Abstract
Gaga, the movement language developed by Israeli choreographer Ohad Naharin, is often claimed to be apolitical by marketing materials and participants alike. The Batsheva Dance Company is also led by Naharin and highly influenced by Gaga. Unlike Gaga, however, Batsheva is highly politicized because of frequent protests by pro-Palestinian activists. In this presentation, I explore the many complicated layers of Gaga practice to show the multiple ways in which dancing bodies can be politicized. The case of the cultural boycott movement is used to complicate the relationships between practice and performance and how they are understood as political.
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