Angles And Angels
Angles & Angels, 1990
This capsule focuses on the dance Angles and Angels from the suite Angles & Angels. Published in 1990, this is the last suite that Noa Eshkol published of her compositions in her lifetime. Its materials portray an arch from scores, schematic plans, texts, documentary photographs and video, to floor patterns and computer generated plots of space chords.
All of the ornamental material, as Eshkol writes, "is not merely decorative but part of the work itself inasmuch as it is all derived from the series or sequence upon which the dances are based, and which is their common denominator: 1, 2, 3, 4 (total 10). This sequence and its derivatives is in all of the dances, and in all of the graphic patterns."
The Noa Eshkol Chamber Dance Group (fourth ensemble) performing the dance “Angles and Angels” from the suite of the same name by Noa Eshkol.
Noa Eshkol rehearsing the dance, "Dom Tavta HaAlma BaFelech" in her studio. Her bowing head is reminiscent of the bowed head in the dance "Angles and Angels", 1950-1952
The Noa Eshkol Chamber Dance Group (fourth ensemble) performing the dance Angles and Angels from the suite of the same name by Noa Eshkol.
5 photographs, sizes variable
The Noa Eshkol Chamber Dance Group (fourth ensemble) rehearse the dance, “Roaming,” from the suite “Angles & Angels” with Noa Eshkol. Eshkol instructs the dancers on the execution of the dance which shares the same arm movements as “Angles and Angels”.
Featuring: Ruth Sela, Shmuel Zaidel, and Rachael Nul-Kahana.
Camera: John G. Harries, 1987
A question and answer session with Noa Eshkol after a performance of the Noa Eshkol Chamber Dance Group, and featuring a discussion about the motif of the bowed head in the dance, “Angles and Angels”.
Featuring: Ruth Sela, Shmuel Zaidel, and Rachael Nul-Kahana.
Camera: John G. Harries, 1987
The first page of the score of “Angles and Angels” in its final layout form before print, followed by a few pages of the score as it appears in the book. Composed by Noa Eshkol in Eshkol-Wachman Movement Notation. Notators: Rachel Nul-Kahana, Ruth Sela, and Shmuel Zaidel, with Noa Eshkol, 1989.
The first page of the score of “Angles and Angels” in its final layout form before print, followed by a few pages of the score as it appears in the book. Composed by Noa Eshkol in Eshkol-Wachman Movement Notation. Notators: Rachel Nul-Kahana, Ruth Sela, and Shmuel Zaidel, with Noa Eshkol, 1989.
A diagram of the movements of the arms and forearms in the dance, “Angles and Angels” (featured on page 188 of the book, “Angles & Angels”), 1989
A diagram of the movements of the arms and forearms in the dance, “Angles and Angels.”
Featured on page 188 of the book, “Angles & Angels”), 1989.
Page 189 of the book, “Angles & Angels”.
The arm movements are shown on the following pages as computer generated plots of the space chords.
Pages 190 - 206.
EW Movement Notation: Simultaneous Movement and Space Chords
The arm movements are shown on the following pages as computer generated plots of the space chords.
Pages 190 - 206.
EW Movement Notation: Simultaneous Movement and Space Chords
Noa Eshkol explains the arm motif in the dance “Angles and Angels”, 1990.
"A random choice of figures which within a composition may represent floor patterns (horizontal shifts)... All are derived from the basic genetic code defined by the motif." (pg. 208, "Angels & Angels").
Noa Eshkol kept journals documenting her activities as early as 1949.
From 1982, Ruth Sela continued the task. On this page of the diary, Sela documents the progress of Chamber Dance Group rehearsals, of conference logistics that the group will attend, and of final edits being done on the “Angels & Angels” book, 1989-1990.
Noa Eshkol kept journals documenting her activities as early as 1949.
From 1982, Ruth Sela continued the task. On this page of the diary, Sela documents the progress of Chamber Dance Group rehearsals, of conference logistics that the group will attend, and of final edits being done on the “Angels & Angels” book, 1989-1990.
Noa Eshkol rehearsing the dance, “Dom Tavta HaAlma BaFelech” in her studio, 1950-1952.
This schematic plan of time and steps uses the motif 1, 2, 3, 4 of the suite “Angles & Angels,” in the dance, “Scales.” Composed by Noa Eshkol, late 1980s
Noa Eshkol works out the series of ‘amounts of movement’ (intervals): 1, 2, 3, 4, where 1 = 45 degrees, in preparation for the the suite “Angles & Angels”, late 1980s
Noa Eshkol works out the series of ‘amounts of movement’ (intervals): 1, 2, 3, 4, where 1 = 45 degrees, in preparation for the the suite “Angles & Angels”, late 1980s
A draft of the introduction to the book, “Angles & Angels”, 1990.
A draft of the introduction to the book, “Angles & Angels”, 1990.
