “A Sense of Gravity” in 2002.
What did you want to be when you grew up? Did you always want to be what you are now?
I wanted to be an astronaut. Definitely. I had no relationship to dance until the age of 23. Nothing. I loved to paint. Poetry, but no dance.
Favorite things to eat
Do you really want to know? Sorry…lol. My second favorite thing is oriental food. I like cuisine. Sweets get me…but. Chocolate…man I turn into a woman. Rarely I like to have a very small glass of Cuban rum. But it has to be good.
Favorite books
Nothing in particular. But I am now reading a book called “48 Rules of Power”. It is very interesting to read because it shows me what I am not on many levels. A very good book.
Favorite movies?
Many. Gone With the Wind. Casablanca. Wuthering Heights…that’s a good one.
Favorite dance piece?
I think the pieces I enjoyed the most are the ones I danced. And felt pride in being a part of it. There is a choreographer called Doug Varone. What I see is that what people do nowadays it reminds me of what he did in the 80’s. There is such a delay in interpretations by creators, programmers, by critics who have no notion of what has been done there. There is really a sort of a jump in time. When I see work today it reminds me of that. I danced a piece of his called “Psalm Symphony”. Tabula Rasa by Ohad Naharin. I loved to dance it. I loved working with Daniel Ezralow… I’m talking 30 years back now. I loved Grossland of Maguy Marin. Many works of Jiri Kylian, Mats Ek, and Pina Bausch. Of Kenneth Macmillian which is totally different. George Balanchine. What I love most is looking at the work of young artist. I learn so much from and it teaches me about my mistakes that I have made. It is a beautiful exchange. Like a tennis match.
What is your favorite work that YOU have created?
My last full evening work was called “Bullet Proof Mama”. This is a work that I miss seeing on stage… Therefore I like to think it is the best because I have not seen it enough.
I like dancers who…
Are thinkers. Dancers need to be thinkers and also very good dancers. Not just be thinkers and be very bad dancers. There are so many of those! You know those dancers who only tell you what’s wrong.
I am afraid of…
Becoming a beggar. But NOT of being a taxi driver.
A dance piece should…
At first engage you emotionally. Then the rest.
Something you like to do other than choreograph?
Wow. Many things. Writing. Singing. Stand up comedy. Going to lectures. Politics. Fight for people who are weaker.
One of the happiest moments of your life?
My kids. Nothing can compare. Not any work I do. It’s always havoc. Sublime joy. Walking in the abyss. Having kids is a combination of all those things.
One of your most unusual or cool experiences?
Working on a solo called “Little Tiny Bites” by Elena Bokov, one of my ex dancers. It was more of an important moment in my abilities to create.
One of your most embarrassing moments?
Having my work compared to other works. Doing something that has been done before. No facing truly, sincerely, my own expectations.
Most influential person in life or career?
In my career the most supportive, profound, the most professional…the most giving, sacrificing person…who has been a mentor Elisabeth Judiate. For those who had the luck and luxury to meet her in this profession. She is the one. She is my co-artistic director…although I am the artistic director of nothing.
What is the hardest thing about your job?
To over come fears in other people’s eyes. It’s very confronting although it’s not spoken, to speak with other directors. I think we artists really must support one another. And not be scared that the other is better.
Do you have any goals you still want to achieve?
I wish I could find the most elevating, seductive calm and happiness. Happiness.
If you could change one thing in the DANCE world what would it be?
Wow…this is a hard one. Dance is a religion. I would separate this religion from politics. It needs to be separate.
What would you change in the REAL world?
I think my natural habits is that I am a mediator and I like to make people feel good. When people feel good I feel good. WhenI feel good I make others feel good. More positivity.
Is there a question you would like to know the answer to?
Yes. I wish to know the day before, what will happen the next day.
A piece of advice for young artist?
Whatever you do, give it the best you can. Do… then question. Most dancers have good and bad mentors. When you do, don’t let those voices distract you. Do it with force and passion. Be 100%. Everyone will interpret what I just said differently…as they should.
Photo: Bettina Stoess
Photo: Bettina Stoess
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