About The Chamber Dance Group

About The Chamber Dance Group

 “…In the absence of precise definitions of genre in the field of dance, I find [chamber dance] to be a name that fits its character. ‘Chamber dance’ is ‘mono-medial’ and does not intend to create a staged illusion of any sort. Thereby it differs from “dance theatre” which is multimedial, calling upon means external to movement in order to fabricate a theatrical experience.”

– Noa Eshkol, 1993 –

 

The Chamber Dance Group – originally named The “Chamber Dance Quartet” – was founded in 1954 by Noa Eskol to perform her compositions, developed through Eshkol-Wachman Movement Notation (EWMN). Eshkol danced with the group until the late 1950s, when she became increasingly focused on developing EWMN, composing, and teaching her dances. After her death in 2007,the group was renamed “The Noa Eshkol Chamber Dance Group” and features both veteran dancers Rachaeli Nul Kahana and Ruti Sela, as well as new members who have joined the group since, Mor Bashan, Noga Goral, Dror Shoval. 

Dance performances by The Chamber Dance Group feature the basic material of all dance styles – that is, the movement of the human body. For Eshkol, dance was a pure art form, in and for itself, to be practiced without scenery, costumes, or music. She treated the parts of the body as separate instruments, not unlike the musical instruments of an orchestra, each with its own rules of movement. Her compositions rely on seriality, as well as on the polyphonic forms of canon, fugue, and so on. She used these forms to create polyphony between various parts of each dancer’s body and between the dancers as a group. Her profound understanding of the body, commitment to compositional method, and inexhaustible creativity resulted in unique, complex, and extremely beautiful masterpieces.

“The people who take part in these events work as a team for many years and are part of a larger team. What unites them is “movement notation” (dance notes). This subject is the nucleus around which daily work revolves. The mission (purpose) to establish an objectively valid system of symbols of movement in the human body dictates the work ethic, tone, topic and object of study. It should be understood that the group is not intended to produce theatrical events as such nor does it seek to “thrill” or “satisfy” the general public, with all due respect. To benefit or get enjoyment from the sessions offered, one should treat the “show” which is necessarily created through its publicness, as a window into our laboratory.”

– Noa Eshkol, 1987 –

 

 

Recent Performances


01/2017

Noa Eshkol; I Look at the Moon and Think About my Daughter-in-law, Vleeshal Markt, Middelburg, The Netherlands

07/2016

Noa Eshkol; Angles & Angels, Badischer Kunstverein, Karlsruhe, Germany

09/2015

The Diver Festival, Suzanne Dellal, Tel Aviv

06/2014

Klontal Triennial for Contemporary Art, Glarus, Switzerland

03/2014

Noa Eshkol Wall Carpets, Opelvillen, Russelsheim, Germany

12/2013

Dans Stockholm, International Contemporary Dance Festival, Stockholm

03/2013

Sharon Lockhart | Noa Eshkol, DIA Art Foundation, New York

03/2013

Israeli Contemporary Dance Week, Lamama, New York

11/2012
Sharon Lockhart | Noa Eshkol, TBA21, Vienna

11/2012

Sharon Lockhart | Noa Eshkol, Secession, Vienna

03/2012

Theme & Variations, Bat Sheva Studio, Suzanne Dellal, Tel Aviv

02/2011

Sharon Lockhart | Noa Eshkol, Israel Museum, Jerusalem

12/2011

Sharon Lockhart | Noa Eshkol, CCA (Center for Contemporary Art), Tel Aviv