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".
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.
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
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.
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.
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.