Gia Kourlas, New York Times, August 12, 2011
GAGA is not just a lady.
Long before the pop star came on the scene, Gaga was a movement language developed by the Israeli choreographer Ohad Naharin. Lady Gaga named herself after a Queen song, but Mr. Naharin, whose dances conjure a soulful blur of humor, sensuality and grit, chose the word for its playfulness.
Siobhan Burke, Dance Magazine, October 12, 2010
As I waited for Ohad Naharin’s workshop to begin at Peridance last Thursday, I wondered how the master would make his entrance. There was something vaguely religious—devotional—about the scene: Eighty students gathered in one room, anticipating the arrival of a single teacher.
Laura Diffenderfer, Joyce Theater Blog, October 8, 2010
The class I took, part of The Joyce’s Master Class series, was specifically for dancers but I could see how individuals of varying abilities and dance experiences could benefit from the exercises.
Evan Namerow, Dancing Perfectly Free, November 27, 2009
In Gaga, I realized that I was moving in a way that was entirely different – more honest and open, more connected to sensations – from how I would move if I were told to improvise in a non-Gaga environment.
Evan Namerow, Dancing Perfectly Free, November 24, 2009
Since first experiencing Gaga – the movement language created by Batsheva Dance Company’s artistic director Ohad Naharin – in early 2008, I have been yearning for more, and so has most of the dance world.
Jessica Green, Dance Consortium, August 12, 2009
Gaga has definitely influenced the way I think about dancing and the experience of the body. I found there is a freedom to move the way you want, and yet not to neglect your technique.
Deborah Friedes Galili, Dance In Israel, August 6, 2009
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.
Deborah Friedes Galili, Jerusalem Post, July 30, 2009
The two-week Gaga Intensive, which took place from July 19-31, provided a unique opportunity for both Israeli and foreign dancers to study Naharin’s innovative approach and learn excerpts from his captivating choreography.
Barbara Figge Fox, U.S. 1, January 28, 2009
Never underestimate what ordinary people, untrained in dance, can accomplish.
Erika Eichelberger, Dance Magazine, January 2009
Gaga is the nonsense word that struck choreographer Ohad Naharin five years ago, when he decided to name the improvisational practice he had been developing with Batsheva Dance Company.
Rebecca Crystal, Art in Motion, January 13, 2009
As we shook, suspended, connected, floated, pushed through exhaustion, and danced, the idea of resiliency, strength in perseverance, and harnessing positive energy resonated deeply with me.
Deborah Friedes Galili, Dance In Israel, January 3, 2009
If the verbal cues in Gaga are indeed suggestions rather than the hard-and-fast rules which govern many dance techniques, they are at times picked up by my body and mind with neither resistance nor with a concerted effort to follow them.
Deborah Friedes Galili, Dance In Israel, November 25, 2008
A year after beginning my study of Gaga, the movement language developed by Ohad Naharin, it seems hard to believe that I once lived without it.
Evan Namerow, Dancing Perfectly Free, March 2, 2008
The best way to understand Gaga is to experience it – that is, to take a class. And if that’s not possible, then it’s helpful to attend a performance of Batsheva to understand what Naharin’s movement is like.
Susan Yung, The Brooklyn Rail, June 2007
Ohad Naharin, artistic director of Batsheva Dance Company based in Tel Aviv, was recently in residence at Cedar Lake Contemporary Ballet’s Chelsea studio teaching a training method he developed called “gaga.”.