Drawing on compositional techniques such as serialism, canon, fugue, etc, she used these forms to create polyphony between various parts of each dancer’s body and between the dancers as a group. Eshkol’s profound understanding of the body and her inexhaustible creativity resulted in unique, complex and beautiful masterpieces.
Noa Eshkol began her professional career in the 1950s as a dancer, choreographer and theorist. In her quest to analyze body movement, she created ‘Eshkol-Wachman Movement Notation’ (EWMN) together with her pupil, architect Avraham Wachman. Music was fundamental to her work: she referred to herself as a composer and many of her pieces have titles such as Suite or Etude. Equating each dancer’s limb to an instrument of the orchestra, her choreography had strong resemblances to music.
In collaboration with Oslo Kunstforening