Siobhan Burke on Ohad Naharin ("Gaga From the Source")
Ohad Naharin ... may be today’s most widely worshiped guru of modern dance, thanks to Gaga, the sensation-driven, imagery-guided movement language that he began developing in the 1990s.
“Keep it alive, keep it alive,” the teacher will say. “Make floating your default.” The goal (or one of them) is to achieve a state of readiness, in which the body is available to do anything at any time. Stillness is off limits. “Make the flesh soft.” “Enjoy asymmetry.” “Collapse into water.” “Collapse up.” “Receive movement from far away, from outside the walls of this room.”
There are no mirrors in Gaga.
We experimented with one vivid image, feeling, or word after another. Erupting into little tremors, we explored the difference between shaking (“what someone else does to you”) and quaking (“what you do to yourself”). We imagined a dense ball gliding through the cavities of our pelvis, torso, neck, and limbs. We slapped our own bodies all over with increasing force as we counted down from 10. (“It’s very important that you feel a sting,” Ohad said.)
We did tendus, ronde de jambes, pliés, developés, battements, but never with the intention of reaching a static form, always widening our reach, searching for more space between our bones, inside our joints. When we became too stiff, too still, Ohad gave us a brief lesson in worrying, then letting worry slip away.
“finding the pleasure in effort,” one of Gaga’s guiding principles
Ohad Naharin ... may be today’s most widely worshiped guru of modern dance, thanks to Gaga, the sensation-driven, imagery-guided movement language that he began developing in the 1990s.
“Keep it alive, keep it alive,” the teacher will say. “Make floating your default.” The goal (or one of them) is to achieve a state of readiness, in which the body is available to do anything at any time. Stillness is off limits. “Make the flesh soft.” “Enjoy asymmetry.” “Collapse into water.” “Collapse up.” “Receive movement from far away, from outside the walls of this room.”
There are no mirrors in Gaga.
We experimented with one vivid image, feeling, or word after another. Erupting into little tremors, we explored the difference between shaking (“what someone else does to you”) and quaking (“what you do to yourself”). We imagined a dense ball gliding through the cavities of our pelvis, torso, neck, and limbs. We slapped our own bodies all over with increasing force as we counted down from 10. (“It’s very important that you feel a sting,” Ohad said.)
We did tendus, ronde de jambes, pliés, developés, battements, but never with the intention of reaching a static form, always widening our reach, searching for more space between our bones, inside our joints. When we became too stiff, too still, Ohad gave us a brief lesson in worrying, then letting worry slip away.
“finding the pleasure in effort,” one of Gaga’s guiding principles
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