The idea came from Eric Gauthier (b. 1977), choreographer and artistic director of Gauthier Dance. He approached several well known choreographers and offered to produce an evening of free renditions loosely based on the iconic, classical ballet-Swan Lake.

Finally, four twenty minute's long dances were chosen under the title- Swan Lakes. Since, the new works enjoyed total artistic liberty, each of the four choreographers kept his own unique artistic attributions with distinct imprints.

The evening opened with Cayetano Soto: Untitled for 7 Dancers, showcasing a fierce, volatile corporal statements, referring to changes between soft touches and profound strong ones, that interpret the quick changes as a battle between sublime delicacy of the white swan and the wicked black one. The dancer's projection of the subtexts was compelling.

The second work: The Song of the Swan, by Canadian choreographer Marie Chouinard, (b. 1955) known for her original, provocative works at her time. Here, her swans wore point shoe on their right hands and at one point turned the dance into a raging political rally, with flimsy context..

When Hofesh Shechter's name was announced, the audience cheered. Hofesh , who left Basheva to find his fortune in progressive music in London, couldn't have guessed that he will become a well known choreographer and musician within a couple of years.   In TAPAC he showed his Swan Cake, a work with an upbeat Israeli energy, free spirited dancers yet, perfectly timed choreography and enjoyable space control. Hofesh cleverly laced in his Rock music a well known motive of the original score of Ballet. It was impressive to realize that his hand was totally involved in the music, choreography, lighting and wardrobe design.

Yet, the most outstanding piece of the evening was by far: Shara Nur by Marco Goecke. (b.1972). It was the perfect glove that fitted the right hand and Goecke, a unique choreographic voice, chose to set his work to haunting music by Bjork and Jessy Claret.

His work reminded a visually unsettling art creation made of dark, gloomy materials, yet, underneath there is a thin inner layer which seems to vibrate, as if it contains particles of a living entity which mysteriously supports the upper layer.

The body motions were perfection while each limb seemed to have its own mission and rhythms which were hypnotizing. Sometimes it felt as if the movement derived its power from cerebral origin, and others flowed straight from the body's core, from within, and both harmonize. The dancers applied quick fingers' fluttering autonomous dance like hummingbird's wings in flight. It's unclear whether the quick repeated moves controlled the mind or vice versa, yet the result played unexpectedly on one's inner cords with its sublime beauty.

For sure, Goecke's work touched hidden layers within. Like a magician, he distilled artistic intensity from each slight movement. Once again, we see that Goecke is a highly impressive artist with uncommon sensitivities and sensibilities.