John Cranko's only ballet for the Batsheva Dance Company in Israel, Ami-Yam, Ami-Ya'ar (Song of My People—Forest People—Sea, 1971) is described in a program note as “A Nation and Man Move in Parallel Cycles from Death to Regeneration.” It has remained unique in Cranko's choreographic corpus and in the Batsheva repertoire. Based on recently discovered film evidence, I reread Cranko's largely forgotten project and discuss its problematic and controversial reception in Israel and abroad, in light of Adorno's statement that “writing poetry after Auschwitz is barbarism.” I situate it as a landmark in tackling the Holocaust in dance in Israel as of 1971. I problematize the ethics and aesthetics of representation in Cranko's ballet on the grounds of Giorgio Agamben's discussion of testimony and in reference to Jacques Derrida's reading of Paul Celan.
