By Ohad Naharin in collaboration with Batsheva Company Dancers and Ariel Cohen

MOMO has two souls. One sends long roots to the depths of the earth –  soul that embodies archetypes and myths of hardened, raw masculinity, and the other is in a constant search for an individual and distinct DNA; one moves within its own autonomous and independent force field and the other is a constellation of elements that spin around the same nucleus – alternately drifting away and towards it, making room for necessary tenderness and catharsis. 

With a soundtrack comprised mostly of the album Landfall by Laurie Anderson and Kronos Quartet, one of the foremost contemporary classical music ensembles, a shared passion of deep sorrow and beauty unfolds on stage. Relinquishment becomes a dedicated search for a crack, and glitches in the movement code turn out to be free, playful, and emotive material.

Ohad Naharin is the House Choreographer of Batsheva Dance Company and creator of the Gaga movement language.

Naharin was born in 1952 in Mizra, Israel. His mother is a choreographer, dance teacher, and Feldenkrais instructor, and his father was an actor and psychologist. He joined Batsheva Dance Company in 1974 despite having little formal training. During his first year, guest choreographer Martha Graham invited him to join her own company in New York. Between 1975 and 1976, Naharin studied at the School of American Ballet, The Juilliard School, and with Maggie Black and David Howard. He then joined Maurice Béjart’s Ballet du XXe Siecle in Brussels for one season.

Naharin returned to New York in 1979 and made his choreographic debut at the Kazuko Hirabayshi studio the following year. From 1980 until 1990, Naharin presented works in New York and abroad, including pieces for Batsheva Dance Company, the Kibbutz Contemporary Dance Company, and Nederlands Dans Theater. At the same time, he worked with his first wife, Mari Kajiwara, and a group of dancers in New York. Naharin and Kajiwara continued to work together until she died from cancer in 2001.

Performed by Batsheva Dance Company season 2022-2023: 

Chen Agron, Yarden Bareket, Billy Barry, Yael Ben Ezer, Matan Cohen, Guy Davidson, Ben Green, Chiaki Horita, Li-En Hsu, Sean Howe, Londiwe Khoza, Adrienne Lipson, Ohad Mazor, Eri Nakamura, Gianni Notarnicola, Danai Porat, Igor Ptashenchuk, Yoni (Yonatan) Simon

Co-creators: Batsheva Dance Company dancers and Ariel Cohen / Lighting design: Avi Yona Bueno (Bambi) / Set and Props Design: Gadi Tzachor / Costume Design: Eri Nakamura / Sound Design and Editing: Maxim Waratt

Special Thanks to Yula Gold, Simony Monteiro, Linda Brumbach, Michal Helfman, Yonatan Oppenheim

Music by Laurie Anderson and Kronos Quartet from the album “Landfall” / “Metamorphosis II” by Philip Glass / “Madre Acapella” by Arca / Maxim Waratt

Company and Show Manager: Yaniv Nagar / Rehearsal Managers: Guy Shomroni, Rani Lebzelter / Production Manager: Dana Katz Naaman / Head Technical Manager: Roni Cohen / Director of Lighting Department: Eliav Rafaely / Director of Sound Department: Dudi Bell / Director of Sewing Workshop: Haya Geiman / Tailor: Danny Kalmer / Wardrobe Manager: Shoshi Or Lavi / Production Coordinator: Roni Mor Halachmi / Image: Noa Paran / Text about the Piece: Shira Vitaly

House Choreographer: Ohad Naharin / Artistic Director: Lior Avizoor / Executive Director: Dina Aldor

Major Sponsor: Chelck Family Foundation

Supported by Batsheva New Works Fund • American Friends of Batsheva • L’Association Pluriel pour l’Art Contemporain • The Zita and Mark Bernstein Family Foundation • Factory54

Co-producers: Orsolina28, Moncalvo
Presenting co-producers: Torinodanza Festival / Teatro Stabile di Torino – Teatro Nazionale / Festival Aperto – Fondazione I Teatri, Reggio Emilia / Fondazione del Teatro Grande di Brescia.