Mr. Gaga: Embodying the Exceptionalism of Ohad Naharin

Meghan Quinlan

Abstract


The life and work of Israeli choreographer Ohad Naharin are documented in the 2015 film by Tomer Heymann, Mr. Gaga. With nearly a decade of footage from following Naharin’s work with the Batsheva Dance Company, the documentary celebrates Naharin’s life with abundant footage from his choreographic successes. This article explores the ways in which this film, like many dance documentaries, uses dance footage in strategic ways to present dance artists as exceptional. In Mr. Gaga in particular, the national and cultural specificity of the story and footage portrayed in the film require critical analysis to better understand subtle political undertones and bias embedded in the film’s otherwise primarily aesthetic focus.


Keywords


Gaga; Naharin; Israel; documentary; politics

Full Text:

HTML PDF


DOI: http://dx.doi.org/10.18061/ijsd.v10i0.6525

Refbacks

  • There are currently no refbacks.


Copyright (c) 2019 Meghan Quinlan

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

Beginning with Volume 9 (2018), The International Journal of Screendance is published under a Creative Commons Attribution license unless otherwise indicated.

The International Journal of Screendance is published by The Ohio State University Libraries.

If you encounter problems with the site or have comments to offer, including any access difficulty due to incompatibility with adaptive technology, please contact libkbhelp@lists.osu.edu.    

ISSN: 2154-6878