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.