30 Days of Gaga: Day 8
Nothing about the teacher today screams “dancer.” Medium build. Well-kept beard. But when he starts moving, I’m mesmerized.
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30 Days of Gaga: Day 7
The word choice is interesting, “flesh,” not “muscle”. Muscling movement not good? It’s how I’ve moved my entire life.
30 Days of Gaga: Day 6
For the first time, I feel my left arm move in relation to my right, and vice versa. I am floating!
30 Days of Gaga: Day 5
The music is chill and we begin by floating, sensing the lightness in our bodies and limbs.
30 Days of Gaga: Day 4
Our cue is to stay available. So at any moment, we can snap into movement.
30 Days of Gaga: Day 3
I love this language. It’s evocative. Playful. It engages the imagination. Yet, it’s precise.
30 Days of Gaga: Day 2
I have no desire to become a dancer, yet there’s something here for me.
30 Days of Gaga. A Non-Dancer’s Diary of Dance.
An American with no dance background somehow found himself in Tel Aviv – and in Gaga class.
Time is a stage for the passing
A practice for training and choreography, Gaga is first a research tool, and as such, it aspires to remain an open code always in a state of becoming and subject to constant redefinition.
Gaga and Naharin’s body of work
Besides serving as Batsheva’s training practice, Gaga’s influence has spread far beyond the 75-minute morning class to transform the company and Naharin’s repertory.
