In 1884, a group of artists established an alternative to the way in which their work was exhibited. Georges Seurat, Paul Signac, Odilon Redon, and others compelled the Council of Paris to allow an exhibition “sans jury ni récompense,” without jury or reward. Thus, the Société des Artistes Indépendants was born. Their first exhibition included works by over 400 artists and reshaped the channels through which artists presented their work to the public.
A century and a half later, artists around the world still use the term these individuals coined to describe their status: independent artist, a position defined as much by freedom as by responsibility.
“When I think of the classification of an independent artist, two words come to mind: freedom and responsibility,” said Renana Raz. “I think there is a tension between those two all the time. On one hand, I have artistic freedom, which is a wonderful and valuable thing; on the other hand, I am in charge of everything related to the production and technical sides of my work.”
Raz, 47, is one of Israel’s most prominent multidisciplinary artists, with creations spanning theater, dance, film, and television. She moves between roles as an actor, dancer, choreographer, teacher, and artistic director.
She is also a cultural instigator, creating works for adults and children that traverse genres, offer social and political commentary, and stretch the conventions of performance. Beyond their stage success, works such as YouMake ReMake and VHS Blast from the Past have become recognizable formats in contemporary Israeli culture. Raz is currently collaborating with the theater group Tziporela on a new edition of YouMake ReMake.
For Raz, working independently is not a fallback or a second-best option, but a deliberate choice. Over the course of her career, she has moved in and out of established dance and theater institutions. She is currently in rehearsals for the revival of Salome at the Israeli Opera, a 2019 production directed by Itay Tiran that she choreographed.
She shares that there is an initial appeal to large frameworks, a sense of relief in not being responsible for every detail. But that feeling does not last. Again and again, she returns to creating on her own terms.
“I have a sense that it depends on the mental structure of each artist. There are people who need to be independent, and there are artists who blossom within a framework, within structure.
“Freedom of expression is very important to me. When I see or hear about the dilemmas that go on in the decision-making process of the main theaters, I realize how much freedom I have. I have done many collaborations and worked in big theaters. At the beginning, there is this magic to it; it is very attractive not to be in charge of every little detail. But eventually I come back to the realization that, for me, it is better to be on my own and free.”
In May, Raz will return to performing a solo that she premiered in late 2025 at Machol Shalem Dance House in Jerusalem. A Lesson in Movements is a meditation on choreography and movement and is perhaps her most minimalistic work to date.
FOR MANY artists working outside institutions, financial stability remains one of the central challenges. Independence offers freedom, but not security. In a cultural sector that is immediately affected by national instability, with performances canceled and uncertainty shaping the coming months, freelance artists are left to absorb the impact directly.
Raz believes that artists can build stability by applying their creativity not only to their work, but also to how they sustain it.
“I feel that the journey I’ve been on as an independent artist has taught me a lot about my field, not just how to create and stage works. It taught me about everything that surrounds it, the functions behind the scenes,” she reflects.
“When you come up against those systems, you can play with them. When you’re working in established theaters, you don’t necessarily see those details. Working independently, you are exposed to all of these areas. If you see them and use your creativity, you can expand your possibilities to earn money,” she said.
One of Raz’s most successful initiatives is the children’s workshop series, Boogie Woogie. These sessions invite children into a collaborative act of physical and verbal storytelling, reflecting her ability to move between genres in an accessible and inventive way.
Perhaps because of this fluidity, each of her works reaches a slightly different audience. While Wart, We Have Been Called To Go and The Hearing drew politically engaged viewers, VHS Blast From the Past, and YouMake ReMake had broader commercial appeal. Boogie Woogie and The Most Boring Show in the World, a piece for the whole family, connect with younger audiences and their parents.
“The thing that takes the most time and tension is making sure that people will be exposed to what I do and will come to see it. That can really weigh on me, but it’s also what allows me to continue. Because I am an independent artist, I know that if there is no audience, I absorb the loss. There’s no one to take the fall for me.”
The model that the Société des Artistes Indépendants proposed still holds. Independence offers freedom, but it also demands that the artist carry the full weight of what unfolds.
Raz recalls a moment that made the scope of that reality clear.
“We had a major technical issue in one of our VHS performances. The screen on stage stopped working. The show had already started, and people were sitting in the audience. We tried to fix it and realized we couldn’t, that we had to stop the show.
“In my dreams, I dream that shows get messed up. You’re on the way to the show and you forget the music. Suddenly, I was inside that nightmare, and it was happening. I wanted someone else to go and tell the audience, and then I realized there wasn’t anyone else. I had to do it.
“It’s tough, but also amazing, because it’s [only] you, and you have to step forward. It’s that tension between freedom and responsibility. At the end of the day, it’s you.”
Though Raz recognizes the complexity of the current moment in Israel, she continues to dream up new projects. “I’m thinking of some things for next year. The pause that the war imposed opened something for me, and I went back to some ideas I had put aside,” she said.
To keep posted on Raz’s upcoming workshops and productions, visit www.renanaraz.com.
Source:
www.jpost.com
