The melding of dance, music and cinematography isn’t new to us here at DN. But there’s something about Director, Choreographer, and Dancer Or Schraiber’s choreography-led music video for Yemen Blues’ Prayers that feels completely refreshing and distinctive. The backdrop of a stark urban landscape with five performers engaging in fluid yet frantic dance gives echoes of West Side Story but there’s also a contemporary urgency at play too. It also surprises with a key stylistic choice which occurs towards the end of the video that renders the entire film in a new perspective. It’s just really evocative and a film we had to find out more about so we invited Schraiber to join us for a chat about everything from his prepared yet loose approach to choreography to the post-production decision to embrace jump cuts in order to mirror the frenzied rhythm of the song.
There was something I found so refreshing about this video, as a dance-centric piece of art. Where and how did your collaboration with Yemen Blues on it begin?
It’s been years that I have been obsessed with the music of Yemen Blues. In July, I received a phone call from the impeccable Ravid Kahalani, a dear friend and the founder of Yemen Blues, asking if I would be interested in creating a video for their song Prayers. From the first listen, before I fully understood that there were prayers in different languages being recited, I saw five people moving in unison through an urban landscape, driven by the intense rhythms and sonic gravity of the track.
The goal was to convey the urgency, longing, and hope embedded within the song’s rhythms and texts through movement.
Ravid later explained the deeper meaning of the text, how the prayers draw from various sources and languages. It became clear that this concept of unity was essential, especially in a time when division and separation are prevalent. The goal was to convey the urgency, longing, and hope embedded within the song’s rhythms and texts through movement. Each gesture and step became a prayer in itself, aiming to express a depth of feeling that transcends language.
You mentioned seeing an urban landscape when conceptualising the video, what inspired both the choice of setting and also the almost frantic nature of the choreography?
I drew inspiration from films like La Haine by Kassovitz, which informed the raw, urban feel of the piece. To develop the choreography, I entered the Los Angeles Dance Project studio in downtown LA, generously provided to me, and spent a week exploring and embodying the physical expression that resonated with me when listening to Prayers. The music’s relentless energy pushed me to go beyond my limits, as if I were surfing a wave that continuously built momentum, always unpredictable in where it might lead, though, admittedly, I’m not an actual surfer but the metaphor felt fitting!
How much of prep on the video was spent developing the visual language versus the choreography?
I deeply cherish the incubation period of any project, the preparation that leads up to that special moment when all the artists involved are calibrated and aligned, ready to create something meaningful together. For Prayers, this process began with sharing the concept, vision, and choreography with Josh Rose, the DP, and the dancers, accompanied by a storyboard. However, the storyboard was never intended to be a rigid set of instructions; rather, it served as a foundation, a document to ignite our collective creativity. It provided a sense of structure and direction, but I knew from the get-go that the real magic would happen once we allowed ourselves to stray from it, exploring other possibilities and letting the energy of the moment guide us in new and unexpected directions.
When the four other phenomenal dancers, Jeremy Coachman, Hope Spears, Lorrin Brubaker, and Julien Chinchilla, joined me, the process evolved into a collaborative effort. We focused intensely on the musicality and synchronicity, allowing the movement to take shape in response to the rhythms and lyrics. Each dancer contributed to refining the choreography, adding layers of depth and complexity that made the piece truly come alive. Although the dancers move in unison, they each brought their individual essence, creating a dialogue that speaks volumes about the human experience, our struggles, connections, and desire for togetherness. It was an honor to share this creative space with such exceptional artists.
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With all the prep work behind you, how challenging was the actual shoot itself?
The production itself was a classic low-budget endeavour, which meant resourcefulness was key. I feel extremely fortunate to have worked with such an incredible skeleton team who were up for the challenge. Alisa Wyman, our producer, ensured everything ran smoothly; Josh, our DoP and Anna Tse, our camera operator, who are both dancers in their own way, captured the raw energy of the piece beautifully. And lastly, Dana, my young sister, brought her unique vision to the costumes, adding texture and authenticity to the overall aesthetic.
We focused intensely on the musicality and synchronicity, allowing the movement to take shape in response to the rhythms and lyrics.
We shot the video in a single, extremely hot day on a forgotten street along the banks of the LA river. It was a physically demanding experience, dancing for seven hours under the blazing August sun, but that intensity infused the performance with a layer of authenticity, as we pushed ourselves physically and mentally to embody the spirit of the song.
How much did the song dictate the rhythm of the edit? Were you able to creatively experiment as with the earlier stages of the project?
I love diving into the editing process immediately after the shoot before I have time to overthink or forget the potency of certain takes, especially with dance. My first step is to watch all the footage and jot down quick notes, capturing the emotional impact of specific moments, even if those notes seem like nonsense a day later. I began editing chronologically to the music, intending initially to showcase the dance through a few long takes. However, as I progressed, I discovered that rapid jump cuts injected an unexpected intensity, adding a groovy, dynamic sensation that complemented the rhythm of the song. At a certain point, the edit took on a life of its own, guiding me toward what was needed. The entire process spanned about two weeks. Once I had a final cut, I shared it with a select group of people whose opinions I deeply value. This step is crucial for me, as it provides fresh perspectives and feedback, allowing me to refine the piece without attachment or sentimentality.
I discovered that rapid jump cuts injected an unexpected intensity, adding a groovy, dynamic sensation that complemented the rhythm of the song.
What motivated the black and white colour palette and also the transition to colour later on?
After creating the initial phrase of choreography and outlining the storyboard, I instinctively felt the video needed to be in black and white. This choice allowed me to focus the viewer’s attention on the choreography itself, without any distractions. Initially, I was convinced the entire piece should remain in black and white. However, Josh, our DP, sent me a color test for fun, and I was struck by how the introduction of color altered the mood and resonated with the music’s energy. We began experimenting with different ways to incorporate color, and it soon became clear that thematically, it made sense to introduce color at the moment Julien, the dancer on the floor, returns to full saturation. This shift added an element of unpredictability and vibrancy that made the video feel more complete and alive.
As a choreographer/director do you choreograph with your direction in mind? Are you thinking about where the camera will be when constructing the movements of your dancers?
Yes, I do. It depends on the scenario, but I usually begin by visualizing a context that justifies the dancing, even if the justification is abstract. As long as it makes sense to me, that becomes the foundation. Once the concept is clear in my mind, choreography and camera work naturally enter into a dialogue. Camera movement, in particular, plays a key role in how I inform the viewer about the velocity and inertia of the dance. While dance is often seen as an abstract form of expression, for me, it conveys what words cannot. So, each time I choreograph for film, I carefully consider not only how the movement is captured but also how the camera’s motion enhances the sensation of the dance, ensuring that both elements communicate the essence of the piece.
What else are you working on?
As of now, I’m finishing up the editing of another music video for Yemen Blues titled Metamorphose. It has a completely different flavor from Prayers, though it explores somewhat similar thematic ideas. I’m also working on an exciting new project with a French TV Channel, a short film that will air next year, featuring a collaboration with numerous artists I admire.
