“When I finished my studies in Australia I decided I didn’t want to dance anymore, and then I met the Company. They were performing Anaphase in Brisbane. I had an epiphany, because I immediately saw everything I always felt dance should be: different forms of bodies, energies, and virtuosity I couldn’t recognize. I went to Ohad and Mari’s workshop. Ohad gave a lesson, and Mari taught a solo from Queens of Golub.
Ohad’s method works from content and texture. Knowledge is based on simplicity, exploration and exploring feelings. There’s architecture, forms and steps, but the main thing is the pleasure of movement. Gaga is a tool for feeling and sensing a subjective movement within formulated patterns that necessitate awareness. It’s a technique that dismantles and assembles body perceptions, and asks questions about bodily habits. I’d like to bring Gaga to Australia. There’s great interest in Gaga in Sweden and Norway, but not in Australia. There’s a tradition of English discipline and no new thinking.
I’m a foreign worker. According to Israeli law you can renew your visa for five consecutive years, and after that you can stay only for special reasons. I was Guy Shomroni’s girlfriend, and that’s how I got a visa, but now that we’ve separated I’m going through procedures to keep getting a visa, and for that I need to prove I have special skills. I’m considered a ‘master’ in Gaga because like in any other domain, when someone has a lot of experience, they’re called ‘a master’. I’m receiving recommendation letters from the Company, and administrative assistance turning to the Ministry of Interior and lawyers, but I still don’t know what will happen.”
Rachel Osborn, Dancer, 2001-2012