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Yacov Sharir

Legend of Dance

1940s

Why They Matter

Sharir’s legacy joins access, institution-building, and technological experimentation. He expanded Austin’s professional dance ecosystem, created pathways for Deaf performers, and insisted that digital systems could enlarge rather than erase the live body. His archive is especially valuable because…

Known For

Dance

Biography

Yacov Sharir, born in Casablanca in 1940, came to dance through visual art. He trained in ceramic design and glass sculpture at Bezalel Academy of Arts and Design before studying dance at the Jerusalem Music and Dance Academy with Hasia Levi Agron and with Gertrud Kraus. During the 1960s he worked in both ceramics and performance, including with Inbal Dance-Theater, before joining Batsheva Dance Company in 1967. At Batsheva through 1975, he danced in repertory by Martha Graham, Jerome Robbins, José Limón, and Talley Beatty while also designing costumes and sets—a cross-disciplinary practice that defined his career.

Sharir came to Austin in 1978, founding the American Deaf Dance Company and joining the University of Texas faculty. The company developed a professional platform centered on visual rhythm, gesture, and embodied communication, creating sustained work for Deaf performers. In 1982 he established Sharir Dance Company as UT's professional company-in-residence, bringing national and international artists to campus and on tour. The company became Sharir + Bustamante Danceworks in 1997, formalizing José Luis Bustamante's role as co-director, and continued through 2007.

From the late 1980s onward, Sharir pioneered the integration of digital systems into choreography. *Virtual Bodies: Travels Within* (1994) explored immersive digital space; subsequent works employed wearable computers, responsive projection, and interactive environments. In these pieces, the dancer remained the perceptual anchor: virtual or projected bodies extended rather than replaced the live performer, and responsive systems made breath, proximity, and direction potential compositional material. Sharir collaborated with engineers, programmers, designers, and dancers to test these forms.

Sharir became faculty emeritus in 2013 while continuing to create and research. The 2018 *Transcendence* retrospective, presented by UT, documented his work across Deaf dance, company building, and technology-centered choreography. The Sharir and Sharir/Bustamante Dance Collection preserved videos and documents for future study. He died on 29 September 2023 at age 83.

Career Highlights

1940

Born in Casablanca, Morocco; later immigrated to Israel with his family.

1967

Joined Batsheva Dance Company after work in visual art and Inbal Dance-Theater.

1975

Left Batsheva; continued dancing, choreographing, and teaching.

1977

Founded the American Deaf Dance Company, described by UT as the United States’ first professional Deaf dance company.

1978

Came to Austin and joined the University of Texas dance faculty.

1982

Founded Sharir Dance Company, UT’s professional company-in-residence.

1989

Began a long-term institutional collaboration with Merce Cunningham Dance Company that brought major commissions and artists to Austin.

1994

Created Virtual Bodies: Travels Within, an early choreography for immersive virtual space.

1997

The company became Sharir + Bustamante Danceworks, formally recognizing José Luis Bustamante as co-director.

2007

Sharir + Bustamante Danceworks completed its final season.

2013

Became faculty emeritus at UT Austin while continuing dance-technology research.

2018

UT presented Transcendence, a retrospective drawing on his choreography and archive.

2023

Died on 29 September at age 83.

Legacy & Impact

Sharir's work joins access, institution-building, and technological experimentation. He expanded Austin's professional dance ecosystem, created sustained pathways for Deaf performers as artists, and demonstrated that digital systems could enlarge rather than erase the live body. His archive is invaluable precisely because it documents not only finished productions but the collaborative processes through which dancers, designers, engineers, and programmers tested new forms together.

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