Laban Bartenieff

7/27/2019 Laban Bartenieff

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LABAN MOVEMENT ANALYSIS/BARTENIEFF FUNDAMENTALS

Applied to Conducting

Postural - Active flow of movement throughout the whole body in a consistent manner. Incontrast to movement of only a part of the body; e.g. arms, head or trunk alone.

Connectivity - The connection of motion of the upper and lower and body halves. How they relateto each other and how the motions relate to the environment.

Shaping - Movement involving constantly changing three dimensional relationships of the body tospace. Anatomically, shaping requires a combination of rotation, extension or flexion, andad- or abduction in the torso, limbs and head. The opposite of maintaining a static shapeof position, shaping refers to the quality of sculpting three-dimensional forms in space.

Gathering and Scattering - General shaping coming toward the body (gathering) or going away

from it (scattering), not specific about where in space.

Kinesphere - The area surrounding the body within the reaching possibilities of the limbs withoutchanging your place. It is usually related to postural movement which emphasizes thespace around yourself, in contrast to general space in which action and locomotion takesplace.

Central Path - Spatial shaping which is initiated from center of the body, traveling in radiatingpathways from the center of the body, like spokes.

Peripheral Path - Spatial shaping which occurs in the outer limits, or the periphery, of the

kineshpere, creating a sense of edge, always maintaining a fixed distance from the center.

Transversal Path - Spatial shaping which travels from one peripheral point to another within thekinesphere, traveling between the periphery and the center.

Core - The center of gravity for the body and the foundation of energy and movement, the core ofthe body is considered the lower abdomen, below the navel.

Distal - The outer extreme of ones kinesphere, that is, the fingertips, toes and head.

Tensions and Countertensions - Balances necessary to keep motions from collapsing in at the

completion of the motion.


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Bartenieff Fundamentals

Goal -- combine lively interplayandefficient body functioning with outer expressivity.Uses the entire LMA system or framework and emphasizes mobility not just strength,

emphasizes phrasing, exertion/recuperation

Principles include --- whole body connected -- all parts in relationship to each other and the environment- motivation/intent of patterns in the neuro-muscular system (can be conscious or not)- movement happens in phrases (intent/preparation and initiation)- movement patterning uniquelypersonaljourney

Patterns of Total Body Connectivity and Organization

Breath --- key to life and its connections

- includes both lung and cellular respiration- movement rides on the flow of breath- central liberator and controller of movement- supports dynamics of movement, ongoing flow- provides first experience for inner, three-dimensional volume- key to movement phrasing

Core to Distal movement --- beginning of differentiation- about relationship (sets up twoness)- necessitates core becoming stronger and connected

- becoming aware of distal environment and beyond- center of personal space (core)- introduces a way motion can flow through the body

Head/Tail Connectivity -- Spinal Patterning- organizes the whole body to move- generates sense of becoming individual- about gaining bodily base for internal vertical axis and core support- establishes bodily base for total body action in each plane and in three-dimensional space- gain sensation of connection of one end of the spine to the other (sequencing)- relates to early fish-like patterning


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Upper-Lower Patterning- organizes the whole body to move in an action of upper body or lower body- lays groundwork for later differentiation for specific skills and articulation of upper and

lower body- reach and pull provides access to space

- push usually precedes reach and pull- upper usually precedes lower in development- develop muscular strength and connectivity to fulfill intent- increase stability through grounding- increase mobility in locomotion and planes

Body Half (Homolateral) Patterning- stable/mobile sides- connection between upper and lower on each side- hand-mouth asymmetrical tonic neck reflex- opening up to Three dimensional proximal joints- lateral flexion/extension

- establish vertical midline

Cross Lateral Patterning- necessitates rotary function- global rotation is proximal joints- sets up opposition in body of upper and lower and diagonal play between upper and

lower- internal oblique abdominal support- emphasizes diagonal of the body- spinal rotation is employed


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I. THE ONE-DIMENSIONAL OR DEFENSE SCALE AND SPATIAL PATHS

A. Dimensional Cross (Defense Scale) - The orientation of the body (in space) withthree axes:1. Vertical (up-down)2. Horizontal (side-side)3. Sagittal (forward-backward)4. these axes lie perpendicular to one another, and intersect at a point which

coincides with the center of the body. (The center of gravity is directlybelow this spatial center.)

B. Each change of direction on the dimensional scale is initiated by a return to thecenter. (Also can be done without a return to center thus creating an octahedron,which is a two-dimensional movement.)

C. The following are initiated by the right side of the body (affinities in parentheses).1. High (rising with lightness)

2. Low (sinking with strength)3. Left (narrowing with directness)4. Right (widening with flexibility)5. Back (retreating with quickness)6. Front (advancing with sustainment)7. These can be reversed and done on the left side.

II. The core of the dimensional/defense scale is the "cross of axes"

Dimensional/Defense Scale

High (1)

Rising with Lightness

Front (6)

Advancing with sustainment

Right (4)

Widening with

flexibility

Low (2)

Sinking with Strength

Back (5)Retreating with Quickness

Left (3)

Narrowing with

directness


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II. THE THREE PLANES

A. Vertical Plane (door plane--vertical and horizontal axis)1. High Right, Deep Right2. Deep Left, High Left

3. Play with movement vertically

B. Horizontal Plane (table plane--horizontal and sagittal)1. Right Forward, Right Back2. Left Back, Left Forward3. Play with movement horizontally

C. Sagittal Plane (wheel plane--sagittal and vertical)1. Forward High, Forward Deep2. Back Deep, Back High3. Play with movement sagittally

III. EFFORT ELEMENTS

A. Space - in what manner is space approached?1. Direct (channeled, zeroing in, pinpointing, demanding concentration,

cueing one person)2. Indirect (encompassing focus, flexible, general consideration of a matter,

cueing a section of the ensemble)

B. Weight (Force Effort) - not to be confused with body weight, but what is theimpact of the motion.

1. Light (using a fine touch, airy, delicate, wiping tears from a child's face,picking up fine crystal)

2. Strong (impactful, vigorous, powerful, smashing an object with the fist)

C. Time (not to be confused with duration, more of an attitude toward approachingwhatever the duration is) - when does this act need to be completed?1. Sustained (taking time, leisurely, if fifteen minutes are given to complete a

task that only takes ten, a leisurely attitude is taken)2. Quick/Sudden (urgent, hasty, if one minute is given to complete a task that

takes five, an urgent attitude is taken)

D. Flow - how does motion move?1. Free (easy flowing, streaming out, abandoned, ready to go, swinging aheavy object before flinging it away)

2. Bound (controlling the flow, streaming inward, holding back, restrained,ready to stop, cautions refusal -- tightening of one's chest in a state of fear)

IV. BASIC EFFORT ACTION COMBINATIONS


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A. Combination of three of the four elements. Flow is omitted. Laban discovered thatthe inclusion of flow was at the expense of another effort. in conducting, Flow isever-present.

EffortAction Space Weight Time

FLOAT Indirect Light Sustained(All Indulgent elements)

PUNCH Direct Strong Sudden(All fighting elements)

GLIDE Direct Light Sustained(Fighting)

SLASH Indirect Strong Sudden(Indulging)

DAB Direct Light Sudden(Indulging)

WRING Indirect Strong Sustained(Fighting)

FLICK Indirect Light Sudden

(Fighting)

PRESS Direct Strong Sustained(Indulging)

B. Float -- cradling a soap bubbleC. Punch -- across and downward hit as in boxingD. Glide -- using an iron to smooth out materialsE. Slash -- cracking a heavy whipF. Dab -- applying dots of point to a canvas

G. Wring -- wringing out a heavy towelH. Flick -- removing an insect from a dressI. Press -- slowly squashing a fruit or pushing a heavy piece of furniture across the

floorJ. The most effective phases of movement are the two-element combination of

opposite Effort Elements


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VI. COMBINATION OF TWO OF THE FOUR EFFORT ELEMENTS (States orDrives)

A. Space and Time (Awake)1. indirect/sustained (slow)

2.

indirect/sudden (quick)3. direct/sustained (slow)4. direct/sudden (quick)

B. Weight and Time (Near Rhythm)1. light/sustained2. strong/sustained3. light/sudden4. strong/sudden

C. Weight and Flow (Dream)1. light/free

2. strong/free3. light/bound4. strong/bound

D. Space and Flow (Remote)1. indirect/free2. indirect/bound3. direct/free4. direct/bound

E. Flow and Time (Mobile)

1. free/sustained2. free/quick3. bound/slow4. bound/quick

F. Space and Weight (Stabile)1. indirect/light2. indirect/strong3. direct/light4. direct/strong


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Exercises for Application

1. Move the cube up and forward to the extremes of reach with one step and a slight bend ineither direction. Place the effort action combinations in the appropriate place in the cube.

2. Take the effort action motions out of the context of the cube and practice them as beat-specific cues. Determine which works best with which hand, on which side of the bodyand which direction (up, down, in or out). Try combinations in sequence with one hand,alternating hands or both hands. Be aware of foot placement, stance and posture whilepracticing these gestures.

3. Make the cues occur with the left hand as either downbeat cues or mirror cues. Besure that the cues fit the effort action combinations.

4. Experiment with the angle of the baton positive, neutral and negative. How does thisrelate to the affinities of the Dimensional/Defense Scale?

5. Experiment with the pattern and rebound of cues and their flow (bound or free). Try tofeel the difference what does each communicate to the ensemble? (preparation, attackand rebound)

6. Create and practice patterns as related to effort action combinations for example, apattern comprised of glides, a pattern comprised of dabs, a pattern comprised offlicks, etc. What is the level of the horizontal plane of the pattern with each of the eighteffort action combinations?

7. Gradually change one of the effort elements within the pattern to change the effort actioncombination; reverse the change to go back to the original. Note the continuum of motion

that occurs.

Float to glide changing space from indirect to directFloat to wring changing weight from light to strongFloat to flick changing time from sustained to sudden

Punch to slash changing space from direct to indirectPunch to dab changing weight from strong to lightPunch to press changing time from sudden to sustained

Glide to float changing space from direct to indirect

Glide to press changing weight from light to strongGlide to dab changing time from sustained to sudden

Slash to punch changing space from indirect to directSlash to flick changing weight from strong to lightSlash to wring changing time from sudden to sustained


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Dab to flick changing space from direct to indirectDab to punch changing weight from light to strongDab to glide changing time from sudden to sustained

Wring to press changing space from indirect to direct

Wring to float changing weight from strong to lightWring to slash changing time from sustained to sudden

Flick to dab changing space from indirect to directFlick to slash changing weight from light to strongFlick to float changing time from sudden to sustained

Press to wring changing space from direct to indirectPress to glidechanging weight from strong to lightPress to punch changing time from sustained to sudden

8. Experiment with tensions/counter-tensions what happens without the appropriate

counter-tension to the gesture?

9. Experiment with all planes and the entire body moving in conjunction with the effortaction combination, that is, when gliding utilize connectivity (the whole body) not justone arm to glide.

10. Experiment with different points of initiation for the pattern, the points of initiation canbe the shoulder, elbow, wrist or hand/fingers with the point of communicationALWAYSbeing the baton tip.

11. Experiment with different body posturing and initiation to reinforce and communicate

style, as an example, light, heavy, soft, loud, intense, playful, etc.

12. Write words with the baton tip. Keeping in mind the style as based on the effort actionterminology. Work to develop that style within the framework of the pattern.

13. Experiment with reach and pull in succession within the pattern. Determine what type ofgesture is created.

14. Carve the gesture for your name and other words in the air try to reflect the intent of theword with your gesture.

15. Use your entire body in one of the three planes to communicate different expressiveelements of music, such as dynamic change or tempo change, or both. Experiment witheach of the planes individually, then experiment with shifting from one plane to another.

16. Alternate patterns with the hands, a couple beats with one, a couple beats with the otherhand then alter the style as you change hands. Experiment with all the differentvariations available.


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17. Practice cues with each body half. Determine what to do when and where and how does itfit.

18. Practice conducting patterns and cues with styles that occur simultaneously. For example,smooth, gliding pattern with punching cues.

19. There should be as many different styles of beat pattern as there are styles of music. Howmany 4/4 patterns can you do? Where do you place them on the planes?

20. Experiment with the sagittal plane for dynamics and intensity dont be afraid to utilizethe entire body.

21. Breathing Exercise With a partner touching the top of your head and the base of yourspine, breathe to fill up, feel the air going to the upper part of your head. With the partnerholding your ribs, breathe to fill the ribs - a little pressure from the partner to make youaware of the breathing apparatus. With the partner holding your lower stomach and back,breathe to fill the lower abdomen. After each of these experiments, move around the

room, and through introspection, determine the type of feeling created within your body,can you use that feeling?

22. Describe the music that should also describe YOUR CONDUCTING. Use the eighteffort actions as a basic terminology for the music. Make your gesture fit the style of themusic then branch out from there to create different styles to fit the music.

Suggested Readings

Bartenieff, Irmgard with Dori Lewis. Body Movement: Coping with the Environment. New York:Gordon and Breach Science Publishers, 1980.

Dell, Cecily, Rev. Aileen Crow and Irmgard Bartenieff. Space Harmony. New York: DanceNotation Bureau Press, 1977.

Hackney, Peggy. Making Connections. New York: Gordon and Breach Publishers, 1998.

Laban, Rudolf. Annotated and edited by Lisa Ullmann. Choreutics. London: Macdonald &Evans, 1966.

_________. Annotated and edited by Lisa Ullmann. The Language of Movement: A Guidebookto Choreutics. Boston: Plays, Inc., 1974.

Lamb, Warren. Posture and Gesture: An Introduction to the Study of Physical Behavior. London:Duckworth & Co., 1965.


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Harlan Parker is in his sixteenth year as the conductor of The Peabody Wind Ensemble andCoordinator of the Music Education Division at the Peabody Conservatory of Music of The Johns HopkinsUniversity. Under his direction, the Peabody Wind Ensemble has given several World PremierePerformances and has performed at State, Regional and National Conventions. Considered one of thefinest ensembles of its kind in the nation, the Peabody Wind Ensemble has received critical acclaim fromcontemporary composers such as David Amram, James Syler and Johan de Meij.

Their debut CD, From an Antique Land, has been praised as one of the most exciting wind ensemblerecordings in recent times and the second CD, Orff, Bird and Reed, was released the summer of 2002. Ofthe performance of La Fiesta Mexicana on the second CD, composer H. Owen Reed, in a letter to Dr.Parker writes, "I have just listened, twice, to your brilliant recording of my La Fiesta Mexicana, and I musttell you that it was a thrill to hear my music performed exactly as I always hoped for. Your totalunderstanding of the work showed up on all parameters. Your tempos were on the mark, and the overallconception of the work was superb." The Peabody Wind Ensemble is also featured on the Amstel Musiclabel with the premiere recording of Johan de Meijs Venetian Collection, which is available in this countrythrough Hal Leonard. The recording of the critically acclaimed premiere performance of Symphony No. 2,The Lion of Panjshir, by David Gaines is also available through Verda Stelo. Of the performance, SebastianJunger writes, "I cannot imagine a more powerful mix of words, images, and music than The Lion ofPanjshir. People who know nothing of Massoud or Afghanistan will be stunned by the sheer power of thecomposition, and people who are familiar with these topics will be reduced to tears. It is a tremendous pieceof work."

As well as his duties at Peabody, Dr. Parker has a very active musical life outside of the Conservatory. Heis a Past-President of The Conductors Guild, an international service organization dedicated to encouragingand promoting the highest standards in the art and profession of conducting. Dr. Parker is also a memberThe American Bandmasters Association, an organization whose membership is by invitation andrecognizes outstanding achievement in the field of the concert band and its music. Additionally, he isactive regionally, nationally and internationally as a guest conductor, conducting pedagogue, clinician andadjudicator, having worked with professional musicians and students from all 50 states and 35 countries.

In his first year as a faculty member at Peabody, Dr. Parker reorganized the Peabody Wind Ensemble in its

present format after several years of non-existence and was awarded the Peabody Student CouncilFaculty/Administration Award for outstanding contributions to the Peabody Community. He also serves asthe Coordinator of Information Technology at the Peabody Conservatory. Dr. Parker received his Bachelorof Music from Emporia State University and his Master of Music and Doctor of Philosophy in MusicEducation with an emphasis in Conducting from the University of Kansas and has completed post-doctoralwork at the Laban/Bartenineff Institute of Movement Studies in New York.

Harlan D. Parker, Ph.D.Coordinator, Music EducationConductor, The Peabody Wind EnsemblePeabody Conservatory of Music

Peabody Conservatory of MusicOne East Mount Vernon PlaceBaltimore, MD 21202410-659-8100 x 1233fax [email protected]

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Laban Bartenieff