Martha Schabas, The Globe and Mail, January 6, 2017
“Gaga came from the necessity to communicate with the people I work with – I needed to take care of their bodies and my body. It became something that really reflects on how and why we dance. And it has a lot to do with what I told you before about going beyond familiar limits: We couldn’t have done this without Gaga and without the toolbox of Gaga.”
Einav Katan-Schmid, 2016
Representing the first comprehensive analysis of Gaga and Ohad Naharin’s aesthetic approach, this book following the sensual and mental emphases of the movement research practiced by dancers of the Batsheva Dance Company.
Elianna Bar-El, Boat Magazine, January 27, 2016
Gaga’s influence goes far beyond working solely with dancers. As a teacher, Naharin pulls even a prolific non-dancer out of his comfort zone to gyrate, shuffle, shimmy and meditate on the humor, power and sexiness of language and dance.
Stacey Menchel Kussell, Tablet, January 22, 2016
Gaga came from Naharin’s need to communicate with dancers, he said, to help them interpret the work. He explained: “Gaga gives us a tool box which enables us to make a sublimation of our feelings, groove, imagination, thoughts and the scope of sensations into form and movement.”
Deborah Friedes Galili, Dance Chronicle, October 29, 2015
Examining Gaga’s evolution, structure, and characteristics, this article suggests that Gaga’s divergence from conventional models of technique allows it to address many needs of dancers working in the twenty-first century.
Maxim Boon, Limelight, October 7, 2015
Modesty aside, the world is most definitely going gaga for Gaga. Naharin’s choreography is commonplace among many of the world’s best modern dance troupes who have absorbed aspects of Gaga into their training. The healing properties of Gaga’s low-impact mentality have made it a popular rehabilitation tool for dancers overcoming injuries.
Anna Della Subin, The New York Times – T Magazine, September 19, 2015
As Naharin explained to me, ‘‘There is something about Gaga that makes you realize that joy and pain and sadness can live in the same space; they don’t contradict each other.’’ And also that the more you can move, the more you can say.
Interview with Ohad Naharin, tanzraumberlin magazin, September-October 2015
The letting go, the yielding, is an important concept in Gaga. It is not about collapse or relaxing but about turning to where we block the flow of energy, where we are holding ourselves and do not allow our joints to be available for movement so that our movement becomes stiff instead of soft. Through Gaga, people learn to use vertical forces – gravity, but not only seen as weight – to create horizontal movement.
Emily Macel Theys, DanceSpirit Magazine, April 14, 2015
Choreography by Gaga’s creator, Ohad Naharin, is popping up in the repertoire of top companies around the world. These days, dancers in Hubbard Street Dance Chicago, Cedar Lake Contemporary Ballet, Alvin Ailey American Dance Theater and Les Grands Ballets Canadiens de Montréal all speak Gaga. And that means it’s becoming a must-have tool for aspiring professional dancers.
Ori J. Lenkinski, The Jerusalem Post, January 20, 2014
If you have ever wondered whether your dancing abilities might be useful for more than showing off, tonight is your chance to find out. This evening, a thousand movers will join forces to make this country a better place. Famed choreographer Ohad Naharin, Batsheva Dance Company and the Association for Civil Rights in Israel will open the doors to Hangar 11 in the Tel Aviv Port at 7 p.m. for a mass Gaga lesson.
Kathleen Wessel, Dance Informa, September 4, 2013
On the last day, Ohad told us he knows Gaga is not the only way to make a great dancer, a humble statement from a legendary choreographer. He’s right, but I’ll give credit to where credit is due. At its best, Gaga helps release physical (and often mental) limitations and offers a door to new experiences. And for that, I’m always available.
Molly Yeh, Juilliard Journal, May 2013
At Juilliard’s 108th commencement, on May 24, the class of 2013 will be addressed by Juilliard trustee Laura Leggett Linney (Group 19), who received an honorary degree in 2009. This year’s recipients represent a cross-section of the arts. Actor Daniel Day-Lewis and choreographer Ohad Naharin will receive honorary Doctor of Fine Arts degrees; singer Dawn Upshaw, pianist Alfred Brendel, and jazz saxophonist Sonny Rollins will receive honorary Doctor of Music degrees; and philanthropists Michael Moritz and Harriet Heyman will receive honorary Doctor of Humane Letters degrees.
Ashley Mathus, Bushwick Daily, April 17, 2013
Gaga is half effort, half pleasure. But mostly pleasure. Throughout our daily classes our teachers would say, “Give way to pleasure. It’s nice.” Because it was. Dancers: When you concede yourself to be free of strict and formal technique, such as turnout and pointed feet, it actually allows you to dive deeper into your body and reach those places you wouldn’t get to by standing in form.
Nellie Bowles, San Francisco Chronicle, March 22, 2013
In 2005, [James] Graham was watching Batsheva perform and became intrigued. “There was something different about their textures, the qualities and sensibilities. I didn’t have the language to describe it then. All I knew was I’d never seen people move like that,” he said. “Now I know – it was Gaga training. They had the ability to have many things going on in their bodies at the same time.”
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.