This article investigates and reflects on the language of motion Gaga, developed by Israeli choreographer Ohad Naharin in the early 1990s within the Batsheva Dance Company. Artist of interventions, shocks and events, Naharin proposes in his practice the contact with sensory and expressive aspects where the rules are different from the predominant formulations in the pedagogies of contemporary movement, mainly because they are structured from provocations and physical sensations. We use observation and diaries of experience in workshops, participation in regular classes, analysis of bibliographic and methodological materials, videos, interviews and shows, with the intention of highlighting sensory and expressive elements that attribute unique qualities to the method.
