Hostname: page-component-586b7cd67f-vdxz6 Total loading time: 0 Render date: 2024-11-22T15:59:31.212Z Has data issue: false hasContentIssue false
  • English
  • Français

Noa Eshkol and the Idea of a Chamber Dance Group

Published online by Cambridge University Press:  16 May 2018

Sally Gardner
Get access Rights & Permissions [Opens in a new window]

Abstract

Noa Eshkol (1924–2007) was an Israeli dance artist who developed a movement notation system in collaboration with her colleague, the architect Avraham Wachman. Consideration of Eshkol's dance values, particularly as they pertain to dance's basis in movement, understood as a material that can be “thought,” like music, by means of a notation system, and the role of the dancers as the work's primary audience, can contribute to the ongoing task of investigating dance modernism and its variety of authorship and spectatorship modes.

Keywords

chamber musicdance compositiondance groupdancermodernismmovement notationmusic and danceNoa Eshkol
Type
Articles
Information
Dance Research Journal , Volume 50 , Issue 1 , April 2018 , pp. 67 - 79
Copyright
Copyright © Dance Studies Association 2018 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Adorno, Theodor. 1988. Introduction to the Sociology of Music. New York: Continuum.Google Scholar
Amar, Talia. 2012. “Summer Wind in the Thistles.” In Sharon Lockhardt/Noa Eshkol: Exhibition Catalogue, edited by Barron, Stephanie and Salvesen, Britt, 32–41. Los Angeles: County Museum of Art and Jerusalem: The Israel Museum.Google Scholar
Baron, John. 1998. Intimate Music: A History of the Idea of Chamber Music. New York: Pendragon Press.Google Scholar
Barron, Stephanie, and Salvesen, Britt, eds. 2012. “Drawing in Space.” In Sharon Lockhart Noa Eshkol: Exhibition Catalogue, edited by Barron, Stephen and Salvesen, Britt, 73–77. Los Angeles: Los Angeles County Museum of Art and Jerusalem: The Israel Museum.Google Scholar
Bashan, Mor. 2012. “The School of Eshkol: Mor Bashan.” In Sharon Lockhart Noa Eshkol: Exhibition Catalogue, edited by Barron, Stephanie and Salvesen, Britt, 64–65. Los Angeles: Los Angeles County Museum of Art and Jerusalem: The Israel Museum.Google Scholar
Bashford, Christina. 2007. “Chamber Music.” In Grove Music Online. Accessed December 20, 2016. http://www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/-5379.Google Scholar
Braidotti, R. 2006. Transpositions. Cambridge, UK: Polity Press.Google Scholar
Brün, Herbert. 2004. When Music Resists Meaning: The Major Writings of Herbert Brun. Edited by Chandra, Arun. Middletown, CT: Wesleyan University Press.Google Scholar
Davis, Ruth. 2005. “Robert Lachmann's Oriental Music: A Broadcasting Initiative in 1930s Palestine.” In The Mediterranean in Music, edited by Cooper, David and Dawe, Kevin, 79–96. Lanham, MD: The Scarecrow Press.Google Scholar
Davis, Ruth. 2010. “Ethnomusicology and Political Ideology in Mandatory Palestine: Robert Lachmann's ‘Oriental Music’ Projects.” Music and Politics 4 (2). doi: http://dx.doi.org/10.3998/mp.9460447.0004.205.Google Scholar
Dehn, Kristine. 2013. “Noa Eshkol, 1924–2007: A Biography.” In Noa Eshkol Wall Carpets, edited by Kemfert, Beate, 121–25. Ostfildern, Germany: Hatje Cantz Verlagen.Google Scholar
Doughty, Jacqueline, ed. 2017. The Score: Exhibition Catalogue. University of Melbourne: Ian Potter Museum of Art.Google Scholar
Eshkol, Noa. [1974] 2012a. “Preface: Debka.” In Sharon Lockhardt/Noa Eshkol:. Exhibition Catalogue, edited by Wilson, Eva and Zyman, Daniela, 136–37. Berlin: Sternberg Press.Google Scholar
Eshkol, Noa. [1975] 2012b. “Preface: Right Angled Curves (Dance Suite).” In Sharon Lockhardt/Noa Eshkol: Exhibition Catalogue, edited by Wilson, Eva and Zyman, Daniela, 138–40. Berlin: Sternberg Press.Google Scholar
Eshkol, Noa. 1966. “Jacob, Rachel and Leah.” Accessed March, 15, 2016. https://youtu.be/-C1tJdlXRRg.Google Scholar
“Jacon, Rachel and Leah.” 1987. “Promenade.” Accessed October 15, 2017. https://youtu.be/-C1tJdlXRRg.Google Scholar
Eshkol, Noa, and Wachmann, Avraham. 1958. Movement Notation. London: Weidenfeld and Nicolson.Google Scholar
Feldenkrais, Moshe. 1980. 50 Lessons by Dr Moshe Feldenkrais [recorded by] Noa Eshkol. Holon, Israel: Movement Notation Society, University of Tel Aviv.Google Scholar
Finkelman, Ifat. 2012. “Space, Orbits, and the Apollo Program: Eshkol-Wachman Movement Notation and the Systematization of Human Motion.” In Sharon Lockhart/Noa Eshkol: Exhibition Catalogue, edited by Wilson, Eva and Zyman, Daniela, 103–108. Berlin: Sternberg Press.Google Scholar
Gardner, Sally. 2004. “Dancing Together: The Dancer and the Choreographer in Modern Dance.” Ph.D. diss. Centre for Comparative Literature and Cultural Studies, Monash University, Melbourne.Google Scholar
Hüster, Wiebke. 2013. “I Look at the Moon and Think about My Daughter-in-Law.” In Noa Eshkol Wall Carpets: Exhibition Catalogue, edited by Kemfert, Beate, 29–37. Ostfildern, Germany: Hatje Cantz Verlagen.Google Scholar
Jowitt, Deborah. 1988. Time and the Dancing Image. New York: William Morrow.Google Scholar
Kemfert, Beate, ed. 2013. “Forward.” In Noa Eshkol Wall Carpets: Exhibition Catalogue, 13–17. Ostfildern, Germany: Hatje Cantz Verlagen.Google Scholar
Koritz, Amy. 1995. Gendering Bodies/ Performing Art: Dance and Literature in Early Twentieth Century British Culture. Ann Arbor, MI: University of Michigan Press.Google Scholar
Leeker, Martina. 2012. “Towards a Cooperation of Self-Organized Actors in Digital Cultures.” In Sharon Lockhart/Noa Eshkol: Exhibition Catalogue, edited by Wilson, Eva and Zyman, Daniela, 97–102. Berlin: Sternberg Press.Google Scholar
Lockhart, Sharon. 2012. “The School of Eshkol.” In Sharon Lockhart/Noa Eshkol: Exhibition Catalogue, edited by Barron, Stephanie and Salvesen, Britt, 55–57. Los Angeles: Los Angeles County Museum of Art and Jerusalem: The Israel Museum.Google Scholar
Louppe, Laurence. 2010a. Poetics of Contemporary Dance. Alton, UK: Dance Books.Google Scholar
Louppe, Laurence. 2010b. “Memory and Identity.” In Poetics of Contemporary Dance, 230–65. Alton, UK: Dance Books.Google Scholar
Louppe, Laurence. 1996. “A Journey Through the Work of Trisha Brown.” Writings on Dance: The French Issue 15, 6–11.Google Scholar
Martin, John. [1933] 1985. Introduction to the Dance. New York: Dance Horizons.Google Scholar
Mathews, Hanna, ed. 2017. To Note: Notation across the Disciplines. Melbourne: Perimeter Editions.Google Scholar
Nietzsche, Friedrich. [1872] 1967. The Birth of Tragedy and The Case of Wagner. Translated by Kaufmann, Walter. New York: Vintage Books.Google Scholar
Nul-Kahana, Racheli. 2012. “The School of Eshkol: Racheli Nul-Kahana.” In Sharon Lockhart /Noa Eshkol: Exhibition Catalogue, edited by Barron, Stephanie and Salvesen, Britt, 56. Los Angeles: Los Angeles County Museum of Art and Jerusalem: The Israel Museum.Google Scholar
Paxton, Steve. 2012. “Thoughts on Noa.” In Sharon Lockhardt/Noa Eshkol: Exhibition Catalogue, edited by Wilson, Eva and Zyman, Daniela, 7. Berlin: Sternberg Press.Google Scholar
Preston-Dunlop, Valerie, and Sanchez-Colberg., Ana 2010. Dance and the Performative: A Choreological Perspective – Laban and Beyond. Alton, UK: Dance Books.Google Scholar
Preston-Dunlop, Valerie, and Lahusen, Susanne. 1990a. “Preface.” In Schrifttanz: A View of German Dance in the Weimar Republic, edited by Preston-Dunlop, Valerie and Lahusen, Susanne, xi–xii. London: Dance Books.Google Scholar
Preston-Dunlop, Valerie, and Lahusen, Susanne. 1990b. “The Search For New Directions: Editorial 1.” In Schrifttanz: A View of German Dance in the Weimar Republic, edited by Preston-Dunlop, Valerie and Lahusen, Susanne, 1–6. London: Dance Books.Google Scholar
Sanders, Janne. 2003. “Suitability of New Zealand Halls for Chamber Music.” New Zealand Acoustics 15 (1): 20–27.Google Scholar
Saoud, Rabah.2004. “Introduction to IslamicAesthetics.” Accessed December 18, 2016. http://www.muslimheritage.com/article/introduction-islamic-art.Google Scholar
Scholes, Percy. 1952. “Chamber Music.” In The Concise Oxford Dictionary of Music, 105–106. London: Oxford University Press.Google Scholar
Sicca, Luigi Maria. 2000. “Chamber Music and Organization Theory: Some Typical Organizational Phenomena Seen Under The Microscope.” Studies in Cultures, Organizations and Societies 6 (2): 145–68. doi:10.1080/10245280008523545.CrossRefGoogle Scholar
Siegel, Marcia. 1985. The Shapes of Change: Images of American Dance. Berkeley, CA: University of California Press.Google Scholar
Simondon, Gilbert. 2012. “On Techno-Aesthetics.” Translated by De Boever, Arne. Parrhesia 14: 1–8.Google Scholar
Simondon, Gilbert. 2017. On the Mode of Existence of Technical Objects. Minneapolis: Univocal Publishing.Google Scholar
Sulzman, Mona. 1978. “Choice/Form in Trisha Brown's Locus: A View from Inside the Cube.” Dance Chronicle 2 (2): 117–30.CrossRefGoogle Scholar
The Guide 20th Biennale of Sydney: The Future is Already Here – It's Just Not Evenly Distributed. 2016. Sydney: Biennale of Sydney.Google Scholar
The Noa Eshkol Foundation for Movement Notation. Accessed December 15, 2017. http://noaeshkol.org/.Google Scholar
20th Biennale of Sydney. 2016. March 8–June 5. Accessed December 27, 2017. https://www.biennaleofsydney.com.au/20bos/.Google Scholar
Wilson, Eva, and Zyman, Daniela, eds. 2012. Sharon Lockhardt/Noa Eshkol: Exhbition Catalogue. Berlin: Sternberg Press.Google Scholar