Many of you have inquired about the 2010 Gaga Intensive, a two-week summer course offered by Ohad Naharin along with dancers from Batsheva Dance Company. So, as the registration coordinator for the workshop, I’m pleased to offer you the scoop: this year’s intensive will be held from July 11-23 in Tel Aviv at the Batsheva studios in the Suzanne Dellal Center. The Gaga Intensive is geared towards dancers and dance students age 18+. Classes in Gaga, Naharin’s repertory, and Gaga methodics will run Sundays through Thursdays from 10:00 in the morning until 5:00 in the afternoon, and there will also be classes on Friday mornings. The course will cost 2000 NIS, or roughly $500.
If you have questions, please do not contact me through Dance In Israel but instead e-mail me at: [email protected]
Posted on 01 November 2009 by Deborah Friedes Galili
November is a month of festivals and foreign tours. For more details about these events and other performances, visit Dance In Israel’s Calendars.
Lee In Soo’s Modern Feeling is part of Tel Aviv Dance. Photo courtesy of Ora Lapidot.
Tel Aviv Dance 2009 is in full swing at the Suzanne Dellal Center and the Opera House. Still to come are companies and choreographers from France, Spain, Korea, and Israel. Check out the lineup in Tel Aviv Dance 2009 Mixes Global and Local Dance and get to the theater from now until November 13 to catch some of the best international dance around.
Sharon Vazanna’s Walking Inside Water. Photo by Amina Husberg.
While international performers are taking over the main stage at Suzanne Dellal, the center’s more intimate Yerushalmi Theater is hosting a mixed bill by emerging Israeli choreographers. On November 6, Odelia Kuperberg presents the trio Without Blinking, while Sharon Vazanna premieres her solo Walking Inside Water. Cuban-born Lazaro Godoy joins the program with his striking Jugo de Limon.
Noa Dar’s Us premieres at Curtain Up 2009. Photo by Tamar Lamm.
Soon after Tel Aviv Dance finishes, another major festival will take its place on Suzanne Dellal’s stage. Haramat Masach, or Curtain Up, is an annual platform for premieres by Israeli choreographers. To celebrate the Suzanne Dellal Center’s 20th anniversary, this year the festival invited established choreographers to create new works and host fresh creations by emerging artists. Curtain 1 opens with Nimrod Freed plus Anat Grigorio and Dafi Altbeb; Curtain 2pairs Vertigo Dance Company’s Noa Wertheim with Elad Shechter; Curtain 3 boasts Yasmeen Godder and Iris Erez; Curtain 4 includes Tel Aviv Dance Company’s Yaara Dolev and Michael Miler; Curtain 5 features Noa Dar with Maya Brinner and Irad Mazliah; and Curtain 6 closes with the team of Niv Sheinfeld and Oren Laor as well as Noa Shadur. The festival ends with a special performance of the Inbal Pinto Dance Company in Trout. Check back soon for more posts on Curtain Up 2009, and see below for articles about individual choreographers who will be participating in this year’s festival.
Video: Rina Badash’s Revealed Under the Covers
Although Curtain Up dominates the dance programming in late November, there are still a few dance performances to be found outside this platform. On November 26, Tmuna Theater will host Rina Badash’sRevealed Under the Covers, a multidisciplinary work featuring a solo dancer, live music, and video art projected on four screens.
Ohad Naharin teaching Gaga in Tel Aviv. Photo by Gadi Dagon.
Meanwhile in New York, Ohad Naharin will receive one of the 2009 Dance Magazine Awards on November 9. During his trip stateside, he will teach master classes in Gaga at Peridance in New York City from November 9-10. Hear some of the choreographer’s thoughts on Gaga in Ohad Naharin on Gaga (Video).
Noa Wertheim’s Mana. Photo by Gadi Dagon.
Further south in Washington D.C., Vertigo Dance Company will perform Noa Wertheim’s new Mana at the General Assembly of The Jewish Federations of North America (the GA). This year the GA will meet from November 8-10, and Vertigo will perform at the opening plenary which also features a speech by President Barack Obama. Israeli audiences can see Mana when Vertigo performs at Curtain Up in Tel Aviv and Jerusalem.
Yasmeen Godder’s Singular Sensation. Photo by Tamar Lamm.
Over the next several months, a select group of young aspiring dancers will develop their artistry in weekly Gaga classes and repertory workshops taught by members of the Batsheva company and staff. Want to be part of this project? If you’re between the ages of 14 and 22, you can audition on November 10 at Studio Varda in the Suzanne Dellal Center. For more information, contact Michal at [email protected].
Posted on 27 August 2009 by Deborah Friedes Galili
Dancers at the Gaga Intensive 2009. Photo by Gadi Dagon.
I’ve been studying Gaga for the better part of two years, but the vast majority of the classes I have taken fall under the rubric of “Gaga People,” Gaga classes which are open for participants regardless of any previous dance experience. There’s something magical about these classes. It’s not often that you walk into a dance studio full of people ranging in age from their early 20s to their 70s, some of whom have performed professionally and some of whom simply love to move but have never taken a dance class before.
Yet there was also something special about taking Gaga classes with 120 other dancers during the Gaga Intensive this summer. “Gaga Dancers” classes challenged me to more thoroughly explore the underlying concepts of Ohad Naharin’s movement language and enabled me to research these ideas while connecting more consciously to my body’s knowledge of ballet and modern dance forms. I wasn’t just working from my lena; I was working my arabesque from my lena. I was floating while doing changements, exploring biba while doing developés, and sensing my luna while doing pliés and relevés.
I’m happy to announce that starting on September 8th, Gaga classes designed specifically for dancers will be opened to the public in Tel Aviv. Like the “Gaga People” classes, these will take place at the Suzanne Dellal Center. If you have previous dance training, you can get your groove on at 10 a.m. on Tuesday, Thursday, and Friday. And I’m also happy to announce that starting soon, I’ll be the one working the door! For more details, please see the Events calendar.
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Before open “Gaga Dancers” classes start, I wanted to share another glimpse of last month’s Gaga Intensive. I first wrote the article below, “Learning to Speak Gaga,” for the Jerusalem Post. To read what other dancers thought about their Gaga experience, check out my previous post, “Reflections on the Gaga Intensive 2009.”
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Learning to Speak Gaga
Amidst the waves of tourists arriving in Israel this summer was one particularly diverse group, gathering, from around the globe, in Tel Aviv. They came from the United States, Canada, Mexico, England, Belgium, France, Spain, Germany, Switzerland, Sweden, Norway, Holland, Denmark, Italy, Greece, Cameroon, Japan and Korea. Like some other foreign visitors, they were eager to experience an unfamiliar culture and learn a new language. But these weren’t typical tourists and they weren’t planning to study Hebrew. They are dancers. And they came to immerse themselves in Gaga.
Posted on 06 August 2009 by Deborah Friedes Galili
Ohad Naharin leads class at the Gaga Intensive 2009. Photo by Gadi Dagon.
Last year, I only made it to two days of the Gaga Intensive because I was heading back to the U.S. for the summer. But this year, I enjoyed two glorious weeks of dancing with 120 participants from around the world. During our breaks, I talked to many of the dancers about why they came to the workshop, what they enjoyed most, and what they got out of the experience. I’ll be posting more of my writing about the Gaga Intensive later, but first I wanted to bring you some inspiring voices from these dancers.
If you want to share your experience from the Gaga Intensive, you can write a comment at the bottom of this post!
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– United States, via Amsterdam
I came to the Gaga workshop to expand my vocabulary in a new way. Sometimes if you keep going to the same classes and do the same styles, your artistry can get stale. I think this [intensive] is a lot about how your artistry can feed your physicality and technique rather than the other way around. I think that makes for a much richer and satisfying workshop, and you can take away a lot for your career and your life. It’s not just about dancing with your body but with your life, and about the interconnectedness of everything – there are dynamic possibilities within everything here.
Posted on 05 January 2009 by Deborah Friedes Galili
(Video: Dancers from the Batsheva Ensemble and from Sweden in Ohad Naharin’s Kamuyot)
I had every intention of taking Gaga class on November 18, 2007. My dance clothes were in my bag, my water bottle was filled, and I made it to Suzanne Dellal with time to spare. But outside the studio, I ran into Eldad Mannheim, the manager of the Batsheva Ensemble. As part of a collaboration with Sweden’s National Riksteatern, members of the Ensemble were about to perform Ohad Naharin’s Kamuyot along with Swedish dancers – and Eldad invited me to join the audience of school children in Studio Varda for the show.
That was the first time I had the pleasure of seeing the Batsheva Ensemble, the second company of the Batsheva Dance Company. Since then, I have accompanied the Ensemble as they have toured to Be’er Sheva, Kiryat Shmona, and Kfar Saba, and I have attended their performances at the Suzanne Dellal Center in Tel Aviv. Many of the dancers who were in the Ensemble last year are now in the Batsheva Dance Company, and I’m happy to note that they will be touring throughout the U.S. from late January to early March. I hope you too will have the pleasure of seeing them perform!
I first wrote about the Batsheva Ensemble after joining them for a trip to Be’er Sheva, in the Negev desert, and I published a version of the article below on my own blog on January 10, 2008. Expect more accounts of my experiences with the group in the coming months.
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I am not a morning person.
These days, it takes multiple alarms to get me out of bed, and more often than not, the snooze button takes a beating. But at 5 a.m. on Thursday morning, I successfully arose after a single ring of my alarm. It takes something special for me to get up before the sun rises – something like the chance to accompany the Batsheva Ensemble on their trip to perform for students in Be’er Sheva. Continue Reading