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Labanotation
Labanotation The System of Analyzing and Recording Movement
Fourth Edition
Ann Hutchinson Guest
Illustrated by Doug Anderson
R ~~ ; ) :t , g!" N~YORKANOlONOON
Revised fourth edition published in 2005 by Routledge
This edition published 2011 by Routledge
711 Third Avenue, New York, NY 10017, USA
2 Park Square, Milton Park, Abingdon, Oxon, OXl4 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright © 2005 by Ann Hutchinson Guest
All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system without permission in writing from the author.
Library of Congress Cataloging-in-Publication Data
Guest, Ann Hutchinson. Labanotation : the system of analyzing and recording movement / Ann Hutchinson
Guest; illustrated by Doug Anderson - Rev. and expanded. p.cm.
Includes index. ISBN 0-415-96561-6 (hb : alk. paper) - ISBN 0-415-96562-4 (pb : alk. paper)
1. Labanotation. I. Title: Labanotation. II. Title: Kinetography Laban. III. Title.
GV1587.L844 2004 792.8'2-dc22
The principal centers of Labanotation (Kinetography Laban):
Dance Notation Bureau 151 West 30th Street, Suite 202, New York, NY 10001 www.dancenotation.org
Dance Notation Bureau Extension The Ohio State University Department of Dance, Sullivant Hall, 1813 N. High St, Columbus, OH 43210 www.dance.ohio-state.edu
Language of Dance Centre 17 Holland Park, London Wll 3TD www.1odc.org
Labanotation Institute University of Surrey, Guildford, Surrey GU2 5XH www.surrey.ac.uk/Dance
Centre for Dance Studies Les Bois St. Peter, Jersey Channel Islands, Great Britain
Centre National d'Ecriture du Mouvement Place St. Arnoult, 6080000 Crepy-en-Valois, France
Kinetographische Institute 43 Essen-Werden, Folkwang Hochschule, Germany
Table of Contents
ACKNOWLEDGMENTS IX
AUTHOR'S NOTE TO THE NEW EDITION XI
PREFACE BY STEPHANIE JORDAN XIII
CHAPTER
1 A BRIEF HISTORY OF DANCE NOTATION 1
2 INTRODUCTION TO LABANOTATION 5
3 THE ApPROACH TO MOVEMENT NOTATION 9
4 FUNDAMENTALS OF LABANOTATION 17
5 VARIATIONS IN STEPS 39
6 POSITIONS OF THE FEET 52
7 AERIAL STEPS (SPRINGING) 65
8 TURNS 78
9 ARM GESTURES 98
10 LEG GESTURES 120
11 SPACE MEASUREMENT; FLEXION, EXTENSION 138
12 FLOOR PATTERNS, PATHS 158
13 TOUCH AND SLIDE FOR THE LEGS 179
14 PARTS OF THE LIMBS 196
15 PARTS OF THE TORSO; INCLUSIONS 218
16 TILTING (INCLINING) 228
17 TURNING (ROTATION) OF THE LIMBS 240
18 ROTATION OF THE TORSO AND HEAD 259
19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING 277
20 RELATIONSHIP 293
21 REPEAT AND ANALOGY SIGNS 303
22 SCORING 319
23 SUPPORTING ON VARIOUS PARTS OF THE BODY 339
24 EQUILIBRIUM, Loss OF BALANCE 354
25 SYSTEMS OF REFERENCE 368
26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 386
27 SPECIFIC PARTS OF THE LIMBS; MOVEMENTS OF HANDS; 403 MANNER OF PERFORMING GESTURES
VI TABLE OF CONTENTS
28 TYPES OF REVOLUTIONS; 417 DYNAMICS; MISCELLANEOUS
ApPENDICES
A ALTERNATE VERSIONS 432 B OLD VERSIONS 434 C ORTHOGRAPHY AND AUTOGRAPHY 440 D UPPER BODY MOVEMENT 442 E TERMINOLOGY 446
GLOSSARY OF SYMBOLS 450 INDEX 461
Dedication
This book is dedicated to the people who in the early days gave me much needed encouragement and support, in particular Martha Hill and John Martin.
I dedicate it also to the many people who, through Labanotation, discovered the enrichment in movement understanding and the joy of dance literacy - my many
colleagues around the world who have also contributed to the dance heritage, and hence to the future of dance.
Most importantly this book is dedicated to that non-dancer, non-notation practitioner, my husband Ivor Guest, whose literacy in dance history has enriched generations of dance
students and teachers concerned with dance of the past.
Acknowledgments
To the many people who have contributed to this revision of the basic Labanotation textbook, finding time in their busy schedules and giving careful thought to each chapter, based on their knowledge of the system gained over many years of practical experience, I extend my heartfelt thanks. In particular I am grateful to the readers, Ray Cook, Ilene Fox, Sheila Marion, Allan Miles and Lucy Venable, all experienced colleagues of long standing, whose questions alerted me to many areas needing improvement. These included updating language usage to meet the needs of new generations of students in comprehending estab-lished technical terms, movement analysis and symbol usage.
Thanks must also go to tap dance specialist Billie Mahoney, for contributing reading ex-amples on Time steps and Breaks as well as "The Old Soft Shoe" and "Waltz Clog" to illus-trate footwork in Chapter l3. Spanish dancer, Felisa Victoria, generously contributed examples of Regional Spanish steps as well as Zapateado footwork for the same Chapter.
Modern technology has decreed that preparation of this book for publication required very different handling from the past. The serifs on the typeface used previously confused the computer scanner; thus production of this book demanded a complete retyping of the text. Lack of sharp definition in scanning the notation examples dictated a redrawing of all the notation examples, this being accomplished with the Calaban (Computer Aided La-banotation) program. This task was undertaken first by Cheryl Hutton and later by Shelly Saint-Smith and Lynda O'Reilly whose painstaking work is gratefully acknowledged. For many months Helen Elkin was on hand to take on the important role of coordinating the project, a task later taken over by Shelly, who, together with Lynda and the additional help of Lauren Turner and Laura Joanne Weston, enabled the project to race to the finishing line before the set deadline. To these members of the Language of Dance Centre staff I must express my very great appreciation.
In updating this book, reference has been made to the reports of the many conferences held by the International Council of Kinetography Laban (ICKL), to Albrecht Knust's valuable book, Handbook of Kinetography Laban, and to Maria Szentpal's English transla-tion of her Hungarian publications on the system.
X ACKNOWLEDGMENTS
Our thanks must also be extended to Andy Adamson, who developed the Calaban soft-ware for Labanotation graphics at the University of Birmingham, and who graciously con-tinues to update the program to serve our growing needs.
The patience and understanding of my husband Ivor deserve a special expression of ap-preciation. As an author himself he recognized the need to finish a particular section while the ideas were clear and the wording was flowing. Waiting quietly, even though household duties were being neglected, was his important contribution to this book.
Author's Note to the New Edition
In the nearly 35 years that have elapsed since the publication of the 1970 edition of the textbook Labanotation, fewer changes have taken place than those required between the 1954 first edition and that of 1970. Rather, focus has been on a refinement of move-ment analysis in certain areas and on how these are expressed through symbology. The need for greater specificity has resulted from the more widespread use of the system and demands by practitioners from diverse backgrounds working not only in dance but with other forms of movement and in different disciplines.
The spread of Laban's teachings, particularly his valuable Space Harmony theories, has brought to the fore the question of whether the same directional model is used in Labano-tation. To be universally applicable, it was necessary to separate Labanotation from Laban's 'tailor-made' spatial models and to use an anatomical as well as a scientific basis for direc-tions, levels and the line of gravity.
With advances in use of Motif Notation, special symposia now bring together the grow-ing body of practitioners, many of whom are also Labanotators, to discuss to mutual ad-vantage the different points of view, needs and usages. The further development of Motif has also required thought regarding the smooth transition from advanced level Motif into the structured three-line staff of Labanotation.
The biennial conferences of the International Council of Kinetography Laban (rCKL) continue to provide a forum for further developments in use of Labanotation. Here ideas, needs and experiences stemming from the growing number of different practical applica-tions of the system in teaching and recording are shared.
While some additional detail at a higher level has been included in this basic book on Labanotation, the reader should be aware of the series of books on Advanced Labanota-tion, each of which focuses on a particular area of movement investigation. They are:
XII AUTHOR'S NOTE TO THE NEW EDITION
Canon Forms; Shape, Design, Trace Patterns;
Kneeling, Sitting, Lying; Sequential Movements;
Hands, Fingers; Floorwork, Basic Acrobatics;
Center of Weight; Handling of Objects, Props;
Spatial Variations. A tenth book, Body Variations, is in preparation. Because of the existence now of specialized Labanotation publications designed to fill
the particular needs of different age levels, styles of dance, and areas of movement study, the aim of this book remains that of presenting the principles of the system in definitive terms with sufficient examples of its practical application to provide a firm foundation on which specialized skills may be built.
London 2005 Ann Hutchinson Guest
Preface by Stephanie Jordan
It is interesting to revisit the first edition of Ann Hutchinson Guest's Labanotation textbook of 1954 and to see that none other than George Balanchine wrote the preface, fresh from his notation studies with the author and thrilling to the idea that his own work could be accurately recorded. By then, Ann and her colleagues had already completed the notation of five Balanchine ballets. Many more of his ballets have since been notated, and now there is another project afoot to document different versions of the ballets over the years alongside their piano rehearsal scores, useful both to the profession and to scholars. How things have come on! Balanchine provides a useful barometer for development and change.
In his preface, Balanchine barely hinted at the importance of dance notation to dance study and analysis. Notation as a scholarly resource has been one of the most exciting de-velopments over the last 50 years, hence my own contact with the system, through the 1970 edition of Ann's textbook, and my understanding of its considerable value. After a musical training, I learnt Labanotation and enjoyed private studies with Ann along the way. Read-ing notation was part of a package of skills that I assumed anyone moving into dance scholarship should have. Soon I was excitedly checking out scores of works by Humphrey, Balanchine and Tudor, and, using the model of music, incorporating notated dance exam-ples into my writing.
Many others now share my enthusiasm. If dance notation has sometimes seemed dis-tant from the hottest concerns in dance scholarship, this is surely no longer the case. In-creasingly, scholars, including my own doctoral students, perceive notation and scores as vital to any in-depth analysis of dance, its style and structure, and in a dynamic relation-ship with historical and political debates. Detail speaks strongly, crucially: it is anything but superficial.
Scholars who would never dream of calling themselves notation experts now rise to the challenge of changes in dances over time, some positive, some less so, and also of the dis-tinctive but interactive spaces occupied by live performance, film/video/DVD and scores. Acknowledging what notation does not do, we can now celebrate what it does, and won-
XIV PREFACE BY STEPHANIE JORDAN
derfully well. For instance, vital to my own work crossing music and dance, I discovered that it gave me a clear account of how choreography fits the framework of beat and metre, often far less clear and far more 'interpreted' in film/video sources. I have found notated scores invaluable. In 2004, we are into a new world of complication, ambiguity and excite-ment. But, as with music, we might now think of dance notation taking its natural place within the scheme of things, so natural indeed that the fact of score-reading is hardly con-sidered worth talking about. Notation has proved important not only in the fields closest to me that I've described, but also in non-dance fields such as movement therapy, sport, psychology and anatomy.
We must all be grateful to Ann for dedicating her career to refining the system for the rest of us to benefit. The developed textbook promises to be broadly useful, to the experts, the notators and those training in the system, and to lay people like myself who urgently need an accessible, up to date reference source for unfamiliar or forgotten notation detail and for movement theory. Notation is indispensable for us all, and so is this book!
London December 2004
Stephanie Jordan is Research Professor in Dance at the University of Surrey, Roehampton.
1
A BRIEF HISTORY OF DANCE NOTATION
For at least five centuries attempts have been made to devise a system of movement nota-tion. Some scholars believe that the ancient Egyptians made use of hieroglyphs to record their dances and that the Romans employed a method of notation for salutatory gestures. However, the earliest known attempt, recorded in two manuscripts preserved in the Mu-nicipal Archives of Cervera, Spain, dates from the second half of the fifteenth century. Since that time, many other systems have been devised. Some were published and achieved a measure of popularity for a while, but almost all, until the present day, fell eventually into disuse.
It is significant that music notation, which opened the way for development in the art of music as we know it today, was first conceived in its modern form in the eleventh century, but was not established as a uniform system till the beginning of the eighteenth. Dance no-tation got off to a much later start and has undergone a long succession of false attempts.
That so many unsuccessful beginnings were made is not surprising. Dance is more complex than music because it exists in space as well as in time and because the body itself is capable of so many simultaneous modes of action. Consequently, the problems of for-mulating a movement notation that can be easily written and read are numerous.
Earlier methods were outgrowths of phases in the development of dance itself, and, therefore, with the continual changes as dance developed, each method in turn became outmoded and hence discarded. The three fundamental requirements - recording compli-cated movement accurately, recording it in economical and legible form, and keeping up with continual innovations in movement -left dance notation in a state of flux, incapable of steady growth for centuries.
One of the first methods of recording dance - if it can be called a method - was the use of abbreviations for the names of steps, such as, R - reverencia, s - single, d - double, re -represa. This device presupposed knowledge of the steps, and hence its limitations are ob-vious, but it flourished for about two hundred years.
Books defining the steps of the period appeared in Italy during the 16th century. The best known such book was Orchesographie by Thoinot Arbeau, published in France in 1588. Written descriptions of well-known positions and steps were accompanied by figure
2 LABANOTATION
illustrations. His notation consisted of placing the names of these steps opposite the cor-responding musical notes on which each step should be performed. Despite such organi-zation of information, Arbeau did not produce what could be called a notation system.
The development of dance at the Court and of professional dancing during the time of Louis XIV produced the first fully-fledged system of notation. Based on an invention of Pierre Beauchamps, Raoul Feuillet first published the method Choregraphie, ou l'Art de decrire la Danse, in 1700. This was followed by several Recueils des Danses containing com-positions by Feuillet as well as by Louis Pecourt, a leading dancer and choreographer of the time. Thanks to the Feuillet -Beauchamps notation, we can study the steps and dances that form the basis of the classical ballet of today. But this system, although extremely well worked out, recorded little more than footwork and lacked a clear indication of rhythm. It can be described as a "track drawing" method, the individual steps being represented on a drawing of the floor pattern made by the dancer. The system obviously met the needs of the period, for translations of the text appeared in England, Germany, Italy, and Spain and modifications of the system were well known throughout Europe until the end of the century.
The next device tried for a system of notation was based on the idea of stick figures de-picting the various positions of the arms and legs. The dancer and choreographer Arthur Saint -Leon published his book Stenochoregraphie in 1852. This system places the stick fig-ures under the musical staff and uses symbols with music note values for clarification of timing. Albert Zorn published a modified version of this system in his 1887 book Gram-matik der Tanzkunst. This attained a certain measure of success and was used as a textbook in dancing academies in Europe. It was also published in English in the United States in 1905. In spite of apparent immediate advantages, such stick-figure notations have three distinct drawbacks. They are usually drawn from the audience's point of view, so that right and left have to be reversed by the reader; the third dimension is not easily indicated; and the description of positions is clearer than indications of movement. Because in such sys-tems timing must be indicated separately, only general indications of the duration of ac-tions can be given.
The obvious need to indicate dance rhythms accurately led to the development of sys-tems based on music notation. In the late nineteenth century, the most successful of these was that of Vladimir Stepanov, dancer and teacher at the Imperial Maryinsky Theatre in St. Petersburg. The title of his book, Alphabet des Mouvements du Corps Humain, published in Paris in 1892, indicates his attempt to record the movements of the whole body in anatom-ical terms. The development of the system was limited by the early death of its inventor, and by its application only as a ballet shorthand.
The idea of adapting music notes to meet the needs in describing movement has con-tinued to remain popular, but careful analysis reveals that music notes lack the required flexibility to record variations in movement timing. They are not sufficiently flexible in de-sign to take care of the many timing and spatial needs in the field of movement notation.
Two systems concerned with universal aspects of movement appeared in 1928. Margaret Morris's book Notation of Movement is based on a sound anatomical analysis of movement, and is applicable to many different forms of movement. Each anatomical movement has its own indication. The arbitrary choice of symbols, the asymmetrical indications of symmet-rical positions, and the lack of continuity in the indication of timing provide limitations.
CHAPTER 1 A BRIEF HISTORY OF DANCE NOTATION
SchriJttanz (written dance), the system by Rudolf von Laban, also first published in 1928, offers two innovations: 1. the vertical staff to represent the body, which allows the correct representation of the right and left sides of the body as well as continuity in indi-cating movement flow; 2. elongated movement symbols, which, by their length, indicate the exact duration of each action. His analysis of movement, based on spatial and dynamic principles, was flexible and can be applied to all forms of movement.
During the decade between 1946 and 1956, two systems appeared based entirely on the mathematical description of movement in terms of the degrees of a circle in positive or negative direction. The most complete of these, Movement Notation, developed by Noa Eshkol and Abraham Wachmann, published in 1958, deserves admiration for its accuracy in the form of movement description it employs. Designed to record movement in terms of intervals as a compositional device, it has been used to record intricate spatial designs on paper and also applied to different dance styles as well as the movements of animals. It is precise in indicating spatial aspects and timing, but does not provide movement descrip-tion in terms familiar to dance, sports, or everyday life.
The desire for a quick means of recording ballet led to the development of the visual figure-based system by Joan and Rudolf Benesh, their Introduction to Benesh Dance Nota-tion being published in 1956. Adopted by the Royal Ballet of England to fill its immediate needs in recording the repertoire, the use of Benesh Movement Notation has spread to bal-let companies around the world, notators being trained at the Benesh Institute in London. It records the visual result of movement as seen by the outside observer and has, for gen-eral purposes, cleverly solved the problem of three-dimensional representation. Indication of unusual timing, however, has been a weakness.
In the decades 1920 - 1980 a new system appeared every few years. Most fell back on one or other of the devices already tried, and most favored one form of dance. As modern technology develops, the emphasis is on mathematical systems which can be adapted to the computer. It is essential, however, that the human aspect is not lost. The system which can record objectively the changes in the angles of the limbs, the paths in space, the flow of energy, the movement motivation and, equally importantly, the subtle expression and quality, deserves special attention. Labanotation is such a system.
Laban's interest in movement in every phase of life - the market place, the workshop, and the theatre - led to a broad point of view. His early focus on architecture gave him a particular spatial awareness which he applied to his exploration of movement. At twenty-five, he founded his own school in Munich where he developed his theories of harmonic forms of movement in space (Choreutics) and of the qualities of movements (Eukinetics). In the course of these various activities, Laban formulated his first notation ideas. He later became director of movement at the Berlin State Opera and thereafter held similar posts at other state theatres. Laban spent his last years in England where, with the businessman EC. Lawrence, he examined the movements of industrial workers and wrote the book, Effort. This study has led to the present highly developed Effort -Shape analysis of movement used for personnel assessment in business and also for medical and psychiatric purposes. Through the work ofIrmgard Bartenieff, a former Laban student and trained physiothera-pist, the physical aspects of Laban's work have been further developed. Now called Laban Movement Analysis (LMA), it is applied to movement studies, dance, drama as well as var-ious forms of movement therapy.
3
4 LABANOTATION
After his notation textbook was published, Laban's interests and creativity in the 1930s lay elsewhere. The tremendous strides made in the development of the system and its ap-plication to numerous other fields of movement have been the result of contributions made by individuals such as Sigurd Leeder, Albrecht Knust, who founded the first Dance Notation Center in Germany, and Ann Hutchinson, who, together with colleagues in New York, founded the Dance Notation Bureau and spearheaded important developments. Act-ing as a clearinghouse for ideas in the field, the Dance Notation Bureau, a non-profit, edu-cational institution, founded in 1940, continues to further the art of dance through the use of notation. To this end the Dance Notation Bureau has chosen to concentrate on the sys-tem of analyzing and recording movement which the members have determined to be the most effective and comprehensive - that originated by Laban and called Labanotation. The present day activities of the Dance Notation Bureau have broadened to include providing a center for movement research and analysis and for notation education. The Bureau cre-ates, houses and disseminates dance scores. The Bureau works in cooperation with similar centers in other countries and with the International Council of Kinetography Laban (LC.K.L.) for uniformity in usage and practice of the system. Today Labanotation is com-parable to music notation in its universality and application, and provides for movement a level of accuracy and flexibility which music notation has yet to achieve.
All notation systems were developed with the aim to record specific, established move-ment patterns, dances, exercises and choreography. The need to be less specific began with improvisation on basic movement ideas. These basic ideas and concepts needed to be rep-resented on paper in a simple way. Movement exploration, beginning with the basic ele-ments, required such symbols; thus Motif Notation came into being, originated and further developed by Ann Hutchinson Guest with contributions from Valerie Preston-Dunlop and Charlotte Wile. Drawn from Labanotation, the symbols can be used progres-sively until a definitive description is reached, i.e. the structured form of Labanotation.
2
INTRODUCTION TO LABANOTATION
Labanotation, or Kinetography Laban, is the system of recording movement originated by Rudolf Laban in the 1920s. By this now scientifically based method, all forms of move-ment, ranging from the simplest to the most complex, can be accurately written. Its useful-ness to dancers is obvious. The system has also been successfully applied to every field in which there is the need to record motions of the human body - anthropology, athletics, and physiotherapy, to name just a few.
THE PRACTICAL APPLICATION OF LABANOTATION
A Means of International Communication As a means of recording movement on paper for future reference, Labanotation is a triple-edged tool because it provides a sound fundamental analysis of movement, a carefully se-lected terminology that is universally applicable, and a universal understanding of movement. While initially developed for dance, it is applicable to all forms of movement-sports, gymnastics, movements of animals and birds, etc. It serves as a common 'language' through which workers in all fields and in all countries can communicate. The system is, therefore, a 'Rosetta' stone by which the kinetic content of all forms of movement and styles of dance can be understood. Common elements can be discerned and differences noted. Its nonverbal symbology poses no language barriers to international exchange and research.
A Dance Equivalent to Music Notation Labanotation serves the art of dance much as music notation serves the art of music. The score plays an important part in the work of the composer, teacher, student, and, of course, performer. Because of the great wealth of printed music available, musicians have at their fingertips the works of great composers from previous eras and from other coun-tries. The conductor or performer, wherever he may be, can obtain the score of Beethoven's piano sonatas or works by Stravinsky, Berg or an avant garde composer. The student learns his instrument not only by practicing exercises but also by playing the
6 LABANOTATION
classics, which are readily available in sheet music form. A parallel has now developed for the dance. Work in each comparable area - studying, teaching, rehearsing, and com-posing - is expedited through the use of notation.
A Means for the Preservation of Choreography The immediately obvious use of movement notation has been the preservation of chore-ography for future revival. This indeed was the purpose of each of the historical systems of dance notation. Because of the inadequacies of earlier methods of notation, we cannot be certain, even upon a careful reading of Feuillet for example, that eighteenth-century court dances are being reconstructed today precisely as they were originally performed. Details of style and execution were left unstated because knowledge of these was assumed. But with fully detailed scores, generations to come will be able to dance choreographies of today exactly as the choreographer would wish. The professional notator can work with the choreographer during the creative period, recording the instructions given to the dancers at the rehearsal, and adding as much or as little detail as the choreographer wishes. Every fine point of the correct performance is included to insure its proper revival in the future. Where only a general statement of movement is required in order to allow the per-former freedom in interpretation, the notation can be handled accordingly through Motif Notation, giving the reader the motivation behind each movement without stating which specific form it should take.
An Adjunct to Films and Video A comparison between notation and video (or film) for the recording of movement is in-evitable in any discussion of movement notation. Neither can replace the other. Video records an individual performance; notation records the work itself, not the performance of it. A comparison with music makes the point for notation clear. Recorded music has not made the printed sheet unnecessary. A first impression of a musical work is best gained by hearing a performance of it, and, in the absence of a live performance, this will be a record-ing. But the study of the work itself for performance, for critical evaluation, or for educa-tional purposes is still achieved through music notation. In dance, the video or film provides a similar record of a given performance of the work by a particular group under its director. The work itself is seen at second hand through the particular interpretation of that director and those performers. All this quite apart from the practical advantage of paper and pencil, the accessibility of a page of score which can be carried in a briefcase or in a lap-top and referred to on a train or plane. With the advent of small, palm-sized videos, accessibility is improved, but images on even standard video are often too small, the movements being unclear. Video often includes incorrect performance of the choreog-rapher's intentions. Transferring the visual image into movement is too often a superficial realization lacking depth and understanding. While film/video provides immediate access to a performance of the work, the concept of the work is best recorded in notation. Details of a movement theme can be explored and embodied at the reader's pace. The complete record of any choreographic work should include both film/video and notation as well as explanatory text. In areas other than dance, such as time-and-motion study and anthro-pology, films that can be studied in slow motion are particularly valuable. But in dance, slowing down the film causes the movement elements of strength and weight to become
CHAPTER 2 INTRODUCTION TO LABANOTATION
distorted and timing to become less recognizable; therefore, a companion record in nota-tion in which these elements are specifically stated is necessary.
A Tool for Movement Education The Laban system has proved a valuable tool for movement education ranging from work with four- to five-year old children to post-graduate and doctoral studies.
Visual Aids. Just as visual aids are used when teaching mathematics and other sub-jects, Labanotation provides a similar visual method for the dance and for physical educa-tion. Its symbols aid in clarifying the differences between the basic elements of movement as well as between variations in the structured forms. The method of learning movement through imitation does not guarantee the observer the understanding of what is occur-ring. Labanotation provides an additional channel through which knowledge can be im-parted at every age and level of study.
Development of Movement Concepts. The raw material of dance (and indeed of all movement) should, at some point, be studied by every serious student. It is not enough just to learn the set structured patterns handed down by teachers. The gist of an action, the idea or motivation behind it, its kinetic 'sense', can be recorded in Motif Notation. This form of description has its place not only in certain types of choreography, but also in dance education where freedom for exploration and improvisation on a basic movement idea or theme is desired. By this method, the first broad statement of the action can gradu-ally be defined in greater detail, producing an increasingly specific description until finally a very precise form has been achieved in which the exact use of the body, time, direction, and energy have been stated. In educating children, the teacher can work progressively from the simplest of disciplines in movement - concentrating on one aspect at a time while all else is left open to choice - toward a greater specificity of detail as the child's phys-ical and mental abilities and coordination develop.
Training in Movement Observation. Careful observation is essential for everyone concerned with movement, from the small child to the professional performer. The un-trained eye will catch only the broad outline of a movement. Only when the eye and the understanding have been trained to recognize differences can the viewer observe the spe-cific details of a performance. Such recognition is greatly aided by codification of the ele-ments of movement. By giving specific names and symbols to these elements, and by recognizing them in combined forms both in performance and in notated form, the viewer can grasp the many patterns that emerge. As in other fields, a method for the rapid identi-fication of similarities and differences in movement is essential for good learning.
A Tool for Movement Research The handing down of detailed knowledge in any field requires a system of notation for re-cording pertinent facts in an unambiguous way. Comparisons can then be made, differ-ences evaluated, new ground broken. The scientist would be lost without his symbols, by which he can communicate his ideas objectively to his colleagues everywhere. Similarly, the student of movement requires a method of notation in order to compare variations of the same movement pattern and reach conclusions that would not otherwise be possible. Research may be for medical, psychiatric, anthropological, or scientific purposes. It may be required to record motion during the weightless state or computerize the instructions for
7
8 LABANOTATION
mechanical devices, such as robots. Or it may be used to conduct research into the best way to analyze and teach a basic dance exercise. Only through a language can all forms of movement research be expressed in a way that is internationally understood. The Laban system provides such a language.
The Development of New Professions The profession of Labanotator, or Kinetographer, has developed with the advent of the widespread use of the Laban system. The recorder of movement may specialize in many different fields, which range from medical research to classical choreography. The musicol-ogist now has a counterpart in the Choreologist, the specialist in the art or science of movement. The ethnomusicologist now has his counterpart in the ethnochoreologist who may work with 'Choreometrics,' the movement analysis of work, play, and dance actions found in anthropology. The dance critic may in future be able to assess the dance composi-tion on its own merits by reading the dance score, quite apart from observing a particular performance of it. Also important is having an enlarged vocabulary for describing qualities and variations in performance.
A Means for the Establishment of Dance Libraries Labanotation has given rise to the establishment of an authentic and unequivocal litera-ture that will raise knowledge in all areas. In dance it will mean raising the art out of the realm of the minor arts, a fact as yet recognized by few. All movement research, including that done in the art of dance, has until recently been hampered by the lack of a means of capturing the essential factors on paper, the absence of a common method of analyzing movement, a universal terminology, and the scarcity of the recorded knowledge of the past which would allow recent and future generations to build on what had been achieved rather than have to start again from the beginning. It is evident that Labanotation can fill the needs of the various fields of movement study in a way that no other system of the past or present can begin to approach.
3 THE ApPROACH TO MOVEMENT NOTATION
The process of recording movement on paper involves the conversion of the elements of space, time, energy, and the parts of the body involved into symbols that can be read and converted into movement. When this process is understood, the logic behind the Laban system and the reason for the range of choice in movement description can be comprehended.
CHOICE OF MOVEMENT DESCRIPTION
The detailed description of every kind of movement provided by the Laban system is not always required. According to the field and the needs of the moment, the notator may se-lect anyone of the three following kinds of description:
1. Motif Description 2. Effort -Shape Description (as in Laban Movement Analysis) 3. Structured Description
MOTIF DESCRIPTION Motif Notation provides a general statement concerning the theme or most salient feature of a movement. It also pinpoints the motivation of a movement, its idea, aim, or intention. The Motif Description may be kept simple or may be made increasingly detailed until eventually it becomes a fully structured description. The progression from simple to de-tailed is extremely valuable in teaching. It also has a place in recording choreography when only the gist of the movement needs stating. In this book basic actions represented in Motif Notation are introduced with an indication of how they may become more specific. Specialized books on Motif Notation are available.
EFFORT-SHAPE DESCRIPTION Effort Observation and Analysis is the term applied to the investigation of movement ac-cording to its energy content and its use of:
10 LABANOTATION
space-direct or indirect time-sudden or sustained weight-strength or lightness flow-free or bound.
This method of observation and analysis and its symbols are concerned with the changing effort patterns that occur within the body.
'Shape' refers not only to still forms but also specifically to the expressiveness inherent in the spatial aspects contained in the movement. The viewer must observe the relation of the path of a gesture to the performer or observe the dimensional directions used and be aware of the inner attitude in order to assess its expressive or functional value.
Together, Effort and Shape, as used in Laban Movement Analysis (LMA), provide a valuable description of movement in terms of its quality and expression, in contrast to the structured description standard in Labanotation. The Effort-Shape approach is particu-larly valuable in the fields of physiotherapy, psychotherapy, and in personnel assessment. It
is also extremely valuable in anthropological studies, in body awareness as well as in all kinds of dance.
STRUCTURED DESCRIPTION The term 'Structured' is given to the movement description in clearly defined and measur-able terms. Such description, the most commonly used for Labanotation, expresses move-ment in terms of:
The body - the specific parts that move; Space - the specific direction, level, distance, or degree of motion; Time - meter and duration, such as the time value of a whole note, a quarter
note, a sixteenth, etc.; also relative timing; Dynamics - the quality or 'texture' of the movement, whether it is strong, heavy, elas-
tic, accented, emphasized, etc.
A very complete picture of the movement emerges if all these elements are described as they occur.
Such a complete method of description is needed for writing specifically structured ex-ercises, whether these have been formulated for remedial, practical, or artistic reasons. It is essential for the preservation of folk and ethnic dances and choreographic works. Some fields require Structured Description together with Motif Description and Effort-Shape analysis. The various forms of notation may be combined to fill any need.
The Labanotation spatial analysis is based on the build of the body, its relation to grav-ity and to universally established three-dimensional space. Analysis of direction is thus not based on Laban's Space Harmony, which explores movement of the body in relation to geometric forms such as the cube, the icosahedron and others.
LONGHAND VERSUS SHORTHAND Because notation uses symbols, it is often likened to shorthand. This analogy is, however, only correct for Motif Notation or for abbreviated versions of sequences written for stu-dents or for memory aid scores for those already familiar with the work. Labanotators
CHAPTER 3 THE APPROACH TO MOVEMENT NOTATION
(Kinetographers) use shorthand devices for writing with speed. The standard system is, in fact, a longhand that can scrupulously account for every detail necessary for the correct performance of each movement. The writer must always bear in mind the readers who will study the score in order to translate it back into movement. In preparing materials for pub-lication, the writer has no way of knowing the movement background or experience of subsequent readers. Short cuts in writing are acceptable for personal use or among col-leagues in the same field where certain knowledge can be taken for granted. But a score, research paper, or teaching manual for general circulation must contain all the details nec-essary for an accurate performance so that the result is completely unambiguous.
SIMPLE DESCRIPTION FOR SIMPLE MOVEMENT The basic principle of structured Labanotation is that simple, natural movement should be written in the simplest and most direct way. The second premise is that everything that oc-curs should be recorded. These two statements may seem contradictory. Actually they are not, but one must know where to draw the line. For instance, walking is a simple, natural movement. Each person varies slightly in the manner in which s/he walks, but the basic pro-cess is essentially the same. It is such a familiar action that one forgets that it is a complicated process. In writing the movement of walking, we usually state only the direction into which the center of gravity moves by means of a step on the right or left foot. A detailed descrip-tion is given only to denote a stylized walk or to explore the process in detail, e.g. how the leg is lifted to extend into the direction of each new step, how the foot contacts the floor, how the weight is transferred, and how the leg is freed of weight at the end of the step. Such de-scription may include changes in level, changes in bending and stretching the legs, changes in the use of different parts of the feet, use of rotations, deviations in the preparatory ges-tures, and changes in timing such as the use of accents, ritardando, etc. There should also be an accurate indication of when during the time taken for the whole transference of weight each such change occurs. From this breakdown we can see why Labanotation adopted a convention to write walking in a simple way. It is one of a few such conventions devised to make familiar actions such as walking and jumping easy for even a five-year-old child to read. For the advanced student a more detailed analysis is always possible.
THE VISUALITY OF THE LABAN SYSTEM While the direct visualization of stick figure drawings or visually based systems (e.g. Benesh) appeal to many people, direct representation is impractical for converting move-ment into drawings on paper except at a simple level. In any comprehensive system, infor-mation must be abstracted and converted into symbols. In Labanotation the depiction of the elements of space, time, energy, and the parts of the body have been made as visual and pictorial as possible. This can be seen in the vertical staff representing the body with its pictorial division into right and left sides; the shape of the direction symbols which point into the required direction; and the length of the symbol that indicates timing. Reading is facilitated by having the block symbols state the basic structure of the movement. Sec-ondary symbols such as hooks, pins and bows, modify the basic form and indicate varia-tions in style. The visual patterns provided by clusters of symbols enables such groupings to be read at a glance. The relative timing of the parts of the movement, the presence of si-multaneous, sequential, overlapping, or separated actions can readily be seen from the lengths and placement of the block shapes.
11
12 LABANOTATION
PRINCIPLES OF MOVEMENT ANALYSIS
A comprehensive movement analysis is required to record movement by means of sym-bols on paper. How movement is analyzed can vary widely according to the particular field of study. In dance, the method of movement description is often based on a particu-lar form and therefore lacks a universal application or commonly understood terminol-ogy. While patterns resulting from combined movements may be identified and given names, the content of these patterns, their basic structure, have too often not been ana-lyzed or understood.
To the layman it might seem obvious that all movements should be described in ana-tomical terms, that is, the flexion, extension, or rotation in the joints of the body. Because people are built the same the world over, such a description would seem to provide a uni-versal basis for common understanding. As we shall see, there are sound reasons for pro-viding other possibilities of movement description as well. These alternatives have arisen to meet specific needs.
THE NATURE OF MOVEMENT Movement is the result of the release of energy through a muscular response to an inner or outer stimulus. This response produces a visual result in time and space. In transcribing movement, the notator does not record the initial stimulus. The muscular response itself is also not usually recorded, that is, not in terms of the use of specific muscles or groups of muscles. Rather, the observer must note the resulting changes that the muscular actions produce. These will range from inner body tensions, which are felt by the performer and which vary the expression of his/her carriage, to the more obvious physical changes that affect the placement of the body, and result in clearly visible changes in the placement of the limbs in space.
CATEGORIES OF MOVEMENT MOTIVATION AND ANALYSIS The particular purposes of the choreographer or the need of the researcher will dictate the form of description and the method of analysis selected. Details important in one field of study may be of little value in another. Because it is a comprehensive system, Labanotation fills the various needs of movement study and research in the many fields in which move-ment is analyzed, codified, and recorded. There are eight basic categories of movement motivation, though seldom is anyone used in isolation.
1. DIRECTIONAL DESTINATION. The common approach to movement description in dance and allied fields is in terms of the spatial directions into which the parts of the body move, that is, the directional destination (e.g. the right arm moves forward and then up, the left arm moves to the side). The aim is to arrive at an established po-sition. The pathway taken is less important than the final destination.
2. MOTION. Sometimes it is the motion itself, not the destination that needs to be re-corded. This may be movement away from a previous position or state or towards a focal point. This category also includes movement along a particular path for which no destination is stated. Such motion emphasizes change and allows freedom in in-terpretation as well as concentration on the act of moving, rather than on the result of reaching a specific goal.
CHAPTER 3 THE APPROACH TO MOVEMENT NOTATION
3. ANATOMICAL CHANGE. For some actions an anatomical description is more suit-
able. This is based on the changes occurring in the various joints of the body, the dif-
ferent forms of flexion, extension, or rotation (e.g. a folding in the knee joint, a rotation of the thigh in the hip socket). The emphasis is centered on physical changes
in the joints, taken singly or in unison. 4. VISUAL DESIGN. The visual design, that is, the path in space created by the move-
ments of the limbs or the whole body may be the basic idea or feature to be con-
veyed. The shape or design produced may be a path across the floor, a design (trace
form) made by the extremity of a limb (e.g. a circle, zigzag, or figure eight), or plastic shapes made by the limbs or the body as a whole.
5. RELATIONSHIP. The purpose of an action may be to relate in some way to an object
or person. This may be to approach it or move away from it, to be close to it, to touch, grasp, or perhaps carry it. The physical actions, which must take place to pro-duce such relationships, are often not important and hence not described.
6. CENTER OF WEIGHT, BALANCE. The focus of movement awareness and analysis
may be concerned with the center of weight in the body and the use of, or loss of bal-ance for a particular purpose or effect. Such focus can range from placement and
transference of weight in simple steps to complex acrobatics. 7. DYNAMICS. The quality of movement, patterns in the ebb and flow of energy, the
expressive use of space, force and time, may be of prime importance and actions may
be described in these terms (e.g. a sudden thrusting action or a buoyant uplifted movement). The degree of energy involved, the qualitative aspects of the component parts are more important than specific quantitative use of space and time.
8. RHYTHMIC PATTERNS. Movement may occur as a direct response to a basic re-current beat or to rhythmic patterns in music, the chief purpose being the transla-tion of such rhythms into physical action. Other aspects of movement are usually subservient to this; the part of the body or direction used may be unimportant.
This book will be concerned chiefly with the category of Directional Destination, this being the most commonly used. The other types of description will be touched upon briefly where they apply and will be explored in greater detail in Advanced Labanotation Volumes.
SYSTEMS OF REFERENCE In any spatial description of movement, the reader must know the frame of reference. When a movement direction is stated, a forward gesture for instance, s/he must know whether the resulting movement should be forward in relation to the front of the room or stage, or forward from the performer's front. Directions in the three main systems of refer-ence are the same only when the performer is standing upright, facing the front of the
stage. When the body is off the vertical and an upward movement is stated, the reader must know whether this should be a gesture toward the ceiling or in the direction of the head. In
the normal standing position these two directions are the same, but when the performer is lying down they are not. In describing directions there are three main systems of reference:
1. The Constant Cross of Axes. (The Constant Directions in the Room). 2. The Standard Cross of Axes. (The Standard System of Direction based on the Con-
stant Line of Gravity). 3. The Body Cross of Axes. (The Constant Directions in the Body).
13
14 LABANOTATION
Each of these systems is based on a cross of axes, that is, the cross of directions produced by the intersection at right angles of the lines extended in each of the three dimensions. For full details see Chapter 25.
THE LANGUAGE OF DANCE®
Dance is a 'language' of expressive gestures and body configurations through which non-verbal communication can be achieved. This is a well-known statement that is often ap-plied cross-culturally. But that dance is a language is true far more than people realize. Without notation one does not have the means of analyzing movement patterns, phrases, and 'sentences'. The Language of Dance®, like verbal language, has basic 'parts of speech.' There is a clearly constructed grammar that defines the relationship of the movement words to each other and their given function in the movement sentence. The basic ele-ments in this language of movement fall into the categories of nouns, verbs, and adverbs. Adjectives occur only rarely and are therefore not given in the following table.
Movement means change and to produce change an action of some sort must occur. In the grammar of movement, these actions are the verbs. The parts of the body that move are the nouns. How the action is done the degree of change or the manner of performance is described by the adverb. The following lists give some idea of the content of these three categories. These lists and the chart on page 16 are not intended to be complete.
NOUNS • The individual parts of the body that move.
A partner or other person to whom movement is related. Parts of the room to which the performer must proceed or toward which gestures are directed.
• Objects or properties that are carried or handled.
VERBS (numbers refer to the 13 root verbs on the chart) • General statement of an action (1). Absence of action (2).
The three basic anatomical possibilities: • Flexion (3) Extension (4) Rotation (5).
Movements made possible by the three anatomical possibilities: • Paths in space, of the body as a whole, of limbs (6). • Directions, movement to defined points in space (7). • Motion towards (8); Motion away (9); each in relation to points in space, a person, ob-
ject or to the performer.
Mode of Progression, Change in Support of the Body: • Weight bearing, transference of weight (10). Absence of support, springing (11).
Movement in balance, shift of weight (12). Loss of balance, falling (13).
Results of Basic Actions (statement of effect rather then cause): • Relating to a person, object or part of the room, the various forms.
CHAPTER 3 THE APPROACH TO MOVEMENT NOTATION
• Visual design: the shape made by the body or by gestures, linear trace forms.
ADVERBS All the verbs mentioned above and their variants can be modified by the following ad-verbs:
• Timing: sudden or sustained, or any specific time value. • Dynamics: the rise or fall in the physical use of energy, flow of the movement, inner at-
titude, and feeling. • Degree of action: degree of rotation, distance covered, etc. • Manner of performance: (i) Physical modification: initiation of the action, part of the
body leading, guidance, sequential actions. (ii) Spatial modification: deviations in paths, variations in positions.
It is important to observe that while actions or retention of a position always involve time, the use of time itself may be unimportant, unstressed, and therefore not specifically in-cluded in the description. The same is true of dynamics. All actions require some degree of energy, but only a greater or lesser amount than the functional level is usually stated.
The Language of Dance@ approach to movement analysis and understanding also pro-vides a verbal vocabulary that facilitates communication, a 'language' of particular value to teachers and choreographers imparting instructions and expressive movement ideas.
15
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4 FUNDAMENTALS OF LABANOTATION
INDICATIONS OF ACTIVITY
In this study of the transcription of movement, the broad general statement of an action will be followed by increasingly specific ones. Movement must often be indicated in broad terms. The first basic indication of any movement is simply the statement that 'something happens,' that one or more actions occur.
THE ACTION STROKE A vertical stroke, called an 'action stroke,' represents the occurrence of movement of some kind. Its interpretation depends upon the performer. If the writer wishes to be more spe-cific s/he must add the necessary details.
Rule: the reading direction in Labanotation is from the bottom of the page up, or, if the book is held horizontally, in the forward direction. A double horizontal line: = indicates the start, the beginning of movement. Indications placed before this double line refer to a starting position or location.
One action
la =
Two actions, one after the other
b=
Two actions occurring
simultaneously
c=
Note that when two action strokes are written one after the other on the page, they happen one after the other in time. When they are written side by side, they occur at the same time.
THE CENTER LINE The next step in a progression from general description to more specific is the indication of the use of right or left side of the body. An action may occur on one side of the body or
18 LABANOTATION
the other. To show this, we draw a vertical line to represent the vertical center line in the body and place action strokes on either side of this center line. The vertical center line is centered on and connected to the double starting line.
2a
Actions on the right side only
b An action on the right then
on the left side
C
A left -sided action followed by simultaneous actions on
both sides
This vertical center line forms the basis of the vertical three-line staff on which structured movement description is written.
THE STAFF
Labanotation uses a vertical three-line staff. * This staff rep-resents the body, the center line being the center line of the body, dividing right and left. Vertical columns on each side of the centerline are used for the main parts of the body. Within the three-line staff are written movements of the legs and feet. Movements of the torso and its parts, arms, and head are written beyond the outer staff lines. The origi-nal Standard Staff will be described first. Within the staff there exist four major vertical columns (two on either side 3 of the center line). Outside the three-line staff imaginary Left Right
vertical lines, parallel to the main staff lines and compara-ble to ledger lines in music, provide additional vertical columns, as many as are needed.
USE OF THE COLUMNS By placing the movement indication in one of the vertical columns of the staff we state an action for one of the main parts of the body. Fig. 4 illustrates which part of the body each column represents in the Standard Staff.
1st Column: Supports. Immediately next to the center line are the support columns. The placement of the weight of the body is important, and is usually the factor we need to know first. Direction symbols placed in these columns indicate progressions of the whole body, that is, progressions of the center of gravity of the body by means of transference of weight, jumps (springing steps), or falls. The weight of the body normally rests on the feet. The knees, hips, hands, and even the head can also support it. In such cases, a sign for the specific part of the body involved is placed in one or other of the support columns.
*See Appendix B, note 1.
CHAPTER 4 FUNDAMENTALS OF LABANOTATION 19
2nd Column: Leg Gestures. Adjacent to the support columns are columns for leg gestures. The term 'gesture' is used for movement of a limb that does not carry weight. A direction symbol here describes a gesture of the whole leg moving in one piece. These columns are also used for the individual parts of the leg - thigh, lower leg, and foot - as indicated by specific signs for those parts.
3rd Column: Body. Columns immedi-ately outside the three-line staff are used for the body, the torso and its parts. Movements of the whole torso as a unit, the chest, pelvis, shoulder girdle, etc. and also the 'upper body' indications (see Appendix D) are writ-ten in the right or left third column with the specific signs for those parts.
4th Column: Arms. Immediately beyond the body columns, to either side, are columns
5
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for the arms. A direction symbol in these 4 STANDARD STAFF columns describes a gesture of the whole arm
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moving in one piece. These columns are also used for individual parts of the arm, the upper and lower arm, as indicated by specific signs for those parts.
Columns beyond the fourth. No pre-sign is needed for the leg gesture and arm columns. Beyond the fourth column the pre-sign for a specific part must be given. The ad-jacent fifth column may be used for the lower arm, but more frequently it is used for the hand. When complex hand gestures occur requiring a description for fingers and palm fac-ing as well as for the hand itself, additional columns outside the staff are used, and the ap-propriate pre-signs are given.
The Head Column. The head is written on the right side, slightly apart from the other columns. If a score is simple, head indications can be written closer to the staff in the sixth column from the center. Where complex hand movements require additional columns, the head is placed farther out. The specific sign for the head is always used to identify the column.
The Expanded Staff The Standard Staff of Fig. 4 is often expanded, as in Fig. 5. In this Expanded (Broad) Staff additional columns are provided to allow room for symbols modifying the main move-ments. The additional columns placed between the support and leg gesture columns (columns 1 and 2) are called the 'a' inner subsidiary columns (ISC). Those between the body and arm columns (columns 3 and 4) are the 'b' outer subsidiary columns (OSC). Supplementary columns are placed outside the staff, as needed, for example, a column to indicate an object or prop to be handled.
20 LABANOTATION
I ",I I", I OJ OJ
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1& I § I 1-6' :1 18. 8.1 -6'1 I § I I ~I 0., 0., OJ) 0 jl Ibl bll Ij 0 OJ
I ~ I la:l a:ll I~ I I ::r: I 4 "b" 3 2 "a" 1 1 "a" 2 3 "b" 4
Left Right
5 EXPANDED STAFF
Indication of Actions for the Main Parts of the Body Action strokes in the columns of the three-line staff show the occurrence of movements for the main parts of the body.
6a Steps, supports right, left, right
SPACE
DIRECTION SYMBOLS
b Two gestures of
the right leg Gestures of the arms, left, right, then both
The directions in space emanate from a central point - the spatial 'center.' This point is called 'place: and is represented by a rectangle. Directions and levels are judged from this point.
Symbols for directions are modifica-tions of the shape of this basic sign. Each modification is pictorial in pointing to the direction it describes.
The Eight Main Directions Note that there are two symbols for the forward and backward directions, one for the right side of the staff and one for the left. The indicator or 'chimney' is placed on the inside, toward the center of the staff. This is a visual convention in writ-ing, it does not, however, change the meaning of the symbol.
7a
7c
D Place
[J ~ Forward
Up
ffF L. R.
B. b Down
V~ d To the right
CHAPTER 4 FUNDAMENTALS OF LABANOTATION
Forward ~~ Backward ~Q
Left side ~ Right side ~or D* Left
D Right d forward forward
diagonal diagonal
8
Left
D Right q backward backward
diagonal diagonal
When this book is placed horizontally, forward symbols point to the forward direction, a side right symbol points to the right, and so on. Diagonal directions lie exactly between forward and side directions (right forward and left forward diagonals), or between back-ward and side directions (right backward and left backward diagonals). The word 'diago-nal' is used in Labanotation as a direction in space and not for a gesture that is slanting upward or downward. Such oblique slanting is described in terms oflevel.
THE THREE LEVELS The shading of a direction symbol indicates the level of movement - upward, downward, or horizontal. A movement into any direction can be in horizontal, low, or high level. Straight up is 'high' (place high). Straight down is 'low' (place low). Down moves toward gravity, that is, with the gravitational force; up, away from it. The horizontal plane lies at right angles to this vertical line.
9a ~ b ~ c I High Middle (at Low (straight
(straight up) center, place) down)
Each of the main directions can be in any of the three levels.
Forward
~ Forward
~ Forward low
~ high (slant- middle (slanting ingup) 9d (horizontal) e down) f
Right high
~ Right
~ Right low
~ (slanting middle (slanting up) g (horizontal) h down)
Diagonal
~ Diagonal
~ Diagonal
~ right for- right forward right for-ward high middle k wardlow 1
*See Appendix C, note 1.
21
22 LABANOTATION
The Twenty-Seven Principal Directions
~~ ~D ~~ ~ ~ ~ ~ ~ D 0 ~. I • ~ ~ 0 ~
~ ~~ ~ o 0 , .. • lOa b ~D c
For general purposes the Cardinal Directions, i.e. the twenty-seven main directions, suffice. Intermediate (in-between) directions are explained in Chapter 26. Note that for gestures, place (center) is considered a direction.
GENERAL STATEMENT OF DIRECTIONAL MOVEMENT On their own the direction symbols state only information concerning the element of di-rection. In order for us to know what part of the body moves in a stated direction, the sym-bol must either be placed in the appropriate column of the full vertical staff or be preceded by the symbol for that specific part of the body. The following progression from the broad-est statement to the most specific (Figs. 11 and 12) illustrates the flexibility of the system.
Motif Notation In Motif Notation (see page 9) a direction symbol by itself indicates an action whose prin-cipal feature is the use of that given direction in space. Exactly how this is performed may vary according to the interpreter. Fig. 11a illustrates such a general description. Use of the vertical center line permits indication of movement for the right or left sides of the body as in llb and c.
lla A general movement of the whole body horizontally forward, then to the right
side horizontally
b Movement of the right side of the body forward, then
to the right
SPECIFIC STATEMENT OF DIRECTIONAL MOVEMENT
c The right side of the body
moves forward, then the left side moves to the left
Placement of a direction symbol on the staff shows which part of the body moves in the stated direction. In 12a, which illustrates the highlight of a leap, only arm and leg gestures are given. There are no symbols in the support column.
For smaller parts of the body, the specific sign for that part is placed in front of the di-rectional symbol. Such indications can be used out of context, for example in Motif Nota-tion, as in 12b and c. They also appear in structured descriptions in which specific details giving the parts of the body, time, direction, and level are all stated, as in 12d.
CHAPTER 4 FUNDAMENTALS OF LABANOTATION 23
Right ann forward high
Left leg forward low
Left ann backward low
Right leg backward low
I I 12b t ~ c --
12a
or I * The right hand The left foot moves up
moves down
0
, d I ~
These two actions shown in context
ANALYSIS OF DIRECTION AND LEVEL
,.
In the analysis of direction and level, gestures and supports of the body differ basically from one another. Two entirely separate concepts are involved. Gestures are usually de-scribed in terms of movement towards a specific point, that is, a destination; steps are de-scribed as movement away from a previous point of support, i.e. as motion. We will consider these concepts first, then explore direction and level applied to them.
THE WRITING OF MOTION OR DESTINATION Labanotation is a movement notation because the symbols represent change; absence of movement is shown by the absence of symbols. The basic premise of the system is that a position is a movement that has come to rest. In a description of movement a choice exists between the two following:
1. Transition to an established point in space (destination); 2. Movement away from a starting point in a direction relative to that point (motion).
In the case of destination the description is in finite terms, movement toward a known destination. We use points in space as milestones. The path itself along which the move-ment travels is not usually described. In certain contexts a description in terms of a desti-nation is called 'position writing.'
In the case of motion, the path of the movement is described as a movement away from a starting point. This might be a forward and upward movement in relation to the starting point. How far the movement progresses in that direction is not necessarily stated. Infor-mation on distance can be added if necessary. To differentiate clearly between destination and motion, we shall look at a geographical analogy.
24 LABANOTATION
Established Points - Destination In traveling from Naples, Italy, to London, one is moving between two fixed points in the world. The direction happens to be a northwesterly one, but the traveler need not be aware of this and will mark London as his destination and continue until London is reached.
Relative Direction of the Path The relative direction from Naples to London is northwest. A traveler starting on a north-westerly path from Rome may not know what his goal is; he may only know his direction in relation to his starting point. If he continues for a short while, he may arrive in Milan. To reach London he must continue in the same direction for a measured distance. If he does not stop in time, he will go past London to an unknown destination.
From this analogy we can see that in writing movement, we may sometimes need to know the relative direction of the path, but in general it is more practical to state the destination.
Description in Terms of Established Points In writing gestures we describe movement as a path of the extremity of a limb between es-tablished points in space. The actual movement is the transition from one point to the next. To know the exact path by which a point is reached, we must also know the starting point.
In 13a, the starting position for the arm is up. The arm then takes a downward path to arrive at the side middle destination; 'x' indicates the starting position, 'y' the path, and 'z' the destination.
In each of the following examples the destination is side middle, but different starting positions result in different paths.
13b The arm moves from place low upward
to side middle The arm moves horizontally from
forward to side middle
Thus, the standard choice of description for gestures of the limbs is in terms of the des-tination to be reached. Steps may be described similarly: a performer can be instructed to make a path the aim of which is to arrive in another part of the room.
Start
Destination: 13d e center front
Fig. 13d shows a person starting at the center back of the room. If told to move to a des-tination center front, his path will lie between those two points. The same destination reached from other starting points will result in other paths as in 13e.
CHAPTER 4 FUNDAMENTALS OF LABANOTATION 25
Description in Terms of Motion Away from a Point
For ordinary walking steps and springs (jumps, leaps, etc.) the direction of the path in which the center of gravity moves is described in terms of motion away from the starting point. This is the standard Labanotation description for steps. Fig. 14a shows a step for-ward. From the starting position, the movement is a forward one. Once the step is finished (the forward motion completed), the performer is standing with her center of weight over her point of support, i.e. in place. No evidence remains to indicate the direction of her movement. We can deduce this only if we know her starting point.
14a
I ~ I } Forward J -4 om mov=cnt ~ K In a forward step the direction symbol describes the
movement
b Resulting position
At the end of the step only a support in place is evident
For arm and leg gestures we seldom describe motion, but an example is given here for clarification to illustrate the method.
or
14c d e
Fig. 14c states a movement approaching side low. In 14d, from the starting position with the right arm up, the path of the gesture is toward side low. We may not know how far this sideward-downward motion progresses. It could end part way, as the first arrow suggests, or could continue until the side middle point is reached, as the second arrow indicates. Fig. 14e shows a sideward-downward movement of the lower arm from a different starting position. Spatially these actions all have something in common because they follow paral-lel paths, but in relation to the body each is different. To produce a specific action we need to know the starting position as well as the degree of 'sideward and downward' motion.
POSITIONS: SUPPORTS ON THE FEET The body is normally understood to be supported by the legs. We can show the exact flex-ion in ankle, knee, and hip used in standing or walking, and can also indicate the part of foot which contacts the floor. For general purposes, however, we have established the con-vention of three main levels: middle, low, and high.
In the following examples illustrating levels of support, the legs are shown as being together, in place, directly beneath the center of weight. The weight is divided equally between the feet. No statement is made concerning the rotation of the legs. The figure il-lustrations show the feet parallel and also with some degree of turnout to indicate that ro-tation of the legs does not change the basic direction and level of the position with the feet together. Details on rotations of the legs are given in Chapter 17.
*See Chapter 20, page 298.
26 LABANOTATION
Middle Level Supports In an ordinary stance the whole foot is on the ground. The knees are straight, but not taut. The level of this ordinary standing position is called middle level.
Low Level Supports In a low support the action of bending the legs lowers the center of gravity of the body. The weight is on the whole foot. This low support is called a demi-plie (half 15b
15a Place Middle Support
bend) in ballet. Exactly how much the legs Place Low Support
will bend in an ordinary low support will depend on the individual build of the performer, but in every case the whole foot should remain on the ground. The exact degrees of knee bend from the slightest to a full knee bend are shown with additional indications. (See page 152.)
High Level Supports In a high support the raising of the center of gravity of the body produces an extension of the legs. The weight is on the ball of the foot, and the knees are straight. 15c
Place High Support
POSITIONS FOR GESTURES For gestures of the limbs, trunk, and head, direction and level are determined by the spatial relationship of the extremity (free end) of the limb to the base (point of attachment). A line drawn between the free end and the base indicates to which direction the limb has moved. This is true whether the limb is bent or stretched.
Place for Gestures Place for gestures is the center point, the center of the cross of axes located at the base of the moving limb. It is the point from which all other directions and levels radiate. In Fig. 16 this center point is illustrated for the right arm and for the left leg. Place for the arm is at the shoulder, place for the leg is at the hip joint.
Levels for Arm Gestures
16
The whole arm moves from the shoulder joint (point of attachment). The relation of the hand (free end) to the shoulder (base) determines di-rection and level for the arm as a whole. In the normal standing position the arm hangs by the side of the body, straight down from the shoulder. As the hand is below the shoulder, the whole arm is place low. A middle level gesture is at shoulder level, horizontal, and parallel with the floor. A
17 Arms down,
place low
CHAPTER 4 FUNDAMENTALS OF LABANOTATION 27
high-level arm gesture slants upward, above shoulder level. A low arm gesture slants down-
ward, below shoulder level.
~ ~ ~ ~ r ~ forward low forward middle forward high
~ ~ ~~ y~ 18 side low side middle side high
Levels for Leg Gestures The whole leg moves from the hip joint, its point of attachment. Di-
rection and level are determined by the relation of the foot (free end) to the hip (the base). When in the air, as in Fig. 19, the legs are gestur-ing straight down, into the direction place low.
~ ~ place high
~ ~ place high
In the following chart the extension (stretched state) of the legs 19 shown in the figure illustration is not stated in the notation. Low leg gestures
20
(~ ~ ~~ tl~ ~ forward low forward middle forward high place high
~ ~ t=-~ r~ ~ ~ side low side middle side high place high
Place for the Arms and Legs
A limb is said to be at place when its extremity is at ~ its base. For the arms and legs this means being bent, drawn in close to the body. Place is directly 0
between high (straight up) and low (straight 21 n . . n down). U U
28 LABANOTATION
Starting Positions When writing a starting position for a sequence of movements we need not be concerned with timing. Indications placed be-fore the double starting line, Fig. 21, show a position, not mo-tion. Fig. 22 indicates a starting position with the weight on the right leg, left leg gesturing backward low, right arm at side mid-dle and left arm up, i.e. place high.
MOVEMENT
A Directional Support, a Step
22
The appropriate direction symbol is written in the support column to show the center of gravity of the body moving into a direction by means of a step. In moving away from the starting point, the whole body is transported by the action of the legs. In walking, each leg in turn takes over the weight of the body.
23a
,"., . \--"-,-..... ---, , 1\ • I I ' I II : .. " \ I )1 1\.
End result: OIJ b
In Fig. 23a, a step to the side is taken on the right leg in middle level. The action is basi-cally one of the center of gravity moving to the right. The right leg must move out to the side to start the step, but this action is understood and is not written unless it is to be per-formed in a specific manner. The step itself may be defined as the movement of the center of gravity to the right by transference of the weight to the right leg (foot). When the trans-ference is completed the right support is in place, as in 23b. Therefore the ending position, in which the center of gravity has come to rest, is different from the movement into that position.
A Directional Step with Change of Level In changing the level of a support, a step, we raise or lower the center of gravity by extend-ing or contracting the legs. For this action we usually use the main levels: middle, low, and high.
The same process happens when we take a step with a change in level. Here the center of gravity simultaneously travels to the side (through the transference of weight) and lowers slightly (through bending the leg). Fig. 24a illustrates this progression. When the transference of weight is completed, the result is a support on the right leg in place low, as in 24b.
End result: [JJ 24a b
CHAPTER 4 FUNDAMENTALS OF LABANOTATION 29
WHERE IS PLACE? In Labanotation the concept of place for steps must be kept clearly in mind; the word 'place' has various connotations when used in other contexts. For example, in ballroom dancing the word 'place' is used for the spot on the floor on which the performer was standing the moment before. Thus the ballroom instruction: "step side with the right foot, step in place with the left," may mean a step to the right side followed by a step to the left side, which would bring the performer back to the spot at which s/he started. In other forms of dance a performer may have his or her 'place' in the formation or on stage, to which at certain times s/he is to return. In Labanotation the idea of place for supports fol-lows the basic law that place is directly related to the center of gravity of the performer. This is true for the simplest steps as well as for complex acrobatic forms.
The following cartoon helps to illustrate this basic concept, particularly in relation to steps (supports). Note: this cartoon is not intended to be applicable to complex acrobatic situations, though much of it is.
Have you been in-troduced to
PLACE?
Do you know WHERE
PLACE is?
PLACE is NOT WHERE YOU WERE
PLACE is NOT 'HOME BASE' (where
you started)
30 LABANOTATION
PLACE GOES where YOU GO
But what if your SUPPORT is DIVIDED?
THEN-
WHERE IS PLACE?
PLACE IS BENEATH YOU
PLACE is ALWAYS BENEATH YOU
PLACE is on the PLUMB LINE from
your center of WEIGHT
all the time
This is all very fine when you have ONE
SUPPORT
STRAIGHT DOWN
CHAPTER 4 FUNDAMENTALS OF LABANOTATION
INDEED-No matter what
you maybe UP TO
TIMING
Your WEIGHT is very IMPORTANT
and PLACE DE-PENDS ON IT
PLACE IS: ABOVE,
AT, or
BELOW your
CENTER OF WEIGHT
or DOWN
TO
The center line of the staff is also the time line. When read from the bottom up, it indicates visually the flow of time.
GENERAL INDICATION OF TIMING Movement indications placed side by side occur at the same time and may be compared to the notes of a musical chord. Indications placed one after the other occur sequentially. We illustrate this first in a gen-eral way with action strokes. The sign: '0' in these examples means re-tain the weight on the right support.
Simultaneous actions of both
arms, right support and left leg, before and
after standing still
25b
I I I
o
I
Sequential actions of the right
support, left leg, right arm, and left arm
c
25a
r r r
Passage of time
o
I
31
32 LABANOTATION
The simultaneous actions shown in Fig.
~ 25b are described as being into specific direc-tions in 25d. In 25e the sequential actions indicated in 25c are now more specifically described by direction symbols.
Duration: General Statement 25d ~ The longer the action stroke, the longer it takes to complete the given action, i.e. the slower the movement. The shorter the stroke, the sooner it is completed, i.e. the faster the movement. Fig. 26a shows one slow sus-tained movement for the right arm. Fig 26b shows three quick actions for the right arm.
26a
FREE TIMING
The timing of actions may be free, in that it is not measured. One ac-tion may have more duration, another less. There may be a great deal or very little overlap in the occurrence of two or more actions. The rel-ative duration of actions and when they start and finish with respect to one another may be clearly established but otherwise the timing is free;
e
b
it is felt, sensed rather than measured or counted in any way. Even in choreographed theatre pieces timing may be based completely on a breath rhythm or a phrase rhythm that is felt and not counted. Laban-otation provides for such needs. In Fig. 27 action strokes have been re-placed with specific direction symbols, but timing is still only general, 27
---
o
no specific beat has been indicated. A slow step leads into faster steps, and a slow right arm gesture is followed by two quick separated gestures.
PROPORTIONATE, MEASURED TIMING For metered (measured) time, the recurrence of a regular basic beat (pulse) needs to be indicated. Fig. 28 shows how the center time line is marked off at regular intervals by small ticks,* each tick marking the beginning of a new beat. The space between the ticks represents the duration of the beat. Because the amount of time occupied by each beat is regular, the distance allowed for each on paper must also be reg-ular. A basic unit is taken for each beat. For the quarter note (crochet) on graph paper, four squares or one half inch, (1.25 cm) are usually al-lowed. More space may be needed for complex movements, in which
one { beat
28
case the basic unit is increased to six or even eight squares. The unit chosen must be kept uniform throughout the section or piece. This is also true for computer generated Laba-notation. A change in the unit length must be indicated (see page 36).
* See Appendix A, note 1.
CHAPTER 4
Length of Symbol The relative length of each movement symbol indicates its time value. Once the basic unit, the length used on paper for each beat, is established, the whole scale of values is accord-ingly determined. For instance, a whole note is twice the length of a half note, and a half note
29
FUNDAMENTALS OF LABANOTATION 33
o etc.
twice the length of a quarter note. The music note can be used to establish the value of the basic unit. Music notes are not otherwise needed in the dance score. Timing (the length of time used) is an integral part of each movement symbol; therefore the Labanotation score does not require the accompanying music to be written alongside its indications. The device of using different lengths of symbols to represent time values makes rhythmic patterns visu-ally easy to recognize. The flexibility of this device makes the system suitable for use with electronic scores and for scientific studies where time is measured in seconds.
~~ ~D ~D Breakdown of a Count (Beat) ~D Just as a single count in music can ~D ~D be subdivided, so can the linear unit 30a b c ~D
representing one count in Labano- One beat, a Two eighth Four sixteenth quarter note notes notes (semi
tation. (crotchet) (quavers) quavers)
Verbal Subdivision of a Beat In counting beats for dance and in writing word notes, we need a common terminology that accurately states the subdivisions of a beat. The word 'and' should only be used for subdivisions which fall on the half beat. The following terminology has been standardized in Labanotation and is presented as the best method available today.
The single count or beat is called '1,2,3,' etc. according to its placement in the measure. When it is divided in half, the first part is still called by it appropriate number, and the sec-ond half is called '&.' Thus consecutive eight notes would be counted: '1, &, 2, &,' etc. Di-vided into fours, that is, into sixteenth notes, a beat is counted: 'I, y, &, u, 2, y, &, u,' etc. (The 'y' is pronounced 'ee', as in 'any' and the 'u' is pronounced as in 'up'.) In a triplet, a beat is divided into three equal parts. Note that the terminology for this, frequently met in dance circles, '1, &, a, 2, &, a,' is not technically correct, as the symbol' &' should be used only for a true half beat. A more accurate terminology for the triplet is: '1, a, da, 2, a, da,' etc.
31a b
&{~ 1{~
c
UjD & D y D 1 D d
dalD a 0 1 0
Triplet
34 LABANOTATION
MARKING OFF THE MEASURES (BARS)
Simple Meters As in music notation, Labanotation uses a staff that is marked off in measures (bars) by horizontal bar lines. The established beats are then grouped into measures (bars)* as in music by these bar lines. For Labanotation the horizontal bar lines connect the outer staff lines. Fig. 32 shows examples of different meters: 32a shows the grouping of quarter note beats into twos, 2/4 meter, or duple time; 32b shows beats grouped into threes, 3/4 meter, or triple time; 32c shows groups of four, 4/4 meter or 'common time; as it is called. Fig. 32d shows groups of five beats, 5/4 time. Remember to read the dance staff from the bottom up.
2 32a 4
2
2
2
Compound Meters
3 b 4
3
2
3
2
4 c 4
3
2
4
3
2
et .
5 d 4
et . 2
5
4
3
2
In compound time in music each beat is divisible by three. Of the possible meters in this category, 6/8 is the most familiar, though 9/8 and 12/8 are often met. Musically, 6/8 is often compared with 2/4 in that there are two main beats in each measure. But in 6/8 each of these beats is divided into three eighth notes. This subdivision into three for each of the two main beats in the measure is felt but not always counted. In studying dance and relat-ing it to music, we may find it helpful to count all six beats in the measure in order to know on which beat a certain action falls. But generally speaking, in a measure of 6/8 we need count only the strong beats, '1,2.' Fig. 33a, illustrates two measures of 6/8 meter with each of the six subdivisions (the eighth notes) marked. Note that the middle tick is made stronger and slightly longer to stress the main division into two. In 33b the same two mea-sures of 6/8 are drafted with only the main subdivisions, but the possibility of triple subdi-visions is still allowed for. Meters of 9/8 and 12/8 are handled in a similar way.
* The term 'measure' is technically correct, although the word 'bar' is also commonly used, particularly in Britain. Strictly speaking the bar lines separate the measures.
CHAPTER 4
6 33a 8
Statement of Basic Unit Used
6
5
4
3
2
6
5
4
3
2
It is common practice to establish the length of the basic unit used for a given piece in the starting position. In Fig. 34a this unit is longer than in (b). Where the unit needs to be stated separately, the appropriate length is indicated and equated with the appropriate music note value as in 34c and (d).
Fig. 34e shows an alternate method of indi-cating length and time value. A basic unit statement can be written as a key under the staff or placed to the left near the starting posi-tion, as shown in Fig. 35.
J J or
34c d
Statement of Change of Meter
e
FUNDAMENTALS OF LABANOTATION
6 b 8
2
2
3 34a 4
I J
3 b 4
If during the course of the score a change of this basic unit is needed, the new length must be stated. The indication for a change of meter during a piece should appear outside the staff on the left, just before the measure in which it takes place. This is illustrated in the third measure of Fig. 35. This indication serves as a warning. In Fig. 35 a change from 3/4 to 2/4 occurs at the third measure, there is also a change in the basic length used. Note the vertical placement of the equation here.
35
36 LABANOTATION
SPECIFIC, FINITE TIME
Where exact tempi are required, the metronome indica-tion is included. This indication is the same as that used in music - the number of beats per minute, for example M.M. ~ = 100, that is, 100 quarter notes (crotchets) per minute. In a dance score this indication is placed at the beginning to the left of the staff as illustrated in Fig. 35. It is also placed on the left when a change occurs during the score as can be seen in measure 3 of this ex-ample. The indication of speed can be combined with that for the basic unit as shown in Fig. 36a. A vertical placement can also be used, as in 36b.
36a ~ J 60 b
THE USE OF LINES IN DRAFTING A SCORE
The following principles of standardization in the use of lines have helped to make scores and kinetograms more uniform and hence easier to read.
Beat Marks:
Bar Lines:
Base of Staff:
The beats are separated by short horizontal strokes across the center-line. ,.
The measures are marked off with horizontal lines extending across the three-line staff. Short lines, as in Fig. 37a, are standard. To give the staff a neat appearance, a line is drawn across the three-line
1.0 0'1
II ------.
II
0
0 1.0
II ------.
~ ~ j
staff before the starting position, as il- 37a lustrated in Fig. 37a. Without this base line, the notation may appear to be a continuation, as in 37b.
2
5
2
4
2
3 2 4
3
2
2 1
3
2
1 1
3 4
35
0
b
Start of Action: Double horizontal lines mark the beginning of action. In 37a these fall on the bar line. Indications before this double horizontal line signify a position; those following it signify movement.
*See Appendix A, note 1.
CHAPTER 4 FUNDAMENTALS OF LABANOTATION 37
Ending Lines:
The double starting line may come before the bar line. In 37c the starting position is fol-lowed by an upbeat, a rising into the air on the '&' to land with feet apart on count 1 of the new measure. The double starting line often does not coincide with the bar line. At the end of a dance or exercise a double line is used, 37d. The upper one may be drawn thicker, as in 37e. d
USE OF NUMERALS
&
37c
For easier reading of scores, the following use of numerals has been established as stan-dard. Note this practice in Figs. 33 and 35.
Count Numbers. Where counts for the beats are needed, they are indicated by small numerals placed outside the staff to the left beyond the arm column. They are aligned just after the mark separating the beats.
Measure Numbers.'" The number for each measure is placed outside the count numbers to the left of the staff. These numbers are written larger than count numbers and are placed directly after the bar line. The measure numbers correlate with the numbered measures in the music score.
Dancer's Counts. The term 'dancer's counts' applies to the counting of groups of individual movements in which the counts are established for the benefit of the dancers. When using relatively simple music, the dancer may need to count dance phrases of twelve or perhaps ten. When following the work of modern composers, the dancer may find it difficult, undesirable, or even impossible to count according to the written music. It is important that the relation of the dancer's counts to those stated in the music be clearly estab-lished in the dance score. Usually the counts appearing in the dance score are the musical counts; therefore, the dancer's counts are commonly placed in parentheses. The abbrevia-tion D.C. may be used to identify dancer's counts, as in Fig. 38. A typical example of counting by the phrase occurs with a 2/4 meter in which four measures are counted as a phrase of eight or eight measures are counted as a phrase of sixteen. Fig. 38 illustrates a phrase of 16 counts occurring in the middle of a dance score, beginning with musical measure
"See Appendix A, note 2.
(16)
50 (15)
(14)
49 (13)
(12)
48 (11 )
(10)
47 (9)
(8)
46 (7)
(6)
45 (5)
(4)
44 (3)
(2)
o 38 43 0 (1)
38 LABANOTATION
no. 43. Any special usage of numbers should be explained at the start of a score. In re-cording choreography, the notation may include personal counting established by the choreographer to help the dancers understand and learn the movements. These may not make musical sense but become part of the choreography and are often passed on when the dance is learned by another group.
5 VARIATIONS IN STEPS
SUPPORTS AND STEPS WITH USE OF LEVELS
IN PLACE
39a Changes in level, weight on both
feet
b Steps in place marking time
c Marking time
in low and high levels
d The basis for a
waltz: low, high,high
Notes on reading. In performing 39b, (c) and (d), the understanding is that, before count 1, the right foot is lifted free in order to prepare for the step in place on count 1.
Weight should be transferred completely from one foot to the other. At the end of the step, when weight is only on one foot, the other is free, just clear of the ground, as in ordinary walking. Because these steps are in place, the free leg will be in place, bent with the foot under the hip. After a directional step, the free leg remains passively in the direction from which you came. For a forward step, unless other wise indicated, the free leg will remain backward, relaxed, slightly flexed with the foot slightly off the floor. In middle and high level the knees are not stiff; the natural pliancy in stepping is understood.
40 LABANOTATION
FORWARD AND BACKWARD STEPS A direction symbol in the support column indicates that the center of gravity of the body (center of weight) has moved away from its previous standing position (stance) into the stated direction by means of a step on the right or left foot. Each step means a progression of the whole body in which the weight is transferred until it is vertically above the new point of support.
40a Forward steps a normal walk
b Backward
steps
c Forward
steps in low level
d Backward
steps in high level
Notes on reading. A step in any direction should be a normal-sized step, that is, the usual stride of the performer. Longer and shorter steps are discussed in Chapter 11. All di-rections relate to the front of the performer, that is, to the room direction to which the per-former is facing. Experience the physical differences in the sense of the center of weight shifting, lowering and rising between the following:
41a Changes of
level in forward steps
STEPS TO THE SIDE
Step to the right side with the right foot, close the left foot to it in place, lifting the right foot just off the floor. Repeat.
b Swaying
forward and backward
42a
C
Step and change oflevel on the
same leg
Continuous steps to the right side,
the left leg crossing in front and then behind
the right leg, a 'grapevine'
pattern.
b
d Swaying backward and forward with a
change oflevel
CHAPTER 5 VARIATIONS IN STEPS 41
Steps to the side refer to the side direction from the body and not to the side of the room. In 42b a black pin is used to show the relationship of the two legs as the step across is taken. The point of the pin is the indicator, as on a clock or compass.
In front: ~
DIAGONAL STEPS
43a Forward right
diagonal
b
Behind (in back): T
Forward left diagonal
c Backward right
diagonal
d Backward left
diagonal
Notes on reading. Be sure these steps are all taken diagonally from the body (the per-sonal diagonal of the performer, not the diagonal of the room). Turning the body to face a new room direction will be discussed later. The diagonal direction from the body should be a clear-cut line between the side (lateral) body directions and the forward-backward (sagittal) body directions.
THE RETENTION (HOLD) SIGN The sign: '0' placed in a support column indicates that weight on that support is to be re-tained. This retention sign, called the 'hold' sign, has sometimes been called the 'hold weight' sign when used in the support column. However, its basic meaning is to hold, re-tain or maintain. When both feet are to hold, the hold sign can be centered over both sym-bols, as in 44a below, or a hold sign may be placed above each support as in 44b.
Because the direction symbol represents movement and the simple act of holding the weight is not a movement, 44c is a better description than 44d. In stating the entire posi-tion, as in 44d, we describe the position reached, rather than the movement (or absence of movement) which produced it. Where a change of level occurs, as in 44e, the direction symbol must, of course, be written. Change oflevel is a movement and cannot be indicated by the hold sign.
44a Hold on both feet Keep the weight on the right
foot when the left foot closes The same as c) and d) with a change in level
42 LABANOTATION
44f Step, close, ending
with the weight on one foot
g Step, close, ending with the weight on
both feet
STEPS IN DIFFERENT RHYTHMS
h Similar to 44f and (g) but with a change of level. In 44i the hold sign cannot be used
because of the change in level.
Rhythmical variations in steps are given here in different meters. Figs. 45a and (b) are well-known ballroom steps using the timing 'slow, slow, quick, quick, slow: (b) being at a quicker tempo. Fig. 45c shows a limping 'catch' step as found in folk dances. The term 'catch step' is given to a fast step (change of weight) which occurs at the last moment before a main step. Note that this example starts on the upbeat. In 45d, the 5/4-meter is given with a 'grapevine' step (crossing behind and then in front).
3
? 2 ..34 4 u ~
&
3 3 u .2 u 0g.
3 ~. 2 2 u
~ 2 u 5
~4 4 u 4 ~
& 3
3 3 3
~2 2
2 u 2 ~
u
4 4 3 5 45a 4 b 4 c 4 d 4
CHAPTERS VARIATIONS IN STEPS 43
Notes on reading: The tempo chosen for the quarter note in 4Sa, should be kept for 4Sb, (c) and (d), so that the faster and slower steps have a consistent relationship in time. Such consistency in tempo is understood here for all comparable examples.
DETAILS IN THE PERFORMANCE OF STEPS As mentioned, a step is the total transference of the weight of the body from one foot to the other. The preparation for a step is the releasing of the active leg from the floor so that it can move into the appropriate direction for the step. This preparation is not usually speci-fied in the notation. The beginning of a step is understood to be the moment the stepping foot contacts the ground and the transference of weight begins. The beginning of the di-rection symbol represents this moment. By the end of the symbol the step is completed, the weight is fully on the new support, centered on the supporting base.
Ordinary Walking The direction symbol in the support column represents the simple, natural way of walk-ing. The exact interpretation of 'natural' is hard to define as people vary considerably in their movement; however, a 'norm' can be observed and is distinct from stylized move-ment. When stylization is required we must add the specific details that produce the style in question. When these additions are constant throughout the piece, a key signature is given at the start to indicate such consistency.
Rotation of the Legs Should these walking examples be performed with the legs turned out or with the feet par-allel? Thus far no indication has been given for any rotation of the legs. Even though these patterns look and feel different when performed with outward rotation or with the legs parallel, the basic space-weight pattern remains unchanged. A step forward is still a step forward, and the feet together (in place) are still feet together whether turned out or not. To perform these steps in a simple, natural manner, beginning readers should use the de-gree of rotation easiest for them; symbols for rotation will be discussed later.
Movement of the Center of Weight In continuous walking in the same direction, the center of weight (center of gravity) of the body is set in motion and continues to move in the stated direction until it comes to rest on one or both supports. A step in place or a pause between steps brings the center of weight to rest. When we change direction we must check the momentum of the center of weight so that we are ready to move fluently into the new direction. This anticipation of the new direction is not written, but is understood from what follows.
Center of weight comes to rest
46a
Center of weight ceases to go forward and must pre-pare to go backward be-fore the step backward
b
44 LABANOTATION
Slow Steps In a slow step, 47a, the transference of weight must be spread throughout the time allowed for the step, in this case three counts. Too often such an indication is performed too quickly and then a pause ensues. A long step symbol indicates a longer time, i.e. a sustained and continuous action in transferring the weight. If the starting position is in middle level, the lowering will also take three counts.
QuickSteps In a quick step, the action of contacting the floor with the foot and trans-ferring the weight to the new support occurs almost simultaneously, as in the high steps illustrated in 47b.
Legato Steps Legato means 'tied together;' legato movements follow one another smoothly without a break. This type of movement is shown in the nota-tion by one symbol following immediately after the other; as in the pre-vious examples of walking and in 48a.
Staccato Steps Staccato means 'separated', a break between movements. Usually the term staccato is associated with quick movements which have a marked separation. The break between movements may be very slight as in 48b where there is only a slight pause, a hesi-tation or 'breath' between the steps. In (c) 0
there is a definite break, a pause of half a 0
beat. Fig. 48d shows extremely staccato steps. Note that staccato does not refer to the tempo, that is, the speed of the piece, the pace of the basic beats.
Performance of Crossing Steps 48b
To facilitate steps that cross the center line of the body, we tend to allow the hips to turn. Any such displacement re-turns to normal as soon as the step is over. If the hips should be specifically held still or should be specifically included in a crossing step, an additional indication must be written (see page 226). In 49a crossed diagonal steps are taken; in 49b sideward crossing steps occur.
Middle Level Steps Although in standing, middle level means that the knees are straight, in walking, normal pliancy is expected. This occurs as the leg is freed to prepare for the next step and also when the leg is released after it has relinquished the weight. This is also true of high steps.
c
49a
50a
47a
b
48a
d
b
b
CHAPTERS VARIATIONS IN STEPS 45
CANCELLATION OF THE HOLD SIGN
The movement logic is that a hold sign in the support column is valid until cancelled by:
(a) A step in either support column, or (b) An indication for a gesture of the leg previously held.
A step cancels a previous hold sign written for either foot or for both feet. A direction symbol in the support column indicates that all the weight is transferred to that leg, there-fore the hold sign will need to be repeated if a previous support is to be retained. An action stroke or a specific direction symbol written in the leg gesture column will cancel a previ-ous held support on that leg. (See Fig. 103, page 77 and Fig. 200b, page 132.)
51a The step on the right
foot cancels the previous hold on both feet
Contrasts in the Use of Timing
4 52a 4
Sustained
4 b 4
Staccato
o
b The forward step on the left foot cancels
the previous hold for the right foot
c Swaying steps
o
o
c The hold sign must be repeated to keep the weight on the
right foot on count 3
4
4
&
& 4
& 2
1 & 4
d 4 4
Quicker steps
46 LABANOTATION
Figs. 52a and (b) are the same space-step pattern but in 52a the steps are legato (sus-tained) while in 52b they are staccato. In 52d two upbeat steps lead into the first measure, these occur on counts '4, &.'
PATH OF THE CENTER OF GRAVITY IN STEPS
When the performer takes directional steps, his/her center of gravity moves into the direc-tion stated. A rise and fall in the level of the center of gravity occurs when there is change of level in the progression.
STRAIGHT PATHS
Horizontal Path When a step follows in the same level as the previous step, the center of gravity will follow a horizontal path.
53a b~ In each of these examples the center of gravity moves horizontally, parallel with the floor, with no rise or fall.
Oblique Path When a change of level occurs while the performer is progressing, the center of gravity rises or lowers on an oblique path. Both legs participate in effecting this change oflevel, though it is more noticeable in the leg that ac- Path of Center of
tively becomes the new support. Gravity:
In 54a, the center of gravity low- tt ers on a direct line. The left leg be-gins to bend as the right foot steps out and both continue to bend dur- 54a ing the transference of weight.
In 54b the center of gravity rises on a direct line. The left leg begins to stretch as the right foot steps out and both legs continue to straighten and rise on half toe as the transference of weight continues.
CURVED PATH, ANGULAR PATH
54b
Path of Center of
A change of level that occurs during the process of transferring weight produces a curved path for the center of gravity. These curves contrast with the angles produced when a change of level occurs after the progression (transference of weight) is finished. In the fol-lowing examples the comparable angular movement will be given first.
CHAPTER 5
SSa The sideward progression remains horizon-tal and is followed by a vertical rising. The
transference of weight takes one count.
SSc A horizontal sideward progression followed
by a vertical sinking. The transference of weight takes one count.
VARIATIONS IN STEPS 47
b The sideward progression starts horizontally
but begins to rise part way through the transference of weight. The transference of
weight takes two counts.
d The sideward progression takes two counts
and starts horizontally, but part way through it begins to sink. The transference of weight
takes two counts.
It is important for the performer to note that ssb and (d) have a transfer-ence of weight that takes two counts. This sustaining of the stepping ac-tion is physically difficult and requires control when performed slowly. Such changes in level within one step occur in all smooth flowing waltz steps. Fig. SSe illustrates an undulating pattern starting in low level, which, if repeated, will move the center of gravity through the following path:~.
READING MATERIAL SSe
See next page for movement sequences.
NOTES ON READING Simple as walking patterns are, it is important to establish good reading habits from the start. Before physically performing the examples, glance over the whole exercise to get some idea of what is coming. Look for:
1. The meter used, and the tempo, if this is indicated. 2. The timing. Are the steps mainly slow, fast, at the same speed, or varying between all
these? 3. Direction and level. What are the main directions used; is there constant change in
direction? Work out the rhythmic pattern. The sense of the spatial pattern often be-comes clear when the rhythmic pattern is known.
4. Familiar forms of movement. Are there steps and patterns that can be called by name? Such recognition helps to speed up the memorizing process.
48 LABANOTATION
READING MATERIAL
4
3
2
56a 6 8
Swaying
4
3
2
b 4 4
o
Undulating
4
3
2
c 4 4
Angular steps
d
6
5
4
3
2
3 4
Waltz
CHAPTERS VARIATIONS IN STEPS 49
The purpose in reading notation is not to become expert at deciphering symbols but to be able to translate into movement the information they contain as fast as possible. Be-cause the dancer cannot perform with paper in hand, s/he must memorize the passages as soon as possible, teaching them to him/herself as if they were learned directly from a teacher. To be able to do this with ease, it is important to develop facility in recognizing the following:
5. Movement 'words.' The unit in movement that is comparable to a word in verbal lan-guage, is any group of symbols forming a movement entity, an identifiable pattern. For example, a pas de basque that is used in many European folk dances, is a dance 'word' composed of three steps. This pattern may be performed simply or with much detail added, but the unit remains the same. A dance 'word' may coincide with a measure of music; it may be less, or more. The reader must discover this for him/ herself; no rule can be stated.
6. Movement 'phrases' and 'sentences.' A passage of two or more movement 'words' may form a dance phrase or 'sentence'. As in verbal language a phrase is incomplete, a sentence comes to a conclusion.
7. Major and minor words. Not all movement words are of equal importance in the dance sentence. Many words are conjunctions that serve as preparatory actions or as linking movements for the main words. In western traditional dance, major words usually begin or end on the strong musical beat; minor, linking or preparatory words falling on the weaker beats.
8. The kinetic sense. Look for the movement sense, the movement 'meaning' in the symbols as soon as possible. Do not memorize long stretches in a superficial way; it is better to master shorter sections more completely and find the kinetic meaning before moving on. The dance equivalent of musical phrasing (the 'long line' of the movement) here comes into play: discovery of the natural unity of thought, the long line of the movement, the correct placement of emphasis and the ebb and flow of energy. Attainment of the kinetic sense includes awareness of how movement passages relate to the accompanying music. Even simple walking patterns provide leeway for subtle variations in emphasis, dynamics, etc. which may underlie the movement pattern.
Once a piece is comfortably learned and can be performed without the score, review it carefully, giving attention to all important details, particularly the rhythms. Without a teacher on hand these are often inaccurately performed.
NOTES ON WRITING In beginning to write it is better to choose something that can be done with simple steps, regarding as a challenge the making of an interesting composition from such basic mate-rial. This chapter contains a wealth of material with which can be written basic forms de-rived from many styles of dance, particularly folk dance steps. Much character and style can be indicated just by a change of direction, and by the use of level, of rhythms, and of open and closed steps.
An experienced notator can record at once both sequence of steps and timing, but the beginner should tackle one thing at a time. First write the sequence and then adjust to the
50 LABANOTATION
correct timing, or indicate the timing by action strokes correctly placed on the metered staff and then turn these into direction symbols.
Recording of Sequence First For steps it is sufficient at first merely to draw the centerline. The following ex-amples show a sequence first outlined simply, then with counts added, and fi-nally copied neatly. Fig. 57a illustrates the sequence of steps. In 57b the correct count numbers have been placed next to the steps and the bar lines have been in-serted. In 57c this information has been copied neatly onto graph paper or entered into the computer using the La-banWriter program or Calaban (com-puter-aided Labanotation). The step symbols are now correctly propor-tioned, some counts given as an indica-tion, and the measure numbers added. For younger students, graph paper of 6 squares to the inch (or 2.5-cm) is usu-ally suitable; for adults it is 8 squares; for notators 10. Allow space for the starting position; this is drawn the same length as the basic unit chosen for the piece.
Recording of Rhythm First The notator may choose to pin down the rhythm of the steps by means of action strokes. First mark off accurately the beat and measure so that the action strokes can be placed correctly. These then can be replaced by the appro-priate direction and level symbols. Some notators prefer to write the rhythmic pattern this way, as in 58a, then give the spatial pattern separately, as in (b), finally com-bining the two as in (c).
Upbeats
57a
5
4
3
2
6
5
4
3
2 Observe whether a piece begins with an upbeat. An upbeat occurs at the end of a previous (under- 58a 6
b
o
b
2
2
3 2
3 2
c
4
3
2
3 c 4
2
6 8
3
2
3
2
CHAPTERS VARIATIONS IN STEPS
stood) measure and leads into the main movement which follows on the strong beat of the first full measure. Such upbeats are part of the phrase that follows. In writing movement be prepared to allow room for an upbeat after the starting position and before the first bar line. Fig. SSc shows an upbeat step on count 6 of the previous (unwritten but understood) measure, prior to the main movement on count 1.
51
6
POSITIONS OF THE FEET
POSITIONS OF THE FEET ON THE FLOOR
The five positions of the feet are part of the European balletic heritage. Although not used so strictly in non-western theatre dance, clear placement of the feet requires clear indica-tions in changing from one position to another. Historically the standard number of posi-tions in classical ballet is five, although some schools include a sixth. These positions are also used to some degree in contemporary dance and in other forms. The most familiar terminology is given here as a guide.
THE CLOSED POSITIONS (FEET TOGETHER) The normal standing position is generally understood to be with the feet together, side by side. The center of weight is between the two feet. Fig. 59a is the basic statement for feet to-gether. In examples 59b-e this position is illustrated with the balletic turnout (90°), 59b; with a moderate turnout (45°), 59c; with parallel feet, 59d; and with in-turned feet, a less usual variation, 5ge. Rotation of the legs is not stated in the notation of the positions that follow; leg rotation is given in Chapter 17.
This basic stance varies in that some people (and some dance cultures) stand with the
59
feet touching, while for others the feet are slightly apart, placed under the hips. Ex. 59f provides the statement that the legs are touching; in (g) the feet are slightly apart.
ITIIJ ~ ~\J)~ a b c d e
[ill] nrn f g
CHAPTER 6 POSITIONS OF THE FEET 53
First Position In Western dance the feet are understood to be as close as possible to the point where the line of the center of weight (the plumb line) meets the floor, as shown in 59b-d. Any spe-cific rotation of the legs (not written here, but necessary in stating balletic and other movement styles) does not change the basic relationship of the supports one to another or to the center of weight. The 'false' first position referred to by Feuillet, where the feet are turned in, as in 5ge, is written with the same place direction symbols, but because of the inward leg rotation, the toes are touching instead of the heels. If legs are parallel, the inner edges of the feet will touch. With marked outward rotation it is the heels that touch. (See Fig. 68d for the appropriate pins to use when the side-by-side relationship of the feet needs to be specified.)
Third Position This position is basically the same as first in that the supports are directly beneath the cen-ter of weight, that is, in place. The difference lies in the relation of the extremity of the legs, i.e. the feet, one being diagonally in front of the other. A black pin is used to show this rela-tionship, the point of the pin indicating the appropriate diagonal relationship. The posi-tion can be described in terms of one foot being diagonally in front, 60a, or the other foot being diagonally behind, 60b. The choice depends on which foot is active. Both pins are used, 60c, when both feet are active at the same time, as when the dancer springs up and changes the foot position on landing. The illustrations here show third position with the right foot in front. Third position with the left foot in front is the same, but reversed later-ally. In writing starting positions only one pin is needed, although both can be shown.
or G1lJ or
a b c 60
Change in the leg rotation used, illustrated in 60d-f, gives a very different look, but each is still the same basic position, the same relationship of the two legs.
~ 60d e f
Fifth Position Fifth position is basically the same as first position in that both supports are in place, but here one foot is directly in front of the other. To show this, the black pin points directly for-ward or backward. Fifth position can be described as having one foot in front, 61a, or as having the other behind, 61b, depending on which foot is active. When both feet are active, both pins are used, 61c. As mentioned, only one pin is needed for a starting position. The choice of which pin to state is usually determined by which leg begins the next movement. The illustrations give fifth position with the right foot in front.
54 LABANOTATION
or or
a b c 61
Note the different effect produced by changes in leg rotation, 61d-f.
61d e f
OPEN POSITIONS OF THE FEET (FEET APART) In open positions the feet are apart and place (directly beneath the center of weight) lies exactly between the two feet. In the diagrams here 'X' marks place. These foot illustrations are drawn with a comfortable degree of turnout. This leg rotation has not been indicated in the notation, only the basic position is given.
Second Position In second position, each support is to the side of center, the right foot to the right, the left foot to the left. The symbols appear in the support columns as for all weight-bearing indications.
The Fourth Positions The question of terminology arises here as differences exist in what is termed 'fourth' position and some schools add a sixth position. In notation the ambigu-ity of terminology can be dispensed with since the ac-tion itself is written. The following possibilities are those most commonly met.
Fourth Position Opposite First Fig. 63a shows the simple fourth position taken as though opening out from first position. The heels are lined up on either side of the center line of the body, just as they are in first position. In ballet this position is called fourth ouverte or open fourth.
Fourth Position Opposite Third Fig. 63b shows a fourth position taken as though opening out from third position.
62
63a
63b
tJ , , . jI. !
~:
[5llJ
, , )( ,
CHAPTER 6
Fourth Position Opposite Fifth Fig. 63c shows a fourth position taken as though open-ing out from fifth position. The centerline of the body extends through the center of each foot. In ballet this position is commonly called fourth croisee or crossed fourth.
The Diagonal Positions In certain forms of dance the diagonal positions are used.
63c
The Open Diagonal Position Fig. 64a illustrates the open diagonal position (some-times called an open fourth position). Each foot has a diagonal relationship to place.
The Crossed Diagonal Position Fig. 64b shows the crossed diagonal position in which the right foot is in the left forward diagonal relation to place, and the left foot is in the right backward diago-nal relation to place. To perform this correctly the body should not turn, otherwise the crossing effect is lost.
64a
The Crossed Second Position In the crossed second position, familiar to us in folk dance and children's games, the black pin shows which leg is crossed in front or which behind. In Fig. 65 the left leg is in front. To show the feet on the true lateral center line, the pins: ---e or __ must be added.
64b
CHANGE OF LEVEL IN POSITIONS OF THE FEET The position of the feet must be restated for each change of level. Low level is comparable to a half leg bend (ballet demi-plie), and high level to a rise on the half toe (releve). The full leg bend or deep knee bend (grand plie) is written with an additional indication, as explained on page 152.
66a Start in 2nd position on the half toe, knees straight; then lower the heels to a normal
standing position.
b Start in 4th position, left foot in
front in low level. Rise to half toe and straighten the knees at
the same time.
65
POSITIONS OF THE FEET 55
Start in 3rd, right foot front; bend knees, remaining in 3rd.
56 LABANOTATION
66d
In each of these examples, the feet do not move from the estab-lished position. Although in 66c and Cd) the feet do not move, we need to restate the pins for third and fifth positions. Without the pin, the position would become a first position. For a starting posi-tion only one pin is needed and to retain such a position only the same pin is needed. 5th position, left foot
front: start with legs bent, then straighten.
Mixed Levels in an Open Position In an open position of the feet, a different level can occur on each support. When the levels are the same, the weight is placed equally on both feet. When one support is lower than the other, the center of weight will be closer to the lower support.
67a b
INDICATION OF ACTIVE FOOT IN CLOSING In closing into a third or fifth position, the pin is written for the foot that actively does the closing.
After the step forward, the left foot closes into 5th
position
From 1st position, while rising, the right foot
moves into 5th
68a
Where a change to first position occurs and it is not obvious from the context which foot should move, the pin for the sideward relationship of the feet must be added to show which foot makes the adjustment. Fig. 68c shows first position as usually written while (d) shows the fully stated lateral relationship of the legs.
68c
b
d
Note the use of the sideward relationship pin in the following example where without it the meaning of the diagram is ambiguous.
A change from 5th position to 1st. No indication is given as to which foot is
to move into 1st.
68e
In the change from 5th to Ij 1st, the right foot makes
the adjustment. 1 ..
f
In a rise (releve) in fifth position, it is usual for one foot to adjust so that the feet are neatly one in front of the other at the end of the rise. In lowering, an adjustment must also be made.
CHAPTER 6 POSITIONS OF THE FEET 57
The right foot adjusts each time to form a neat
5th position
68g
The left foot adjusts for each change oflevel
(releve and plie)
For a rise in fifth where neither foot adjusts, see page 59.
3 69a 4
Balance step (balance) and pas de
basque (simple form)
READING MATERIAL - USE OF THE PINS
4 b 4
Tightrope walking
2 c 4
Uneven rhythm
See page 47 for notes on reading.
h
4 d 4
58 LABANOTATION
TIGHTROPE WALKING In normal forward walking each foot is placed on a track in line with its own hip. Walking on the center line, one foot in front of the other, as in tightrope walking, is shown by using black pins which indicate this relationship.
70a b c
Fig. 70a shows tightrope walking, or walking on a centerline. Each foot is placed in front of or behind the other. In (b) the steps are all in place, but each foot is placed directly in front of the other foot. As a result, there will be a slight traveling forward. The amount of this traveling will depend on the rotation of the legs. If they are very turned out as in ballet, the distance covered will be only the width of the foot, but if the feet are parallel, it will be a foot length for each step. Fig. 70c shows the same pattern performed in high level.
TRANSITIONS: OPEN AND CLOSED POSITIONS
RETENTION OF A PREVIOUS POINT OF SUPPORT When there is no change of level the hold sign: '0' is used to indicate that the foot remains on the ground carrying weight.
71a Stepping out to 2nd position
then back to 1st
b Stepping from
one 4th position into another
c Stepping into 2nd then 4th
d Stepping into 5th position
Where a change of level occurs, the hold sign cannot be used and a direction symbol must be written. Which direction symbol should be used depends on whether the action is described as (a) Motion - the movement that produces the new position, or (b) Destina-tion - the end result, the position to be reached.
MOVEMENT DESCRIPTION, POSITION DESCRIPTION As explained in Chapter 4, as a rule steps (the path of the center of gravity) and changes in positions of the feet are written in terms of motion away from the previous point of sup-port, while gestures are written in terms of destination, movement to established points. Finer descriptions of shift of weight from one position to another are written in terms of the movement of the center of gravity (movement description). Writing the end result,
CHAPTER 6 POSITIONS OF THE FEET 59
that is, position writing for the feet, however, can be more suitable even for advanced scores.
The Caret - Position Writing When choosing to write supports (transferences of weight) in terms of destination (the new position to be reached), how the position is reached requires the use of a caret: < or > . The basic meaning of the caret is 'the same'.
For supports the caret provides the following statement: "this foot is to keep to the same spot where it is at this moment (or where it was most recently)." A good example of a change in support best described through the use of the caret is a rise in fifth position in which neither foot is to be displaced. In writing such a rise, if no pin is written, 72a, the fifth position adjusts to a first position. Which foot adjusts can be shown by anchoring the other foot with a caret, 72b, or the sideward pin of 72c can be used. If one pin is used, it in-dicates which foot actively adjusts to form a neat fifth position, 72d. If two pins are used they indicate that both feet adjust. (Note that this can only be done with a slight spring.) If from a fifth position a rise is to occur in which neither foot adjusts, two carets are needed to anchor both feet to the ground, 72e. (See Appendix note 2.)
b c A rise changing to 1st position.
Either foot may adjust. The right foot adjusts into 1st.
(The left foot remains where it is.) The right foot adjusts into 1st, shown
by the sideward relationship pin.
The right foot adjusts to continue the 5th position.
Stepping from Closed to Open Positions
Neither foot adjusts; the balls of the feet remain where they are.
Fig. 73a states a simple opening out from first to second position by step- rrrr ping with the right foot; there is no change of level. This basic action will . be used in the following discussions. Where a change of level occurs 0
while stepping out into an open position, a direction symbol must be written instead of a hold sign, and a choice must be made between 73a .. movement description and position writing.
Movement Description. To finish in second position changing to low level, both legs must bend, the left staying where it is and the right taking a low step to the right. This ac-tion is correctly stated in 73b.
To understand the writing of 73b, which produced a second position with bent legs, we must first see that it is a combination of (c) and (d) happening simultaneously. In 73c the
60 LABANOTATION
c d~ weight is lowered while remaining over the left support. Fig. 73d states that the weight is lowered while it is transferred completely to the right leg. When these two actions occur together, the center of weight moves sideward only half way, to a point midway between the two feet. Once the new position has been reached, any further change in the level of that position is written as usual (see Fig. 66).
73e f g Step back with the right leg
into a high 4th position, then lower to middle level.
Step forward with the left leg into a low 4th position,
then rise.
Step with the right foot into a high crossed diagonal position,
then lower to middle level.
In all these examples it should be noted that the foot takes a normal-sized step in the stated direction but the center of gravity moves only half that distance.
With Change of Level: Position Description. In position writing, the destination to be reached is written and the caret is used to indicate how this destination was achieved, that is, which foot does not move.
Fig. 74a shows a change into a low second position. The caret placed ~
next to the side symbol for the left foot states that the left support is the same, i.e. the left foot is to remain where it is. Therefore, the right foot steps out to form the new position. . .
Once the position is established, any further change of level in the 74a same position does not require a caret, as illustrated in 74b, (c), and (d), which are the same as 73e, (£), and (g).
74b c d
Stepping from One Open Position to Another: Position Description Where no change oflevel occurs, the change in stepping from one open position into an-other can be written with the hold sign. In 75a the right foot holds while the left steps for-
CHAPTER 6 POSITIONS OF THE FEET
ward into fourth, then the right holds while the left steps back into fourth. In (b) the same progression involves changes in level and so it is written as position writing with a caret.
Stepping from One Open Position to Another: Movement Description
75a
For the movement description of changes from one open position to an-other, the place symbol is used as a convention to indicate which foot re-mains where it was. Thus in 75c the right foot remains where it was as the leg bends and the left foot steps forward. It is again the right foot that re-mains where it was while the left steps backward, both legs changing to a high level support.
Stepping from Open into Closed Positions
b
75c
The hold sign is used to show which foot remains where it is. The direction symbol shows which foot moves to achieve the position.
The right foot steps into place next to
the left foot
76a ~ The left foot steps into place next to
the right foot
b
In the starting position of 76a, place is directly between the two feet. In the process of picking up the right foot to step, the center of weight automatically shifts to the left foot, and the direction place goes with it. This adjustment (shift) is understood and in simple examples need not be specifically written.
With Change of Level: Position Description. The transition from an open position into a closed position involving a change in level can be described simply through position writing and use of the caret.
77a ~ From a low 2nd position
close the right foot to the left in middle level
b From a high 4th position
close the right foot to the left bending the legs
From an open diagonal position close the left foot to the right while
rising
From a low 2nd position, the right foot closes next to the left foot, as shown
by the sideward pin
With Change of Level: Movement Description. In closing the feet together from an open position with a change of level, the movement description needs to show the center
61
62 LABANOTATION
of weight shifting over to one support before the other closes in. Fig. 7Sa illustrates a low second position (i), followed by a shift of weight to the left foot coming up to middle level (ii), then the right foot closing to the left (iii). This two-part action of shifting and closing may involve specific timing for each part of the action. The movement description for Fig. 77a would be 7Sb. In this example the shift and the closing are shown as separated ac-tions. A more fluent performance is shown in 7Sc. Here the right foot is closing into place before the shift has ended. The timing of the weight shift and of the closing may vary (see Figs. Sla-d for variations in timing). The movement description for 77b would be 7Sd, and that for 77c would be 7Se.
(iii) l~ jf\ or
(ii)
7Sa (i) n b c d
SHIFT OF WEIGHT
Unwritten Shifts of Weight Fig. 79a states simply that the weight is held on the left foot but not on the right, thus the shift over to the left foot is understood. The same is true of 79b.
e
79a
The shift of weight, which must occur prior to a step, is often auto-matically understood and so need not be written. In 79c the feet start ~ together with the weight equally on both feet. On count 1 there is a step 0
forward on the right foot. The right foot must first be freed of weight in order to take this step. Therefore, just before count 1 the weight will 79b .. shift completely over to the left foot. Spatially this is such a small shift that it is almost unnoticeable and it need not be written in the notation. The same shift can occur in 79d, where the step on the right foot is in place.
When starting from an open position, as in 7ge, the shift of weight be-fore taking a step is larger. Here also the shift to the left foot is understood and need not be specifically written. The direction of the forward step will be judged from the new position of the center of gravity over the left foot. This same understood shift of weight occurs in a step in place, following an open position of the feet. In 79f the right foot steps in place next to the left foot.
Fig. 79g also shows the right foot stepping next to the left foot, in place, but in this example the weight ends on both feet, as indicated by the hold sign.
79d
79f
79, ~
CHAPTER 6 POSITIONS OF THE FEET 63
Written Shifts of Weight The following movement examples illustrate when the shift of weight must be specifically indicated. Because of the established rule, the simple statement of Fig. 80a is in-terpreted as a simple step in place on the right foot in low level. In 80b a sinking motion on the right leg should fol-
80a low a start in first position. To show that this is a shift of weight and not a step in place, the caret is used.
A caret must also be written when the weight is shifted to one foot after an open position on both feet. In 80c the weight is shifted from sec-ond position completely to the right foot. The movement is one of the center of gravity moving to the side, lowering as it shifts. The caret is used to indicate that this is not a new step, because the foot is not lifted, as it would be prior to stepping. Without the caret a step is expected.
In 80d the same action has been written as its final result. The position reached is a support on the right leg in place; therefore the place symbol is used and the caret indicates that the right foot does not move.
It is the direction symbols used that reveal whether the description is in terms of a movement or a position. Note that the caret always refers to a previous indication. In shifts of weight it shows that a previous partial support becomes a total support or vice versa.
Timing and Change of Level in a Shift of Weight
80c
80d
tE Movement Description
~ Position Writing
Fig. 81a is the notation of the action described in Fig. 78a. Following a start in low second position, the weight shifts to the left foot on count 1 while coming to middle level. On count 2 the right foot closes to the left. Slight variations on this same movement pattern are now explored in 81a-j.
81a b Shift the weight over to the left foot while
remaining in low level. Straighten on
the closing.
c
The shift of weight is slower and the closing and straightening are
faster.
Where a space occurs between a careted reference and the previous support, the caret is not elongated but attached to the new indication where its message is required. This is illustrated in 81e in which there is a pause between the second position and the shift of weight to the left foot.
From these examples we see that a range of subtle variations can be
d The shift of weight
is fast while the straightening and closing are slower.
81e
shown for such a movement. Illustrated below are some of the possible variations that might occur if 81£, which is written in position description, were written in movement description instead. Once the actual movement is described, questions concerning tim-
64 LABANOTATION
ing for the change of level as well as timing for the shift of weight before the new fourth position must be answered specifically.
Figs. 8Ig, (h), (i), and (j), each provide a subtle variation on the step pattern described simply in 81£. Such subtle description is often not needed.
2 2 2 2 2
81£ g h
READING EXAMPLES Stepping into Open Positions: Shift of Weight.
Figs. 82a and (c) are movement writing; 82b and (d) use position writing. Note that 82a and (b) are the same spatial pattern.
6
4 4 4 5
4
3 3 3
3
3
2 2 2 2
4 2
3 3
2 2
4 4 4 3
82a 4 b 4 c 4 d 4
7 AERIAL STEPS (SPRINGING)
SUPPORT AND ABSENCE OF SUPPORT
A gap between movement symbols means an absence of movement. In the support col-umn, however, a special convention is applied: a gap between movement symbols means an absence of support. Where no movement symbol is written in the support column and there is to be no spring, the hold sign: '0' is written to keep the weight on the ground.
83a Continuous steps, the weight supported on
the feet
AERIAL STEPS, SPRINGS
b A run. The gap indicates no support; the weight
leaves the ground.
o
c Steps with pauses
between
The term 'springs' is used here as a generic term referring to all modes of unsupported movement, i.e. aerial steps, steps of elevation which spring into the air. The commonly used terms 'jumps,' 'jumping,' can be misleading as the term 'a jump' is used for the specific form given in 85a and 'jumping' should refer to a series of such springs.
The Basic Rule Regarding Springs Springing into the air is written by leaving a space in both support columns. As long as the weight is shown to have a support, a spring does not occur.
The amount of space left between support symbols indicates how long the body is in the air. This may be momentary, or for one or more beats. The longer the space, the longer the time spent in the air. This time may be used to spring higher or travel farther.
66 LABANOTATION
S4a b A moment spent in the air,
earthbound springs
d Half the beat spent in the air, a comfortable rising and landing
e f __
Rebound springs, most of the time spent in the air
Fig. S4a shows a simple run; (c) and (e) show leaps with (e) the more airborne.
THE WRITING CONVENTION Through the established convention of leaving the support columns blank, the complex action of the legs required in rising off the ground and returning to it can be written sim-ply. With this rule the level of supports and the time spent in the air indicate the adjust-ments necessary for small springs, close to the ground, and for high springs using the physical 'springboard.' Simple statements suffice without the need for complex details.
TYPES OF SPRINGS For purposes of analysis, springs fall into two general categories:
Minor Springs Simple unadorned steps such as those that occur in many folk dances need only be described by gaps between symbols in the support column. The free legs are used in a simple, unempha-sized way and so need not be described.
Major Springs In larger springs the use of the legs while in the air is often of particular importance. These include jumps in which the legs are spread or the knees pulled up. In such cases it is necessary to state what the legs do, and so leg gestures must be written. Two leg gestures will cancel any previous support on the feet. A ges-ture of the supporting leg will send the body into the air. Only basic springs will be dealt with in this chapter. For springs with leg gestures, see Chapter 10.
The Five Basic Forms
//
Each aerial step, no matter how complicated, belongs to one of five basic forms. If these are recognized from the first, analysis of the more complex types met later on becomes easier.
The terms' assemble' and' sissonne' are borrowed from ballet, because there are no every-day terms for these two forms. However, they exist in all forms of dance, sports, etc. Note: in teaching children, an assemble is sometimes called a 'lump' (a leap ending as a jump), and a sissonne is called a 'jeap' (a jump ending in a leap). Note that in SSf the landing from the sissonne is completed (weight is centered) before the left foot closes. In SSg the landing and closing are blended, centering the weight and bending the leg are completed as the left leg closes.
CHAPTER 7
SSa lump: from both feet to both feet
SSe
o
b ~:fromone foot to the other
Landing can be more sustained
Sissonne: from both feet to one foot
o
c d
AERIAL STEPS
Landing can be more sustained
Hm2: from one foot to the same
Assemble: from one foot to both feet
f
3
2
A closing sissonne (sissonne fermee)
3
2
g
JUMPS USING THE POSITIONS OF THE FEET In jumping from one position of the feet to another, as in the examples below, the feet change their relation to the center, i.e. to place, while the center of weight remains over the same spot.
S6a Jump from feet
together to feet apart (from 1st position to
2nd)
READING MATERIAL
b Jump from 2nd position to 1 st
c Jump from one 5th position to another, both feet adjusting
d Spring from 2nd
position to one foot, landing in place,
beneath center of weight
In all these examples the center of weight stays over the same spot, only the direction and placement of the supports change.
68 LABANOTATION
4
3
4 2
3
2
87a b c d
LEVELS OF JUMPS The levels of supports used in steps are also used in jumps.
Middle Level Jumps are written with middle level supports when there is very little vertical change (rise and fall), the body remaining in the same general vertical area. The weight is supported on the whole foot or with the heel just slightly off the floor. The natural pliancy of the legs is understood because, for springs, middle level does not imply stiff knees.
Slight springs
(jumps) in 2nd position
High Level
88a
Springs (hops) rising slightly off the floor
b
Tiny springs between each
support
c
Springs in high level also use the natural pliancy of the legs, but the weight is on the ball of the foot. Such jumps are basically high level supports with a moment in the air between
Tiny springs in 1st
position
89a
A run in high level, a tiny spring between each step
b
Tiny springs from 4th to
2nd
c
CHAPTER 7 AERIAL STEPS 69
each. The rise from the ground is achieved through use of the toes and by lifting the center of weight. Here knee flexion is slight. Only small springs can occur from high level sup-ports. For a high jump the springboard produced by a low support (bending the legs) is needed.
Low Level As with all aerial steps, when jumps are written with low level supports, the use of the legs depends on how high the jump is. If there is only a moment in the air, the legs do not have time to stretch and the feet will hardly leave the ground.
Where a longer time is spent in the air, it is ex-pected that the legs will extend as part of the springboard action. Whether the legs extend fully with pointed feet depends on the style of dance and degree of training of the performer. For example, high jumps in some African dances often do not have extended knees, ankles, or feet. In classical bal-let such leg extension is expected and trained.
Understood Transition
90a Tiny springs in
low 1st position, the body hardly
rising at all
b A normal-sized jump, half a beat spent in the air
Fig. 90c illustrates how the end of one symbol often includes a preparation for what is coming next. At letter a) the weight is rising so that the feet come off the floor at the start of the 'and' count. At b) the feet contact the floor on landing on count 1. At the end of this symbol, c), the weight is again rising to be in the air at the start of the 'and' count. At d) the feet contact the ground again and now, because nothing follows, the rest of the symbol represents settling into the low support (plie). In 90d the rising through the foot that is part of ballet technique is illustrated. Letter a) shows where weight is being lifted before the feet leave the ground and the whole leg stretches. At b) the weight goes through the ball of the foot of the support on the way to lower-ing and bending the legs at c).
Lifting the Weight from the Feet
2
90c
e d
c b
a
Understood but unwritten preparations
a
d Transitions in level understood but not
written in 90b
A change can be made from one position of the feet to another by lifting the weight off the feet enough for them to move to a new position without a real jump having occurred. This foot action is sometimes called 'snatching'; in ballet it occurs in an echappe (escaping movement) and also in a spring from a low fifth into a high fifth in which both feet adjust. The feet are not usually clear of the floor but no marked sliding need occur. To show this lifting of the weight without lifting the feet clear of the floor at the moment of the prepara-tion for the change, we indicate a partial support by writing action strokes in the leg ges-ture column next to the supports. Degrees of weight-bearing or part of the foot still
70 LABANOTATION
contacting the floor can be shown when a detailed description is needed. Compare 91a and (b) below. In (a) the tiny space between support symbols indicates a slight spring so that the echappe is performed with the feet just clear of the floor. In 91 b no spring occurs but the weight is lifted so that the feet can shoot out simultaneously. In 91c the toes are drawn together in a high fifth by lifting the weight. *
91a b c Echappe in 2nd and close Rise, re/eve in 5th
d The same as 91c, if a pause occurs
In 91d, after a hold sign, the action strokes in both leg gesture and support column at the same time indicate a partial weight from which it is possible to move the legs swiftly.
TRAVELING JUMPS
A direction symbol in the support column indicates traveling of the center of weight. In stepping (transference of weight to a new point of support) the direction in which the cen-ter of gravity travels and the direction in which the foot steps are the same. This holds true for springing from foot to foot; the landing symbol indicates the direction in which the center of weight has traveled. In stepping, the direction of the new support is judged from the previous point of support. In jumps, direction of traveling is judged from the center of weight, which is over the previous support, or, in the case of open positions, below the cen-ter of gravity, i.e. between the supports.
Step to the side. The ~ center of weight moves
to the side.
92a ..
Spring (leap) to the side. The center of weight
moves to the side.
TRAVELING JUMPS: CLOSED POSITIONS OF THE FEET
b
In jumping with the feet together, the center of weight remains over both feet; in terms of direction, the description can be the same as that for jumping on one leg.
It can readily be seen that 93c is a combination of (a) and (b). Jumps in third and fifth position can also be written in this way, as can any spring which, though starting on one foot, or with the feet apart, ends with the feet together.
Direction for landing is judged from the previous 'place'. In 93h 'place' is between the two feet, therefore the two sideward symbols for the landing will result in the feet being together.
'See Appendix B, note 3.
CHAPTER 7
93a Hop on the right leg, traveling to
the right
93d Jump in 5th position, traveling backward
93g Jump from 1st
position into 5th, traveling left
b
e
Hop on the left leg, traveling to
the right
Jump from one 5th position to the other,
traveling forward
h Jump from 2nd
position into 1st, traveling right
TRAVELING JUMPS: OPEN POSITIONS OF THE FEET
AERIAL STEPS
c Jump on both legs,
traveling to the right with the feet together
f Jump in 1st position traveling right for-
ward diagonal
Jump from 2nd position into 1st, traveling forward
In jumping into an open position of the feet, the direction symbols in the support column state the relation of the two supports to the center (place). Here the direction symbols do not state traveling of the center of weight, thus the statement is different from traveling shown by a single step or by a spring that lands on one foot.
94a The support and center of weight move to the right
b The support and center of weight move to the left
c
III lIhJ
The supports move out but the center of weight remains over
the same spot
71
72 LABANOTATION
In most cases traveling of the center of weight in jumps in open positions must be shown by the addition of a path sign.
PATH SIGNS A path sign to show the traveling of the center of weight is placed outside the staff on the right, adjacent to the jump it describes. Short horizontal lines connected by a vertical line as in 95a show traveling on a straight path. The direction of the traveling mo-tion is written inside the broken vertical line, as in 95b. The di-rection indicator is left blank unless one is specifically traveling uphill or downhill as on a slanted ramp.
I ~
1 95c Jumps in 2nd position,
traveling forward
Path for a single Traveling Jump
I ~
1 d
Jumps in 4th position, traveling to the right
T ~
95a b 1 I d 1
e Jumps in 4th and 2nd
positions traveling right forward diagonal
A few forms of traveling jumps can be written either with direction symbols in the support column, as in 96a, or with a path sign, as in 96b. There is little difference in meaning; it is mainly a choice of description. Often the path sign is a clearer statement, compare 96c and 96d. In most instances, traveling occurs only while in the air, therefore a short traveling sign is appropriate, as in 96e and (f). However, a longer traveling sign shows that traveling includes the centering of weight over the new support, i.e. the path concludes at the end of the landing direction symbol, as in 96g and (h).
T ~
or 1
96a b c
or
d
T ~ 1
In certain cases the most direct way to show traveling is with a path sign, as in the fol-lowing examples.
CHAPTER 7 AERIAL STEPS
T T T T [J ~ d [> 1 1 ..l ..l
96e f g h
The path signs are placed on the right side of the staff, outside the column for the head. If there are no indications for the head or for the arms, the path sign can be placed closer to the staff as in these examples. The path starts with the rising into the air and finishes as the weight is centered (ceases to travel) over the new support, i.e. at the end of the landing di-rection symbol.
Landing on the Same Spot Sometimes in jumping from open to closed positions one foot should land on the same spot as that on which it was placed in the previous position. This can be shown by the use of the caret meaning "the same." The action is comparable to that of stepping into or out of an open position of the feet, but in this case the action is sprung rather then stepped. The caret indicates retention of the same spot for that foot. The 'same spot' caret can give a stronger statement, when need be. See Chapter 26, Fig. 686e.
97a In a plain jump, both feet spring apart.
The center of weight remains over the same spot.
b The left foot lands where it was before. The right foot lands to the side while the center of weight travels half that
distance to the right.
As we can see, 97b can be compared to stepping into second position, because the result is the same both for the placement of the feet and for the traveling of the center of weight.
97c In a plain spring from an open position, the landing in place will be on the spot
between the two feet.
d x
Place is designated by the caret as being where the left foot was. Therefore, the foot will come down on that same spot and the center will move left to end over
that support.
When a caret is written for consecutive supports, the foot remains on the floor. In jumping the foot must release because of the spring, but it will return to the same spot. In 97d the landing is written as place, being described as the final position reached.
73
74 LABANOTATION
Fig. 97e shows the movement description of a similar action but does not specify that the foot lands on exactly the same spot. The caret can be used if the same spot is required.
READING STUDY IN TRAVELING SPRINGS
4 4
4
3
2
THE TIMING OF SPRINGS
Take-Off and Landing
8
7
6
5
98
12 16
11 15
10 14
9 13
97e
As mentioned before, the end of the support symbol before a spring shows the moment when the leg leaves the ground, and a prior push-off preparation is understood. In Fig. 99a this is shown by'w'. During the space that follows, a rise into the air is under-
CHAPTER 7 AERIAL STEPS 75
stood to take place and also a falling toward the ground again. This is shown by 'x'. The moment of contact with the ground, the start of a new support (landing) is shown at 'y'. The landing 'z' can be abrupt, as in 99a, where the duration of the shock absorbing ac-tion is short and the position reached is held, or it can be sustained as in 99b, where the length of the landing symbol shows the cushioning effect, the control of landing softly. If this landing is followed by another jump, part of the symbol will be understood to in-elude the preparation for the following jump. Thus as in representations of steps, the exact meaning of the support depends on what follows (see Appendix C, note 4 for exact timing).
y y
99a 99b
On Beat, Off Beat Springs Most forms of springs land on the beat. The dancer's return to the ground, the landing, usually occurs on a relatively strong beat in the music. Off beat springs in which the performer is in the air on the strong musical beat create a different expression and qual-ity. If a spring is to land on the beat, the moment in the air must precede the beat. The space to show this moment in the air must be written before the landing support sym-bol, which is placed on the beat. In offbeat springs, the moment in the air will be on the beat.
lOOa
2
&
&
On beat jumps
SKIPS, GALLOPS
b
2
&
Offbeat jumps
2 2
c d On beat leaps Off beat leaps
A skip can be analyzed as a step followed by a hop, as in lOla, (b), and (c), or as a hop fol-lowed by a step, as in lOld, depending on where one starts the two-part action. But a step-hop pattern is not necessarily a skip. A skip always has an uneven rhythm. A step-hop may have even timing. Note use of arrows to show the even and uneven timing for these steps.
76 LABANOTATION
U
3 <C--
2 & <C-- U
2 <C--
& <C--
<C-- 2 b 4
lOla Even step-hop
<C--<C--
<C-- 2 <C-- da
a <C-- I
6 c 8
Binary skip Ternary skip
Skips, starting with the step
<C--
<C--
<C--
<C--
<C--
d
3
2 da a I
da
Skip, starting with the hop
In lOla the step occurs on count 1, and the hop lands on the '&.' The arrow pointing to the start of each symbol (which gives the rhythm) shows the steps are evenly spaced. If each support were stamped, the regular division could be heard dearly. In 101b an uneven rhythm, as is illustrated by the arrows, is produced in 2/4 meter. This is termed a binary division; the step takes half the count, the moment in the air and the hop landing take the other half (one quarter each). In contrast, 101c shows the same skip pattern written in 6/8 meter with a ternary (three-part) subdivision. The latter is more comfortable to perform and hence more usual for skips. Note the slight difference in the spacing of the arrows be-tween lOlb and (c). In IOld the ternary skip starts with an upbeat hop.
The gallop is similar in rhythmic pattern to the skip but the footwork is a step-leap form. The same foot takes the step each time and the landing after the moment in the air is al-ways on the other foot. Fig. lOle shows a step-dose pattern in the same rhythm and (f) the same pattern
da
a
2
da
a
with the rise into the air after the step that turns it into a gallop. <c-- land
The gallops shown in 101£ in a ternary subdivision can also be performed in a bi-nary rhythm, 101g. All gallops and skips can be done in different directions.
-air -step _land
-air -step
101e Uneven
step-close
In another form of gallop the moment in the air occurs before the traveling step, which is followed immediately by the dos-ing step, as in 101h. The character of the step is altered by this different placement of the rising into the air. Figs. lOlg and (h) are placed side by side for comparison.
101g h Two forms of gallop
f Side gallop (slip step)
_ close
_land
_air
<c-- close
<c-- land _air
CHAPTER 7 AERIAL STEPS 77
LOCOMOTOR PATTERNS The term 'locomotor' is given to all movements in which the center of weight (the body as a whole) progresses across the floor. These movements consist mainly of walking, running, leaping, jumping, galloping, and skip-ping, and their many variations. In reading and writing these, it is important to observe where the moment in the air (the 'air space') occurs, as this may change the 102a
o
basic form of the movement. Note that 102a is a step, Step, hop
hop and 102b a leap, hop, the difference being shown by the gap between the starting support and the first forward symbol.
SPRINGS FOLLOWING HELD SUPPORTS When a spring into the air follows a held support, an action stroke written in the appropriate leg gesture column indicates that the leg is free of weight, thus canceling the previous hold sign. In 103 an action stroke is needed for the right leg to show springing into second position, then an action stroke for each leg is needed to show springing into first. When specific gestures occur, appropriate direction symbols replace the action strokes.
b
READING STUDY IN GALLOPS AND SKIPS 103
6 8
4
3
2
8
7
6
5
104
o
12 16
11 15
10 14
9 13
o
Leap, hop
8
TURNS
PIVOT TURNS
Turning (rotating) is one of the basic forms of movement. It can be performed by individ-ual parts of the body, or by the body as a whole, revolving as a unit, as in a pivot turn. A pivot turn is a revolution around one's own vertical axis. Pivot turns are performed to the right (clockwise) or to the left (counterclockwise or anticlockwise). The symbol for turn-ing is a parallelogram whose slanting lines indicate the direction of the turn.
DIRECTION OF TURN
105, 0 Clockwise
(to the right)
b Counterclockwise
(to the left)
c Right forward
diagonal
d Right turn
Note in 10Sc the difference between the drawing of a diagonal direction symbol in which there is one slanting line indicating the desired direction, and the turn sign, which has two parallel slanting lines, thus indicating the revolving action.
The Composite Turn Sign The composite turn sign, the two turn signs drawn on top of one another as in 106, serves two purposes. For the body-as-a-whole, it can state "turn either 0 right or left;' leaving the choice to the performer, or it can mean "rotated nei-ther in nor out" when applied to parts of the body, gestures of the limbs (see
106 Chapter 17).
CHAPTER 8
GENERAL STATEMENT OF TURNING In Motif Notation the turn sign by itself makes the general statement that such a revolution of the whole body is to be performed. The amount of turning often is not stated, but is left open to the performer. Fig. 107a illustrates a motif (comparable to a 'figure' in music) consisting of turning to the right followed by turning to the left. Fig. 107b states a general movement in the forward direction followed by a turn either to the right or to the left.
SPECIFIC STATEMENT: PLACEMENT ON THE STAFF
107a b
TURNS 79
o U
The turn symbol is used for turns of the body-as-a-whole as well as for rotations or twists of individual parts of the body.
By placing a turn sign in the appropriate column of the staff, the part of the body that is to turn can be indicated. Fig. 108a shows:
1. the support column - turns of the body-as-a-whole; 2. the leg gesture column - rotations (twists) of the leg; 3. the body column - rotations (twists) of the parts of the torso; 4. the arm column - rotations (twists) of the arm.
Rotations can also be shown for specific parts of the body by placing the individual sign for that part in front of the turn sign, as illustrated in 108b and (c).
1\
1\ 108a 4 3 2 I I 2 3 4
Placement of the turn sign on the staff
~ ~
b C Rotations right and then left of the head
Outward and inward twists of the right
lower arm
The following discussion will center on pivot turns. Rotations of the arms and legs are dealt with in Chapter 17, rotations of the torso and its parts in Chapter 18.
In the Support Columns A turn sign placed in the support column indicates a turn of the whole body on its sup-port, usually one foot or the other. During such turns the foot swivels on the floor. To show turning on both feet the symbol is drawn across both support columns. Note the meaning of the following:
80 LABANOTATION
109a A right turn on the right foot
b
DEGREE OF TURN
A left turn on the right foot
c A left turn on the left foot
d A right turn
on the left foot
e A right turn on both feet
f A left turn
on both feet
The amount of turn accomplished is stated within the turn sign. Black pins are used to in-dicate the degree of turn, that is, the relationship of the new front to the front established just before the turn. This previous front is like the number 12 on a clock, and the black pins can be likened to the hands of the clock moving clockwise or counterclockwise through the possible degrees of rotation of 118,114,3/8,112, etc. Note that these degrees are relative, the destination reached by 1/4 turn right would require 3/4 of a turn left.
"-7 ~ @ 7/ 8 8 _ 1. 1. _
4 4 4 4 5 3 1. 5
/8 1 8, /8 1 8, "2 "2
llOa i b i Clockwise (turning to the right) Counterclockwise (turning to the left)
Once a turn has been performed, a new front is established from which the amount of a subsequent turn will be judged. If, before starting a turn, the performer points into the di-rection indicated by the pin, this direction will become the new front. Thus it can be seen that in each case the black pin shows the relation of the new front to the old.
~ =
llla b 1/4 turn to the right 1/2 turn to the right
For both half and full turns the destination is the same whether one turns clockwise or counterclockwise.
ll2a ~ b ~ c d e ~ Full turn right 114 left 3/4 right 118 left 7/8 right
CHAPTER 8 TURNS
112f ~ g ~ h ~ W 1 1/2 turns to 21/8 turns Stating the fraction first or last is an
the right to the left interpretive aid to the reader
As a sign the pin is preferred to the number 1. This is because the latter is not always distin-guishable from other symbols. However, for multiple turns of two or more the number is used, as in 112g.
COMBINATION OF STEPPING AND TURNING A turn can occur before a step, after a step, or during a step.
The Turn as a Preparation for a Step A quick turn, often of only a small degree, frequently occurs just before a step, usually on the musical upbeat. The purpose of such a turn is to face into a new room direction. In performance it is given no importance and occurs without being stressed.
Step as a Preparation for a Turn Where the turning action is important the preceding step is usually fast, the weight being transferred quickly so that the allotted time can be spent turning. Thus the step is not of particular importance, even though it usually occurs on an important beat in the measure.
Blended Step-Turn When one symbol (movement indication) follows another without a break, it is understood that there is no break in the continuity of move-ment. Fig. 113c shows a turn immediately following a step. There is no stop between the two actions; however, they are still clearly separate. To blend the two, that is, to have the one action overlap the other, the sym-
l13a~
113b
bols must be tied by a vertical bow, as explained below. 113c
The Simultaneous Action Bow The simultaneous action bow (a small round vertical bow, 113d) states that two movements of a different nature written one after the other on paper should occur simultaneously. As applied in 113e, the length of this bow indicates the duration of the overlap of the two actions of stepping and turning. The longer the bow, the more overlap, as in ll3f and (g). In most such blended step-turn actions, the foot is placed on the floor
ll3d ) e
in preparation for the step before the turning action begins, so that the direction of the step is clear. To show this, the bow is not started until after the start of the step. Where a fast step leads into a turn, the body tends naturally to perform some overlap even when none is written. To stress such overlap and the resulting smoothness, the bow can be written as in
81
82 LABANOTATION
ll3h. A total overlap would be written as (i). Because this bow is so space-consuming, the convention has been established that a very small bow, as in 113j, too small to have time significance, will mean total overlap. Other possibilities in combining turns with steps are given in Figs. 123 and 141.
ll3f g h
READING STUDY IN STEPS WITH PIVOT TURNS This study presents some basic rumba patterns found in ballroom dancing. No style for exact performance is given, only the outline of the pattern of the steps.
4 4
4
3
2
8
7
6
5
Fig. 114
o
12 16
11 15
10 14
9 13
CHAPTER 8 TURNS 83
LEVEL OF PIVOT TURNS A turn is performed in the same level as the previous step or support. In low and middle level the heel is raised enough to avoid undue friction. This slight shift in weight placement toward the ball is understood and not written.
llSa 00 b rn c ~ 1/4 turn left in 1/4 turn right 1/2 turn left in middle level in low level high level
Change of Level During a Turn If there is a change of level during a turn, it can be shown by shading the turn sign. The shape of the parallelogram is kept intact. When a change of level occurs at the start of a turn, the beginning of the turn sign is shaded. When it occurs at the end, the end is shaded. When level change occurs throughout the turning action, the whole sign is shaded, but a segment in the middle must be left blank for the pin showing the degree of turn. It is also possible to write the change of level as a support sign in place and to tie this indication to the turn sign with the long simultaneous bow, encompassing both symbols, to indicate that the two happen at the same time. This usage is correct but not generally preferred; the more direct statement of shading the turn sign is recommended.
There may be more than one change of level during a turn, as in 116m. Space must be left for the pin.
nl or rn ll6a b Rising at the start of the turn
ll6e f End turning in middle
level
g h Sink at end of the turn
lU or ~ c d --Sinking at the start of the turn
Rise throughout the turn
k Sink throughout the
turn
Note the correct drawing of the slanting lines for high and low level, and the method of indicating middle level as in 116n, (0), and (p).
84 LABANOTATION
116m
[i] n o p
PIVOT TURNS ON ONE FOOT Although stepping and turning appears in various dance cultures around the world, a complete pivot turn on one foot, called a pirouette in classical ballet, is a form for which the familiar ballet terms will be given here. A pirouette can start from any of the positions of the feet. In the typical examples given below, no indications have been stated for the free leg, which may be in any direction, though in ballet it is usually placed with the foot close to the supporting leg. For such pivots the terms 'outside turn' and 'inside turn' are used. An 'inside turn' is a turn on the right foot to the right, or on the left foot to the left. An 'outside turn' is a turn on the right foot to the left or on the left foot to the right.
li7a b c d 'Outside' turn (outward,
en dehors) from 5th position
'Inside' turn (inward, en dedans) starting
on one leg
Double 'outside' turn from 4th position
ending in 5th
Triple 'outside' turn starting from 2nd position
Pivot Between Two Points A combination of step turns can, on being repeated, produce pivoting around two points, as in 118a and (b). Note the traveling pattern produced by steps combined with half turns in 118c and (d).
1I8a
Forward steps followed by half turns produce pivoting around two points, but no
progression in space.
Chain of Turns
1I8c
Alternating the direction of the turn does not change the
space pattern established in 118c.
d
A continuous progression in space occurs when steps taken in opposite directions are combined with turning in the same direction, as in the examples below. A common form of chain of steps (known in ballet as petits tours, enchaine or deboule turns) uses steps to the
CHAPTER 8 TURNS 85
side with a half pivot turn between each step, turning always into the same direction. Such turns are often composed of steps in high level as in 119b and are usually performed quickly.
119a b --- c d A chain of turns A series of Another way to A progression on a The same
traveling on a enchaine turns perform enchaine straight path with sequence with a straight path turns turns to the right change oflevel
Step-Close Turns A full turn accomplished by a step turn, followed by closing and taking weight on the other foot (called pose-coupe, or pique-coupe turns in ballet), appears to be a full turn performed on the foot that steps out, the closing action occurring afterward, as is written in 120a. In practice, however, part of the turn is taken on the foot that closes in order to prepare for the following turn and produce an unbroken flow of turning action. Fig. 120b shows a sin-gle pose (pique) turn and (c) a double. No position is given here for the free leg, which can be in any direction but is usually held close to the supporting leg.
120a b A step turn, close A single pose (pique) turn
SLOW TURNS ON ONE FOOT In a slow turn on one foot (called a promenade in some ballet termi-nology) the turning action is never interrupted. During the turn, the heel is raised and lowered momentarily several times to assist the turning action, but this raising and lowering is only written when il-lustrating the technique or if timing is important in the choreography.
PIVOT TURNS ON TWO FEET
C
A double pose turn
121
A pivot turn on two feet is a swivel in which both feet remain where they are. The swivel-ing action normally occurs on the balls of the feet, rather than the heels. The turn sign is
86 LABANOTATION
written across both support columns. For clarity in explaining these examples, the end position resulting from the turn has been written.
122a
End ~ T
A swivel from 4th to 4th in high level
INTERWOVEN TURNS
b
End, j~
Swivels starting in 2nd and finishing with the legs crossed
c
An interwoven turn can start on two feet and finish on one, or it can start on one foot and finish on two. In 123a a low level swivel turn starts from fourth position and ends turning only on the right foot. Altogether one full turn is performed. In 123b the same turn occurs with a change in level. Here the swivel starts in middle level and then rises as the weight goes over the right foot. When the turn starts on one foot and continues on two, the second foot must be placed on the floor. Just when and where this support takes place must usually be indicated. In 123c a side step is followed immediately by a pivot turn on that foot. Then, while continuing to turn, the left foot is placed in front of the right and the turn continues on two feet. One full turn results. In 123d this same kind of
123a
sustained turn (called an assemble soutenu turn), is writ-ten with more precise detail. Starting with a step in low 123c level, the turn rises as the second foot takes on weight. The turn then continues on both feet until, toward the
End ~
A swivel from one 5th position to the other
1
b
d Soutenu turn (Assemble
soutenu turn)
end of the action, all the weight is taken over by the left foot so that the right is free to be closed neatly into fifth position. In this example the amount of turn has been broken down for each part of the action, 114, 112, 114, but there is no break in the flow of turning and a single full turn is thus achieved.
CONTINUOUS TURNING Where continuous turning is combined with a change of level, as in 124a, it may be better to place the turning action in the inner subsidiary column (ISC), as in 124b. Here the hor-izontal staple shows the ISC to be an additional support column. Following the forward step, a continuous rising and lowering while turning occurs on that support. To achieve
CHAPTER 8 TURNS 87
continuous turning on one foot, there will be a blend of non-swivel and swivel turning. This happens naturally and does not need to be spelled out. Fig. 124c shows placement of the turn sign outside the staff. If there are accompanying body and arm movements, this placement farther out may not be so easy to read in relation to the steps. In 124a, during the continuity of turning, the amount of turning for each segment has been stated. Such detailed analysis is often not required.
v; /
!
124a b c ---
Fig. 124d shows steps in place constantly turning, the amount of turn for each step being stated. When such a breakdown is unnecessary and only an overall statement is needed showing how much turning is achieved, the action of constant pivoting can be written in the ISC, as in 124e. Here the turn sign is stapled to both support columns to take care of the change in weight placement. The turning action can also be placed out-side, as in 124f. In 124g, a box waltz pattern is shown with continuous turning to the right, the turning action here being written outside the staff (beyond indications of arm and head actions, where these exist). The performer will turn continuously on each step. In this example no degree of turning has been shown; this is left open to the reader.
124d e f __ g --
TURNS IN THE AIR
A turn in the air involves turning the whole body in an unsupported state. To indicate a turn in the air, the turn sign is written across both support columns and must be accompa-nied by action strokes or by direction symbols in the leg gesture columns. These indicate that both legs are in the air, as in 125c and (d). Compare these with 125a and (b). (See Chapter 10 for jumps with leg gestures.)
88 LABANOTATION
12Sa A jump without special gestures
b A pivot turn on
both feet (a swivel)
c A turn in the air, no
special gestures
d A turn in the air
with special gestures
Each of the five basic forms of aerial steps can be performed with turns. In performing aerial turns which travel, the direction of traveling is judged according to the front after the turn is completed, just as the direction of a step following a pivot turn is judged after the turn has been completed. The following examples show hop, leap, assemble, and sissonne turns as well as a turning skip.
12Se f __ g h Step, hop turn Step, leap turn Step, assemble turn Sissonne turn Skip turn
INTERWOVEN AERIAL TURNS The actions of turning on the floor and in the air can be interwoven. It is possible to start turning on foot and then to rise into the air continuing to turn. It is also possible to start with a turn in the air and to continue to turn after landing. Note where the turn sign goes across both columns (the moment of rising into the air); this is also when the second leg gesture or air line is needed.
126a An assemble turn. The turn starts on the right foot and then continues in
the air without any break.
b A sissonne turn traveling to the right which continues to turn after landing on the right foot.
A continuous turning leap, familiar in ice skating.
Note the use of the simultaneous action bow in 126b and (c) to show that the turning action does not stop.
FRONT SIGNS
Where movements are performed in a defined area, such as a room or stage, at some point there is a need to relate to that area, to state toward which direction in the room the per-
CHAPTER 8 TURNS 89
former's own personal front is facing. The defined area may be circular, it may also be a field in which nearby trees or buildings make it possible to establish which direction shall be designated as the front, which the back, and so on, of the effective stage.
A Defined Area The sign for an area is: D . Regardless of the shape of a room, a stage, or performance area, in relation to the directions in the defined area, one establishes an imaginary square set at its center. Once the front of the area had been specified, the other main directions fall into place: the back, the right side, the left side, and the four diagonal directions in between - the right-front, the left-front, the right-back, the left-back diagonals.
The Constant Directions in the Defined Area When a group of performers is spaced around the room or stage and all face one of these constant room directions, they face a direction parallel to one arm of the central cross of directions in the room. Fig. 127a shows eight dancers spread around the stage. Each is fac-ing the audience, i.e. the established Front of the stage as a defined area. The white pin: !,
represents a female performer (see page 324). The point of the pin indicates where she is facing. In orientating herself to this cross of directions, each performer must imagine that she has a duplicate cross of directions centered in her own body. This cross of directions travels with her wherever she goes, but it does not turn when she turns. For each person the Front direction always points to the established front of the room. Thus it functions as a compass in which the direction north (Front) is constant. The person holding the compass may turn, but its arrow remains pointing in the same direction in the room. Fig. 127b shows a performer centered in such a square compass, with the directions set. In 127c a performer has turned to the right but his frame of reference has not changed. This idea of room directions is familiar to students of ballet who are often told to imagine that they are standing in the center of a perfect square (comparable to Fig. 127b) and are asked to relate their movements to the sides and corners of that square.
Established Front
A
b I
l I I I
l + b l l l b 127a b c 5
THE CONSTANT CROSS OF AXES The system of directions in a defined area is called the Constant Cross of Axes, or the Con-stant Directions in the Room. For short it is called the Constant Cross. The word 'constant' refers to the fact that this cross of directions neither turns nor tilts. It is the most fixed of the systems of reference used (see Chapter 25).
The symbol for this system of reference, Fig. 128, is based on a square for a de-fined area: D combined with a cross for a cross of axes: + . When this system of reference needs specifically to be stated, this symbol serves as a key. 128
90 LABANOTATION
129a
129c
The Constant Cross, centered in the room
,1, ,0,
,1, ,0,
Each dancer within her 'box' is facing front (the audience)
The same principle applies if each dancer faces a diagonal direction. In 12ge each per-former faces downstage right, parallel to the right front direction of the central Constant Cross of Axes.
THE FRONT SIGNS*
b
d
12ge
-$--$-
-$-At each performer's place there exists a
parallel cross of directions
~ r1-l _________ ~ ----cp- [~
All face the Constant right side direction
From the sign for the Constant Cross, 128, are derived the signs for the established direc-tions in the room, which are called the 'Front Signs,' or the 'Stage Direction Signs.' The old term 'facing pins' is no longer considered appropriate for this idea.
In various schools of dance these directions in the room have been given numbers. Be-cause different systems of numbering exist, Labanotation uses special, visually clear sym-bols. (Note use of a capital F for Front to distinguish this statement of orientation from front related to the body, a front surface, etc.)
l30a The eight established directions in the room
b
c
d
rh The front of the room, t=J = the audience, downstage
[8-= The right side of the room, stage right
The forward right direc-= tion, downstage right
General Use of the Front Signs
e !fl = Upstage (the back)
f 0 = Upstage right, etc.
In Motif Notation where the destination for a change of Front (the new direction to be faced) is more important than the exact movement that produced this change of Front, a simple statement for the movement can be made by means of an action stroke. The per-former is free to find his/her own way of achieving the stated result.
*See Appendix B, note 4.
CHAPTER 8
In 131a the starting Front is given. This states, "Face the back of the room." The performer is then told to perform an action that will result in his facing the front of the room at its conclusion. A turn of some kind must take place. Note that the final direction to be faced is tied to the end of the action stroke, indicating that this is the aim, the desired result of the action. In 131 b the change from facing diagonal left forward to facing the right side is more sudden.
Statement of Front in the Score In Structured Description it is important to tell the reader at
TURNS 91
t8)
131a b
once toward which direction in the room s/he is facing. Thus a hld Front sign usually appears at the start of a score as part of the starting position. The indication is placed to the left, outside ~ ~
any indication for the left arm or hand." In the course of a 132 '[] ~ . . V score, the Front sign is given after each change of Front and also at the start of each new staff so that the reader can pick up the action at any point and know his/her orientation.
Change of Front - Destination Description Each change of Front involves some degree of turn, but if the intent of the turning action is to face another direction, this change can be indicated by placing the new Front sign at the point in the notation where the new Front is achieved. It is understood that the performer will take the shortest route to the new Front. This usage is in the nature of a shorthand, but practical in that the focus of the movement can immediately be stated without the need to determine the timing of the turning action which produces the new Front. It is a useful de-vice for beginners as well as for professional notators' rapid notes.
o
133a t8 Three steps are taken into the right -forward direction, then three into the left -forward
direction
b '[] In changing Front, each jump in 2nd always
lands facing front
In 133a unobtrusive turns occur just before the step into the new room direction; in 133b the adjustment occurs while in the air.
*See Appendix A, note 3.
92 LABANOTATION
Change of Front - Movement Description Where details of a performance are important or when a full de-scription for turning to face into a different stage direction is re-quired, both the turn sign with the degree of turn as well as the Front sign should be given. The manner of performing the re-quired turn, its particular timing, and any accompanying change of level may need to be clearly stated; in such cases the full details for turning must be carefully recorded. Fig. 134 shows a possible variation of 133a, in which the initial change of Front is swift and unimportant. The second turn takes longer and includes a change in level, this feature being important.
Front Signs within Turn Signs When the new Front to be faced in turning is of primary impor-tance and no particular attention need be paid to the degree of rotation, the destination of the turn can be stated directly. The new Front sign is placed within the turn sign, taking the place of 134
3
2
1'0
3
2
u
the black pin. It is not necessary to include the box in stating the appropriate Front sign; only the straight pin, known as a 'tack,' need be written. The directions in which this tack points represent the directions of the Constant Cross.
o
135a i!J A stepping pattern in which the first step
is toward stage right, the next to stage left, and the last again to stage right
0.
b 0] A sissonne pattern traveling toward one diagonal room direction after another
In these examples the degree of turning is not stated; this is because it need not be stressed, there is no need to be aware of it. Although the pin in the turn sign states the new Front, we usually write the Front signs outside the staff on the left to help the reader, who will glance up that column to check the orientation. Here the Front indication on the left is stated at the conclusion of the movement phrase.
Multiple Turns Indicated with Front Signs Where there is more than one turn, it is necessary to state both how many turns occur as well as the resulting change of Front. The manner of performance can be influenced by whether the focus on the new Front takes place at the start or at the end of the turn.
CHAPTER 8
136a B1 Start facing right Front, perform two
turns, then turn to face stage left (a total of2 3/8 turns).
TURNS 93
b 1:8 Start facing left Front. Turn to face right forward and then turn twice more to that
direction (a total of2 114 turns).
READING STUDY IN AERIAL STEPS WITH TURNS This study gives only basic patterns and so lends itself to adaptation in style. It could be a comic character, such as a jester.
[!J
4 8 12
t9 [8-
-8J
Ifl -8J
3 [8- 7 11 [8-
t9
t9 -8J
2 -8J 6 10
4 t9
3
2 t9 [8-
[8- 5 t9 9 [!J
4
4 4 t9
137
94 LABANOTATION
FOCAL POINTS In certain circumstances the directions to be faced do not relate to the directions in the room but to a focal point. This may be the center of a circle or another person, such as one's partner in a couple dance. In movement exercises, the focal point to which the per-former relates may be an apparatus, as for instance a barre. The reader must know whether s/he is facing this focal point, has his/her back to it, or right side to it, and so on.
For group dances, the center of the group is understood to be the focal point; in a circle dance it is the center of the circle. Any person, object, or fixed point in the room can be designated as the focal point. When the focal point is not automatically obvious, it should be stated. (See Appendix B, note 5.)
The indication for a focal point is • . The statement identifying the focal point should be written as a key at the start of the score. It may also appear during the score wherever needed.
138a • = p Focal point is your partner
b .= ~ or • = Barre Focal point is the barre. This can be
indicated either way.
Relation to Focal Point as the Destination of a Turn
c Focal point is
the chair
By placing the black circle for the focal point on the appropriate side or corner of the turn sign, the following instructions can be given:
139a ~ b ~ c ~ d ~ Turn right until the Turn left until the Turn right until the Turn left until the
focal point is in front focal point is to your focal point is behind focal point is at your of you left you left back diagonal
Focal Point as an Orientation (Front) Sign The usual Front signs (room direction indications) are not applicable to scores in which the description must be given in terms of orientating to a focal point. For this need, the focal point sign is combined with the meeting line to indicate the relationship. These indi-cations are placed outside the score to the left.
Starting Position Indications for Focal Point Relationship The meeting line represents the performer. The following examples illustrate the meeting lines in relation to the performer.
140a The front, back, right
and left meeting lines around the
performer
b The diagonal meet-ing lines around the
performer
c .!. Focal point is in front of you, face the focal point
d Focal point is on
your right
e Focal point is on your right front
diagonal
CHAPTER 8
In the starting position of 140f the focal point is in front of you. Following the 1/4 turn to the left, the focal point is at your right side as stated by the new front sign placed outside the staff. In 140g you begin with your left side to the focal point. The slow turn is designated as ending facing the focal point. Here the descrip-tion states the destination of the turn rather than giving the degree of turn that takes place. Indication of the new orientation after the next turn will be to have the focal point behind you
• •
AMALGAMATED STEP AND TURN
TURNS 95
140f ..!.
The action of stepping, transferring weight, and the action of turning can happen simulta-neously, particularly when the movement is not fast. In such a 'blended' turn, while the weight is slowly being transferred, the body is gradually changing front. The body direc-tion into which the weight is transferred changes as the body turns. Where a forward step is combined with a half turn, the step begins in the forward direction but ends as a backward transference of weight. What has not changed is the spatial direction into which the weight is being transferred.
The Basic Space Hold To indicate retention of the same spatial direction during the transference of weight, the indication for a space hold 0 (retention in space) is written within the step symbol.
The turning action can be written in the support column, tied to the step symbol with the simultaneous action bow as in 141a; it can be written in the inner subsidiary column linked to the support column, as in 141b.
-ill -ill ~~
i \
141a rn- b rn- I· .
In 141a the performer starts facing the right side of the room. He/she steps forward, turning constantly during the transference of weight, to end facing the left side of the room. Fig. 141 b describes the same action. In each case there is sliding friction on the floor, the foot swiveling as the weight is transferred. In 141 b the turn sign is placed in the 'a' sub-sidiary column and tied with a small angular bow (staple) to indicate this column is now identified as a support column.
96 LABANOTATION
NON-SWIVEL (FIXED-BASE) TURNS In 142a a 1/8 pivot turn precedes a step. In pivot turns sliding friction on the floor is un-derstood. Where the change of front is very slight, this sliding friction may be negligible, or not occur at all. In (b) the left foot (indicated by the foot sign f placed in the left leg ges-ture column) is shown to have a space hold (retention in space) during the turn and there-fore the turning action will occur in the body above the ankle, i.e. a non-swivel turn. Because the foot has not moved, the left leg will end more turned out, the foot pointing into the same room direction as before. Such a non-swivel (fixed-base) turn has tradition-ally had the nickname of a 'blind turn: Because in this context the space hold is understood to refer to the foot, the indication is usually abbreviated to 142c.
142a ~ b c
For turns up to nearly a half, swiveling can be avoided by preparing the stepping foot with the appropriate amount of rotation as the foot is placed on the floor. The whole body can then rotate above the supporting foot without any sliding friction occurring. The foot on the ground has a space hold, resulting in it remaining pointed in the same spatial direc-tion. In 142d an outward rotation of 45° of the legs, illustrated in the diagrams, is assumed.
The step forward in 142d (with an understood outward rotation of 45°) is followed by 1/8 pivot turn to the right. If there is swiveling on the foot as the turning action occurs, the foot will end turned out 45° (as before) but pointing toward stage right. The footprints il-lustrate the placement of the foot for the step and after the pivot turn, as judged from the dancer's front. In 142e the step is followed by a non-swivel turn, thus the leg will end up in the untwisted state, the foot pointing into the same room direction, as illustrated by the foot prints. In a movement sequence the performer will often anticipate a 'blind turn' by preparing the foot placement with the appropriate leg rotation so that the previous rota-tional state is maintained. Such blind turns occur frequently in ballroom dancing.
o o
142d e
Non-swivel Turn Changed to Swivel In 142f the step forward is followed by a 1/4 non-swivel turn; this is re- 0 leased to be a swivel for the rest of the turn. Note the angular release sign: 'V to cancel the space hold sign. 142f
CHAPTER 8 TURNS 97
SPECIAL INDICATIONS FOR TURN SIGNS
Turning Either Right or Left In a group situation where the performers face into different directions, the instruction given may be for all to turn to face a common focal point or room direction. Each will turn left or right according to which is most suitable (the shortest distance). For this the com-posite turn sign is used. Fig. 143a states a turn right or left to face
the focal point (end with focal point in front of you), while 143b ~ ~ states a turn right or left to face the front of the room. Note: this
b 1.
composite turn sign placed in a gesture column has the meaning of rotation to neither right nor left, i.e. the untwisted state. See Chap- 143a ter 17, Fig. 399c.
Optional Degree of Turn The ad libitum sign I (see Analogy Signs, Chapter 21) placed within the turn sign indicates freedom in the amount of turning to be per-formed. Fig. 144 shows such freedom for a turn in the air.
As Many Turns as Possible
144 ~ Turning as many turns as possible in the given time, that is, turning as fast as possible is in-dicated by using the infinity sign, 145a. It is assumed that the performer will return to the previously established front. (See Appendix B, note 6.)
145a 00 b The infinity sign As many turns as possible
9 ARM GESTURES
THE RANGE OF MOVEMENT FOR ARM GESTURES
Arm movements can be simple or extremely complex. Each form of dance employs a par-ticular carriage of the arms and a characteristic way of moving them. The stylistic differ-ences result from the use of the following in isolation or in combinations: flexion, extension, rotation, deviation, intermediate directions, sequential movement, movement led by a particular part of the upper arm, lower arm or hand. All these possibilities will be explored later. For the present we will be concerned specifically with natural, unstylized gestures.
THE PRINCIPAL DIRECTIONS FOR GESTURES The arm has tremendous spatial freedom; it is restricted only by the presence of the rest of the body and by a natural physical limitation in the backward directions. In moving from the shoulder joint, there are hundreds of points in space to which or through which the extremity can move. Generally speaking, for clarity in movement, dance makes use of the principal directions. These are the twenty-seven directions given on page 22. Certain styles of dance use subtle variations of these principal directions; for example, in classical ballet the arms are not held out in the true side horizontal direction but a point slightly below and slightly forward. These variations may become the standard and take the place of the cardinal directions. Part of the training of a dancer is to achieve the true direction or any designated point in-between, just as a violinist must produce each tone by the careful placement of his fingers on his instrument. The following discussion of arm movements deals with the principal points; intermediate directions are given in Chapter 26.
GESTURES - DESCRIPTION IN TERMS OF DESTINATION Movements for the arms are usually described in terms of the extremity of the limb pass-ing from one point in space (the starting point) to another (the finishing point). The direc-tion symbol written in the arm gesture column states the finishing point or destination. Thus movement for arm gestures is expressed as the path to an established destination.
CHAPTER 9 ARM GESTURES 99
This is in direct contrast to the writing of steps in which the description is given in terms of movement away from the starting point. It is important to recognize the different concepts behind the analysis of gestures and of supports.
Continuous movement for gestures is shown by one direction symbol following an-other without a break. A position results when a limb comes to rest after reaching a point in space. Where no movement indication is given in a gesture column, the limb stays still. An empty space implies no change, an absence of action.
MOVEMENT OF THE WHOLE ARM
The whole arm (the upper arm to the hand taken as a unit) moves from the shoulder. Ges-tures of the whole arm mayor may not include bending and stretching. The individual parts of the arm, the lower arm and hand in particular, may perform separate gestures. These will be discussed after simple gestures and spatial patterns of the whole arm have been considered.
CARRIAGE OF THE ARM In the Laban system, we consider that the normal carriage is relaxed with an easy elbow and wrist. This state is neither bent nor stretched and can best be observed when the arm is down at the side of the body while the performer is standing. The direction in which the palm faces is important because it influences the expressive character of the gesture. Stan-dard palm facing directions and the method of writing specific palm facing indications are given on pages 110 and Ill.
DETERMINING DIRECTION FOR ARM GESTURES Direction and level of arm gestures were analyzed in Chapter 4. Remember that the line between the shoulder and the hand determines direction and level. Therefore shoulder level is horizontal, middle level; above shoulder level is high, and below shoulder level is low. ,
~ ~
146a I Natural oppositional arm movement accompanying
an ordinary walk
Steps with parallel arm movements
c
I ~
One arm moving after the other, then both arms moving
When no direction is indicated in the starting position for the arms, as in 146c, we as-sume that for the upright standing position they are hanging naturally by the side of the body.
100 LABANOTATION
Crossing Arm Gesture When the right arm moves to the left or the left arm moves to the right, it must cross the body. Where no additional indication is given, as in 146b, it is understood to cross in front of the body. If the arm crosses behind the body, the backward pointing black pin must be added, as in 147a. This is the same relationship pin that is used for the positions of the feet. When both arms cross in front, the forward pointing pin is added to show which arm is in front of the other, 147b. This could also be written as 147c. The same with the right arm crossing in front of the left is given in 147d. When both arms cross behind the body, again, an additional pin is added to show which arm is behind the other. In 147e the right arm is behind the left.
147c
147a
l!~ ~
The right arm crosses behind the body
~! ~
The same fully spelled out
PATH IN SPACE
t f! d
The right arm crosses in front of the left (both in
front of the body)
b The left arm crosses in front of the right (both in front of the body)
t ~T1 e ~ ~
The right arm crosses behind the left (both
behind the body)
In moving from one point to the next, the natural tendency for an arm, attached as it is at one end to the shoulder joint, is to move on a curve (on part of an arc). When the points are some distance apart, the intention of a movement may be either for the extremity still to perform a curve, or for it to take the shortest route, i.e. more or less to follow a straight line. The following exploration of possible paths in space for the arms will illustrate when peripheral or central paths are expected.
CHAPTER 9
PERIPHERAL PATHS
Degree of Distance between Points In using the twenty-six principal directions around the body (place being omitted), adjacent points are considered to be at a first -degree distance from one another. Diametrically opposite points are consid-ered to be at a fourth-degree distance, with second and third degrees lying in between, as illustrated in Fig. 148.
ARM GESTURES 101
148
First-Degree Distance. In 149a the arm moves from forward middle to the adjacent right front diagonal point, a first-degree distance. The extremity of the arm, the hand, de-scribes a part of a circle of which the shoulder is the center. This is a peripheral movement, one that moves along the external boundary (as on the periphery of a circle). All move-ments between first-degree points will produce this curved result.
[[] ~ -
149a CD ~ -~~ I / 1 /
1/ b •
Ji The arc produced by 149a (seen from above)
Second-Degree Distance. Fig. 149c shows a quarter circle arc in which the arm moves from forward middle to side middle, a second-degree distance. This movement also pro-duces a peripheral path, illustrated in 149d.
m~ ~ !\ ~ CD ~ d ~-----V ~ \ 149c
In Labanotation it is understood that movement between second-degree points are to be performed without special flexion of the arm so that a peripheral curve results. If the arm is to bend and the hand to follow a straight path, as illustrated in 14ge, the movement follows a transversal path (one running or lying across) that must be written with the addi-tion of the straight path sign, as in (f).
~
!~ 14ge ~ ---- -[;> f
102 LABANOTATION
Third Degree Distance. In 149g a third degree distance is shown. While the points are fairly far apart, the arm extremity will take the curved peripheral path of 149h. Note: this is a change from the 1970 Labanotation Textbook, an ICKL 1985 decision. The extra direc-tion symbol passed through can be written as in (i) or 0), each of which gives a slightly dif-ferent performance in timing and in spatial awareness.
149g
Qj I /
/ /
I /
~- --- --
" " "r:] h
Semicircular Arm Movements. Often an opposite point is reached via another direc-tion. This other direction must be stated. A few examples are given here.
.~ ~ Q Q Q ~ ~ ~ I ~
150a I b I c ~ d ~ e ~ Via forward Via side Via up Via down Horizontally via
side
Circular Arm Movements. For the standard description of movement in terms of direc-tional destination, it is customary to use four direction symbols in addition to the starting location for a complete circle. Because paths to third-degree points are also peripheral, a
ISla Symmetrical arm patterns,
circles
d Large windmill style
movements Parallel arm movements
d
I ~ ~ I
~ I
Full circles, laterally and sagittally
CHAPTER 9 ARM GESTURES 103
circle can be indicated with three symbols, as illustrated in lSld. The special movement analysis and use of path signs for writing circular paths for gestures are dealt with in the Advanced Labanotation book Spatial Variations.
CENTRAL PATHS The term 'central path' refers to arm movements in which the extremity passes close to the body, i.e. to the shoulder, the arm's 'center point.'
Fourth-Degree Distance. In IS2a the arm moves from forward middle to the extreme opposite direction-backward middle. Because of the build of the body, the performance is not a straight path. This requires extra attention and articulation: it is more natural for the extremity to move on a slight curve, a more comfortable path in which the hand passes at a slight distance from the shoulder. Fig. IS2b approximates this path. The elbow flexes in leading the arm backward; towards the end, the wrist bends to keep the hand on this slightly curved path. Neither of these actions within the arm should be at all stressed. The aim is to arrive at the stated destina-tion without emphasis on the path taken. For such movements the term 'Aimed Destination' is used.
IS2a
Other examples of such paths are given here. In each the hand will pass somewhere near the shoulder, though this proximity should not be stressed.
When a sense of passing through center is im-portant, a place symbol is added. In IS3a the hand should pass as closely as possible to the shoulder without actually touching it. This description stresses the use of the center point of direction i.e. place, giving it importance in the movement.
Central Paths between Adjacent Points. Place can also be used to produce central paths in movements between other points, as the follow-ing examples illustrate. Such use of place results in straight-line paths.
IS3b The hand passes through place on its way
to side middle
~ I
b
IS2c Move in the lateral
(side to side) dimension
IS3a
c
Move in the vertical (up-down) dimension
~,. ~~"':I " I I
\'
The hand passes through place on its way to right diagonal back
104 LABANOTATION
TIMING OF ARM MOVEMENTS
The length of a direction symbol describes the amount of time required to reach a stated desti-nation. In 154a the arm takes four counts to lower to forward middle. Its sustained action is spread over these four counts. This notation should not be mistakenly performed as 154b in which the arm reaches forward middle on count 154a one and then holds its position for the three re-maining counts.
LEGATO MOVEMENTS In gestures described by several direction symbols, the reader may mistakenly see these as separate movements, pausing in each direc-tion before going on to the next. When there is no separation be-tween direction symbols, there is no interruption in the continuity of movement. Thus Fig. 155 shows one continuous arm gesture ending on count 4. It should be noted that a very fine space is al-lowed between direction symbols to separate them and for clarity in reading. This very small space has no time significance, it is only
b
a visual aid. 155
STACCATO MOVEMENTS Staccato means separated, and the separation between movements is visually obvious in Labanotation. The following examples show the progression from a slight hesitation be-tween directions to a definite pause and finally to an extremely staccato movement. Note that a very slight gap is needed to show the separation between symbols, such a small gap has no time significance.
156a Legato, a constantly flowing movement
(no timing separation)
b Demi-legato, a slight hesitation between
movements
c Staccato, an equal division between
moving and pausing
d
I ~
Staccatissimo, a very fast, clipped action with long pauses between
CHAPTER 9
READING STUDY IN ARM MOVEMENTS Only the outline is given here; style and expression may be added.
~ 16 I
i'>
~ 15 ~
14
13
I 12 ~
I 11 ~
I 10 ,
I 9 ~
o
Fig. 157
CHANGE OF LEVEL WITHIN ONE SYMBOL
Identical Timing
~ 24 I
o 23 ~
22
21
~ 20 ~
~ 19 I
~ • 18 l:l
~ 17
ARM GESTURES 105
~ 32 I
31 ~
30 ~
I 27 ~
26 ~
25
The same movement may be written in several different ways, the choice of notation sim-ply directs the reader's attention to one or another part of the action as being significant or important. Figs. IS8a, (b), and (c), are three ways of notating the raising of the arm from down to up via side. The first is the simplest; all produce the same end result.
IS8a b c
106 LABANOTATION
In 158b, the intermediate side low and side high directions have been added to the descrip-tion. In 158c, these three side direction symbols have been combined into one longer side symbol showing within it the three levels equally spaced in time. The choice of one description or another depends largely upon whether the performer should be aware of each side level as a separate entity, or whether the continuity of the action should be stressed. Because one sym-bol follows another without the break, there is actually no timing difference between 158a, (b), and (c). Fig. 158b should be performed without interruption, as there is no space between the symbols. The writer must choose the description which best suits the spatial intention of the movement. For general purposes the simplest version, 158a, is preferable.
Variation in Timing A change of level within a direction symbol can indicate variation in the timing of the transition from one level to the next. Note the difference be-tween the following examples. Fig. 159a shows an arm gesture that takes two counts to move to for-ward middle. In 159b, one count is used to move to forward low and one count to go from there to 159a forward middle, producing, in fact, the same tim-ing as (a).
! I
A swift movement to forward low (half a count) with a
slower rising to forward middle I A slow movement to forward low with a swifter rising to
forward middle
159c
A gradual slowing down as the arm passes through forward low to forward middle and
then to forward high
15ge
I
~ I
The reverse timing, with a gradual speeding up on the
way to forward high
I b I
I d I
~ f I
This use of level within one symbol allows for flexibility in showing such variations in
timing. Note the difference in drawing between two symbols fol-
lowing one another closely and one symbol containing a change oflevel. In the case of two symbols, 159g, the separa-tion between them must be large enough to be clearly visible but not so large as to cause a rhythmic change. In drawing one symbol with change oflevel, 159h, there is no break at all and the relative length of the directional indicator is greater.
~ 159g I
Two symbols
h One forward
symbol
CHAPTER 9 ARM GESTURES 107
THE TIMING OF PASSING THROUGH DIRECTIONAL POINTS Frequently in arm movements the path of a gesture may pass several points in space during a given period of time. Where this passage between points is evenly spaced in time, the symbols will be of even length. Where the action is slowed down, the symbols will become longer; where it is quickened, they will become shorter. In such gestures it is important to observe the over-all pattern and the relative lengths of these symbols. Each of the following examples takes three full counts.
~ ~ b I
160a ~ Passing through four
points evenly Passing through five
points evenly Passing through four
points unevenly Passing through five
points unevenly
In 160c the timing is ritardando (slowing down), in 160d, accelerando (speeding up).
The Phrasing Bow Note the use of a vertical phrasing bow in 160a-d. This bow can be used to show the 'unity in thought: in the movement sense, for a series of direction symbols. If separations in phrasing in-volve a very slight pause, this is often shown by a small break between symbols at the conclusion of
~\ ~)
~) a continuous movement. In 161a where no sig- ~
nificant break occurs, the bows inform the reader V how the movement is to be phrased. The slight 161a b gaps between the symbols in 161b indicate a break, a pause in the movement pattern.
SWINGING MOVEMENT A swinging action can vary between a regular pendulous swing, comparable to that of the pendulum of a clock, and an irregular swing, which, making use of gravity, starts with a greater momentum and then dissipates.
Pendulous Swing In most swinging arm movements, the limb makes some use of the force of gravity. In a natural walk such as that in 162a, the arms 'swing' in natural opposition, changing direc-tion on each step or beat. Tempo has an important part to play in a swinging action; a com-fortable tempo produces a natural swinging pattern with little or no effort on the part of the walker. Too slow a tempo involves an effort to hold back the arm swing; too fast a tempo involves an effort to move the arms fast enough.
108 LABANOTATION
The simple pattern shown in 162a is described more exactly in (b). Here the action of passing through place low (down, toward gravity) occurs as each step is being concluded, the new arm direction coincides with the start of the next step. No noticeable pause at the end of each arm movement is indicated. Observe the difference between 162a and (b); 162a is what we believe happens in natural walking, but it will be found that in natural walking the arm reaches its forward or backward destination as the foot contacts the floor and starts to take weight. While the weight is being centered over the new support and the back leg is being freed of weight, the arms pass through place low. The simple pattern of 162c is described more exactly in (d) for the same reason. In (d), we see that the arms fol-low the path of the center of gravity. They are down when the step starts and reach their side destination as the center of gravity reaches its destination.
~ , , ~ ~ ,
162a I I Impulse Swing
• I • I • b I
• I • I • I
~ I ~ I
~ I
A swing that is uneven in its use of time and space, as in 160c, may start with an impulse using a dynamic flow and ebb of energy. The arm relaxes suddenly giving in to (and hence making use of) the pull of gravity; thus the downward path increases in speed. The upward path becomes slower as momentum gradually lessens and the limb, having become in-creasingly controlled, finally comes to rest. A slight pause between the end of one swing and the start of the next is usual.
For a full description of such swings, dynamic indications should be included. An accu-rate description of the correct timing in the use of directions, however, can satisfactorily indicate the swinging pattern. The following examples make use of 3/4 meter that, with its
The arm swing coordi-nates with the lowering and rising action of the
supports
163a
, ~ • • A side-to-side sway
using change of level in the step
~ 0 ~ • •
CHAPTER 9 ARM GESTURES 109
ternary division, is so suitable for swings when played at the right tempo, as is also 6/8 meter (a two-part time with ternary subdivisions).
When reading swings, we must note the over-all pattern - where the swing starts, where it finishes in the measure, and how the directions are to be passed through. A characteristic feature of an impulsive swing is the increasing length of each symbol; after the swift pass-ing through place low, the symbols get longer as the momentum diminishes.
Note the following development of an evenly spaced arm circle into a swing and the variations in the timing of this swing, including the moment it ends.
Fig. l64a shows a continuous circular arm movement performed in three counts; the proportioning is perfectly even. In l64b the movement to place low has become more rapid and each succeeding symbol slightly longer than the previous one to indicate slowing as the points are passed. If this movement were repeated, there would be no pause between circles as the movement fills all of count 3. In l64c the movement is slightly faster, so that there is time for a pause during the last half of count 3. Fig. l64d shows the same swing as (c) but performed in 2/4 meter. It is important to observe that even with the change of meter the relative proportioning of the symbols is the same.
l64a b c d
DETAILS IN PERFORMANCE OF ARM GESTURES
Because of variations in the human build, we cannot consider anyone way of moving or holding the arm as the only natural one. For purposes of notation, however, a standard performance for various basic movements must be established so that the reader can know what is to be taken for granted, and therefore is not indicated in the notation, and what must be specified. The carriage of the arms considered standard in Labanotation was de-scribed on page 99. Further details that we need to consider are the facing of the palm, the occurrence of rotations that are not written, the understood use of bending the arm, and the understood inclusion of the shoulder area in certain gestures.
FACING DIRECTIONS FOR THE PALMS The direction in which the palm of the hand faces is often important. When no palm facing direction is given, how should the arms be held? To simplify reading and writing, a standard has been established for the directions in which the palm most commonly faces when the arm is held in the cardinal directions; all other usage must be specifically described.
The Unwritten Facing Directions for the Palm When the arms hang down by the side of the body, the palms face in, toward the body. The palms also face in toward each other when the arms are raised forward or backward or are
110 LABANOTATION
straight up. In moving up or down in the sagittal (forward-backward) plane, there is no change in the direction the palms face.
165a Palms face in Palms face in Palms face in Palms face in
When the arms are out to the side, the palms are understood to face forward, no matter whether the side direction was reached from forward, as in 165e; from down, as in (f) or from up, as in (g).
165e
When the arms cross to the opposite side, as in 165h, the palms face backward. For positions between these main directions, the palms face the logical intermediate direction. For instance, in for-ward diagonal gestures as in (i), the palms will face the opposite for-ward directions, the right palm facing ~ and the left palm facing 8 .
Specific Indication for Palm or Thumb-Edge Facing
165i
The sign for the palm (inner surface of the hand) is ~ . Note that it is drawn long and thin, not square, with the base left open. This symbol represents the surface of the inner side of the hand, and, as with all surface symbols, when it is followed by a direction symbol, the surface faces in that direction. A palm-facing instruction given verbally is not always what is actually wanted. The orientation is often better described in terms of where the thumb-edge is facing. Although much less familiar as a verbal instruction, in many instances indi-cation of thumb-edge facing is more practical. The signs are: n- for left thumb-edge; -ll for right thumb-edge. (See page 406.)
The statement for palm or thumb-edge facing is written next to the arm symbol, on the outer side. As this is a minor indication, it is customary to draw the direction symbols for palm facing narrower so that they do not distract the eye from the main symbol, the arm gesture. The following examples compare palm and thumb-edge facing statements.
166a b Palms face forward Thumb-edges face side Palms face up
CHAPTER 9 ARM GESTURES
166d ~~ rn ~~ e I~ rn ~I f ~~ rn ~~ Thumb-edges face backward Palms face down Thumb-edges face into
the diagonals
To produce the stated facing direction in these examples, the lower arm must rotate. In the following examples, 166g-i, the palm facing direction is achieved through unwritten wrist flexion. The exact performance may vary unless degree of lower arm rotation or a di-rection for the hand is given.
166g II rn ~I Right palm down,
leftpalm up
h Palms outward,
to the sides
For arm gestures in different levels and for intermediate arm directions, statement of thumb-edge facing can be more practical. For the dance teacher command "Palm down," the main sagittal directions of 166j are best described as thumb-edge facing to the side. Note the comparison in this example between the palm facing directions needed for the left arm and the thumb-edge facing direction producing the same result for the right arm. The same is true of the differ-ent levels in raising the arm laterally, as in (k), for which thumb-edge facing is always forward whereas direction and level for palm facing changes. However, a palm facing state-ment is important when the palm is used expressively, as may be the case in 166a or (c).
Cancellation of Palm or Thumb-edge Facing Indications
166j
166k
Right palm forward, left palm back
A palm-facing indication is considered in Labanotation to be valid only for as long as the arm gesture next to which it is written is valid.* With a new direction symbol the previous palm facing will be cancelled.
167a For the side middle gesture
the palm returns to its standard facing direction
*See Appendix A, note 4.
b __ The palm remains
facing up
c The palm remains facing down until the last gesture forward,
when it faces up
111
112 LABANOTATION
To retain the effect of a previous palm facing (the rotated state in the lower arm and hand), either a body hold sign or a space hold sign is used. The same applies to thumb-edge facing.
For examples 167b and (c) a space hold could as well be used. It is more appropriate when the spatial direction is to be maintained. The body hold sign will retain the state of the lower arm; in these examples there is no difference, in other instances retention of thumb-edge facing may be more appropriate.
The hold sign for palm facing is in effect until specifically cancelled. Cancellation may be indicated by another direction symbol for the palm, 167 c; an indication for thumb-edge facing, (d), or by the 'back to normal' sign: 8 , (e). This sign is used to show the return of a part of the body to its standard carriage or state. When another action takes place, the gen-eral cancellation sign: A meaning 'away: 'no longer in effect, may be used. It is particularly applicable when there is not a return to standard carriage of the hand, as in 167f.
~~ 167d ~~
The physical palm facing up state is retained until
cancelled by the thumb-edge facing indication
~0 ~ ~ ~o
e b! The palm remains down until
the last gesture, when it returns to standard
UNWRITTEN NATURAL TRANSITIONAL ROTATIONS
~~, ~ ~o
f b~ An 'away' cancellation, no
return to standard
In moving from one cardinal direction to another, the arms perform slight rotations of which the performer is often unaware even though they are observable to the viewer. These rotations are not written because they are considered to be the natural result when passing from one point to another, caused by the structure of the limb. Specific rotations for the arms are given in Chapter 17.
Raising and Lowering the Arms Laterally Movements of the arms in the lateral (frontal) plane involves a continuous rotation, outward rotation as the arms are lifted and inward rotation as they are lowered. Note the unwritten rotations that occur in Fig. 168.
Starting position: arms down, palms facing in.
l. As the arms lift to the side, there is a slight but constant out-ward rotation so that when the arms are horizontal the palms face forward.
2. This gradual rotation continues as the arms rise to place high. As a result, the palms end facing in toward each other.
3. The arms lower to side middle with a gradual inward rota-tion, which brings the palms to face forward again.
168
CHAPTER 9 ARM GESTURES 113
4. As the arms move to place low, the gradual inward rotation brings the palms to face in toward the body again.
It is interesting to try to eliminate this natural rotation in performing 168. The palms will face down when the arms are side middle, and out when the arms are straight up, pro-ducing a very twisted feeling. As soon as they are relaxed, the arms will return to their nor-mal state, palms facing in.
Moving Horizontally from Forward to Backward In carrying the arm from forward to backward via down, as in 169a, there is no change in the fac-ing of the palm, and therefore no adjustment is necessary. But in carrying the arm backward via side a rotation occurs. In 169b no change is felt in the movement to the side, but from that point on the arm must gradually rotate inward in order to end with the palm facing to the right, as at the end of 169a.
If 169c is performed without any natural tran-sitional rotation, the arm will end in the forward direction with the palm facing the left side. To no-tate such an action an additional indication must be written - palm facing, rotation, or a back of the hand guidance. (See Chapter 27).
Moving Vertically from Forward to Backward When an arm passes from forward to back-ward or the reverse via place high, a full rota-tion takes place. In 170a, as the arm is raised, there is no experience of rotation, and the palm is still facing the right side. But as it
169a
passes into the backward middle direction, the 170a performer must rotate the arm in the shoulder
~ ~ I ~ ~ b ~
~~ ~ 169c ~
170b
joint a full inward turn to assume the normal palm facing for the backward direction. In reversing this movement, as in 170b, the arm must first make a full outward rotation on its way to place high, after which there is no change.
Full Arm Circles In full arm circles a full rotation occurs, even though the action of rotating is not evenly spaced throughout the circular path.
In 17la and (b) the letter 'R' has been placed next to the movement symbol during which the rotation takes place. For (a), a smoother transition will occur if the rotation starts sooner, during the backward arm gesture. In 171c the rotation takes place over the last two symbols. It is, of course, hard to perform a side middle arm gesture that crosses be-hind the body, a facilitating torso movement is needed. But when performed, the palm should end facing backward in the standard direction.
114 LABANOTATION
~ ~ {~ R{ A~ I R ~
~ R{~ ~ I ~ ~
I7la ~ b ~ c ~ UNWRITTEN FLEXIONS The symbol in the arm column indicates a movement of the arm alone in its normally ex-tended state. In gestures that cross the body; however, exact performance may vary accord-ing to individual flexibility in the shoulder joint, length of arm, and width of body. The arm may bend; there should be no marked effort to keep it straight, but such bending is of little importance. Any specific bending or extension of the arm will be stated with the ap-propriate symbols (see Chapter 11).
In Ina the right arm crosses in front of the body and the left arm crosses behind the body. It is expected that the right arm will bend slightly and that the left arm will definitely be bent, as this is a difficult posi-tion for most people to assume. Arm flexions need not be specifically written in such cases, especially if they are transitional movements. The pin for 'behind' in Ina refers to the body and not the other arm. Fig. Inb shows the left arm to be behind the right, both in front of the body.
~v Ina I
UNWRITTEN INCLUSIONS To perform arm circles smoothly, in certain directions the performer often needs to include the shoulder area. This is true of a crossing circular gesture such as in 173a, and also for circular gestures that make use of the backward direction. Such inclusions can be kept to a minimum or even dispensed with by a loose-jointed individual; they should not be stressed and should disappear as soon as possible.
To facilitate moving the arm in the backward direction, as in 173b, (c), a slight inclusion of the shoulder area, called 'opening the shoul-der; is expected. Many people cannot achieve a true backward direc-
Tl~ b I
tion without it. Such an inclusion should disappear as soon as possible; 173a it is not written unless the inclusion is to be given special emphasis.
I73b c
~l I
~ I
CHAPTER 9 ARM GESTURES 115
READING STUDY IN PALM FACING Measures 5 and 6 and 13 and 14 are repeated to the other side. See Chapter 21 page 307 for repeat signs.
4
2
::::1 o ul 4
4 I o ~
I~
10
9
(8)
6
(7)
o
174
(16)
14
(15)
13
12
11
I I
Note: Because of the retention of palm facing, the palms will face up in measure 3.
THE EFFECT OF TURNING ON ARM MOVEMENTS
CARRIED ARM GESTURES When there is no indication in Labanotation of movement for the arms during a turn, they are carried along with movements of the body as a whole. While the relationship that the arms have established to the body is retained during a turn, the arms are not held rigidly. They may react very slightly, naturally, to the momentum of the turn. To indicate a rigidly held limb the body hold sign '0' is used.
It is important to note the difference between physical change (movement within the body), e.g. movement of the arm that entails a change in the shoulder joint, and spatial change (movement in space), e.g. the arm passing through space as it is carried along with movements of the body. With swift movements, the sense of the air against the limb im-parts a feeling of movement even though the limb is inactive.
116 LABANOTATION
During the turn, the arms remain in front of the chest, but no
effort is made to hold them completely still,
i.e. with a rigid shoulder joint.
175a
HORIZONTAL CURVES
The arms are shown by the hold sign '0' to be immobile, i.e. held
in the shoulders during the turn.
b
Turns affect arm gestures in the horizontal plane. The path of an ordinary horizontal ges-ture is augmented or diminished in its passage through space according to whether the di-rection of the gesture and the direction of the turn are the same or opposite.
Simple Horizontal Curve Fig. 176a shows a simple horizontal curve performed without
~ any accompanying turn. Such an ordinary curve is termed an 'adequate curve.' In this case the arm describes a half-circular path moving clockwise. 0 l Augmented Horizontal Curve
~ If the performer turns in the same direction as the path of the 176a Qj
arm gesture, as in 176b, the gesture will be augmented. Its change of direction in relation to the body is the same, but its q:1
~ spatial path is extended. The performer has the feeling that a much larger gesture has been performed.
Diminished Horizontal Curve ~ By turning into the direction opposite to the path of the arm gesture, the performer diminishes the gesture, as in 176c. The 176b Qj ~ feeling is as though the gesture is unimportant in that the arm has changed its relationship to the body, but it has not moved [fl in space. For 176c the action could be described as a turn in
~ which the arm keeps its relation to a previously established room direction, i.e. a spatial retention. In this example, the arm gesture started toward the left side of the room and remained in ~ that direction. Thus it retained its relation to the Constant Di-rections in the Room while changing in relation to the per-
t9 ~ former's front. 176c
RETENTION IN SPACE - SPACE HOLD The relation of a gesture to a room direction may be important enough to be described in those terms. Such description is needed when a limb is to retain a previously established direction in the room even though the rest of the body turns away from it. This retention in space, or 'space hold,' is usually needed in connection with turning. The sign for a space hold is a diamond: 0 .
CHAPTER 9 ARM GESTURES
In Fig. 177a the performer starts facing the right side of the room. The right arm gesture remains forward of the body during the following turn. In (b) the space hold causes the right arm to retain its room direction during the turn. At the completion of the turn, the arm will end as a gesture backward from the body. The result of 177 c is ba-sically the same as 176c but described as a spatial retention for the right arm, which ends out to the right. Spatial re-tention can also occur during a tilt. In 177 d the torso tilts backward while the arms and the face continue to be di-rected forward horizontal.
Duration of a Space Hold*
--8J
~ 177a [8- I
--8J
c [8-
--8J
T <)
~ b [8- I
d
A space hold lasts for the duration of a turn sign or other special indication in conjunction with which it is required. For each new movement requiring a space hold, the sign must be repeated. **
VERTICAL CURVES Turns may affect arm gestures that describe vertical curves.
Simple Vertical Curve Fig. 178a shows a simple arm gesture that rises in the sagittal plane to forward middle. This is a two-dimensional gesture when it is not ac-companied by a turn. 178a
Skew Curve When the same arm gesture is accompanied by a turn, as in 178b, it takes the same path in relation to the body (the Standard Cross of Axes) but spatially it describes a three-dimensional path instead of a two-dimensional. This change is the normal result of combining these two actions, therefore no additional indication is needed in the notation.
Plane Curve
178b
~ I
~ I
Where a two-dimensional curve is desired in spite of an accompanying turn, the indication must be given in terms of the relation of the gesture to the unchanging room directions. To write such an undeviating curve, the direction and level for the gesture are given as if no turn occurred, that is, into the direction established just before the turn began. Then, to
'See Appendix B, note 7. "See pages 215 and 216.
117
118 LABANOTATION
counteract the normal effect of the turn, the space hold sign is placed within the arm ges-ture direction symbol. Thus during the whole movement, the limb must retain its relation to that direction in the room toward which the movement started. In fig. 178c, the per-former starts by moving his right arm toward the right side of the room (a backward ges-ture from the body) and then keeps moving it toward that room direction during the turn. At the end of the turn his arm will be in front of his body. This final relationship of arm to body is usually not stated in the notation; it is the result of the combined action of the turn and the space hold.
[B-
178c -8J d -8J
Q I
In 178c the arm is being raised while the space hold is in effect. Compare this with (d), in which the raising of the arm is completed before the turn starts. During the turn no ges-ture occurs, only the space hold is needed. The end result is the same as 178c.
Figs. 178e and (£), show how the space hold sign is drawn within low and high symbols. As an aid to the reader, the physical destination of a limb can be given as in (g), though this is not usually necessary. The destina-tion statement is drawn small and linked to the move-ment with a small vertical bow.
Plane Curve-Destination Description
178h
178e
In certain configurations it is helpful to the reader to focus on the destination in describing an unde-viating plane curve. The same undeviating curve of 178c is described in 178h by stating the desti-nation, in this example a forward arm gesture, and indicating the manner of performance through use of a black diamond instead of the standard white diamond. While 178c describes the direc-tion of the arm movement from its start, in 178h the end result is in mind. The path of the arm moves on the same vertical plane curve as in 178c, but the ending destination is stated. Fig. 178i gives an example with the arm ending out to the right side of the body. Figs. 178j and (k) indicate use of the black diamond for low and high level gestures. Note that for low level a blank space must be left in the middle of the symbol so that the black dia-mond can be seen.
l7Sj I
I J ~ I
CHAPTER 9 ARM GESTURES 119
CONTINUATION BOW When a movement starts near the top of one staff and continues over to the next staff, a full direction symbol is written at the top of the first staff and repeated again at the beginning of the next staff. To show that these two symbols are in fact one, a small angular vertical bow, the caret, '< or > is used to indicate the continuity of the movement, that is, the symbols are the same. This caret is placed both at the top of the previous staff and at the bottom of the new staff as shown in 179a. Here opening the arms sideward starts at the end of measure 1 and continues into measure 2. The turn that starts at the end of measure 1 also continues into measure 2. The amount of turn is usually placed in the first portion of the turn sign, so that the reader can anticipate how much turn will be accomplished. When a page turn is involved, the degree of turn can be repeated in parentheses in the continua-tion of the turn. This usage is also applicable to degrees of circular path, shown in 179b. Without the parentheses it could appear to be an additional amount.
(~ ~> ,(> T
0 0 ,Y
~ ~ ~ ~ f 2 (~ ~> (T)
179a ~ ~ b 1>
*See Appendix B, note 8.
10
LEG GESTURES
The focus of a movement may be on a gesturing leg. This may be a functional action such as kicking a ball, or an expressive one. Leg gestures embellish steps, turns, jumps, and all aerial work, thereby changing their character and style. A leg gesture may touch or slide on the floor without taking weight. For purposes of notation, movements of the whole leg can be compared with movements of the whole arm, though the range of movement for the leg is more limited. The line between the extremity of the limb (the foot) and the base (the hip) determines direction and level for leg gestures.
CARRIAGE OF THE GESTURING LEG In Labanotation the standard carriage of a gesturing leg is considered to be straight with a relaxed knee, ankle and foot. This natural carriage of the leg occurs in many folk dances. In several styles or forms of dance, such as classical ballet, the leg is extended with the knee taut and the foot pointed (stretched). When any consistent use of the leg is basic to the style of movement, the detail is indicated by a key at the start of the score (see page 431).
Rotated State of the Legs Natural variations among individuals preclude consideration of anyone particular state of rotation (inward, outward, or parallel) as being considered 'normal.' Direction and degree of rotation are stated in a key at the beginning of the score; this key applies to both steps and gestures. In the context of movement, the leg's spatial pattern may require a slight in-ward or outward rotation. Such slight rotations are often not observed by the untrained eye and in any case disappear automatically once the action is completed. Specific changes in rotation should be written at the moment they occur.
If no rotation is stated the reader is expected to perform the movements in a manner natural to him/her. (For leg rotations see Chapter 17.)
CHAPTER 10 LEG GESTURES 121
RETENTION OF WEIGHT DURING A LEG GESTURE As the action of both legs gesturing simultaneously takes the performer into the air, we need to consider the effect of an indication of just one leg gesture.O+ Because the rule that a gap in both support columns means a spring, (as presented in Chapter 7), lS0a must start with a spring off both feet, the right leg rising sideward, the left leg having no important gesture. The landing on count 2 is on the right foot. From there, you spring off the right foot as the left leg gestures sideward, the landing is then on the left foot; the right leg having no specific gesture. Compare this with IS0b, which states the weight remains on the left foot on count 1; as a result, there is no spring. When the right foot takes all the weight in place on count 2, the left foot is then free of weight as a result. This pattern is then repeated on the other side. Fig IS0c is similar except that weight is held on the left foot on count 2 so the closing is with weight on both feet.
4 4
3 3
2 2
IS0a b
Note this use of hold signs in the support column and the reason why the repetition of the hold sign is necessary. (See Chapter 5, Figs. 51 b and (c).)
Just as a hold sign is needed again in IS0c to keep the weight on the left leg when the right foot closes into place on count 2, so repetition of the hold sign is needed in IS0d for the familiar grand battement ballet exercise at the barre. When the right leg closes in 5th position, weight is retained on the left leg. Note where the hold sign does or does not need to be repeated. The hold on the left foot on count 2 lasts through count 3 because it is not cancelled by the right leg ges-ture. But it would be cancelled on count 4 if the support on the right foot were to take all the weight. Therefore another hold sign is needed on count 4 to show weight on both feet.
Rule: a hold sign is cancelled by: 1) a gesture of the same leg; 2) a step on the other leg; 3) a change of level after a hold sign.
Cancellation of Hold Signs in Support Column
4
3
2
c
8
7
6
5
4
3
2
IS0d
The following chart is provided to make clear at this point when a leg gesture affects a hold sign in the support column. Figs. IS0f-l do not involve stated leg gestures but are included for clarification. An arrow indicates the moment the performer leaves the ground.
*See Appendix B, Note 9.
122 LABANOTATION
180e The left leg gesture
cancels the left support
3
2
180i The hold sign must be repeated to keep weight
on the left leg
180m Similar to 180j but with a specific leg
gesture stated
3
2
180q Weight is shifted to the
left foot, there is no spring, a step occurs
2
f The step on count 2
cancels the hold sign for the left leg
2
An 'air line' (action stroke in the left leg gesture
column) cancels the hold sign on the left support;
a small hop occurs
2
n A slight spring onto the
forward support
3
2
r No spring occurs, only
a step
2
g The hold sign over both feet is cancelled by the step on the right foot
2
k Weight held on both
feet is not cancelled by the 'air line' for the right leg, it indicates only that the right leg is lifted off
the floor
3
2
o The second gesture cancels the hold sign
over the left foot
3
2
s Two gestures cancel the
hold on both feet
3
2
h The lowering on the left leg cancels the hold sign
in that there will be a spring on count 3; the gap will mean going
into the air
2
Two air lines cancel the previous hold on
both feet
p The second gesture fully
cancels the hold sign over both feet
3
2
t A hop occurs with the left leg gesturing to the
side while in the air
CHAPTER 10 LEG GESTURES 123
PATH IN SPACE
Description of Motion or Destination In the standard movement description of Labanotation, direction symbols state the desti-nation to be reached, not the relative path of the movement. As described in Chapter 5,
place for a step is next to the previous support (usually the other foot). Place low for a leg gesture is straight down below the hip, next to the other leg. Thus a movement to the cen-ter line of the body is a movement to place. A gesture past the centerline or away from it is written with some other direction symbol. The following examples, which start with the right leg backward low, illustrate these differences.
181a ~ Step forward, past the
left foot
b c Step in place, next to the Gesture forward, in line
left foot with the hip
d Gesture in place, the leg
ending next to the left leg
Judged from the starting point, backward low, the movement in each of these examples is a forward directed one. But it is not written with a forward symbol unless the destination is forward of place, past the plumb line of the body.
Peripheral or Central Paths As with arm gestures, gestures of the whole leg move on an arc from one point in space to the next when these points lie close together. When the points are far apart, the leg will probably pass through another direction; this may be through place low or centrally through place middle. As with moving the arm directly between distant points, the leg will bend at the knee so that the extremity, the foot, can pass close to place middle on its way to the aimed destination."
Central Path for the Legs The direction place middle can be used to show the foot passing as close to the hip as pos-sible. When the foot has been drawn to place, it can then extend on a straight path into another direction.
I82a 'Developing' - bending, then opening forward
*See pages 101 and 102.
b 'Enveloping' - from
forward bending before closing
c A straight path from forward to backward
for the foot
o
d A straight path from forward, to center,
then sideward
124 LABANOTATION
Depending upon the degree of inward, parallel, or outward rotation, the knee will be more to the front or more to the side in these patterns.
Circular Leg Gestures
183a A low outward leg circle
Leg Swings
b c A low inward leg circle A large outward leg circle
(grand rand de jambe en dehors in ballet)
L· o
d A large inward leg circle (grand rond de jambe en
dedans in ballet)
In a true swing the leg makes use of the force of gravity, so that the downward motion is faster than the upward. Note how this is indicated in the notation. A slight pause occurs before the leg changes direction. The leg swings clear of the floor unless contact with the floor is indicated (see Chapter l3 for touches and slides).
o
o
184a Low sagittal swings with
demi-plie
b Higher sagittal swings
c Lateral swings
o
o
d Leg swings with rising
on support
Note that in 184c, for the right leg to achieve a true sideward left gesture, there will need to be hip inclusion, a slight pelvic rotation; this is not stressed and disappears as soon as the leg changes direction.
Carriage of Free Leg in Open Steps In simple walking patterns, carriage of the free leg is not emphasized. The transition be-tween supports is accomplished in a natural, untrained, appropriate manner. When walk-ing forward, the free leg passes through place low, close to the supporting leg on its way to
CHAPTER 10 LEG GESTURES 125
begin the next step. When there is a change of direction in open steps, this coming through place does not naturally occur. If it is desired, it must be specifically written as illustrated in the following examples. Note that speed, a faster or slower tempo, will affect performance of these actions.
~ ,
/ "" .-.- ::: - , --- ~=:;.:, 185a
~~, b
The dotted line represents the path of the free leg prior to the second step. Fig. 185a illus-trates the normal direct path. In (b) passing through place low is shown.
PLACE LOW LEG GESTURES
When a leg is brought to place low underneath the hip without actually touching the floor, the exact manner in which it is held will depend on the level of the accompanying support. If the support is high, the free leg can be straight with the foot almost as ex-tended as the supporting foot. With a middle level support, the knee of the free leg is normally straight but relaxed, with the ankle flexed so that the foot is just off the floor. With a low level support, the knee of the free leg must be bent and the foot clear of the floor. The degree of this bend will depend on the degree of bend in the supporting leg.
186a
o
186d e
With a high support With a high support f With a middle level support
g --With a low support
When itis of importance, the exact degree of bending for the gesture can be shown (see Chapter 11).
126 LABANOTATION
THE TIMING OF LEG GESTURES
LEGATO AND STACCATO A break between leg gesture symbols signifies a break in the continuity of movement. Legato movement results whenever one symbol follows another without a break. In I87a the left leg gestures are performed in a legato manner. In (b) the same space pattern is performed with staccato separated gestures.
STEPS WITH LEG GESTURES A simple walking pattern can be embellished by use of accompanying leg gestures. Such gestures may serve as a preparation for the step, or may follow it.
o
I88a b C
o
I87a b
o
d Quick step, slow
gesture Slow step, quick
gesture A gesture preced-
ing a step A gesture follow-
ing a step
When the gesture is slow and the step itself quick, the gesture gains in importance and may become the main feature of the movement. When the step is slow and the gesture quick, it is usually the step that is featured.
Blending of Steps and Leg Gestures The following examples range from complete separation of step and leg gesture to the most fluent overlap of these two actions.
I89a A staccato performance; each
action is separated in time from the next.
b The weight comes to rest before
the leg gesture starts. The performance is not staccato,
however.
c Slight overlap indicates the start of the gesture before the center
of weight has come to rest, a more fluent performance.
CHAPTER 10
In each of the above examples the action of walking is interrupted, that is, the center of weight comes to rest over the supporting leg. It is possi-ble to walk continuously with the center of weight in constant motion and at the same time to perform leg gestures. This action is shown in 189d; the leg gesture can overlap the last half of the step symbol. More overlap than this requires greater speed. For gesture and support to occur at the same time, a spring, however small, must have occurred, as explained in the following.
THE STEP-GESTURE RULE
LEG GESTURES 127
189d
A leg gesture cannot occur at the same time as a transference of weight on the other foot, that is, a step. It may appear to the eye that the step and leg gesture are simultaneous, par-ticularly when the action is quick, but in fact the leg gesture starts at least a fraction of a beat later.
The Timing of Support and Gesture symbols It is important to understand the precise meaning of support and gesture symbols in terms of timing. In 190a the start of the step symbol (i) is the moment the foot contacts the floor and begins to take the weight of the body. At (ii) the weight is transferred half way; at (iii) the weight is completely transferred and has settled over the right foot. The start of the gesture symbol, (iv), is the moment when it begins to lift from the ground. At (v) the gesture has arrived at its destination. Before (ii) weight is still on the left leg, and therefore can't be free of weight until (ii) at the earliest, and then only when the transi-tion is fluent and swift enough to allow the left leg to start gesturing at that point. Note that when the leg gesture is into the opposite direction to the step, as in 190b, the gesture may feel as though it starts sooner because it is already in that direction and needs only to rise off the ground. Although 190c is swift, the gesture still starts after the step.
(v)
190a
(iii)
(ii)
'--,-,=r- (i)
b
A truly simultaneous gesture and step can occur only when the weight is lifted from the ground by means of a slight spring. Until the weight of the body is released from the foot, it cannot begin to lift into the air and gesture. Such a simultaneous new support and gesture occurs in the darting movement called an eiance. Note the gap allowing the freeing of the weight.
Ml c ---Swift step and gesture (called pique in ballet)
190d ~ Darting step-gesture
(called elance in ballet)
128 LABANOTATION
The same kind of action occurs in a cutting step (called a coupe) in which one foot replaces the other as the support. In a coupe the weight usually stays in place. During the moment of lift off the ground one leg replaces the other. The degree of rise from the ground can vary from merely lifting the weight without clearly lifting the feet from the floor, to a full-fledged spring. When there is no lift from the ground, it is a stepping ac-tion with the gesture following closely after.
190e Separated step-gesture
(legato)
f The same, more flowing
g Lifting the weight
enough to make the change
o
h
A springing change
Because of the difference in expression, it is important to be able to see clearly whether the movement is basically a step (transference of weight), an aerial action (a spring) or only a freeing of the weight, as in 1909. Note here the use of a small action stroke in both the support column and the gesture column indicating a partial support, i.e. weight lifted. If the stroke were only in the gesture column it would be a very small spring with the foot leaving the ground, instead of a mixture of gesture and support, i.e. only lifting the weight.
Change of Support Level during a Gesture Because a change of level in the supporting leg is not a step (a transference of weight), it is possible to change level while gesturing simultaneously with the other leg, Fig. 191.
AERIAL STEPS WITH LEG GESTURES
191
All simple forms of aerial steps, the five basic forms, can be embellished by leg gestures. These may include flexions and also beats, i.e. contact of the legs while in the air. The sim-plest form of springs with leg gestures is that in which a specific direction for the free leg is stated at the time oflanding.
SIMPLE SPRINGS WITH LEG GESTURES A statement of the destination of the free leg at its moment of landing is sufficient for no-tating simple forms; the movement of the leg while in the air need not be written.
CHAPTER 10 LEG GESTURES 129
o
192a b c d Leaps Hops Combined forms Combined forms
SPATIAL VARIATIONS IN THE USE OF LEG GESTURES The character of the basic aerial forms changes according to the direction and timing of leg gestures. Variations in direction will be dealt with first.
Jumps with Leg Gestures Because jumps take off from both feet and land on both feet, leg gestures can only occur while the body is in the air. As a rule these are simultaneous leg gestures. Note the differ-ence in movement among the following:
193a b c No special gestures: the legs
move out naturally to land in 2nd position
The legs remain down, separating just in time to produce an open
position
The legs separate immediately in the air and land in the open
position
Note that in 193c both legs gesture farther to the side than they normally would just to land in second position.
The following are variations in a jump from closed feet:
193d The legs
spread side-ward in the air
e The legs spread
forward and backward
f Both legs go to the right
g Both legs pull up as close as
possible
h One leg goes
to the side, the other pulls up
130 LABANOTATION
Step-Hop with Leg Gestures Note the differences in the following sequences:
194a No gestures indicated
b One important gesture
stated
Sissonnes with Leg Gestures
c Both gestures stated
d The supporting leg
moves backward in the air before landing on it, an unusual hop with the left leg raised forward
In 19Sd the right leg shoots farther forward than is required for landing diagonally for-ward. The extra energy needed to perform these gestures produces more brilliant jumps. Note that the direction of traveling is indicated by the landing support and not by the leg gesture.
19Sa The legs move comfort-
ably to produce the finishing position
b The legs remain down until the moment of
landing
Assembles with Leg Gestures
196a A simple assemble
starting with the leg out to the side
b Bringing the legs
together immediately in the air
c The left leg gestures diagonally back at
once
c Lifting the right leg higher to the side in
the air
d Both legs spread apart
at once
d Opening both legs while
in the air
CHAPTER 10 LEG GESTURES 131
Contact of the Legs During Jumps In jumping the legs often touch while in the air. A horizontal bow~ or ~ indi-cates this contact between the two legs.
In writing simple forms we need only show the contact bow as in 197c and 197d. It can be assumed that the legs will meet underneath the body and not in any other direction.
197a The legs come in during the jump but do not touch
b The legs touch
during the jump in 2nd
Beating the Legs During Jumps
c Example (b) written more
simply
d The legs remain touching in the air and open on
landing
e The legs touch before landing feet together
In jumps the legs may beat, i.e. contact each other in the air, as happens in the batterie steps in classical ballet. Position signs (pins) indicate the relationship of the legs when they touch. Such beats may intentionally be audible, as occurs, for instance, in certain Hungarian dances. The sound produced is affected by the kind of clothing worn. A strong accent sign: '- or " placed next to the active leg at the moment of contact signifies such an audible beat. Fig. 198a shows a jump in fourth position with the legs beating audibly in the air. In classical ballet beats are not usually intended to be heard.
198a b c d A beat while changing 5th positions (an en-
trechat royale in ballet)
Audible changing the feet with a beat but re-turning to the same 5th
A double change with beats (entrechat six)
(entrechat quatre)
In recording fully the correct technical performance of these balletic steps, a slight opening of the legs between each beat ought also to be indi-cated. (For very small movements see Chapter 26.) While pins for both legs should be used to show that both legs are active, in writing a memory aid version for those who are already familiar with the correct performance, we need only indicate one set of pins for an entrechat six, as illustrated in 198e. 198e
132 LABANOTATION
Cabrioles A cabriole is basically a step-hop in which one leg beats against the other in the air. One leg rises into the air before the other and usually it is the second leg that does the beating.
Note the pin + for 'below' in 199c indicating that the active leg contacts the other from below.
o
199a A simple sideward
cabriole form
b A forward cabriole, the left leg beating
the right
THE TIMING OF LEG GESTURES DURING AERIAL STEPS
c A double cabriole
as performed usually by a man
The previous examples illustrating leg gestures during aerial steps have been simple in tim-ing. In leaps, hops, and assembles where one leg gesture starts after the other, the overlap in the timing of the gestures is important. How quickly one leg follows the other into the air can change the whole impetus and expression of the action. In addition to the interrelation of the actions of the two legs, the relationship with the music or other accompaniment, if any, must be stated. The use of the time available is important. Most jumps land on the beat. Most preparations for jumps are fast. A slow preparation produces a heavy movement. When a step is used as the preparation for a take-off, it will be a fast, rebound step. When the landing is also the preparation for the next spring, it will be a fast rebound land take-off. When the landing concludes the phrase, more time will be taken to allow for a controlled cushioning effect. By performing the reverse of the above statements a grotesque or comic effect may be achieved. Such variations can easily be shown in Labanotation.
VARIATIONS IN PERFORMING A STEP-LEAP In a step-leap pattern, there is usually an overlap in the action of the leg gestures. As the preparatory step is finishing, the free leg begins to lift. While it is still rising, the supporting leg lifts and the body rises off the ground. The beginning of the second gesture, indicated here with an arrow, is the moment the body is in the air. If there is no overlap at all in the
4
3
2
200a A step-leap with fluent overlapping gestures
(the standard comfortable performance)
b No overlap in the movement of the gestures (a less
fluent leap)
A slow preparatory step and simultaneous
gestures produces a stilted leap
o
d __ Step-gesture with no overlap of leg gestures (no rising into the air)
CHAPTER 10 LEG GESTURES 133
performance of the leg gestures and a step comes between, as in 200d, an ordinary step-gesture will result. In all the above examples, the arrow shows the moment that the body rises into the air. This is at the point when the support ends or the second gesture starts.
Fig. 200e shows a brilliant step-leap. The preparatory step is fast; there is an overlap of the first gesture with the step, and an overlap of 200e the second gesture with the first. Though fast, these actions are fluent
4
3
2
and harmonious. Both legs reach their destination quickly, then hold still. This allows the body to shoot through the air unencumbered by movement, producing the impression of being suspended in the air.
VARIATIONS IN PERFORMING AN ASSEMBLE
Performances of an assemble can range from stilted through comfortable to brilliant, as the following examples illustrate. In 20la the left leg bends quickly on count 2 so that the body leaves the ground on the '&' of count 2, as indicated by the arrow. On count 3 the height of the jump is reached and by the following' &' the body is returning to the ground to land on count 1.
20la
3
2
In 20lb the bending preparation on the left leg is slower and the rising into the air does not occur until count 3. This is a more earthbound performance. In 20Ic the left leg is already bent so that there is a static pause before the spring. The right gesture is faster but no rising occurs until the last moment when the left leg leaves the ground. The brevity of this moment in the air before landing produces a very stilted, earth-bound assemble. In contrast, 20ld indicates a fast bending on the left leg and a fast right leg gesture for a quick take-off. The right leg then rapidly comes to place low to join the other leg and both legs remain motionless until the moment oflanding. This lack of ac-tivity while in the air helps to produce a suspension in mid-air that results in an excit-ing and dynamic jump.
3
2 3 3 3
2 2 2
20lb c d e
Although landing from a jump is usually with bent legs, the bending may continue, i.e. deepen without a pause, producing more of a rebound preparation for the next spring. This is illustrated in 20 Ie. Compare this with the static preparation of 201c.
134 LABANOTATION
TURNS WITH LEG GESTURES
In pivot turns on one foot, the free leg can perform a variety of gestures during the turning action. The effect of the turn on these gestures is comparable to the effect which turning has on arm gestures.
PIVOT TURNS WITH LEG GESTURES
Carried Leg Gesture A previously established leg gesture is carried along dur-ing a turn, retaining its relation to the body. The body hold sign '0' may be used as a reminder when the leg must be kept particularly still. In 202a the step turn is accompanied by a backward leg gesture (a pique arabesque turn in ballet). The leg reaches its destination quickly so that it is not moving during most of the turn. Two full turns are performed. The preparation for 202b is from a second position (feet apart), from which a double turn (pirouette) with the leg held to the side is performed. This ends by lowering the heel of the sup-porting leg; the free leg remains out to the side.
Simple and Augmented Horizontal Curves Fig. 203a shows a step followed by a half-circular leg ges-ture. In 203b this gesture is augmented by a pivot turn into the same direction. The impression of a larger ges-ture is given.
Diminished Horizontal Curve When the accompanying turn is in the opposite direc-tion to a circular gesture, the effect is that of diminishing the gesture. Fig. 204a shows the same gesture as in 203a but performed with a quarter turn in the opposite direc-tion. If a half turn occurs, as in 204b, the result is the same as that of having a space hold (spatial retention) for the left leg. Writing the direction symbols focuses on
202a
203a
body rather than spatial awareness. 204a
RETENTION IN SPACE
The Basic Space Hold: 0
b
b
b
When the leg is to retain its relation to a room direction, the diamond space hold sign: 0 is used. Fig. 20Sa shows a low step forward followed by a forward gesture toward the right side of the room. During the turn the right leg has a space hold, therefore it remains point-ing into that room direction. All during the pivot turn the leg changes its relation to the body, finishing backward. In 20Sb, the right leg, which starts as a backward gesture toward the left side of the room (stage), ends as a forward gesture from the hip, still directed
CHAPTER 10
toward stage left. No change -8J -8J of level in the supporting leg occurs in these two exam-ples. Fig. 20Sc shows a swift rising turn in which the leg gesture produces a whip-like action. This movement IS
known as a fouette re/eve in 20Sa [8- b [8-
ballet.
Simple Vertical Two-dimensional Plane Curve A simple vertical curve is shown in 206a. The limb rises in a two-dimensional curve, in this case in the sagittal plane. A simple lifting or lowering of the limb directly into any direction produces a vertical plane curve.
Three-dimensional (Skew) Curve
LEG GESTURES
c lij
-8J When a simple rising or lowering leg gesture is accompanied by a turn, it produces a three-dimensional arc, that is, a deviating or skew curve, as written in 206b. As the leg rises, it starts toward the audience, moves toward the left-forward diagonal and ends to-ward stage left, a three-dimensional arc. 206b l!J
Vertical Plane Curve While Turning To indicate a two-dimensional curve while turning, we must state the relation of the ges-ture to an unchanging direction. The gesture is written as though no turn occurs, and the direction stated at the start is the one toward which the limb moves at the beginning of the action. The space hold sign within the leg gesture symbol states that the normal effect of the turn, i.e. the leg rising in relation to the hip, is counteracted, the leg continues to move in the same spatial direction.
In 206c the gesture toward stage left is completed before the turn starts. A space hold is then in effect during the turn. In contrast in 206d the turn starts as the leg begins to move toward stage left. The space retention occurs all during the raising of the leg and ends only when the leg arrives at middle level. By then the action has become a backward gesture from the hip. The final result is the same as in 206c. The important difference is that in 206d the leg rises gradually throughout the turn, whereas in (c) it had arrived and re-mained at the same level. The leg direction in 206d is described from the starting situation. Stating the end result for the gesture, as in 206e, can be a help to the reader.
[8-o o o
T <)
206c -8J d -8J e-8J
135
136 LABANOTATION
The Destination Space Hold: • As already explained, the spatial retention sign: 0 , placed in a direction symbol produces an undeviating curve. The direction symbol used states the direction from the body at the start of the movement. It does not give the body direction for the limb at the end of the movement. Because statement of this end- [8-
ing direction is often easier to read and understand, the same un-deviating curve is shown with the ending direction by use of a black diamond: • within the destinational direction symbol. In 206f the left leg has an undeviating curve with an ending destina-tion description.
LEG GESTURES WITH AERIAL TURNS
206f -8J
o
T
Each form of aerial step can combine turning with leg gestures. The action strokes used for simple aerial turns are readily converted into specific leg gestures. Fig. 207a shows a half-turn jump without any specific leg gestures; in 207b the legs are shown to ex-tend to the side. Steps that leave the ground from one support usually use a blended form, a turn in which the turn starts on the support and then becomes aerial. 207a b
207c __ _ d __ e Hop turning Leap turning Assemble turning
Hop Turn with a Space Hold The basic pattern of 206c can also be performed as a hop turn in which the gesturing leg has a space hold, as in 208a. Because of the whip-like action of the leg, in ballet this step is called grand fouette saute en tournant or fouette saute, (fouetter meaning to whip). Fig. 208b 208a shows a more brilliant execution of this step.
VARIATIONS ON A TURNING LEAP The performance of a turning leap can be considerably varied according to the timing and the spatial pattern of the leg gestures.
Fig. 209a shows the basic form: a leap turn. In 209b the left leg is shown to gesture forward and the right leg backward. The final position will be a support on the
f Sissonne turning
b Fouette saute
left leg with the right leg backward. As written here, this 209a ___ b
CHAPTER 10 LEG GESTURES 137
leap turn produces a fanlike effect, the legs performing three-dimensional arcs as they are lifted.
When the legs should pass each other closely, rising on two-dimensional curves, as though confined to a narrow space between two walls (a plane curve), Fig. 209b would be incorrect. Below are some variations on this basic form.
One variation of this leap uses a space hold, as in 209c. Here the quick preparatory step is followed at once by a fast gesture forward for the left leg. When the turn starts and the body leaves the ground, the left leg retains its direction in space, ending backward from the hip, while the right leg gestures backward. This backward gesture for the right leg produces a three-dimensional fanning movement. When this fanning is not wanted, it should be written as a two-dimensional planal curve as in 209d. Fig. 20ge shows the turn starting on the supporting foot while the left leg has an undeviating curve toward what started as a forward action. The turn continues in the air with the right leg down. When the turn is completed, the right leg whips backward while the left leg comes down; the legs change places in a scissor-like kick just before landing. The classical ballet version of this turning leap, called a grand jete en tournant en dehors, or tour jete for short, is commonly written as
209c d f
209c, though (d) gives the more specific description. A different turning is shown in 20ge, the backward leg gesture occurring later. Fig. 209f shows the legs beating in the air. Note the need to repeat the space hold in 209d-f; this is because the turning action continues.
11
SPACE MEASUREMENT: FLEXION, EXTENSION
An unqualified direction symbol indicates an ordinary-sized step or a normally extended gesture into the stated direction. The length of these symbols indicates the timing of the actions, a longer or shorter time spent in performing the given movement. The size of the step in terms of the distance covered, that is, the space measurement, is stated with an ad-ditional indication. For supports, this greater or lesser use of space results in longer or shorter steps, that is, the distance from place, the previous point of support.
SPACE MEASUREMENT The principal signs that indicate distance are:
210a x bX cVl dV1 Short, narrow, small, close to
eeRter
Very short, very narrow,
very small, etc.
Long, wide, big, far from center'
Very long, very wide, very far, etc.'
The symbols are commonly called the 'narrow' and 'wide' signs, though in actual appli-cation, depending on the context, they may have any of the above meanings. Though dif-ferent words are used, e.g. for X : 'a short step,' 'a narrow position of the feet,' 'a small distance from the center' (from place), the basic idea is the same; for supports it is a dis-tance measurement.
GENERAL INDICATIONS Space measurement signs can be used in Motif Notation as a general statement to describe distance in traveling. (See Chapter 12 for paths.)
T 2ila
Traveling a long distance on a straight path
'I x
b J Circling a short
distance
Such general statements allow much freedom of interpretation; no exact degree of travel is given. All these may be notated in detail when required.
'See Appendix B, note 10.
CHAPTER 11 SPACE MEASUREMENT: FLEXION, EXTENSION 139
LENGTH OF STEPS An ordinary step is the natural stride of the performer; therefore modifications of its length are based on the build of the performer rather than on any standard length in terms of inches or centimeters. Obviously four steps for a tall, long-legged person will cover more ground than will the same number for a short person. Exactness in measurement or in reaching a precise point on stage can be indicated but, for general purposes, is seldom required.
Natural Modifications in Length Certain modifications in the length of steps occur naturally. High steps tend to be shorter than middle level steps; in performing low steps there is a natural tendency to reach out and cover more ground. Forward steps are usually longer than sideward or backward steps and open steps are, of course, longer than crossing steps.
Indication of Length of Step To modify the normal walking stride, the appropriate space measurement sign is placed before the direction symbol indicating a step. When used thus as a pre-sign, the space mea-surement sign and the direction symbol are considered a unit in indicating the timing of the action. Therefore the length of the pre-sign (usually one square if using graph paper) shortens the direction symbol so that the over-all length indicating the timing is not changed. In the examples below each set of symbols indicates the same time value, stated in 212a. Those in 212b are half notes, in (c) quarter notes, and in (d) eighth notes. The modified symbol occupies the same length of time as the unmodified symbol.
j ! ! ! 212 a
The two degrees of narrow ( X and J,« ) and the two degrees of wide ( V1 and b1 ) which suffice for the general description of length of step are illustrated below.
Finer degrees can be shown by using the six-degree scale, given in Fig. 218. Specific de-grees for lengthening a step are given in Fig. 219.
213a b c d e , ~
I , , I I
cJr~ 0r~ = ~ I
~ ~ I
~ ~ I
~ * X V1
Very small Small step Normal step Long step Extra long step step
140 LABANOTATION
Determining Length of Step While great precision in notation is possible, for general 214 purposes the key to the size of steps should not lie in the distance between footprints, but rather in the movement used to take the step - the action of the legs and the travel-ing of the center of weight. One must observe whether there is a drive to cover more ground than in a normal comfortable step, or whether the per-former is holding back, thus producing smaller steps. Expending energy usually produces longer steps, and containing or lacking energy produces shorter steps.
21Sa
I ~
1 or
b
Folk dance step
1 VI
j Note that 21Sa can also be written as in (b). Since c d all these steps have the same modification in size, the double narrow sign can be placed outside in a path sign. Fig. 21Sc could be similarly handled by using the indication for a long path, as in (d).
NARROW AND WIDE POSITIONS OF THE FEET The open positions of the feet may be narrow or wide in the same way that steps can be short or long. The appropriate pre-sign is placed under each direc-tion symbol as in 216a or centered under the two symbols as in (b). The width of a position of the feet is judged on the basis of the dis-tance between the two feet, not on the distance of each foot from center (place).
216c lIJ d l!l e lE 216a
Feet slightly apart A small second position
A normal second position
A wide second position
The distance of the separation of the feet is the same whether the position is reached through a jump, as in 216h, or through stepping, as in (i). Because the pre-sign is considered part of the support indication, the moment of landing (the contact of the foot with the floor) is un- 216h
b
A very wide second
position
CHAPTER 11 SPACE MEASUREMENT: FLEXION, EXTENSION 141
derstood to occur at the start of the pre-sign. Below are examples of stepping or jumping into wider or narrower positions of the feet.
217a Stepping out with the
right foot
b Stepping out alternately
right and left
THE SIX-DEGREE SCALE OF NARROW AND WIDE
c Jumping into increasingly
wider positions
In a detailed description of movement, finer degrees are sometimes needed for writing length of step. These are provided by adding dots to the basic signs, thereby producing a scale of six degrees.
Degrees of Narrowing
The General Scale:
The Six Scale:
"Ord." represents the ordinary step length, which is taken to be two foot-lengths measured from heel to heel. In stepping, the third degree is one foot length; the sixth degree of nar-rowness is totally closed, i.e. it is equivalent to place.
Degrees of Widening The maximum degree of width for a step is a 'split' (the length of both legs), called a 'stride' for the sagittal version, in contrast to the lateral 'split'. When the precise length of step must be observed, the distance of one step in the forward direction is stated as being two foot-lengths from heel to heel when the whole foot is on the ground. The longest step is gener-ally considered to be three and a half step-lengths (seven times the foot length). Note that more degrees exist for long steps than for short.
Scale for Long Steps. This scale for degrees of length applies only to steps.
The General scale: Ord. V1 ~ ~ The Specific scale: Ord. V1 V1 l/.1 ~ ~ ~ ~ ~ Step length: 1
219 2 3
142 LABANOTATION
Fig. 220 illustrates the progression in degrees of widening an open position of the feet until a stride (split) is reached. The numbers given here refer to step lengths.
2 3 General statement
'- /lfl ~ i:1 H- It I -t 2 2+ 2+ 3
~ bi'I ~ ~ ~ Specific statement
VI V1 li.1 lfI
220
Observe that between place and a normal forward step there are six subdivisions; between one step length and two there are four; and between two step-lengths and three there are only three. While this may not seem mathematically correct, it is physically practical, in that the dancer needs to make more distinctions between small steps rather than large.
Statement of Scale Used - General or Specific Where no specific indication is given, the general usage is understood to apply. To indicate the specific scale for steps, the following statements should be made:
x 1 6 l-.L
4
When needed, statements of scale are placed at the start of a score but can appear out-side the staff next to an indication that needs clarifying. In actual practice such indication of scale is only required incidentally for the single symbols X and V1, since any addi-tion of dots immediately denotes the use of the specific scale, and the doubled signs ~ and l?1 are the same in both scales. Below are examples in which the scale is stated. Note fig. 221c, which gives the statement of exact step length. (See also page 458 for the dis-tance sign.)
Use of the -I'" c OJ =1'6"
Use of the 6 -I~ specific scale Use of the for long II
scale for steps (a :s: distance
short steps X sign: each lunge step is 1ft
forward) 6 ins long 221a b
The 'exact performance' sign * can also be used to indicate precision in interpretation. (See pages 311 and 313.)
FLEXION AND EXTENSION FOR GESTURES For parts of the body, torso and limbs, the signs X , ~, V1, l?1 are used to indicate flexion and extension. In Motif Description, the general statement of 222a shows a very flexed start-ing position of the body-as-a-whole; in 222b there is a general action of extending.
CHAPTER 11 SPACE MEASUREMENT: FLEXION, EXTENSION 143
The same symbols used for degrees in length of step are used to de-scribe flexion and extension of the limbs (arms, legs, and hands) and to 222a some extent the whole torso (spine). It was Laban's focus on a spatial rather than on an anatomical description of movement that led him to seeing limb flexion and extension as the spatial distance between the ex-tremity of the limb and its base, hence his application of the same signs.
In flexing, the limbs draw in closer to their center. In extending, the b
limbs reach out, away from the body. In their normal state, the arms hang down at the sides of the body, the elbows and hands relaxed and very slightly rounded; they are not straight. The legs have a relaxed knee, not bent, but not taut.
EXTENSION: ELONGATION
Analysis of Movement The elongation form of extension is the lengthening of a part of the body into the direction already established or into a stated new direction. The extremity of the limb, the free end, keeps its line of direction with the base, the point of attachment.
Method of Writing For limb extension there are only two degrees; the signs l/1 and V1 indicate such elonga-tion. Over-extension (reaching out in space), which involves including the part of the body to which the limb is attached, is indicated by an extension sign combined with an inclusion sign. (See Chapter 15.) When used as a pre-sign before a direction symbol, these signs modify performance of a gesture in the given direction.
EXTENSION OF THE LEGS In an ordinary leg gesture it is understood that the knee, ankle, and foot are relaxed. To in-dicate a straight leg, the symbol l/1 is placed in front of the direction symbol in the leg ges-ture column. Two degrees of extension are possible.
222c Knee, ankle and foot extended in one line Fully extended leg; lengthened to the utmost
The difference between l/1 and V1 in extending the leg is not easily seen in a draw-ing but the muscular effect is quite noticeable. The leg takes on a different appearance; there is a muscular lengthening in both directions, i.e. the muscles are 'pulled up: and at the same time kinetic energy 'projects' out through the foot. The limb is taut, but not tense: the energy is expended in the act of extension, causing neither stiffening nor cramp. Cor-rect use of appropriate muscular relaxation will result in greater extension.
144 LABANOTATION
Only the two degrees of extension given are possible within the limb itself. To extend further, to make greater use of space, the leg must pull out from the body so that the hip joint is involved, resulting in a hip inclusion. *
EXTENSION OF THE ARMS The arm also has only two degrees of extension. It is normally held with a very slightly curved elbow and wrist, less than one degree of flexion. The hand is also slightly curved, the degree of this curve being individual. In the first degree of extension, the elbow, wrist and hand straighten so that the whole arm becomes one straight line. In the second de-gree of extension, the limb lengthens further through the use of the muscles. This addi-tional lengthening is spatially only a small change but it considerably affects the expression of the movement. The energy used for this extra extension causes neither stiffening nor cramp.
The arm is straight in one line
~ 223a
The arm is extended and taut b
The difference between Fig. 223a and (b) can be seen and felt muscularly but such dif-ference is not easily drawn.
FLEXION: CONTRACTIONH Of the two main forms of flexion, contraction and folding, contraction will be dealt with first. (Folding is covered in Chapter 19.) Contraction is also called 'shortening' or 'drawing in'. Note that the term 'contraction' is used in its anatomical sense and not, as in certain contemporary dance techniques, specifically applied to a stylized movement of the torso.
Typical examples of contraction and extension, which occur in everyday life, are:
For the legs: pedaling a bicycle, braking a car, rowing a scull. For the arms: boxing, archery, rowing, pushing furniture, opening an umbrella, plan-
ingwood.
In these actions we can see that drawing the limb in closer to the center (its base), may occur to make functional use of body energy rather than to achieve any exact placement in space of the parts of the limb. In dance such gestures as these are often performed for expressive rather than functional reasons and an increase in energy mayor may not be present. However, such expressive actions of drawing in and of reaching out are physi-cally the same.
Analysis of Movement Contraction is the drawing in of the extremity of the limb (the free end) toward its base (the point of attachment, the fixed end). A contraction of an arm or leg involves a simulta-
*See Appendix B, note 11. **See page 277 for additional information on bending (folding), the other important form of flexion.
CHAPTER 11 SPACE MEASUREMENT: FLEXION, EXTENSION 145
neous flexion of two joints - the center joint of the limb and that at the point of attachment. For the arms, these are the elbow and shoulder; for the leg, the knee and hip. In an extended limb, the extremity, the center joint, and the base are all in one line. In 244a this line is represented by 'x-y', with 'z' as the center joint. As the extremity'y' approaches the base 224a 'x', the angle at 'z' will decrease and the point 'z' will be
y
z
b
t! y
I z y
z
displaced in space. The greater the diminution of this angle, the greater the displacement of the center joint. Thus in contracting the leg, the knee is displaced from its point on the line 'x-y' while the foot and hip keep the original line of direction. It is important to note in 244b that neither section of the limb lies in the original line of direction, though the ex-tremity and base do.
Method of Writing The symbol X and its variants are used for gestures of the limbs to indicate contractions. The appropriate pre-sign X , )\, etc., is placed in front of the direction symbol in the ap-propriate column for the arm, leg or torso.
CONTRACTION OF THE LEG In a contraction of the leg, flexion is understood to occur in the hip joint and in the knee, but not in the ankle joint. As the leg is raised, the foot will naturally drop down toward gravity. Any contraction in the ankle joint must be specifically stated.
Degrees of Contraction in the Place Low Direction The illustrations of 225 show the leg to be turned out and the foot to be extended as in ballet. Normally the foot will be relaxed. The same principle applies when the legs are par-allel. The direction shown for the leg as a whole is place low, that is, straight down. While the leg bends more and more, the foot retains the same relationship to the hip, remaining directly below it. As the bending increases the knee becomes more and more displaced to the side. It is important to recognize that the direction of the knee is not the direction of the leg as a whole. Because the indications are for gestures, the foot should not touch the floor; thus in the first degrees the ankle needs to be flexed sufficiently to free the foot from the floor.
I I I x >1: %
225a b c
146 LABANOTATION
225d e
The direction of the knee's displace-ment will depend on the inward or out-ward rotation of the limb. Fig. 225c below shows the effect of an outward rotation; the illustration of 225g shows the same 225g degree of contraction with the legs paral-lel. The notation here does not include a
I ~
f
statement ofleg rotation (see Chapter 17) or of extension of the foot.
Degrees of Contraction in the Side Low Direction
226a 1 degree
226d 4 degrees
b 2 degrees
e 5 degrees
C
3 degrees
f 6 degrees, totally bent
r A 90° contraction
in the parallel state
Note that the last degree of contraction for the leg cannot be performed by the limb alone; some outside assistance is required to pull the foot in that close to the hip.
Degrees of Contraction in the Forward Middle Direction
227a b C
1 degree 2 degrees 3 degrees
227d e f 4 degrees 5 degrees 6 degrees, totally bent
CHAPTER 11 SPACE MEASUREMENT: FLEXION, EXTENSION 147
The above examples are illustrated with parallel legs in a sitting position on the floor where such positions commonly occur. The actions can also be performed with outward rotation.
CONTRACTION OF THE ARMS The general direction for the whole arm, as stated by the direction symbol, is the line from shoulder to hand. In contractions of the whole arm, flexion occurs in the shoulder joint and in the elbow. Any flexion in the wrist or fingers must be written separately. A bending, folding of the elbow joint alone causes only the lower arm to change its direction in space and is therefore not an action of the whole limb.
When the arm contracts, neither its upper nor lower segment remains in the originally stated direction. As the degree of bending increases, the elbow becomes progressively more displaced in space. Regardless of this displacement, the extremities of the limb, the hand and shoulder, retain the same spatial relationship. The direction of the elbow will depend on the degree of rotation, outward or inward, given for the limb as a whole.
Degrees of Contractions in the Forward Middle Direction The following examples show the degrees of bending the arm in the forward middle direction. The illustrations are drawn as seen from above with standard rotation, i.e. inside of wrist and elbow facing side middle. As the arm contracts and the hand draws in to the shoulder, the elbow moves more and more to the side, ending side middle. When the inside surface is facing more or less up, the elbow will drop, i.e. displace downward.
~~.J ~~} ~~ ) >'< ~~)
'normal' I degree 2 degrees 3 degrees a (standard) b (rounded) C (bent) d (900 angle)
~= 3> ~=~ ~=~ ~
4 degrees 5 degrees 6 degrees
e f g (totally flexed)
Fig. 228
Depending on the individual proportions of the parts of the limbs, it may be the center (the 'bulk') of the hand or the wrist that ends in front of the shoulder when total contraction occurs.
If this forward arm gesture is performed with outward rotation, the palm facing up, the degree of bending will be the same, but the spatial result will be different because of the ro-tation. Instead of ending out to the side as in the previous examples, the elbow lowers until it is straight down in a complete contraction, as shown below. The indication for the rota-tion of the arms is not given here (see Chapter 17).
148 LABANOTATION
a
d
'nonnal' (standard)
3 degrees (900 angle)
b
e 4 degrees
I degree (rounded)
f
Fig. 229
5 degrees
c 2 degrees
(bent)
6 degrees g (totally flexed)
An exact description of the final position reached can be given by stating the precise de-gree of rotation, the degree of contraction, and the direction of the limb as a whole. But if in contracting, the final position to be reached, i.e. placement of the limb segments in space, is important, it should be indicated by direction symbols for those parts. A descrip-tion in terms of contraction should be employed when the action of drawing the limb in toward the center is of prime importance.
Contraction in the Place High Direction The following example of a 90° contraction with the arm up (place high) is illustrated with a normally held arm and also with outward rotation of the whole limb.
Regardless of the rotational I .~ ~ state, the hand finishes above the shoulder ::s:
~ Arm with normal Arm with out-230 rotation ward rotation
Contractions in the Place Low Direction The following examples show the result of a 90° contraction of the arm in the place low di-rection using different states of rotation.
Regardless of the rotation used, the hand finishes below
the shoulder
231 Palm facing in toward the body (normal rotation)
Palm facing forward (outward rotation)
CHAPTER 11 SPACE MEASUREMENT: FLEXION, EXTENSION 149
DURATION OF FLEXION AND EXTENSION FOR GESTURES The signs for forms of flexion and extension are not elongated to indicate an increase in the duration of the action.
Without Change of Direction - Sudden Once the direction for the limb has been stated, for quick contractions or extensions that remain in the same basic direction, we need only to write the isolated signs. In 232b and (c) the contractions are not only quick but are accented, i.e. sharp, staccato. (See pages 425 and 426 for accent signs.)
~ ~ ~)l: )l:P
~ ~ ~>' >,P
232a ~ ~ ~x xP
The arms contract quickly, I ~ then extend quickly b c
Without Change of Direction - Sustained When the limbs remain in the same spatial direction, the timing of sustained contractions and extensions is shown by a duration line, * which follows immediately after the flexion or extension sign. Repetition of the direction symbol is unnecessary. In structured movement description this duration line (essentially the same as an action stroke) means "perform the stated action in the simplest, most suitable way." Freedom in choice of action is shown by using the ad libitum sign: ( . (See page 312.)
The arm and leg remain in the forward middle
direction while contract-ing and extending
233a
With Change of Direction
o
I I
I I .~
The same leg action but awareness of the
forward direction is emphasized
When a flexion or extension sign is placed before a direction symbol, it is considered as a unit with that direction symbol with regard to timing. The action of contracting or extending is understood to be spread over the amount of time indicated by the direction symbol that follows. Thus in 234a the right leg takes two counts to contract two degrees while it lifts into the forward middle direction, and one count to extend while moving to side middle. Though the symbol appears at the beginning as a pre-sign, the action is spread throughout the time available.
'See Appendix A, note 6.
b
234a
150 LABANOTATION
When the same state of contraction or of extension is to be retained, the same pre-sign is stated for the new direction symbol. Without this repeated pre-sign, the limb will return to its normal state.
Retaining a state of flexion or extension can be shown by using the adjacent column and a retention sign, 234d. Note use of the small horizontal bow tying the contraction sign to the arm column.
b rn wi c __ _
Move the right leg forward contracting it two degrees,
then move it side low, keeping the same state of
contraction
Move the right arm to side right extending it two degrees, then forward
keeping the same degree of extension
During Change of Direction Flexion and extension can occur while the limb is also moving spatially. In 235 the arms extend (stretch) and contract repeat-edly, ending extended, as they rise to side high.
TOTAL CONTRACTION VERSUS THE DIRECTION PLACE Theoretically a fully contracted arm is at place (hand close to shoulder); therefore 236a and (b) mean generally the same 0 thing. In practice the choice of description depends on the expression of the move-
~ ment: (a) emphasizes the spatial direction (place) and (b) the action of drawing in the 0 limb. The awareness of the action is differ-
~ ent for the performer and the resulting change of expression is observable to an 0 onlooker. 236a
READING MATERIAL: LEG AND ARM GESTURES
d As the arm circles the
contracted state is maintained
235
0 I ~
b ~ 0 I
~
~ ~ 0 b ~
I ~
b I
~
~ ~
No statement of rotation is given for the following examples; their performance is left open to whatever is 'normal' for the reader. The effect of leg rotation changes neither the basic direction nor degree of bending.
CHAPTER 11
237a Run with bent backward
gestures, then a forward hitch kick with bent legs.
SPACE MEASUREMENT: FLEXION, EXTENSION 151
b Do two skips and a gallop with the legs pulled up underneath.
c Kick the leg out from under-neath on each hop. Pull it in
on the sideward springs.
NEITHER BENT NOR STRETCHED. The sign IA (a combination of V1 and X ) indicates the state of being neither bent nor stretched. It can be used as a cancellation sign for bending or stretching, i.e. a return to the neither flexed nor extended state.
READING MATERIAL
238a
I t/1
I 1><1
I )<
I ~
I ~
I )<
I x
I t/1
I ~
I
~ x x D I
b VI I VI I
BENDING AND STRETCHING THE LEGS WHILE SUPPORTING
d
I I I
~
~
I I
~ I
I
~
I I
~
~ I
The signs X and V1, when placed in the leg gesture column next to a support symbol, in-dicate the state of contraction or extension of the leg during that support.
152 LABANOTATION
Degrees of 'Knee Bends'" The general indication of a low support, that is, of a support with a bent leg, is shown by a shaded direction symbol. The degree of bend can be expressed more specifically by use of the appropriate contraction symbol. The six degrees of contracting the legs can be shown solely through the use of the contraction signs; however, to facilitate reading, the conven-tion of using middle level symbols when the leg is almost straight and low level symbols when the legs are definitely bent is applied. The appropriate contraction sign is added to the appropriate level of support.
The following examples describing the six degrees of knee bends are illustrated with the legs both out-turned and parallel. The basic support and degree ofleg contraction are the same regardless ofleg rotations. The half knee bend (demi-plie in ballet) varies with differ-ent performers, generally falling between 239c and (d); 239f is a full knee bend (grand plie in ballet) and (g) produces a squat.
239a
239c
23ge
239g [ or (a squat)
The exact degree of leg bend equivalent to an ordinary low level support is also left open. For some it is lower than for others. The commonly used degree probably lies be-tween 239c and (d). Once low level has been reached, from 239d on, the support is written as a low support with the additional information of the degree of knee bend. As the leg bending increases, it is common for the heels to leave the ground. The moment this must occur varies with the individual build of the performer. Adding the appropriate hooks to the support symbols (see Chapter 13) can state the exact use of the feet.
*See also page 356, Fig. 614.
CHAPTER 11 SPACE MEASUREMENT: FLEXION, EXTENSION 153
Modified Levels of Steps The sign X or V1 placed next to a step modifies the whole step. * When the steps are quick no duration need be shown, the degree ofleg flexion or extension is established at the start of the step.
~ A normal walk
~ A high level LIJ [[ but with slightly walk with
bent legs slightly bent legs
240a b c d
When the expanded staff is used, the X or V1 indication is placed in the space adjacent to the support column (the inner subsidiary 'a' column), as in 240c. Or it may be placed in the leg gesture column, as in 240d. The placement of (c) has the advantage of being closer to the step it modifies, the two related signs thus being read as a unit. Note the difference between 240a and (b) where the contraction sign refers to the flexed state of the leg, and (e) and (f) where it describes the free leg as it prepares to take the step that follows.
240, tj]l f ~ Picking up the free foot before
stepping in place
Length of Step with Contraction or Extension of Supporting Leg
The same as (e) with a more bent
gesture
Space measurement signs for length of step and degree of contracting or stretching the leg can be written side by side. Note the following combinations:
241a b Short steps, bent legs Short steps, stretched legs
241, [}J dQJ Long steps, stretched legs Long steps, bent legs
DURATION OF FLEXION AND EXTENSION SIGNS FOR SUPPORTS The sign X or V1 placed next to a support symbol modifies the whole symbol. In quick steps as in 241a, there is no time for differentiation in the moment when the contraction starts and when it is completed, the leg is already bent when the step is taken.
X·
In slow steps changes in leg contraction and extension can take place during the transference of weight. Bending, for example, can occur at the beginning, in the middle, or at the end of a step. Timing of such bending is shown by the addition of the action stroke (duration line).
[ 242a --~-
*See Appendix B, note 12.
154 LABANOTATION
242b I
X
Bending at the start
I X c ---
The same but a slower bend
I X
d --A fairly quick bend
in the middle of the transference of
weight
I X
e __ _
The same but during the second
half of the step
I X
f __
Bending at the very end
Note that in 242b, (c), and (d) the degree of contraction achieved is retained for the rest of the transference of weight.
DISTANCE OF LEG GESTURE FROM FLOOR A low leg gesture should be at a 45° angle from the vertical line. Often the leg should be lower, nearer the floor. Intermediate directions (pages 390 and 391) can be used to indicate the precise directional point to which the leg moves, but a practical method of showing nearness to the floor is to place the appropriate narrow sign in the support column of the gesturing leg. This follows the logic of distance applied to length of step. However, as the meaning is distance, rather than flexion, and it is referring to a leg gesture rather than to steps, the diamond indicating spatial aspects must be added to the sign for clarity.
Distance of Leg Gesture from Floor While Standing The moment contact with the floor is indicated through addition of hooks to the direction symbol, the angle of a low leg gesture is modified (see Chapter 13). However, the leg may be lowered two stages from the normal 45° angle before it actually touches the floor.
This device is practical in the writing process because the general statement of a low gesture can be written and the modification in level added when it is known.
243a b Ordinary low level
C
Near the floor Very near the floor
Distance of Leg Gestures from Floor during Springs The following example illustrates variations in the distance of low leg gestures from the ground while the performer is in the air.
244a b A spring with 45° side low gestures A spring with very low side leg gestures
CHAPTER 11 SPACE MEASUREMENT: FLEXION, EXTENSION 155
244c d A leap with forward backward gestures The same with legs skimming the floor
VALIDITY, CANCELLATIONS
The rules for validity and cancellation for space measurement signs as applied to length of step are presented first. Validity and cancellation for contractions and extensions for ges-tures of the limbs follow.
LENGTH OF STEP A space measurement sign placed before a direction symbol lasts as long as that symbol is in effect. The par-ticular pre-sign for distance must be repeated if it is to apply to subsequent direction symbols.
Size of Position For positions, carets meaning 'the same: to indicate the same position, can be used. 'The same' may include a space measurement sign.
246a The position on
count 2 is of normal size
b The position on count 2 is again a
wide position
245a The step on count 3 is a
normal-sized step
Note that the use of a caret in 246c retains the stated position, there-fore the position remains wide; the distance signs do not need to be repeated.
When the size of step is shown by placing the space measure-ment sign in a path sign outside the staff on the right, the size of all directional steps that occur during the length of the path sign is af-fected. At the conclusion of the path sign this modification ends. Therefore in 247 the last step is of normal size. 247
b
c
The step on count 3 is a small step
Carets indicate the same position
is retained
I ~
1
156 LABANOTATION
Retention of State of Leg during Step The indication for the state of the leg during a step, bent or extended, lasts only for the step next to which it is placed. Therefore in 248a the right leg steps in the normal manner on the third beat. The flexion sign must be repeated, as in (b), for it again to be bent. To main-tain the flexed state, the flexion sign must be repeated each time, 248c, or the retention sign used to avoid repetition of the sign, 248d.
248a b c d
Cancellation of Flexed/Extended State In a slow step, a particular state of contraction or extension can be shown to return to nor-mal during the course of the transference of weight. In 249a the slight bending of the leg during the first half of the step disappears during the second half. The back to normal sign: o indicates this return to normal or the sign for 'neither bent nor stretched': V1 can also be used as a cancellation here. In 249b both these actions happen where shown, but with-out duration.
<;) or V<1
249a b c
A retained state is cancelled by a return to normal sign: 0,* or by stating that the limb is neither bent nor stretched, as in 249c.
GESTURES OF THE LIMBS The flexion or extension pre-sign is valid only as long as the symbol before which it is placed is valid. To retain the same state of contraction or extension, the pre-sign must be repeated.
*See Appendix A, note 5.
CHAPTER 11
~ ~ . ~
250a ___ . )"(
A normally extended arm and leg on count 2
b The bent state of the
arm and leg are retained on count 2
SPACE MEASUREMENT: FLEXION, EXTENSION 157
OJ ~ m~ c_~ dll'_~ The arm returns to its normal state on
count 2
The arm retains its extension on count 2
When the limb retains the same spatial direction but returns to the normal state after a contraction or extension, we can use the unqualified direction symbol, the back-to-normal indication or the sign lx1. The first, 250e, emphasizes an awareness of the direction; in (f) there is a return to the normal state, while in (g) the 'neither flexed nor extended' condition for the limbs is stated and the awareness is of unbending.
250e rn Wi 1 . ~
f _0 __ ~
[il l
-~~ g
Retention of Bent or Stretched State for Gestures To keep a state of contraction or extension during a series of gestures without having to re-peat the pre-sign for each direction symbol, the indication can be placed within an addi-tion bracket. In 251a the two-degree contraction for the arm, established at the beginning, is cancelled on count 4 as the arm moves forward. In (b), to retain the bent state, the flex-ion sign is written with a hold sign in the adjacent column and tied to the arm column by a small horizontal bow '---/. The back to normal cancellation on count 4 also appears in this column.
For leg gestures the same devices are used. In 251 c the sign for flexion is repeated, the final gesture on count 1 is with a normally held leg. The same movement is given in 251d with an addition bracket. The retention sign used in 251e is cancelled for the final gesture with the sign for neither bent nor stretched.
1>111
0 ~a
I· ·1
~ ~0 I I ~ ~
~)"( ~ 4 or 4 4
~ ~ 3 3 3
I I~ '-../
251a b c d e
12
FLOOR PATTERN, PATHS
FLOOR PATTERN
A floor pattern is the design made by a dancer or several dancers traveling across and/or around the stage area. In a dance score indication of such traveling-direction, distance, degree of circling, etc.-is part of the movement instruction. At the same time floor plans illustrating starting and finishing locations as well as paths are usually given adjacent to the movement staff to provide a visual aid. (For details of floor plans see Chapter 22.)
THE STAGE AREA * The room or stage in which the performer moves is represented by an open rectangle, the open side being the front of the room, the audience. Rooms and stages vary considerably in size and shape; Fig. 252 Left represents the more usual proportions, i.e. greater width than depth. For individual needs indication of the area can be scaled to an appropriate, relative size and shape.
INDICATION OF THE PERFORMER**
Front
Back
252
Right
The performers' situations on stage are shown by pins. A flat pin: ~ , which indicates 'a person,' is used to show the starting location. When needed, a wedge: A can be used to in-dicate the direction the performer faces at the end of traveling. The point of the pin or wedge indicates the direction the person faces. The person's feet are understood to be where the vertical line of the pin meets the horizontal base. To specify a male a black pin or wedge is used: ~, , . For a female a white pin or wedge is used: !, , /1,. The person's feet are understood to be where the shaft of the pin meets the circle. (See page 324.)
*See Appendix B, note 13. **See Appendix B, note 14.
CHAPTER 12 FLOOR PATTERN, PATHS 159
INDICATION OF PATH A path across the floor is indicated on the floor plan by the use of an arrow that shows the progression from the starting point.
253a The performer makes a half circle path to the right with forward steps, ending center stage
b The same path with the finishing position shown; additional turning has occurred to make the performer end facing stage left
To keep the floor plans simple, uncluttered, finishing wedges are used only when such clar-ification is needed.
THE SPECIFIC AREAS IN THE ROOM Representative signs identify the specific parts of the room or stage.
254a
~ - Center of the room or stage
U -Center of front area (downstage)
~ - Center of back area (upstage)
[] - Center ofleft side area (stage left)
[] - Center of right side area (stage right)
~ u C'l [] ~ []
[] - Front left comer area (downstage left)
~ - Back left comer area (upstage left)
~ - Front right comer area (downstage right)
[] - Back right comer area (upstage right)
254b ~ ~ [] The area signs located on the floor plan
Additional area signs are given in the glossary, page 456. See also the Advanced Labanota-tion book Spatial Variations.
GENERAL INDICATION OF PATHS
Notation of a specific choreographic work usually involves precise recording of paths; in many folk dances, for example, the steps are simple but the paths are detailed and exact. However, a general statement may be sufficient for many notation purposes; details may be added as desired.
160 LABANOTATION
BASIC SIGNS FOR PATH
Straight path The straight path sign, 255a, is the general indication for traveling on a straight line. When placed next to a description of specific steps it provides additional information regarding the performance of those steps. (See pages 72 and 171-173.)
Circular Path The signs for circular path are derived from the signs for turning. A central vertical line to denote a path sign con-nects the slanting parallel lines. Fig. 255 (b) is the parallelo-gram indicating a turn to the left; (c) is the sign for a circular path to the left (counterclockwise). Fig. 255d is the sign for turning to the right, (e) is the sign for a circular path to the right (clockwise). The length of the path sign indicates its duration. By following the top slanted line, one can see clearly the indication for circling left or right as illustrated by the dotted lines in 255f and (g).
255b c
255, I d e
255f g
GENERAL DESCRIPTION OF PATH
256a
When freedom of interpretation is allowed, the follow-ing indications suggest the path desired. These provide a progression from the greatest possible freedom to more and more specific instructions. In Motif Notation, where details are not stated, interpretation is open to the performer. Curving paths do not have the sense of mov-ing around a central point as in circling.
Any path, open A straight path choice
256c I d I e I f I A curving path Horizontal circular A circular path to the A circular path to
path to the right or left left (counterclockwise) the right (clockwise) (choice open)
For the above symbols, size of path, direction of step, and amount of change of front dur-ing circular paths are left open to the performer. The sign for 'any path' is derived from the ad libitum sign ~ .
PATH APPROACHING The aim of a path may be for the performer to move toward a person, object or part of the room. This aim is stated as a focal point that may later be identified (see Focal Points,
CHAPTER 12 FLOOR PATTERN, PATHS 161
Chapter 8). The action of approaching, of motion toward a focal point of some kind, is in-dicated by an elongated V sign. This sign is related to the 'increase' sign; in some contexts it is still used in that sense. The length of the sign indicates timing.
• Sign for Sign for a focal approaching, ~ Approaching the
point motion toward focal point
257a b
The concept of approaching can be combined with various indi-cations for paths. Fig. 257d shows a straight path approaching the focal point. In (e) approaching on a circular path produces an in-ward spiral path (see pages 176 and 177). ,.
PATH WITHDRAWING 257d
c V T V 1 e
Motion away from a focal point of some kind is represented by an inverted V, as in 258a. Fig. 258b shows withdrawing from a focal point. This indication combined with a path sign may show withdrawing on any path, as in (c) or withdrawing on a circular path (spi-raling out) as in (d). ,.
258a
T '7
f~ A part of the room can be designated instead of a focal point. Fig. 258e shows any path
moving away from the center back area of the room, while (f) shows a straight path ap-proaching the center front area of the room.
STARTING POINT AND DESTINATION OF PATH The appropriate stage area sign is placed to the left of the starting position to indicate where the performer is situated when s/he begins to move. This placement is used for Motif Notation as well as for structured scores.
259a ~ T Start in the center of the room in a low position, then perform
a clockwise circular path (Motif Description).
*See Appendix B, note 15.
b Start in the left upstage corner area facing the downstage right direction, walk a 114 circular
path counterclockwise.
162 LABANOTATION
When a path arrives at the focal point, or reaches a person, ob-ject, or part of the room, the indication for this aim is placed at the end of the path sign and is tied to it with a small vertical bow. Fig. 259c shows a straight path arriving at the focal point; (d) shows reaching the focal point on a clockwise circular path, and (e) arriv-ing at the center area on any path.
GENERAL STATEMENT OF SIZE Space measurement signs are used to indicate the general size of a path, the distance covered. Fig. 260a shows any short path; (b) shows a very small distance traveled on a clockwise circular path and (c) a very large distance circling counterclockwise.
SPECIFIC INDICATIONS OF CIRCULAR PATHS
rrr 259c d e
260a b c
A circular path or floor pattern can be achieved in two ways: by a constant change in direc-tional steps without any change of Front, or by steps with a slight turn between each step.
CIRCULAR FLOOR PATTERN A circular floor pattern without a change of front can be described by a constant sequential change in the direction of each step, as in 261a. The circular floor pattern thus produced, however, is different from true circling (a circular path), which must also include a change of Front.
b
261a
"'" I /
In this diagram the line of the path is broken to show where
each individual step lies. c
In 261c the step sequence produces the same floor pattern by using a 1I8-pivot turn after each step. Though in both 261a and (b) a circular shape results, the feeling is not the same as truly walking a circle with its gradual change of Front, as described on pages 168 and 169.
AMOUNT OF CIRCLING To show how much of a circle is to be performed, the vertical line of the path sign is broken and the appropriate black pin is placed inside to show the degree of turn, of change of Front. This usage of black pins follows that for turn signs (see Chapter 8).
CHAPTER 12 FLOOR PATTERN, PATHS
1 ~ 1 ~ ! T 2 -
262a f b ~ c f d ~ One full circle A half circle Two circles to A three quarter
clockwise counterclockwise the right circle to the left
Interrelation of Segment of Circle and Degree of Turning The segment of the circle, a quarter, a half, three quarters, etc., and the degree of turning, the change of Front, must agree. In a whole circle the performer will end facing the direc-tion in which s/he started, in a half circle s/he will face the opposite direction, and so on. The following examples include Front signs (stage directions) to show this interrelation-ship. Note placement of path signs on the right of the staff. ,.
I -~
263a 1 Start facing left, walk 1/4 circle
clockwise, end facing front
b
I .--
1 Start facing left front, walk 3/4 circle counterclockwise,
end facing right front
I -c [B-- __ ._ 1 Start facing right, walk 3/4 circle
clockwise, end facing front
Determining Segments of Circling Many curved paths can be divided into segments of a circle. ~ Fig. 264a illustrates a path walked with forward steps which can ' " I
be broken into portions of circling: 1/4 circle clockwise, 1/2 cir- / ' 264a I
cle counterclockwise, straight for a few steps, 1/4 circle coun-terclockwise and finally 3/4 circle clockwise, as notated here.
I I T -
Note placement of Front 0 1 signs after (or as) each I circling ends.
1 .--
1 B
264b @
*See Appendix A, note 7.
163
164 LABANOTATION
SIZE OF CIRCULAR PATH The actual size of a circle is determined by:
1. The number of steps taken, and 2. The length of the steps.
The fewer the steps, the smaller the circle performed. The smaller the steps, the smaller the circle performed. Conversely, more steps or larger steps will increase the size of the circle. The indications for size of steps, short or long are given in Chapter 11. If all steps are in place, the circling will occur around oneself; no traveling will take place.
0 I I ~~ /' \
lb l ( ~ r I '- /
~ .v'
265a b Few steps: small circle Many steps: large circle
I I _ l r~v l( \ l'-' r'~
)
265c d Small steps: small circle Longer steps: larger circle
SITUATION OF THE CIRCLE From any given point it is possible to walk eight different circles by using the eight main step directions: forward, backward, right, left, and the four diagonal directions that lie between. Where the circle will lie in relation to the starting point will depend on the di-rection of the steps and whether circling is clockwise or counterclockwise. In every case the performer is situated at the circumference of the circle and travels around the circumference.
The performer does not start at the center of the circle. The center of the circle lies at a certain distance from the performer and this center, like the axle of a wheel, is the point around which the performer moves. This point lies at right angles to the direction of the steps. The relation of the center of the circle to the performer remains constant throughout the path traveled.
In 266a the white pin in the center represents a female performer. From this starting po-sition she can describe any of the eight circles, walking on the circumference.
CHAPTER 12
Fig. 266b illustrates the following combi-nations of direction of steps with direction of circling:
Circle 'a' DS or Dt Circle'b' Dt or DS Circle 'c' ~t or ~S Circle'd' ~S or ~t
266a
FLOOR PATTERN, PATHS 165
Eight possible circles that can be performed from a given point
c
b a
266b d
Fig. 266c illustrates the following combinations of diagonal steps and the direction of circling:
Circle 'e' DS or Ot Circle 'f' Ot or OS Circle'g' OS or Ot Circle'h' Dt or OS 266c
Forward Steps When we take forward steps, the center of the circle lies to our right when traveling clock-wise and to our left when traveling counterclockwise. Note the dot marking the center of the circle, and the S to indicate where the circle starts.
267a b Center of circle lies to the right Center of circle lies to the left
166 LABANOTATION
Backward Steps With backward steps, the center of the circle lies to our left when traveling clockwise, to our right when traveling counterclockwise.
267c d Center of circle lies to the left Center of circle lies to the right
Sideward Steps When we take sideward steps to the right, the center of the circle lies behind us when we travel clockwise; it lies in front of us when we travel counterclockwise.
f b s
l 0--
1 I 267e f
Center of circle lies behind Center of circle lies in front
If steps are taken to the left, the center of the circle will lie in front of us when we travel clock-wise and behind us when we travel counterclockwise. In 267g and (h), though the choice of crossing in front or behind is left open, unspecified, the line of the circular path must be kept.
I !
!~O 267g h
1 1 Center lies in front Center lies behind
Diagonal Steps There are eight possible ways of walking circles using diagonal steps, of which four are illustrated here. In 268a diagonally right forward steps moving clockwise produce a cir-cle whose center lies diagonally backward right of the performer. In 268(b) the same steps moving counterclockwise produce a circle which lies diagonally forward left of the performer.
CHAPTER 12 FLOOR PATTERN, PATHS 167
268a
I ?(\ lu
Center lies ~ . b
268c
f ~ubS I / ~ ~
11 0-
Center lies ~ . d
I ~8/. I V 1 S ~
Center lies ~ .
PERFORMANCE OF DEGREE OF CIRCULAR PATH A circular path should be as true a full circle, or portion thereof, as possible. In walking a whole circle the performer should return to his/her starting point. If the number and di-rection of steps and the degree of arc are given, there is a definite point in relation to the starting point at which the performer should finish. We shall explore quarter, half, and three-quarter circles here. In large circles or portions thereof, the performer is at a greater distance from the center than s/he is in small ones. Spirals, diminishing, and augmenting shapes are discussed on pages 176 and 177.
A Quarter Circle Whatever its size, the actual shape of a quarter circle should remain a true arc. Fig. 269a il-lustrates quarter circles of different sizes. The extent of the path will depend on the num-ber and size of steps taken. In each case the performer experiences a change of front which is the same as that for a quarter pivot turn to the right: S-.
A Half Circle The performer describing a half circle will end exactly opposite where s/he started and will be facing the opposite direction. In terms of change of Front, the result of 269b will be the equivalent of a half pivot turn: ~,regardless of the size of the half circle.
269a
1 ..-
1 269b
1 T
1 (@ abed IJ
168 LABANOTATION
A Three-Quarter Circle
--- ~
The change of Front in walking a three-quarter circle as in 269c, is the same as that of a three-quarter pivot turn: -S .
269, 1 a b
Freedom in Interpreting Shape of Circular Path
<11
The ad libitum sign I can be placed next to the degree of circling, as in 270a, to allow lee-way in the amount of change of Front. This is applicable to some folk dances where orien-tation to the performing area is not important. When the change of Front is specific but the shape of the curved path is not a true segment of a circle, the ad lib. sign is placed at the start of the turn sign, as in 270b. Instead of calculating the exact degree of spiraling we draw the desired path in an accompanying floor plan as in 270c.
--8J
f f G~ ------2 I
!!J J c 270a J b One interpretation illustrated
Reference to Floor Plan The shape of the desired path on stage may be more easily indicated on the floor plan thus avoiding detailed breakdown in describing the degree of circling, etc. A small version of a floor plan placed within the path sign alerts the reader to look there for the needed information.
PERFORMANCE OF STEPS ON A CIRCULAR PATH
on a floor plan
"See floor plan" applied to a circular path
The continuous turning action that occurs while circling should be spread evenly over all directional steps. The starting step in walking on a circular path should be into the stated direction (forward in the examples below), but modified by the degree of curve that is to follow. In a large circle the first step hardly curves; in a very small circle the first step must curve sharply. When stepping and turning overlap completely, the turning action occurs in the body from the ankle up. Part of the turning occurs in the standing leg while the free leg prepares for the next step. Circling involves the automatic use of non-swivel turns; for this reason the steps are taken with the feet placed on the curved line of the path. Note the difference in the placement of the feet between two steps with a 1/8 pivot turn, as in 271a, and two steps on a circular path as in (b) and (c). For the foot diagrams here, which il-lustrate the placement of the feet, a parallel stance is used.
271a
CHAPTER 12 FLOOR PATTERN, PATHS 169
The unstressed rotation of the legs to the right necessary for placing the feet on a circular path to the right is understood and hence not usually written.
lUll 271b l]J __ . _ r 1Ul;
l!JJ c __ _
Simultaneous Step and Turn A single step can be taken as though walking on a circular path. Fig. 27ld shows a forward step occurring on a one-quarter clockwise circle. This should be performed as though it were the start of a whole circle of four steps. In this way the step will be given correct placement, degree of curvature, and leg rota-tion. Note that the foot, slightly turned out, will be placed on a diagonal line from the starting front, part of the turning pro-cess being assumed by the left leg as the right prepares to step.
Directional Steps and Steps in Place
271d
When a sequence consists of directional steps and steps in place, it is only the former that produces the actual path and therefore any modification of the path refers only to these. In 272a only the forward steps will be long; the steps in place remain on the spot. When steps are modified by a circular path sign, only those steps that progress contribute to the curve and involve a change of front. There is no change of front for the steps in place.
I I V1 --
272a __ 1 b __ 1 In 272b there will be no turning during the high steps in place; the circular path action could have been written as in (c). This separation is, however, unnecessary because of the above rule regarding progression on a path.
Circling in Place When all steps are in place as in 272d, the circling is around oneself; the smallest possible circle is per-formed, the feet stepping around each other. The turning action is spread evenly over the stated num-ber of steps. As no actual path occurs, such turning is better described with a slightly broader turn sign placed outside the staff on the right, as in 272e. The
or
272d
170 LABANOTATION
broader turn sign provides the message that it refers to the body-as-a-whole and not to an individual part. Placement of the feet and use of swivel or non-swivel steps can be indicated if needed.
Circling during Slow and Quick Steps A slow step does not include more turning (change of front) than a quick step. Thus in 272f the degree of circling is spread evenly over the five steps, though the first alone is as long in duration as the following four. The path traveled will be the same as that produced by five steps all of equal time value.
REVOLVING ON A STRAIGHT PATH
I -f __ 1
Folk, ballroom, and other more complex forms of dance involve the action of turning around one's own axis while stepping along a straight path. In some cases this action can be analyzed so that the direction and degree of turning for each step can be stated; in other instances the number of steps or the total degree of revolving make an exact breakdown impossible. The following indications illustrate how this form of movement is analyzed and written. (See Appendix B, note 16.)
T D
273a 1 A straight path
forward
b
A full turn clockwise
T o
c ~ 1
A full revolution on a straight path forward
By combining 273a and (b), the straight path encloses the turn; the turning is thus under-stood to be spread throughout the path. Depending on the number of steps and degree of circling, swiveling or non-swiveling steps may occur.
The Motif Notation of 273c does not provide information on the number, level, or timing of the steps taken. These details can be shown as in 273d in which five forward steps travel toward the back of the room. It is important to note that the direction of the steps is described according to the path to be followed, as it appears at the moment of starting. In relation to the performer, the step direction constantly changes as the body revolves. Because the direction of the path is given in the support column, it need not be indicated in the path sign. To perform a pattern such as 273d, the reader should first walk the straight path without any turning, then separately, practice the given degree of turning spread evenly over the stated num-ber of steps. These two actions can then be combined. To make this space pattern quite clear, three similar examples will be compared.
T ~
273d q:J __ 1
CHAPTER 12 FLOOR PATTERN, PATHS 171
Fig. 273e shows three steps combined with pivot turns. The directions of the steps and the degrees of turning are such that a straight path toward the right side of the room results. There is swiveling on each step; the rate of turning is not constant. In 273f a full revolution is spread evenly over three steps that travel toward the right side of the room.
273e t9 f t9
T ill 1
g t9
Where there is no need to analyze the exact degree of turn for each step or where a large number or an unknown number of steps occurs, the indication for revolving on a straight path is suitable. It should be noted that, while pique (pose) turns in ballet, 273g, involve turning on a straight path, the rate of turning is not even; such accomplishing of a full turn with two steps does not relate to the intention or sensation of Fig. 273d and (£).
Jumps revolving on a Straight Path Traveling jumps, which need to be written with a path sign, may travel on a circular path and may also combine revolving on a straight path. Fig. 274a shows four jumps with the feet apart combined with a half turn to the right; there is no traveling. The dancer starts facing the front of the room and ends facing the back. 274b shows the same jumps traveling forward, producing a straight path. (See pages 72 and 73). 27 4a t9
T
b t9
I ~
1 Fig. 274c combines these two actions to produce the same path. The jumps travel to-
ward the front of the room and the dancer turns constantly to end facing upstage. Jump turns with forward traveling on a half circle path are shown in 274d.
Ifl T IJ
[fl
f Revolving a i half turn m ! Traveling forward T !~ clockwise on a on a half circle
straight path D clockwise D forward
1 t 274c t9 d t9
172 LABANOTATION
PIVOT TURNS ON A CIRCULAR PATH Pivot turns can occur on a circular path. The circular path modifies the usual progression on a straight path, which results from the step pattern and also modifies the degree of turning. To determine the final facing direction, the amount of turning and circling are added together when these are both in the same direction (e.g. turning right and circling clockwise); they are subtracted when turning and circling are in opposite directions (e.g. turning left and circling clockwise).
I --
275a 1 b
In 275a the side steps followed by half turns to the right produce a straight path toward the right side of the room. This path is curved to be-come a quarter circle; thus the performer ends fac-ing the right side of the room. In (b) the step turns also travel to the side. Here the performer starts fac-ing left front and travels a half circle to the right to end facing back right.
-8J
Fig. 275c shows a step-hop pattern turning to the right on a circular path to the left (counterclock-wise). The performer will end facing the left side of the room, as though s/he had walked an ordinary quarter circle to the left. 275c i!i
REVOLVING ON A CIRCULAR PATH The action of turning around one's own axis while traveling on a straight path can occur on a circular path. The revolving sign (turning) is placed within the circular path sign. To determine the final facing direction when both actions are turning in the same direction, the degrees of turning are combined. When the turning directions are opposite, the de-grees are subtracted.
Fig. 276a shows a half circle to the right with forward steps during which there is a half turn around the dancer's own axis. The sum of the two half turns is one full turn, thus re-sulting in the performer ending as she started, facing the audience. In (b) there is also a
CHAPTER 12
276a
i ~
1 b Qj
half circle to the right, but the performer revolves EfI a full turn around herself, making a total of one and a half turns causing the performer to end fac-ing upstage. Fig. 276c shows a full revolution to the right on a half circular path to the left. Because the turning directions are in opposition, the amounts will be subtracted so that, in this case, the per-former will have the sensation of achieving only a half turn around her own axis while walking on the half circular path.
276c Qj Circular Path without Change of Front If revolving on a circular path involves a certain de- Qj gree of turning in one direction and an equal de-gree of circling in the other, we can see that these degrees cancel each other so that a circular path re-sults with no change of Front. In 277a the half revo-lution to the right will cancel the half-circling left; the six steps are walked on the half circle without any change of Front. Fig. 261a showed a circular floor pattern without change of Front, produced through a change of directional steps. (Such de-scription of a circular pattern has obvious limita- 277a i!i tions; the most immediate being that the idea of a circular path is not directly stated.)
Abbreviated Form for Circular Path without Change of Front To simplify writing and reading a circular path without change of Front, the convention is to place a space hold sign within the cir-cular path sign to indicate that the front of the performer retains the same spatial direction as at the start. The shape of a circle, a whole, half, quarter, etc. is indicated with a numeral or fraction, 1/1, 112, 114, etc. instead of by a black pin. This is because there is no change of Front, which a black pin would indicate. Fig. 277b shows (a) written in this abbreviated and preferred form.
FLOOR PATTERN, PATHS 173
1 i W
1
i W
1
T
~
1
277b Qj
174 LABANOTATION
FOCAL POINT FOR CIRCLE DANCES In circle dances, the focal point for the group is automatically understood to be the center of the circle. The dancers relate to this center and are aware of facing it (facing in), having their back to it (facing out), having their right or left side to it, or having a diagonal rela-tionship to it. In such dances the degrees of turning, an eighth, a quarter, etc. are usually re-placed by the description of the new relationship to the focal point.
Indication of Front in Relation to the Circle The front signs based on the directions in the room are not applicable to circle dances. The focal point sign. is combined with the meeting line to describe the facing direction at the start of the score, the meeting line representing the performer. See Chapter 22, pages 329 and 330 for circular group formations.
278a
Focal point is in front (face the cen-ter of the circle). Side steps are re-quired to keep on the line of the
circle.
Focal point is to the left (left side is in to the center). For-
ward or backward steps are re-quired to keep on the line of
the circle.
c
Focal point is to the left front diagonal. Diagonal steps d or D are required to keep on the line of the circle. (See
page 000.)
When pivoting takes place on a circular path, the projected new relationship to the focal point can be stated on the turn sign.
-I
278d ~,a 278e ~,a 278f ~,D etc
I-
Turn to End turn End turn face focal with focal with focal
point point on point on
your right your left 278g -I
In 278d the performer starts with his/her left side in toward the center of the circle. After two steps forward, s/he pivots left until the right side is in toward the center of the circle. After two more steps s/he pivots right to face the center of the circle, after two side-ward steps s/he pivots right until the left side is again in toward the center of the circle. All these steps are performed on a counterclockwise path. The orientation indications can be added outside on the left to keep track.
CHAPTER 12 FLOOR PATTERN, PATHS 175
CIRCLING RIGHT OR LEFT When used in Motif Notation, the composite circling sign, 279a, means that the choice of a clockwise or counterclockwise path is left open. When used in the context of a full score, it means that steps should be taken in a clockwise or counterclockwise direction on the already established circular path, mov-ing clockwise or counterclockwise, as needed. Circular paths are understood to lie around a focal point; if this point is not obvious, it must be stated.
In 279b the group in the circle is facing counterclockwise. The situation of the focal point has been stated and does not change. The performers will circle counterclockwise with the forward steps and clockwise with the backward steps. Use of the composite circling sign, as in 279c, eliminates the need to break down the indication for circling. It is understood that the path relates to the previously established focal point located to the left of the dancers. (See group indica-tions on pages 329 and 330.)
279b -I
Maintaining Circular Path with Mixed Direction Steps
c -I
G
279, I
G
In dance patterns using mixed directional steps, curving and change of Front may take place on only some, not all of the steps. A good example is a pas de basque step in which the forward steps follow a circular path (or two parallel circular paths, to be exact), and the sideward steps are radial steps moving toward the focal point of the circle or away from it. To show that only forward or backward steps circle, the appropriate focal point indication is placed next to the start of the circular path sign as in 279d. In this placement the focal point refers directly to the path, clarifying that only steps in the direction of the circle will be circling, i.e. involving change of Front.
In 27ge the focal point is given at the start of the composite circling sign to indicate which steps are to follow the circular path. Here the sideward steps will circle while the for-ward and backward steps will be radial, moving toward or away from the focal point.
279d e , -,-
"-, I , I "-
I ''''
l~
176 LABANOTATION
PRE-SCORE INDICATION FOR BALLROOM DANCES In ballroom dancing, the established Line of Dance into which the couples progress is counterclockwise around the edges of the room. The steps and turning patterns are ad-justed to follow this line of progression. Where need be, the exact performance of the re-quired adjustments can be described, but a general statement for following this Line of Dance is enough for most purposes. The statement for the Line of Dance, shown in 280, is placed at the start of a score. The center of the room: III is shown to be on the left of the performers' line of dance (see pages 94 and 337-338 for the meeting line) and the edges of the room, the walls: 0 on the right, with the constant circular path indicated as being counterclockwise. (See also page 382.)
SPIRAL PATHS
280
The shape of a circular path diminishes as the focal point is approached, and conversely becomes larger as the distance from the focal point increases. Such shapes can be seen as spirals when several circles are performed. A single spiral path is often used in a dance when a full circle is not achieved but where a certain location is to be reached on the circu-lar path and a particular direction is to be faced at the conclusion.
281a o b c~ A perfect full circle A diminishing circular path An augmenting circular path
General Indication of Spiraling On paper spiral paths can be precisely measured and recorded with accuracy; when per-formed it is seldom necessary to go into such detail; a general indication is sufficient. Spi-raling in is expressed as approaching the focal point (center of the circle) on a circular path and spiraling out as withdrawing from the focal point on a circular path (see Figs. 257e, 258d). Degree of circling and the change of Front are shown as usual. For repeat signs used here see Chapter 21.
281d
Start facing front; with 24 steps walk two inward spirals Start facing stage right; with 24 steps walk two outward spirals
CHAPTER 12 FLOOR PATTERN, PATHS 177
Equidistant (Constant) Spirals Two distinguishable forms of spirals exist: those in which there is an even rate of diminish-ing or augmenting the circular shape and those in which the process increases or decreases.
Spirals in which the rate of increase or decrease is constant are called equidistant or Archimedean spirals. These are shown with a plain increase sign together with space mea-surement signs showing the degree of reduction or augmentation. Use of the diamond to specify spatial aspects is not needed here as it is the path which is being described.
~ I ~I
yO y@! 282a ~t9 1 b ~t9 1
Two equidistant inward spirals to the left with a slight reduction
Two equidistant inward spirals to the left with a great reduction
Increasing Spirals When the rate of approaching or moving away from the focal point increases, doubling the increase sign shows this fact. The resulting pattern can be compared to the shell of a snail, which, starting from a center, becomes increasingly bigger as it grows.
, I ' I ~ V @~ V
2 2
1 1 283a ~t9 b ~t9
Two outward spirals counterclockwise becoming increasingly large
Two outward spirals clockwise becoming increasingly very large
In dance scores it is seldom necessary to analyze exactly the spiral path covered. The shape of the de-sired path is usually written on the accompanying floor plan thus clarifying the movement description. By placing a small floor plan indication on the path sign, as in 283c, the reader is given an immediate message to check the path illustrated in the floor plan. 283c
2 u
1
178 LABANOTATION
Continuation of Path Signs When a straight or circular path sign must be broken and continued on the following staff, a caret is used both at the top of the first and at the bottom of the next staff to indicate this continuation. In 284a the half circular path continues from measure 34 to 35. The amount of circling may be repeated in brackets as a reminder; without brackets it would read as an additional half circle. If a path sign must be extended over three staves, it is best handled as in 284b. Indication of the direction traveled or the amount of circling should be stated on the first staff so the reader has this information at the start. Here a total of two circles is achieved.
f 2
,(
i
34 1 36 I or (T)
284a 33 35 1>
13 TOUCH AND SLIDE FOR THE LEGS
RELATIONSHIP BETWEEN TWO PARTS
The aim of a movement may be specifically to relate the performer in some way to another person or to an object. Its specific purpose (i.e., the projected relationship) is more impor-tant than the movement itself, and hence it is the aim rather than the action itself which is recorded. Such relationships may encompass degrees of contact ranging from glancing at, addressing, or gesturing toward the person or object from a distance, to touching, grasp-ing, and finally weight-bearing, either partially or fully. These possibilities are discussed in detail in Chapter 20. We shall first consider examples of contact of the legs with each other and then with the floor, a specific feature of many dance forms.
TOUCH A touch, or contact between a part of
285a ~ ~ b '-----------/ ~ the body and an object or other part, is indicated by the use of a horizontal connecting bow. The bow can be swung upward or down-ward, whichever is more suitable to the context. As long as the ends of the bow are curved, the center may be a straight line. It is the end of the bow that shows the moment of contact.
Contact of the Legs During jumps the legs may contact each other, beat together in the air, or be held together. The contact bow connects the two leg gesture symbols or is swung between the leg gesture columns when direction symbols for the leg gestures are not written.
286a Legs touch in the air
b Legs touch before
opening The left leg contacts the right in the air
(cabriole)
d The legs beat as they
change position in the air (entrechatquatre)
180 LABANOTATION
Contact of the Foot on the Ground Small upward or downward hooks ~ ~ , derived from the extremities of the bows of 285b, are used with modifications to indicate specifically the parts of the foot which con-tact the floor.
SPECIFIC PARTS OF THE FOOT The following diagram illustrates the specific parts of the foot that contact the ground when gesturing or supporting the body. Terminology for these different parts varies con-siderably. Labanotation usage is given first, with familiar variations in parenthesis.
287a b ~j c d Full heel 1/2 heel Whole foot 118 ball (1/8 toe,
114 foot)
112 ball (112 toe) Full ball (3/4 toe, forced arch)
Pad of toe Full toe (full pointe)
The actual part of the toe contacting the ground usually depends on the direction of the limb placement.
Key to Parts of the Foot
287k Toe touch for a forward
gesture
eL2 114 ball (1/4 toe)
Nail of toe
Toe touch for a backward gesture
Different types of hooks show the different parts of the foot which contact the floor. These are combinations or modifications of the two basic hooks: the forward swinging hook ~ or ~ , which represents contact with the front part of the foot (the toe), and the back-
ward swinging hook ( or \ , which represents contact with the back part of the foot (the heel).
The basic toe hook is modified by a small straight line that represents the ball of the foot. Contact on the ball of the foot has four variations. The four distinct angles of the foot in relation to the floor are occasioned by the raising of the heel, the continuous extension in the ankle joint, the consequent bending of the metatarsophalangeal joints and the more forward placement of the weight for supports, (Figs. 287 and 288, d-g). A lower level for the ball of the foot is shown by the addition of a small black circle to the toe hook; a small white circle indicates a level slightly higher. The small straight line and the small circles also modify the heel sign. These variations in the basic hooks provide a practical abbrevia-tion for each form of contact; they are attached to the direction symbol and modify the fundamental action being described. The whole range of hooks is used for both touching gestures and supports. Figs. 288a-j shows the hooks for the illustrations of 287a-j.
CHAPTER 13
The combined toe and heel hooks
produce the hook for the whole foot
288
Placement of Hook
Hooks for the right support or the left leg
gesture symbols
TOUCH AND SLIDE FOR THE LEGS 181
(j) Nail of toe (j)
(i) Full toe (i)
(h) Pad of toe (h)
(g) Full ball (g)
(f) I12 ball (f)
(e) I14 ball (e)
(d) I18 ball (d)
(c)
(b)
(a)
Whole foot (c)
I12 heel
Full heel
(b)
(a)
Hooks for the left support or the right leg gesture symbols
In many instances gestures and supports, by nature of how they function, require different rules.
For Touching Leg Gestures. The hook connects the leg ges-ture symbol to the support column representing the floor; there-fore for leg gestures, the hook is placed on the inside toward the center line, as in 289a and (b). The hook modifies a low gesture, making it lower so that contact with the ground results.
For the narrow staff, 289a and (b), the connection between 289a b
leg gesture and the floor (support column) is quite clear. The same idea is applied for the broad, expanded staff. The hook is placed toward the support column, its function still understood.
289c A side low leg gesture
For Supports. A single hook is at-tached on the outer side of the sup-port symbol, extending into the leg gesture column to indicate the man-ner in which the supporting foot
A side gesture, toes touching the floor
28ge
contacts the ground, 28ge and (f); it modifies the whole symbol. (See page 189). Because the start of the step symbol indicates the moment the foot contacts the floor, it is under-stood that it is at that point that use of the stated part of the foot is established. For easier reading, the hook may be placed slightly higher on the step symbol, 289g.
182 LABANOTATION
Touching Gesture - Absence of Weight A clear distinction must be made between a true gesture which carries no weight of the body and yet touches the ground, and a weight -bearing support. As long as a limb can be lifted without any shift of weight, its action is written as a gesture. Partial supports are given on pages 401 and 402.
290b
Weight placed equally on both feet
Weight on left, right whole foot touches to
the side
TIMING FOR TOUCHING LEG GESTURES"
290a Weight on left, right whole foot
touches to the side
A lunge: weight on both feet, but more on the left because of the lower level
The length of the symbol for a free leg gesture indicates the length of time taken to reach the stated direction. By placing a hook on the leg gesture symbol, we show when contact with the ground takes place. This may occur at the start of the gesture, at the end, or at any point in-between. Thus placement of a hook on the direction symbol has time signifi-cance. Care should be taken in the placement of hooks when an exact description is re-quired. Whereas it is the end of the connecting bow: \, ) or ( '\ which indicates the moment of contact (limb with limb, etc.), for purposes of indicating exact timing on paper, it is the hook as a whole, regarded as a unit: [S-J , [(: , etc., that indicates the moment the foot contacts the floor. For starting positions such as those in 289a, (b) and (d), placement of the hook in terms of timing does not matter, since starting positions are not movement and thus have no time significance. Standard usage, however, is to place the hook at the end of the gesture for a starting position.
Terminating (Concluding) Touch For an active touch, that is, a gesture that concludes as a touch, the hook is placed at the end of the direction symbol.
A slow legato move-ment concluding with a
touch on count 3
*See Appendix B, note 17.
291a
o
A fast staccato touch on the toe on count 1
b
CHAPTER 13 TOUCH AND SLIDE FOR THE LEGS 183
Transient Touch A touch may occur while the leg is moving from one direction to another.
On count 1 the foot lowers to touch the
floor at the start of the gesture, then progresses
on its way as in a normal free gesture.
Consecutive Touches
292a
On count 2, halfway to forward low, the foot lowers to touch the floor, it then lifts,
ending free.
b
Where touching gestures occur one after the other, it is understood that the foot releases in order to touch again. Timing is not emphasized, the release serves merely as a preparation for the next touch. For repeated touches in the same direction it is not necessary to restate the direction symbol; only the hooks need be drawn. If, however, the rhythm should pose any problem, direction symbols can be used for clarification.
293a b In different directions
or
c In the same direction
When hooks are not attached to a direction symbol they are usually moved closer to the outer staff line for easier reading. They should not actually touch the staff line.
Terminating Touches - Unit Timing, Specific Timing Timing for contacting gestures is commonly shown in Labanotation as unit timing, but specific timing is also frequently needed. The following examples use unit timing, the hook and the direction symbol relating to the unit of time that the direction symbol occupies. Ex. 294a shows three gestures touching on counts 1,2 and 3. In 294b this same pattern is performed in a staccato manner, each gesture is swift. Similarly 294c shows a unit descrip-tion of a step followed by a touch-ing gesture. The step is on count I, the left foot touches forward on count 2, the left foot then steps sideward on count 3, and the right leg touches diagonally across on count 4. Each movement takes the unit of one count and each contact 294a
3
2
4
3
2
b c
184 LABANOTATION
is "on the beat." In 294d the start of this same pattern is shown to take two counts for each action. The step starts on count 1 and concludes on count 2, the left gesture begins on count 3 and touches on count 4, and so on. This use of clear, visual timing units is particularly ap-propriate for beginners. It is also appropriate when exact timing is not needed. Using unit timing, as in these examples, the symbols for steps and touching gestures are of equal length.
However, if tap shoes are worn, the stamp on count 1 would occur at the start of the step, as shown in 294e. For the ball of the foot tap to be heard on count 4, the symbol must be shortened so that the touch and the accent occur right at the start of the unit of count 4. If 294c were similarly to be tapped, the notation would need to be adjusted to 294f. Note that the gesture symbol needs to be started sooner to avoid a very staccato movement, such stac-cato rendition being illustrated in (g). Here the timing of the taps is very clear. The more flu-ent movements of (f) are specifically correct in timing but, while length and placement of the symbols are correct, this example is less easy to read. This is because the sound occurs at the start of the step symbol, but the sound occurs at the end of the gesture symbol. If the slow touching gesture of (h) is to end on count 1, it must start in the preceding measure (to pro-vide the necessary duration). Here the gesture begins on count 2 of the previous measure.
4 4 4 4
3 3 3 3 4
2 2 2 2 3
2 0
294d e f g h
Upbeat Preparation Unit timing, as in 294c and (d), can pose a problem when an upbeat (anacrusis) preparation is needed before a main movement at the start of the next measure. In 294i unit timing is used. If a 1/4 turn must occur before the high forward step on count 1, the notation must be adjusted to (j). This timing makes clear that the touch is the conclusion of the previous phrase and is not connected to the forward high step. The turn that occurs at the last mo-ment is clearly a preparation, leading into the forward step on count 1 in the new direction.
[S1 [S1
4 4 0
2 2
3 3 da da
6 a a
294i 2 '[] 2 '[] k 8
Fast Footwork In tap dance and in Spanish zapateados it has been found that, at speed, the rhythms writ-ten in unit timing can be easier to read. Compare 294k, unit timing, with (1), exact timing.
CHAPTER 13 TOUCH AND SLIDE FOR THE LEGS 185
Statement of Specific Timing Instances can occur when a contact is not on an obvious strong beat, or in a familiar timing. In 294m a slow forward gesture touches the floor just before the forward step that follows. With unit timing in mind, the reader would touch the floor on count 2, in-stead of just before the step begins. An asterisk-like sign made with four strokes, meaning "read exactly;' is placed adjacent to the con-tact sign to indicate that this timing is intentional, the movement should be performed exactly as written. (See Appendix B, note 18.)
Retained (Resultant) Contact
294m
4 t 3
2
0
I·
A retained contact is a touch that has resulted from the movement of another part. A typi-cal example may occur at the end of a simple step. After a step, the free leg is normally raised clear of the floor, but contact with the floor can be retained. As the weight is trans-ferred completely to one foot, the other is left touching the floor. Such touches are consid-ered passive in that they happen as a result of another action.
295a Step forward; the left toe remains touching in back
r
b Step backward; the right heel
remains touching in front
c Step left; the right
whole foot remains touching
at the side
d Perform an active
touch after the step has finished
In 295 a-c no direction symbol is needed in the leg gesture column, since no independent movement occurs. Fig. (d), being an action, requires a movement symbol.
Bent or Stretched Retained Contact When it is important to indicate the state of the leg in a retained touch, the appropriate no-tation X or V1 is placed in the leg gesture column. If the action is slow, the duration line can be used. Fig. 296a shows a quick diagonal step ending with the left leg bent and touching on the ball of the foot; (b) shows a long, low step forward on the left foot, with the right leg remaining touching. The notation states that at the end, the right leg is to be stretched with the toe touching the ground.
Fluent Transition between Parts of the Foot
296a
When one touch has occurred and a fluent change to another part of the foot is to take place, the timing of this change is shown by a duration line." In 297 the forward toe touch changes fluently to a heel touch, pass-ing through the different parts of the foot on the way. The action is con-cluded on count 3.
*See Appendix A, note 8.
~I
b
r
297
186 LABANOTATION
CANCELLATION OF A TOUCH
A gesture that terminates in a touch remains touching until another gesture, a step, or a re-lease sign cancels it. The release sign is a broken hold sign: c) or ~ . The action of releas-ing, letting go, is a small one; the foot should lift about an inch off the ground, not as high as in a normal low gesture. Note the differences in the movements described below.
3
2
298a The leg touches,
then gestures side low at a 45° angle
on count 3
SLIDING LEG GESTURES
b The leg touches, then releases on count 2, barely lifting from the
ground
c The leg touches
and releases immediately
d A step cancels a
previous touch (the foot is automatically
released before stepping)
A sliding gesture involves continued contact with the floor. Such continuous contact is shown by two hooks on the same gesture symbol. Sliding may be on the same part of the foot or there may be a progression from one part to another.
o
299a b Sliding on the toe Sliding on the heel
Duration of Sliding Action
c Sliding on the
whole foot
d Sliding from whole foot to toe (brush)
The sliding contact may occur only momentarily or be retained for a longer period. Place-ment of the hooks on a leg gesture symbol indicates the beginning and end of a sliding movement."
300a Sliding only at the start of the movement; the leg lifts to a normal forward low gesture
b Sliding in the middle; the
gesture starts and ends free
*See Appendix B, note 17 (ii), (iii), and (iv).
c Sliding at the conclusion of the gesture; end touching
CHAPTER 13 TOUCH AND SLIDE FOR THE LEGS 187
The interval between two different hooks indicates the timing of the transition from one part of the foot to the other.
300d Sliding with a continuous transition from whole foot
to toe
Detailed Description of Sliding
e Sliding on the whole foot
until near the end; then slide to the toe
f Immediate transition to
sliding on the toe
A complete breakdown showing the use of each part of the foot can be made for detailed study of technique or research into different styles. Fig. 301a illustrates in detail the transi-tion from a toe touch to sliding on each part of the foot in turn until the action terminates in sliding on the whole foot (in the last third of the movement). In 301b sliding is on the ball of the foot until the very end of the movement when contact on the whole foot occurs. For general pur-poses such detail is not necessary, and description is best o >..
kept simple. In the careful analysis of fast footwork a longer basic unit for each beat should be used. 301a b
Note that the signs X or VI , which appear before a direction symbol, are counted in the timing of the gesture; hence when sliding occurs at the start of the movement, as in 301 b, the hook must appear alongside the X or VI sign.
Consecutive Transient Touches Repeated touches which occur while the leg is moving must be written with release signs between each hook to distinguish the action from slid-ing, i.e. continuous contact with the ground. In 302 the foot touches four times as the leg moves to the open diagonal.
Resultant (Passive) Slide Sliding may occur as a passive result of another action. No direction symbol is written, but instead a dotted line is used to indicate a passive reaction (see pages 429 and 430). This line is comparable to an action stroke, but, by being dotted, it shows passivity rather then activity. With-out this line, the two hooks would appear to indicate two separate touching actions. In 303a the right foot slides in 303a as a result of the rise to high level on the left support, then
'- , , , ,
'-, '-' ,
, ,
,-'
302
b
'- ,
,-'
passively slides out as a result of the change to low level on the support. In (b) a resultant slide is produced by rising and turning.
188 LABANOTATION
READING MATERIAL: EXAMPLES FROM BALLET TECHNIQUE
For those concerned with classical ballet technique, the following examples illustrate touching and sliding actions familiar in that dance style.
304a
304d
304g
3
2
Assemble
Battement degage (glisse)
3
2
4
Pas de bourree dessous (with brush)
b
e
3
2
3
2
4
Jete en avant (with brush)
Pas de basque (one version in 4 counts)
h Rond de jambe a terre en dehors
SUPPORTS QUALIFIED BY HOOKS
STEPS
3
2
c Glissade
f Battement cloche
(balanroire)
Rond de jam be a terre en dedans
The hooks that indicate parts of the foot touching are also used to qualify manner of a sup-port. The hook extends from the support symbol into the gesture column on its own side
CHAPTER 13 TOUCH AND SLIDE FOR THE LEGS 189
of the staff. A single hook on the symbol for a step (a complete transference of weight, not a change of level) modifies the whole symbol. The hook is usually placed at the beginning of the symbol where the contact with the floor occurs. Note the following styles in walking:
30Sa ~ b llJ c ~ d l1J Half toe (demi-pointe): Full pointe: stepping Normal, pliable walk Flat -footed walking: high level steps on the on the tip using the flexibility of immediate contact
ball of the foot of the toe the foot with the whole foot
30Se t1J f llJ g l1J h ~ Walking on the 1/8 ball: walking Half toe: steps in low Full pointe: walking
heels with the heels just level on the ball of the on the tip of the toes off the ground foot in low level
Level of the Support To describe a qualified support, we must determine the basic level to which it belongs -high, middle or low - and then add the necessary modifications. Results are often rather similar in appearance. The feeling of a step, the upward lift of high level, the more earthy sense oflow level, should determine whether it is written as high level with flexed knees for example, or as low level with raised heels. A deep knee bend is a low support even though the heels are raised. The full range of use of parts of the foot may be combined with the de-grees of bending and stretching the legs. Not all combinations are physically possible in all directions.
Transition in the Use of Parts of the Foot If a change in the use of the foot from one part to another is to be shown on one support symbol, the placement of these hooks has time significance. The interval between hooks indicates the duration of the transition from one part of the foot to the other.
A continuous transition which rolls from heel to
whole foot during a transference of weight
306a
The rolling action ends sooner, transference of weight
continues with no change
b
If the transition is not a continuous change, a hold sign is needed to show retention of the first indication, as in (c) and (d).
Keep the support on the ball of the foot until the last
moment
306c
Transition to whole foot oc-curs halfway through the step
d
190 LABANOTATION
If weight is already on a foot, use of the part of the foot supporting is already estab-lished; therefore any subsequent change in that support, shown by a foot hook, will also have time significance.
In the forward step of 306e a whole foot contact is un-derstood; hence transition to the ball of the foot as the knee bends has time significance. In 306f the whole foot hook has been stated at the start to emphasize this part of the foot before the gradual change takes place. 306e f
Use of Whole Foot Hook; Heel Drop Note that in changing from a ball of the foot contact to the whole foot on the floor, it is usually the final result which is written, i.e. the whole foot hook; the heel hook is not writ-ten to show lowering of the heel. Use of the heel sign would mean that weight is only on the heel, the rest of the foot is off the ground. Compare 307 a and (b). To provide a direct de-scription of a heel drop or of a toe drop, the appropriate hook for the active part is attached to a hold sign which indicates retention of the part already on the floor, making the com-bined sign r or \ for a heel drop and \0 or oJ for a toe drop. Fig. 307 c illustrates a heel drop. (See also Spanish steps, page 195.)
Step on eighth ball, then lower heel
SLIDING STEPS
Step on the ball, end with weight only on the heel
An example showing heel drops
An example of a toe drop
A sliding transference of weight is indicated by two of the same hooks attached to a step symbol. During such a step, the sliding action is part gesture and part support. Contact with the ground should start as soon as possible without being given undue emphasis.
A Sliding Step from Place When a sliding step starts from a closed position, the foot is in contact with the floor at the start and the sliding transference of weight begins.
308, ~ A sliding step forward on the
whole foot: the whole foot never leaves the ground
b
A sliding step to the side on the heel: the heel contacts the floor at once and continues to slide out
A familiar form of sliding step is the ballet chasse, frequently used in combination with a coupe (cut) step. Usually the legs bend before or during the sliding transference of weight.
CHAPTER 13 TOUCH AND SLIDE FOR THE LEGS 191
309a b C
A sliding step rising to middle level
A sliding step lowering, ending on one foot
A sliding step lowering, ending feet apart
In 309b and (c) the left leg bends with the weight still on it as the right foot slides out. In (b) all the weight is transferred to the right leg; in (c) the weight ends on both feet (a second position).
Fig. 309d shows a combined slide-cut-slide step (chasse-coupe-chasse in ballet terms) in which the left foot cuts behind the right after the spring in the air. In (e) each slide is preceded by a hop; there is no coupe. This is, in fact, a skip in which the low sliding step is emphasized, in contrast to a middle level step.
A Sliding Step from an Open Position
309d
2
2
e
If the free leg starts from an open position, preparation for a sliding step will be partly free gesture and partly sliding step.
The right foot contacts the floor
and starts the sliding step after it has reached place.
The leg must make a curve to reach the forward direction.
Some free gesture will precede the sliding
support. b~ In the illustration for 31Ob, the dotted line shows the probable path of the free gesture. The leg will not move through to place unless it is specif-ically instructed to do so, as in (c). Here the sliding step to the side will start next to the right foot (see page 125, Fig. 185).
Sliding into Place 310c
In 311a an ordinary step in place occurs after an open leg gesture. The start of the place sym-bol shows the moment the foot contacts the floor. The weight is then transferred throughout the time indicated by the place symbol. A sliding 'step' into place is actually a sliding gesture terminating in a support. In (b) the sliding starts at once, but weight is not transferred until the end of the symbol. In (c) the sliding into place is shown to be a gesture, weight being
311a b c
192 LABANOTATION
taken only after place has been reached. This example is more specific and correct, however, the simpler notation of (b) is understood to be performed in this manner.
SLIDING SUPPORTS
Sliding, such as happens in skidding or skating on a slippery surface, is one of the basic modes of progression. The term 'sliding support' refers to a sliding action that occurs when
the weight is already placed on the foot. There is no transference of weight and no transition from gesture to support takes place, as occurs in a sliding step (transference of weight).
Sliding into Open or Closed Positions of the Feet In the escaping (echappe) action, page 70, Fig. 91, positions of the feet are changed through a very slight spring; this spring may include some actual sliding. In true sliding supports there is no lifting of the weight, it rests fully on the floor. To accomplish such sliding a suf-ficiently slippery floor is needed and often strength in the legs.
-<
312a The right foot slides from a regular 4th
into a much wider 4th
Sliding on One Foot
>- -<
b Both feet slide into
2nd position
c Both feet slide into 1st
from 2nd position
d Each foot in turn
slides farther apart
In sliding on one foot, as in skating, the weight is placed on the new support before it starts to slide. The impetus for the movement is derived from the back foot, which pushes away. Note use of the sign for pressure: iI and the pin: T to show the backward direction of the pressure. Details of recording skating are given in the Advanced Labanotation book Center of Weight. For first notes, skating can be shown as in 313a. Fig. 313b shows a simple ver-sion, giving the main information for the action. The duration and direction of the sliding can also be shown by a path sign outside the staff, as in (b). *
The weight is shown to be entirely on the right foot before the sliding action
starts, traveling is initiated by the left foot pressing backward. The left foot
releases from the floor as the sliding action starts.
*See Appendix A, note 9.
313a
.[j'
1<77'
/+.
-<
k During the curving for-ward path sliding on the
whole foot occurs; weight is only on the right foot.
b
CHAPTER 13 TOUCH AND SLIDE FOR THE LEGS 193
READING MATERIAL: TAP DANCING Time Steps and Breaks
Contributed by Billie Mahoney
Appropriate shoes with heels should be worn for these reading examples. Note: Specific details of style are not given. Observe use of the divided leg gesture column in 314a (at *); the use of partial weight (at **); and the instruction to repeat this pattern six times alter-nating sides (at ***).
&
8
7 &
6 &
5 &
4 &
3 &
2
&
4 6"
&
3 &
2
6
& 8
314a Single Buck
314d m i[] ---,
*See pages 211 and 212.
**See pages 401 and 402.
***See pages 307 and 308.
****See pages 425 and 426.
6
b
& da
8
7 7 & da
a (6) 6 & da
a 5 5 & & 4 4 & & 3 3 & & 2 2 & da
a 1
& & --'--
4 4 & & 3 3 & & 2 2 & da
6 a 1
& &
8 8
c Double Buck Triple Buck
m m ---, 3 ****
194 LABANOTATION
READING STUDY: TAP DANCING
"The Old Soft Shoe" and Waltz Clog
Contributed by Billie Mahoney
B (14)
10
5 =i=@1 4
B da 0
da
da
2 9
l i!J (4)
2 16 @ [B
u da
I 4 4
da u
&
3
B da j da
da
1 da
(8) @1 6 15
da bi!J 0
b Waltz Clog
i!J
315a
c m m ---, m m *See page 310.
CHAPTER 13
b
TOUCH AND SLIDE FOR THE LEGS 195
READING EXAMPLES: SPANISH DANCE
Regional Steps and Zapateado (footwork) Contributed by Felisa Victoria
Note: Specific details of style not given.
, () , ()
./
":' 0 -
.L
-< c) c)
'- ":'1 r
-'-
X c d
o
~2'
, ~2' e
14 PARTS OF THE LIMBS
In Chapters 9 and 10 movements of the whole arm and whole leg were explored. When we deal with the parts of the arms and legs, individual joints as well as segments must be considered.
SPECIFIC PARTS OF THE LIMBS
Fig. 317 shows the signs for the individual joints of the limbs. Used as pre-signs, these are placed before direction symbols to show movement of specific parts. For directional movement indications, with the exception of the shoulder and hip signs, each joint symbol indicates a spatial placement for the segment of the limb immediately 'above' it, i.e. the proximal limb. For touching or flexing, the joint symbol represents the joint itself. Note that for the legs the general signs for the joints are given first.
+ Single hip
::j: Knee (thigh)
$ Ankle (lower leg)
~ Foot
'1 r' Shoulder
::Jl Elbow (upper arm)*
g t Wrist (lower arm)*
§ t Hand* 317
*See Appendix B, note 19.
CHAPTER 14 PARTS OF THE LIMBS 197
The parts of the arm have specific symbols for right and left sides. Originally the parts of the leg did not, right or left was known from placement on the staff. Specific right and left signs for the legs evolved from the needs in Motif Notation. When placed within the staff, the general signs for the hips, knees, ankles and feet are often found easier to read. When written outside the staff, right or left side for the joints of the legs are indicated as follows:
--l Left
318 hip
f-Right hip
~ Left knee
~ Right knee
Left ankle
Right ankle
Left foot
Right foot
In Motif or when written outside the staff, the signs of Fig. 317, the original signs for parts of the leg, mean both, both right and left at the same time.
Signs for the Whole Arm and Whole Leg In a full movement description, the three-line staff provides columns for movements of the whole arm and whole leg; therefore no pre-sign is needed for these limbs. When used out of context, as in Motif Notation, specific limb signs are needed. The arm is represented as the limb below the shoulder, and the leg as the limb below the hip.
II Sign for
319 a limb
1l Left arm
II Right arm
Both arms
11 Left leg
II Right leg
it Both legs
GENERAL STATEMENT OF ACTION FOR PARTS OF THE LIMBS In Motif Notation a sign for a part of a limb followed by an action stroke indicates freedom in choice of an action for that part.
320a An action of the right shoulder
b
I §
An action of the left hand
An action of both shoulders
II d Ft::
Simultaneous actions of the right knee and
right elbow
Replacing the action stroke with a direction symbol makes the statement more specific. For Motif Notation the following mean:
320e A forward middle
movement of the left arm
f A backward middle
movement of both elbows
CONTACT BETWEEN PARTS OF THE LIMBS
g A place high movement
of both hands
When parts of the limbs are brought into contact with each other, it is often enough to write this result, the contact, without stating how it was achieved, that is, the action which produced it.
198 LABANOTATION
The horizontal connecting bow is used to indicate such contact between various joints. Note that the hand is included here, although it is not a 'joint' in the sense that the shoul-der, elbow, and wrist are.
a ~ a t:: 9 ~ 321a ~ b ~ c ~
Both hands touch Left hand and right Right hand and elbow touch left wrist touch
~
a :J t:: ~ ~ ~ a ~ 321d ~ e ~ f ~
Hands touch elbows Right hand Left hand touches touches left knee left ankle
The contact bow can be swung upward or downward. Figs. 321g and (h) show two pos-sibilities for the hands touching the shoulder.
a -1 I t' ~ 321g v v h
Fig. 321i shows the general indication of hands on hips (the break at top of the thigh). Exact placement on the hips is given on page 407.
Timing of Action that Produces a Touch For Motif Notation the timing of an action that pro- 321i duces a touch is indicated by an action stroke of the ap-
a + I + ~ v v
propriate length, the contact bow being placed at the end as in 322a. In (b) a faster action produces contact between the right hand and left elbow.
322a b
INTERRELATION BETWEEN PARTS OF LIMBS The following chart shows: (I) signs for the parts of the limbs; (II) the part referred to when combined with a contact bow; (III) the part involved when preceding a direction symbol; (IV) the minor segment which is excluded in the directional movement of its neighboring major part, it being 'left behind' or passively 'carried along'; and (V) the minor segment which takes the same direction as, and acts as an extension of, the more proximal segment.
CHAPTER 14 PARTS OF THE LIMBS 199
I II III IV V
~ Part Part Moved into Part Displaced Part Included -
Touched a Direction but not Included in Direction ---
in the Direction
1 ~ Outer edge
Shoulder Whole arm --of shoulder
Elbow Lower arm --:J t:: Upper arm and hand
3 ~ Lower arm -- Hand Wrist (forearm)
§ t Hand in Metacarpu~ -- Fingers general (base of hand)
~ ~ Fingers in
Fingers -- --general
Break at top One side of Whole leg --+ of thigh pelvic girdle
of Knee Thigh Lower leg --and foot
$ Ankle Lower leg -- Foot (more or less)
$ Foot in Metatarsus --general (base of foot) Toes
t Toes in Toes -- --
general
Fig. 323
MOVEMENTS OF THE PARTS OF THE LIMBS When we write movements for the parts of the limbs, two things must be considered - the segment that takes a new direction in space and the joint in which the action (flexion or ex-tension) occurs. The same action could be described in two different ways: (1) spatial change, that is, movement of the part of the limb to a new direction; (2) anatomical change, the degree of flexion or extension of a joint. This latter description is given in Chapter 19.
Isolated movements of parts of the limb follow the same principle established for a whole limb. Direction and level for the whole arm are determined by the relation of the extremity (hand) to the base or point of attachment (shoulder). The point of attachment (the base) is the joint in which the articulation occurs.
To take a common example such as waving to say good-bye, it can be seen that, once the arm is raised, it is the hand as a whole that moves in space. The action is made possible through flexibil-ity in the wrist joint, but it is usually described in terms of direc-tional movements for the hand and not as flexing movements of the wrist.
200 LABANOTATION
Segment Point of Attachment (Base) Free End
Upper arm Shoulder Elbow
Lower arm Elbow Wrist and Hand
Hand Wrist Fingertips
Upper leg Hip Knee
Lower leg Knee Ankle and foot
Foot Ankle Tips of the toes
The best image to bear in mind in experiencing movement of isolated parts of the limbs is that of a puppet with a string attached to each joint and limb extremity. Puppets follow instructions (the strings that are pulled) since they are relaxed and allow for the natural pull of gravity. Although humans do not move limply as puppets, but involve dynamics and flow of movement, their use of direction and level is identical.
Knee Elbow
323a Knee (thigh) is lifted forward Elbow (upper arm) is lifted to the side
Ankle Wrist
d bid I Ankle (lower leg) is lifted backward high Wrist (lower arm) is raised forward high
Foot Hand
323e Foot is lifted side high Hand is raised place high
CHAPTER 14 PARTS OF THE LIMBS 201
LOCAL SYSTEMS OF REFERENCE
In writing a movement such as hand waving, the hand sign is followed by the sign for the direction in which the hand moves. To describe direction we must know to what the symbols 'forward; 'up,' etc. refer, that is, the system of reference being used. Of the three di-rectional systems of reference presented briefly in the Introduction (see pages 13 and 14), the system commonly used and hence automatically un-derstood to be in effect is that based on gravity. The verti-cal line of the cross of directions centered in the body is identical with the constant line of gravity and the direc-tion forward is that direction in the room in which the performer is facing. This system of reference is called the Standard Cross of Axes. (See Chapter 25.)
Fig. 324a shows the main cross of directions centered in the body. In an upright situation the vertical line in the body coincides with the line of gravity. The lateral (side to side) and sagittal (forward and backward) directions 324a are at right angles to this vertical line.
The main cross of directions is duplicated exactly in the many local crosses of direction situated at each joint. All local directions are parallel to the main directions of the Standard Cross of Axes. Fig. 324b shows the cross of directions situated at the shoulder, which is used for the whole arm and also for movements of the upper arm. 324b The center point, place, is at the shoulder joint and all di-rections are determined from there.
Parallel crosses exist also at the elbow for movements of the lower arm, and at the wrist for movements of the hand, Fig. 324c. The same principle holds true for local systems at the hip, knee, and ankle.
PARTS OF THE LEG
HIP
324c
f7 • In analyzing movements of the hips it must be clear whether (1) one hip is the initiator or being emphasized; (2) both hips are involved; or (3) the whole area, the pelvic girdle, is acting as a unit. The pelvis is so structured that one hip of necessity affects the other. The normal position for the hip is place middle, since it can be vertically raised or lowered. In the sagittal directions and in vertical movements, the inactive hip is the pivot for the active or emphasized hip, being the other side of the pelvic girdle unit. In the lateral directions, the inactive hip must move passively into the same direction as the active hip. The action of one hip usually cancels the result of a previous action of the other.
Validity The result of a hip movement can be cancelled by: a) a new direction symbol; b) by a movement of the other hip; c) by a back to normal sign.
202 LABANOTATION
In 325b the forward action of the left hip cancels the previous displacement of the right hip. In 325c the hips return to normal between the steps. The retention of the hip displace-ment is cancelled when the feet close in 325d.
325a b Sway from side to The hip moves side with parallel forward with
hip action each step
UPPER LEG (THIGH)
c d Both hips displace The forward forward on each displacement
step is retained
e Jazz step: lift the hip on the side of
the free leg
Movements of the thigh are guided by the knee. A familiar action is lifting the knee while marching or skipping. Direction and level for the knee, as for the whole leg, are taken from the hip. When the knee is raised the lower leg hangs down, giving in to gravity.
326a b Prances Skips
c A high knee
lift
d A whole leg gesture follows a knee lift
Validity An upper leg placement remains until cancelled by: a) a new direction for the whole leg; b) by another direction for the thigh; c) a step on that leg.
LOWER LEG The ankle guides movements of the lower leg. An isolated use of the lower leg appears in the Can-Can. In this step, the upper leg is held out while the lower leg beats rapidly in and out or describes circles. Physiologically the lower leg is limited in its range, but its directional movements are varied by the placement of the upper leg and by allowing the thigh to rotate in the hip joint. The lower leg moves from the knee joint; therefore direction and level are determined by the spatial relation of ankle to knee. A di-rectionallower leg movement may cause the thigh to rotate but not change direction.
In movements of the lower leg, the foot is understood to be carried along as an exten-sion of the lower leg. If the foot moves into another direction, it must be written separately.
CHAPTER 14 PARTS OF THE LIMBS 203
Validity Placements for the lower leg are cancelled by a new direction for the lower leg or by a direction for the whole leg. When an upper leg (thigh) movement occurs, either a rotation or a directional change, the lower leg is carried along passively, thus its previous spatial placement will be affected. If it is to be held rigidly the hold sign: '0' should be used. If the previous direction is to be retained the space hold: 0 is used.
327a The lower leg is raised straight back
on each spring
327c The thigh remains forward low; only
the lower leg moves back
FOOT
d
b The thigh remains out to the side; only
the lower leg moves
These lower leg directions cause rotations of the thigh: first in-turned, then out-turned
The foot symbol is used to describe directional movements of the foot in space. To estab-lish the right idea one must think of a puppet string at the tip of the foot guiding the ac-tion. As with the lower leg, the foot is limited in its range of movement, direction and level being determined by placement or movement of the rest of the leg. The foot moves from the ankle joint and so takes its direction and level from there.
As with the lower leg, spatial indications for the foot can cause a passive rotation of the leg in the hip joint. The leg and foot are normally kept in line; that is, there is a straight line from the center of the knee through the center of the foot. Twisting or curling movements of the foot, such as are used in therapeutic exercises, involve rotations and flexions of the foot and ankle. These are discussed in Chapter 17. Note that foot movements can be writ-ten in the third column out from the center (the body column) when that column is not otherwise being used, or in the 'a' inner subsidiary column.
328a A peasant dance, with the foot pointing
upward on each gesture
b The same but using
the broad staff
c Impatience: lifting and tapping
the foot
204 LABANOTATION
Fig. 329a shows a gesture touching the floor on the heel; as a result the ankle is flexed, the foot up. The instruction that only the tip of the heel is to contact the floor results automatically in ankle flexion. In (b) a similar movement oc-curs, but since the right foot is free of 328d the floor, its direction must be written. Cossack jump: the feet point upward during the jump. Note In 329a no leg rotation is indicated, the the indication of contact between foot and hand.
performer is free to do what feels comfortable or suitable. Fig. 329c shows the same general pattern but the directions stated for the foot dictates parallel rotation on the first gesture and outward rotation on the second. In (d) the relation of the foot to the lower leg is the same on the second count as in the starting position, but as the leg is higher, the foot direc-tion must be shown to be place high instead of forward high. Note that the foot positions in 329b, (c), and (d) would be written as ankle folding if the action of flexing was more impor-tant than the direction in which the foot should point. (See pages 282, 283, and 286.) Validity A direction for the foot is cancelled by: a) another foot direction; b) a change in di-rection for the lower leg; c) a new direction for the whole leg; d) a step on that foot.
329a b c d
USE OF COLUMNS FOR PARTS OF THE LEGS Standardization in placement of indications on the staff facilitates reading, therefore the following usages have been established. Hip indications are usually written in either the leg gesture column or in the body column, wherever there is room. The knee is written in the leg gesture column. Lower leg and foot indications are written in the leg gesture column; in the expanded staff in the additional 'a' column, or, if need be, in the body column. As long as the appropriate pre-sign is used the indi-cation is quite clear. Note that a body part pre-sign can only appear !! in the support column when that part is taking weight. * *
Fig. 330 illustrates this range of placement on the expanded * staff. Leg indications should always be placed in or near the leg ges- ++
ture column. (See chart 812 on page 441). 330 32 all a 2 3
PARTS OF THE ARM
Movements of the parts of the arm are similar to those of the leg. The chief difference lies in the greater spatial range resulting from the greater flexibility in the arm joints.
SHOULDER The shoulder, though limited in range, has certain distinct movements. In this chapter simple movements of a single shoulder will be discussed; the shoulder area and shoulder
CHAPTER 14 PARTS OF THE LIMBS 205
section are given on pages 219 and 220. The clavicle and shoulder blade form a girdle, which in moving carries the top of the humerus with it. The normal position of the shoul-der is place middle since the shoulder can be lowered as well as raised. Movements of the shoulders are those that can be performed without displacement in the rest of the chest. Common actions are lifting the shoulders in shrugging and pulling them back to achieve 'good army posture.'
~ ~ i ~
331a rn b rn ern "Mmmm, lovely!" Old-fashioned Slouch
military bearing
Validity A shoulder movement remains until cancelled by: a) another movement of that shoulder; b) a back to normal sign. A shoulder displacement can be retained during move-ments of the upper torso and torso. An arm movement on the same side may affect the shoulder situation, therefore the retention sign: '0' should be indicated or back to normal stated.
UPPER ARM Upper arm movements are guided by the elbow. Direction and level are determined from the shoulder, as for movements of the whole arm. The lower arm is carried along. Note the everyday action de-picted here, a nudging with the elbow.
When the upper arm moves in a definite direction, the lower arm may either take a specific direction or simply be carried along. The former case requires written instruction; the latter does not. When it is merely carried along, the reaction of the lower arm may differ slightly depending upon the starting point, the destination of the upper arm, and the speed with which the upper arm moves. Rule: when no instruction is written for the lower arm, the simplest, least noticeable reaction should take place; anything specific must be stated. In the following illustrations the prob-able destination of the lower arm has been shown with dotted lines.
332a Start with the arm up. Move the elbow to
forward middle. The lower arm being carried along remains upward.
b Start with the arm forward. Drop the
elbow suddenly to place low. The lower arm remains forward.
206 LABANOTATION
332c
[jJ t:
I Start with the arm down. Pull the elbow back
quickly. The lower arm is illustrated as being not quite straight down, a result that can be ex-pected from this sudden backward action.
d Start with the arm down. Raise the elbow to the side. The lower arm being carried along remains
downward, influenced by gravity.
In 332e start with the arms up. Move the elbows to side middle. As in 332a the lower arms will follow maintaining the general upward direction. In 332f the upper arm placements passively carry the lower arm with it. The notation indicates the probable placements. If placement matters, it should be described.
332e f
Validity An upper arm placement is cancelled by: a) a new direction for the same part; b) a back to normal sign.
LOWER ARM The wrist guides movements of the lower arm. The hand does not follow limply, but is used as an un emphasized extension of the lower arm. The structure of the elbow limits the range of action for the lower arm, but spatially this range is augmented by changes in placement of the upper arm and by allowing the upper arm to rotate. These rotations are unstressed and need not be written since they occur only to accommodate the lower arm spatial place-ments. Direction and level for the lower arm are determined by the relation of wrist to elbow; therefore upper arm placement needs to be known.
An everyday example of a lower arm movement is this military salute, 333a. While the performer is aware of the hand approaching the forehead, the actual motion is one of the lower arm, the flexion being at the elbow.
333b c
333a
Lift the lower arm over forward until it is straight above the elbow from which it
moves. It has performed a half circle.
Start with the whole arm to the side. Move the lower arm up and to the other side, ending with
the hand near the shoulder.
CHAPTER 14
The following example illustrates the effect of upper arm rota-tion on lower arm placement. Note the sign for the upper arm, the limb above the elbow: It:.
The place high placement for the lower arm is changed by the inward rotation of the upper arm; the resulting lower arm place-ments are shown here in parentheses.
PARTS OF THE LIMBS 207
Validity A directional placement for the lower arm is cancelled 333d by: a) another direction for that part; b) an upper arm directional change or rotation; c) a new direction for the whole arm.
HAND The hand moves from the wrist, so its direction and level are determined by the relation of the extremity (fingertips) to the wrist. The range of spatial patterns that the hand can per-form is augmented by the placement in space of the rest of the arm and by allowing rota-tion of the upper and lower arm to occur. Because exact direction and level for the hand will depend on the placement of the arm, the latter should be written first.
Simple directional movements of the hand follow the same general pattern as those for the foot but, with the greater flexibility of the arm, the hand can perform many more movements. These may require specific analysis. For many hand gestures it is im-portant to state where the palm faces. When the hand takes a new direction and nothing specific is stated, the palm faces the direction requiring the least arm rotation, as in 334a, (see pages 109 and 110 for understood palm facing directions). In the sequence of 334b the hand movements result in the palm facing down when the arm is down, and up when the arm is up. Often both hand direction and palm facing need to be stated.
o
~I
334a b I ~ I~ "Stop!" Egyptian style
A particular hand placement may be carried along by movements of the lower arm or the whole arm. Many hand movements are best described as flexion (bending) of the wrist. Details of such flexions are given in Chapter 19. Movements of the fingers are given in Chapter 27. Validity A directional placement for the hand is cancelled by: a) a new direction; b) an-other direction for the whole arm or the lower arm. An upper arm displacement does not cancel a hand placement, it, together with the lower arm will be carried along. When direc-tional hand placement matters, retention of its body configuration can be indicated with the hold sign: '0'; if spatial placement is to be retained, the space hold sign: 0 should be used.
208 LABANOTATION
USE OF THE COLUMNS FOR PARTS OF THE ARMS Fig. 335 illustrates the columns used for appropriate placement of notation for the parts of the arms. Moving outward to adjacent columns allows flexibility for complex configurations.
Part of the Arm
Shoulder
Upper arm
Lower arm
Hand
Usual Placement of Notation
Body column
Arm column
Arm column
5th column, adjacent to
arm column (when
movement is simple)
Since pre-signs are used there is no problem of identification. The pre-sign for a part of the arm should appear in the support column only when that part is supporting, i.e. carrying weight.
USE OF THE CARET
335
I I I I
9:9:9:9: 1313131 I I I I I I I I I I 1:Jt::J1 I I I I I I 111111
Acceptable Placement if Necessary
Arm column
Subsidiary 'b' column of
expanded staff
Outer adjacent, 5th
column
5th or 6th column
6th or 7th column
I I I I I I I I :§:§:§:§ I I I I I I I I I Itltltl I I I I I I I I I I I I I I I I
I Itltl I I I I I I
r'-Ir'-Ir'-I I I
7 6 5 4 b 3 2 all a 2 3 b 4 5 6 7
To avoid constant repetition of a pre-sign, an angular bow < or > is used. This bow, called a caret, means 'the same' and is used to indicate movements of the same part of the body. The reader refers to the previously stated pre-sign. The caret must be used in all cases where parts of the limb are written in the column for the whole limb. For example, without a caret or repetition of the pre-sign, a direction symbol in the leg gesture column or the arm column refers to the whole limb.
or or
336a b d
In 336a, (b), and (c), each gesture is a knee gesture. The caret can be placed on either side of a symbol, wherever there is more room, as illustrated in (b) and (c). In (d) the ab-sence of the caret means that only the first movement is one of the knee; the subsequent ones are gestures of the whole leg.
READING MATERIAL USE OF THE JOINT SIGNS The following are typical examples met in classical ballet.
CHAPTER 14
337a Pose in arabesque, fondu with retire
b Releve passe devant
c Jete in attitude front and back
To eliminate the need for pre-signs see Figs. 343 and 344.
338a Single hip
movements
b Jazzy hip
movements
c
< >
< >
'1
I' <r;:
~
>
1 [I' IT 1 Shoulder movements
("who cares?")
PARTS OF THE LIMBS 209
d Developpe grand rand de jambe to attitude
<
d 1'1
Shoulder exercises
Note that forward movement of a single hip causes the pelvis to swivel on the other hip, i.e. a small rotation of the pelvic girdle. Both hips moving in opposite sagittal directions cause a distinct turn of the pelvis. When the emphasis is not on the initiation of the movement by a single hip, such ac-tions are written as pelvic rotations.
In 339a, after the starting position, nothing is stated for the lower arm; it is not important, it is carried along during the elbow movements. In (b) the lower arm is shown to react pas-sively during the elbow swings, allow-ing a little freedom. If it were to be held rigidly, a hold sign should be
339a With arm folded, the
elbow swings, ending with the whole arm back
The lower arm reacts passively
210 LABANOTATION
added, as in (c). In (d) and (e) rotations will occur in the upper arm; these are under-stood and are not written.
In the hand movements of 339f, the simplest transition from one direction to the next is understood to occur. Here the hands will move to the opposite side via down, a change in the wrist flexion. A transition over forward could occur if inward whole arm rotation had occurred; such rotation should be written.
339c
The lower arm is held
Complete circles of the lower arm
INDICATION OF TIMING
e Pendular movements
of the lower arms
f
<~ §
I I Side to side hand
movements
~) f§
As with all pre-signs placed before direction symbols, indications for the parts of the limbs are included in the timing of an action; therefore motion starts at the beginning of the pre-sign.
A thigh movement starting on count 1 and taking two
full beats
340a
Shoulder movements on counts 1 and 2, each taking
only half a beat
b
Note that in 340c both the downward movement and the subse-quent raising of the hand take a whole beat each; the latter appears to be slower because the direction symbol is longer. This is so because the body part sign was not repeated. Eliminating repeti-tion of the hand sign through the use of the caret allows more room for direction symbols.
340c
EXCLUSION OF THE PRE-SIGN IN TIMING Where space is limited and it is desirable for fast movements to omit the pre-sign from indication of timing, short double horizon-tal lines can be used to signify the start of action. These are the same double lines used at the start of a score to indicate where movement begins. In 341 the pre-sign for lower leg written before
341 I the double starting line is not counted in the timing of the lower leg movement. For count 2 the small double line shows that the lower arm pre-sign is not included in the timing of
CHAPTER 14 PARTS OF THE LIMBS 211
the action. Thus the lower leg moves backward quickly on count 1, and the lower arm moves forward quickly on count 2.
SIMULTANEOUS ACTIONS When compound actions occur in which two or more parts of the limbs move simultane-ously in different directions, the indications are placed side by side whenever possible.
Simultaneous Action Bow When signs that need to be written one after the other should actually occur at the same time, they are tied with a curved vertical bow. This bow has time significance in that the start and finish of the bow indicate the start and finish of the overlap of the two actions.
342a First move the leg forward, then lift
the foot
b
or
c
Perform both actions at once as indicated by the bow, which can be written on either side
d
The two actions partially overlap
Originally the simultaneous action bow had no time significance, and was always drawn very small. Now the length of the bow shows the degree of overlap of two actions, i.e. the bow has time significance, as in 342b, (c), (d) and (e). When, however, there is not sufficient room for a large bow, the convention established is that a very small bow (too small to have any timing significance) is used to signify complete over-lap. Thus, while in 342e the length of the bow indicates some overlap, in (f) the very small bow is understood to be an abbreviation of the largest bow possible and there-fore signifies complete overlap. Hence (f) has the same meaning as (b). 342e f
DEVICES FOR ABBREVIATION
Most devices for abbreviation in writing belong to the shorthand version of the system used by nota tors, devices that are not given in this book. However, Division of the Column, and Attached Symbols have been so long in use that they have become part of the standard system and appear in finished scores and publications.
DIVISION OF THE COLUMN Division of the column for the whole arm or whole leg makes it possible to write actions of the major parts (upper and lower limb) side by side without pre-signs. A direction symbol the full width of a column describes the whole limb; half width symbols in a divided col-umn indicate upper and lower segments.
212 LABANOTATION
For the Legs We write the upper leg on the inner side, lower leg on the outer. Figs. 343b, (c), and (d) show the passe (retire) position, and (e), (f), and (g) the attitude position for the right leg as used in classical ballet.
i"":~d , I J ~ or II
~lower leg
343a
instead nll1 of f_uJ
~upperleg
~whole leg
or
For the Arms The upper arm is written on the inside (near the body column) and the lower arm on the outside.
i~ ~lowerarm ~rn ~ instead ~~ rn ~~ of
~: b c " , ~upperarm . ,
~ ~whole arm ~rn ~ instead ~, rn 11 344a of
d e
ATTACHED SYMBOLS A small symbol attached to a normal width symbol is understood to mean the next segment of that limb, judged from the center of the body out. The smaller symbol is like a parasite in that it clings to the main symbol and takes the timing of the main symbol. For this usage, the expanded staff is preferred since it provides room for these additional indications.
For the Legs The main symbol appears in the leg gesture column. The attached symbol representing the lower leg is placed beside the main symbol closer to the center line, as in 345a.
~ foot added . t I~
I ~, ~ lower leg instead of added
345a ~whole leg b c . ·1
The above notation device has the advantage of placing foot indications close to the support column; thus hooks indicating floor contact will relate directly to the symbol representing the foot movement.
CHAPTER 14 PARTS OF THE LIMBS 213
For the Arms The main symbol appears in the arm column and the attached symbols are added on the outside, 346a. Generally speaking, the divided column is preferred to the attached symbols.
~ ~handadded ~.tl> r:::t~
~ ~lowerarm instead of ~. added r:::t
346a ~ ~whole arm b ~ CANCELLATIONS
A directional indication for the whole limb cancels any previous directional indication for its parts. Thus a whole arm indication will cancel an indication for the upper arm, lower arm, and hand, as these are part of the whole arm and hence instructions for them are con-tained within the instruction for the whole arm. The same is true of the whole leg and its parts. In examples 347a-c, indications given on the first count are cancelled on the third count. A movement of the whole arm does not cancel a previously established position for the shoulder, 347d; a shoulder indication needs to be specifically cancelled. Nor does a whole leg movement cancel a previously established position for the hip, 347e; here too, specific cancellation is needed.
347a b c d
A bent gesture of the whole limb will cancel a previous indica-tion for a part of the limb. In 347f the bent backward low leg ges-ture cancels the previous forward knee position. The bent sideward high gestures of the arms cancel the previous lower arm positions.
BACK TO NORMAL
I'
I e
~ x c:J J
347f I A return of a part of the body to its normal, 'natural' body state or alignment is indicated by the back to normal sign: 0 . This symbol is never elongated to show an exten-sion in time, it is followed by a du-ration line to show the timing used in returning to the normal state, as in 348a. Fig. (b) shows a quicker action, (c) a much slower action.
348a b c A hip returns to normal taking
one beat
The same with A slow return to quicker actions normal for hip
and shoulder
214 LABANOTATION
When a part such as shoulder or hip returns to normal while other movements are tak-ing place, it can do so unobtrusively as the other movements occur. There is often no con-scious timing for this return to normal in such instances. In 348d the hip displacement disappears with the step and the chest tilt; timing of its cancellation is not important. If the action should be sudden, a slight accent can be added, as in 348e. Here the raised shoulders suddenly return to normal as the leg and head facing are directed side low.
Because place middle (center) is the normal placement for hips and shoulders, cancel-lation of a previous directional move-ment can be indicated by a place middle direction symbol, 348f, a directional statement, instead of the body alignment indicated by the back to normal sign, as in 348a. For the limbs, arms and legs, the back to normal sign cancels a special state of flexion or extension, 348g; it does not affect the directional placement. A return to the natural location of the arms and legs 348d in the upright standing position, i.e. straight down, arms by the sides of the body, is shown with the place low direction symbol. A rotation or twist of the limbs, the head and whole torso, has in the past been cancelled by a back to normal sign, 348h; however, it is now appropriately cancelled by the composite turn sign: ~ , which for gestures means rotated/twisted neither inward or outward, 348i. It should be noted that a back to normal sign is often used to indicate the normal, upright body align-ment for the torso and head, 348j.
<
348f g h
GENERAL CANCELLATION INDICATION The inverted V sign: A , which is used for 'motion away; is also used as a general cancellation sign when neither 'back to normal' nor a directional placement is appropriate. This sign states that the previ-ous indication is no longer in effect. It is appropriate when a previ-ous situation or state for a part of the body 'disappears; i.e. when that part becomes subsumed into another action. In 348k the shoulder displacements become subsumed into being included in the sagittal arm gestures. (For inclusion bow, see page 223.) k
I o g1 C
348j
CHAPTER 14
RETENTION IN THE BODY (BODY HOLD) The relation of a minor part of the body to a neighboring more major part may be retained while the limb as a whole moves in space. For exam-ple, the hand may achieve a certain angle in relation to the lower arm, and this angle may be retained (no movement occurring in the wrist) while the arm as a whole moves into another direction.
Fig. 349 shows a starting position with arm up and hand forward. The hand has a retention in the body 349 (body hold) while the arm moves forward and down; flexion in the
I
PARTS OF THE LIMBS 215
~) ... 1/
wrist is maintained. The hand is carried through space by the whole arm; as a result of the body hold, its spatial direction changes until it ends backward middle.
Cancellation of a Body Hold To cancel the body hold sign either a new direction must be written for the hand or the back to normal sign <:> must be used. In certain cases the 'away' sign: A may be applicable.
On count 4 the body hold is cancelled by the new di-rection indicated for the
hand
350a
RETENTION IN SPACE (SPACE HOLD)
On count 4 the body hold is cancelled by the return
to normal sign
b
The retention in space (space hold) was introduced in Chapter 8 in connection with turning. It can also be used to show that one part of a limb retains its relation to space. In spite of a change in direction of a major adjacent part, its previously established di-rection in the Standard System of Reference is maintained. Because retaining a spatial direction causes an action in a joint (the result of another movement), the rule is that the space hold symbol is valid only for the duration of the movement which causes it to
216 LABANOTATION
be needed. Thus the space hold sign must be repeated with each new move-ment indication unless a retention is in-dicated as in 354a.*
Compare 351a with 349. The arm starts straight up with the hand gesturing forward. While the arm IS lowered through forward to place low, the hand maintains its spatial relationship, i.e. its forward horizontal direction from the wrist. At the end of count 2 the arm and hand will both be forward middle, i.e. momentarily in line. At the end of count 4 when the arm is down, the hand will still 351a be forward middle.
Compare the next two examples, which start with the same position for the arm. Note the different result produced by the use of a body hold or a space hold for the lower arm.
In 351b, as a result of the body hold, the lower arm will end forward middle, the angle at the elbow remaining the same.
In 351c because the lower arm has been given a space hold, it remains in the vertical direction. The elbow bend neces-sary to achieve this is understood and not written.
Stated Destination Resulting from a Space Hold
351b
351c
10 i) ~o = ~
~~I~-'
For the reader's convenience a small direction symbol may be used to show the final limb destination that has resulted from a space hold. The fact that this direction symbol is the result of the space hold (not a new action) is indicated by addition of a small round vertical bow at the base of the new direction sign, Fig. 352. This bow states the aim, the re-sult to be achieved, linking it with the previous indication. Note: in con-trast, the small vertical bow used to show simultaneous actions, always links two different kinds of movements, e.g. a direction symbol and a rotation. 352
*See Appendix B, note 7.
~)
CHAPTER 14
Modified Destination Resulting from a Space Hold Where a change of level or slight directional adjustment should occur during the retention of a spatial direction, the destination of the action is written at the end as before, but an action stroke indicates the mo-ment where the change of level or other adjustment begins to occur. This action stroke is tied to the indication of the destination. In 353 the change of level starts halfway through the movement; the right arm and left leg end in middle level. Without the action stroke and
PARTS OF THE LIMBS 217
~)
bow the adjustment would be quicker and only at the end of the turn. 353
354a b c
Cancellation of a Space Hold As a rule the need for a space hold disappears once the action that caused this need is over. Therefore a new space hold sign is written for each new action, 354a. But where space holds may occur continuously, the writer may wish to warn his reader of this fact. In such cases the basic retention sign: '0' is added to the space hold sign at the start, as in 354b. This retention will remain in effect until cancelled by the space release sign (a broken space hold sign): ~ , as illustrated in 354c.
15 PARTS OF THE TORSO, INCLUSIONS
Movements of the torso and its parts can be described in a general way or in specific detail. The first general statement is the inclusion of the body in movements of the arms, legs, and head and in steps. The next general statement, developed from the basic idea of inclusions, is the special convention in the use of movements of the upper body (Upper Body Move-ments). This analysis, found suitable for their work by certain European colleagues is con-sidered separately in Appendix D because of its special analysis of movement and use of direction and level. A further development in the progression toward being specific is the indication of the particular part of the body to be involved in an inclusion. Finally, actions of the torso and its parts can be described according to the specific part involved, the kind of motion taking place. The specific parts of the body are presented first; and the specific actions are explored in detail in subsequent chapters.
SPECIFIC PARTS OF THE TORSO
The chief parts of the torso used in movement description are:
c Head Chest,
rib cage Pelvis Whole
torso Waist Shoulder
section
Although the head is not technically a part of the whole torso, it is included here since its involvement in movements of the torso, chest, and shoulder section must be considered. Because of flexibility in the neck the head can perform each of the basic types of move-ment in a clearly defined way, and so provides a good example for investigating these vari-ous movement possibilities.
HEAD The head, indicated by the letter C (caput - Latin for head) moves through flexibility in the neck (cervical vertebrae). It is normally held straight up (place high) as an extension of the
CHAPTER 15 PARTS OF THE TORSO, INCLUSIONS 219
spine. It is carried along in most actions of the shoulder section, the chest and whole torso. The head, working through the neck, can perform the following actions: tilting, shifting, and rotating on the longitudinal axis. The head alone can rotate slightly on a lateral axis (comparable to a somersaulting action) and on a sagittal axis (comparable to a cartwheel-ing action). The neck alone can fold, contract and extend. Note that head tilting, shifting and rotating, which are accomplished through neck movements, are not usually written as such.
CHEST The chest (thorax, or rib cage) moves through flexibility in the waist area (upper lumbar vertebrae). It is normally held in an upright position (place high). Movements written with the chest symbol are those in which this area of the body, which includes the dorsal vertebrae, moves as much as possible as a unit. The chest can perform the following ac-tions: tilting, shifting, contracting, extending, and bending (folding, curving). It can rotate and twist on its longitudinal axis; limited rotary movement is possible on both the sagittal and lateral axes.
PELVIS The pelvic girdle, situated between the hip joints and waist, moves through flexibility in these joints. It is therefore somewhat restricted in movement but is capable of tilting, shifting, curving (limited chiefly to a tilt with muscular differences), and rotating on its longitudinal, lateral and sagittal axes. Its normal position is place high, above the hip joints.
WHOLE TORSO The whole torso (rib cage and pelvic girdle moving as a unit) is normally held vertically (place high) over the hip joints, the base (point of attachment) from which direction is judged. The whole torso is capable of the following actions: tilting, shifting, contracting, extending, bending (curving, folding), rotating and twisting. The head is not treated as part of the whole torso, although it is carried along in torso movements.
WAIST The waist area, comprising the lumbar vertebrae, is situated between the chest and pelvic girdle and acts principally as a flexible area between the chest and pelvis. As a part of the spine that has no rib or pelvic attachments, it is very limited in actual movement. It is ca-pable only of shifting, contracting and extending the vertebrae in its area. The waist sign is used more often in connection with touching or grasping rather than for movement indications.
SHOULDER SECTION (Upper Chest) The shoulder section is that part of the spine from the bot-tom rim of the scapula up, that is, the area of the upper chest, which includes the shoulder girdle, 355a. In move-ment it is similar to the chest in that it performs a limited version of the actions of which the chest is capable: tilting, shifting, twisting, contracting, extending and bending (fold-
355a Shoulder section
220 LABANOTATION
ing, curving). Many people lack sufficient flexibility in the upper spine to perform these actions clearly; nevertheless such movements of the shoulder section are possible.
SHOULDER, SHOULDER GIRDLE Isolated movements of the shoulder were introduced on pages 204 and 205. The signs '1 and r' , which represent the left and right shoulder respectively, specify the outer edge of the shoul-der (the acromion process) when touched, but the shoulder girdle (clavicle and scapula) for movement. The use of both signs together '1 r" indicates that both shoulders simultaneously perform the movement instruction. Movements of the shoulders do not affect the rib cage.
355b Shoulder girdle
Extended Shoulder Girdle Movements The range of movement for a shoulder girdle working in isolation can be increased by an inclusion of the upper body, that is involvement of part of the rib cage. The addition of de-grees of V1, indicating amount, to a shoulder inclusion increases the range. Similarly, in-clusion of the body in a shoulder movement will enlarge the movement and be felt in the muscles of the upper ribs on that side.
Only general movements of these parts are dealt with in this book; specific details and combined forms will be given in the Advanced Labanotation book Body Variations.
AUGMENTED TORSO SECTIONS The main subdivisions of the whole torso - chest and pelvis - can be augmented by includ-ing the waist area, thus enlarging the movement performed.
Augmented chest area:
Augmented Chest Area
[§]x Augmented pelvic area:
Rib cage and waist area moving as much as possible as a unit comprise the augmented chest area, also called 'chest-plus-waist' as the symbol indicates. Inclusion of more of the spine re-sults in an enlarged thoracic movement, but no action should occur in the hip joints.
Augmented Pelvic Area Pelvic girdle and waist area moving as much as possible as a unit comprise the augmented pelvic area, also called 'pelvis-plus-waist' as the symbol indicates. Such pelvic movement includes the spine in the waist area, below the rib cage, but no noticeable action occurs in the upper spine.
Each of the aforementioned parts of the torso performing each of the listed actions will be discussed.
These are the main activities; finer subtleties such as tensions in body areas, movement description in terms of paths of the parts of the body will be given in the Advanced Laban-otation book Body Variations.
CHAPTER 15 PARTS OF THE TORSO, INCLUSIONS 221
AUGMENTED BODY SECTIONS Tilts of the torso may include more than just the torso itself; an adjacent part may move with the torso as a unit. A familiar example is the backward tilt, which hinges at the knees, the torso and thighs moving as a unit. Other examples can include the arms or a gesturing leg. To indicate such a unit in movement, the extremities of the unit are writ-ten within a box.
356a ~= b ~= c Knees to chest as a unit Left foot to chest as a unit
USE OF THE COLUMNS FOR THE SPECIFIC PARTS To facilitate reading, there is a preferred use of the right and left third columns for parts of the torso. As illustrated here, chest and shoulder girdle are placed on the right, whole torso and pelvis on the left. However, as long as the whole torso pre-sign is used, it could be
~= Left foot to right hand
as a unit
Wx . ~
357a ~ ___ o
placed on the other side. The waist sign can be placed on either side. It is more often used in connection with touching, grasping, rather than for specific movements for this part. If need be, the columns can be moved out to allow extra room for indications of two body parts. The support column can only be used when weight is placed on that part of the body.
SPECIFIC ACTIONS FOR THE PARTS OF THE TORSO The general description of body actions, those that result from inclusions in arm and leg gestures and steps, will be discussed first. The three main actions that can be performed by the parts of the torso: Tilting, Rotating (twisting), Shifting will be discussed in the chapters that follow.
INCLUSIONS, RESULTANT MOVEMENT
In movement involving two related parts, such as the arm and the upper body, one part may initiate the movement while the other follows, or both may act simultaneously. One part may therefore be described as leading, accompanying, or following the other.
358a b c Leading Accompanying Following
222 LABANOTATION
Now let us consider the analogous case of a limb. The hand may lead the arm, 359a, may travel in unison with the arm, (b), or may follow the arm, (c).
~ A ~ ;l! /~
359a .- b -- ..... " .-' c Leading Accompanying Following
The notation for part leading is given on page 411. Accompanying takes place when simi-1arly directed movements occur for both body and limb simultaneously. The most familiar form of following, resultant movement, is inclusion of the body in an arm gesture. Other passive and resultant movements will be fully discussed in the Advanced Labanotation book Body Variations.
INCLUSION OF THE BODY IN ARM GESTURES A direction symbol in the arm column indicates a gesture of the arm alone. The body should not participate in such movements except for the few instances where some flex-ibility in the shoulder area may be needed to facilitate performance, as in a backward arm gesture. The inclusion of the body in an arm movement means that the upper sec-tion of the torso participates in the direction of the arm movement. All resulting inclina-tions and twists of the upper body should be performed in such a way that they are the natural accompaniment to, and augmentation of, a similarly directed arm movement. In certain directions the range of arm gesture in a swing is increased when the body is included in the action. Below are some simple everyday examples of arm gestures in which the upper body is included.
In reaching for an object that is close at hand, the arm needs only to extend to pick it up. But if the object is further away the body will have to be included to reach the object com-fortably, 360a.
If no body movement is included in a handshake, (b), the person seems cold, stand -offish. Warm-heart-edness is shown by in-clining toward the person being greeted, that is by including the upper body in the arm gesture as in (c). 360b
360a
c
CHAPTER IS
Fig. 360d shows a student surreptitiously passing a note in class. The movement is one of the arm alone. Fig. (e) shows how she does it when she has permission. When free-dom of motion is allowed, she will automat-ically include the body.
Fig. (f) is a person using both hands to fix a light bulb, which is forward high but within easy reach. In (g) he is unable to get near the light, and so must include his body in the action.
In dance such inclusions of the upper body
360d
in arm movements occur for expressive and 360f choreographic reasons. While performing
PARTS OF THE TORSO, INCLUSIONS 223
e
g
functional tasks the arms are used as much as possible in front of the body; in dance all possible directions are used. The description of body movement in terms of an inclusion purposely allows a certain freedom, a leeway in performance. Where precision is necessary, the resultant body movements can be analyzed and recorded in detail.
THE INCLUSION BOW To show that a part of the body is included in a movement, a vertical bow is used, 361a. This bow is curved at the ends and straight in the middle so that it can be drawn into the column of the part of the body to be included. This bow differs from the simultaneous action bow, (pages 211 and 245) already discussed in that the latter is curved throughout its length.
361a Arm alone Upper body included Arm alone Upper body included
Note that the inclusion bow connects the arm gesture symbol to the body column, being drawn from the arm gesture symbol into this body column. The following examples show generally the effect of a body inclusion in an arm gesture. These illustrations provide the idea; the interpretation may vary slightly.
Inclusions in a Lateral Direction The upper body inclines into the direction of the arm gesture. The lower the arm gesture, the lower the inclination.
362a b Arm alone Upper body included
224 LABANOTATION
~ f}= ~ 362c d
Arm alone Upper body included
~ 362e ~ f
Arm alone Upper body included
The head is carried along when the upper body tilts. Degrees of tilt are approximate; it is expected that there will be variation according to movement context. These examples can be taken as a general guide. The arm need not be extended, since inclusions can also occur with a bent arm.
Inclusions in a Sagittal Direction When both arms move in the same sagittal di-rection, as in 360g, an inclusion of the upper body produces a tilt in that direction. Fig. 363a illustrates such an inclusion in a forward low level.
363a
When only one arm moves in a sagittal direction, an inclusion of the upper body pro-duces a twist as well as a tilt. The one arm causes that side of the body to be brought for-ward (or backward in a backward gesture), producing a rotation in the upper body as well as an inclination.
363b ~rn c ~J[ f(
Arm alone Upper body included
363d ~rn r e mrn ~ Arm alone Upper body included
CHAPTER 15 PARTS OF THE TORSO, INCLUSIONS 225
363f ~IIJ ~
g --Arm alone Upper body included
It is important to note that the twist in the upper body does not affect the head. The head inclines with a tilt, being carried along as an extension of the upper spine, but does not turn as a result of body inclusion in an arm gesture. The pelvis should not be affected at all in any upper body inclusions.
Arm gestures in diagonal directions also produce a twist as well as an inclination, but this twist is less than in a forward or backward direction.
In balanced inclusions in the sagittal direction (that is, when one arm is forward to the equal degree that the other is backward) the upper body tilt will be negated but the twist will remain.
363h mrnw For the diagonal directions of 363i, the degree of twist is less than for (h). In both
(h) and (i) no tilt occurs and the head is not affected, but remains facing the original direction.
Inclusion in Gestures Crossing the Body When the right arm gestures to the left side of the body, or vice versa, the resultant upper body movement may vary according to the path of the arm gesture.
An inclusion in the crossed side high di-rection, 364a, results in an inclination in that direction. Without the inclusion the arm would be across the face.
In 364b the forward low arm gesture with an inclusion produces a tilted and twisted accompaniment in the body (comparable to 363g). If the arm con tin -ues across to side low, as in 364b, the in-clusion will retain the twist but increase the tilt, which will now be more right for-ward diagonal. This example illustrates the general results of inclusions: they are
364a
364b
226 LABANOTATION
not as specific as upper torso indications. In 364c the arm with inclusion moves via side high which produces no twist, therefore, when the arm reaches side low, an inclination of the body to the left will result. These examples illustrate that, in certain sequences the result of inclusions may vary. To be more precise, how the body should accommodate the arm gesture can be stated by
364c
writing a specific indication for the Upper Body (see Appendix D) or by specific state-ments of the upper torso and/or chest. (See Chapters 16, 18 and 19.)
TIMING OF INCLUSIONS The inclusion bow has time significance: inclusion of an indicated part of the body begins where the bow begins, and ends where the bow ends. If the bow lasts the length of a direction symbol it is valid for as long as that symbol is valid. No specific cancellation is necessary.
365a rn[~
b rn[~
c
~
rn[~ d
[~ Inclusion starts with the Inclusion is in effect Inclusion starts Inclusion ends arm gesture but finishes all during the arm only halfway with side gesture
halfway through gesture through the gesture
Inclusions are cancelled either by termination of the bow, as in 365a, or by the next ac-tion which does not involve an inclusion, 365d. Here the side low gesture cancels the previ-ous inclusion.
SPECIFYING PART TO BE INCLUDED The specific part of the body to be included may be stated within the inclusion bow. While this allows for a more specific statement, there will still be some leeway in interpretation. In sagittal, diagonal and crossed side directions a one-sided inclusion produces a twist.
366a Only the shoulder is included in the arm
gesture
b The hip is included in the leg gesture,
(pelvis turns)
c Specific hip inclusion
in a crossing step
d Single hip and
shoulder inclusion in the forward step
In 366a the shoulder inclusion does not affect the chest. It is cancelled as the arm goes up. In 366b the pelvis turns slightly to the left; this is cancelled by the step. The inclusion in 366c is typical of the natural performance of crossing steps met in folk dances; the inclu-sion is automatically cancelled by the open step. The one-sided hip and shoulder inclusion for the forward step in (d) causes the torso to turn slightly to the left. This is cancelled
CHAPTER 15
when the feet close. The hip and shoulder signs for one side can be combined into one sign, as illus-tratedin (e) and (f).
In the case of an upper body inclusion in a move-ment of the head, the bow is not drawn into the body column, but is drawn on the left side of the
PARTS OF THE TORSO, INCLUSIONS 227
~ =
366e I' and r- f
head indication, toward the staff. In 366h as much of the spine is included as needed to achieve a half turn of the head. Inclusion of a body area produces a tilt but no twist. This is because the whole area is involved, not just one side as in 366d above.
366g rn l~ The upper body is
included in the head tilt The head turns beyond the normal range, involving the
upper spine
Torso Inclusion in a Leg Gesture
Whole torso inclusion in the arm gesture produces a slight
forward tilt but no twist
When the whole torso is included in a leg gesture, as the leg lifts, the torso will tend to incline to some degree into the opposite direction, this reaction helping to maintain balance. If the leg is lifted to the right, the torso will tend to lean to the left, and so on. The body passively inclines into the opposite direction to the leg. This relationship between leg movement and torso can be intentional. When a leg gesture includes the hip, as in 366b, there is also a tendency to lean in the opposite direction; however, the performance should be one of hip inclusion only. Note that torso inclusion in a step, 366k, produces an inclination in the direction of the step.
366j Whole torso inclusion in the forward leg gesture produces a slight backward tilt (counterbalance)
DEGREE OF INCLUSION*
Torso inclines in the direction of the step
By using the signs 1/1 and X a spatially greater or lesser degree of inclusion can be shown. The amount of body involved and the spatial range of the gesture will be increased for 367a and decreased for (b). Without use of the diamond specifying spatial aspects, the statement might appear to be one of flexion or extension. Note the difference between 367 c in which the leg is stretched, and (d) in which the body inclusion is spatially large.
l ~
367a J *See Appendix B, note 20.
b
l ~ J d Lilt
16
TILTING (INCLINING)
ANALYSIS OF TILTING
Tilting, also called inclining or 'taking a direction,' means movement of a part of the body away from its normal position into another direction in space. The free end describes a portion of an arc, but in the standard description this curved path in space is not recorded. Instead direction symbols state the new destination for the free end of the part of the body concerned. This part moves as a unit from its base, or point of attachment, the point of ref-erence from which directions and levels are judged.
To understand tilting the parts of the torso, imagine a chair being tilted. In 368a a chair is in its normal upright position. In (b) the chair has been tilted to the right and is now at an angle, the free end slanting in its right side high direction. The point of attachment (joint) from which it moves is the base of its right leg. When the chair slants upward it is in high level. In (c) it is side middle, level with the point from which it is mov-ing. Fig. (d) shows it slanting downward, side low, below the point of reference, that is, the base of the leg where it is being held.
Although the term tilting is not used for arms, gestures of the whole arm in one piece that take a new direction, are com-parable to tilts in that they employ the same basic kind of ac-tion. To clarify analysis of level for the head and torso, we will make a comparison with arm gestures in the high area.
Because the head, chest, and whole torso have place high as their normal situation, tilting these parts is comparable to 'tilting' the whole arm when it starts place high. Fig. 368e illustrates the head and right arm starting place high. In (f) they have tilted right side high, and in (g) forward high. The arm does not reach 368f
368a b
368c d
368e
CHAPTER 16 TILTING (INCLINING) 229
middle level until it is horizontal, parallel with the floor. This is true also of head, chest, and whole torso tilts; they do not reach middle level until the longitudinal axis of that part of the body is horizontal.
METHOD OF WRITING TILTS
368g
Tilting is written with a direction symbol following the pre-sign for that particular part of the body. Fig. 369a shows a sideward high tilt of the whole torso. Fig. (b) shows a forward high tilt of the pelvis; and (c) a backward tilt of the chest.'" 369a b c
When use of the column has been identified by a body-part pre-sign, as in 369d, a caret is not needed for consecutive tilts. Note that, as this rule was established in 2001, scores prior to that date will have used carets, particularly in the body columns.
Identification of body part can be placed in the starting position, as in (e), or below the base bar line during the score, as in (f). All subsequent movements in that column will be for the chest until another part is designated.
369d
4
3
2
A circular pattern of consecutive torso tilts
TIMING OF TILTS
e Chest identification
given in the starting position
The pre-sign is included in the timing of the action; therefore the direc-tion symbol that follows is shortened accordingly. In 370 the forward tilt of the whole torso takes the same amount of time - one beat - as the return to place high.
DEGREE OF TILTING
f Chest identification given below new bar
line
370 rn The stated direction and level indicate how far the part of the body tilts. For general pur-poses the cardinal directions are used; when necessary intermediate directions can be given. The latter, as well as very slight tilts, are explained in Chapter 26.
CANCELLATION OF SIMPLE TILTS A tilt is cancelled by a subsequent tilt into another direction or by a return to the normal situation. This normal situation can be indicated by the direction place high for the up-right standing position, or by the return to normal sign: 8 followed by a duration line to show timing, as in Figs. 137 a and (b).
*See Appendix B, note 21.
230 LABANOTATION
Because the return to normal sign will also cancel any accompanying twist, it may not always be suitable. If a place high sym-bol is written, the emphasis is on a return to that direction; if a back to normal is the de-scription, the emphasis is on a resumption of the normal position within the body. The
371a
~ I if or 0
~ ~ C C
The forward head tilt is cancelled
b
~ I or 0
~ ~ ~ ~
The whole torso tilt is cancelled
former description stresses direction, the latter body alignment. Outwardly the result is similar, it is the motivation, the sense of movement that is different.
TILTING SPECIFIC PARTS OF THE TORSO In these discussions of tilting it is understood that the starting position is with the whole body in the normal upright position.
Tilting the Head The free end of the head is the crown, its point of attachment being the base of the neck. In tilts of the head it is understood that head and neck incline as a unit. From the normal up-right position as an extension of the spine the head can tilt in various directions in high level. A middle level head tilt occurs when the crown is on a horizontal line with the base of the neck. For most people this requires a slight giving way in the thoracic spine, that is, an inclu-sion of the upper spine. To tilt the head into low level while in an upright standing position, we must either include more of the spine or tilt the chest or torso in the same direction.
Movements of the head are written on the right side of the staff beyond any indica-tions for arm and hand. The pre-sign 'C' is used for actions of tilting and rotating; the boxed 'C' sign is used when indication of the area of the head is more appropriate. The ac-tion of facing, of looking, requires the sign for the front of the head area. Once the head pre-sign has been stated, it is understood that all subsequent direction symbols in the col-umn refer to that pre-sign. In 372a it is understood that all tilts are of the head. If there is a considerable gap, the head pre-sign should be repeated for clarity. In 372b the gap is visually too small to require a repeat of the head pre-sign. In (c) the head starts tilted backward; it tilts forward on the first side step, then resumes the backward tilt when the feet close.
A circular pattern can be made by tilting consecutively in the directions forward, right, backward and left, as in 372d. This 'circling' of the head is not a rotation, for no rotary action or twisting occurs. Such patterns are fre-quently performed with the addition of rotations to augment and facilitate the circular action.
c
372a ~
372c ~
~ b x
d
CHAPTER 16 TILTING (INCLINING) 231
Tilting the Whole Torso The whole torso moves as a unit from the hip joints. The hip joints are considered the point of attachment (point of reference), and the base of the neck the 'free end.' The nor-mal position for the whole torso is straight up above the hips, i.e. place high. Though the head is not included in the analysis of direction and level, it is carried along and follows the line of the spine established by a whole torso tilt. When the torso tilts, there may be a slight natural curvature in the direction of the tilt; the extension pre-sign: V1 must be added in order to specify a completely straight torso. If, however, a curvature is specifically desired, the flexion pre-sign: X must be added.
Movements of the whole torso are generally written with the whole torso pre-sign in the left third column, but since the identifying pre-sign is always used, they may be written in the right third column or in any free column. The whole torso indication should be placed in the support column only when the weight of the body rests on that part, i.e. when the body is lying down.
373a b Torso inclining (tilting) at high level A horizontal torso tilt
c
Torso inclining (tilting) forward low
Tilting forward can occur with the weight on both feet or on one foot. But for a side-ward whole torso tilt while weight is supported on both feet, a true whole torso tilt, that is, moving chest and pelvis as a unit, is not possible, one leg needs to be free. With weight on both feet the performer can strive to tilt from the hip joint, but as there is lit-tle play in the hip joint, usually the action is better described as a chest-plus-waist tilt. (See page 234.)
373d
Sideward torso tilt in high level Horizontal torso tilt
Natural Pelvic Shift During Whole Torso Tilts. When the whole torso tilts forward, it is natural for the pelvis to displace slightly backward in order to maintain the line of balance, i.e. so that the center of gravity can remain vertically over the center of the support. This adjustment is not written. If, however, the weight is to be kept forward or specifically shifted backward, special instruction must be written. Tilting forward with no pelvic displacement is written with a spot hold for the pelvis. To do this is physically possible only through high muscular control. Similar adjustments to
232 LABANOTATION
maintain balance occur in torso tilts in other directions. Shifting the center of weight is given in Chapter 24.
Tilting the Chest The chest (rib cage) uses the vertebrae at the waist as its axis of movement. Thus the waist is its point of reference and the shoulders its 'free end.' The head is carried along and fol-lows the line of the spine established by the chest tilt.
Normal position for the chest is place high, straight up above the waist. A performer in an upright standing position cannot tilt the chest to horizontal level (waist level) without involving the lower spine. When the lower spine is involved the action is described as an augmented chest tilt. If the action involves the hip joint it becomes a tilt of the whole torso. In true chest tilts, the pelvic girdle should not be displaced at all.
Tilts of the chest are usually written with the chest pre-sign in the right body column. The indication may be written one more column out when need be. The chest sign must not be placed in the support column unless the body weight rests on that part, as in lying down. (See Appendix B, note 21.)
374a
Sideward chest tilt Forward chest tilt Backward chest tilt
When the chest is tilted the area is displaced as a unit. There may be a slight rounding in the spine, but any narrowing or collapsing in the direction of the tilt must be written with flexion signs, i.e., contraction or bending (curving, folding) signs.
Tilting the Shoulder Section The shoulder section (upper chest, upper spine) can theoretically tilt in the same way as the chest, but its movement is smaller and more limited in range. There is no definite point providing an axis for such tilts, as the waist does for tilts of the chest. Therefore it is more usual for movements to be described as a form of flexion, i.e. an arch or curve in that sec-tion of the spine, rather than a directional tilt. If the movement is seen and experienced as a true tilt, however, it should be written as such. Tilts of the shoulder section are usually rather slight; for the notation to be quite accurate, use should be made of intermediate di-rections, given in Chapter 26.
Tilts of the shoulder section are generally written with the pre-sign DB in the right body column. The indication may also be written in the left body column or where space per-
375a Sideward shoulder section
inclination Forward shoulder section
inclination Backward shoulder section
inclination
CHAPTER 16 TILTING (INCLINING) 233
mits. The shoulder section sign will appear in the support column only when the weight of the body is on that part.
Tilting the Pelvis The pelvic girdle, situated between the hip joints and waist, tilts through flexion in the hip joint or joints and the lumbar vertebrae. Normally the pelvis is held directly above the hips, i.e. place high. As with the whole torso, the 'point of attachment' is the hip joints, while the upper rim of the pelvis is considered the 'free end.' Its freedom is limited by the upper spine. Because the chest is displaced (carried along) in pelvic tilts, awareness of the free end can reasonably be achieved. Whereas in a whole torso tilt the line of the whole spine is in the stated direction, in pelvic tilts only the lower spine takes this direction, the upper spine re-maining upright as though the chest has an unwritten space hold. Tilts of the pelvis can, in fact, be experienced as tilts of the whole torso in which the chest does not join in.
Tilts of the pelvis are written with the pelvis pre-sign in the left body column. Because the pre-sign is always used, however, the indications may be written further out to the left. The pelvis sign appears in the support column only when the weight of the body is on that part, as in lying down.
376a Pelvis tilted forward high Pelvis tilted backward high Sideward pelvis tilt
In pelvic tilts the upper nm is displaced, moving in the stated direction so that the line from the base of the spine to the waist slants in that direction. The chest remains vertical but is carried along, i.e. displaced in space, by the tilt-ing pelvis.
Automatic Pelvic Tilts. When a backward mid-dIe leg gesture is written it is understood that, be-
m-376d ill From the forward middle position of the whole
torso, the chest lifts to place high. The pelvis remains horizontal.
cause of the structure of the hip joint, in order for the leg to reach this level the pelvis must tilt forward. Only a small degree of lift in the backward direction can be performed for a leg ges-ture without affecting the pelvis. This understood adjustment in the pelvis need not be writ-ten; it is not a pelvic movement to be described as such. The degree of pelvic tilt will depend on the build of the individ-ual performer. The same is true of a place high leg ges-ture, some pelvic inclusion must occur. Fig. 377a shows a backward middle leg ges-ture as in an arabesque; (b) shows a high kick via side.
377a Involvement of the pelvis is not
written Sideward pelvic tilt not
written
234 LABANOTATION
INVERTED BODY SECTIONS For each of the symbols ~, [Q], and ~ it is the base of that part of the body which pro-vides the point of reference from which direction and level are judged. It is possible, how-ever, to describe direction and level from the reverse point of view, e.g. shoulder to hips for the whole torso, when the movement clearly uses the inverted end as its point of reference. For such description the symbol is inverted. The whole torso becomes ~ . Because the eye does not readily catch this inversion, the symbol: rnl can be used.
For the chest and pelvis, the waist indication is added to show what part is considered the base. The sign: I!l describes the line from waist to hips; ~ describes the line from shoulders to waist.
378a The feeling is of the lower part m<'lVing away, backward, not of the upper part moving forward.
As the right leg slides far out to the side, it takes the unit of head to pelvis in the same direction.
378d
b The same, but using the alternate writing of inverted torso sign to alert the reader that it is not the
standard whole torso sign.
The forward steps carry the lower part of the body forward,
resulting in a downward slanting line from head to
knees. e
AUGMENTED TORSO SECTIONS TILTS
c From chest to knee the whole torso slants forward low, the
downward slant being stressed.
Augmented Chest: 1m In tilts of the augmented chest (chest-pIus-waist) the movement is based lower in the spine than in tilts of the chest alone; however, the hip joints are not af-fected, as they are in whole torso tilts. Much of the difference between chest and chest-plus-waist tilts may be observed and felt as muscular rather than as significantly spatial. Compare the following examples.
379a A chest tilt: the rib cage moves from
the waist
b An augmented chest tilt: the waist
is involved
The position in 379c - feet apart and knees bent - allows some action in the hip joint, but the line of the spine is not as straight as in (d), where the weight on one foot allows for a true straight torso tilt.
CHAPTER 16
379c A stretched whole torso tilt: the hip joints
are affected
TILTING (INCLINING) 235
d Straight extended torso tilt
Augmented Pelvis: ~ A pelvic tilt can include the spine higher up into the waist area. The rib cage should not be affected. Some people may be able to keep only the shoulder section and head unaffected; this depends on the individual build. Usually the break comes in the mid-dorsal vertebrae.
380a Only the pelvis tilts; the chest
remains upright
Augmented Whole Torso. The whole torso can be augmented by including the head in its actions so that the spine from pelvis to head moves as a unit. In ordinary movements of the whole torso (the more commonly used description) the head accompanies the action, but there is no special feeling of keeping in one piece and some 'play' may be expected. When the sign ~ is used there will be no such play.
381
b Pelvis-plus-waist tilts; only the
shoulder section remains upright
c • I[
Pelvis to head moving as a unit: the line of the torso must be quite straight from base
of pelvis to top of head.
Progression in Tilting the Segments of the Spine from the Top
~ g ~ If ~ 11 382a C b B!J c IQ]
Head Shoulder section Chest
~ II ~~~ 382d ~ e ~
Augmented chest Whole torso
236 LABANOTATION
Progression in Tilting the Segments of the Spine from the Bottom
~ ~ ~ ~ L~J 383a ~ b ~ c
Pelvis tilt Augmented pelvis Whole torso tilt, space tilt hold for the head
Tilts of Augmented Body Sections When a limb or part of a limb moves as a unit with the whole torso or part of the torso, the signs for the extremities of this unit are placed within one area sign. (See Figs. 356.)
Direction and level of the tilt are judged from the indication at the bottom of the augmented body sec-tion sign. In 384a the girl tilts sideward from her feet (tip of toes) to her head.
In 384b the line of inclination to the right is from the left foot to the left hand. Details on the inverting of these body sections are given on page 234.
LIMBS CARRIED DURING TORSO TILTS A major part of the body carries along a minor or de- 384b pendent part. This rule is applicable to the action of turning the whole body, to tilting,'" and to rotating (twisting).
~ !/ d ~ Whole torso tilt
with normal head inclusion
384a
o
Rule: when no directional change is written for the limbs (arms, leg, or head) and a torso tilt occurs, the torso carries the limbs with it. Logically a body hold sign is not needed, but for Kinetography readers, the body hold is added as a reminder. If a limb is to remain in the previously established direction, a space hold (retention in space) must be written.
Retention in the Body. The arms are carried along.
385a b The arms are carried as the torso tilts forward The arms are carried as the torso tilts sideward
*See Appendix A, note 10. "Retention of the previously stated Standard Direction is considered in KIN to be the basic rule, equivalent to a stated space hold in Labanotation:'
CHAPTER 16 TILTING (INCLINING) 237
Retention in Space. The arms retain the spatial direction.
385c The arms remain parallel with the floor as the
torso tilts
d The arms remain parallel to the floor as the torso
tilts sideward
Note the results when gestures of the limbs occur at the same time as a torso tilt or fol-low the torso tilt.
~; ~ r= ~ ~ F 0
•
I I I I 385e f Arms and torso are in line Arms end in line with the torso
In 385g a body hold and in (h) a space hold follow naturally from the physical need or from physical habit.
The arms cannot easily perform a
space hold here; a body hold is logical
and expected
385g
o
~
CANCELLATION OF INTERRELATED TILTS
The arms tend to return to the side of the body, so a space
hold results
h
<>
I
The rule established for arms and legs that a movement of a major part cancels the result of a previous movement of a minor part is not applicable to the torso and its parts.
Cancellation of Head Tilts It is understood that the head normally follows the line of the spine in tilts of the shoulder section, chest and whole torso. During a tilt of one of these parts the head may be carried along (an understood but unwritten body hold), or it may retain its previous spatial direc-tion. To return the head to normal alignment, the back to normal sign is used. The general cancellation sign: II , which has the meaning 'away' or 'no longer in effect,' can be used when a change occurs but the normal situation does not result. The back to normal sign refers to body alignment, whereas II is not concerned with such specific alignment, it in-dicates that the result of the previous movement is no longer in effect.
238 LABANOTATION
In 386a, (b), and (c) the head tilt on count 1 is cancelled on count 2. In (d) the head tilt is not cancelled by the pelvic tilt.
~ 386a C
If the direction of a previous head tilt is to be retained during a whole torso, chest, or shoulder section tilt, a retention in space must be shown, as in 386e. If the angle of the head in relation to the shoulders is to be kept, a retention in the body (body hold) must be used, as in (f).
386e
o • o
~ C
Final Position
Head remains forward high
Cancellation of Shoulder Section and Chest Tilts
f ~ C
Final Position
Head inclination remains as chest tilts
A chest or whole torso tilt will cancel a previous shoulder section tilt, as in 387 a and (b). A whole torso tilt cancels a previous chest tilt since the whole torso indication includes the chest: (c).
o
? 387a 1i'I
Shoulder section inclination is can-celled by chest tilt
b
o •
Shoulder section inclination is cancelled by whole
torso tilt
c
o •
Chest tilt is cancelled by whole torso tilt
To maintain the result of a previous chest tilt, a retention either in space or in the body must be used; the latter is more likely to occur. Figs. 388a, (b), and (c) illustrate such a body hold and its subsequent cancellation.
I o
o
388a o b c
CHAPTER 16 TILTING (INCLINING) 239
In 388a the chest tilt is shown to return to normal torso alignment on count 3 while the torso is tilting to the left. In (b) the stretch sign for the whole torso on count 3 suggests alignment of the chest into a straight line with the pelvis; but a specific cancellation state-ment is needed. Here the 'away' sign is appropriate. The 'away' cancellation is also appro-priate in (c) because, in the flexed sideward tilt of the whole torso, the chest is not in its normal alignment.
Cancellation of Pelvic Tilts A whole torso tilt cancels a previous pelvic tilt since the whole torso indication includes the pelvis. In 389 the sideward pelvic tilt is can-celled by the forward whole torso tilt. 389
Cancellation of Augmented Chest Tilts Augmented chest tilts are cancelled in the same way as are tilts for the chest. An ordinary chest tilt will cancel a previous augmented chest tilt; involvement of the spine in the waist area is treated as an inclusion; thus if it does not appear in the following indication, it is understood to have returned to normal.
An augmented chest tilt is cancelled by a
tilt of the whole torso
390a
Cancellation of Augmented Pelvic Tilts
An augmented chest tilt is cancelled by a
plain chest tilt
b
An augmented pelvic tilt is cancelled in the same way as plain pelvic tilts: by a tilt either of the whole torso or of the pelvis. Involvement of the spine in the waist area is treated as an inclusion; thus if it does not appear in the following indication it is understood to have re-turned to normal. Specific cancellation of a part should be included in any instances where there might be a doubt.
An augmented pelvic tilt is cancelled by a
tilt of the whole torso
391a
An augmented pelvic tilt is cancelled by a
plain pelvic tilt
b
17 TURNING (ROTATION) OF THE LIMBS
GENERAL INDICATION OF TURNING (ROTATION)
Before embarking on the subject of turning (rotating) different parts of the body, it is impor-tant to be clear on the following established terminology: 'Turning' is the general term for ro-tary actions, covering both rotating in one piece and twisting. 'Rotating' refers to turning a part of the body as a unit, i.e. each part turns the same amount. 'Twisting' refers to a turning action in which a greater degree occurs at the extremity with little or none at the base.
The basic meaning of the signs ~ and a is rotation of an entity, i.e. a turn of the whole unit. In Motif Notation these signs by themselves are usually interpreted as turns of the body-as-a-whole. For Motif, to indicate a twist of a part of the body, the hold sign '0' is placed within the turn symbol near the base. Such use of the hold sign signifies a retention 392a
o JL
h d ( 11 h f h) Turns of the within t e bo y usua y at t e point 0 attac ment ,as body as a whole,
a result of which the specific part indicated does not rotate freely as a unit, a twist takes place.
TURNING OF A LIMB
right, then left
A twist within the body, right,
then left
The sign for a limb II (see Chapter 27) is employed in Motif Notation to designate use of an individual limb rather than of the body-as-a-whole. Fig. 393a shows a turn to the right for a limb, the form, rotation or twist is not specified. Signs for the specific limbs (see Fig. 319) are used for rotations or twists of those parts.
~ ~ ~ ~ 393a II b It c 11' d rr-
A limb turns to Turn both legs Turn both arms Twist the right the right to the right to the left arm to the left
CHAPTER 17 TURNING (ROTATION) OF THE LIMBS 241
SPECIFIC INDICATION OF ROTATION, TWIST In Structured Description the three-line staff is used and turns of the body-as-a-whole are placed in the support column(s). Turning of torso and limbs is shown by turn signs in the appropriate columns. For the whole arm and whole leg pre-signs are not needed, they have their own columns; for other specific parts of the body pre-signs are used. Once the turn sign is placed in the column or is preceded by a specific pre-sign, the physical limitation of the turning action for that part is automatically understood; it is not necessary to add the hold sign within the turn sign.
394a ill b
0[lJ0 0_0 c rn d [lJ~
Turn both legs Turn both arms right, Turn the whole Turn the head left, left, then right then left torso to the right then right
ANALYSIS OF ROTATION, TWIST A rotation or twist of a part of the body is understood to be around the longitudinal axis of that part. In the normal standing position this coincides with the vertical axis.
Distinction between 'Rotation' and 'Twist' A part of the body, such as the head, rotates in one piece. There is no twist in the part itself, the twist occurs in the joint or segment at the point of attachment; for the head this is the neck. For turning in one piece the specific term 'rotation' has been chosen. Where the free end is able to turn farther than the base, a twist within the limb itself occurs. For this the specific term 'twist' is used. A few parts of the body are capable of both actions. For exam-pIe there may be a twist in the torso or a rotation of the whole torso as a unit.
Analysis of Rotating. Fig. 395a illustrates an object y that can move as a unit through a flexible joint or seg-ment at its base. The free end is marked 'x-y' and the base 'z'. In 395b the object has rotated a half to the right pro-ducing a twist in the base. This action could be described as a twist in the base that carried the attached object along with it. The choice of description will depend on whether emphasis should be on the displacement of the object or on the action in the base. In the case of the head, the description is usually of the head rotating rather than of the neck twisting, though head rotation can only be achieved through flexibility in the neck vertebrae.
Analysis of Twisting. Fig. 395d illustrates an ob-jectwith a free end at the top, 'x-y', and a point of at-tachment at the base, 'z'. In (e) the free end has been twisted to the right. Only the extremity reaches the degree of half a twist. The resulting twist within the object can dearly be seen. Such an action happens frequently within the arm and spine. Fig. 395f illus-trates such a twist in the lower arm.
x y
395a z b
~ ~
395c
x,y y~x
395d Z e Z
395f~
242 LABANOTATION
Method of Writing Rotation or Twist In a Structured Description, the unqualified turn signs ~ and a represent for each part of the body the form which is suited to it or commonly used by that part. These are:
Rotation as a Unit Twist within the Limb Head, hand, pelvis, whole leg, foot Whole torso, whole arm, lower arm, lower leg
Moving as a unit, the chest can rotate only a limited degree for most people. With greater degrees, the action becomes a twist; therefore twisting is taken as the basic action for this part. Interpretation of turning for the whole leg can vary; rotating as a unit is com-mon, however, neither form is taken for granted. Rotation as a unit (each part turning equally) is indicated by placing the sign for equal = in the turn sign, or adjacent to it in a vertical addition bracket.
~ or ~ Usual performance for
that part
396a
Twist specified
Outward rotation of the leg as a unit
Unwritten Rotations
b
Rotation as a unit specified
A twist within the whole leg, the foot twisting farther than the thigh
Some rotation occurs naturally when the limbs are moved in different directions. As a rule, minor changes are not recorded, being the natural result of anatomical structure and not in themselves intentional. If, as in the medical field, a record should be required of such minor changes, subtle details must be indicated. See also Figs. 327.
Meaning of the Composite Turn Sign: D When placed in a support column the composite turn sign signifies a choice of either a right or left turn. In a gesture column it signifies rotation neither right nor left, i.e. the un-twisted state. This difference rests on movement facts and movement needs; such basic dif-ferences between support indications and gesture indications are met in most movement notation systems.
Turn either way, right or left
397a
Arms and legs are in the untwisted
state
CHAPTER 17 TURNING (ROTATION) OF THE LIMBS 243
DEGREE OF ROTATION There are four possible ways to describe the amount of rotation or twist of a part of the body. Not all of these four methods are suitable for all parts of the body, the first and third being more suitable to describe rotations of the limbs. All are given here for future reference.
l. The qualitative (sensed or felt) description in terms oflittle or much twist away from the normal (standard) state.
2. The degree of rotation/twist from the normal untwisted state. 3. The degree of rotation/twist judged from the previous situation. 4. The destination of the front of that part of the body in relation to the room (stage)
directions.
An empty turn sign, as in 398a, indicates freedom of choice, the amount of turn being left open to the interpreter. When very quick turns occur one after the other as in (b) the signs are often left empty, as at this speed only a small amount of rotation is usually accomplished. 398a
1. Qualitative Description of Degree When the amount of rotation or twist away from normal is to be described more by feeling then by actual measurement, narrow and wide signs are used. Fig. 398c states a very small amount of twist to the left followed by an equally small amount past normal to the right and finally, a good deal of twist to the left. Because these signs are placed within the turn sign it is clear they refer to distance and not flexion or extension.
2. Degree of Twist or Rotation from Normal A white pin placed in a turn sign states the degree of twist away from the nor-mal untwisted state for that part of the body. It provides a destinational de-scription. In 398d there is a twist to the right 1/8 away from normal, followed by a twist to the left 1/8 away from normal. The white pin is derived from the sign for the Cross of Axes in the body -1- ,i.e. body aspects. (See Chapter 25.)
3. Amount of Rotation A black pin placed within a turn sign states the amount of rota-tion judged from the previous front. It describes the amount of motion. This description is familiar, being applied to pivot and jump turns of the whole body (see Chapter 8). Fig. 398e states 1/8 rotation to the right from the previously established position 398e (whatever that may have been), followed by 1/4 to the left. If the
8 S
398c 8
398d
starting position is the untwisted state, then (f) shows the amount of rotation needed to achieve the actions previously stated in (d). Black pins describe motion; white pins and straight pins (tacks) describe destination. Although white destinational pins are usually the preferred description, the need to describe motion instead of destination also arises.
244 LABANOTATION
4. Destination of the Front Indication of the room or stage direction in which a part faces at the end of a turn can be applied to parts of the body in the same way as it can to the whole body (see Figs. 135 and 136). This destinational description has been applied mainly to the head. The straight pin (tack) indicating a stage direction is 398g taken from the Constant Cross of Directions in the Room. Thus 1 = [!J, -< = @ etc. Fig. 398g describes first a rotation to the right, which ends facing downstage right, followed by a rotation to the left, which ends facing stage left. The degree of rotation of the first action will depend on where in the room the performer is facing at the start of the action. In (h) the starting front is not known, but the right turn on the right foot ends facing the audience.
ROTATION OF THE LEGS
Leg rotation may happen as an isolated movement, or it may occur in conjunction with other basic actions, thereby giving these actions a particular style or expression. Leg rota-tion is often only an addition to the basic movement pattern, and hence it does not change any of the rules regarding supports, leg gestures, jumps, touches, slides, etc.
The whole leg rotates in the hip socket, the point of attachment to the torso. In general the leg rotates as a unit when only slight degrees of rotation occur; in exaggerated degrees the foot (extremity) will twist further than the thigh. A general interpretation is expected unless either a twist or rotation as a unit is specified.
Inward and Outward Rotation Direction for rotations of the legs is usually described verbally as inward or outward. For the right leg an inward rotation is a turn to the left, an outward rotation a turn to the right; the reverse is true for the left leg. No one state of rotation is called 'normal' in Labanota-tion, there is too much variance between individual people to ascertain a 'normal', there-fore the common alignment in which the feet are parallel and pointing forward is indicated by the composite turn sign.
399a [J]
b ill Inward leg rotation Outward leg
rotation
For 399c either writing means the same. However, the not-quite parallel foot posi-tion with the heels together and toes slightly apart, is shown by placing the ad lib. sign (indicating some freedom) inside the com-posite turn sign, 399d. Note that for this
*See Appendix B, note 22.
399d
m or [IT c
Legs parallel, the untwisted state'
Slight outward rotation allowed
Slight inward rotation allowed
CHAPTER 17 TURNING (ROTATION) OF THE LIMBS 245
fairly common usage, the outward rotation sign dominates the composite turn sign. In (e) the inward rotation symbols dominate, a less used statement.
Degree of Rotation The choice of description for degree of rotation for the legs is usually in terms of the amount of rotation away from the untwisted state. This may be qualitative (Fig. 398c) or quantitative (Fig. 398d), the latter being more precise.
Starting parallel, rotate the right leg
inward slightly, then outward a
good deal 400a
SIMULTANEOUS GESTURE AND ROTATION
Similar to (al, but described by degree from the untwisted
state: 118 left, 114 right
b
The turn sign is usually placed within the leg gesture column for rotations of the whole leg. When a change of direction occurs at the same time as a rotation, the turn sign is placed in an adjacent column (the expanded staff provides room for such adjacent placement), or may be written after the direction symbol with the two indications tied to show that they occur simultaneously. In general it is preferable to write simultaneous indications side by side.
401, rn or rn c ---'-../
or
b d Leg rotation following
a gesture Gesture and rotation
occurring simultaneously
Alternate possibilities for writing simultaneous gesture and rotation
Fig. 401 b shows the usual way of writing simultaneous gesture and rotation. Other pos-sibilities for placement are illustrated in (c), where the rotation symbol is placed in the body column and is tied to the leg gesture column by a small round horizontal bow, and (d), where rotation and leg gesture, placed one after the other in the leg gesture column, are shown by the round vertical bow to occur simultaneously. (See Figs. 113d-h for details on the use of the simultaneous action bow.) This usage is now less preferred.
There is the further possibility of using an attached indication, as in 401e. Here the rotation is indicated by a small turn sign attached to a normal-sized leg gesture symbol, the former taking the same timing as the latter. This method is useful for temporary changes in rotational 401e state.
CANCELLATION OF ROTATIONS A specifically stated rotation remains in effect until cancelled by another rotation or by the indication of the parallel state. Examples given here are for the original narrow staff, still used when practical, as well as for the expanded staff.
246 LABANOTATION
402a An in -turned gesture followed by an in -turned
support (step) An in -turned gesture followed by an
outwardly rotated step
An inturned gesture followed by a parallel
rotated step
402e
The step is out-turned 118 fLM
Cancellation of Attached Rotation
403
The attached symbol by its very nature indicates dependence on the major symbol to which it belongs; thus when this major indication is no longer in effect, the rotation attached to it is also no longer in effect. Such automatic cancellation provides an advantage in the quick writing and reading of momentary rotations. Attached rota-tions also momentarily cancel a previously stated rotation. In 403 the step following the in-turned leg gesture will return to the previ-ously prevailing state of rotation.
A momentary inward leg rotation
Retention of a Rotation Certain directional movements for parts of a limb cause rotations in that limb. Such resultant rotations are usually temporary and do not cancel a previously stated rotation. See pages 202-203.
In 404 the previously stated outward rotation for the right leg is not 404 cancelled by the right lower leg gesture, which temporarily causes the
thigh to turn in. On the following step the leg is again outwardly rotated, returning to the previous notation statement.
Reminder of Retention of a Rotation Although a rotation is held until cancelled, the con-text of the movement may induce the reader to forget the rule and automatically negate the rotation. A 3 hold sign may be used as a reminder to retain a rota-tion. In 405 the inward rotation for the right leg is held until measure 3, count 2; all steps and gestures of the right leg are turned in until that point.
Where changes in rotational state occur frequently, the state of rotation in effect can be indicated at the start of each new page or, if need be, at the start of each new staff as a reminder. The state of rotation for the legs which is in effect at the end of measure 3 in Fig. 405, is carried over to the next staff where the re-minder is written before the bar line.
2
2 1
6
5
4
405
CHAPTER 17 TURNING (ROTATION) OF THE LIMBS 247
ROTATIONS DURING LEG GESTURES Rotations that occur during leg gestures may occur at the start of a gesture, at the end, occur suddenly during a gesture, or be spread over the whole gesture.
406a Quick rotations at start of gestures
b
I~ II
O~
o ~~ ~
Rotation occurring with
the gesture
Rotations of Touching Leg Gestures
c
/
Continuous rotation, in
then out
d Rotations at start of gesture and at
end
e Rotation with
contraction and extension
A rotation does not cause a release of a previous touch. When a hook is attached to a rota-tion sign, the leg remains in the same direction, but performs a fresh touch in addition to the rotation.
407a The toe remains touching the floor during rotations
b The toe repeats the
touch, as the leg rotates
c Rotation occurs between
the release and touch
A leg rotation has a greater visual effect when the leg is bent, as in 407d-g. Note exam-ples using the broad or narrow staff. Note that for these touching gestures unit timing has been used. (See pages 183 and 184 for explanation of unit timing.)
407d
The leg bends and stretches in the
forward direction as it rotates in and out, sliding on the toes
or
e
407h
f
6
5
4
3
2
The timing of (h) is more clearly stated
g
248 LABANOTATION
Placement of V1 and X in Relation to Rotations Note the difference in meaning between a measurement sign written within a turn sign (where it describes the qualitative amount of rotation), and the same signs writ-ten before a turn sign in the gesture column where it de-scribes the state of the limb, bent or stretched. Fig. 408a shows a small amount of inward rotation, (b) a contrac-
408a
408c
rn rn
b
d
rn ern
tion of the leg. Fig. (c) states a good deal of outward rotation, (d) a stretched leg.
LEG ROTATIONS DURING SPRINGS Many examples of leg rotation occur during leaps, hops, jumps, etc. Though the change of rotation usually occurs while in the air, for a simple statement the rotation sign is often written next to the landing symbol. The following are some well-known patterns.
*
409a b
In 40ge and (f) the rotation distinctly occurs while in the air and must therefore be written as such.
c d
40ge f
Read the following examples at tempo. ( " or ~ = strong accent, see pages 425-426.)
'T 00
II ------.
3 4 lOa 4
-:-~--~~=F==~---_~. *
~
--'-- ~ -:-
("'I 0\
II ------.
3 b 4
South Asian folk Folk
*See pages 307 and 308 for repeat signs.
-----. 4
C 4
Scottish Highland Fling
CHAPTER 17 TURNING (ROTATION) OF THE LIMBS 249
A familiar example of rotated supports is the Charleston. Note the difference in the de-scription ofleg gestures in examples 411a and (b).
411a b
ROTATION OF THE KNEE Strictly speaking, the knee cannot rotate; it can, however, activate a rotary movement in the center of the leg, affecting the upper and lower leg sections, 412. In a knee rotation the hip and foot remain as immobile as possible, rotary action occurring through flexibility in hip and ankle joints. Outward knee rotations are often used as an exercise to coun-teract knock-knees.
ROTATION OF THE LOWER LEG A rotation of the lower leg is a twist of this section of the leg in one piece from the knee down. Its range of movement is limited by the flexibility in the knee joint, Fig. 413. To understand the ac-tion, sit on a chair with the heel of the foot resting on the floor. Rotate the lower leg in and out. There should be no action in the thigh; movement oc-curs only from the knee down. Rotation of the lower leg will cause the foot to move from side to side; such move-ment, however, is not an action of the foot itself.
> <
413
"Charleston!"
412
250 LABANOTATION
ROTATION OF THE FOOT A foot can be rotated either while supporting or while gesturing. A familiar form of out-ward supporting foot rotation (inversion) is sometimes called 'rolling the ankle.' Because in foot inversion weight is placed on the outside of the foot, the rotation visibly affects the ankle, which is slightly displaced in space. Such ankle displacement, however, is only the result of the rolling (rotation) of the foot to its outer edge. Inward foot rotation (ever-sion) brings the weight onto the inside of the foot, thus stretching the inside of the ankle. When such foot rotations are performed as gestures there is no displacement of the ankle, as the foot itself is free to move.
As an example, stand with feet parallel and slightly apart, Fig. 414. On the first count the feet rotate out (foot inversion), causing the weight to shift to the outside of the feet, thus stretching the outside of the ankles. On the second count re-verse the procedure. The feet rotate inward (foot eversion), throwing the weight onto the inside of the feet (as in flat footedness), thus stretching the inside of the ankles.
Do not confuse foot rotation with rotations of the whole leg while supporting. The latter is dis-cussed below.
ROTATED SUPPORTS
414
Leg rotations can occur both during transferences of weight (steps) and also while the weight is fully supported on the foot or feet.
During Transference of Weight In a quick step the actual change in the state of rotation usually occurs before the weight is transferred, that is, while the leg moves to start the step. Because the action is quick, it is sufficient to write the rotation as occurring with the step. In 415a and (b) there will be no doubt as to how it should be performed.
In slow steps there is time to rotate during the trans-ference of weight. Thus, if the state of rotation to be used is established at the start, the rotation sign is writ-ten at the very start of the slow step, as in 415c and (d); it does not continue during the process of transferring the weight.
When a rotation occurs throughout the process of stepping, the rotation symbol extends to cover the entire step symbol.
415a b Quick steps alternating outward
and inward rotation
415c d Slower steps: the rotated state
is established at the start
CHAPTER 17
Starting parallel, the legs rotate outward all during the transference of weight to the right foot. In the second
measure the legs rotate in slowly during the
step to the left.
/
II 1\
1\
416a
I
\
f)
. ·1
1\
\
TURNING (ROTATION) OF THE LIMBS 251
The legs start bent and parallel, feet together. The slow step forward starts inturned on the
heel and gradually turns out as weight
is taken over and the toe lowered.
b
On One Foot: A rotation may coincide with a change in level on the supporting leg.
The high forward step is turned out at the
start. An inward rota-tion occurs during the
change oflevel in place. The swivel will be on the ball of the foot while the heel
lowers. 417a
Weight Remaining on the Support
The low forward step is inturned; the leg turns out as it straightens, swiveling on the ball of the foot, the heel just off the ground.
b
On Two Feet. When the weight is on both feet, the legs can rotate in or out, either one at a time or both together, the latter in a parallel or a symmetrical manner.
418a Right leg rotating in and out on a high
support
b Parallel rotations on the balls of the feet
c Symmetrical rotations
on the heels
A leg rotation with the weight on the whole foot causes considerable friction; usually either the heel lifts slightly so that the swivel occurs on the ball of the foot, or the ball lifts slightly so that the swivel is on the heel. Appropriate hooks are used to indicate place-ment of the weight on the ball or heel. When nothing is stated, interpretation is left open, but common practice is for weight to be on the ball of the foot, the heel very slightly lifted. When weight must specifically be kept on the whole foot, whole foot hooks must be written."
"See Appendix B, note 23.
252 LABANOTATION
In 419a and (b) the swivel is understood to be on the ball of the foot, though this is not specifically stated. In (c) weight is on the whole foot during the inward and outward rota-tions. The center of the foot will remain where it is, toes and heels will be displaced equally during the rotation.
>- -<
419a b c
Adjustment of Position through Leg Rotations If the foot is rotated on its heel, the ball will be displaced in space, and vice versa; therefore rotations can change foot positions. By rotating one or both legs and alternating use of ball and heel, we can change from closed to open positions, and from open to closed. The spe-cific part of the foot to be used is indicated by adding the appropriate hook to the support while rotation occurs.
The result of 420a is opening both feet to a wider second position, ending with the weight on the whole foot. Hooks are attached to the support symbols, needed here because a change of level takes place.
When support symbols are absent, as in (b) and (c), hooks are written as though at-tached to supports but are placed closer to the center line without touching it.
>- -<
420a b The right foot opens
from 1 st position to 2nd
Traveling by Means of Leg Rotations
c The left foot closes
from 2nd to 1 st
By using parallel or symmetrical rotations for both legs and alternating in the use of weight on ball and heel, the performer can travel slightly to one side or the other. Such progressions are well known from Russian folk dances and also from South Asian and jazz dancing.
421a
- - ( T ,
-
, . . , Travel to the right, parallel rotations
b c Travel to the left Travel to the right,
symmetrical rotations
d Travel to the left
CHAPTER 17 TURNING (ROTATION) OF THE LIMBS 253
When traveling is really the aim of such rotations, a path sign can be written outside to alert the reader to the direction of travel to take place. If the traveling direction is stated, it is not necessary to continue to repeat hooks for the parts of the foot. The distance traveled can show the degree of rotation: the greater the rotation the more distance covered, the smaller the rotation the less distance covered. Such traveling can also occur on one foot, particularly if momentum is used. Fig. 421 e is the same as (d) but with the path sign added to facilitate reading.
421e Travel to the left
T ~
1 f
T ~ V1
1 Travel a long distance to
the right
T ~ X
1 g h
o
T I> V1
1 Travel a short distance Travel on one foot to
to the left the right
In 421£ the hooks have been given on each rotation, the path indicates the traveling. In (g) use has been made of repeat signs (see pages 303 and 304). In (h) the long quick step at the start provides momentum for traveling on one foot. Note in this example the gradual rising to middle level after the initial step.
Sliding of Part of the Foot The free part of the sole of the foot can be shown to slide along the floor. Note the differ-ence between the following examples:
With weight on the heel, the legs rotate in and out. The ball is
just clear of the floor.
422a
KEY SIGNATURES FOR LEG ROTATION
The same, but the ball of the foot slides
along the floor during the rotation.
b
At the start of a dance score, whether it is an exercise or a composition, a statement is usu-ally made with respect to leg rotation, i.e. whether legs should be turned out, parallel, or (possibly) turned in. In ballroom dancing as a rule legs are parallel, 423a; classical ballet demands extreme outward rotation, 423b; many folk dances call for the legs to be almost parallel, toes slightly apart, 423c. The statement of leg rotation to be used throughout a piece is given as a key signature, a separate pre-graph indication at the start of the score, and is thereafter considered the standard state for that score. If rotational changes occur they will be cancelled by a statement of the standard state.
254 LABANOTATION
l!J
423a OJ]
b ill Ballroom Ballet
To indicate a return to the rotated state given in the key signature, it is best to indi-cate that state in the score, wherever it ap-pears, rather than relying on the reader's memory or understanding of the style.
c DI0 d m Folk Comic,
grotesque
424a b Fig. 424a is an example of a pre-graph statement appearing at the start of a score. Subsequently in (b) the change in rotation is cancelled by returning to the key state of outward rotation.
Key for statement at start of score
A return on count 2 to the previously
defined state
ROTATION OF THE ARM
An arm rotation occurs around the longitudinal axis of the limb. Flexibility of the arm joints allows a range of possibilities for rotations and twists, but the movement is usually a twist in the arm rather than a rotation of the arm as a whole. In this respect arm rotations differ from leg rotations; in the latter, when the rotated state is not exaggerated, it is com-mon for the leg to rotate as a unit.
TWIST IN THE WHOLE ARM An unqualified turn symbol indicates a twist in the arm. The hand (ex-tremity) will rotate further than the base of the upper arm. The degree of twist is judged according to the amount achieved by the extremity. Fig. 425 shows twists in the arms, no amount stated. As twisting is the understood form of turn for the arm, there is no need to add the hold sign within the turn symbol.
ROTATION OF THE WHOLE ARM IN ONE PIECE An equal sign placed within a turn sign in the arm column signifies equal rotation of all parts, i.e. rotation of the limb as a unit. This is achieved Q through a rotation of the upper arm. Such rotations (involving no twist r1 within the arm itself) are rare and usually require action in the shoulder l;:J joint. (If the emphasis of the movement is on the shoulder, notation for a 1.1 rotary shoulder (scapula) movement should be used.) Fig. 426 illustrates \J rotations of the whole arm as a unit.
425
426
CHAPTER 17 TURNING (ROTATION) OF THE LIMBS 255
Direction of Twist With different placements of the arm the direction of rotation may not be clear. An outward twist is written with a turn to the right for the right arm and to the left for the left arm (away from the center line) 427a. An inward twist is written with a turn to the left for the right arm and to the right for the left arm (toward the center line) 427b.
427a
427b
When the arms are down or forward, it is easy to see and feel which is an outward twist and which an inward. However, when the arm is held high overhead, a seeming contradic-tion appears to take place. What was seen before as an outward twist now appears to be an inward twist, and vice versa. The arm must be lowered and the same physical movement repeated in order to determine the direction of the twist. A solution for the average right-handed person is to remember that, thanks to standardization, such activities as screwing on jar lids, light bulbs, radiator caps, and the like, are twists to the right (outward for the right arm, inward for the left) and those of unscrewing are twists to the left (inward for the right arm, outward for the left).
Degree of Twist The methods of indicating degree of twist described in Figs. 398, are applicable to twists of the arm. Because of the nature of arm gestures and the fact that the normal, untwisted state is not readily felt or observed and differs among individuals, the description chosen is usually either in terms of little or much (Fig. 398c), or in terms of destination of the front of the extremity, that is, where the palm faces at the end. For the latter description direc-tions refer to the Standard directions, as explained on page 275. Destination in terms of room directions (as in Fig. 398g) is rarely used for the arms. When only palm or thumb edge facing is indicated, the action is usually one of a twist in the lower arm. For a twist of the whole arm, the palm or thumb edge facing indication is placed at the end of the turn sign to give the destination. Figs. 428a-f show arm rotations, the degrees being written in the four different ways. Each version stresses a different aspect of the movement; therefore the choice of notation rests on what best describes the action.
428a Description in terms of feeling, sensation;
exactness not expected
b Degree of twist from untwisted
state
c Degree of twist from previous situation
d Destination in terms
of palm facing
In 428a the right arm starts out to the side in the understood untwisted state, the stan-dard being with palm facing forward. On count 1 a slight outward twist occurs; on count 2 a great deal of inward twist occurs, judged from the standard untwisted state. The descrip-tions of (b), (c) and (d) are more precise. In (b) the outward twist is 1/4 right from the un-twisted state; on count 2 the inward twist is 112 left from the untwisted state, resulting in the same final position as in (c). In (c) from the starting position the degree of twist is first
256 LABANOTATION
outward 1/4 right, then inward 3/4 left, resulting in the palm end-ing facing backward. In (d) the degree of outward twist is de-scribed in terms of the ending facing direction for the palm, straight up; the inward twist ends with the palm facing back. Be-cause of the clear destination for the palm this last description is often easiest to read.
In 428e the arm is bent forward high, the thumb edge facing to the right side, thus producing outward rotation. In (f) the arm is back low, the thumb edge facing to the left, producing an inward rotation.
PLACEMENT OF TURN SYMBOL
428e Outward twist produced
by thumb facing
428f OJ ~~ Inward twist results from thumb facing
When there is no change in the previously established position for the arm, turn signs can be placed within the arm column as in the above examples. When the arm changes direc-tion during a twist, the turn sign is placed next to the arm gesture.
Because in 429a the turn sign is placed adja-cent to the arm direction symbol on the outer side it is understood to refer to the arm. If there should be any doubt, the turn sign can be tied to the arm gesture with a small curved horizontal bow as in 429b.
The turn sign can also be shown attached to the direction sym-bol. In this case the turn sign is written considerably smaller. Fig. (c) is the same movement as (a) and (b). The attached symbol takes the 429c timing of the main symbol.
ROTATION OF THE ELBOW The elbow cannot truly rotate; it can, however, activate a rotary movement in the center of the arm. This limited rotation takes place through the upper and lower part of the arm while the extremities, shoulder and hand, remain quiet. This movement appears in Asian dance and in a less exaggerated form in other styles. The so-called 'lifting' or 'dropping' of the elbow is actually a slight rotation of this kind, 430a, b. The easiest way to perform the movement fully is to grasp a stationary object, such as a barre. Concentration can then be focused on the independent movement of the elbow, the center of the arm. The effect of such elbow rotation is more readily seen when the arm is bent for then the action produces a marked spatial displacement.
430a
Grasping a chair and rotating the elbow in
and out
430c
b
A simple ballet arm position with arms
rounded and elbows 'lifted'
d
CHAPTER 17 TURNING (ROTATION) OF THE LIMBS 257
TWIST IN THE LOWER ARM The lower arm (forearm) can twist but it cannot rotate as a unit. In the untwisted state it is considered standard for the inside of the elbow and the inside of the wrist to be in line. Twists of the forearm are written with the wrist symbol. The forearm twists inward (pronation) and outward (supination) from the elbow down; no change need occur above the elbow. The hand reacts 431a as an extension of the lower arm, having no movement or im- Pronation oflower arm
portance of its own, it is relatively passive.
~~ 0>
0 0 CJ> 0> CJ>
~ ~ 0 V1t to
~ ~ I ~~~ 431b z z c d Inward and outward As the arm extends the
lower arm twists lower arm twists out, in, out
Note that in 431b the outward rotation on count 2 is not for the whole arm; it is placed in the column designated for the lower arm. If the hand is held at an angle to the lower arm, as in 431d, lower arm twists will cause it to be spatially displaced side to side.
ROTATION OF THE HAND Rotations of the hand are comparable to those of the head. As we saw, the head rotates as a re-sult of a twist in the neck. The hand is able to turn as a result of a twist in the lower arm. When the hand is to be the active part, i.e. emphasis is on the hand rather than on the lower arm, the rotation is written as a hand movement. The unmodified rotation sign is used to sig-nify a turn of the hand in one piece. Focus is on the hand movement, not on the lower arm.
[J Quick rotations 0 The degree of the hand overhead: the amount of CJ rotation can be
rotation is not [J indicated where
important ~~ need be
432a
TWIST IN THE HAND To some extent a twist can occur in the hand from wrist to fingertip. A slight twist can be observed in the metatarsus but it will be more pronounced in the line of the phalanges. Such twists (usually accompanied by spread fingers) can be seen in South Asian dances. The hold sign placed within the turn sign indicates a twist 433 within the hand, as shown in 433.
-B or m @- Gl-~ ~
b ~
~ I I
258 LABANOTATION
CIRCLES OF THE HAND Circles of the hand are usually a combination of a circular space pattern and rotation. The rotation permits a greater range of movement.
Limited circle with no rotation (body hold given as a reminder)
434a
Circle augmented by rotations
b
The choice of several methods of description in the analysis of complex hand move-ments allows for appropriate indication of the desired emphasis. Further details on hand movements appear in Chapter 27; still greater refinements are given in the Advanced La-banotation book Hands, Fingers.
CANCELLATION OF ROTATIONS, TWISTS The rules for cancellation are exactly the same as for the legs (see Figs. 402). A rotation or twist remains until it is cancelled. If it is written as an attached sign, as in 429c, automatic cancellation occurs as soon as the indication to which the turn sign is attached is no longer in effect.
18 ROTATION OF THE TORSO AND HEAD
ROTATIONS OF SPECIFIC PARTS OF THE TORSO
Discussion of rotations of specific parts of the torso - head, shoulder section, chest, pelvis, and whole torso (see Chapter 15) -will be concerned first with the body in the normal ver-tical position, and then, during or after a tilt of the body.
A rotation of a part of the body as a unit, or a twist which occurs within a part of the body, (both explored on pages 241 and 242) are applicable to some extent to the specific parts of the torso. Indications for degree of rotation, given on page 243, are also applicable.
ROTATIONS OF THE HEAD For rotating in either direction, the head has a range of 1/4 to 3/8 from the normal unro-tated state. Rotations of the head are written with the pre-sign C in the head column out-side the staff on the right.
Note that white pins indicate the physical destination; black pins indicate degree of mo-tion, the amount of change; flat pins (tacks) indicate destination related to the Constant room (stage) directions. Because destinational descriptions are more practical, the white pin is usually the preferred usage.
1- ~ C C
1:8 1:8 435a b
Head rotates Head rotates 114 right, 114 right then 112 left
from normal, then 114 left from normal
~ C
c Head rotates right to right front diagonal (Constant)
direction, then left to left back diagonal
d
@
ltJ o c
Head turns right to look at the right front diagonal (Constant)
direction
The physical movement and final position for each of the preceding examples are the same. The intention (expression, emphasis) of the action dictates the choice of description.
260 LABANOTATION
When the description is in terms of a little rotation or much rotation, the amount is sensed rather than measured. It is understood that the amount is judged each time from the untwisted state. In 436c, the slight turn to the left is followed by a large turn to the right. It is understood that the head passes through its normal alignment, and thus the degree is judged from there. This has been spelled out in 436d.
436a Very slight rotation
from right to left as in gently saying "no"
b __ Large head rotation from left to right, as though saying "no
vehemently
TWISTS IN THE WHOLE TORSO
c A small rotation to one
side passes through normal to the
other side
d Passage through
normal is spelled out
An unqualified turn sign represents a twist in the whole torso, 437 a. * In such a twist the chest and shoulder section rotate farther than the pelvis. Thus from ankle to shoulder line there is a continuous spiral. Degree of twist is determined by the free end. The head and arms are carried along in a torso twist. Such a twist produces a divided front. The original front for the body as a whole is maintained by the support, usually the feet. Direction for arm gestures and tilts of the head, chest, and whole torso are judged from the front of the shoulder section (line of shoulders). Direction for steps relate to the untwisted part, the previ-ously established 'Stance.' Details on divided front, Stance, and use of other systems of refer-ence are given on pages 267-270.
437b 0 I c 0
437a
I The whole torso twists left 1/4 from normal, then right 1/4 from
normal, finally returning to the untwisted state.
The same as (b) but written as the amount of twist left
and right from the previous front; awareness is
of the motion, not the destination of the movement.
*See Appendix B, note 24.
d 0 I The same as (b) and (c), but written by stating the Constant direction as the
ending destination.
CHAPTER 18 ROTATION OF THE TORSO AND HEAD 261
A very slight whole torso twist to the right, the same to the left, then a
great deal of twist to the right
437e
ROTATIONS OF THE WHOLE TORSO AS A UNIT In rotations of the whole torso (chest and pelvis moving as a unit) there is no twist in the spine; torsion is in the legs, i.e. in the hip, knee and ankle joints. To specify an equal rota-tion of all the parts, rather then a twist, the equal sign: == is written in the turn sign or within an angular addition bracket, 438a. It is easier to perform such rotations of the whole torso as a unit when supporting on only one foot. The figure here is shown standing on two feet to illustrate that there is no change in the situation of the feet; rotation occurs from the ankle up.
When such whole torso rotations have 438a
the purpose of establishing a new Front for the performer, the action is best described as a non-swivel turn (fixed-base or 'blind' turn - see page 96).
The body returns to its original front;
there is no intention of change of front, just a rotation of the whole torso
as a unit.
438b
The performer abandons the old
front; hence the action is basically one of turning and thus
is written as a non-swivel turn.
-8J
c i!J
Note that in 438c, for the broad staff the space hold is written in the inner subsidiary column to be closer to the turn sign so that it and the turn sign can be read as a unit.
In the above examples the legs are indicated as starting in the untwisted, parallel state. This given state of rotation should be retained; if it is momentarily changed through rota-tion of the torso or through a non-swivel turn, it must be regained. Use of inward or out-ward rotation for the supporting leg augments or diminishes the scope of torso rotations and non-swivel turns; therefore it is important to know what leg rotation is in effect at the start.
TWIST AND ROTATIONS OF THE CHEST Twists of the chest are written with the chest pre-sign [Q] followed by ~ or a. When ro-tation as a unit is specifically to be produced, the equal sign is placed within the turn sym-bol. The chest can rotate as a unit between 1/8 and 1/4 (depending upon the individual
262 LABANOTATION
body structure) before a marked twist appears. The greater the degree of rotation, the more the shoulders will twist away from the front established by the base of the waist area. The head is carried along in a chest rotation or twist.
439a B1 I Chest twists first to the
destination 118 right then 118 left from the untwisted state
b Chest twists 118 right then 1/4 left; degree of motion
is featured
The physical movements in the above examples are the same, but each description provides a different intention, awareness, or expression, particularly (c). Because all move-ments are for the same part of the body, already stated in the 3rd column, carets meaning "the same" are not needed. An even stronger identification of column use is given when the chest sign (or other part) is placed before the double starting line, designating the use of that column, as in 439d.
TWISTS OF THE SHOULDER SECTION
0
0
c I Chest twists right to end directed to stage right,
then left to the stage front destination
439d
lY
1 or
[;< f\
0
I><
~
Twists of the shoulder section (upper chest), writ-ten with the pre-sign BB , are similar to twists of the chest, but more limited. In itself the upper chest cannot twist more than 1/16 from normal; thus it is common for description to be in terms of little or very little twist. Fig. 440 shows a slight twist of the shoulder section to the left, then to the right. Such usage is called epaulement in classical ballet. 440 Ii ROTATIONS OF THE PELVIS The pelvic girdle by itself rotates in one piece through flexibility in the waist area and in the joints of the supporting leg or legs. The chest should not be visibly affected. Pelvic rota-tions are written with the pre-sign ~ .
441a Pelvis rotates 118 right, then
118 left from normal
b Pelvis rotates the amount of 118 right then 1/4 left
'Shaking' the hips, fast alternating rotations
CHAPTER 18 ROTATION OF THE TORSO AND HEAD 263
In (c) the pelvis pre-sign is placed before the double starting line, it is therefore not in-cluded in the timing of the rotation. Thus the first rotation sign can be written the same length as the others. Compare this with (b).
A rotation of the pelvic girdle can be described as bringing one hip forward and the other backward at the same time. Bringing the right hip diagonally forward and the left hip diagonally backward, as in 441d, produces approximately an eighth rotation of the pelvic girdle to the left, as in (e). The degree of rota-tion achieved can be more clearly indicated if it is described as a pelvic rotation. The hip de-scription emphasizes hip joint and direction, the latter the pelvic area and rotation.
CANCELLATION OF SIMPLE ROTATIONS
Directional displacement of
the hips
The same written as degree of pelvic
rotation
A rotation or twist in one direction is valid until cancelled. A return to the normal un-twisted state is shown by the composite turn sign, written ~ or ~; by the back to normal sign: 0; or by the 'away' sign: 1\. Because the back to normal sign will also cancel any ac-companying tilt or shift, if only the rotation is to be cancelled and the tilt or shift is to re-main, the back to normal sign is not an appropriate choice. The 'away' cancellation is applicable when another specific pelvic action takes place and the result of the previous movement should disappear.
The four possible descriptions for degrees of rotations shown in 442a are cancelled by a turn in the opposite direction or by either of the indications in (b). Those in (c) are can-celled by the indications in (d). In each case the normal untwisted state is produced.
These rotations: ~ 8~ 8 are cancelled by: 0 I 0 442a C C C c b c C
These rotations: 8-~ 8-8 are cancelled by: 0 I 442c 0 C C C c d c c
The examples above are given for the head. The same rules apply to all parts of the torso. The following examples also result in the untwisted state. At the start of 442e the untwisted state for the head has been given although this alignment is taken for granted for starting positions.
442e The head rotates
114 right from normal, then returns to normal
The head rotates 114 left and then 114 right which brings it back to its starting position
The head rotates left destination to the audience,
then right to stage right
264 LABANOTATION
Because the performer is facing stage right in (g), the turning of the head to that direction produces the untwisted state.
INTERRELATION OF PARTS OF THE TORSO IN ROTATIONS A rotation for one part of the body may affect a previous rotation of another part. Two parts of the torso may rotate at the same time in opposite directions or in the same direc-tion but to different degrees.
Rule: when a major part rotates it carries with it the attached minor (dependent) part.
Spatially Augmented Rotations A rotation of a major part spatially augments a rotation in the same direction of a minor part. For instance, a rotation of the head to the right appears to be augmented by a twist of the whole torso to the right. Within the body the head rotation has not increased, but when judged from the outside, its spatial result has been increased. The following examples illus-trate accumulative rotations.
443a 8-c
The rotated head is carried around farther in space through the twist in the
whole torso.
b The chest twist (which
automatically includes the head) is followed by an
additional head rotation.
c While the torso twists 1/8 right,
the head rotates an additional 1/4 right, ending
directed to the right back corner.
Because of the starting front, in each of the above examples the head ends facing upstage. Note the following results of accumulative rotations.
443d rn ·~ m~ m·~~~ __ 0 ~ e-__ ~ f __ 0
118 rotation of the chest from normal followed by an 118
rotation of the pelvis in the same direction gives the same result
as 1/8 rotation of the whole torso moving in one piece.
Spatially Diminished Rotations
The 1/8 pelvic rotation does not affect the chest, thus the subsequent chest
rotation produces the same result as (d).
The pelvic rotation in the opposite direction does not cancel the
previous chest rotation; the result is as though both had rotated at the same time. This is because
rotations of the pelvis do not carry the chest along (unlike the
headlchest relationship where the head li carried along).
Rotation or twist of a major part, such as chest or torso, spatially diminishes a rotation in the opposite direction of a minor part such as the head. Within the body one rotation does not cancel another, but the spatial effect may be cancelled. For example the spatial result of a head rotation in one direction is changed by a whole torso rotation in the opposite direction.
CHAPTER 18 ROTATION OF THE TORSO AND HEAD
The head is carried 1lJ The head is carried
~rn-i along in its rotated
G-along with the chest
state with the whole rotation, and then torso rotation rotates on its own
444a C b
The head rotates
~[ ~ A space hold for the
~flJ face produces the
to the right simul- same result as (c), but taneously with a with a different per-whole torso twist formance focus. (See <> to the left page 299 for Facing.) [Q 444c C d
In each of the above examples the head ends looking toward the starting front, in this case the front of the room.
CANCELLATION OF INTERRELATED ROTATIONS As a rule the greater part cancels the lesser. A rotation or twist of the whole torso in one di-rection cancels any previous rotation of the pelvis, chest, or shoulder section in the other direction. This is because the pelvis is included in the torso twist and the fact that the torso, chest, and shoulder section, all judge the degree of twist from the shoulder line.
445a illo m illo ffio °
___ 0 b W___ C ___ 1~ d __ _
Whole torso twist Whole torso Shoulder section Retention sign cancels previous twist cancels twist is cancelled must be used if
chest twist previous pelvic by whole torso shoulder section rotation twist twist is to remain
Because degree of chest twist is judged from the shoulder line, a shoulder section twist is understood to be cancelled by a chest twist in the opposite direction. In a chest twist in the same direction, the shoulder section twist will be subsumed in the chest twist and hence cancelled.
445e The shoulder section twist is cancelled by
the chest twist
The chest twist is not totally cancelled by
the shoulder section twist
g The chest twist
disappears, there is only the shoulder section twist
h The chest twist is
to be retained
Fig. 445g is a good example in illustrating where a back to normal indication: 0 is not suitable, and where the general cancellation sign: II is appropriate.
265
266 LABANOTATION
Unless a retention is specified, as in 445h, the tendency is for one part that is closely connected to another to relinquish its previous state of rotation in order to allow for or to take part in the rotation of an immediately adjacent part which follows. In 445f, it may be hard to retain the partially un-cancelled chest rotation; in (g) the chest rotation is relinquished.
GESTURES COMBINED WITH TORSO ROTATION
A gap in a gesture column indicates no change for that limb, no movement occurs, that is, that part of the body has no action.
CARRIED LIMBS AND DEPENDENT PARTS Rule: when a major part of the body rotates or twists it carries with it the attached minor parts. The head and arms are carried during torso, chest, and shoulder section twists, as in 446a; the leg is carried during pelvic rotations, as in (b). In each case it is as though the limb had an understood body hold. Pelvic rota-tions do not affect the chest, arms, or head. To retain spatial di-rections a space hold must be used. 446a
Figs. 446c-f illustrate the application of the above rule to arm and leg gestures.
The arms are carried along, remaining
in front of the shoulders
The leg is carried along, remaining in front of the hip
446c ~ 1-1
446e
-
01
The arms are carried along, remaining to
the side of the shoulders
The leg is carried along, remaining behind the hip
d
f
b
In each of the above examples the limb is carried along, the relationship oflimbs to body is maintained as though with an understood body hold: '0'.
Space Retention for Gestures During Twists When a limb is not to be carried along in a twist of a major part, a space hold is written for it. (See usage of space hold with pivot turns, as explained on pages 116-118 and 134-137.)
CHAPTER 18 ROTATION OF THE TORSO AND HEAD 267
'01
.. 447a Qj b - '--
Arms remain toward the audience while torso twists
Arms remain toward the audience while chest twists
To eliminate the need for repetition of a space hold sign, the notator may use the ad-dition bracket (see page 431), as in (d), or the retention sign '0' can be added after the space hold, to prolong its validity, as in (e). Unlike 447d, the usage of (e) subsequently requires a specific space hold cancellation. (See page 217, Fig. 3S4a).
Arms retain their spatial direction during shoulder
section twists
o
~ Note the following examples for the head illustrating the range from a specific body
hold to a space hold. The same range can be applied to the whole torso, limbs and parts of the limbs.
448a ~ C
The head is kept motionless as though it were a solid part
of the shoulders
b ~ C
The head is carried along with the chest
but it is not being held rigidly, some 'play' may be expected
o <>
~ c C
The head retains its spatial direction while the chest
twists
DIVIDED FRONT: DETERMINING DIRECTION; USE OF 'STANCE' When the body-as-a-whole is in the normal upright, untwisted situation, Front is taken to be that wall or corner of the room which the body is facing. This Front establishes the direc-tion forward and hence the whole cross of directions. Rotations of the torso or of its parts produce a divided Front, that is, the coexistence of two or more 'Fronts'. The physical front of a part of the torso may no longer coincide with the Front established by the body as a whole. The question then arises as to how directional indications are to be interpreted. To what does a forward symbol refer - the main Front, or the physical front of the individual part that has twisted?
268 LABANOTATION
Meaning of the Term 'Stance' The main Front established at any point by the body as a whole is called 'Stance'. Stance is retained by that part of the body which does not twist away from the established Front. When upper parts of the body twist, Stance is the base, the support. In cases where twists occur in the lower part of the body, an upper body part such as the head or shoulders, may retain the established Front and hence may function as the Stance. The following discus-sions will deal with twists of the upper parts of the body, the feet retaining Stance.
~:} Stance {~ 449a b Stance
Unified front Divided front
The Idea of'Base' and 'Free End' for Parts of Body Each part of the body that can twist has a 'base' (point of attachment) and a 'free end' (extremity), as dis-cussed on page 26. The base is that part not included in the twist, beyond which the twist takes place. The free end of a twisting section is its own extremity, or upper 'rim', the opposite end to the base.
In an arm twist, as in 449d, the base is the shoulder section (line of the shoulder) and the free end is the hand.
449d
In a whole torso twist, 44ge, the base is the feet, the 44ge free end the line of the shoulders. For the head the base is the shoulders, the free end the crown.
For the chest, (£), the base is the pelvis, the free end the shoulders. For the pelvis the base is the feet, the free end the upper rim of the pelvis.
Choice of Description for Direction When a divided front occurs there are two main choices and a possible third in describing direction:
449f
f =: } Stance
. ;l
c ~ Divided front
~base
~~freeend free end of head
base of ..ll-... +---- head
free end of torso
base of torso
base of chest
1) Stance - directions related to the front established by Stance. 2) Part-Twisted - directions in relation to the front of the free end of the part twisting
or twisted. 3) Base-of-Twisted-Part - directions in relation to the front of the base of the part
twisting or twisted. This description is less usual and is not required when the base of part twisting and Stance are the same.
Rule: when twists occur -
1) Gestures (tilts) of the twisted body section (torso, pelvis, chest, shoulder section or head) relate to the front of the free end of that section (a Part-Twisted description).
CHAPTER 18 ROTATION OF THE TORSO AND HEAD 269
2) Gestures of a limb (arm or leg) relate to the front of the base of that limb; the shoul-der line for the arm, the pelvis for the leg. This description is the natural one and therefore was applied in Chapter 17 without explicit discussion.
3) Steps take direction from Stance regardless of other twists. 4) Rotations/twists within an arm or leg do not affect the choice of direction being
applied.
The arms take direction from the line of the
shoulders.
450a t9
o~ I ~
The knee gestures forward from the hip; the step takes its direction from stance, i.e. toward
the audience
b t9
Note that for easier reading, palm facing direction symbols, being a lesser indication, are often written thinner than the direction symbols for the arms.
Use of Two Fronts In 450c steps travel toward stage left from Stance (the original front); arms move for-ward from the shoulders, in this example, to-ward the audience. Two different forward directions are being used at the same time. 450c -ill
USE OF KEYS FOR DESCRIPTION OF DIRECTION When it is more suitable to describe direction for tilts and gestures by a system of reference other than the established rule, the appropriate key is given.
Key for Stance" The Standard System of Reference Key + is combined with the space hold sign: 0 to make the Stance Key: -+- (key for the Standard Directions according to the Untwisted Part).
The Stance key, placed outside the staff on the left, is in effect until cancelled by another key. Fig. 451 shows the result of using this key. The direction forward is the same spatial direction for all parts of the body (i.e. toward stage left) al-though the torso is facing the audi-ence. The steps and the limbs are directed to stage left, the Stance direc-tion. Such unity in directional descrip-tion is often desirable. 451 -8J
*See Appendix B, note 25 (ii).
~ C
,
r~
270 LABANOTATION
When, as in 452a, only the pelvis rotates, the direction of the knee lift is forward from the pelvis. This is also true when a whole torso twist occurs, as on count 3 in this example. If the Stance key is indicated, the same physical movements will be written as in 452b. The diagonal direction for the knee lift in the Stance key brings the knee forward of the pelvis. For the subsequent whole torso twist, the forward direction for the knee is now side right from Stance. The key can be placed as a pre-sign before the direction symbol, as in 452c, or placed in an addition bracket next to the indication. In each of these placements the key refers only to that symbol and is therefore automatically cancelled with the next movement involving that part.
o
+
¥ or c :j:
452a t9 b t9
Key for Twisted-Part* The Standard Key: + is combined with the body hold sign to produce the Twisted-Part Key: + (Standard Directions according to the Front of the Free End of the Individual Twisted Part). * Because this key is the understood reference for twists of the parts of the torso and the head, it is seldom used and is needed only for special situations.
Key for Base-of-Twisted-Part The key for Stance: -+ is combined with a body hold sign to produce the Base-of-Twisted-part Key: t (Standard Directions according to the Base of the Individual Twisted Part). The addition of the body hold sign placed at the base of the cross expresses the idea of a Base (Stance) within the body. For the chest this base is the pelvis; for the head this base is the chest (shoulder line).
In 453 torso and head start twisted; no degree of twist is stated. The chest, taking direc-tion automatically from its free end (the shoulders), tilts left, then right. The Base-of-Twisted-Part Key placed next to the head indication and tied to it with a small bow instructs the reader to interpret head directions according to the line of the shoulders. Thus the head tilts left and right in line with the chest tilts instead of according to its own directional ref-erence. The key is in effect until cancelled by either + or -+ , or other key.
*See Appendix B, note 25 (iii).
453
CHAPTER 18 ROTATION OF THE TORSO AND HEAD 271
PATHS OF GESTURES DURING A TWIST Arm and leg gestures that occur during a torso twist normally produce three-dimensional curves, called skew curves. Two-dimensional plane curves, that is, undeviating curves, re-quire use of a space hold or of the Stance key. Note: these different curves were discussed on pages 117 and 134 in connection with pivot turns.
454a -8J
~ l I I I I :\
Without a turn a two-dimensional plane curve results
b The arms make a three-dimensional (skew)
curve as they rise to forward middle
The three-dimensional curve is caused by the forward gesture rising as you turn, thus passing through a third dimension. To produce two-dimensional, undeviating plane curves during rotations and twists, a space hold sign (white or black) must be placed within the ges-ture symbol, as in 454c and (d), or direction must be described according to Stance, as in (e).
The arms move in a two-dimensional curve toward
what was the side direction at the start of the movement (use of the white diamond)
The destinational direction for the
arms can be stated by using the black
diamond inside the direction symbol (See page 000)
~[2 fila
454c -ill
•
d
COMBINED TWIST AND TILT
I
I ~~ ~fiI
I-
II 0
•
IT I I By using the Stance key the arms will move on a direct line toward the
audience, producing the same result
as (cl
t'f r- :\
v ~ b
-8J I [[ I e
The following examples illustrate combinations of tilting and twisting for the whole torso and for the head. The chest is not illustrated separately as it follows the same rules and patterns as those for the whole torso.
THE WHOLE TORSO Although the whole torso as a unit tilts from the hip joint, the direction of such tilts is usu-ally described in relation to the front of the shoulder section, the shoulder line.
272 LABANOTATION
Separate Twist and Tilt When a tilt follows a twist, a two-dimensional undeviating plane curve is produced. In 455a the whole torso twists 1/4 to the right and then tilts forward, toward stage right. In (b), by adding the Stance key, the tilt is then described as being sideward, toward stage right.
455a Qj
Combined Twist and Tilt When a twist and a tilt are combined for one part of the body, the resulting path in space is a three-dimensional (skew) curve.
In 455c the 1/4 twist to the right is combined with a forward tilt (judged from the free end of the torso) so that a three-dimensional curve results.
To produce an undeviating curve, a space hold
/
/ ~ D
455c
must be placed in the sign for tilting, which is then judged from the starting point of view, as in 455d. The same result would be achieved if the direction of the tilt were described from the ending direction by using a black diamond, as in (e). Or the Stance Key can be used, as in (f).
(:; /\
or \ (
455d e f
THE HEAD
Rotation of Head When a torso, chest or shoulder section twist occurs, the head is carried along. Unless the head has an additional rotation of its own or a space hold, its front is the same as that of its base, the shoulder section.
The head tilts over the right shoulder
456
~ o ~ C
CHAPTER 18 ROTATION OF THE TORSO AND HEAD 273
Separate Rotation and Tilt Following a rotation, the head takes direction from its own front (the nose) unless a key is stated. The examples below illustrate the same head tilt written from the understood key: $ and then from Stance + . The 1/4 rotation to the right is fol-lowed by a tilt to the left from $ , a tilt forward from +.
Combined Rotation and Tilt
~ s-
457a C
or
b
Because the head takes its direction from its own front, 457c produces a three-dimen-sional (skew) curve. The head follows a three-dimensional path as it rotates and tilts toward the nose, ending with the face over the right shoulder.
[I] ~ ~) 457c __ c fir
To produce a two-dimensional plane curve and end as in 457c, either a white diamond space hold is needed in a sideward symbol, as in (d), or a black diamond space hold must be placed within a forward direction symbol, as in (e), or the sideward direction must be de-scribed from Stance, as in (0. Here the head tilts into what is the side right direction at the
~~m~o,~ C C c'-"
457d e f
start. To end with the head toward the audience, a forward direction is needed for 0 and also from Stance, and a side left symbol if. would be used, 457g-i.
~ m ~ m +~ C C C
457g h
OFF-VERTICAL ROTATIONS: TWISTING, WHEELING
Two forms of rotation are possible when the torso is off the vertical line: (1) twisting around the longitudinal axis of that part of the body, (2) wheeling, a rotation around the unchanged vertical axis (the line of gravity of the Standard Cross of Axes ) which passes through the point of attachment. In a wheeling movement of a part of the body the extremity describes a circular path.
Fig. 458a illustrates the upright position of the body in which the ver-tical line of gravity is marked 'x' and the longitudinal axis in the body is marked 'y'. In the upright standing position these two axes coincide.
I 458a x,y
274 LABANOTATION
Twisting - Rotation around the Body Axis* x Rotation around the longitudinal axis of the part of the body is the understood and unwritten rule for the signs ~ and a. When the whole body is on the ground as in 458b, the action produced is called Log Rolling.
y.~~y I I
458b ! x
When it is the torso and not the whole body that is rotating, a twist similar to, but more limited than, log rolling occurs. In 458c the torso has tilted forward horizontal. The vertical line of gravity, x-x, remains unchanged, while the body axis, y-y, has moved with the torso as it tilted.
While in the tilted situation, 458d, the whole torso twists 114 to the right around its own longitudinal axis. The result is that the top of the head remains where it is, but the face and the shoulder section now face the right side.
x x : ~
y •.•. ~ .• y ~ ~ y···rr"··· y I Qj ~ I I : x d x 458c
When this kind of rotation is applied to the head, the following movement results: starting from a tilted position forward high, in 458e the head twists around its own axis 1/4 to the right, to end facing the right; 458f shows the final position.
~ ,71 /-11
~. fJ· ~ c ((j)- rm-458e f
Wheeling - Rotation around the Constant Vertical Axis* When a tilted part of the body rotates around the constant vertical axis, the extremity of the limb, the free end, describes a path in space. This action is similar to that of a wheel, and hence is often called wheeling to differentiate it from the previously described rotation (twist).
Fig. 459a shows a wheel, the front of which is marked by a bow. In (b) a person is shown tilted forward with a corresponding bow on her head.
As the wheel revolves around the vertical axis, (c), the bow describes a circular path to the right. In this illustration 114 circle is described.
In a similar wheeling action of the whole torso, the top of the head, like the bow, makes a circular path in space, as illustrated in 459d.
*See Appendix B, note 26.
459a
459c
CHAPTER 18 ROTATION OF THE TORSO AND HEAD 275
In 45ge the head is shown in a wheeling action. Start-ing with the nose over the left shoulder, it wheels to the right over forward and ends up over the right shoulder. A total of a half circle is described by the top of the head.
Such rotations are written as circular paths. The circular path signs of 459f, used for walking circles around the room (see Chapter 12) have an understood vertical line axis. De-gree of change from the previous situation is shown by a black pin.
Starting from the tilted position forward high, 459g, the head wheels around the vertical axis, which passes through the base of the neck. The re-sult of this 1/4 wheeling to the right is a position with the nose over the right shoulder. Fig. (h) shows this ending position.
I .-J ~ c
459g
TORSO WHEELING
459i
45ge
9 @/ rm (nT
h
k From a position twisted to the right, the whole torso tilts forward, wheels 112 circle to the left, then 112 circle to
the right. The vertical axis is understood.
The whole torso describes a circular path without change of front. Compare this with 277b. This body movement could be written as a series of tilts as in
459k, but the circular path indication best expresses the intention and over-all pattern.
USE OF KEYS FOR ROTATIONS, TWISTS* In any rotation the axis used can be specifically stated by placing the appropriate key within the turn sign. Fig. 460a shows the understood body axis for rotations of body parts.
460a A turn, rotation around the longitudinal axis in the body
*See Appendix B, note 26.
b A turn, rotation around
the vertical line of gravity (Standard Cross of Axes)
c A turn, rotation around the vertical axis in the
room (Constant Cross)
276 LABANOTATION
Figs. 460b and (c) are equivalent as long as the room does not tilt. For ordinary turns or rotations the body axis key of 460a is not needed. Wheeling may be written as in (b) instead of using a circular path sign, how-ever, in addition to the pin for degree of ro-tation, the Standard Key has to be written. The circular path sign has the advantage of being distinctive and carries the message of its axis without a key needing to be added.
460d IL.:!~~~ From the forward tilt,
the torso describes 114 circling to the right
Body Axis for Head Wheeling When the torso is tilted it may not be possible to de-scribe head wheeling around the constant vertical axis; a body reference is required. In 460f the whole torso is tilted forward and the head is (hanging) down. The body axis is the extension of the spine as illustrated by the line y-y. In this situation the action of head wheeling can be described as occurring around the longitudinal axis in the torso by placing the key for the Body Cross of Axes within the path SIgn.
Fig. 460g shows the notation of this starting posi-tion, and the subsequent head wheeling 1/4 to the left followed by 1/2 to the right.
CANCELLATION OF KEYS
460f
460g
or
e The same action as (d) written with the
Standard Key
Y----n---Y X
When placed outside the staff on the left, a key is in effect until cancelled by the Standard Key or another key. When placed under a direction symbol or within an addition bracket the key is in effect only for the duration of that action or the validity of that addition bracket. If the need for a key results from a rotation or tilt in the body and such rotation or tilt is cancelled, the key is no longer needed, however, it is reassuring to the reader to have specific cancellation stated.
19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING
ANALYSIS OF FORMS OF FLEXION IN THE BODY
Flexion in the body can occur in different ways, and movements that appear similar may in fact be based on different principles or concepts. 'Flexion' is used here as a general term to cover the different possible forms. In everyday parlance the terms 'flexing' and 'bending' are often interchangeable. In Labanotation, however, the word 'bending' is applied to one of the sub-forms, that which is more specifically called 'folding' or 'curving.' (Note: only examples that are generally met will be presented here; greater detail will be given in the Advanced Labanotation book Body Variations.)
ANALYSIS OF CONTRACTING Contraction, according to the dictionary,O+ means: "to draw together or nearer, to shorten, narrow." The analysis of contraction on pages 144 and 145 that referred to the arm and leg is applicable to other parts of the body. If a part has several joints rather than one central joint, a contraction results in the part becoming curved rather than angular.
ANALYSIS OF BENDING, FOLDING, CURVING The general term 'bending; according to the dictionary,O+ means: "to be moved out of a straight line or away from a given line, to crook, to be curved." When a limb is bent at a joint, its free end moves on a curved path away from the original line of direction and to-ward the base of the limb, which retains its original direction. When there is one central joint, an angle is produced at that joint between the limb segments. For this form of bend-ing the term 'folding' is used. When there are several joints, as in the spine, bending pro-duces a curve in that part of the body. This action is termed 'curving' or sometimes 'curling' or 'arching', depending on the body part.
*Webster's New International Dictionary.
278 LABANOTATION
Contraction Bendin~
y
1 y
1 y ~y
y'~ y' y'
( z y" y"
z" y" y"
461a x b x c x d x
One central joint Multi-jointed One central joint Multi-jointed
Path: Strai~ht. The extremity'y' draws in toward the base 'x' on a straight path. Line of Direction: The extremity maintains the same directional relation with the base. Displacement: The central joint 'z' is displaced out of the original line of direction. Involvement of Other Toints: The joint at 'x' must also articulate. Path: Curved. The extremity'y' approaches the base 'x' on a curved path. Line of Direction: The base which does not move maintains the original line of direction. Displacement: The free end is displaced from the line of direction as it moves toward the base. Involvement of Other Toints: No other joint is involved.
SPECIFIC CONTRACTION AND EXTENSION
The symbols X and ~ indicate the actions of contraction. In Labanotation the term 'con-traction' is given its anatomical meaning (see page 144). Specific statements may involve modification of the basic symbol to indicate three-dimensional rather than the usual two-dimensional contraction (see page 409), or modification to show the physical direction of the contraction, i.e. toward which surface of a body part a contraction occurs. In the case of the torso/spine it may be the front, side, back, or one of the diagonals, the indication stating which surface is to become concave.
PHYSICAL DIRECTION OF CONTRACTION When no specific direction is stated, a contraction occurs toward the natural anatomical 'inner' surface of the part of the body concerned. The image of the fetal position is helpful. For the legs the 'inner' surface is the back of the leg. Interpretation of inner surface for flex-ion is as follows:
hand - contracts on palm side foot - contracts toward sole of foot arm - contracts toward inside of elbow ankle - contracts toward instep (upper) side neck - contraction may be toward all sides leg - contracts toward back of the knee
When combined with a tilt (directional change) of a body part such as the torso, a con-traction normally occurs toward the same surface as the physical direction of the tilt. For exceptions to this rule and where specific contractions need to be stated, a meeting line representing the performer (-, I) is used in conjunction with the contraction sign to indicate toward which body surface the action occurs. Note the following:
CHAPTER 19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING 279
462a x Contract over
the front
b X Contract over
the back
c xl Contract over the left side
d ~ e Xl Contract over Contract over the right front the left back
diagonal diagonal
Note that the diagonal direction is indicated by a combination of the forward and side, or backward and side meeting lines.
The degree of contraction is shown as usual (see page 145). Fig. 462f shows a 4-degree contraction over the left side, and (g) a 2-degree con-traction over the right back diagonal side.
~I 462f g
Specific Contraction of the Elbow The focus of a contraction may be on a particular joint. When a joint is contracted, the parts of the limb on either side move toward one another as the joint is displaced in space. The greater the contraction of the joint, the closer these parts become. In the diagram of 461a, the elbow is at point 'z'. Note that a contraction of the elbow has the same general ef-fect as a contraction of the whole arm, but focus is on the elbow joint. In the final degree of contraction the lower arm and upper arm will meet. Anatomically the elbow can only flex (contract or fold) toward its inner surface, other than for those individuals who can hyper-extend the elbow (a backward folding).
463a The whole arm contracts
two degrees.
I
b ~ Focus is on elbow contraction. Contraction
toward its front (inner) surface is understood so need not be written.
Compare these with examples 473 to see the visual difference between contracting and folding.
Specific Contraction of the Wrist The wrist is capable of flexion forward, backward and to a lesser degree sideward and diag-onally. Contraction over the inner (forward) side is the more usual. In a contraction of the wrist the lower arm and hand move toward one another. This action can be seen clearly if the arm is placed palm down on a table. As the wrist contracts, the center joint is dis-placed upward and the extremity of the hand approaches the elbow, which acts as the 'base' of the 'limb section'. Some flexion in the elbow joint must also occur. A wrist fold will only affect the direction of the hand.
464
A 3-degree contraction of the wrist toward the front surface
280 LABANOTATION
Specific Contraction of the Knee A contraction of the knee produces the same result as a contraction of the whole leg while gesturing, but the emphasis is different. The thigh and lower leg approach one another and the knee itself is displaced in space. Flexion in the hip joint will occur.
o :$:
465a b
Specific Contraction of the Ankle A familiar example of ankle contraction occurs in kneeling when the lower leg rests on the floor with the foot extended. When the front of the ankle is contracted the heel is displaced upward while the foot draws closer to the lower leg. Some bending of the knee joint will occur. Notice the difference between a fold-ing and a contraction of the ankle: when folding occurs only the foot changes direc-tion, the lower leg is not affected. An ankle contraction affects the lower leg as well as the foot; they draw closer together.
Direction of Whole Torso Contraction
I = :$:
466 "* ~J Starting position
A 3-degree contraction of the ankle toward the front surface
When nothing specific is stated, the symbol X used for the whole torso means a contrac-tion in the direction of the tilt. In the upright position it is over the front surface. Such a contraction could be specifically written as concaving the front surface: X; the meaning is unchanged. In 467a the torso contraction will be over the front. If the torso is already in the forward direction, the contraction which follows, (b), will produce the same result. In 467 c the contraction will be over the right side, however, if the torso is already sideward, as in (d), the direction of the contraction will need to be stated, as in (e). In the diagonal tilt of 467f, the contraction will be over that diagonal surface. In (g) the surface may not be auto-matically clear, hence the need for the statement of (h).
~ I ~ I I
~ I
h I
x x e Ix x lli or ~ or ~ or or ~ or x x x
467a ~ b ~ c ~ d ~ f ~ g ~ Contraction over the front Contraction over the right side Contraction over the right front
diagonal surface
Degrees of Contraction For most people the torso is capable of three degrees of contraction, though some people can achieve more. Figs. 468a-d illustrate contractions of the whole torso in the upright di-rection. As the contraction increases, the center part (waist) is displaced backward while the base of the neck (extremity of the whole torso) retains its line of direction over the hips (the base). The pelvis gradually slants more and more backward. The head passively con-tinues the curved line established by the spine.
CHAPTER 19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING
!o I
-' ~ or ~ II ~ X ~ ~ >1:
468a ~ ~ b ~ I I
I I I I
I
~ ~ ~ I
lli z ~
468c ~ d ~ I I
Specific Contractions of the Whole Torso For contractions toward other surfaces of the whole torso, the specific contraction signs must be used. From the upright position, it is important to observe that in each case the free end, the base of the neck, remains over the base line of the pelvis regardless of the physical direction of the contraction.
~ ( ~ ) ~ ) Ix zl ~
468e ~ I f ~ g ~ A one degree contraction A 3-degree contraction A 2-degree contraction
toward the right side to the left over the back
In all such contractions the result will include a tilting of the pelvis. If the contraction is over the left, as in 468f, the pelvis will tilt to the right; if over the back, as in (g), the pelvis will tilt forward. These actions contrast strongly with that of bending (folding) in which the base of the spine does not move (see Figs. 483). Specific contractions are applicable to the chest, and to some extent to the foot and hand (see Chapter 27).
SPECIFIC EXTENSION While extension, elongation, of a part of the body produces a straight line, the extension being on the longitudinal axis, extension (stretching) of one side, V11 for the left side, 1 V1 for the right, usually produces a slight concave surface on the opposite side. The combina-tion of the appropriate meeting line and the extension symbol indicates such extension of a particular surface. Note that hyperextension of elbows or knees, of which some bodies are capable, is a folding or contracting 'backward' i.e. over the back surface, in the opposite physical direction to normal.
469a Extending, stretching
over the front
b 1V1 Over the right side
c Over the
back
d Over the left
front side
281
282 LABANOTATION
Extend (stretch) the front surface of the chest, then extend the back surface
CANCELLATION
46ge
After inclining diagonally, extend the right side of the torso
as it tilts left
f
The cancellation rules for specific forms of flexion and extension follow those established for the flexion and extension signs applied to gestures (see page 156). In some cases a spe-cific contraction may be cancelled by an unfolding, as illustrated in 470e.
~ I I ~ rn I V<1 0 A
~ ~ ~ or ~ ~ )( )( )( )( )(
470a ~ b ~ c ~ ~ d e ~ An unmodified A 'neither bent nor A back to normal The torso tilt and Unfolding cancels direction sign stretched'sign sign cancels the contraction go the contraction, the
cancels a previous cancels the previ- previous contraction away while the torso ends tilted contraction ous contraction and also the torso tilt chest tilts sideward less forward high
FOLDING, CURVING
While 'bending' is the commonly used word for this action, the term 'folding' is suitable for a single joint, the action being the same as in folding one side of a piece of paper toward the other. For a multi-jointed part of the body, performing such bending somewhat resembles the frond of a fern and so the term 'curving' or 'curling' is usually more appropriate.
METHOD OF WRITING FOLDING The basic sign for folding, ~,is derived from a combination of the concepts of con-tracting and approaching (see Fig. 257b, page 161); the meeting line again represents the performer.
Contraction sign: X Approaching sign: V Meeting Line: -, /, etc.
Specific Folding Since certain joints can fold in more than one direction (the wrist, for example), it is im-portant to indicate toward which surface the folding takes place. The meeting line is used as the base of the folding symbol in a way comparable to its use for specific contractions and extensions.
471a ':cL Folding over
the front
b Folding over
the back
c Folding over
the left
d K Folding over
the right
CHAPTER 19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING 283
The diagonal directions can also be shown:
471e Over the left
back diagonal
f Over the left
back diagonal
g Over the left
back diagonal
h Over the right back diagonal
The above symbol group has been given the nickname 'K signs' from the shape of 471d. For the physical direction of folding the following needs to be clear: for the wrist forward is toward the palm side; for the ankle forward is toward the instep, the front of the leg.
Degree of Folding The method of indicating the six degrees of folding is derived from that used for contrac-tion signs. All six degrees exist though many parts of the body cannot achieve the ex-treme degrees.
Regardless of how the sign is turned, the first dot appears within the V Note that only the V, and not the base line, is doubled. A third degree always produces a right angle at the joint that bends.
472a 1st
K 472b 1st
~ . 2nd 3rd 4th
. 7.\
2nd 3rd 4th
Movement Comparison Between a Single-jointed Part and a Multi-jointed Part
5th 6th
5th 6th
The following illustrations, applicable to any direction, show the six degrees of folding a single joint and a multi-jointed part. Note that for the latter the extremity ends curved in, snail fashion.
Folding (Single Joint):
y y y y 'SIL 'SIL • .
l I I I I I
l I I I I I I I I
I ~ 11 ~ 473a 1 st b 2nd c 3rd d 4th e 5th f 6th
Curving (Multi-jointed Part):
~ I I I I I I I I
l I I I I
I II Cl 0 473g 1 st h 2nd 3rd 4th k 5th 6th
The degrees illustrated above give the theoretically desired curvature. In practice each part of the body capable of this action varies in the degree it can achieve, the hand coming
284 LABANOTATION
closest to the ideal. One should consider the idea of the movement, a curving in slightly or as much as possible, rather than measuring exact angles.
INDICATION OF TIMING The indication of timing for the action of folding follows the same usage established for flexion and extension signs when these are applied to gestures.* (See pages 149, 150.)
Without Change of Direction
Folding the elbow takes 1 co un t
474a
With Change of Direction
Folding the elbow takes 3 counts
The upper arm takes the direction indicated as the elbow folds.
475a The elbow folds 4 degrees
as the arm lowers The elbow folds as the arm moves to
side middle
b
c
The precise moment when a fold occurs can be shown by placing the indication for elbow folding beside the direction symbol. In Fig. 47 5c the elbow folds in the middle of the gesture. In such a description exact placement of the lower arm is not important.
FOLDING A JOINT When a joint folds, the distal limb (that farther from the base) moves and approaches the proximal limb (that nearer the base). In folding the elbow the lower arm moves toward the upper arm; in folding the wrist the hand moves toward the lower arm, and so on.
Folding the Elbow The elbow normally folds only toward the inner surface, which is considered the front. Hy-perextension is folding backward.
For 476a and (b) the results could have been described in terms of a spatial change for the free end, but emphasis would then have been on the space pattern, rather than on what is happening in that particular joint. The joint action will be the same whatever the rota-
*See Appendix A, note 6.
CHAPTER 19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING 285
tional state of the upper arm, whereas the spatial result will be changed by any variation in upper arm rotation.
476a Elbow bent to a right angle
Hyperextension of the elbow
476c
Specific Folding of the Wrist
b Total folding of the elbow
The following examples illustrate use of the folding signs for different degrees and direc-tions for the wrist. The starting position with the wrist in its normal alignment is shown in 477a and (d) so that subsequent changes are more clearly seen.
477a ~ Starting position
477d
Compare (b) with fig. 464.
e
K
f 9
The indication ~ always refers to the front surface of that part of the body (see list on page 278). When a general folding action is required, i.e. no particular surface is to be indi-cated, the sign for unspecified folding )L is used. In this sign the ad-lib. sign replaces the meeting line.
Specific Folding of the Hip The hip joint can fold in all of the eight possible directions. A hip fold may produce a lift-ing of the leg or a tilt of the whole torso, depending on which part of the body is stable and takes the role of 'base'. When the weight is indicated as being on the legs, the torso will be
286 LABANOTATION
considered the 'free end' and therefore be the part to move in space toward the legs, the 'base'. The hip indication is placed in the appropriate column.
The hip fold brings the whole torso
forward
Folding the Knee
478a
The hip fold raises the right leg
b
Except for instances of hyperextension (folding into the opposite direction from normal), the knee can fold in only one direction, toward the back surface. This physical direction re-mains the same whether the leg is rotated in or out. An isolated knee fold produces a ges-ture of the lower leg. The resulting direction for the lower leg depends on the rotational state of the thigh, which may not be important.
The knee fold brings the lower leg
down
479a
Specific Folding of the Ankle
The knee fold moves the lower leg
backward and upward
When the ankle folds only the foot moves; there is no action or displacement in the lower leg. Compare example 480 of folding the ankle while kneeling on a chair to the contrac-tion of the ankle while kneeling on the floor in 466.
¥ 480 *
A Half Knee Bend (Leg Bend) Described in Terms of Folding the Joints
b
To illustrate application of these signs, 481a shows a lowering into a half knee bend (demi-plic), written in the standard way and (b) shows the same action described in anatomical terms, i.e. the specific folding of the appropriate joints. Outward rotation is specified.
or
481a b
Note the 'sideward' folding in the hip joint, which results from the turn-out. Anatomically it is not a true sideward, but this is the aim. The advantage of the simple Labanotation con-vention to indicate a low support, used in 481a, is obvious. It is not as specific a statement as 481 b, the latter being more useful for detailed study and research.
CHAPTER 19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING 287
CURVING A MULTI-JOINTED SECTION
Curving (Folding) the Arm Fig. 482a illustrates the arm curving (folding) in from the forward direction. Having too few joints, the arm cannot achieve a true curve, but the idea of the movement is that of folding in like the frond of a fern. Fig. (b) shows a contraction in the same direction to il-lustrate the difference between these two forms of flexion.
482a b
Curving the Whole Torso The degree of curving the torso varies from person to person. Because few people can curve the full amount, allowance for this possibility must be made. For most people the whole torso can achieve about four degrees of curving. The action of curving can be per-formed sequentially or can be led by the head, but these indications must be added (see Chapter 27). The torso can curve in any of the eight directions. The familiar instruction "bend backward" for the whole torso is usually a curving action. Curving is sometimes combined with lengthening: V1 to produce a stretched, extended curve, an arching, as in 483c. Curving may be combined with a change of basic direction. The curving symbol then acts as a pre-sign. Curving, arching of the whole torso can also be applied to the chest and, for those with flexible spines, the shoulder section.
II 7.\1/1
483a b cr It is important that, even for the first degree, curving of the whole torso be a movement
of the whole spine, starting near the upper part of the pelvis, but not displacing the pelvis, i.e. no change in the hip joint. The extremity leaves the original line of direction and forms a curve.
When the whole torso changes direction through flexion in the hip joint(s), as in 483d, the pelvis provides the basic line of direction. The folding, curving sign acts as a pre-sign before a direction symbol, modi-fying the whole direction symbol. The timing of this form of flexion is indicated
':IL by a duration line or by the 483d ~
, ,
~ duration of the direction symbol that follows.
Curving the whole section
e Curving only the upper part
288 LABANOTATION
CANCELLATION (UNFOLDING) Unfolding is the reverse of folding or curving. To describe the action of unfolding, a part of the body must already be folded or contracted. If the aim of unfolding is to return to the normal state of the limb, a back to normal indication can be written.
When one body part affects another, the result of a previous movement may be cancelled but there may not be a return to normal. In 484a the folded torso tilt to the left affects the previous forward chest fold; it is clearer if this chest fold is cancelled, but there is no return to normal therefore the general cancellation sign is appropriate here. When motion is more impor-tant than destination (see page 25), the action of unfolding may be the focus and hence needs to be stated.
Method of Writing Unfolding
1 A
~/\ ~
484a IQI
The basic sign for unfolding, 484b, is derived from the signs for moving away, withdrawing (see page 161), and the meeting line. Note that the base line for the unfolding sign should be near the bottom of the inverted V and not centered as in the 484b A letter A. This basic sign is applied to cancellation of all directions of folding.
When focus is on the physical activity rather than on the spatial result, a contraction may be followed by unfolding and a folding followed by an elongation (extension). An ex-ample of unfolding after a contraction is given for the arm in 484c. After contracting 4 de-grees, the unfolding takes the lower arm into line with the upper arm. If applied after a torso contraction in which the base, the pelvis, has been displaced, as in (d), an unfolding will bring the spine in line with the pelvis in its present position, illustrated in (e). The dis-tal limb will unfold in line with its base.
~\ I ~ I "
A
~r~' t I \ t~ -:.,,-.-1L ;$:
~ ~ 484c rI d ~
In 484f the arm folds 3 degrees and then elongates, extending on the line between shoul-der and hand, as illustrated in (g).
Degrees of Unfolding Unfolding is usually the completed action, the destination. When in the process of unfolding, a specific destination (state or situation) is re-quired, it is usually written in terms of the de-sired degree of folding or curving. For this reason individual degrees of unfolding are not given.
(8 (8 '" e
I V1
I ~
~ 484f rI
CHAPTER 19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING 289
1 I
'\.Ii
In 484h a very curved torso changes to one degree of curve. The motion of unfolding can be stated as in (i). In (j) from a nearly fully folded state, the motion of un-folding is important and hence is stated, but total un-folding does not take place, therefore the end result may also need to be stated. In this example the ending is two degrees folded forward.
484h ~
SHIFTING
Shifting is the term given to displacement of a part of the body on a straight line. Because of the structure of the body, a perfectly straight path shift for each part may not be possi-ble, but the aim of a shift is a straight line displacement. (See Appendix B, note 27.)
ANALYSIS OF SHIFTING Shifting, movement of a body area as a unit, can be a major action -a movement as big as the physical limitations of that part of the body will allow - or it can be a minor action, a very slight displacement in space. Minor displacements are indicated through the use of pins, (see Chapter 26). ~
Shifting a body area is made possible through mobility ) '\,.IUI --+ in the neighboring part or parts of the body. Fig. 485a 'e' ~
illustrates a shifting action for a part of the body, here the head, which is free at one end. The action in the 485a neck makes it possible for the head to move on an ap-proximately straight line, the top and the bottom of the head area moving an equal distance. In contrast, in a tilt, 485b, the top (the free end) travels further than the base (note the arrows). 485b
, . , ,
)R?: /'~: ,,/ I " , k ~"
Directions for shifts are judged in relation to place, the centered normal position for that part. A shift in one direction followed by a shift into the opposite direction will be a shift beyond center, not a return to center.
Fig. 485c illustrates a shifting action for a part, such as the pelvis, that is confined be-tween two other parts. The pelvis can shift because of mobility in ~ l ~ hip and ankle joints and in the vertebrae in the waist area. The nor- ~
mal situation for a body area that shifts is place middle, i.e. center. 485c
METHOD OF WRITING SHIFTS* Because in a shift all parts of that body section progress (are displaced) an equal amount, the equal sign: = is placed within the direction sym-bol. Fig. 486a shows a forward shift of the chest, while (b) shows a left-right chest shift with a pause in the normal position in between. Fig. (b) could also be written with the equal sign placed in an addition bracket (see page 431) as in (c). *See Appendix A, note 11.
~ [Q]
486a c
290 LABANOTATION
SHIFTING SPECIFIC AREAS OF THE BODY
Shifting the Head The head area, indicated by the sign: [Q , shifts through flexibility in the neck verte-brae, the chief axis of the head remaining vertical. The boxed pre-sign provides the sense of shifting that particular body area, however the ordinary head sign: C can also be used.
Shifting the Chest
487 Shifting the head forward and backward
The chest shifts through flexibility of the vertebrae in the waist area. The pelvis should not be affected in a shift of the chest. The head is carried along in its normal placement on the shoulders.
488a b Sideward (lateral) chest shifts
Shifting the Pelvis
~ ~ [QJ
Forward, backward (sagittal) chest shifts
The pelvis shifts through flexibility in the waist vertebrae and the legs. The chest should be affected as little as possible. In a large shift some accompanying pelvic tilt will occur, but this is not intentional.
489a Sideward (lateral) pelvic shifts Sagittal pelvic shifts
A movement similar to a pelvic shift can be written with the single hip signs, 489c. When both hips move forward, the result is similar to a forward pelvic shift, but with artic-ulation, a slight bulge in the hip joints, the groin being stretched. The motivation is an ac-tion centered on the hips rather than a displacement of the pelvic girdle as a unit. Both hips move backward in (d). In a shift of the single hip, 48ge, which causes a slight passive pelvic rotation, the articulation is in the groin and the hip joint is more pronounced. In a side-ward direction, 489f, the hip bone protrudes; in a pelvic shift it does not. Sideward hip shifts are familiar in simple versions of jazz walks, such as 489g and that of the Salsa, 489h.
CHAPTER 19 SPECIFIC FLEXION AND EXTENSION; CONTRACTING, BENDING 291
489c d
48ge f g h
Shifting the Whole Torso
The whole torso, moving in one piece, can shift slightly in the different directions. In a whole torso shift the head is carried along. With respect to displacement of weight, when
supporting on the feet, a whole torso shift can be compared to a center of weight (center of
gravity) shift (see pages 357 and 358), but the emphasis is on displacement of the chest and
pelvic areas moving as a unit. In a center of gravity shift, awareness centers on the displace-ment of the line of gravity, the line of balance.
490a b Whole torso shifts forward Whole torso shifts to the right
DEGREE OF SHIFTING The degree or distance of a shift can be shown by placing the appropriate space measure-ment sign, narrow or wide, within a diamond before the direction symbol. A normal-sized shift is that which is comfortable for the performer. Less than this distance would be
a small or very small shift. In a large shift the part of the body moves as far as possible without involving other neighboring parts. In a very wide shift, the neighboring part or parts are usually involved to make this greater distance possible; such inclusion should be
indicated.
~ ~, ~ ~, ~ ~ 0 ~
491a IQ b IQ c [Q d [Q
A small forward Very small sideward A wide forward Very wide side-shift of the head head shifts shift of the head ward head shifts
292 LABANOTATION
For really small shifts, displacement tacks can be used with the equal sign: == added to the shaft of the pin, as in 491e and (f).
-itI f ftt-.!
491e [Q
Shifting the head in Really small lateral
LEVELS OF SHIFT When the body is in an upright standing posi-tion, its areas (head, chest, pelvis, and whole torso) usually shift on the horizontal plane. The chest and head, in a limited way, can also shift into high and low levels.
Note use of the equal sign in the addition bracket to avoid placement of the equal sign inside short high or low level symbols.
When the whole torso is tilted off the ver-tical, direction and level for a body area shift must adjust accordingly. Fig. 492c shows the whole torso to be tilted forward horizontal. In this situation, the chest shifts down toward the floor and then up toward the ceiling. In 492d the Body Key allows the more familiar shifting directions to be used.
CANCELLATION OF SHIFTS
a very small circle pelvic shifts
The chest shifts forward high then backward
low past center
492c
The head shifts right side high then left side
low
=J or
d d
~ .. ~
The result of a shift will be cancelled by a shift in another direction, by a return to place, by the back to normal sign, or by the 'away' sign when that is appropriate.
[ ~ rn rn rn~ ~ 493a [Q b c d
A backward head shift After a shift to After shifting The diagonal shift is cancels the previous the left the pelvis diagonally, the chest cancelled, the chest
forward shift returns to place returns to normal inclines forward normally
20
RELATIONSHIP
INDICATIONS OF RELATIONSHIP
The aim of certain basic movements may be to establish a particular relationship or con-tact between two parts of the body, between one part of the body and the floor, or be-tween a part of the body and an object or another person. The range of such possible relationships is given here in the order of increasing involvement. Such a relationship, or 'contact', may be visual, as in looking at a person from a distance, or may be physical, as in touching.
AWARENESS The first degree of relating is awareness. This is shown by a dotted version of the address-ing sign, 494a. This sign can also be drawn as in (b).
494a ,__ or -_, b _______ .:-" or .--, _______ _
ADDRESSING The sign for intentionally establishing a relationship is the sign for addressing, 495a. This may also be drawn as in (b). The horizontal line of this sign extends from the staff or col-umn of the active person, the one initiating the relationship. Within the cup is placed an indication of the person, object, or part of the room being addressed. Mutual addressing is written with the double sign of 495c.
495a ---.....; or ~ c~ or ~
General Description In Motif Notation, when the purpose of an action is to address someone or something, the choice of action producing the relationship may be left to the performer, as in 496a.
294 LABANOTATION
496a An action which ends
relating to the downstage left corner
Specific Indication
The head turns to address a person identified as M
c ~ The right and left hands
mutually address one another
In Structured Description an indication of addressing may modify the interpretation of the direction symbol depending on the location of the person, object, or part of the room being addressed. The direction symbol given may therefore be an approximation of the di-rection used. In the following examples the staff is written for performer A, who relates to performer B.
[ ~~ rn~~~ C
497a A b A !\s head tilt specifically relates to A points index finger to B
(addresses) B (see page 405)
NEARNESS, CLOSENESS When a part of the body is near another part, an object, or another person, this closeness is indicated by a dotted horizontal bow, as in 498a.
498b An action which results in the right hand being near the left shoulder
CONTACT, TOUCH
c
3~[JJ· ···~t x x
The hands finish near each other
The horizontal bow indicating touch (contact), 499a, was presented on page 179 at the start of Chapter 13.
499b An action resulting in
the right hand touching the left elbow
c
Right hand touches the side of the waist, left hand touches the left shoulder
\ , "
lIT c A !\s forward step re-
lates to (addresses) B
/
-' or -'
/ "- ,
\
498a
d A A reaches out until his right hand is near B's
right shoulder
~or~ 499a
d Hands touch the opposite
elbows
CHAPTER 20 RELATIONSHIP 295
Indication of Active Side In most contexts it is obvious which part is active in producing a touch (e.g. the hands in 499b-d). When the active side must be specified, the horizontal bow is thickened on the appropriate side.
SOOa
\, I
~ b Right side is active
SUPPORT, CARRY
\ / ~
Left side is active
:3 ~ c ',, ____ -'
Right hand moves to be near the left
d~ The left elbow moves
to touch the right knee
When one part of the body takes weight, or supports an object or another person, the rela-tionship bow becomes angular. The sign for supporting, 50 I a, is often drawn as (b) to indi-cate which part is being supported and which is supporting. At the lower end is placed the object, person, or part that is supporting (when nothing is stated the floor is understood) and at the upper end the person or part being supported. If there is doubt as to the active, i.e. the supporting part, the end of the angular bow can be thickened on that side.
In Motif Notation: an action resulting in sitting on a chair
Supporting on the right knee on
a bench
or SOla
or
SOlb
SOlc ~n d __
In the following the configuration is not stated.
The left hand supports the
right foot 50 I e :3 '----------./ ~
ENCLOSING, SURROUNDING
The left hand rests on (is supported by) the right foot
An enclosing relationship can be shown by adding the flexion sign: X to the contact bow. When contact occurs such enclosing produces grasping. The X within the bow is placed nearer the active part. The active part enfolds the passive part. Degree of flexion is influ-enced by the shape of the passive part. The thumb is generally used in opposition to the fingers in a grasp. Grasping the hands with penetration, shown by ),«, means the fingers intertwine. For details in use of the hand see the Advanced Labanotation book Hands, Fingers.
S02a b c Left hand surrounds Right hand grasps
the right without left touching
:3"--. /~ x
Either hand grasps
d Both hands grasp Fingers penetrate
296 LABANOTATION
502f W r/~ Right arm surrounds B's head without touching
g Right hand grasps the right
lower edge of the skirt
DURATION OF A RELATIONSHIP
Passing Contact
h Right hand carries the
umbrella (a grasping support)
A contact may occur at the beginning, in the middle or at the end of a gesture. In the fol-lowing examples the hands touch briefly as the arms move forward. It is the ends of the contact bow that give the timing.
S03a Hands touch briefly at the
start
b Hands touch briefly half way
through the movement
PASSING, TRANSIENT RELATIONSHIP
c Hands touch at the end
Each of the relationships, addressing, nearness, touching, etc., may occur in passing, that is, a moving relationship may occur only briefly. This brief relationship is indicated by doubling the relationship bow.
S04a Right arm gesture relates
in passing to B
b
I t ____ ----- --------f1~
~ ~ Right hand passes briefly
near the left hand
RETENTION OF A RELATIONSHIP
c Right hand briefly brushes
the left
In general the rules for contact bows follow those established for foot hooks, however, the range in body parts relating, handling objects, etc. is more complex than contact of the foot with the non-moving floor.
A single contact bow (relationship indication) shows a single touch. How long this is re-tained depends on what comes next. For retention to be specifically stated despite other ac-tivities, the hold sign: '0' is placed after the relationship indication. The release sign: "'--' or C) shows an immediate cancellation.
CHAPTER 20
° B ~ SOSa
Keep looking at B; even ifBmoves
b
~ ~ ~ ~
~I I~ '_0 9-/
Keep the hands near each other as the arms rise
RELATIONSHIP
S 8
C
Q~ LV "--~-----./
The box is held in the right hand during the jumps and arm
twists
During a gesture a single touch can occur. In SOsd this is shown for the foot as the leg changes direction. A comparable example for the hand (arm) is given in SOSe. A continuous sliding contact for a leg gesture is shown with hooks at start and end of the direction sym-bol, SOsf. For the arm such placement of two bows at the start and end of a sliding move-ment, but not connected to a direction symbol, as in (g), visually suggests two separate contacts. Therefore continuous contact (sliding) is better expressed with the bows close to-gether and a hold sign added to state the continuation of this sliding relationship, as in (h).
sosd A single touch The hand touches The foot Is this two hand The hand keeps
on sliding up the post
on the floor as the pole once as slides touches or the leg moves the arm rises continuously a slide?
CANCELLATION OF A RELATIONSHIP
A relationship may be cancelled by another action that clearly invalidates the previous re-lationship, as in S06a. The hands grasping at the start of (b) mayor may not continue as the arms rise. In (c) a retention (hold) has been indicated for the hand grasp; this then needs subsequently to be cancelled, which occurs on count 2. The release sign is placed over the part of the body actively releasing.
The clasped hands release automatically when the arms open
to the side
S06c
S06a
The grasp is retained until released
d w
The new arm direction may not
cancel the previous grasp
e
b
The hand immediately releases from the table
The umbrella is released (dropped) on the third step
297
298 LABANOTATION
TOWARD AND AWAY
A performer may gesture toward or away from a part of his/her body, another person, an object, or a part of the room.
General Description To show a movement toward a direction, person, object, or part of the room, the appro-priate sign for that direction, person, etc. is placed within the approaching sign (see pages 160 and 161).
v v V T
V 1
S07a b a c ~ d A A gesture towards Left hand moves Right hand A travels toward
partner toward B's left approaches left B on a straight shoulder elbow path
Note the difference between a gesture toward and traveling toward, as in S07d. The appropriate symbol is placed within the sign for withdrawing to indicate move-
ment away from a person, object, etc.
~ ~ ~ T ~
S07e f ~ g ~ h 1 A gesture away Torso moves Right hand Traveling away
from your partner away from the moves away from from person B on audience B's left hand a straight path
Structured Description Indications for motions toward or away can be placed within the columns on the staff.
S08a The arms rise toward place
high during the steps
b The right arm moves away
from the chair
CANCELLATION OF TOWARD AND AWAY
c The right arm moving away
from B cancels the addressing
Because the actions of approaching or withdrawing (toward and away) are motions rather then destinations, their results do not need to be specifically cancelled. Any subsequent ac-tion will cancel the resulting state or position which had been achieved.
CHAPTER 20 RELATIONSHIP 299
FACING
The action of facing is that of directing any surface of the body, such as the palm, toward a direction, object, or person. The question "Where are you facing?" or "Where is your front?" refers to orientation of the body as a whole and is answered by a Constant Key di-rection in the room, indicated by the Front Signs: Q:J, @,etc. (See pages 88-91). The ques-tions "Where do you look?" "Where is your head facing?" refer to the performer's personal focus, and are written with Standard Cross of Axes direction symbols following the appro-priate pre-sign for that surface.
Analysis of Facing Facing is the result of other basic actions such as rotating and tilting, either singly or com-bined. The result of these actions, the direction faced, is the focus to be achieved, therefore a specific description, that of facing, is provided.
In an action of facing, the body surface in question is aimed (directed) at the stated direction much as one would focus a camera, turning and tilting it as required. The physical movement of facing includes an outwardly di-rected focus or projection, which the actions of turning and tilting do not contain.
General Indication of Facing The sign for 'a surface' in connection with the addressing sign is used to state the basic fact of facing.
509a n A surface
(any surface)
b Facing something/
someone
For the indication in (d) see page 331.
Specific Indication of Facing
c~ ~ d n
Facing a chair Facing a person
The sign for a surface of a part of the body is used to indicate facing for that part." A sur-face is described as one or other of the outer sides of an area. A pin placed on an area sign indicates which surface is being designated.
An area 0 Front surface 0 Back surface 0 Right front surface
Within the box is placed the part of the body in question. The chest, pelvis, and whole torso are such area signs.
Front surface of the head, the face
Front surface of the chest
Front surface of the whole torso
The appropriate direction symbol is placed after the surface sign to state the direc-tion faced. The length of the direction symbol gives the timing of the action. The
300 LABANOTATION
addressing sign, initially used for a general statement of facing is, as a rule, no longer needed.
FACING FOR SPECIFIC PARTS OF THE BODY
Head Facing The symbol for face [Q is followed by the appropriate direction symbol. >\- The head nor-mally faces forward middle; to face in different directions it will turn, tilt, or tilt and turn at the same time. In the following illustrations each example of head facing is accompanied by a description of the same action in terms of tilting and/or rotating. These are only ap-proximate, as the head does not make quite the same use of the neck in the action of facing as in tilting. The sign for similar, 'more or less': ~ (see page 311) placed next to the tilting indications denotes this lack of exactness.
Head ~~~ ~~ Head facing ~ ~ ~ 0 facing left right diagonal
SIOa [Q C b [Q c
Facing ~ ~(~( Facing ~~~(~ ~ forward forward low high
SlOe [Q C f\ d [Q c n
These are the most common directions in which the face looks. If a performer faces a di-rection that requires both tilting and turning, the destination can best be determined by first looking in the direction stated and then adjusting to the level. The action is then per-formed as one movement with the same end result.
When timing need not be indicated, the abbreviations of SlOe, (f) and (g) can be used. Fig. (g) specifically states the addressing sign. In (h), (i) and (j) timing for the same state-ments is shown.
rn-SlOe [Q
Chest Facing
B
f [Q
(,---@
I [tJ
The chest does not have as wide a range of movement as the head and so is more limited in its ability to face different directions. There are times, however, when such a description is desirable. The chest normally faces forward middle.
*See Appendix B, note 28.
CHAPTER 20
Slla ~ b o •
RELATIONSHIP 301
Walking in a circle, chest facing toward the center The chest faces diagonally low; a rotation plus the torso tilt occurs
Shoulder Section (Upper Chest) Facing A facing movement of the chest in forward or diagonal high directions is often actually a fac-ing of the front of the shoulder section (upper chest), 512. For the whole chest to face in these directions a greater adjustment in the spine is required. 512
Facing for Other Parts of the Body
1N
If need be, any part of the body can be shown to face a direction by combining a surface in-dication with the boxed indication for that part of the body. Fig. Sl3a shows the front of the knee facing left forward diagonal. In S13b the right elbow tip is facing side low, the left faces side high. Such elbow facing can clarify the degree of inner arm rotation. In (c) the raised arm has the thumb edge facing side left and the elbow tip pointing down.
CANCELLATION OF FACING
~ Sl3a i!J b c
Examples of cancellations for facing, given here for the head, are applicable to other parts. A previous facing indication for the head will be cancelled by another facing indication, by a return to normal sign or by A when appropriate. A facing indication will usually be af-fected and hence cancelled by a rotation of the head, and, in certain instances, by a tilt of the head. In certain contexts a tilt will not cancel a facing direction. In instances that do not clearly produce a cancellation, the back to normal sign cannot be used; in several configu-rations the general cancellation sign given in S14i, serves the purpose.
S14a The diagonal facing is
cancelled on count 2 by another facing
I o
b The diagonal high facing is cancelled on count 2 by returning to normal
alignment
c Looking down is cancelled by the
backward head tilt
~ C • [Q
302 LABANOTATION
514d
514g
Looking diagonally is maintained while the
head tilts
The face changes direction, but the slight backward tilt
is not cancelled
~ C
h
e The head tilt does not
cancel the previous facing position
A ~ ~ C
f Looking forward high is followed by a normal
side tilt for the head
The head ends upright and rotated to the
right
As the head faces diagonal high, the
previous tilt disappears
The head tilt cancels the forward high facing;
the facing 'goes away'
21
REPEAT AND ANALOGY SIGNS
REPEAT SIGNS
A variety of repeat signs facilitates writing, particularly for the notator working at speed. As a rule, repeated material should be written out fully in the final draft of a score. It should be remembered that, for the notator, repeat signs speed up the task of recording information. For the many subsequent readers, repeat signs can be a hin-drance. However, repeat signs that refer directly to material on the same page can be practical and acceptable.
REPEAT SIGNS PLACED WITHIN THE STAFF The sign for a simple identical repeat is taken from music notation* :/.. The slanting line is doubled to show a repeat 'to the other side; i.e. alternating sides, a laterally symmetrical repeat.
Repeat the same (an identical repeat)
Repeat to the other side (lateral symmetry)
Lateral symmetry means the exchange of right and left in the use of the body and in direction:
./. /. means
'See Appendix A, note 12.
304 LABANOTATION
Such an exchange is illustrated in 515 below, (b) being the laterally symmetrical pattern to (a).
515a b
Repeat signs always refer to the last fully notated measure unless another measure is indi-cated. The repeat sign is centered in the same length of space on the staff as that to which it refers.
An exact repeat
An exact repeat
Step pattern to be repeated
515c
Size of the Repeat Sign
The same as measure 1
The same starting with the other foot
A 'running waltz' step
d
3
2
As a visual aid the size of a repeat sign reflects the length of the section (area) on paper in which the sign is centered. Repeat of a count is written quite small; repeat of a whole measure larger, and repeat of several measures larger still. In these examples a small unit has been taken to conserve space. Fig. 516 shows repeats for: (a) one count; (b) one mea-sure; (c) two measures; (d) four measures.
516a [ b c d
CHAPTER 21
Repeats Bridging Two Staves When a repeat sign falls in an area between two staves, the repeat sign is placed at the top of the first and again at the bottom of the following stave. A caret is added to each repeat sign to sig-nify that the second is simply a reminder (con-tinuation) of the first. In 517 measures 1 and 2 are repeated on alternate sides three times (a total of four performances of the material) be-fore a two-measure conclusion.
Defining the Section to be Repeated If a notated section to be repeated does not coin-cide with established bar lines, dotted horizontal lines are used as a visual aid to indicate the re-peated section. In 518a, a movement that takes
three counts is repeated within two four count measures. Even if this were written out fully, as in (b), the dotted lines can be used to assist in read-
ing and understanding the phrasing.
Repeat Signs Within a Column
When a small movement is repeated several times, it is easier to state the movement once and then to indicate with tiny repeat signs its sub-sequent repetition, rather than to write it out fully. Fig. 519a shows the hand waving repeat-
517
518a
REPEAT AND ANALOGY SIGNS 305
5 10
4 9
3 8
2 7
6
b
edly, while (b) shows a repeated nod of the head, with a pause between. Dotted lines are used here as a visual aid. In these repeats the timing is specific, in comparison with 519c, in which the continuous wavy ad lib. line indicates a free continuation of movement 'on this order; the number and speed of the repeated movements not being spelled out.
;/. ;/.
;/.
;/. ;/.
)ZI )21
1~ (;)
1~ ~ 519a b --- c c
306 LABANOTATION
Specific Measure to be Repeated To refer to a particular measure in describing a repeat, the notator replaces the dot at the bottom of the repeat sign with the number of the measure in question.
An identical repeat of • / measure 1 / I
A laterally symmetrical repeat of measure 4
The simple sequence in 520 includes as many repeats as possible for the purpose of illustration only. Fully writ-ten out notation would obviously be easier to read. Measure 3 shows an identical repeat of measure 1; mea-sure 5 is measure 1 performed with the other foot; measure 7 shows a repeat of measure 2.
Modification of Repeated Material When repeated material includes slight vanatlOns that are easy to read, the repeat signs can be used with the changes indicated. If such changes are complex it is better to write out the whole sequence. In 521 the first two measures are repeated to the other side, but at the very end of the fourth measure a quarter turn occurs as a preparation for the next pattern. Measures 7 and 8 are an exact repeat of 5 and 6 but arm gestures have been added.
8
7
6
I 5 521
4
3
2
520
8
7
6
5
CHAPTER 21 REPEAT AND ANALOGY SIGNS 307
Reminder of Repeated Material When a complex movement phrase that has already been described in detail appears again, it is helpful to indicate outside the staff on the left in parentheses the measure numbers where it was written to alert the reader that this is an exact repeat. Fig. 522 states that mea- (/So) sures 65 and 66 are the same as previously indicated measures 49 and 50. Even when the material is written out fully, this kind of indi-cation will help the reader who otherwise might have to study the 66
symbols with care to be sure the movement is exactly the same in every detail.
REPEAT SIGNS OUTSIDE THE STAFF For exercises or short studies designed to be repeated several times, there is no need to draft out each repeat as in a regular score. The ex-ercise is written once and the repeats are indicated outside the staff. The slanting signs ;/. and ;I.' are modified to ---;- and : and are
522 65
placed at the beginning on the left and at the end on the right of the section to be repeated. Extended horizontal lines enclose the section. If a sequence is to be performed more than twice, the total number of times is written instead of the inner dot of the repeat sign. Thus the number four states the sequence is to be performed once and then repeated three times (a total of four times). Note that the repeat in 523d starts on the upbeat.
Short Sectional Repeats"
523a Identical repeat
Longer Sectional Repeats
--'----;-
c Symmetrical repeat
4
4
Total of 4 times the same side
4
3
2
8 1 -;- &
d
•• T
T
T
Total of 8 times alternating sides
--'--8
For longer sections containing shorter repeats, the extended lines are bent at the ends to enclose the whole section, the repeat sign being incorporated into this slanting extension.
*See Appendix B, note 29.
308 LABANOTATION
Fig. 524a shows two measures that are repeated twice (a total of three performances of this material) followed by two unrepeated measures, making a total of eight measures. These eight measures are then performed again on the same side. In (b) the eight measures are repeated to the other side. Note the indication of measure numbers. Fig. (c) shows such longer sectional repeats used for a sequence that involves more than one staff. The device of enclosing the repeated section helps the eye to see the beginning and end of what is to be repeated. In this example theme 'w' is performed, then theme 'x' is performed three times, alternating sides; theme 'y' is performed a total of five times followed by 'z'. All sixteen mea-sures are then repeated to the other side. Numbers for repeated measures are written in parentheses and placed above the regular number. Where measures repeat several times usually only the last set of numbers is given. Only a few such additional numbers need be used to guide the reader in working out the repeats.
8
7
(6) 2
~1
o
8
7
2
.0- ~ I
524a
Repeats Used with Path Signs
",.
(8) 4
3 =;=3
2
I
b
--'--:3
~ r=-../ I'-
16 r-- -
-'
15 r-- -
-t &- 14
5 \
5 (13) ) --;- 9
c
In sectional repeats in which a circular path occurs, care must be taken to indicate clearly whether the circling is included in the repeat, or whether the step pattern is repeated dur-ing one circular path. Note placement of the repeat signs in the examples below.
525a Take 12 steps to walk a
complete circle
b
r Take 6 steps to walk a
circle; 2 circles are walked in all
c
r ~
1 Walk a circle to the
right in 7 steps; repeat to the left
CHAPTER 21 REPEAT AND ANALOGY SIGNS 309
En Croix Repeats A pattern derived from exercises at the barre is that in which a theme is performed to the front, to the open side, and to the back. The side direction may be employed again in re-turning. Ballet terminology calls this pattern en croix, from the French word for a cross. The repeat sign ---;- has been modified to show en croix repetition. Note the different signs for right and left sides of the body, 526b being for movements of the left side.
means means
Including a second use of the side direction is shown by doubling the side line.
means means
En croix signs are placed outside the staff, in the same manner as sectional repeat signs.
Perform this exercise to the front, side, and back
526a
Perform this exercise to the front, side, back,
and side
526c
The same but for the left side
Perform this pattern front, side, back, then all to the other side
b
d
Note the addition of a number to indicate the total number of times such an en croix exer-cise is to be performed. As with other repeat signs, the number is placed above for the lower left sign and below for the upper right sign, i.e. the numbers 'face' each other.
526e
I
. . ~
F-= 2
Perform this exercise en croix twice
f
F-= 8
Perform this exercise en croix a total of 8 times
'"-~ " .
g Perform the pattern 4 times forward,
then 4 times side, and 4 times backward
310 LABANOTATION
Labeling a Section - Reprise Signs A reprise is the repetition of a phrase of movement which appeared earlier in a dance, other material having appeared in between. The section so to be repeated is identified by being en-closed between extended horizontal repeat lines, one at the beginning, one at the end, to each of which is attached a box in which is placed an identifying mark, usually a letter. Fig. 527a shows a phrase labeled as a reprise sign with the letter A. Later on, when this material is to be repeated, the reprise sign (identifying box) is used with the extended repeat lines enclosing a short section of staff, as in 527b. The nature of the repeat, identical or symmetrical, is indi-cated by the use of the appropriate repeat sign placed within the staff.
527a
Identical repeat of the reprise material
b
Laterally symmetrical repeat of the reprise
material
d
•
Figs. (c) and (e) illustrate alternate ways of writing (b) and (d) respectively; the boxed letter identifying the reprise replaces the lower dot of the repeat sign.
First and Second Ending It is common in sectional repeats for a modification to occur on the last repeat, usually as a bridge into the next sequence. The device to differentiate a second from a first ending is borrowed from music notation. An angular vertical bracket is placed on the left of the staff alongside each of the two endings. Inside each bracket is the number of the ending. The first ending may be placed within thickened lines to draw attention to the material to be omitted on the last reading. In 528 a movement sequence of four measures is performed three times. For the first two times the phrase ending on measure 20 (measure 24 on the repeat) contains cir-cling in place. On the last repeat (third ending, measure 28) the circling is omitted and instead the legs merely straighten.
or
or
[ 28
l (24) 20
19
18
1.. (25) 528 -;- 17
c
e ___
--=-3"
1
CHAPTER 21 REPEAT AND ANALOGY SIGNS 311
First and Second Beginning The same device can be used to indicate that the beginning of a sequence is to be altered on the repeat. In 529a the 1/8 turn required at the start to face the corner of the room be-comes 1/4 turn on the subsequent repeats so that each corner is faced in turn. Note the numbering of the measures and use of parentheses to help the reader follow the se-quence. In many instances it is easier to write out the first time fully and start the repeat later, as in 529b.
(~) (B) "4 ([2;J)
0,
(8) (4) 3 (7) 2 -.- 3
[ (j:?;J) 0,
4 (7) -.- 3 2
@ @
529a b
ANALOGY SIGNS
Analogy signs are used to abbreviate the score. Their greatest value is as an aid to quick writing, though they may appear in the finished score. The analogy signs are:*
Similar:
or Lateral symmetry (exchange of right
and left):
or (
II: or :11 Sagittal symmetry
(exchange of forward and back):
Exact:
*See Appendix A, note 12, and Appendix B, note 30.
* Equal:
=#; Oppositional symmetry (as in ballroom danc-ing) i.e. exchange of right and left, forward and
backward, but turning remains the same):
312 LABANOTATION
SIMILAR The similar sign is also known as the ad libitum sign since it appears where freedom in per-formance is allowed. The sign may be used for the whole staff generally, in specific columns, or next to a particular movement sign.
General ad Ad lib. for the lib., free supports, with
improvisation arms held 0
~ 530a b
A duration line, used to indicate timing of actions such as flexing and extending, may have an ad lib. sign added, thereby allowing some freedom in performance rather than the appro-priate or anticipated action, as in 530d. From being contracted, the arm extends freely, in any direction. Note the need here for the small con-necting vertical bow to indicate it is not two
The arms to I I improvise 0 freely
~ c
530d
separate actions. Compare (d) with (e) in which the duration line only gives the timing for the extension in the established place high direction.
When placed next to movement indications, the ad lib. sign has the meaning of ' on the order of; 'similar to; 'along the lines of.' Some freedom is then allowed in performance of the written material, it need not be exact.
The right II ~ The shape I I arm moves The amount more or less of the path
of circling is to side low, is more or -(
~ ~I less a - more or less
the left arm
1 1 3/4 circle 3/4 of a
moves more circle or less down
530f g h
Freedom in degree of circling is suitable for improvisation or scores in which such free-dom is appropriate and where the direction faced at the end is not important. For struc-tured choreography the degree and end result need to be defined.
An ad lib. run Continuous Freedom to
(run freely lower arm improvise in ~ forward), the circles of this same
number of steps this kind general
may vary f2l> movement
<I> pattern ~ t:
~ 530i ~
k X
CHAPTER 21 REPEAT AND ANALOGY SIGNS 313
Ad Lib. for Repeats When a phrase or section of movement may be repeated as often as desired, that is, when the number of times is not known or is up to the performer, the ad lib. sign is used in place of a number in the repeat sign.
When the number of repeats is left open to the reader, the first ending is marked" 1 -~ "(ad lib. sign) and the final ending is marked "fine."
531a b
EXACT PERFORMANCE When a detailed description is written the reader is aware that exactness in performance in needed. But exactness in interpretation may also be required for move-ment recorded in what appears to be simple, general terms. The use of the asterisk * ,. placed next to particular symbols alerts the reader that these are to be given their precise, literal meaning, to be performed without any leeway at all.
The exact performance sign may be written as a key at the start of a score as in 532, or it may be placed next to a particular symbol, or placed within a vertical bow or bracket to modify several symbols.
Exact Timing
532
The convention established in using unit timing for steps and gestures** suffices for gen-eral purposes; only in particular cases does a simple indication require precise interpreta-tion. At such times the exact sign is placed next to the indication in question.
533a Toe touches occur on counts 1 and 2
(unit timing)
*See Appendix B, note 18. **See Appendix C, note 4.
2
b o
The notation itself specifies that the
touches occur precisely at the start of counts
1 and 2
c :rn Precise performance, the touches
occur a fraction before counts 2 and 3 (on the 'u' timing sub-division, see Fig. 31 c,
page 33)
314 LABANOTATION
Exception to Stated Key A key signature given at the start of a dance score states the particular details of style that are to be used throughout. When, at some point in the score, such a key signature needs to be disregarded, the nota tor may give an indi-cation of the state or use the exact sign (signi-fying that the symbols are to be read with their exact, unmodified meaning).
Fig. 534a, the key placed under 534b, states that all middle level supports are to be per-formed with slightly bent legs. On counts 3 and 4 of 534b the standard middle level support is to be used, as shown by the adjacent neither-bent-nor-stretched signs. The last two forward steps will again be with bent legs. Fig. (c) shows the same sequence but using the asterisk within a vertical bracket to state standard performance for the steps on counts 3 and 4. The next two steps will revert to the established key state-ment, i.e. with slightly bent legs.
EQUAL
The equal sign: = has certain obvious uses:
Indication of an object 1 = sword
or
534b c
534a [[]]DID
Identification of a focal point •
When used below or at the side of the staff, the equal sign shows that one person performs the same movement as another. Fig. 535a shows the start of the score for A and B who perform the same movements. This fact can also be specifically stated as in (b). Fig (c) shows four people, A, B, C and D, each performing different patterns for measures 5 and 6. Then C joins A in performinglfs movements and D joins B in performing B's pattern, con-tinuing thus during the next two measures. Without the = A, = B statements, C and D would join B in measure 7. This form of organization facilitates reading.
A,B
535a A=B
b
8
7
6
A B c D
c
CHAPTER 21 REPEAT AND ANALOGY SIGNS 315
SYMMETRICAL There are two possibilities in the use of symmetry: lateral symmetry and sagittal symmetry.
Lateral Symmetry* In lateral symmetry right becomes left in the use of the sides of the body, in the lateral di-rections, and also in the turning direction.
or means ~ = ~ ~ = ~ ~ = ~ ~ = ~
The sign for lateral symmetry is used under the staff to show one per-son constantly moving symmetrically to another. In 536, B is to produce movements laterally symmetrical to Ns; (i.e. "the same to the other side").** The lateral symmetry sign can be drawn with the dots above or below; in this context above is preferable. Note the use here of a comma after the letter A. Mirror image symmetry occurs when performers who are facing each other perform lateral symmetry.
Sagittal Symmetry
536 A, B' .
In sagittal symmetry the pattern balances with respect to the forward and backward direc-tions. The same side of the body is used and the sideward directions remain the same, but the direction of turning is reversed.
Figs. 537a and (b) show a movement sequence illustrat-ing the change that takes place as a result of the use of sagittal symmetry.
The sign for sagittal symmetry can be used below the staff to indicate that one person constantly moves in this form of symmetry to another. In 537c, B performs steps that are sagitally symmetrical to Ns, that is, he moves backward where A moves forward and vice versa. Fig. 537d illustrates B's performance of (c). The sagittal symmetry sign is drawn with the dots facing the indica-tion of the person.
'See Appendix B, note 31. "See Appendix A, note 13.
537a
537c
b
A,B:II d B
316 LABANOTATION
Fig. 537e shows the sign used within the staff as a repeat sign to indicate that the preced-ing measure should be reversed with respect to sagittal symmetry, as spelled out in 537f. Such usage is practical in writing exercises.
In 537g the sagittal symmetry sign is used outside the staff as a repeat sign, attached to the extended horizontal line. Note that the dots face in, toward one another. Here the movement pattern is repeated four times alternating forward and backward.
f~ 537e g
OPPOSITION* The combination of lateral and sagittal symmetry, called 'opposition,' is most com-monly met in ballroom dancing. In this form right and left are exchanged, as are for-ward and backward. The opposite side of the body is used, but the turning direction remains the same; this results from the double change in turning direction - once for lateral and once for sagittal symmetry. The sign for opposition is a combination of the other two signs.
means
The opposition sign can be placed below the staff to show that one person constantly moves in opposition to another. In 538a the woman (W) performs the ballroom symmetry of the man (M). The ballroom repeat of 538b is spelled out in (c).
~ 4
538a M,W~ c d __
*See Appendix B, note 30.
CHAPTER 21 REPEAT AND ANALOGY SIGNS 317
Because this form of symmetry is not easily interpreted, the use of opposition as a repeat sign should only be for rough notes. The sign can be used in the same way as the other symmetry signs, both within the staff, 538d, or outside the staff.
Body Symmetry; Spatial Symmetry Lateral symmetry involves an exchange of the right and left side of the body as well as of the lateral directions, and the direction of turning. For a repeat of a given theme or for an-other person repeating that theme, the spatial directions and turning can be kept the same, but the sides of the body reversed. For this the lateral symmetry sign is placed within a cir-cle, the circle representing body aspects, 539a. In the sequence of 539b, person B is to per-form the same spatial pattern but with the opposite side of the body. Fig. 539c illustrates the sequence B will perform.
539a@ Sign for body lateral
symmetry
I ~ ~ ~
I I b A,B@
B is to perform the body lateral symme-
try of A
I 539c B
The resultant movements for B
Because the diamond represents spatial aspects, the lateral symmetry sign placed within a diamond indicates that only the spatial aspects are to be reversed laterally, 539d. In per-forming 53ge, B will also start with the right foot and the right arm, but will use directions to the opposite side.
539d Sign for spatial lateral
symmetry
e
I B is to perform the
space lateral symmetry of A
I f B
The resultant movements for B
318 LABANOTATION
Spatial aspects can also be applied to sagittal symmetry, using 539g.
These indications are useful for notes, particularly in planning choreo-graphic variations; in scores it is more practical to have the resulting patterns written out.
539g Sign for sagittal
spatial symmetry
h I The result as applied
to 53ge
22
SCORING
DRAFTING THE DANCE SCORE
A sequence of written movement, a dance composition, or a piece of choreography, is re-ferred to as a dance score, comparable to the score of a musical composition. The term 'kinetogram' is used for any written sequence. This may be an isolated movement pattern, an exercise, or a complete movement sequence. In a full dance score the action and the mu-sical accompaniment, if any, must be related.
COORDINATION WITH THE MUSIC SCORE As a rule it has been found more practical to have the dance score, which is to be used by the rehearsal director or ballet master and the dancers, in one book, while the accompany-ing music is in a separate book for the use of the accompanist. Because in Labanotation the timing of each step and its composite parts is indicated by the relative lengths of the move-ment symbols, music notation is not needed to indicate the timing or rhythm of individual actions. Thus a dance score can exist independently from a music score. However, in some cases it is desirable to place an outline of the accompanying music alongside the dance score for correlation, thus providing a direct aural link between music and movement for study purposes. For rehearsals, the numbered music score is used, co-ordination between dance and music being achieved through reference to the numbered measures.
By numbering the measures of the music score so that they tally with the dance score, dancers and musicians can readily coordinate at any given moment. The number of a desired measure need only be called out to locate at once the place in the music scores.
Music measures are numbered above the treble stave, under it, or below the bass stave, according to where there is most room. Once placement has been estab-lished, it should be followed consistently. Fig. 540a shows placement below the treble stave. 540a
1
"" \ j
c.. 1 (9) 2 (10)
r.~ • •
/
320 LABANOTATION
When sections in the music are repeated, a sec-ond set of numbers written in parentheses appears after the first. In the illustration of 540a, measure 1 becomes measure 9 on the repeat; measure 2 be-comes measure 10 and so on.
Measure numbers for a dance score are written on the left of the staff outside any stage direction signs, as in Fig. 540b. Any section numbers or letters in the mu-sical score, which may be referred to by the musicians, should also appear on the dance score. These indica-tions are usually boxed or encircled letters or numbers. This example shows a number 1. Dance measure num-bers should always agree with the music score.
Each new section usually begins with new num-bering, starting again from 1. An upbeat measure is 540b numbered 0 (zero). The needs for individual choreo-graphic pieces vary and as a result, different usages may be required.
Indication of Musical Cuts in the Dance Score Not all the music in a printed score may be used for a dance; to facilitate coordination be-tween dance and the cuts in the music score it is important that note be made of which edition of the music is being used and of the measures that have been cut. It has been found practical to number the music measures throughout, disregarding the cuts; the numbers are there for future reference should the cuts be restored. Note of a cut must be made in the score, as in
65
Fig. 541,either(a) or (b). 541a 32
Indication of Tempo
b
Notated movement does not always of itself give an indication of the speed at which it should be performed. Use of a metronome marking is helpful. This is usually abbreviated to M.M. and the note value equated to a number based on how many times a quarter note (crotchet) beats per minute. As illustrated in 541c, it is 100 times. This indication is given at the start of a score, often written vertically. A change in tempo is then indicated where it occurs during the score, as in 541d in which the faster pace then slows down. Hungarian notators, notably Maria Szentpal, make use of the Italian music terms to indicate the general pace of the no-tated piece. The abbreviation of the term is placed in a box at the left at the beginning and again at the left of the notation whenever a change in the tempo occurs. Thus '1' represents lento or largo, a tempo also often shown as 'ad' for adagio. The easy going speed, called an-dante from the relaxed walking speed is shown as 'an'. This is often also called 'm' for moder-ato. Allegro, shown as 'a' is a brighter somewhat faster speed, with 'pr' for presto representing quick. Vivace, 'v', also represents a lively pace. Fig. 541e states an andante tempo at the start with the repeated walking changing to presto with the high level sideward steps.
CHAPTER 22 SCORING 321
0 0 -
-----. 4
~=;=
4 8 I 0 C'l l -
4
-----. ~~ J M.M. J = 100
;;S 541c d ;;S e
SCORING FOR SEVERAL PERFORMERS A dance score is comparable to a music score in that all parts are joined together by a line at the start of each page, 542a; they may also be joined at the top. A separate staff is needed for each dancer moving individually; only one staff is needed for a group moving in unison. In the illustrations below, holes for a ring binder (or for a spiral binding) are illustrated on the inside margin of each page.
2 3
o o
II 14 17 20
o o
10 13 16 19
12 15 18 A B C o o ABC ABC ABC
542a b Each dancer is given a separate staff Unison movement allows condensation of the score
Layout of Score How much material, i.e. how many measures are written on each page, will depend on the phrasing and logical breaks. Combining the staves of dancers moving in unison should follow the logic of the piece as much as possible. When staves have been allocated to specific performers, it is best to retain the same arrangement from page to page. The reader becomes familiar with the placement. However, a change is often necessary and a warning should be given when such a change is about to take place. The warning that the arrangement of 542c is to be changed is given in miniature form at the top of the page. This informs the reader not only that a change is to take place, but also indicates the new arrangement.
o
o
o AB
5
A BD CHG
CDE FG
542c
322 LABANOTATION
Scoring of Entrances and Exits An entrance is usually shown on the score by at-taching the appropriate stage area sign to a hori-zontalline extended to the left of the staff. This is understood to be the moment when the performer enters. The horizontal line extends to the right to show an exit and has attached to it the appropriate stage area sign. In Fig. 543, A is shown to enter from the downstage left wing, while B shortly after exits into the upstage right wing.
FLOOR PLANS
o
o
rl
o
543
I I
I I L..",j I
II
I I
I
II I
I I
III I
I I
A B
In recording dances for a group it is important to be able to see at a glance the dancers' po-sitions on stage and how one formation changes into another. These floor plans, or stage plans, are also useful for a solo figure. Examples of the use of floor plans were given in Chapter 12, pages 158 and 159. In the dance score the floor plans are written from the dancer's point of view. (Director's plans are given on pages 335 and 336.)
PLACEMENT OF THE FLOOR PLANS In the movement score, floor plans should be placed as close as possible to the notation to which they refer. Practical use should be made of available space. The measures (bars) to which the plan relates are written below the floor plan, usually to the left.
Under the Score Line When the staves fill the page, floor plans are placed at the bottom, as in 544a, side by side if there is more than one, in two rows if there are many.
At the Side of the Score When few staves allow a space at the side of the page, floor plans may be placed there, as in 544b, thus allowing room for an extra measure of dance. Such placement makes it possible to relate a plan directly to the movement it describes. When a plan shows the floor pattern for several measures, the appropriate measure numbers are placed adjacent to it.
0 0
39 12
0 0 LJ 38 11 ll-12
10 37
D E F LJ LJ LJ 0 0 A B
544a 37 38,39 b
CHAPTER 22
Within the Score Line In general, interruption of the score line is avoided, but at the end of a section of the dance the staves may be broken to leave room for a floor plan, as in 544c. This has the advantage of focus-ing attention on the arrangement of the dancers on stage at an exact point in the score.
FLOOR PLANS FOR FOLK DANCES In many folk or country dances the action is set in relation to the 'top' of the room, that is, where the musicians are seated. As there is no prosce- 544c nium and no sense of having an audience, it is
SCORING 323
a 18 ITTlllITI 17ULJILlIJ
o l!~! ~l ~
o
16DJWl] ISUUllJlJ
ABD CE FGH
customary in drawing floor plans of such dances for the notator to use a square or rectan-gle in which the top of the room is placed toward the top of the page.
- ---{)
- ---{)
l' i Floor plan for a - ---{)
Floor plan for - ---{) longways set - ---{)
square dances 0-- - - ---{)
! !, - ---{)
545a b
COORDINATION OF FLOOR PLANS WITH MUSIC SCORE To coordinate floor plans with the music score, the notator places the appropriate music measure number below the floor plan. Fig. 546a shows measures 6 to 8.
546a 6-8 b c [Q] 6-8 Meas. 9, ct. 1,2.
Fig. 546b shows Section D, measures 6-8. In (c) counts are also included. The abbrevia-tions 'meas.' for measure and 'ct.' for count can be used. In addition larger numbers may be used for the measures and smaller numbers for the counts, e.g. 91,2 or 9 1,2.
Indication of Sequence of Action Several paths can be written on one floor plan even though they are not performed simultaneously. The sequence of action is indicated by labeling the paths 1st, 2nd, 3rd. The exact spacing musically between the actions will be given in the movement score. 547
A 0-- _--'I""st'----__ 7)
B 0-- _~3=rd'---- __ -7
Co-- 2nd )
324 LABANOTATION
INDICATION OF THE PERFORMER* Pins or wedges are used to indicate individual performers on a stage plan and also below the staff.
Starting Position Pins The standard set of pins used to show starting positions on the floor plans are:
Female Male Person
The sign for a 'person' is used to indicate that the gender of the performer is not important. The point of a pin or tack indicates the direction faced. The dancer is understood to be
standing on the head of the pin or at the point of the tack where the two lines meet. Place-ment of the pin on a floor plan indicates where on stage the performer is located. Identify-ing letters should be placed upright near the base of the pin.
Finishing Position Wedges In special cases when both starting and finishing positions must be shown on the same plan, a wedge is used to indicate the latter. The point of the wedge indicates where the per-former is facing.
Female
Start facing one another, end side by
side
548a
Male ..
Start side by side, end
facing one another
Person 5
b
Various Shaped Pins Other kinds of pins may be devised, such as L 0, to identify particular characters. These should be identified in a glossary given at the start of the score. A chosen set of pins must be used consistently throughout the score.
RELATIONSHIP OF THE PERFORMERS Juxtaposition of pins representing the performers illustrates their relationship. The place-ment is judged by the head of the pin. A few possibilities are given here.
549a Side by side facing
the same way
*See Appendix B, note 14.
b Back to back (dos
iI dos)
c Side by side facing opposite directions
One in front of the other
CHAPTER 22 SCORING 325
Distance between Performers The space between pins can give some indication of the proximity of the performers.
54ge 666 f 666 g 666 h .- ---{)
Shoulder to A comfortable The width of one Facing ( vis avis) shoulder space between person between slightly apart
549i __ ---0
'--0 k e-o Facing, close together Facing, very close Facing, almost touching
Size of the Pins in Relation to Size of the Floor Plan Pins used on floor plans can give an indication of the size of the stage area used in relation to the performer. Although stages vary considerably in size, the impression can easily be given of a dancer on a very large or a very small stage. Care should be taken to indicate the right general relationship. Performance in a small area calls for a smaller plan or a larger pin in relation to the size of the stage area drawn. Dimensions of the stage or performing area can always be given.
550a b Two dancers on a large stage Three dancers on a small stage
Pins on the floor plans should correspond with the Front signs in the movement score. Pins should also illustrate as correctly as possible the relationship of the dancers to one an-other as well as to the stage area. Of the two floor plans given below, the first is correctly drawn, the second a poor copy, which suggests a different arrangement.
'I 0- --()
550c d Original Poorly copied version
Compare 550c and (d) and note the difference between: (1) the slanting lines of four women each; (2) the relationship of trio members to one another; (3) the relationship of the trio to stage left line; and (4) the relationship of the line of men at the back to the two lines of women. The choreography must be represented as faithfully as possible; therefore care must be taken in making neat copies of scores and entering them into the computer.
326 LABANOTATION
USE OF ARROWS Arrows are used on floor plans in an obvious way to indicate paths. The arrowhead should indicate the point on stage at which the path finishes. Note that the pin and movement arrow are separated by a small space.
551a Spiralling in clockwise to
finish center stage
Continuity of Plans
b A straight path to finish in the right
downstage corner
For continuity it is important that one floor plan picks up spatially where the previous one left off. A change in facing direction may have occurred, but the position on stage should tally. Note the following example covering three plans:
552 33-36 37-40 41-44
Choice of Starting or Finishing Description In standard usage pins on a floor plan show where the dancers start and arrows show the path that is to be followed, as in 553a. When occasionally a statement of the ending loca-tion is more practical for quick notes, the arrow begins where the dancer starts and ends at a pin showing the destination of the path, as in (b).
553a b Pins indicate starting positions Pins indicate destinations
Suggestion of Step Direction The direction of steps producing a path on stage are usually indicated by the relation-ship between the pin and the point at which the arrow starts. Note the following:
I 6 ~
1 / 554a ~ b 6 -----7 C d Forward To the right Backward Diagonally left backward
CHAPTER 22
When turning occurs on a path these indications no longer hold true, but they can give a good first impres-sion of the movement they illustrate. In 554e the fin-ishing position is shown on the stage plan. A half turn has occurred, but how, when, and to which side can only be known from the movement description.
The device of adding small loops on the path sign provides three pieces of information: 1) the number of
554e
SCORING 327
A woman ends upstage right facing that corner
single turns that occur; 2) the direction of the turns; and 3) where they occur on the path, as in 554f. The arrow shows the path of the center of weight, not the footprints.
Be sure the pin and arrow give the right message. In 554g the impression is of the man traveling sideward. In fact, having made a quick, unstressed turn, he travels forward, as shown in (h).
/ 554f
'y
g 16-18 h 16(2),18
Entrance and Exit To indicate an entrance, a pin is placed offstage (outside the stage area) in the appropriate wing, its facing direction signifying the direction faced by the dancer when actually enter-ing. To indicate an exit, the arrow must extend beyond the stage area outline through the appropriate wing.
555a T '----______ ---' A man enters from the upstage left
corner, facing upstage
Crossing Paths When the paths of two dancers or of two groups cross, a solid line is drawn for the person passing in front (i.e. the one who has the 'right of way') and a broken line is shown for the person passing behind. In 556 the man passes behind the woman.
Retracing Paths
b
-0-----+...,.
A woman exits into the first downstage right wing
556
When a performer retraces his/her steps on a path, the arrow showing this returning path can be drawn slightly shorter and starts within the head of the first arrow to indicate the
328 LABANOTATION
same path, 557a. Alternately a double-headed arrow can be used. Because the double arrow comes from the pin, there is no question about where it starts. When many such paths occur one after the other, it is unnecessary to draw each one, but it is a help to show where the last one finishes by using an appropriate wedge.
_<0-'---7
OR
_",,===7
557a b Retracing paths, two versions Retracing path five times
Single or Multiple Paths When possible a single arrow is used to signify progression of a couple or a group. Arrows representing two people are double-headed, as in 558b. Arrows representing three people can be triple headed, as in (c), or be wedge-shaped, as in (d). The number of people can be indicated in the wedge if desired, as in (e).
1 1 558a b c
Only the woman moves forward The woman and one man move All three move
When an arrow is centered between two performers it is understood to refer to both, as in 558b. In (c) the triple-headed arrow signifies unison path, as does the wedge in (d) and (e).
Unison Movement for Ranks and Files
558d
r The same as (e)
e t Five people
move
A number of individual pins representing dancers may be either joined by a line or in-cluded in a bracket to indicate that a rank or file moves as a unit.
Four women in a straight line and four in a rank move forward as
a unit.
559a
or
b
CHAPTER 22 SCORING 329
GENERAL GROUP INDICATIONS Two special cases require a method of indicating group shapes or arrangements in a gen-eral way (without a pin for each performer): (1) when a group has been established and re-mains static for some time, and (2) when a detailed composition of a group may not at first be known, as when the notator is making his/her first quick notes or when the placement of the dancers within the group may vary or is improvisatory. In both cases the following abbreviations may be used.
General Indication of Formation For first quick notes the general shape of a group can be shown.
A group of people close together 560a is shaded; a linear formation left • b u c
empty. Figs. 560a and (b) are solid shapes; (c) is a linear triangular formation. The follow-ing are abbreviations of common formations:
560d A rank facing the audience
(side by side)
560h
e A file facing stage right (one behind
the other)
A circle facing in A circle facing out
A circle facing stage right
A line facing downstage right
A circle facing clockwise
g A diagonal line
facing front
Facing different directions
Two pins are needed, as in 560j, to show that all face the same way. If pins face different directions, as in (1), it means people are facing in different directions; either exactness does not matter or the detail has been shown elsewhere.
In the previous examples the linear indication does not specify whether the performers are men or women. This is indicated by use of a white or black pin.
560m (;) A circle of women
facing in
n ()
A circle of men facing counter clockwise
People in an 'open circle' facing
clockwise
330 LABANOTATION
Indication of Number of Performers A number placed in a circle indicates the number of performers. A single person not facing any particular direction can be shown on a stage plan by 0 , • , or ().
561, -@ b d Twenty people in a circular
group formation Twelve people in a linear oblong shape
Six people in a file Sixteen people in a circle facing in
General Indication of Group Action The overall pattern of group shape and group move-ment on stage can be shown.
The general stage action indicated in Fig. 562 shows a group of ten people who enter upstage left and move across to the upstage right corner, and a line of three people who enter downstage left and face the group in the corner.
Indication of Couples in Group Formations
562
A formation of couples can be shown by the use of black and white pins showing the rela-tionship of the man to the woman.
I@ 563a ~ A file of 6 people
arranged in couples, each man behind a
woman
b A rank of 8 people
arranged in couples, each woman on the
man's left
ENLARGEMENT OF FLOOR PLAN
Eight people in a square, arranged in
couples, each man on the right of his partner
d Twelve people in a circle. facing in, each woman on
the man's right
A particular change in formation on stage may need to be shown in detail. It is not necessary to enlarge the entire stage area, but just to show the performers in question. The enlargement is usually a square, 'lifted: so to speak, from the stage plan. The action that should occur in the upstage left corner in 564a is en-larged for clarity in (b) and (c). 564a meas.6-8
fA (qeD /}B Del eI/}C
E
meas.6 meas.7-8 564b enlargement c enlargement
CHAPTER 22 SCORING 331
QUANTITY OF FLOOR PLANS The number of floor plans needed depends on the frequency and complexity of paths and changes in formations. When a dancer or group stays virtually on the spot, or travels only slightly away and returns, it is not necessary to draw new floor plans. When com-plex interweavings occur it may be necessary to give a separate plan for each performer, showing the path and the people between whom s/he passes at each point. Although in group dances there may be no change of formation for some time, it is helpful to have the position on stage reiterated frequently. There may be a need in rehearsal to start reading in the middle of a score, and so all devices which help the reader pick up the thread of the action quickly are desirable. The reader must always be borne in mind in the writing of any score.
IDENTIFICATION OF THE PERFORMER: PRE-STAFF SIGNS Performers require identification, both for the score and for floor plans. Letters of the al-phabet are usually selected, and the following usages have been found practical-though no hard and fast rules are established, since each piece provides its own particular needs. The identification chosen must be kept throughout the score.
Solos In most cases a solo requires no special identification. The title of the piece usually estab-lishes whether it is a solo for a man or a woman. The appropriate pin can be placed under the movement staff at the start as a pre-staff sign, enclosed in a broken circle to distinguish it from a movement indication pin. This encircling is not needed in the floor plans.
Duets
Starting graph for a female
565a
Starting graph for a male
b
For a duet, it is often enough to use the appropriate pin as in 566a. One can also identify them as M, W (man, woman), or M, F (male, female), 566b. The lettering may be in capi-tals or in lower case (m, w; m, 0. The appropriate letter is placed beneath each staff. On floor plans, when there is only one male/female couple, the pins suffice to identify the dancers.
or
'----- -'----
566a ® @ b M w c
332 LABANOTATION
Partners, Couple Dances Many group dances involve couples for which each couple need not be specifically identi-fied. It is enough to indicate the relation of the two dancers and the number of couples in-volved. A circle surrounding two pins signifies 'a couple,' and a stated number refers to the number of couples, not to individuals.
567a b c d © e f~ A couple A trio Four trios Each person Each man Each couple
A double circle means 'each;' thus each man, each woman, each couple, etc. may be shown. Established partners, that is, couples whose members are identified with each other
throughout a dance, may be represented by particular choice of letters or numbers. In folk dances it is common for couples to be given numbers: first couple, second couple, and so on. Thus identification can be: MI, WI, M2, W2, M3, W3, etc. On floor plans only the number needs be added to the pin.
~- ~~ -~
568a Ml WI M2 W2
When couples have a distinct identity, that is, playa particular character in a ballet, such individuality may be shown in the choice ofletters. Each woman is given an identifying let-ter to which M is added for her partner. On the stage plan only the letter need be used; pins distinguish man from woman as in Fig. 568b.
A - Woman in red B - Woman in blue C - Woman in pink
Large Group or Crowd
MA - her partner MB - her partner MC - her partner
568b
(\ u U A B
When a group consists of members without specific individuality, it may suffice to name the group and to indicate the number of people involved. It is not expected that at any point one particular performer will be singled out. Statement can be made as to the num-ber of men and women in the group.
CHAPTER 22
A group called X with 6 people in it
569a
Smaller Groups and Corps de Ballet
A group called Y with 12 people in it: 8 men and 4
women
b
SCORING 333
In some group situations the dancers work as a unit and have no individual significance, but at certain points one may need to keep track of each individual in the group. For such situations it is practical to give a letter to the group and to number the dancers in it. Gener-ally the group letter need be stated only once on each floor plan, but if the group breaks up the individual members may be identified by both letter and number.
Group A: Al- Mary I J, 6t A2- Ruth
A3- Jean Group B: Bl - Penny A 2 J, /, 2 B
B2 - Helen B3 - Barbara d /, 3
570a
When the dancers are in their own group, identification can be kept simple, as in 570a or (b). Should the dancers mix, each individual will require full identification as in (c).
t6 /, I
A /, /, B
/, /,
570b c
In certain ballets such as Balanchine's, the corps keeps its position on stage for the greater part of the time. The stage left group usually balances the stage right group and those dancers who are in front remain in front or return to the front after an all-over change of formation. Groups on stage left may be given lower letters, while those on stage right are given higher letters. In (d) each dancer in group G has a counter part in Group H.
When groups stay for the greater part of the dance on one side of the stage or the other, the lettering can reflect this by being L for stage left and R for stage right. Mem-bers of such groups would then be Ll, L2, L3, etc. and Rl, R2, R3, etc. as in (e).
83 1 A3/'
d
e
Bt'f B2j' Ad Ad
if I if
2 if 3 if
G 4
\, \, I
\, 2
\, 3
4 H
334 LABANOTATION
Large Corps de Ballet and Ensembles Use of odd and even numbers is helpful to identify individuals in large groups that move in an orderly and symmetrical way. Some large ballets and ensembles, such as the Rockettes at Radio City Music Hall in New York City, use formations that require this means of identifi-cation. Stage left dancers are given odd numbers and their counterparts on stage right even numbers. Dancers in front are given low numbers and those in back higher numbers. When groups mix together and later separate, it is then easy to see where individuals be-long. In this type of ballet the actual steps are usually simple, the dancer's problem being to find where she belongs and where she must go at each change in formation. Such a system of numbering helps keep track of the individual's place.
d I, 2 30;- 2~ d I, 4 A two-line
4
d I, 6 Couples form a
formation circle, facing 6b 12 11
d I, 8 clockwise 5 6 n 9 J, I, to
~8 ll/' I, 12 .....-0 '0
571a b .....-0 9
Dance Dramas Individual letters should be given in a dramatic dance work in which each dancer has an individual character to portray. These letters may be based on the characters, e.g. H - her-mit, Y - youth, M - mother, but as this is not always satisfactory, it may be found better to start at the beginning of the alphabet. The device of giving lower letters to women and higher letters to men aids quick identification.
A - the young girl B - her mother J - her father K- her suitor (etc.)
572a
L
'" 'oC
If there are more than 26 characters in the dance, single letters may be used for women and double letters for men.
b
I, cr L "00 Mcf
N
". ~F EE
PLACEMENT OF IDENTIFICATION NEXT TO THE STAGE PINS In identifying performers on a stage plan, it is important that letters be easy to read and also that their presence on the plan does not destroy the visual impact of the group forma-tions. Letters should be placed upright and near the base of the pin when possible.
Letters are too H
Letters are well B large and should
~ ___ K
not be placed ---proportioned and I I correctly placed 573a
___ 1 sideways or b --- I-:. upsidedown
CHAPTER 22 SCORING 335
Dramatis Personae At the start of a dance score the list of characters (dramatis personae) should be given. This list provides the identifying letter used for each character portrayed. For archival purposes the list can state the performers in the original production. It is also of interest to list those performing at the time the work was notated.
A - young girl (Margot Fonteyn) B - her lover (Rudolf Nureyev)
Current Cast List At the time a score is being used for a particular group or company, the list of those dancers then performing the roles can be inserted. A practical method of doing so is to attach the list to the back cover. It can be folded inside the score when not in use and unfolded to be visible when the score is being used. The list can be updated when changes occur.
STAGE DIRECTOR'S PLANS
lULU 574
Heretofore we have discussed and illustrated stage plans written from the performer's point of view, plans which appear throughout a score next to the movement notation they illustrate. However, a complete set of plans drawn from the point of view of the audience is most valuable to a dance director, lighting designer or film director who can thus visualize the staging of an entire work. In the director's plans the rectangle representing the stage is drawn upside down.
St. L St. R St.R St. L
575a b In the performer's score In the director's score
Group arrangements on a director's plans are the same as in the full score, but upside down, as illustrated below.
575c
!, ~ B C
Floor plan as it appears in the dance score
d
C B
T I
Floor plan as drawn in the director's set of plans
336 LABANOTATION
The director's plans are usually placed in the back of a dance score, attached so that they can be removed and used separately when needed. The standard se-quence in which these plans are arranged is the ordi-nary reading direction, starting at the top and reading from left to right.
REPEAT SIGNS FOR SCORING
° Jl,n °3n4n osn,n
The repeat signs given on pages 303-307 can be freely 575e
used in the process of notating a work, but in a finished manuscript care should be taken to use only indications that can be followed easily. As a rule reference should be made only to material on the same page as the repeat signs.
REFERENCE TO ANOTHER PERFORMER In the repeat signs ;/. and./. the upper dot can be replaced by a letter to refer to a spe-cific person.
Perform the same as A is doing now:
Perform the opposite side of what A doing now:
In the following examples B performs the same as A, while C performs the 'other side' (the laterally symmetrical version) of what A is doing. It is presumed that B is only tem-porarily the same as A; therefore for such a short time the two staves are not combined. One large sign can be centered on the staff to cover a whole page, as in 576a, or repeats can be centered in each measure, as in (b).
A/ 7.
B c b
I[
f I
I~I I I
I~I A
A Af' . f·
Af' AV . f·
AV Af V· f·
AV Aif V· f·
B c
For shorthand notes reference can be made to another performer and to another mea-sure: in the final score such indications usually should be written out for the reader's benefit.
Do the same as A did in meas. 4
REPEAT SIGNS WITHIN FLOOR PLANS
Do the 'other side' of B inmeas. 9:
For simplicity in both reading and writing, for large group dances repeat signs may be used within the floor plan when identical actions occur. There may be four groups on the stage,
CHAPTER 22
as illustrated in Fig. 577, each of which performs the same change in formation. Pins and arrows are shown for one group; repeat signs indicate that all groups are to do the same. It is presumed that the other groups have been described in recent plans so that no doubt exists as to their identity. 577
RELATIONSHIP INDICATIONS IN THE SCORE
SCORING 337
All four groups are alike
While floor plans indicate relationships of the dancers and are correlated to the movement score, it is advantageous to pinpoint within the movement score the moment at which a re-lationship occurs or changes. For such indications either a mini-stage plan is inserted within the movement score, or a meeting line is used.
MINI-FLOOR PLANS WRITTEN IN THE SCORE Very small floor plans are placed within the score in 578a to show the relationship of the dancers at those particular moments. This is particularly helpful for reading partnering se-quences. The mini-plan does not show location on stage, but orientation is the same as the main stage plan, i.e. the open side is the front of the stage. The standard stage plan pins are used.
In 578b A and B start back to back. B turns toward A who walks around and takes an arabesque placing her left hand on his right shoulder and her right hand on his right wrist. A and B then face each other and B lifts A (carries with grasping, hands on waist). Placement of such mini-plans within the score makes it easier to relate movement instructions di-rectly to the dancers' placement. These pins are easy to read when performers face any forward or sideward direction, but are less easy to read when they face up-stage. In such cases the meeting line may prove more practical.
THE MEETING LINE
578b -8J
578a
A
,----
66 r--r-- --
65 w M
] c)
I ...:..
T
~~ xJ
B
The meeting line is a stroke placed usually on the right side of the staff to indicate that a specific performer meets or passes another person at that moment. The line represents the
338 LABANOTATION
performer, and the angle of the meeting line and placement of the indication for the other person is read from the point of view of the performer beside whose staff the symbol is placed. Identification of the other person may range from a general statement signifying 'someone' to indication of a specific individual or of an object on stage.
579a 2- b ~ c ~ d ® Each one has a A person is A woman is in front A man is behind person in front, behind you of you you
i.e. face each other
57ge A/ f ~ g .2] h zT A is diagonally left J is diagonally right Y is above you Z is below and
in front of you in front of you behind you
The addition of a pin to the meeting line is needed to show a vertical relationship or any three-dimensional situation.
The meeting line may signify either the moment of passing (to show the relation of two dancers at that point) or the aim of a path (establishing the end location in relation to an-other performer).
0
A r .-
1 ,,\1 U Ab
579i '0 A B '0 A [3J' B
As they pass, A has B on her right; B has A in front The aim of 1\s path is to end with B in front of her
In the following examples first the meeting line relationship of the dancers to one another is shown, then two possible placements of this same relationship, as it could occur, on stage.
could be or BI Wj
579k A B m 0, [I]
A B
The diagonal relationship of A and B is the same whether they are facing downstage or up-stage. Fig. 579k is the same regardless of how this relationship is placed on stage; 0) is easy to read, whereas (m) may not be so easy when complex arms and hand holding are involved.
Note: in preparing a professional score the writer should refer to the detailed informa-tion provided in the Dance Notation Bureau's Score Requirements.
23 SUPPORTING ON VARIOUS PARTS OF THE BODY
KNEELING, SITTING, LYING
In lowering the body to the ground, the performer usually follows the sequence of passing through kneeling, sitting, and lying in the forward or side direction. It is possible, though not so usual, in the backward or diagonally backward direction, to omit kneeling. In rising the reverse process usually takes place. Many variations exist in transitions from standing on the feet to supporting on the floor on other parts of the body. Changes of support can occur while the body is on the floor. Only the simplest and most commonly used will be dealt with in this book; complex floor work and acrobatics are presented in the Advanced Labanotation books Kneeling, Sitting, Lying and Floorwork, Basic Acrobatics.
GENERAL STATEMENT
In Motif Notation the broad statement of an action that results in a support is made more specific by indicating which part of the body takes weight. (See page 295 for the support signs: ~ , ~ , "--/ , ~.)
An action that results in a support
580a I An action that results in a support on the
whole torso
SPECIFIC STATEMENT, ABBREVIATED DESCRIPTION
b
When the full staff is used a description of supporting on different parts of the body can still be kept simple, in a way comparable to Motif Notation. Placement of signs for specific parts of the body in the support columns indicates that those parts are carrying the body's weight. Direction symbols placed in the support columns normally signify standing on the feet. Signs for the feet can be used to write a broad statement of weight on the feet without specifying direction. Placement on the staff indicates right or left foot. The specific signs
340 LABANOTATION
for right foot and left foot can be used; however, they are mainly needed when written out-side the staff. A head sign in either right or left support column indicates supporting on the head.
[J or rn 581a b Supporting Same as (a) using on the feet specific right and
left foot signs
KNEELING
c Supporting
on the hands Supporting on the head
Supporting Supporting on the on the elbows
shoulders
For the weight to be placed on the knee the body must be lowered until the knee contacts the floor. In brief statements such lowering is understood and need not be written. When timing or other detail must be shown, lowering should be specifically indicated. Placement on the staff indicates right or left knee. The specific right or left signs can also be used within the staff but are particularly needed when placed outside the staff, or when used in Motif Notation.
582a Weight is placed on the right knee (bending the left leg is understood)
or
The same with the use of the specific knee
sign
SPECIFIC DESCRIPTION OF KNEELING
c The left leg bends
until weight is placed on the right knee
or d~ The same written
with the specific knee sign
Kneeling is comparable to standing in the use of direction and levels, and in the shifting of weight. The use of the lower leg to help keep balance is comparable to use of the foot in standing. 'Paired kneeling' means weight on both knees. Note terminology for kneeling sit-uations: 'paired kneel,' 'foot-kneel; and 'mixed-kneel,' established in the 1991 Advanced Labanotation book Kneeling, Sitting, Lying. The latter two terms are explained as they are presented in the text.
Levels of Kneeling A convention is used to indicate the three main levels of kneeling, these are somewhat comparable to the three main levels established for standing on the feet.
583a b c A high kneel A middle kneel A low kneel
CHAPTER 23 SUPPORTING ON VARIOUS PARTS OF THE BODY 341
In a high kneel the center of weight is over the supports, the hips being directly over the knees. The thigh is approximately vertical and the weight is on the knee itself with the lower leg resting on the floor helping balance. In a low kneel the knees are totally bent and the hips (the weight) is as low as it can be while kneeling. Weight is centered over the an-kles, hips resting on heels. In the progression from a high to a low kneel, when the center of weight is over the mid-lower leg, it is called middle level, the point between a high and a low kneel. At this level the thigh is in the general area of 45° from upright. Although the weight is no longer on the knee itself in a low or middle level kneel, because of common usage, the position is written as a kneel and not as a support on the lower leg.
Change of Level on the Knees In sinking from a high kneel to a low kneel, although there is a backward displacement of the center of weight, the description is still one of lowering in place. This is because the weight is always over a point of support along the lower leg, hence always in balance, there-fore in place.
In 583e carets have been used to in-dicate the same part of the body, i.e. the knees. Because a reader might think the movement on count 2 is a shift to sup-porting on the feet, a repeat of the knee signs, as in (f), is advisable for clarity.
Transition from Standing to Kneeling
583d III Lowering from a
high kneel to a low
e
or IWl flJJ
Rising to a high kneel
Direction for kneeling and walking on the knees is comparable to that for stepping. Place is beneath the center of weight and directions are judged from center or from the previous knee support. In the process of kneeling, the foot of the kneeling leg usually contacts the ground as an aid in lowering the weight; as a rule this contact is not written. The direction of the kneel is judged by where the knee and not the rest of the leg is placed.
From standing, The right knee
~ lower to both supports in place
~ knees next to the left
foot
584a b
The same, but ~ After the forward
~ fi step weight is into a low kneel taken on the knee
584c d
In examples 584b-d a 'foot-kneel' has resulted. Once the knee takes weight in place there is no body weight on the left leg, only the weight of the leg itself as it rests on the floor. The left leg, in fact, becomes a gesture that helps with balance. This fact need not usually be written, except in a starting position, as in 585a-c.
342 LABANOTATION
In 584e the right knee 'steps' backward from the previous support. A little weight may be retained on the left foot to aid balance. Placing all the weight on the knee can be shown in (f) where the left leg is stated as a weight-free touching gesture.
The right knee ~ ~ 'steps' backward *
584e ..
The 'step' on the ~ right knee takes * all the weight f ..
A low forward step often leads to a kneel. In an ordinary sized step the knee will support approximately next to the other foot, producing a foot-kneel. A much longer step as in 584g, h, must be taken to produce an open forward-backward (fourth position) 'mixed-kneel,' i.e. a position with weight on both foot and knee.
584g Kneeling resulting from a long step
(fourth position mixed-kneel)
Fig. 584h states the motion (direction and level for the knee) oflowering into a mixed-kneel. From the starting position the left foot takes a very long step forward (four degrees) while at the same time the body lowers to a forward support on the right knee. Because weight is held on the right foot, the distance forward for the right knee will be the length of the lower leg.
Foot-Kneel Position When all the weight is on the knee, as in a starting position of 585a, the left leg is shown as a gesture. Here it is written with a divided column. A slight disadvantage here is that the whole foot hook appears to be attached to the direction symbol for the upper leg. The parts of the leg can be switched so that the hook is attached to the lower leg, as in 585b. By using the attached symbol, as in (c), the foot hook is also more logically placed. Partial weight is discussed on pages 401 and 402.
585. OJ Placement of the Lower Leg The lower leg normally rests on the ground to help maintain balance in kneeling. In the simple statement of 586a nothing is stated regarding lower leg placement; if a specific placement is wanted it must be written. This may be a lift off the ground as in 586b, or a di-rectional placement on the floor resulting from thigh rotation, as in (c).
CHAPTER 23 SUPPORTING ON VARIOUS PARTS OF THE BODY 343
586a c I Ordinary kneel Lower legs lifted Lower legs apart
The standing position prior to a kneel may dictate placement of the lower legs. The fol-lowing examples show movement into a kneeling position, and the destination stated as a position. No transition details are given in this simple notation.
586d Written as a position f Written as a position
For 586d start with the feet together, kneel forward into a second position kneel (direc-tion is judged from place). Fig. (e) shows the result of this action written as a starting posi-tion. Because 586£ starts with the feet apart, the lower leg placement will be different, as shown in (g). Note that the direction of the kneel here is judged from place, the point be-tween the two feet in the starting position.
Use of the Ball of the Foot When the lower leg rests on the ground, the question arises as to whether the ankle and foot are extended with the instep touching the ground, or whether the ball of the foot is on the ground with the ankle flexed. When nothing is stated, the choice is left open to the per-former. The movement context may suggest one or the other usage. If this detail is impor-tant it must be written. For an extended foot the ankle may be shown to be stretched, or the top of the foot to contact the ground. The sign Fl placed in a leg column refers to the foot. The white circle in the sign indicates the top of the foot, the upper side. Contact with the floor is indicated by using the neutral contact hook '----./ ."
587a The toes are tucked
under in preparation for taking weight
WALKING ON THE KNEES
b Insteps touching the floor. This could be written as
ankle extended: $
c The same repeating the knee symbols
Walking on the knees is comparable to walking on the feet with respect to direction of steps, shift of weight, etc. The knee pre-sign must be used to show that each direction sym-
*See Appendix B, note 32.
344 LABANOTATJON
bol in the support column refers to the knees. Once the knee pre-sign has been stated, however, a caret < or > may be employed in simple sequences to indicate reference to the same part of the body, i.e. that previously stated. However, the preferred usage for some notators is to write 588a rather than (b) and (c) rather than (d). In more complex contexts, particularly where use of a caret to indicate a weight shift might occur, or where another body part is involved, repetition of the knee sign is advised.
* I * * ~ * 1 *
588a b c d e f
Fig. 588b is the same as (a) but written with carets instead of repeated knee pre-signs. Fig. (c) shows low steps on the knees, with (d) illustrating the simpler writing. For very fast knee steps, as in (e), use of the caret is more practical. Such traveling on the knees can also be written as (£), here the level is not stated.
Size of Steps on the Knees An ordinary step on the knee is the size that is naturally comfortable for the performer. This size is automatically reduced as the kneeling level is lowered; only relatively small steps can be taken in low level. Change in size caused by level is understood and generally need not be indicated. With an effort and some hip inclusion, larger knee steps can be taken. Pre-signs for length are used as with ordinary steps. When distance covered is im-portant the number of ordinary walking step-lengths traveled can be indicated in a path sign placed alongside the notation. (See page 402.)
589a b Short steps Long steps
Shift of Weight on the Knees When moving into open and closed posi-tions on the knees, use of a caret to indicate the same support (as in Position Writing, page 59) can be confusing. The knee signs need to be repeated so that the caret clearly refers to 'the same support:
590a The right knee 'steps' out to produce a high
2nd position
C
Same as (b) with repeated knee signs
b A shift from 2nd position onto the
right knee
CHAPTER 23 SUPPORTING ON VARIOUS PARTS OF THE BODY 345
Transition from Kneeling to Standing Because a direction symbol in the support column without any pre-sign means supporting on the foot at the stated ordinary step level, 591a shows an ordinary forward low step after a high kneel. Fig. (b) shows a simple description of a forward middle level step following a high kneel, while in (c) the transition from low to middle level is written. Fig. (d) shows standing up in place after kneeling. The left leg will step in place next to the right knee. In (e) a high step follows a low kneel. The unstated but understood transition is: rising to a high kneel, place the right foot forward to take the weight, and rise while the weight is being transferred. In such a simple description no part of this transition is important or in any way to be stressed. In this example it happens too quickly for the performer to be concerned with details.
591a c
Combination of Knee and Foot Support -A Mixed Kneel A direction symbol in the support column without any pre-sign or caret always means supporting on the foot. The transition from supporting on the foot to support-ing on the knee may alternate sides, as in 592a, or the weight may be taken onto the knee of the same leg, a knee crawl as in (b).
When weight is placed at the same time on one knee and the other foot, the level of the kneel automatically modifies the level of the foot support. Therefore the exact amount ofleg bend need not be stated.
592c
d
592a
A high support on the knee automatically dictates the level
of the right foot support
A low kneel dictates that the left leg will be extremely bent
ANGLING
Because it was not clear to readers whether the notation of 593a should be performed as (b), a foot-kneel, or as (c), a mixed-kneel, (it should be 593a
e
b
e The sideward step on the
left foot automatically adjusts the level of the right
leg to ordinary low level
593c because the right leg takes half the weight), a more specific way of analyzing level and direction for kneeling called 'angling' was introduced.
346 LABANOTATION
Angling focuses on the angle of the thigh in relation to the supporting surface, usually the floor. The knee is the point at which the two lines of thigh and floor meet and the angle can be determined. In a low kneel the thigh is parallel (or almost so) to the floor; in a high kneel the thigh is perpendicular to the floor. This vertical line is considered zero for angling.
Six increments in angling are distin-guished. In 593d the position of the thigh for each increment is shown by the dotted lines.
Fig. 593e is the basic sign for angling.
2nd 3rd
1 st o 1 st
, , \ \ I I
2nd
4th "" \ \ I I ,,'"
" \ \ I I '"
5th " .... ',\ I,',,' ........ \. \ \ I I '" ..... ".
.......... "" \ \ ",," .......... Like an arrow, the point of the symbol in- 593d 6th --- -' ::0"""<-', ' --
3rd
4th
5th
6th dicates the direction of the angling. The The six increments of angling
circle of possible directions is shown in (f). The '0' (zero) position, vertically upright, is shown by the sign 593g.
593e V Basic sign for
angling
f
front
~
Y" '(/
.q f> fA ~
V back
The possible directions for angling
f7 <t> or g
The upright, or '0' situation
Indication of the Increments V·· T · Fig. 594a indicates the six incre- V Y T
• T
• ments, the lower levels, after the 1st 2nd 3rd 4th 5th 6th
450 angle being black symbols. 594a (450 angle)
The following examples illustrate levels of angling applied to ordinary kneeling posi-tions. Note that the direction symbol in the support column can be left blank, the level being indicated by the angling signs.
~ ~
594b W c rn A low level kneel A middle level
kneel
The posItIon of 593b is now written as 594f. Note that there should be no weight on the right foot. Fig. 593c is now written as 594g, the thigh being angled forward 45°, weight being on both knee and foot.
d A position one
increment backward of upright
594f
m [WJ
The foot-kneel of 593b
e An upright kneel, indicated as the '0'
(zero) position
The mixed kneel of 593c
CHAPTER 23 SUPPORTING ON VARIOUS PARTS OF THE BODY 347
The direction of angling can indicate slight dif-ferences in weight placement. In 594h a 2nd posi-tion mixed kneel is written in the standard way. In (i) the angle of the thigh is shown to be diagonally left backward, placing the weight more on the left foot. (See the Advanced Labanotation book Kneel-ing, Sitting, Lying for further details.)
SITTING
594h [t] A 2nd position
mixed kneel A low diagonally back left angle for
the right thigh
Sitting, i.e. supporting on the hip bones (the tuberosities of the ischia), is written by plac-ing the hip sign in the support column. When the weight is on one hip, the other is slightly off the floor. Note use of the general sign for the hip: + . When this is placed in the appro-priate right or left support column, it is easier to read than if the signs ---j and r-- are used.
Sitting on both hips
595a CD Sitting on right hip
b [IJ Sitting on
left hip
The general sign for hip + has two physical interpretations: (l) for touching - the break at the top of the leg, and (2) for supporting - that part of the lower pelvis that nor-mally takes the weight in a sitting position, either on both hips or on one hip. Specific signs for parts of the single hip area are seldom needed; they will be presented in the Advanced Labanotation book Body Variations.
SPECIFIC DESCRIPTION OF SITTING
Levels of Sitting The level of sitting is determined by the previous point of support. If the performer starts standing on the floor, a middle level sit will be on the floor; a high level sit will be on an object above floor level. Sitting on the floor in low level can occur when the floor slants downward.
596a A high level sit: higher than
the previous point of support
Legs Resting on the Floor
A middle level sit: horizontal with A low level sit: below the previous the previous point of support point of support
When sitting on the floor, although the hips are supporting, it is understood that the legs will normally be resting on the floor. All such resting leg gestures are in middle
level. Unless one is sitting above floor level, as on a table, etc., it is not possible m to perform low gestures. For analysis of direction and level for the limbs .. while lying on the floor see Chapter 25, Systems of Reference for Directions. 597
348 LABANOTATION
Legs Just off the Floor The legs may be lifted slightly from the floor, either in a starting position or a subsequent release from the standard resting on the floor. The pin indicating a minor 'above' position may be used, as in 598a, or a third-way direction symbol, i.e. lifted toward forward high, as in (b), indicates legs slightly higher off the floor. In (c) the release sign indicates a very slight lift, as does the 'above' sign in (d).
598a ~ b W c ttl ++ d ttl ++ Starting position with Legs slightly higher Releasing the legs Same as (c) using
legs just above the floor off the floor from the floor after an sign for 'above' understood contact
For use of a pin to modify a main direction symbol, as in 598a or (b), see Chapter 26.
Specific Contact of the Legs with the Floor A definite sliding action may occur in changing positions of the legs resting on the floor. Where they are applicable, hooks for the various parts of the foot are used to indicate touching or sliding on the floor. When contact is of the whole leg or of an unspecified part, the neutral contact indication ~ is used. *
W w~ ~IL I 'I II 1\
~ :: I~ 1\ 1\ II
V1-< 7V1
J~ ~l U U I L u
599a +1+ b ++ C ++ No specific performance is stated; sliding probably
occurs
Sliding the legs is indicated
As the legs bend, the whole foot slides on the floor; as they stretch, sliding is from whole foot to heel
Distance of Sitting A support on the hips may be either close to or far away from a previous support on the feet. When no distance is indicated, the hips support at a comfortable distance behind the feet, 6DDa. When a specific distance needs to be stated, the length of the leg has been taken as the measurement of dis-tance, providing a six-degree scale identical with that for contraction of the legs. The shorter the distance, the more the legs will be bent. The fol-lowing examples show no details of transition from standing to sitting,
*See Appendix B, note 32.
6DDa
CHAPTER 23 SUPPORTING ON VARIOUS PARTS OF THE BODY 349
only a broad statement of the result to be achieved is given. The full distance, the length of the legs is shown by the sign lx1 , i.e. legs neither bent nor stretched.
J~ ~~ A A 1 . __ ~~ ~ ~ ---'> --> ~ 1
~"I or W W ~ ~ W W W J+ $+ ~+ $+ ~+ ~+ t+
I c d e f g h
600b
Description of Starting Position The starting position for sitting is usually described as in Fig. 597 or 601, weight being shown on the hip (or hips) with statement of direction and degree of con-
traction for the legs.
WAYS OF SITTING DOWN ON THE FLOOR
601 Sitting with the legs very bent
to the side
The following examples show some typical transitions from standing to sitting. Specific details are not given. When sitting follows a support on the knee, the distance of the sup-port on the hips will automatically be the length of the thigh; no space measurement need be added.
602a
602d
End sitting on both hips, legs bent
End sitting with both legs forward
b End sitting on left hip,
legs crossed
e End sitting between legs, knees on floor
c End sitting cross-legged
f End on right hip and hand, leaning to right
350 LABANOTATION
LYING, SUPPORTING ON THE WHOLE TORSO
For starting positions the most direct description of lying is to write the whole torso sign in the support column indicating with a pin which side is taking the weight. The signs for the main whole torso surfaces are:
Front Back Right side Left side
Symbols for lying prone or supine may be placed in either the right or left support col-umn; to indicate lying on the side, however, the symbol should be placed in the appropri-ate column so that the center line will not obstruct the pin.
Lying on rn the front, prone' 0
603a •
Lying on the back, supine'
b
SPECIFIC DESCRIPTION OF LYING
Placement of the Limbs
Lying on the right side'
c
Lying on the left side'
d
When no indication is given for placement of arms and legs, a simple or comfortable posi-tion may be assumed. When using the Standard System of Reference while lying on the floor, all gestures of the arms and legs can only be in middle or high level. The examples below show possible placement of the limbs for the main starting positions.
b c d
In 604a and (b) arms and legs are in their normal anatomical position with the legs ex-tended and the arms by the side of the body. In (c) the right arm is out to the side, resting on the floor, the left arm is along the body. In (d) the limbs are drawn in; the right hand may rest on the floor, this is not stated.
Level of Lying When the performer is lying on the floor the level of support is middle. High level lying oc-curs if the floor slopes upward, i.e. if the new point is higher than the previous support, low level if downward, i.e. lower than the previous support.
605, rn Lying back on an uphill slope (higher than
level of hips)
'See Appendix B, note 33.
b Lying backward on a downhill slope (lower
than level of hips)
CHAPTER 23 SUPPORTING ON VARIOUS PARTS OF THE BODY 351
TRANSITIONS TO LYING DOWN
606a Lying supine after sitting
backward
CANCELLATIONS
b Lying supine between the legs after kneeling
SPECIFIC RULES FOR SITTING AND LYING
c Sink to the right knee and hip, lean on the right hand as you
lower to your right side
As soon as supports occur on parts of the body other than feet and knees, the following de-partures from the previously established rules take effect:
1. A space in the support column no longer automatically means absence of support. Springing into the air, jumping up from sitting or lying is a specialized action requir-ing a particular technique and so must be specifically written.
2. Limbs at floor level are understood to rest on the floor unless written as being above floor level.
3. The addition of a new support such as a hand does not automatically mean that all the weight is taken on that part of the body; it will be an addition to the existing supports.
4. From the context of the movement or from release signs it can be seen when certain supports are released. For example, when a dancer is sitting and supporting on one hand a subsequent upward gesture for the appropriate arm will automatically release weight from that hand. Details on mixed supports, walking on all fours, acrobatics, etc. are given in the Advanced Labanotation book Floorwork, Basic Acrobatics.
UNDERSTOOD CHANGE FOR CENTER OF WEIGHT Changes oflevel while supporting on the feet or on the knees involves a change in the situ-ation of the center of weight. This change is understood even though not specifically stated with a center of weight indication. Similarly, when a dancer lowers through kneeling or sit-ting to lying or rises through sitting or kneeling to standing, there is an unwritten but un-derstood change in the center of weight level (see Chapter 24).
Note the following rule: Changes in level of the center of weight that are indicated by change of supports can be cancelled by a subsequent change of support. An unqualified direction symbol in the sup-port column is understood to mean an ordinary support on the foot in the stated level.
352 LABANOTATION
The following examples give only a simple outline of the action. The process of shifting weight to one knee and other necessary adjustments are not stated.
607a Rising from the knees by
stepping forward
CANCELLATION OF LYING
b Rising from sitting by stepping onto
the right foot
c Rising from lying by stepping
forward on the left foot
Raising any part of the torso from a lying position will release weight from that part. Note the following examples:
608a By being lifted backward high, the chest no longer
is weight bearing
b The whole torso lifts
backward high, leaving the weight on the hips
CANCELLATION FOR MIXED SUPPORTS
c Shifting the pelvis upward
places the weight on the upper chest and feet
Specific gestures for a limb that is supporting, for example when on all fours, will automat-ically release weight from that limb. When no specific direction is stated the release sign is used.
609a Gestures for left leg
and right arm release weight from left foot
and right hand
b As (a), but with only
a slight lifting of hand and foot, shown by
release signs
c Because both legs
gesture, the weight is momentarily placed
on both hands
CHAPTER 23 SUPPORTING ON VARIOUS PARTS OF THE BODY 353
READING MATERIAL: KNEEL, SIT, LIE
Three Delsarte Falls from "Fundamental Training Exercises" © 1970 by Ted Shawn These generic exercises grew from the Denishawn period, circa 1920s to 1930s, and
provide a foundation for the more complex modern and contemporary dance forms that followed.
[B-
Il T
[tJ q)l L *
(~ *
**
[B-
Spiral Fall Back Fall
Fig. 610
* ~ I· = little toe side ofleft lower leg (see Chapter 27) "See pages 415 and 416 "*See page 425
0 >
JI=~ ~ ~ -8 [Q
c • ~
~ [tJ ~ ~
~ * ~~ • > •
~ ~ -ill I
Forward Fall
24
EQUILIBRIUM, LOSS OF BALANCE
THE CENTER OF WEIGHT
The center of weight, or center of gravity, is that point in the body from which or on which the body can be suspended or poised in equilibrium. For the purposes at hand the terms 'center of weight' and 'center of gravity' are interchangeable. The center of weight has no fixed location in the body, its exact position depending on the build of the individual and on the position taken. When the arms are raised the center of gravity rises; when the trunk bends it lowers. At certain moments it can even lie outside the body itself, as is explained in the Advanced Labanotation book Center of Weight. For general purposes, however, in a normal erect standing position the center of weight is understood to be located in the upper sacral region, or, in broader terms, in the upper area of the pelvic girdle.
THE LINE OF GRAVITY The line of gravity is an imaginary vertical line passing through the center of gravity in any object or body. No matter what the position or angle of the body, the line of gravity remains vertical. In a normal standing posi-tion, the center of gravity/weight is directly above the feet. As seen in pro-file, the line of gravity passes through the ear and hip and just in front of the ankle bone. Wherever you travel, the line of gravity, the line of balance goes with you. The line of gravity falls through the center point of balance in an object or person.
UNSPECIFIED CHANGES FOR THE CENTER OF WEIGHT
611
The following actions include a major change for the center of weight without such a state-ment being made:
1. Progressions of the body as a whole through transference of weight, e.g. walking, as in 612a.
2. Progressions across the floor through springing, traveling leaps or jumps, etc. as in (b).
CHAPTER 24 EQUILIBRIUM, LOSS OF BALANCE 355
3. Changes in level of supports; rising and sinking as in (c). 4. Vertical rising into the air as in (d), where an extra high spring is indicated by the
path sign outside. S. Supporting on different parts of the body, changes from standing to kneeling, sit-
ting, etc. as in (e).
612a Step (transfer
weight)
b Jump,
traveling
c Rise and
lower to 'deep knee' bend
d
T
B V1 .L
Jump extra high
SPECIFIED CHANGES FOR THE CENTER OF WEIGHT
e
+ 1=
Kneel, then sit
The center of weight cannot move by itself. Changes in body configuration affect location and level for the center of weight. Instead of describing such body changes, we may analyze and write the resulting effect on the center of weight.
Center of weight changes are specifically described for:
a) Shift in balance, variation in placement of weight over the supporting surface b) Loss of balance, falling c) Special situations of the center of weight in relation to the point of support as are
needed in acrobatics, gymnastics, partnering, etc.
METHOD OF WRITING CENTER OF WEIGHT The symbol for the center of weight, the focal point of balance in the body, is • *. (Note that this sign is also used to identify an outside focal point, stated outside the staff; it is also placed on a part of a turn sign to indicate turning to such a focal point; see page 94.) De-fined changes in the situation of the center of weight in the body are indicated by the cen-ter of weight sign with a direction symbol or a position sign (pin). Indications for center of weight movements are usually placed in the left body column. The right body column, or either leg gesture column may also be used when these are free. The indication may be placed outside the staff; it is never written in a support column.
GENERAL SITUATION OF THE CENTER OF WEIGHT Direction and level for movements of the center of weight are judged from the point of support. This point of support may be a chair, table, another person, etc., but is usually the floor. In the normal upright position, the point of support (the feet on the floor) is place middle: G, and the situation of the center of weight is place high: ~, being directly above the point of support.
* See Appendix B, note 34.
356 LABANOTATION
The Main Levels for the Center of Weight When the body is in balance the center of weight is in place, that is, on the line of gravity. The three main levels on this line of gravity are:
613a Place High
Above the point of support Place Middle
At the point of support (or as close to it as possible)
Distance for the Center of Gravity in Standing
c
rn Place Low
Below the point of support (hanging)
The distance of the center of weight in a normal standing position is considered to be the length of the legs from the point of support. The center of weight is lowered toward the point of support by bending the legs. A scale of six degrees oflowering coincides with the six degrees of contracting when the legs are in place. Both scales indicate destination: the exact degree of contraction to be reached or the degree of distance from the point of support.
The Six-Degree Scale on the Vertical Line*
a
•
b
x •
*See Appendix B, note 35.
c
>"< •
d
% •
e f g
• • .-~
614
CHAPTER 24
'Deep Knee Bends' - Full Leg Flexions The emphasis of a movement in which the legs bend and thereby lower the body to the floor may be on ei-ther the leg contraction or the descent of the center of weight. This difference in emphasis may be shown by
EQUILIBRIUM, LOSS OF BALANCE 357
the choice of description, the usual choice being degree 615a b of leg bend. Even a slight lowering may be described as an action of the center of weight. The following exam-ples illustrate use of center of weight description. See page 152 for leg bends written in terms of leg contrac-
Full leg flexion with feet parallel
(squat)
The same, showing
returning to normal standing
tions. While 'leg bends' is more accurate, the familiar term 'knee bends' is also given. In 615a no change of level need be written in the support column; it is understood that
the usual way to lower the center of weight while supporting on the feet is to bend the legs. In common practice the low support is included as a reading aid, as illustrated in (b), (c), and (d).
615c Five degrees 'deep
knee bend' (grand plie in ballet)
d Four degrees 'deep knee bend' (grand
plic) in 2nd position
e Staccato partial lowering and
return to normal
f Lowering, rising, increasing depth
each time
A return to normal for the center of weight may be written with the back to normal sign as in Fig. 615c, or, when the rising is to be stressed, with the place high symbol as illustrated in (d), (e), and (0. Fig. (d) illustrates correct level for the leg (knee) bend in second posi-tion in classical ballet.
STABILITY, BALANCE, EQUILIBRIUM As long as the vertical line of gravity is within the area of the base of the support, the body does not lose balance and fall. When supporting on one foot the line of gravity must fall within the area of the foot or, when the weight is on both feet, the area bounded by the two feet. In general the larger the area, the greater the stability. Thus it can be seen that standing with the feet apart is a more stable position than standing on one foot on half toe.
Small Shifts of Weight When nothing specific is written it is assumed that the body is in balance. Small shifts of the line of gravity within the area of the supporting base are indicated by middle level pins
358 LABANOTATION
(tacks). The whole range of these pins is applicable to shifting the center of weight. Center (in balance) is shown by the center pin which may be drawn + or ---1f-. A center of weight shift is not to be confused with a pelvic shift in which the pelvis is dis-placed from its normal position in the body.
616b
--jf-
• 1 T •
The weight is centered over the feet
c
1 •
The weight is shifted forward over the metatarsal joints
1 Y ...(
--j --jf- f-
)- ~
616a T
d
T •
The weight is shifted backward over the heels
Certain actions require an automatic adjustment of weight in order to maintain bal-ance. Such adjustments need not be written; only exceptions are indicated. A typical exam-
ple is the tilting forward of the whole torso. For the performer to maintain centered balance the pelvis must travel slightly backward. It is possible to keep the weight forward by muscular control. It is also possible to shift the weight much farther back than is neces-sary, as illustrated in 616g.
616e ~ .. ,~ o , . ,
Normal placement of weight
616h
~
---1
T f-
~ •
Shifting the center of weight on a circular path
mG·· , to f 0 ~ I
• • • Weight shifted forward
Shifting the center of weight in a figure 8 pattern
g Weight shifted backward
Same as (il; automatic return to normal is understood
For consecutive shifting movements as in 616i the vertical bow helps to show the phras-
ing (continuity of action); note the return to center at the end. In 616j the passing state bow ends beyond the pins, thus the automatic return to normal is understood. A passing state is expressed by placing the pins within a similar round vertical bow, as in 617 c below; at the end of this bow an automatic return to normal is also understood. (See deviations, pages 394-397.)
CHAPTER 24 EQUILIBRIUM, LOSS OF BALANCE 359
Timing of Center of Weight Shifts Duration of a shift for the center of weight may be shown by a duration line following the pin (destination) or the pin within an increase sign (motion). If the result of a shift is not to be kept, the shift may be indicated within a vertical 'passing state' bow.
617a b c
In each of the above the weight is taken forward while the leg is raised and the forward shift of the center of weight takes two counts. In 617a the center of weight ends shifted forward of its previous situation; in (b) it ends less forward, moving toward that state; and in (c) it has returned to normal at the conclusion of the passing state bow.
Retention of Center of Weight Shift When the weight needs to be kept shifted in a specific direction during subsequent steps, the hold sign '0' can be used as a reminder. This placement of weight may be important for technical or expressive reasons. Such retention of weight placement must later be cancelled by an indication of a return to normal placement.
618a The weight is kept
shifted forward
b
Elimination of Natural Resilience
The weight is kept shifted backward
In a normal walk a natural resilience results in a slight up and down movement of the center of weight. This resilience is greater in running, and occurs during small springs in middle level. Such a natural pliancy of the legs is understood and is not specifically written. When it should not occur and the center of weight should be kept at a precise level, the hold sign '0' is used after the center of gravity sign. The following examples indicate a walk, 619a, and a run, (b), without any rise and fall.
619a
c The weight is kept shifted to the right until the feet close
Walk smoothly without pliancy
b Run smoothly (no rise and
fall)
360 LABANOTATION
Fig. 619c shows a jump in which the legs leave the ground but the body does not rise. This lack of rise and fall occurs in some earth-bound (terre a terre) steps in ballet. Fig. 619d states that the level established when kneeling is to be retained in the steps that follow; there will be no rising of the center of weight and no pliancy. If pliancy is to be permitted while maintaining the center of gravity level, the ad-lib. sign ( is placed next to the reten-tion sign, as in (e).
c Shoot the legs out
but do not rise
Spot Hold for Center of Weight
d Walk in a half crouch
(no rise and fall)
e
Walk in a half crouch using pliancy
When the center of weight holds its situation during a directional step, the sign for a reten-tion on the spot: 0 (spot hold) is used to counteract the normal displacement in the di-rection of the step.
During fast side-to-side steps, the center of
weight remains on the same spot (no right and
left shift)
620a
Center of weight does not move with the step, it
remains where it is
b
In 620b the center of weight does not move to the side with the step; a momentary off-balance situation is produced through the coun-terbalance movements of the arms and chest. The above actions can only happen at a reasonably quick tempo.
Space Hold for Center of Weight The center of weight can remain centered, traveling on an undeviat-ing path, even though the steps zigzag. Fig. 621 illustrates a typical example. Normally diagonal steps take the center of weight diago-nally from side to side, but, as the steps are at a fair speed, the center of weight can be held spatially, traveling on a straight line forward. The path sign outside shows the spatial retention of the straight 621 path forward.
MOBILITY, CENTER OF WEIGHT LEADING
•
In an ordinary walk the center of weight is understood to be set in motion at the start of each step. Normally the center of weight moves forward as the free leg extends and the foot contacts the floor in preparation for taking over the weight of the body. In both
CHAPTER 24 EQUILIBRIUM, LOSS OF BALANCE 361
622a and (b) the center of weight starts to move in anticipation of the new step approximately at the moment indicated by the arrow. Until that point the weight is understood to be centered. Whether the leg gestures forward prior to the step as in (b) or not, the center of weight will start moving for-ward at this point.
To indicate that the center of weight is set in mo-tion sooner and to show the timing of the motion, the symbol for the center of weight displacement is placed within a vertical bow that slightly overlaps the following step. Fig. 622c shows this occurring without any preliminary gesture; in (d) there is a preceding forward leg gesture.
In continuous steps in one direction, the center of weight keeps moving in that direction. When a step in place occurs, depending on what follows and on the speed of progression, the center of weight may or may not come to rest. Note examples 622e-(h).
622e f g
622a b
622c d
h
In slow steps, as in 622e, it is natural for the center of weight to come to rest on the step in place and difficult to keep it moving at a slow speed. Conversely, when such a pattern is performed quickly, as in (f), it is difficult to keep the center of weight from continuing to move forward. When continuation of movement of the center of weight is important, it is indicated as in (g); when the center of weight must remain centered for the step in place, a spot hold is written as in (h) and cancelled on the following step. Note the use of the angu-lar release sign <> for cancellation of a spot hold.
Momentary Loss of Balance A slight falling movement (a tombe in ballet) results when the center of weight passes beyond the base support and hence is momentarily unsup-ported before weight is 'caught' on a new support. This is expressed as center of weight 'leading; and written with the center of weight sign by it-self within a vertical bow. (See part leading, page 411.) Fig. 623 shows a typical example in which a tombe occurs before a long step. By the end of 623
362 LABANOTATION
the bow the falling action has ceased. The degree of falling for a tombe is shown by the length of the subsequent step.
FALLING, PRECIPITATION, LOSS OF BALANCE
When the center of weight moves away from the base of the support, loss of balance occurs and the body is falling. Once balance is lost the body will continue to fall until a new point of support is provided.
Note that in a jump there is no point of support. The center of weight is carried along in the body and hence there is no balance or imbalance. Loss of balance could occur on land-ing, i.e. on the establishment of a new point of support.
Direction of Center of Weight Falling Falling is written with the center of weight sign followed by the appropriate direction sym-bol. Direction and level for center of weight movements are judged in relation to the point of support, usually the floor.
Backward middle is backward of and on the same level as the point of support. Backward high is back-ward of and at a higher level than the point of sup-port. Forward high is forward of and higher than the point of support. Forward middle is forward of and on the same level as the point of support. The six de-grees of distance used on the vertical line (see page 356) are also applicable to distances on the horizon-tal and slanting lines. Full details of these are given in the Advanced Labanotation book Center of Weight.
Incomplete Fall
B •
624 I •
In an incomplete fall the weight is usually caught while the center of weight is still in the high area, before the body reaches the ground. Loss of balance can be sudden or can occur comparatively gradually. Regaining balance may be gradual, though most often it is rapid. Cancellation of falling may be stated as back to normal placement, as a return to the verti-calor, when the normal level is not reached, the general cancellation sign can be used.
625a Balance is lost over counts 1 and
2, and regained on count 3
b
I or o
Balance is lost on count 1, and not regained until count 4
c Balance is gradually lost during the
first 3 steps and is regained on the 4th
A state of imbalance cannot physically be held. Fig. 625b is possible because the body is in motion. The physical sensation on counts 2 and 3 is that of running downhill.
CHAPTER 24 EQUILIBRIUM, LOSS OF BALANCE 363
Falling to the Floor When the body falls to the floor, the level of the center of weight changes to middle, hori-zontal. Below are two common falls written without any specific performance details.
++
• ~fu b
The fall is caught by a lunge on the right foot. The A backward fall to sitting, known as a 'prat fall.' center of weight is then centered above the new support.
When the new support after a fall is on a part of the torso such as the hips, as in 626b, the fall is concluded. The center of weight has reached floor level and is supported on a part that has no 'limb' to provide distance from the point of support, so no cancellation of the center of weight in motion is needed.
Falls Written without Specifying Center of Weight Motion By using the signs for body sections (see pages 220 and 221) the notator can show move-ments that produce the action of falling, as in the basic notations of 627a and (b). When emphasis is on the center of weight motion, it should be included in the description.
627a Falling backward: the chest to ankles moving
backward middle in one piece
CANCELLATIONS
Changes of Level
b Falling forward: the chest to knees moving for-
ward middle in one piece
1. A change oflevel written with a leg contraction sign, 628a, is automatically cancelled by the next support indication, unless a hold sign is used, (b).
628a An ordinary low level step forward follows the deep knee bend
b Degree of bend
remains during the side step and closing
c The degree of knee bend
is held until cancelled as the feet close
or
d The same, indicated
by the general cancellation sign
364 LABANOTATION
2. A change stated in terms of the center of weight must be cancelled by: (a) another center of weight indication, (b) a return to normal for the center of weight (c) the general indication that the previous state is no longer in effect (d) a support on a part of the body other than the feet.
629a The center of weight remains down until
the step forward when it comes part way up
b The center of weight returns to normal on the middle level step
Miscellaneous Cancellation
c The previous state of the center of weight
is cancelled
d Kneeling includes a
center of gravity level. However, cancellation is needed for the final
step to be a normal low level support.
Cancellation of center of weight displacement (shifting) is shown by: 0 , 1\, or by using the center sign: --H-- . Center of weight leading has automatic cancellation as with all pass-ing state indications (see Fig. 623). Elimination of natural resilience, as in 619a and (b), is cancelled by 8 ,or by 1\ when the normal state is not reached. Falling is cancelled as indi-cated in 625a-c and 626a and (b).
SPECIFIC SITUATION OF THE CENTER OF WEIGHT Distance for the center of weight when supporting on the feet was given on page 356. The distance may be greater or less if the support is on other parts of the body. Description of such distances, sufficient for the recording of all movement other than the most scientifi-cally detailed, is based on the convention of using body-lengths to determine distance for the center of weight from the point of support. The three body-lengths are the length of the legs; the length of the torso; and the length of the arms.
The Three Lengths in the Body: Arms
Torso
Legs
630a Indication for more than one length:
V1 = 1 Y, body-lengths ~ = 2 body-lengths
CHAPTER 24 EQUILIBRIUM, LOSS OF BALANCE 365
In an upright position the center of weight is one body-length - the length of the legs from the point of support. In a hand stand there is greater distance - the distance of the arms plus the torso - two body-lengths. When the center of weight is above the point of support, the distance is always described in terms of degrees of place high; when it is below the point of support the distance is measured in terms of degrees of place low; when it is at the point of support, or as close as is physically possible to the point of support, it is at place middle.
Fig. 630b illustrates a handstand. When a dancer is up as high as possible while supporting on the hands, the center of weight will be two body-lengths 630b from the point of support, the length of the arms and the torso.
The tables on pages 366 and 367 illustrate a progression from the greatest distance above the point of support to examples at the point of support, and also a progression from the greatest distance below the point of support up to the point of support. Use of these possibilities in acrobatics, gymnastics, etc. are given in the Advanced Labanotation book Floorwork, Basic Acrobatics.
Two examples are given here oflocation of the center of weight. Fig. 631a shows moving from kneeling into an elbow (lower arm) stand. Hanging from a bar by the knees is shown in (b). This starts from a standing position. After the hands take weight, the body curls up, the legs extend so that the knees can grasp the bar from above and take the body weight as the hands release and the body hangs down.
<>
?o • I~ [b
~x
c 3~ VI
631a b ~ Falling motions of parts of the body, the head, torso or limbs is given in the Advanced
Labanotation book Center of Weight, Section 24.
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25 SYSTEMS OF REFERENCE
ANALYSIS OF DIRECTION
When actions are described in terms of direction, be it spatial destination or motion to-ward a direction, the reader must know what system of reference is in effect. How will a command such as "Hands up!" be interpreted?
"HANDS UP!"
In this cartoon we see two distinctly different reactions to the command "Hands up!" The two barbers who are standing automatically raise their arms overhead toward the ceiling. There is no question as to where 'up' is for them. But the two clients lying down have cho-sen different 'up' directions. One has taken his arms 'over his head; while the other is reaching for the ceiling. This difference lies in the system of reference each has used. The client with his arms raised toward the ceiling has in mind the constant line of gravity in which up is always toward the ceiling and down toward the floor. The client with his arms
CHAPTER 25 SYSTEMS OF REFERENCE 369
over his head is thinking of his own physical directions, in which up is headward and down is footward.
How should the instruction "point forward" be interpreted? Is the direction forward to be toward the front of the room, toward the direction in which the body as a whole is fac-ing, or the direction in which the front of the chest is facing? When one is standing upright facing the front of the room these three possible interpretations are all the same, but in other situations they may differ.
In the illustration here, A is pointing to the audience, the front of the room; B is pointing to where his whole body is facing; C is pointing to the direction forward from his chest, while D, who is standing upright and facing the audi-ence, is doing all three of these things.
Each of these three possibilities is based on a directional system of refer-ence, a cross of axes. Of these three, one is considered the standard and is automatically understood to be in effect; the other two require keys.
Reference has already been made in preceding chapters to one or other of these crosses of axes. In this chapter we bring together for comparison information on all three.
THE THREE CROSSES OF AXES A cross of axes is comprised of three lines intersecting at right angles. From the point of intersection each line goes out in two opposite directions into infinity. It is from this central point, called 'place: that all directions are judged. (See page 20, Fig. 7.)
The three crosses of axes used in describing direction are:*
~
j?U'FP' ~ L. R.~
635
B. til D. •
1. + The Standard Cross of Axes: The direction forward is determined by where the performer is facing (his/her personal front): up and down remain constant.
2. -9- The Cross of the Body Axes: Direction is established by the build of the body, up being 'headward: down being 'footward' (toward the 'tail'), forward being 'chestward: etc.
3. -$- The Constant Cross of Axes: The unchanging set of directions established in the room.
Note: all three crosses of axes are centered in the performer and all three coincide when the body is in the upright position and facing the front of the room.
THE STANDARD CROSS OF AXES (SYSTEM OF REFERENCE) The name Standard has been given to the system of reference most commonly in use. In the Standard Cross of Axes, the vertical line (line of gravity) remains constant. When the performer tilts away from a normal vertical standing situation, the Standard Cross of Axes
'See Appendix B, note 25.
370 LABANOTATION
does not tilt. The performer relates his/her movements to this 'vertical constant' frame of reference. Therefore up is always toward the ceiling or sky and down toward the floor or ground. The other dimensional directions, forward, backward, right and left, lie at right angles to the vertical line of gravity. (See page 201, Figs. 324a-c.) The direction forward, es-tablished by the personal front of the performer, is that wall or corner of the room that s/he is facing when in the normal upright, untwisted position. Once this direction is known the sideward and diagonal directions fall into place. After each turn a new front is established and this becomes the new forward direction.
The symbol for the Standard Cross: + (a cross superimposed on the center of gravity sign: .) represents a cross of axes based on the line of gravity. (For this reason this system could also be called the Line of Gravity Cross of Axes.) Reference to directions based on the Standard Cross of Axes may be abbreviated to 'Standard directions,' 'Standard side middle,' etc. Specific examples of its use will be presented on a chart for comparison with the Cross of Axes in the Body, following an investigation of the latter.
THE CROSS OF THE BODY AXES The cross of directions based on the build of the body has its 'up-down' dimension in the body's longitudinal axis (line of the spine). 'Chestward' and 'backward' represent forward and backward body directions, while the right and left sides of the body provide right and left direc-tions. Fig. 636 shows the directions when diving. When the performer turns and changes front this cross of directions turns with him. It is the system of reference most applicable when either the force of gravity does not exist, as in the weightless state, or when there is no defined area, no floor or ground to
Backward
which the performer can relate. 636 Up
Down
Forward
The key for the Cross of Body Axes -+ is a circle centered on a cross. (Throughout the Laban system indications that are based on or appear in a circle refer to physical aspects.) The Cross of Body Axes is often called the Body Cross, and directions referred to as 'Body-forward,' 'Body-side middle,' etc.
A floor must of course exist for steps (transference of weight). This at once establishes a 'down,' a gravitational direction in relation to which the situation of the main axis of the body (whole torso) must be made clear. For forms of acrobatics and movements in the weightless state (which will be presented fully in the Advanced Labanotation book Body Variations), movements of the body-as-a-whole are usually described as revolutions, and paths of one form or another; movements within the body are described as flexions of the joints or as directional gestures relating to the torso build. In normal circumstances the Body Key does not apply to steps or to tilts of the whole torso, but affects directional de-scriptions of limbs, and of individual movements of the head, chest, shoulder area, and pelvis.
COMPARISON BETWEEN STANDARD AND BODY DIRECTIONS The following examples illustrate various situations of the body and placements of the limbs notated for purposes of comparison from both the Standard and Body systems of reference. The words 'up,' 'down,' etc. placed by the figures refer to the unchanging Stan-
CHAPTER 25 SYSTEMS OF REFERENCE 371
dard directions. The Standard Key is placed in parentheses, as it is not normally written, being automatically understood.
Directions when Standing or Supporting on the Hips
(+) ~[JIIJ ~ (+) ~[ill] ~ (+) 1flIT] I Up Up
i /j Up
For- Back- For- Back- For-
II Back-
ward ward ward ward ward ward
Down Down Down
{- ~[JIIJ ~ {- ~flIT] ~ {- ~flIT] ~ 637a b c
--- --
~~~ (+) (+) ~m~ (+) 'm' ........ Up Up Up ,,,- 2 Back-
~ Back- ~ For-ward ward For- Back-ward ward ward ward
Down Down Down ---
~~~ {- {- ~m~ {- ~f.IJ+lj ~ \ s ........ 637d e f
Directions when Lying on the Back
(+) Im~ (+) ~mQ Up
Up
For- j-\ Back-Up
For- Back-ward ward 'm ~n"k ward ward
ward ward 5 I==~
Down Down Down
{- ~m~ + ~m~ 638a b c
372 LABANOTATION
(+) ~ m ~ (+) ~ UTI ~ Up
Up
'''_~R~k For~Back-ward ward ward ward
Down Down
+ Im~ + Im~ 638d e
Directions when Lying on the Front
Up
H Back- -', , For-ward
, , ward (
, , , , '. ~
Down
639a
Up
Back- " ~r _ For-wa~rd
Down
--
<+) ~m D Up
Back- For-ward -=r ward
Down
+ Iml b
Up
Back~Forward ward
Down
639d e
C+)' Ollll up
ward ward For- ~Back-
Down
+ ~UUt f
(+) ~ m ~ Up
Back- For-ward ward
~ Down
+ ~m~ c
c+) UI ~ldI '" Up
'''knr'' ward ward
Down
CHAPTER 25 SYSTEMS OF REFERENCE 373
Directions when Lying on the Side
---
~rn~ c+) ~IJIJ ~ c+) Up
Up Up
(r Left Right
Left Right = r Left Right -~ \
\ \ ,
Down , , Down ...
Down -1- ~I[] ~ + Im~ 640a b c
(+) ~mb (+) ~m~ c+) ~~ Up For- Up
ward
~ Left
Left Right Left Right
Back-ward Down
Down
+ ~m~ + ~m~ + HID~ 640d e f
The directions and levels that have been illustrated with the body supported hold true when it is in an unsupported state.
When lying on the ground, limbs can gesture only in middle or high level, judged from the Standard Key. For the limbs to move in low level in Standard Key, we must be sup-ported on a table, chair, or other object allowing them to hang down. Such a situation is depicted in the last example in each of these sets of illustrations. Note the difference in de-scription when using the Body Key: -t.
If when lying on the floor the direction 'forward' does not immediately seem clear when the Standard system is in use, the sudden command "Get up and run forward!" will pro-duce the right result. Without having time to think, the individual automatically goes in the correct direction. This test works whether one is lying on the front, side, or back.
THE CONSTANT CROSS OF AXES The cross of axes based on directions in a defined area, called the Constant Cross of Axes, was discussed in Chapter 8 on pages 89 and 90. For abbreviation, directions based on this system are called 'Constant-side-low,"Constant-backward high; the direction being accord-ing to the Constant Cross, the level being the standard level for a support or for a gesture. -
374 LABANOTATION
APPLICATION OF THE THREE CROSSES OF AXES
Because the Standard Cross of Axes is the one generally in effect when no key is stated, use of this key will be given last. A brief resume of the use of the Constant Cross of Axes system of reference is given here.
USE OF THE CONSTANT CROSS OF AXES KEY
As Front Signs* The key for the Constant Cross of Axes provides Front signs that indicate the performer's orientation in the room. These signs are placed outside the staff on the left at the start of a score and whenever a change of Front has occurred, as in 64la. Note the use of a capital F for such Front signs to distinguish them from the front of the body, front of the chest, etc.
As Destination of Turning When the destination of a turn is best described according to where the person or part of the body ends facing, a pin (tack) derived from the Front sign is placed within the turn sign, as in (b). Here a tack is used for the destination of a pivot turn and of a turn of the head.
As a Key for Direction of Steps and Gestures
64la B
-8J ~ C
64lb @
When a movement direction is to be judged from the room rather than from the Standard system, the Constant Cross Key is used either within the score as a pre-sign where it modi-fies a particular step or gesture, or outside where it modifies all directional indications until it is cancelled. It is important to note that levels of steps and gestures are still judged in the usual way, i.e. the standard levels.
Within the Columns: The key -$- may be used within a column to show a momentary departure from the established key. In such usage either the key sign must be repeated for each symbol or the key can be placed in an addition bracket alongside the movement indi-cation(s) it modifies. The following examples provide a comparison between instructions given in terms of the Constant Cross and those with a Standard description (Standard system of reference). **
Constant Directions Directions are taken from the Constant Cross, level for steps and gestures follow standard usage.
*See Appendix B, note 4 **See Appendix B, note 36.
642a @
The arm and head move toward the audience, then
toward the back of the stage. A repeated key has been
used here.
CHAPTER 25
Standard Directions When a gesture occurs toward a Constant
direction while the body is turning, the ef-fect is the same as if a space hold were writ-ten within a direction symbol. (See Fig. 17Sc, page lIS.)
642b @
SYSTEMS OF REFERENCE 375
The same as (a) written in the usual way: the
key + is understood.
Outside the Staff: When a system of reference key is placed outside the staff on the left it is understood to govern all directional indications until cancelled.
Constant Directions
The arm and steps move toward the [8-back of the room. The arm, moving in front of the body, rises constantly m during the steps L::fT and turn, ending sideward high. -8J
642e
642c
Standard Directions
The same as (c) written from the Standard Key. The arm moves toward the direction that is side left at the start of the action and ends up as a side right gesture.
g
d
In 642e the performer is lying on her back, facing stage right. Fig. (f) describes the direction of her limbs from the Constant Cross of Axes, while (g) is the more familiar Standard description.
For Performers with Different Fronts When several dancers have different fronts, uniformity in the direction of their paths or gestures may best be described in terms of the Constant Cross.
-$-
643a A
In 643a both dancers A and B travel toward the right side of the room on parallel paths, and gesture with an arm in this same direction. For A the Standard direction would be right back diagonal high, for B left forward diagonal high.
376 LABANOTATION
Four dancers on stage, each with a different Front, repeatedly perform a stamping and hopping pattern while traveling toward the audience. Here the Constant Direction is very helpful.
3
2
4
~BJtp0 643b ABC D ABCD
For Paths Involving Turning The direction of a path may best be described ac-cording to the room direction in which the per-former is traveling. This is true of revolving on a straight path, or of deviating toward a room direc-tion during repeated turning patterns. Fig. 644a shows a waltz step in place that changes facing direc-tion at the end of each measure and also gradually travels toward the Constant side right direction.
When a performer is revolving on a straight path, the direction of the path may best be de-scribed in terms of room direction. The usual de-scription for such paths was given on page 170.
644a ~
Figs. 644b and (c) illustrate a walking pattern written both ways.
Constant Directions Standard Directions
[8-
I [8-
During the steps
m The same as (b) but
that travel toward written in the standard the front of the way as revolving on a room, the per-
l path into what was
former revolves the side direction at 112 around him/ -$-
the start. herself to the right.
-ill -ill 644b
For the Axes of Revolutions, Rotations and Circular Paths
r
I m
1 c
Revolutions of the whole body such as occur in acrobatics are only briefly presented in Chapter 28. When more than one body rotation is occurring at the same time, it is helpful if one of these is described according to a Constant Direction axis. To describe actions using a
CHAPTER 25 SYSTEMS OF REFERENCE 377
Constant Cross axis instead of the understood Body axis (-+), the Constant Key is placed within the revolution sign. Sagittal or lateral circular paths of the whole body or of a limb may also more easily be described ac-cording to a Constant axis, particularly when combined with rotation of the whole body. When the body is off the vertical, pivot turns around the Con-stant vertical axis, 645a, somersaults around the Constant sagittal axis, (b), and cartwheels around the Constant lateral axis, (c) can be the more practi-cal descriptions to use.
645a
645d
f I I -$--$- -$-)' A <:::
USES OF THE STANDARD CROSS OF AXES KEY
etc.
Paths in space: the three types 0 f
circling related to a Constant axes
The key for the Standard Cross of Axes needs to be stated only for cancellation of other keys, often after a divided front has occurred. Such divided Front was described on pages 267-269, and use of keys for a departure from the established rule for describing direction was given on pages 269 and 270. Two additional examples of use of the Stance key are given here.
For Divided Front: Stance Key -+ * Judged from the established front,
the leg gestures and the head looks to the right while the arms gesture left. Degree of rotation for the pelvis and chest is not stated, being left open to the performer. Achieving the spatial directions is obviously more imp or- 646a tant than relation of arm to shoulder or leg to hip. A comparison is made below between em-phasizing the choice of spatial or body relationship in describing direction for gestures.
b-$ " .. -;>,
" OJ .n..\< <=1"0 OJ 0 ~ 0 "C tn + :;: ... 5.$5
~ ~ ~ 646b ~~ (Count 1) c l!J~
Because of the established rule of an unwritten but understood Twisted -Part key: -$ , in 646b emphasis is on the relation of limb to body. On count 1 the leg gestures backward from the hip as the pelvis rotates right. On count 3 the leg gestures forward from the hip as the pelvis rotates left.
Because ability to perform torso rotations varies with each person, spatial accuracy, particularly for unison movement, is best achieved by a spatial description, i.e. use of the
Stance key: .' as in (c).
'See Appendix B, note 25 (ii) and (iii).
378 LABANOTATION
For Axes of Revolutions, Rotations and Circular Paths of Limbs Revolutions of the whole body or rotations within the body can be specified as being around the vertical line of gravity by placing the Standard Cross of Axes key within the turn sign. For traveling of the body-as-a-whole, horizontal circular paths are always un-derstood to be around the Standard vertical axis. The Standard Key is the rule for all circu-lar paths described by limbs, for the arms in particular. Paths for limbs, introduced here briefly, is dealt with fully in the Advanced Labanotation book Spatial Variations.
In the upright position, the Standard and Body Crosses of Axes coincide. The Standard key is the understood axis for ro-tations as well as the axis for horizontal cir-cular paths walked across the floor, 64 7b. It is also the key for gestural paths, as in 647 c. For Motif Notation, a hold sign must be placed at the base of the path sign when used for gestures. When for Labanotation, path signs are placed in a gesture column on the three line staff, use of this hold sign is not necessary.
647b
Revolutions (rotations) around the Standard vertical axis
JJ J c
In 647d, the extremity of the left arm describes a clockwise circular path overhead. In (e) the right arm rapidly performs four backward somersault circles, the understood lat-eral axis passing through the shoulder. In (f) the arm performs three cartwheel circles to the right, the sagittal axis at the shoulder being understood. This same kind of circle occurs farther from the body in (g) as a result of the more forward starting position; a 'cone' shape results rather than moving on the plane. Fig. (h) shows a circular path without change of Front (without rotation) for the head, the vertical axis being understood to pass through the base of the neck. Fig. (i) is the same circular movement written as a series of head tilts. Compare (h) with the path of 277b.
I I I I I ~
~ ~ 4 3 3 k
1 1 1 1 <>
1 ~ 4 ~ b ~ T T
c c 647d e f g h
USE OF THE CROSS OF THE BODY AXES KEY
As Destination for Rotations and Twists of the Limbs As explained on page 243, the white pin, derived from the key: -} for the Cross of the Body Axes, states the destination of a rotation or twist of a limb judged from the normal
CHAPTER 25 SYSTEMS OF REFERENCE 379
untwisted state. In 648 the legs start turned out. The right leg rotates in and out while the head rotates right and left. (See Fig. 435a, page 259.)
As a Key for Gestures When gestures of the arms, head, etc. accompany a tilt of the whole torso, it is often practical to use a description in terms of the build of the body (Body directions).
Within the Columns*
0 ~~ ~ -1-~
~ (end position) ~
649a b :j::j:
648
~ ~ -i-
~ (end position)
The arms are 'above' the shoulders while the torso is tilted to the left.
The angular positions of the arms are described from the build of the body. (Note use of divided columns.)
Outside the Staff. When the key is placed outside the staff it refers to all gestures but not to supports and whole torso tilts.
Arm and head directions are described from the Body system of reference. The line of the spine is directed forward high. The head tilts
backward from this line; the arms are forward from the chest.
o
649c
~ ~ = V1 C
o .r-X~
~@ : ______________ --'1
BODY CROSS OF AXES KEY: DIVIDED FRONT When the body-as-a-whole is not in the upright situation, it may be desirable to describe direction according to -9--, the Body Cross of Axes (Body directions). In such situations the parts of the torso may all have the same Front, establishing a Body 'Stance,' as in 650a below, in which the Body-Stance forward direction is toward the ceiling. When parts of the torso twist a divided Front results. The choice of directional description and use of keys for -9-- are similar to those discussed on pages 266-269 in connection with use of +. Com-pare Figs. 650a-c with Figs. 449a-c.
650a
Body Stance ~
t t t t ~
* See Appendix B, note 25 (i).
Body Stance ---'--. t t
~ ~
b~
Body Stance
c
380 LABANOTATION
The three keys: -+, -$-, t, have their counterparts based on -9-. The abbreviated
names for these are: Body-Stance key: +; Body-Twisted-Part key: -$; and Body-Base-
of-Twisted-Part key: t. Addition of the term 'Body' stipulates that direction and level are taken from the cross of axes in the body. Details on application of these keys will be given in the Advanced Labanotation book Body Variations. They are not commonly needed.
It is common, however, for the key: -$ to be used when + is in effect, particularly for movements of the hand when the arm is in motion. The cross of axes is centered in the wrist; the palm is considered the Front, the hand in line with the forearm is place high. In a forward hand tilt the palm ap-proaches the forearm; in a backward tilt the back of the hand approaches the outside of the forearm, and so on. In 650d the hand bends toward its own front and back while the arms moves. Because the arm is constantly changing di-rection and rotating, these hand directions are difficult to describe by other systems of reference.
Use of Divided Front Keys Based on -9-
650d
In the following examples head tilts illustrate use of keys for divided Front based on -9-. Other descriptions are possible but those given are the ones commonly used in such situations.
~ ~ ~ ~ ~ ~ ~ b -} c or C -+ or + or
~
651~ (+) ~ c c c c d e g h
In 651a the body starts supine. The head is then raised Standard backward high, (c). The performer may prefer to describe this action as a Body-forward-high tilt, (d), judging the direction from -to In (e) the head starts rotated to the right and therefore has a different front from the rest of the body. The head is then raised to Stance back-ward high, (g), the same Standard direction as in (c). This action can also be described from Body-Stance as in (h), the same direction as (d), or from Body-Twisted-Part, as in (i).
In 651 j the chest has twisted 114 right and the head has an additional 11 4 rotation. The head then lowers toward the right shoulder, (k). Though a Standard Stance description could be used, it is more likely that the performer will think of the action as a forward tilt from -$ as in 0). In relation to the chest it would be a side high tilt from the base of the head, as in (m). 651j m
CHAPTER 25 SYSTEMS OF REFERENCE 381
Axes of Rotations and Circular Paths for Whole Body and Limbs A Body Cross of Axes is the understood key for the axes of revolutions of the whole body, for rotations and twists within the body, and for vertical circular paths of the body as a whole, such as somersault or cartwheel paths; therefore normally no key is written.
652a
.~+ ~ ~ ~ etc
, , J II t For revolutions and somersault and cartwheel paths of the whole body, a Body key is auto-matically understood.
THE FIXED POINTS IN THE ROOM
The fourth system of reference to which movement may relate is based not on a cross of axes but on a system of fixed points on the surface of a defined area such as a room or stage. Whatever the size or
~ ~ ~ shape of the room or stage, it is to the
~~ \ " existing corners or walls that the sym-
/~ boIs refer. Thus reference to the right front corner will be to that actual corner and not to where it would be if the ~---7 /~ room was a perfectly shaped cube. Fig. 653 depicts an average shaped room ~ '~ ~ indicating some of the main points. The ,~ I other points fall into place accordingly. 653 ~ • I • INDICATION OF FIXED POINTS The key for the Fixed Points combines a defined area D with a spot hold <:> (see pages 397-400), producing the indication ~,* which signifies a spot in a defined area. The spot in question is shown either by a direction symbol or by adding a pin to the key sign.
b etc.
~ 654a K:il
Figs. 655a and (b) compare use of this key placed before a direction symbol with modi-fication of the key sign by use of pins.
*See Appendix B, note 37.
382 LABANOTATION
~ ~
(~ ~ I~ Lj ~
~ r-v
or (~ ~
I Qj Qj
655a ABC b ABC
In these examples performers A, B, and C, who are spread across a room and are all facing front, gesture toward the center of the room's ceiling. Each then gestures to the low edge of the right front corner and finally to the high center point of the right wall.
When placed outside the staff on the left the Fixed Points key states that all directions are judged by the fixed points in the room. Level for gestures is according to the level of these fixed points. Steps take the direction of the fixed point; level of steps is, however, the standard supporting level of the body in relation to the floor.
A, B, and C, each facing stage left but spread across the stage, all walk toward fixed point center back, while arms gesture first toward the low center back point, then toward the
l ---1A ---1B ---1C
\11 •
high center back point.
655c -8J ABC
DIRECTIONAL KEY FOR BALLROOM DANCING -LINE OF DANCE In ballroom dancing the convention is to progress around the room in a counterclockwise direction, moving usually near the outer edge of the floor. (See page 176.) This path is called the "Line of Dance" (L.O.D.). In many ballroom dances there is no need to relate to the walls or corners of the room or to the Constant room directions. Instead performers are aware of their relationship to the Line of Dance, whether they are facing the direction of this line, or have their backs to it, and so on.
Indication of the Line of Dance A black pin, taken from the pins that describe degrees of turn, placed within an oblong provides the key for Line of Dance, as in 656a. This sign is placed at the start of a score to indicate how the performers are to relate to their environment.
Front Signs for Line of Dance. Front signs relating to the Line of Dance are similar to those derived from the Constant directions in the room, but a black pin is used instead of a tack.
Full details on usages in ballroom dancing are given in the Advanced Labanotation book Spatial Variations.
656b c!J c ~ e---EJ
656a ~
Face the L.O.D. Your back is to the L.O.D.
Face wall, (L side to L.O.D.)
Face center, (R side to L.O.D.) f ill
CHAPTER 25
CANCELLATION OF KEYS
All keys follow the same cancellation rules.
PLACEMENT OUTSIDE THE STAFF A key placed outside the staff on the left modifies all direc-tional indication within the staff until it is cancelled by another key. A return to the standard description of direc-tional movement is indicated by the Standard key. In 657 the Constant key stated at the start of the first measure is cancelled on the third measure. The steps that had related to the room directions revert in the third measure to being judged from the Front of the performer.
PLACEMENT WITHIN THE STAFF A key placed within a column before a direction symbol modifies only that symbol. Automatic cancellation is un-
SYSTEMS OF REFERENCE 383
+
657
derstood. For it to apply to subsequent direction symbols the key must be repeated; in many cases use of the addition bracket (see page 431) may prove more practical.
658a b c Repetition of the key:
the arm circle is described according to Stance (the
untwisted front).
Adjacent placement: the key, placed next to the
symbol it qualifies and tied to it by a small bow, is in
effect until cancelled at the end by the Standard Key.
Use of the addition bracket: the right arm circle is described
according to the room directions.
THE RETENTION SIGNS
Retention in the Body The body hold sign '0' indicates a retention in the body; the rela-tionship of one body part to another is retained. (See Figs. 349, 350; also Figs. 505a-e.) In 659a the torso remains tilted forward during the walking pattern.
Retention in Space The space hold sign: 0 indicates the spatial retention of a limb in relation to the room directions, that is, to the Constant Cross of Directions. 659a
384 LABANOTATION
When placed within a direction symbol the limb moves on an undeviating path into the stated direction as described at the start of the movement. As the body turns this direction changes in relation to the body, but not in relation to the spatial direction indicated, as in 659b below. (See Chapter 8, Fig. 141; Chapter 9, Figs. 177b, 178c, d; Chapter 10, Fig. 205a and Figs. 209c-f.)
Use of the black diamond: • indicates the same undeviating path for a gesture but the direction is described according to the end result, the ending directional destination. (See Chapter 10, Figs. 206f and 209d.)
The Standard Retention When turning is combined with a circular path, the ordinary space hold sign may not be suitable; the retention should not be toward a room (Constant) direction, but in relation to the direction of pro-gression on the circular path. In 659b a simple example is given of the torso re-taining the spatial direction of its tilt while progressing and turning on a straight path. Here the ordinary space hold sign can be used.
In 659c this same pattern is occurring on a circular path. The torso tilt needs to 659b relate to the path, therefore a Standard Re-
I·
.!..
c
tention: @ is needed. This sign relates to the Standard directions which travel and turn with the performer. In this example the performer's Front is described by the focal point relation-ship to the center of the circular path.
Another application of the Standard Retention relates to the KIN understanding of the strong retention of a direction symbol stated in the score. In 659d the performer starts lying on the back, arms forward middle. During the rolling to the right the arms are to re-tain the forward middle direction in relation to the Standard Cross, i.e. in relation to the 'Front' of the performer. To do this, the arms move in relation to the body through articu-lation in the shoulders. In (e) the arm movements are written; the repetition of the same direction symbol shows the physical adjustment needed. The resulting path of the arms could be described as horizontal circling, written in (f).
~ ~ I - ~
I ~ ~ ~ ~
! ! !
1 1 @ @ ~ ~ ~ ~ ~ ~ ~
0
~ • 659d e f
CHAPTER 25 SYSTEMS OF REFERENCE 385
TABLE OF SYSTEMS OF REFERENCE
NAME SIGN DIRECTION LEVEL APPLICATION (forward etc.) (d',;and of main key
relates to: own)
Front of body as a whole: Degree of tum & STANDARD + (that side or comer of the CROSS OF room that the person fac- 0) Indication of AXES es when in the normal up- " oj Line of Dance
~ ;.:1
right untwisted position) 1:i 8 (as in ball-~
-------- - -- ----------------- l'l "-< room dancing) :g 0
Soecial Kevs for Divided Front 0 0)
U " Front signs for r!J 0) ·0 [3-.0 Line of Dance
For twisting: the front of the -5 " Twisted--$- "
"-< free end; for rotating: the 0 0
~ Part " en
0) front of the individual part en .@ 0) Understood reference for:
Ei -------- - -- ---------------- Ei ~ ~ ~ 1 r 0 OJ)
"-< Front of the untwisted part " ~ Horizontal cir-~ -+-
~ 0 0) Stance (the part that retains the 0 cular paths of "0 .;; 0. original front) "0 ~ the whole body
" 0) '" 0 -------- --- ----------------.0 0."-<
1 1. L - Base-of- Front of Base (section at ~ 0
" Twisted- t Gestural .- point of attachment) of circular paths "0 Part part twisting or rotating 0)
~
OJ - BODY Degree of twist
~'&J " Physical front of OJ CROSS OF -1- body as a whole OJ from untwisted u AXES -5 oil state OJ
·3 OJ "-<..c 0-
~ -------- - -- ---------------- .~ .8 .~ Gestures in rela- ~ '" Soecial Keys for Divided Front >< en tion to the torso '" OJ en -" 1:: +-" .S] '" >< 0.
Movements of '" Body- ~~
OJ
t For twisting: the front of the -5 extremities dur-"-< Twisted- ~ free end; for rotating: the "-<
OJ) " 0 ing actions of 0 ,,-'" Part front of the individual part o ~ 1A major parts en - '" " E Ei 15 en - C" en -------- - -- ---------------- 0- ..c Weightless state -" -0 ,,~ 4-....
_ 0
u
~ Front of the untwisted '" . en
Body-Stance - " part (the part that re- ~o ." Understood reference for: - ".0 '" - tains the original front) ~ ~ -;;; --< o '" " Revolutions, 0, 0, D etc.
"0 en 'is -------- - -- ---------------- "0 '" " rotations and
fa .s·51 twists Body-Base-
t Front of Base (section at 0. 0 " ~ .0 .Q
1, 1 etc.
of-Twisted- point of attachment) of Circular paths in
Part * part twisting or rotating vertical planes for whole body
CONSTANT "-<;>, Front signs t9 Br -$- Constant directions 0.';::
CROSS OF OJ ,.
in the room .S ~ Destination 8- ~ AXES ~o of the tum
Addressing
THE FIXED ~ The physical walls, edges and Radial paths for a group
POINTS comers of the room or stage Focal point for group gestures
26 VARIATIONS IN POSITIONS, PATHS, AND STEPS
VARIATIONS IN POSITIONS
POSITION SIGNS (RELATIONSHIP PINS) Pins are used in many connections but always with the same basic idea. They represent in miniature the full range of principal directions. Black pins represent low level, straight pins (tacks) middle level, and white pins high level directions.
'. !
,/ .1 \, !
c/ 'y ..( -- -+- - ---1 -If- f--0 -0- 0--
/ T " .r A... /"
I "" 660a b T c Downward, low level Horizontal, middle Upward, high level
level
The signs for below can be written: + or ---, above? or --0--, and center (within, inside): .1 Tor-H-.
These pins, used for small movements, can be thought of as miniature direction sym-bols, with the following relationships:
These pins are used to modify or describe:
1. Positions of the feet 2. Relationship to the center line of the body
CHAPTER 26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 387
3. Relationship of one part of the body to another, to an object, etc. 4. Intermediate directions 5. Degrees of turning, rotating and twisting 6. Deviations: (a) from a standard direction or position; (b) from a previously estab-
lished position, situation; (c) from the path of the movement.
RELATIONSHIP TO CENTER LINES OF THE BODY Use of black pins for positions of the feet was covered in Chapter 6. Placed next to support symbols, pins are usually understood to describe the relation of one foot to the other. They also are seen to state the relation of a step or support to the center lines of the body. Use of the center lines of the body in walking (specific 'tracks') was introduced with the familiar "tightrope" walking on page 58, Fig. 69b and 70a. Application of other center line 'tracks' is given in the Advanced Labanotation book Spatial Variations.
In arm positions, such as occur in classical ballet, a black pin next to a direction symbol states the relation of the extremity of the arm to the center lines, or, to be more exact, to the center areas of the body.
The Three Center Lines (Areas) in the Body The three dimensional directions in the body form a cross of axes; this provides three cen-ter lines: the vertical (line of gravity), the sagittal (forward-backward), and the lateral (side to side). Reference to the center line for gestures and steps usually denotes the sagittal cen-ter line. Occasional reference is made to the lateral center line for steps, though rarely for arm gestures.
Areas Resulting from the Center Lines For positions of the arms, the extremity of the limb does not fall precisely on the center line itself, but within the area established around each center line. Diagonal center lines are also included, providing diagonal areas, as illustrated in the following diagram.
a - center front area b - right front diagonal area c - right side area d - right back diagonal area e - center back area f - left back diagonal area g - left side area h -left front diagonal area
The black pins used for arm positions are not intended to be exact; when precise place-ments are needed, Track Pins are used. (See below.)
For positions of the arms that relate to the center lines of the body, black pins are used regardless oflevel, following the convention established for positions of the feet. The situa-
388 LABANOTATION
tion of the arms, down at the sides of the body and slightly rounded as in 661b, could be shown with sideward pins, as in (c). These pins, however, are not ordinarily needed.
A few examples of arm positions modified by a specific relationship to the center lines of the body are given below. (See Note 14, Appendix A.)
661b General statement Relationship stated
661d The arms (their extremities) are in the center
front area of the body
661£
661h
Arms up, rounded and in the center front area, i.e. more forward than (e)
t • The same as (g) but with the extremities in the
center front area
TRACK PINS
e
g
The above sign is used for arms exactly overhead
The left arm is forward low of the shoulder, the right arm forward high of the shoulder
Correct carriage of the arms (port de bras) in the forward direction in classical ballet: arms
are forward, slightly below shoulder level* and slightly rounded; elbows are 'lifted,' (i.e. ro-tated slightly inward); the extremities of the arms (fingertips) are in the center area (i.e.
close to one another).
Track Pins are presented here briefly, they are explained in detail in the Advanced Labano-tation book Floorwork, Basic Acrobatics; in the book Spatial Variations, they are applied specifically to arm positions.
*See Fig. 665c for this intermediate direction
CHAPTER 26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 389
There are five sagittal tracks for the arms. Each arm lies in its normal track, indicated as (a) on the diagram of 662a. The center track is marked (c). Between these lie the diagonal tracks, shown as (b).
662a
:1: 1 : I : (: I: I I=*=I::FI=*=I=FI I I I I I I
:a:b:c:b:a: I I I I I I
:~: ~
b 1 Side track for the left arm
d Diagonal track for the left arm
c I Side track for the right arm
e Diagonal track
for the right arm
f ~ Center line in center track
When two parts are on the center line they must slightly J l overlap. More often the indication of placement next to the 662g left right
center line is needed. Either side of the center line
In 662h, as the arms rise, the hand of each arm moves in the track of the opposite arm, i.e. somewhat crossed. The retention of the flexed wrists in (i) re-sults in the inner surface of each wrist (the extremity) being on the center line, one arm higher than the other. The extremities of the arms, the fingertips, are next to the center line in (j).
~~ ~~ ~ ~ D ~ .~~ ~l
x x
I~ ~1 ~~ ~~ .~. .l x x
662h I I ~D dt ~ ~ DIRECTION OF RELATIONSHIP A relationship indication can be made more precise by placing the appropriate pin next to the active part to state from which direction a contact or relationship occurs. The pin is often placed within the relationship bow for clarity.
The right arm is above the left
b The left hand touches the
head from above
ffi11 c __ _
The right foot touches the left knee from behind
A pin placed in conjunction with an addressing sign is written from the point of view of the active person.
663d A e A jumps over B
I f- ---1 I ~
!\s right arm gestures inside the circle formed by B's arms
390 LABANOTATION
Note how in 663e the floor plan gives a direct visual image of the placement and relation-ship of the two dancers, even though this relationship has been stated in the movement score through use of the meeting lines. (See Chapter 22, pages 337 and 338.)
INTERMEDIATE DIRECTIONS For many purposes the principal directions suffice. For a fully detailed movement descrip-tion, subtle variations in direction are often needed. Different dance styles may rest upon slight spatial differences.
Two methods of writing intermediate directions are used.
Halfway Point A dot between two direction symbols signifies a point lying exactly between those two di-rections. The two symbols are tied together with a small round vertical bow to show that they are one unit in terms of timing and movement. The dot is small, not to be confused with the center of gravity sign.
664a
664b The arm moves to a point between forward middle and forward high
The arm moves to a point between place low and side low
If a part of the body has already moved to one of the directions, it is not necessary to repeat that direction symbol; only the dot and the next direction symbol need be shown.
Both arms start side ~ ~ The chest starts horizontal. The . . place high, moves
right lifts halfway halfway to side to side high; the left high, then returns lowers halfway to
~ ~ to place high. side low.
664d e
If the connecting bow is not used, two movements are indicated: the first is to the first direction stated, the second moves halfway to the following direction.
The arm is raised diagonally middle
then moves halfway to side middle.
664f
~ . ~ I
One movement taking 2 counts going directly to
the point between side and diagonal.
g
CHAPTER 26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 391
An intermediate direction may lie between three main directions. Here the arm gestures to a point
midway between three points.
Third Way Point A point one-third of the way toward a neighboring principal direction may be shown by placing the appropriate pin within the standard direction symbol. This description is often found to be more applicable than the half-way point.
~ "~t~ ~ I /' ~
s= e- t= t u= r V= ~ ~
~ ,u ~ _,v
Y, toward side Y, toward place Y, toward side Y, toward side
~ high from high from side middle from high from side
665a place high high side high middle
~ , , _ -w~ , , ,
x~ w= r- x= ~ y= t z= l-I \
\
Z y~ ~ Y, toward side Y, toward side Y, toward place Y, toward side
I e- low from side middle from low from side low from place 665b middle side low low low
Note that for high and low level direction symbols a space must be left in the center to allow room for a pin. In middle level symbols a pin replaces the dot.
Figs. 665c-i below show variations that occur in ballet in positions of the arms.
In (c) the left arm is down and rounded with the extremity in the front center area. The right arm is similarly situated but slightly more forward
(1/3 toward forward low).
In (d) the left arm is in a strict side horizontal direction, while the right arm is slightly forward and slightly lower (113 toward the forward low
diagonal direction).
In (e) the left arm is forward horizontal rounded with the extremity in the front area, whereas the right arm, though similarly placed, is lower
(113 to forward low).
In (f) both arms are up and rounded with the extremity in the forward center area, but the right arm is lower (1/3 toward forward high).
665c InI] ~I
665d ~OJr
665e I~ OJ ~I
665f II OJ ~I
392 LABANOTATION
In (g) the right arm is raised 1/3 of the way to forward high while the left arm is lowered 1/3 toward back low, a slanting line used in a balletic arabesque.
Fig. (h) shows a side high-side low slanting line, the left arm 1/3 way to place high, the right arm 1/3 way to place low, making a steeper slanting line than the
normal side high-side low line.
In (i) the arms are in a forward diagonal open position but slightly closer to-gether and slightly lowered, each 1/3 way to forward low.
INTERMEDIATE DEGREES OF TURN
665g
665h
665i
~[D~
1[Dt ~[D~
Finer distinctions may be needed for the amount of turn performed or the direction faced on stage. To describe less than 1/8 of a turn, the following method is used:
666a ~ b ~ c ~ 1/16 degree from 1/16 from the End facing between
previous situation untwisted state Q:] and @
The degree or destination to be indicated lies directly between the two pins written. In turning to the right:
Intermediate Front Signs
..l 16
...5..-16
etc.
The same method is used to show intermediate directions faced on stage:
667 [!J etc.
INTERMEDIATE POSITIONS OF THE FEET A double pin is used for positions of the feet to show an intermediate relationship. Com-pare the following with Figs. 60 and 61 on pages 53 and 54.
668a D}c~~ b ITr~~ Between 1st and 3rd Between 3rd and 5th
(heel to toe joint)
Over-crossed Step in Place When the foot should step in place but on the other side of the pre-viously supporting foot, two pins are needed. The first pin states crossing in front or behind, the second pin indicates the sideward relationship to the other foot. In 668d the right foot steps in front and to the left of the left foot.
c rn~= ~ Between 5th and a
crossed 3rd
668d
CHAPTER 26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 393
DEVIATIONS
Deviations can be of three kinds:
(1) From a standard direction or position (2) From the previously established position, situation (3) From the path of the movement
DEVIATIONS FROM A POSITION A slight displacement from an established position is shown by a pin. Roughly the displace-ment can be said to be the distance of an inch to an inch and a half, or three centimeters.
For the Feet Placement of a foot in a step or a position of the feet may be modified by using a straight pin (tack). It is important to note that a black pin refers to the relation of a foot to the cen-ter line of the body (how one foot is placed in relation to the other foot) while a tack indi-cates a displacement from the stated position. Many subtle variations in positions of the feet occur in different forms of dance; these can be shown through the above indications, often combined with rotations of the legs.
669a
669d
[[[] The feet are
together The feet are slightly apart
, ~ l'S-------p The feet are apart in a 2nd position with the
right foot slightly ahead and the left foot slightly behind the normal side-to-side line
The right foot almost closes in front of the left (a slight
forward separation)
The left foot almost closes to the right (a slight left back
diagonal separation)
The right foot touches the floor near the left (a slight right
forward diagonal separation)
For the Arms-Satellite Center of the Extremity Small displacements may occur while the extremity of the limb remains in all other respects in the same main location. In deviations from the normal arm po-sitions, a 'distal' center is based on the point at which the extremity of the limb is situated. Small departures from this point is the description commonly given.
The direction of the displacement is described in relation to this point. Because this center of refer-ence is at the extremity, it was decided to give it a
670a Distal centers at the extremity of the head
and of the hand
394 LABANOTATION
special key: +. For pins using this center as reference, a small tick must be added even when reference to Distal Center is obvious, the displacement being at right angles to the shaft of the limb. An alternate reference is to the nearest main direction, an analysis based on the Proximal Center; for the arm this center is the shoulder.
670b
The arm is slightly to the right of the normal low point
The arm is slightly below the normal side middle point
670d ITJ II-+- =
, ITJ~~ The same written with
Proximal analysis
The same using Proximal
analysis e ITJI-Note that Proximal analysis pins in low level may be confused with pins used for the body center lines.
DEVIATIONS FROM A PREVIOUS SITUATION
Single Deviational Movement Displacement can be shown to be temporary by using the 'passing state' bow, as in 671c.
671a The arm is raised slightly above side
middle, and stays there
The same using Proximal analysis
Double Deviations, Vibrating
The arm is momentarily raised slightly, returning to the side middle direction
The same written with Proximal
analysis
In a vibration or shaking action the movement is between two displacements. The pins may be repeated as many times as necessary, or small repeat signs used. When the action is fast and continuous, the vibration sign (shaking) should be used. In such cases two pins
-0--
-0--
---672a Waving the hand up and down 3 times, timing is
clear
b The same written with repeat signs, timing is
definite
c The same performed as often and as fast
as possible
CHAPTER 26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 395
are enough to show the direction in which the shaking occurs. The Distal reference in these examples is obvious.
In 672a and (b) the hand will end slightly below the normal point, whereas in (c) an au-tomatic cancellation is understood after the vibrato sign.
Compound Deviations A typical compound deviation from a given point is a circular pattern requiring at least four pins.
A circle of the right index finger: the bow indicates both the continuity of the individual displacements and the fact that it is a passing devia-
tion. At the end of the bow the finger will return to its normal position. (See page 405 for finger indications.)
A very small circle of the lower leg, ending normal
673b
.L -; T
x
673a
A very small partial circle of the lower
arm
c
In some cases Design Drawing, the notating of visual linear patterns (trace forms), may be more practical; this is given in the Advanced Labanotation book Shape, Design, Trace Patterns.
DEVIATIONS FROM THE PATH OF A GESTURE Deviations from a standard path are in the nature of detours, indirect ways of arriving at a stated destination. Through the use of pins many subtle curving paths can easily be de-scribed. Each deviation can be likened to an outside influence, which like a magnet pulls the limb off its regular path but is not strong enough to prevent it from continuing on and reaching its destination.
Center for the Line of the Path A deviation from the standard path of a gesture is described in relation to the path itself and not to the point of origin or the destination of that path. Each movement path has its own system of directions, much like a 'satellite center,' based at the center of the path.
The following is a simple example of a standard path that lies in front of the body and hence is easy to view.
674a
The path in space notated to the left could be drawn thus:
Start D---------"» d Finish
(Horizontal view seen from the back)
396 LABANOTATION
*[]g
D----{~) (~}----d £7
674b I
----/'" ----- .........
<~- --- ----~ ~--- - - - - -..---~ --------,......... ----c
Spheroid of possible deviations
In the case of a simple deviation affecting the whole path, the center for the direction of the deviation lies in the middle of the path as illustrated in 674b. From this center a deviation may occur into any direction or level. The directions are local replicas of the Standard system of reference that is centered in the performer. As the limb approaches the center of the path, the influence of the deviation increases as it passes the center the influ-ence diminishes; thus a curved line is produced. In certain directions flexion or extension may be necessary for the limb to perform these curved lines.
Simple Deviations To write a deviation, place the appropriate pin (representing the direction of the detour) within a vertical passing state bow. * This bow has time significance and shows when the deviation starts and when it finishes. Note the following variations in timing.
When one deviation is spread throughout a movement, the zenith of the deviation oc-curs in the center of the path in ques-tion. Thus the zenith occurs in the middle of the time indicated for a single deviation, the deviation being spread evenly throughout the path. A deviation may also occur only during the first half of a movement.
67Sb
67Sa
The rising curve occurs during the first half of the path
67Sd
~ path traced
by foot
The lower leg deviates over forward on the way out (a rand de jambe en
/' air en dehors in classical ballet)
*See Appendix B, note 38.
c
e
The dotted line represents the standard path
The rising curve occurs during the second half of the path
~ path traced
by foot
The lower leg deviates over forward on the way in (a rand de jambe en /' air en dedans in classical ballet)
CHAPTER 26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 397
Compound Deviations Two or more deviations occurring on a single path are easily indicated by appropriate pins.
676a b
VARIATIONS IN PATHS
STRAIGHT PATHS FOR GESTURES Because of the structure of the joints in the body, the standard path described by limbs normally produces a curve (see pages 100 and 101). When a straight path for an extremity is required it is indicated by the addition of a small version of the straight path sign: I.
~ ~
~) PJ
[)~ !h ~ ~ ):
677a b ;'~~~::::- .. : ~
The arm remains normally extended, the ex-tremity following a curve
The arm must flex slightly for the extremity to follow a straight path
DEVIATION FROM STATED PATH FOR STEPS A path described by steps in one direction in the support column may deviate toward another direction. To avoid writing interme-diate directions for each step, we show the deviation in a straight path sign placed outside the staff, alongside the steps to be modi-fied. In 678a the sideward steps veer slightly forward. Such deviation may be described in terms of stage direction (see Fig. 643b, page 376); as movement toward a stage area (Fig. 258f, page 161) or as arriving at a stage
678a Qj
area (Fig. 25ge, page 162). When performed by a group,
modification of a path toward a stage area may produce radial paths. Compare 678b, in which performers who were spread around the stage arrive at the center front area on stage, with 643b in which they veer toward a Constant direction, thus pro-ducing parallel paths.
4 ~)
4 -;-
t9@Ifll2J ABC D ABeD
678b
I d
1
398 LABANOTATION
RETENTION ON A SPOT A spatial retention (space hold) can be pinned down to a par-ticular spot, either actual or imaginary. The symbol for such a retention: 0, called a 'spot hold,' is a combination of the space hold sign: 0 and the indication for a focal point: e. *
A spot hold is stronger than a space hold. When a space hold is in effect for a limb, the performer can travel in space while that part of the body maintains its relation to the stated
-8J
room direction. In 679 the right arm remains directed to- 679 Qj ward the audience as the performer travels. With a spot hold the body part is tied down to a particular spot. Note the following differences: a body hold requires that a bodily aspect (contraction, extension, angle of a joint or section) be main-tained. A space hold requires that a room direction be retained, for which bodily adjust-ment is necessary and taken for granted. A spot hold also demands bodily adjustment; in the case of touching, grasping, etc. maintaining a spot hold may include sliding friction.
Retention of a Tangible Spot When an object or the floor is contacted, that point of contact is the spot to be held. In 680a the right ball of the foot stays on the same spot despite the traveling hops on the left foot. The right leg will stretch or bend as need be.
The right foot has a spot hold dur-ing the hops on
the left foot
680a
Retention of an Imaginary Spot
Each foot stays on the same spot while the hips slide backward
b
r ---..
..
o 1 r-+
[ 0 +~i
Il
~ ++ ~
An extremity of the body may be given the instruction to remain where it is (a spot hold) while the rest of the body turns, lowers, rises or moves slightly away. Adjustments in the body that must occur to fulfill the spot hold instruction are the natural result of this effort and are not written.
During sideward steps each hand remains on the
same spot
0~ 681a a'
*See Appendix B, note 40.
The same as (a), showing approximately the change
of arm direction that must take place
~ I ~ I
b ~
CHAPTER 26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 399
The need to retain an imaginary spot often occurs during pantomimic sequences. In 681c the head (usually the top, the ex-tremity) has a spot hold as though someone has hold of it and will not let go. During the circular walk the body must bend to maintain the spot hold. For use of a spot hold with the center of gravity see page 360, Figs. 620a, b.
o 'Spotting' for Turns 681c C
A swift whipping action of the head is commonly used in rapid multiple turns such as pirouettes. The technique of this head action can be written in detail. Its central activity is to look as long as possible toward a chosen spot, usually the front of the room, keeping the face to that direction while the rest of the body is turning. At the last moment the head is whipped around so that it again looks at the chosen spot, arriving there before the rest of the body has completed one revolution. This head action, called 'spotting: is abbreviated into a face sign followed by the spot hold symbol.
A double pirouette performed D d with head 'spotting.' As noth-ing specific is stated regarding the direction to be spotted, it is 0 0 taken to be where the body is
~~ ~~ rn- h facing at the start. A room di- etc. kl 0 b [Q [Q rection, person or object can
~ ~~ [Q c be stated as the point to be Spot stage Spot the spotted, as in (b) and (c). 682a X right chair
Undeviating Aim A gesture may move toward a stated destination (terminal point) despite other actions in the body that ordinarily would detract it from its course. To show this retention of the aim of the gesture, we place a spot hold sign within the direction symbol.
The arm gestures toward a point that at the start is diagonally left forward low. At
the conclusion of the side steps, the point will be diagonally
right low.
o
683a
Spot Hold at Point of Relationship
The same idea as (a) performed with a turn. The arm aims at what
started as the right back high diagonal point while the body both
turns and travels. The arm ends right forward
high diagonal.
b
I ~
1
The spot to be held (point of contact) may move in space. Such a spot hold occurs when two dancers who are holding hands move around, twist, turn, move closer to one another or farther apart without letting go hands. To accomplish this, the hands may need to ad-just, loosen grip, but never let go. For such instances the spot hold is placed over the con-tact indication rather than over the sign for the part of the body. A body hold sign '0' placed
400 LABANOTATION
above such a relationship indication would mean the state of the hands in grasping must be retained. The spot hold allows sliding friction and adjustment to occur.
o o
684a A B
Ns right hand and B's left hand keep their point of contact in spite of subsequent movement
Cancellation of a Spot Hold
b The palms remain near one
another during the arm movements
A spot hold remains in effect for the duration of the action or series of actions in conjunc-tion with which it is used. Where there may be doubt as to how long it should be in effect, the hold sign '0' can be used immediately after the spot hold sign. The cancellation of this retention is indicated by an angular release sign: 0' or <>.
The forward step on count 4 obviously
cancels the previous spot hold for the
right foot.
685a
Stepping on the Same Spot
The spot hold for the right hand, which caused the arm to
stretch somewhat, is canceled on count 3.
b
When a step follows a touching gesture, as in 686a, the foot may step beyond where it was touching. If the foot should not move before the step, an ordinary caret is used to link the touch to the support, (b). If the foot does lift, as in (c), indication of a step on the same spot needs the 'same spot' caret. Note the difference between the use of an ordinary caret and 'the same spot' caret in this context. The 'same spot' caret is derived from the spot hold sign: 0. When it refers to a previous contact on the floor, it is drawn;;' or ~. When it con-nects a support to a previous gesture it is written ~ or ~. This elongated sign is called a 'z' or a 'zed' caret (named after the letter Z).
The foot mayor may not lift and
step beyond where it is touching
686, ~ The foot does not
lift, weight is transferred to
where it is rn b __
CHAPTER 26 VARIATIONS IN POSITIONS, PATHS, AND STEPS 401
In (b) the caret follows the usage established for shift of weight in Figs. 74, Chapter 6, where it has the meaning of 'the same; i.e. continuation of the same support. In (e) the 'same spot' caret links the step to the previous support.
~ ~ ~ rn ~ o ~ Z
686c . . d· . e --= f --
Weight is shifted to the right foot, no separate
step is taken
The foot lifts (releases contact) before stepping
on the same spot
MODIFICATION OF STEPS
The right gesture releases and then steps
on the same spot
GRADUAL CHANGE IN PERFORMANCE OF STEPS
The step occurs on the spot under the
gesturing foot
When steps should gradually become shorter, longer, lower, higher, etc. this change is shown within a path sign placed outside the staff. Placement within a path sign stipulates that the indication refers only to steps.
'I v
4 --;- 1
687a 8
b --;-
-tT
V V 1
The repeated steps gradually become longer
The repeated steps gradually be-come lower, then higher
WIDE GAIT Separation of the legs in walking is shown in 688 by the addition of straight pins (tacks) to show lateral displacement.
RIGID KNEES Inflexibility (lack of natural pliancy) in a joint is indicated by the hold sign '0' following the appropriate joint sign. Fig. 689 shows a stiff-kneed walk, i.e. no knee articulation. A state of V1 or X may be added where appropriate.
688
PARTIAL SUPPORT 689
A touching leg gesture may take some weight but not be a true support, or a foot in stepping may become a momentary partial support. Such partial support can be shown in three ways: a 1/3 or 2/3 division between support and gesture, and for limbs, an unstated degree of weight bearing for a gesture. (See Appendix B, note 39 for equal divi-sion between support and gesture on the feet.)
402 LABANOTATION
Two-Thirds Support When the division is mostly support and only partially gesture, the in-clusion bow extends from the support symbol into the gesture column, indicating the inclusion of gesture quality.
One-Third Support 690a
If only one third of the weight is taken, the leg action is mainly a gesture and the direction symbol is written in the gesture column. An inclusion bow is drawn from the leg gesture symbol into the support column to show inclusion of weight. In 690b the forward gesture is partially weight bearing, the inclusion bow indicating the addition of support quality. This action is followed by a sinking on the left foot. In (c) the left foot lifts momentarily and is followed by a step in place. Note that, because exact degrees of weight bearing are hard to measure, the half support/half gesture indication is no longer used, the 1/3 and 2/3 have been found sufficient.
One-third support, then a sink in place
One-third support followed by a step in place
690b
Some Degree of Weight-bearing The angular horizontal bow for support, carry (see page 295) is used for gestures to indicate leaning, (some degree of weight-bearing). The bow is swung from the appropriate limb to outside the staff, the 690d floor being understood. If need be, the floor can be
c
specified by the letter T (for terra) placed in a box. In 690d, while sitting, the hands are tak-ing some weight as you lean back. After turning, you lean on your right elbow, i.e. it takes some weight.
DISTANCE SIGN Distance to be traveled can be specified in terms of step lengths by placing the appropriate number in a box. A step length is understood to be that of the performer unless otherwise specified. Distance between performers can be stated in terms of step lengths.
Traveling the equivalent of
2 steps
691a --
B
b []
B is 3 step lengths in front of you
c [[J = 1 m (one meter)
d [[J = 2 foot lengths
Statement of interpretation of 1 step length
27 SPECIFIC PARTS OF LIMBS; MOVEMENTS OF HANDS; MANNER OF PERFORMING GESTURES
DETAILS OF THE LIMBS
For Motif Notation as well as for Structured Description, designation of a limb or a spe-cific part of a limb may be necessary. The smaller the part of the body and the more spe-cific the particular area or point to be indicated, the more complex the indication is in symbols. A few of the possible specific indications are given here. The basic logic in the method of indicating limbs, areas, and surfaces is applicable to all parts.
SURFACES OF A LIMB
692a II b H c H d I ~ 11 e ·11 II· A limb Arm: outer Arm: inner Thumb or Little finger or
surface, leg: surface, leg: big toe side little toe side front surface back surface
Use of a stroke for thumb or big toe side and of a dot for little finger or little toe side provides a clear distinction between these two sides. An in-between surface is shown by combining two signs, as in 692f, thus indicating the part between the upper (outer) and the little finger (or little toe) side.
692f 1+ Specific Limb The sign for a limb can be combined with various joint signs. Originally it was placed above the joint (limb above that joint), now it is combined with the joint sign.
II became It II became gl II became IF II became ~I 693a t b c j d e F f g ~ h
Right upper arm (limb Left lower arm (limb Right thigh (limb Left lower leg (limb above elbow) above wrist) above knee) above ankle)
404 LABANOTATION
A few limbs are described as the "limb below a part of the body."
C 693i II
Neck (limb below head)
Whole arm (limb below shoulder)
Specific Surface of a Specific Limb
C 694a 10 1
Back of neck
C b I-I
Throat (front of neck)
rn n~ 694f --Thumb side of lower arm
touches under side of thigh
SURFACES OF AN AREA
c Thumb side of left lower arm
g ltlH Right hand touches outer
side ofleft upper arm
k II II Whole leg (limb
below hip)
e Top (front)
of right thigh Little finger side of right upper arm
h Right elbow touches thumb side ofleft lower arm. Note
use of attached symbols here.
An area of any part of the body is indicated by enclosing the sign for that part within a square.
D 0 0 0-0 ·D D· dQ 695a b c d L. R. e L. R. f An area 'Front' 'Back' Thumb sides of Little finger sides Diagonal
surface surface area of area surfaces
Interpretation of 'front' or 'back' for an area will depend on the build of that part of the body (see page 278).
Surfaces of Area around a Joint The sign for a particular joint is placed within an area sign to indicate the area around that joint. To this sign is added the indication of front, back, right, left (thumb, little finger side, etc.) as is appropriate.
696a Area around
knee
b Knee cap (front
surface)
PARTS OF THE HANDS
cC§l Right back diagonal surface of right knee
d Tip, back surface
ofleft elbow
etc.
Specific signs for the hands and feet fall into two categories: those based on 697a and (b), and those based on the symbol for the area of the hand or foot, shown in (c).
CHAPTER 27 SPECIFIC PARTS OF LIMBS 405
697a § § b f c n The signs of (a) and (b) are used more for movement indications and for touching, while symbols based on (c) function mainly to indicate guidances and directions faced.
FINGERS The general signs for the fingers § and ~ are modified by dots to indicate the specific fingers.*
698a c e Thumb Index Middle "Ring" Little
These signs are placed before a direction symbol to indicate a movement of the speci-fied finger as a whole. Where touching is concerned the signs also express the finger in gen-eral, no part being specified; however, the pad at the tip is commonly used.
Joints of the Fingers Additional dots on a finger sign indicate specific joints of that finger. The example given here is of the index finger; the same usage applies to the thumb and other fingers. The base 'knuckle' of the thumb is where it is attached close to the wrist. Thus the thumb has the same number of joints as the fingers, though it appears to have one less. Finger joints can be likened to the leg joints in the way that they function; such a comparison is made for clarification.
699a B b © c ~ d @
Base knuckle 2nd knuckle 3rd knuckle Tip of finger ('hip' joint) ('knee') ('ankle')
~ ~ :¥ d~~' ~
':::L
~~ ~ 7.\,
or ~ ~ or t c~ ~I ~ g
b t~ t 69ge a/f f h
When a touch is indicated, these signs represent the joint or tip itself; in movement the segment above that joint is displaced. For example a movement of the second ('knee') joint, ('b' in 69ge) will displace the segment above it (the 'thigh') (a-b) in space, as illus-trated in (f). This action could be described as a 90° bending action of the first and second joints. In (h) moving the last segment of the index finger forward could also be described as bending (folding) the last joint forward 90°, as in (i).
* See Appendix B, note 41.
406 LABANOTATION
Specific Surfaces of a Finger The signs in 692 are combined with those of 698 and 699 to indicate any surface of any part.
~I 700;fLeft thumb;
whole 'limb' Left index finger;
inner (under) surface
c Right middle finger; outer (top) surface
Diagonal surfaces are shown by combining the appropriate indica-tions. Fig. 700e states the upper and outer surface of the right index finger.
Specific segments (,limbs') and surfaces of these segments are shown by combining the signs for a limb with surfaces of a limb. For clarity these specific details may need to be drawn slightly larger.
AREA SIGNS FOR THE HAND For certain hand indications that are needed frequently, the sign for an area 0 is modified as in 70la to indicate the distal area of the hand.
70lb 1-1 Palm side
(inner surface)
c Back of hand
(outer surface)
dn-fl Thumb side
edges
e .[l n· Little finger side edges
In Structured Description of movement, placement of an area sym-bol on the right or left side of the center line indicates right or left foot or hand. When these area signs are used out of context, or in Motif No-tation, the hand indication is added as in 70lg.
Base of the Hand
d Left ring finger;
thumb side surface
700e~ 700f I~
Outer (nail) side oflast segment oflittle finger
n = Jfffi 70la ~ I
Fingertip edge
70lg §lit
u-~ 702a
The area sign is inverted as in 702a to show the base of the hand, the proximal part. The 'heel' of the hand may be used for touching, pressing, supporting, leading, etc. This sign is not synonymous with the wrist sign, though in certain respects they are close. To this area sign are added the indications for surfaces and edges. The bottom 'edge' of the base of the hand, shown in 702f, strictly speaking can-not be touched, being within a limb, but when the wrist is bent backward, it can be pointed into a direction and has, as a conven-tion, been used for touching and for part leading instead of the wrist sign: 9 or t. These usages also apply to the heel of the foot.
702b l!J c ~
702d {J e U· 702f Y
PARTS OF THE FEET
The same specific indications used to show joints and surfaces of the hands are applied to the feet.
CHAPTER 27 SPECIFIC PARTS OF LIMBS
703a ~ b I~ c ~ d ~~ e ~ f ~ Left big toe Limb of right Right big toe: Left little toe, Sole ofleft Instep of right
little toe top surface of inner edge of foot foot 2nd joint tip
Note that additional specific parts and detailed hand movements are given in the Ad-vanced Labanotation book Hands, Fingers.
DETAILS OF BODY AREAS
Specific subdivisions of parts of the body can be shown by combining the symbol for that part with the range of pins. A few examples are given here.
SURFACES OF BODY AREAS The chest sign is given as an example of detailed indication of surfaces of a body area.
704a [Q] Chest in general
b Front surface
c Upper front surface
An intermediate point can be shown by combining indications. Fig. 704e states the surface between center back and right diagonal back in the low area of the chest.
HANDS ON HIPS OR WAIST
Lower front surface
704e
The term "hands on hips" can be given more than one interpretation. In Labanotation the hip sign: + used with a contact sign means touching the break at the top of the leg, the lo-cation of which is quite obvious in sitting. (See Fig. 321i, page 198.) The instruction "hands on hips" may mean hands on the upper rims of the pelvis (iliac crest), or even at the waist. The following examples illustrate these differences in Labanotation. The hip sign is modified by the addition of a dot to indicate a point slightly above the hip 'joint' or slightly below.
+ -r-or~ ~ a b c e f
705
The specific meaning of 70Sa is just below the break at the top of the leg; (b) is the break itself; (c) is just above the break, or the lower side of the pelvis; (d) is the center side part of the pelvis; (e) is the upper rim of the pelvis. In contrast (f) indicates the side of the waist. In general usage, the hip sign replaces the specific pelvis sign. When exactness is re-quired the appropriate pelvis sign is used or a key is written at the start of the score, e.g.
407
408 LABANOTATION
+ = ~; [8}- = ~. Greater details on parts of the body will be given in the Ad-vanced Labanotation book Body Variations.
MOVEMENTS OF THE HAND
The symbols: § and § which represent the hand as a whole, the metacarpus and fingers (phalanges) working as an entity, are used whenever a general description is required.
MOVEMENTS OF THE HAND AS A WHOLE The hand is normally held relaxed, with a slight curve through the palm and fingers. The degree of curve varies with the individual; the indication: 8 refers to what is normal for the reader.
Two-Dimensional Extension and Contraction Two-dimensional extension and contraction may occur along the longitudinal line (axis) of the hand or in the lateral axis (plane) of the hand.
Extension - Longitudinal. The hand has two degrees of lengthening or stretching along its longitudinal line.
706a Straight (flat)
b Extra stretched (as long as possible)
It is difficult in an illustration to show the difference between (a) and (b), however, in movement the added degree is quite obvious.
Extension - Lateral. Spreading (separating, abducting) is lateral extension of the hand. Two main degrees are used, though the specific six-degree scale is applicable. In spreading most of the action occurs in the fingers, though the palm area also contributes to the movement. When spreading, the fingers need not be extended but may be naturally curved.
"-..../
~ 'd *
~ Slightly spread t Very spread* t 707a b
707c "'------/ ~ ~ "'=/ \:!:/ \:!:/ The 6 degrees (when needed) • •
Contraction - Longitudinal. The hand contracts in a way similar to the whole arm, the base knuckles providing a center joint; the difference lies in the presence of additional joints in the fingers, which produce a rounded effect. The wrist joint must articulate as the hand contracts. In a complete contraction the pads of the fingers rest on the base of the thumb and palm. The thumb will be outside the fingers, resting against the index finger. The fingertips and base of the wrist retain the original line of direction; there is no move-
*See Appendix B, note 42.
CHAPTER 27 SPECIFIC PARTS OF LIMBS 409
ment in the lower arm itself. To get a clear picture, rest $ the hand, palm down, on the table and then contract § =tG:'--the hand. The table will help keep the line of direction d for the fingers. The resulting movement of the thumb
Z may need to be stated, if important. .,. Contraction - Lateral Closing in (joining, adduct- c § ~1/3'-
ing) is contraction on the lateral plane. Two main de->'< grees are used for the hands, though the specific § 11
six-degree scale can be used when needed. Complete b ~6'-(six degrees) lateral contraction is comparable to plac-
~ ing the hand in a narrow bottle. 708a (starting position)
Closed Overlapping (crossed)
709a
709c ~ • ~ • The 6 degrees (not usually needed)*
Three-Dimensional Extension and Flexion The hand often extends (opens out, expands) and. flexes (closes in, contracts) three-dimensionally, i.e. as though filling or enclosing a sphere rather than moving on a plane or striving for a linear use of space. Such three-dimensional actions, applicable also to the chest and body-as-a-whole, can be defined precisely through appropriate use of the signs VI, A, \...J or X, ~, ~. When only a general description is required a general sym-bol is provided for three-dimensional flexion and extension. The straight line - (a short-ened version of \...J and ~) represents the third dimension and is added to the basic signs VI and X producing +4, -14, and *, *.
Three-Dimensional Contraction. An ordinary fist is the result of a three-dimensional contraction. The performer should be aware of closing in 'from all sides.' The six degrees of contraction apply, the sixth degree producing a tight fist. 710
Three-Dimensional Extension. The hand commonly extends three-dimensionally in that it combines straightening (stretching) with spreading. The physical use of three di-mens ions in performing this action is best felt when starting from a contracted state. The double sign: M is used for a general statement; specific degrees may be given when needed.
Curving the Hand
711
The base of the hand remains where it is while the finger joints curl in forming a curve. The degree of thumb participation may vary, if important it should be stated. The most com-mon direction is forward, toward the palm. Hyperextension, curving toward the back of the hand, can be performed to a high degree by some individuals.
*See Appendix B, note 42.
410 LABANOTATION
712a b A 3rd degree curving in of the hand
(thumb and fingers meeting) Total curving in of the four fingers
(a form of fist) The same, seen from the front
The six degrees of curving (curling) the hand are:
~ ~ ~ ~ ~ fI '::,L :,L '¥ 'M 'M' 'M'
712d § e § f § g § h § §
7\ ~- 7..'\ =~-§ § 712j ~ k First degree of curving backward Third degree of curving
(hyperextension) backward
MOVEMENTS OF THE FINGERS The fingers are capable of all the actions that can be performed by the hand as a whole. The palm should not be affected by such finger actions. The following examples illustrate some of these possibilities.
~-~ 713a ~ -
Total curving in of the fingers Lateral closing in of the fingers Contraction of the fingers
MOVEMENTS OF THE PALM Palm facing was given on pages 110 and Ill. We are concerned here with the various forms of contraction and extension of the center of the hand, what is seen as the palm, though the action is mainly of the knuckles at the base of the fingers. The palm sign is generally used instead of the sign for these specific knuckles in writing movements of this part.
714a b
COMBINED ACTIONS
Contraction of the palm Folding of the palm (joint of the palm)
Every hand and finger action can be written by combining parts of the hand with the pos-sibilities in movement. For fields in which movement concentrates specifically on the hands, a special staff can be used incorporating columns for parts of the hand. (See the Ad-vanced Labanotation book Hands, Fingers.) In general practice when simultaneous actions
CHAPTER 27 SPECIFIC PARTS OF LIMBS 411
happen for one part of the hand, the indications are placed side by side, as in 71Sc, or one after the other and tied together with a bow, as in (b).
71Sa b c (claw)
MANNER OF PERFORMING GESTURES
On pages 221-222 we discussed movements that lead a main action, movements that follow (are led) and those that accompany a main action. We now explore use of parts of the body to lead or guide a movement. Such leading involves a part of the body, usually a joint, which moves ahead into the stated direction, the rest of the limb following. In part leading there is a temporary break in the normal line of the limb. The term 'guidance' is used for the action of a surface of the limb facing the direction of the movement, pushing the air, so to speak, away from the limb's path. Guidances do not usually involve any break in the line of the limb.
PART LEADING The sign for a specific part of the body that leads the movement (usually a joint or part of the hand) is placed within a round vertical bow.
716a c Led by the hand Led by the elbow Led by the knee
This bow is placed adjacent to the action to be modified. Fig. 716e shows the right arm being led upward by the wrist: the
wrist will be the first part to move in that direction. Because the in-dication within this bow is a passing state, at the end of the bow the arm returns to its normal state; that is, the wrist no longer flexed, and the hand merely the standard extension of the whole arm. Dur-ing the last quarter of the movement the leading will gradually dis-appear. Note that no particular surface of the wrist is specified; in 716e this configuration the outer side will probably be involved.
d Led by the hip
The difference in notation between an inclusion and a part leading must be clearly ob-served. In a part leading the indication for the part of the body is surrounded by the round vertical bow. In an inclusion the vertical bow, rounded only at the ends and straight in the middle, is broken and the specified part of the body placed within the break.
Led by the hip: the hip motivates the movement
716f
Hip is included: it accompanies the movement
l +
g J
412 LABANOTATION
GUIDANCES In a guidance there is no displacement within the limb. The adjustment is usually one of rotation so that the stated surface faces the direction of the movement. A guidance makes the performer aware of that surface of the body and its importance in the performance of a given action.
The left arm is guided by its outer surface, the right arm by its
little finger side
7I7a
TIMING OF PART LEADING, GUIDANCE
The left arm is guided by its
thumb side, the right arm by its inner surface
b
An indication written within a round vertical bow is considered a 'passing state'; its influ-ence lasts only as long as the bow. In 7I6e the leading action lasted until the end of the arm gesture. Variations in timing can be indicated by the length and placement of the bow.
The arm gesture starts with wrist leading but soon
continues as a nor-mal arm movement
718a
Wrist leading occurs only toward the end of the arm gesture
RETENTION OF A LEADING OR GUIDING STATE A particular body state, which results from a part leading, or from a surface or edge guidance, may be retained even though the leading action has concluded. The hold sign: '0', placed at the end of the bow shows such a retention. This retention lasts as long as the validity of the indication next to which it is placed.
SUCCESSIONS, SEQUENTIAL MOVEMENT
b
719
A sequential movement is one in which movement flows from one part of the body to an-other in succession, passing from joint to joint, or from vertebra to vertebra in the case of successions in the spine. Movement of this kind passing through the whole body is called a body wave. When a change of direction occurs, a sequential flow alters the manner of per-formance. When there is no change of direction for a limb or spine, a sequential flow is often called a ripple. Such ripples and successions are very familiar in Asian and Polynesian dance. Two directions of succession exist: inward and outward.
ANALYSIS OF SEQUENTIAL MOVEMENT A sequential movement could be written as a series of parts leading, as in 720. Although this produces an appropriate result, it is not only a cumbersome way to write the action,
CHAPTER 27 SPECIFIC PARTS OF LIMBS 413
but also does not focus on the essence of the movement. Because a succession is a basic manner of performing a movement, special symbols: \I and 1\ are provided. Note that these signs are always drawn this size, they are not to be confused with the narrower can-cellation sign: A , or with the longer 'toward' and 'away' signs (in-crease and decrease signs) which have a specific indication placed within the open end.
Outward Sequence
720
The sign: \I states an outward sequence moving from the body center or from the base of the limb (as the case may be) to the extremity.
With Change of Direction. The sequential flow passes from one part of the limb to an-other as the limb moves to the new direction indicated. This action can be compared to that of laying a scarf on the floor. The part nearest the floor (base) will reach the horizontal first and each succeeding part in turn will assume a horizontal direction.
(Note: the 'base' of the scarf has been pinned to the floor to make clear which is the 'free end'.)
An outward sequence occurs when a performer lies down from a sitting position, the se-quence that passes through the spine starts in the lower spine.
LL~~~t 1
722a b c
Without Change of Direction The limb as a whole retains its previous direction. A slight displacement must occur to allow the ripple to form and progress. If the limb is extended, there must be a slight drawing in to provide 'slack; just as a caterpillar will draw in its rear end in order to progress forward. A caterpillar is able to progress through a succession (ripple) in the body.
Inward Sequence
d
e
d
c
b
a
723
e
Outward Succession (tail to head)
The sign: 1\ represents an inward sequence in which movement commences at the ex-tremity and flows toward the center or base.
With Change of Direction The extremity is the first part to take the new direction and each neighboring part follows until finally the base of the limb takes the new direction. The following illustration shows a scarf being sequentially lifted off the ground.
414 LABANOTATION
724a
An inward sequence occurs when a performer sits up from a lying position, the se-quence taking place in the spine, starting with the upper spine.
725a b c
Without Change of Direction. The limb as a whole re-tains its previous direction, the ripple starts at the extrem-ity and moves inward. For the caterpillar this means starting at the head. Note: when there is no other indica-tion of change, the limb finishes in the position and state in which it started, e.g. if bent at the start, it will finish bent; if extended it will finish extended.
METHOD OF WRITING SEQUENTIAL MOVEMENT The sign \I or 1\ is placed as a pre-sign before a direc-
d e
e~ d
c--~ b ~ a 4'IMIIUWII~··
Inward Succession (head 726 to tail)
tion symbol when the timing of the sequence and change of direction are the same, as in 727a. When placed within a round vertical 'passing state' bow, the timing of the action can be shown by the length of the bow to be the same as the change of direction, as in (b), or only briefly as in (c) where the sequential action occurs only during the first half of the movement. When there is no change of direction the succession sign is followed by a dura-tion line to indicate timing as in (d). This could also be stated as in (e).
~ J J or
y V
1] ~ ~ ~ ~ 727a b c 727d e
SPECIFIC PERFORMANCE OF A SUCCESSION The manner of performing a ripple can be varied by the direction in which the slight dis-placement occurs or by the surface or change of surfaces of the limb guiding a succession. The following examples are understood to be for the right arm. The method of writing
CHAPTER 27 SPECIFIC PARTS OF LIMBS 415
may use a pin followed by a duration line to show timing, or the pin may be placed within a passing state bow.
or J or J J J 1 --~ ~ 728a b f c d f e ~~ f f '-../
A succession over forward A succession over An upward succession A succession downward with the arm rotated led by the
outward thumb side
In (e) there is an unstated guidance by the inner surface of the arm.
OVERLAPPING SUCCESSIONS Each of the symbols V and /\ represents one complete succession. It is quite common for a new succession to start before the previous one is completed.
I I V
f ~
i 729a T b The whole arm The arm moves side moves side, then sequentially, then
down down sequentially
Overlapping successions may occur without change of direc-tion. Fig. 729d shows a second ripple starting before the first is concluded. This could also be written with the vertical bow as in (e).
BODY WAVES
I ~V
c i A downward sequence starts before the side-ward sequence ends
729d A body wave is a sequential movement through the whole body, usually an outward sequence, though inward sequences also occur, as in Hip Hop. To indicate a body wave, we draw a double V sign across the entire staff. Displacement in space during such a wave may be slight or considerable. The appropriate direction symbols are written within the V across the center line. The following examples illustrate first a general indication then more specific statements. If a succession is only in the torso, it should be written as such, either with a pin followed by a duration line to show the timing or with a pin placed in a bow. A body wave performed with a sudden accented start is called an 'impulse.'
416 LABANOTATION
730a An outward body wave;
general description
b A body wave on the
right side of the body
c An impulse over
forward and upward
d
.L V ~
or
e A torso succession
over forward
See the Advanced Labanotation book Sequential Movements for further details.
V ~
28 TYPES OF REVOLUTIONS; DYNAMICS; MISCELLANEOUS
THE THREE BASIC FORMS OF REVOLUTIONS
The body can revolve in three basically different ways. Each form of revolution is around one of the three dimensional axes in the body. In the commonly used terminology they are:
Name: 1. Turning (pivoting) Axis: Vertical (up-down) 2. Somersaulting 3. Cartwheeling
SYMBOLS FOR THE THREE FORMS
Lateral (side-to-side) Sagittal (forward-backward)
Each of the three revolutions has two possible directions.
Left turn Right turn Forward somersault
d Backward somersault
Left cartwheel*
Each is based on the Cross of the Body Axes key: +, unless otherwise specified.
Right cartwheel
These actions are analyzed on page 418. Since any revolution is comparable to a wheel around an axis, a wheel is used in the diagrams for clarification.
A brief survey is given here for immediate needs. Derivation of the signs and their ap-plication and revolutions around diagonal axes are given in the Advanced Labanotation book Floorwork, Basic Acrobatics.
*See Appendix B, note 43.
418 LABANOTATION
L Pivot Tum 732a
Left
Vertical ~ Axis
~ ~ I
I • Somersault 732c
Forward 0 ~
~~ fJ I>
Lateral Horizontal ~-t:> Axis
Cartwheel Left
Sagittal Horizontal Axis
DEGREES OF REVOLUTION
732e
0 Pivot Tum b
Right
Vertical ~ Axis
~ ~ I
I •
U Somersault d
Backward
~
¢ / ~J
b> Lateral Horizontal ~-t:> Axis
Q b
¢
Cartwheel Right
l[J
Sagittal Horizontal Axis
f
Because a cartwheel includes within its action a change of Front, degrees of cartwheeling are usually shown with black pins.
A full cartwheel to the left
733a ~ Half a cartwheel to the right
b ~
CHAPTER 28 TYPES OF REVOLUTIONS; DYNAMICS; MISCELLANEOUS 419
In the case of somersaulting there is no change of Front; therefore black pins, which ex-press change of Front, are not applicable and fractions are used instead.
A half somersault forward
733c
or A full somersault U backward 1
d
Because the number 1 may look like a pin, it may be written 1/1.
REVOLUTIONS WHILE LYING ON THE GROUND
Alternate statement for
one somersault
One of the basic modes of traveling is through rolling, that is, revolving while lying on the ground. In Motif Notation rolling is first indicated as any revolution that is constantly sup-ported. For this the composite sign for any kind of revolution is used, 734a, with the addi-tion of the angular supporting bows at start and finish.
Any kind of revolution
734, U Any kind of rolling I b (
In Structured Description placement of the specific form of revolution in the support column indicates constant support. For rolling, a path (traveling) automatically results.
LogRolling When the performer is lying down, ordinary pivot turns, 0 and 0 produce log rolling, the rotation being around the longitudinal axis of the body. If the path traveled is important, the direction can be indicated outside the staff in a path sign. Though most rolling intends to produce a straight path, curved paths can also be achieved.
In 735a the performer starts lying on his/her back. The one-and-a-half turns to the right produces log rolling, which re-sults in the body traveling toward the right side of the stage, ending lying on the front.
In (b) the performer starts lying on the right side, facing upstage. The result of rolling over three times is a path toward the audience (forward room direction). 735a t9
Wheeling
T
b Ifl
I [J -$-
1
In wheeling, an extremity of the body describes a horizontal circular path around a ver-tical axis. Where no progression is indicated, wheeling is around the center of the body, i.e. on the spot. If the axis is at the head, the feet will describe the circular path, and vice versa. Such an action may be written with a circular path sign placed in the support col-umn, or the circling sign can be placed outside. This rotary action can also be described
420 LABANOTATION
as a revolution around the vertical line of gravity by placing the key: + within the turn sign, as in 736a. An exercise called "Around the Clock" provides a good example of wheeling the whole body on the spot.
@ @
~ 8 8 f 0 0
~
~ ~ ~ 1 8 8 --.-- 0 c c
736a t9 ~ . ~ b [!J ~
In 736a the performer starts lying on the back, limbs extended, facing the front of the room. On count 1, as the knees draw up to the chest and the chest and head lift off the ground, 1/8 turn is performed. Chest and legs then return to the ground. This is repeated eight times to "go around the clock." In (b) the wheeling with the total amount stated is placed outside, beyond the repeat signs.
Somersaulting In a somersault on the ground, a somersault roll, the body progresses forward (or backward, as the case may be) rolling along the ground. In the very general description of 737a, the body starts lying on the back, contracted, facing the audience. The two forward somersaults that follow produce a path traveling toward the audience. A more detailed descrip-tion for a single forward roll is given in (b).
REVOLUTIONS WHILE STANDING
737a t9 b Basic statement for
forward somersault roll More detailed description
I o
I c
A pivot turn, the familiar form of turning while standing is amply dealt with in Chapter Eight.
Cartwheeling and Somersaulting A cartwheel or a forward walk-over begin from standing. Because of the sequence in plac-ing the feet it is more practical to place the revolution sign outside the staff. Fig. 738a shows a typical cartwheel to the right. In (b) a forward walk-over is written.
CHAPTER 28 TYPES OF REVOLUTIONS; DYNAMICS; MISCELLANEOUS 421
738a A cartwheel to the right A forward walk-over
REVOLUTIONS IN THE AIR Simple revolutions in the air, that is, without special leg gestures, are written in the same way as simple turning jumps. Straight lines (air lines) are drawn in the leg gesture columns to show that the body is no longer supported on the feet, 739a-c.
739, I When leg gestures occur during revolutions on the ground, a hold sign is placed within
the revolution sign to indicate that weight remains on the ground.
739d I In the air On the ground
Aerial Somersault In 740a a somersault in the air is shown with a springing prepa-ration and rebound after landing. No detail as to exact perfor-mance is shown in the acrobatic example given here; knowledge of the form is taken for granted. In a book of instructions, how-ever, correct use of timing, or weight and other factors must be given.
On the ground
~
740a ~
I
·1
Somersault in the air
422 LABANOTATION
Aerial Cartwheel Fig. 740b shows a cartwheel in the air. This can also be written as (c) by placing the revolu-tion sign outside the staff. In some cases this may be easier to read.
I o or
740b c Cartwheel in the air The same
REVOLUTIONS FOR PARTS OF THE BODY
A somersault or cartwheel type of revolution can occur to a limited degree in certain parts of the body. The body areas that can perform portions of somersault or cartwheel are the head, chest, pelvis and shoulder girdle. Some possibilities are explored here to make such usage clear. Greater detail will be explored in the Advanced Labanotation book Body Variations.
ANALYSIS OF SOMERSAULTING FOR BODY AREAS In the following illustrations a black dot represents the axis of the movement.
For the Head The head, pivoting on the Atlas vertebra, can rotate in a somersault manner forward and backward, the axis being an imaginary line passing through points near the ears, 741a. The head as a whole should remain vertical, no change in basic direc-tion should occur unless written. The neck is not involved. In (b) a tilt is illustrated for comparison.
741a
~'~ ~"~~ ~ 0 axis = ~~
, ~ 741b '~ C ' .
C
A backward head tilt Forward somersault rotation (involving the neck)
The axis for a head somersault
~,
U 'o/(r =
'~ d C Backward somersault rotation
CHAPTER 28 TYPES OF REVOLUTIONS; DYNAMICS; MISCELLANEOUS 423
For the Pelvis Though the pelvis is 'captured' between the hip joints and the vertebrae in the waist area, by using each of these 'joints' at once it can rotate around an imaginary lateral axis which passes through the center of the pelvic area, 742a. When such rotations are performed, there should be no displace-ment of the upper body; head and chest should remain where they are.
<k'~ ., 742a '-,t;:>
The axis for pelvic somersaults
Forward somersault rotation Backward somersault rotation
Displacement of the rib cage, which has the feeling or intention of being a somersault, can be so described although the action is not as clearly defined as somersaulting of the pelvis. Such rib cage actions can be seen in certain forms of African dance.
ANALYSIS OF CARTWHEELING FOR BODY AREAS
For the Head Pivoting on the Atlas vertebra, the head can cartwheel around a sagittal axis located roughly at the nose, 743a. In such a cartwheel movement the top of the head is displaced as much in one direction as the chin is in the opposite direction. The head as a whole re-
743a Axis for a head cartwheel
mains upright; no change of basic direction occurs unless written as an addition. The neck is not involved. A tilt is illustrated in (b) for comparison.
~
~~ 743b C ~
Tilt to the right (involving the neck) Cartwheel to the right
For the Pelvis The pelvis cartwheels around an imaginary sagittal axis, 744a. Many pelvic actions are tilts rather than cartwheel rotations. In a tilt, (b), one hip joint is the pivotal point and the upper body is displaced in space. In a cartwheel, (c), one hip must be lowered as much as the other is raised; there should be no displacement of the upper body. See Chapter 16 for tilts of inverted body areas.
~{f7 , ,.
744a ~/ Axis for cartwheeling
the pelvis
424 LABANOTATION
744b
~ ~t ".1 ~ ~c1IDJ A pelvic tilt to the left An inverted pelvic tilt side low
(judged from the waist)
For the Chest
Pelvis cartwheels to the left
An imaginary sagittal axis passes through the center of the chest, 745a. In a chest cartwheel, (b), the chest as a whole and the head remain vertical, no change of basic direction takes place unless written. The rib cage should move as much as possible as a unit. In contrast, in a chest tilt, (c), the upper body and head are displaced in space, the movement is from the waist.
745a
Ati ~ to
b [Q] : Axis for chest cartwheeling A chest tilt to the left Chest cartwheels to the left
DEGREE OF REVOLUTION FOR PART OF THE BODY Because of structural limitations, body areas can perform only fragments of cartwheel and somersault rotations; therefore degrees are expressed in terms of little or much, rather than 1/8, 1/4, etc.
E 746a c A very slight forward
somersault of the head
DYNAMICS
~ b C
A great deal of cartwheel of the head to the right
c A slight backward somersault
of the pelvis
The study of dynamics is concerned with the action of forces in producing or changing the motion of the body. Aspects of dynamics, which can be used for practical or expressive purposes, can be described in fine detail in Labanotation. In dance, dynamics is the area of study that concentrates on how a movement is performed, the quality or texture. Dynamic description includes use of energy, of the weight of the body, resistance to or giving in to the force of gravity, control or lack of control in movement, the difference between muscu-lar or emotional intensity, and so on. For many purposes only a general statement need be made and only a few basic symbols employed to modify the structured time-body-space description. Full details on dynamics will be explored in a separate book.
CHAPTER 28 TYPES OF REVOLUTIONS; DYNAMICS; MISCELLANEOUS 425
INNATE DYNAMICS Many patterns of movement contain innate dynamics, which are usually performed un-consciously. For example, high steps tend to be lighter, lower steps heavier. The timing of a movement often influences the dynamics. In a movement where the body or a limb must cover a great distance in a short time, there will be an inevitable increase in the use of en-ergy. A visible change in dynamics can be seen in springing steps such as jumps that are performed at too slow or too rapid a tempo. In a swinging motion the body makes use of the force of gravity: the motion speeds up as the path descends and slows down as the path rises. These next examples show such changes in timing.
747a Swing in which the pull of grav-ity is utilized: there is a natural
slowing up as the arm rises
b This timing requires a controlled
lowering of the arm and additional energy to speed up at the end
In terms of dynamics, the effect of musical accompaniment on movement must not be overlooked. The same movement sequence will be performed with different qualities when danced to different pieces of music. This will be so in spite of the fact that the same tempi and metric structures may be present in each piece.
ACCENTS An accent is the result of a sudden momentary increase in the use of energy. The additional energy disappears immediately. A distinction is made between a strong and a slight accent. When there is contact between two parts of the body or with an object, a strong accent pro-duces sound, as in a stamp or clap. A slight accent, like a light tap with the foot, requires only slight additional energy beyond normal. Only a very slight sound is heard when a slight accent occurs with a contact.
Accent Signs
Strong accents 748a , , ~ Slight accents b \\ II J7
These signs are doubled or even trebled for a greater degree of the dynamic quality.
Degrees of intensity 7 48c ~ ~
426 LABANOTATION
Placement of the accent sign beside an indication of the action shows when, in the tim-ing of that action, the accent occurs.
A strong accent at the start of a movement:
impulse
748d , A strong accent in
the middle of a movement: often
a swing
e
A strong accent at the end of a
movement: impact
f
The accent sign is placed so that the point slants toward the movement symbol or part of the body sign to which it applies. A large accent sign placed somewhat outside the whole staff on the right can indicate that all of the movement is affected. However, size can be confusing, so placement within a vertical addition bracket is preferred. A vertical accent sign in the support column during a spring indicates accenting the motion of rising.
'dJ GJ' Leg gestures are
Arm gestures are slightly accented at
the end strongly accented '<:l t?'
748g I I h
The whole
~~ ~I' or1 movement is Upward strongly iii VI spring is accented
~ ~ accented
748i
Stamps An accented contact with the floor produces a stamp. This may be strong or slight and may occur with a support or a gesture.
749a Strong stamping steps Slight stamps A stamping gesture in place A slight heel stamp
By using an addition bracket (see page 431) constant repetition of the accent sign can be eliminated. Within this vertical bracket, which is placed alongside the movement sym-bols it qualifies, is written the indication to be added to the movement pattern. In 74ge both steps and touching gestures are qualified as accented. If only steps are to be qualified, the Motif indication for steps (taking weight on the feet) can be placed in the addition bracket with the accent sign, as in (f). Or the indication established by Knust, placement of the accent within a path sign, as in (g) can be used.
CHAPTER 28 TYPES OF REVOLUTIONS; DYNAMICS; MISCELLANEOUS 427
Claps
74ge All steps and gestures
produce sound
f Only the steps are
accented (produce sound)
I or
"
g 1 The same with an
alternate indication
Contact of the hands with a strong accent produces audible clapping. A general descrip-tion may be written with the hand sign or with the palm sign. Specific use of parts of the palm, as occurs in Spanish dance, are given in the Advanced Labanotation book Hands, Fingers. The contact bow may be swung downward or upward; it is the ends that state the moment of contact.
or 750a
Both hands clapping Palms clapping
or ,~ ~" c ~
The same with the bow swung downward
One hand can be shown to be active by using only one accent sign.
The left hand claps the right
,~
750d § ~ The right hand
claps the left
When the bow is swung out into the appropriate column, use of the hand can be understood, the hand symbol need not be repeated each time.
Retention or Release of Hands after a Clap If nothing specific is stated, exact performance after a single clap is left open. In a series of claps, such as in 750f, the hands will follow the rhythm of the clap, opening comfortably in
Repeated hand claps
time for the next clap. For effect, the hands may intentionally remain together after a clap or may release immediately. When the hands are to remain together, a hold sign is used; when they are to be released, a release sign is shown.
,ill, 'N' ,ill, ~o 0'
~ ,s. ~ 0 0, r 4 " ,
751a b §"-t::: I y~ c §-~
Hands remain together until Hands separate slightly Hands hold, then just before the next clap just after each clap release on count 2
428 LABANOTATION
When direction symbols are present, as in 751d, the terminating contact on count 2 re-mains until the next movement, the same rule as for foot hooks. The hands may clap dur-ing a gesture, as in (e), a passing clap.
Clap occurs at the end of the
movement
751d
Clap occurs during each movement, a
passing contact
e
Claps may also involve contacts with other parts of the body. Figs. 75lf-h may produce sound depending on the clothing worn, such as leather boots for the men. When sound must be heard, the double accent signs of 748c are used. For hand claps, sound is expected; extra loud can be indicated with double accent signs.
o
751£ Slapping (hitting) foot, as in a
Schuhplattler
Bouncing
g Legs beating together (clapping) in the air
h A jump with strong leg beats
which should be heard
A bouncing step may result from a foot action, or from slight flexion in the legs. The action can be focused on a slight lowering and raising of the center of weight. Pins can be used to show the direction of bouncing. Indication of elasticity (resiliency) is shown as a combination of an accent and a relaxation; the bouncing action being an interplay between these two. The slight accent: P or the strong accent: , is combined with the relax sign: U, producing: oJ). *
752a Lifting the heels starts a bouncing
action
b
*See Appendix B, note 44.
~. "X
• A p
Bounce based on leg flexion
c Bouncing with
an accent downward
d Bounce with
an accent upward
e A double bounce
(rebound) on each step (general indication)
CHAPTER 28 TYPES OF REVOLUTIONS; DYNAMICS; MISCELLANEOUS 429
VIBRATING A small wavy line is used to indicate vibrating, trembling, or shaking. This is the same indi-cation used in music for tremolo, trill. Such shaking actions can be described in greater de-tail by adding dynamic signs and pins to show the direction of displacements. Note use here of the sign for strong: 0.* An example specifying the space pattern is given on page 394, Fig. 672c.
Vibration with tension
USE OF ENERGY
753a
Side to side vibration increasing in energy
b
A full discussion of the ebb and flow of energy in movement, its use in relation to the force of gravity and other dynamic aspects will be presented fully in a separate book, following the intensive international research discussions on this subject. (See Glossary for symbols already established and used in scores.)
PASSIVE
A passive movement is one that occurs as the result of another movement. An outer force, such as a partner, may be the initiator, or one part of the body may initiate a movement causing resultant motion in another part; in each case the part of the body that moves pas-sively must allow the movement to occur. This involves an adjustment in the use of energy (dynamics) for that part. Such adjustment can be described in full detail, but the passive indication usually suffices to produce the desired performance.
The solid line representing an action is changed to a dotted line to indicate passivity. **
754a b An action (movement
is initiated) Passive, resultant
movement
The dotted line may be used 1) on its own; 2) placed adja-cent to a direction symbol to indicate manner of perfor-mance when a specific destination is required, as in 754c; 3) linked to a direction sign to show the ending arrival, as in (d); 4) placed alongside a turn sign, as in (e), when turning is the result of an outside force; 5) applied to path signs, as in (f), when a path results from some outside action, as when a partner causes a performer to travel.
*See Appendix B, note 44. HSee Appendix B, note 45.
754c d e
\.. I I I I I I
I I
1,'\ f
430 LABANOTATION
The dotted vertical line may suggest passivity in movement where there is no actual contact. In (j) the hands do not touch but the relationship of active part to passive part is the same as that in (g). The hands remain near each other as one arm actively moves and the other responds passively to maintain the relationship. The limb marked as passive must react, i.e. allow movement, but a different expression results because of the influence of the active arm.
754g With the hands clasped, the
right arm performs an action that causes
movement of the left arm. The roles are then reversed.
MISCELLANEOUS
h The same as (g), but a specific direction is stated for the active
arm.
ACCELERANDO, RITARDANDO
The same as (g), with a specific direction stated
for the passive arm.
The nearness is retained.
A movement sequence, particularly when repeated, may become faster or slower. For this the Time Sign for Speed is used, 755a. This sign can be placed in an increase sign to indicate getting faster, an increase in speed, (b), or in a decrease sign, (c) to indicate getting slower. 0+
755a The Time
Sign for speed
b Increase in speed,
getting faster
c Decrease in speed,
getting slower
d The repeated step pattern gradually
gets faster
Within a single movement it is possible to speed up or slow down the pace, the rate of travel. The separate parts of the sign for speed may be used individually, being placed within the movement symbol or placed alongside in an addition bracket.
755e V An increase in
speed
*See Appendix B, note 46.
f D A decrease in speed
g The arm gesture becomes faster
h The arm gesture
slows down
CHAPTER 28 TYPES OF REVOLUTIONS; DYNAMICS; MISCELLANEOUS 431
THE ADDITION BRACKET Details to be added to a stated movement may more conveniently be written alongside, rather than within the columns. For this purpose an angular vertical bracket is used.* The indications within it are valid for as long as the bracket lasts or as long as the final indica-tion next to which it is placed is valid. In 756a the bracket makes repetition of the flexion sign unnecessary. (See also 447d, 486c, 658c, and 74ge.) In 756c and (d), there is no need for subsequent cancellation of the key -t.
756a __ All four directions are to be passed through with the arm 2 degrees flexed
KEY SIGNATURES
b The same with
flexion statement for each direction
3
2
c The right arm gestures on
counts 1 and 2 are to be read from the Body Key
d Individual Body Key statement is given for each direction
The term 'Key Signature,' taken from music, refers to all special indications appearing be-fore the start of a score or kinetogram, which indicate how subsequent movements are to be interpreted. These keys may refer to the system of reference to be used, a particular way of holding a part of the body, or a specific manner of moving. A key may also be an abbre-viation, stated in the form of an equation, a simple symbol or group of symbols which rep-resent a more complex action.
The key signature is placed below the starting position as a separate statement, written between double horizontal lines.
757a The system of reference for all directions is the
Constant Cross of Directions
757e
b All leg movements (steps and gestures) are to be performed
with outward leg rotation
Ordinary middle levels supports will be performed with the heel off the floor and the legs slightly bent
c The arms and legs are
to be held straight (stretched) all the time
~[]~ f __
d Movements are all to be done with a light bouncing quality
~ [] [J ( , . ) ._. The forward middle direction for the arms will be the point halfway between forward middle
and forward low
For additional examples, see page 176, Fig. 280 and pages 253-254, Figs. 423 and 424.
*See Appendix B, note 47.
A
ALTERNATE VERSIONS
"KIN" represents usage of the Laban system as established by Albrecht Knust.
1. (pp. 32, 36). When the beat must be made clear and the small horizontal tick marks would not show, ticks can be drawn slanted as in 758a. Many European notators do not use tick marks in general practice; others draw faint lines across the three-line staff to contrast with the stronger bar lines, as in (b). 758a
2. (p. 37). In KIN measure numbers are placed within a diamond below each staff, the number identifying the first measure of that staff.
3. (p. 91). Front signs [l] are placed atthe right of the staff in KIN.
b
759 <@>
4. (p. Ill). In KIN a palm-facing indication is not automatically cancelled; a cancellation must be stated in each case.
5. (pp. 112, 156). The back to normal sign: 8 is not used in KIN, instead they use the sign: 1\ to
indicate total cancellation of the effect of the previous indication. In LN 1\ is applied to cancel a previous indication when another movement causes no back to normal to occur.
6. (p. 149). To achieve a state of X or 1/1, the nota-tor may place the indication at the end of a dura-
r I 1 V tion line, tying the two symbols together with a small vertical bow, as in 760a which has the same meaning as (b). KIN notators believe (b) should 760a b »€ c d be written as (c). Until 1969 (d) was interpreted as a destination; now it indicates motion.
7. (p. 163). Counterclockwise circular paths are placed to the left of the staff in KIN; all other paths are placed on the right.
8. (p. 185). Indication of timing in achieving a change of touch has been written in KIN with an increase sign, as in 761a, to mean the same as (b).
9. (p. 192). A sliding support in which weight is held on the ground throughout is written in KIN by placing a hold sign within the sup-port symbol, as in 762.
761a
762
10. (p. 236). An understood space hold, i.e. retention of the previously stated Standard direction, is considered in KIN to be the basic rule. Because it was agreed that the appropriate hold sign, space or body hold, would always be used when needed, in practice this difference in basic un-derstanding causes no problems.
APPENDIX A
11. (p. 289). Shifting is analyzed in KIN as a small displacement while the part of the body remains in the previously established direction. Appropriate pins are placed next to the appropriate direction sym-bol. Figs. 763a and (b) are the same. The use of the = sign within the symbol, introduced at ICKL 1977, is used by some KIN notators.
ALTERNATE VERSIONS 433
~T 763a C 1
12. (p. 303, 311). The analogy signs: = and .. are used for repeats in KIN scores instead of + and ~. Thus 764a is used instead of (b), and (c) instead of (d).
764a
13. (p. 315). Such indication may also be stated as: ~.
14. (p. 388). KIN judges the extremity of the arm to be the bulk of the hand. Therefore the ballet position of 661d is written in KIN as 765.
765
B
OLD VERSIONS
Widespread use of the system since the 1954 and the 1970 editions of Labanotation has indicated where, for practical purposes, simplification and modification were needed. This list of changes also
includes pre-1954 items that may be met in old scores.
"KIN" represents usage of the Laban system as established by Albrecht Knust.
1. (p. 18). The Vertical Staff. The advantage of the vertical staff is sometimes questioned. Its histor-
ical development illustrates why a vertical rather than a horizontal staff was finally chosen as
being the more practical. Following his first shorthand device based on his known movement
scales, Laban sought to develop a more comprehensive and universally applicable system. His first attempt was based on a series of crosses read horizon-
tally from left to right. Each cross represented the performer + + + as seen from the back, the vertical center line dividing right
and left. 766a. 766a Reading direction )
On these crosses were placed symbols for movement of the torso and limbs. Supports (steps) were placed at the base, either side of the center line, shown as'S' in
766b. Next to these were written gestures of the legs in the air, shown
as 'G'. The line 'x-x' divided the upper part of the body from the lower.
At 'B' were written movements of the body, and at 'PI. movements of
the arms. 766b
X±BBA x
GSSG
Only a small amount of movement could be shown on each cross with the result that indica-tions provided more a record of positions with no possibility of showing continuity in motion from one cross to the next. The movement of a left leg gesture on one cross, for example, could not be connected with movement shown on the next cross. The important aspect of the flow of movement could not be shown.
Laban credited Kurt Jooss with the inspiration to change line 'x-x' to a
vertical line on either side of the center line, as in 766c, thus providing
spaces for indications of body and arm movements on either side of the
support and leg gesture columns. A change in the reading direction
from horizontal to vertical made it possible to show continuous move-
ment for a part of the body without any break in the flow of reading. 766c ABGSSGBA
x x
Laban also credited Feuillet with the idea of a center line showing continuity; this became in-
corporated in the Laban system.
The original staff comprising five lines made use of music paper; it was reduced to the present-day three-line staff because the extra lines visually detracted from the movement indications.
2. (p. 59). Shifts of weight are now always written with a caret, re-
gardless of whether the direction symbols used describe the movement or the resulting position (position writing).
767a ~ ~ Old b New
APPENDIX B
3. (p. 70). Lifting the weight in an echappe action was formerly analyzed as a minute spring and written with a very small space between support symbols, 768a. In KIN no space is left at all, as in (b). To avoid a sense of spring, the partial weight allowing the legs to separate is now written as (c).
768a
OLD VERSIONS 435
lIJ ; [I] Old b KIN c New
4. (pp. 90, 374). Front signs were origi-nally white pins, as in 769a. In KIN the signs were as in (b). Fig. (c) indicates the present unified way.
l, c/, etc. ril, l!i, etc. i!i, Bl', etc. 769a Old b Old Kin c New
5. (p. 94). Focal point orientation was formerly indicated using a turn sign. The meeting line is now used to make this statement.
D ..!. 0 ,. 770a Old b New cOld d New
6. (p. 97). Formerly the ends of the turn sign were doubled to show as many turns as possible; now the infinity sign is used.
7. (pp. 117,216). A duration line was used after a space hold sign to indicate how long it lasted. This line is no longer considered nec-essary, though used to indicate a particular destination, 772b.
8. (p. 119). A round bow was formerly used instead of a caret to indicate continuation of a symbol from the end of one staff to the beginning of the next.
~ 771a Old
I 772a 0
~ Wll
9. (p. 12l). A hold symbol in the support column was not needed formerly when one leg gesture was stated; one leg gesture presupposed supporting on the other leg. A spring required two leg gestures or none, i.e. a space between sup-port symbols. When a support and a gesture end simultane-ously, a spring into the air was expected to follow. Now a gap in both support columns indicates a spring, regardless of any accompanying leg gesture.
773a Old
rn 774a Old
10. (p. 138). The sign for long (stretched) was formerly drawn: ~.
11. (p. 144). Double stretched: Pfor an arm or leg gesture used
rn~ to mean pulling out of the body into the stated direction. Such body participation is now analyzed as an inclusion. 775a Old
12. (p. 153). When the flexed or stretched symbols were placed next to a step to indicate the state of the leg as the EJj step is being taken, a duration line was always used. Now, I. in the case of fast steps, the duration line is not needed. 776a Old
13. (p. 158). The standard shape for stage plans used to have U slanted sides. 777a Old
~ b New
~)
I b 0
~ WI)
b New
~11 b New
rn[~ b New
[lj b New
U b New
436 LABANOTATION
14. (p. 158). The straight pins (tacks) to indicate performers have been changed. The wedge on a floor plan to indicate either male or female has also been changed.
~ ~ 778c Old d New
~ or ~ ~ e Old f New
Male Person /
I
~ 6 778a Old b New
Female
A or Lt £ gOld h New
15. (p. 161). Spiraling in and out were formerly
written by placing the symbols X and V1, respectively, near the end of a circular path sign, as in 779a and (c). 779a Old b New c Old d New
16. (p. 170). Revolving on a straight path was previously analyzed as a circular path which is straightened out to lie on a straight path; the changes of Front inherent in a circular path occurring continu-ously throughout the straight path.
17. (Chapter 13). The former, pre-1970 rules for placement of hooks on leg gesture symbols were:
i) (p. 182). The hook modified the whole symbol. Its place-
ment did not have time significance and therefore it was usually centered to show one single touching action. Fig. 781a is now written as (b) for a terminating touch.
ii) (p. 186). Two different hooks on a symbol did not produce a slide but rather a change from one part of the foot touching to another; 781c is now written as (d).
iii) (p. 186). A sliding leg gesture in which a change from one part of the foot to another occurred required two of the same hooks; 781e is now written as (0.
iv) (p. 186). Raising the leg from the floor after a touch or slide required a separate symbol; 781g is now written as (h).
Rules for hooks qualifying supports have not changed.
18. (pp. 185,313). The specific performance sign was formerly encircled.
T ~ [J
1 780a Old b New
OJ OJ 781a Old b New
OJ rn 781c Old d New
OJ rn 781e Old f New
781g Old h New
@ * 782a Old b New
19. (p. 196). Elbow, wrist and hand signs were formerly drawn with a longer stem.
~ ~ ~ t:: ~ ~ 783a Old b New
20. (p. 227). Degree of inclusion was formerly dotted for a slight inclusion, 784a, a solid line being used for the definite action, (b). Now a dotted line means passive, resultant, rather than degree.
784a b ] 21. (pp. 229,232,443). The right third column was earlier understood in LN to be reserved for the
chest; no pre-sign was needed, 785a. When the chest pre-sign: IQ] was used it meant chest facing. Use of the chest sign with a direction symbol now means inclining, tilting, 785b. Direction symbols in the third (body) columns without any pre-sign
[]) OJ 785a Old b New
APPENDIX B OLD VERSIONS 437
have been understood in KIN to represent movements of the Upper Body. For []] unification LN adopted this usage. Subsequently the decision was made that .
785c pre-signs identifying the body part should always be used in the third (body) columns. Once a pre-sign has been designated, the column is understood to be reserved for movements of that part. The pre-sign for Upper Body is used when that particular analysis of movement is required, 785c.
m 22. (p. 244). Parallel stance for the legs was for-merly written as 786a or (b); now the preferred version is (c). 786a Old
23. (pp. 251, 252). Hooks to indicate swiveling on the feet during rotations of the legs were formerly attached to the rotation sign, 787a, instead of placed in the support column, (b).
24. (p. 260). Formerly the whole torso always rotated in one piece, 788a; no distinction existed between 'rotation' and 'twist'. The pre-sign of (b) was used by some to mean ro-tate in one piece. Now the equal sign is placed in the turn sign to indicate all parts rotating equally, (c). 788a
25. (p. 369). Keys for Systems of Reference were formerly:
m b Old
~ 787a Old
0 0 ~
or [iJ Old b Old
i) (p. 379). The Cross of the Body Axes (read from Body) was 789a. Now it is (b).
ITJ] c New
~ !....l
b New
Q ~
c New
ii) (pp. 269, 377). Front from Stance, the untwisted part was 789c, placed outside the staff. The present sign is (d).
iii) The key for the Standard System of Reference, 78ge, did not exist.
26.
789a W Old
b -t or -$ New
(pp. 274, 275). Keys for turns and revolu-tions were formerly written: 790a stated a vertical axis, now written as (b); 790c stated the body axis, now written as (d).
c • Old
g 790a Old b
27. (p. 289). Formerly a shift was written by adding a path sign to the body part. Now an equal sign is used within the direction symbol to show all parts displace equally.
28. (p. 300). The symbol for the face was formerly 792a. This now means the general area of the head. The pin was added to specify the front surface, (b). This is also true of the chest sign.
29. (p. 307). In very early scores (pre-1954), for sectional re-peats the sign = was placed on the same side of the staff for an identical repeat, 793a, on the opposite side for a repeat to the other side, (b). For the number of repeats, in early times (pre-1954) the number 3 was used to in-dicate three repeats (i.e. a total of four performances of the material). Stating the total number proved more practical.
793a
d -+ New
Q New c
791a
792a
Old Identical
~ Old
8 ©
Old
[g Old
e +
0 d New
~ [Q]
b New
[Q b New
Old Lateral
Symmetry
438 LABANOTATION
30. (pp. 311, 316). The analogy signs were originally rounded, as in 794a, (c) and (e). Straight lines, as
in 794b, (d) and (f), were found easier to draw. These signs were doubled to serve as repeat signs.
w or m 794a Old b New
Lateral Symmetry
3 or t: cOld
:11 d New
Sagittal Symmetry e Old f New
Oppositional Symmetry
31. (p. 315). The repeat sign: ~ or the analogy sign: w were used under the staff to state that one dancer performed with lateral symmetry to another. Figs. 795a and (b) were the old way to show lateral symmetry; (c) is the present way. Fig. (d) was used to show sagittal symmetry; (e) is the current usage; (f) was the old indication of oppositional (ballroom) symmetry; (g) is the current indication.
A,B ~
795a Old A,Bw A,B::::
bOld c New A,B 3 A,B :11
d Old e New
32. (pp. 343, 348). Unspecified touching and sliding were formerly
shown by use of a short horizontal stroke: -, 796a. For this a small horizontal bow is now used, (b).
33. (p. 350). Lying used to be written as supporting on the hips and shoulders. Now the appropriate surface of the torso is used. Lying
A,B u? fOld
A,B +. g New
m· m· .. .. ++ +
796a Old b New
on the front or on the back used to be shown by the appropriate direction symbols.
or [] CD 797a Old bOld cOld d New e Old f New gOld
34. (p. 355). The center of gravity sign was formerly written as ~.
35. (p. 356). Formerly only the two degrees of X and ~ existed for distance of the center of gravity; now all six degrees are used.
Level of center of gravity in a high kneel used to be described as high, 798a; it is now considered to be halfway down on the normal scale toward the point of support, (b). Changing from a high kneel to a low kneel used to be described as the center of gravity moving backward middle, (c). Because the center of weight is over a point of support all the time, it is now de-scribed as a change oflevel in place, (d). (Backward would be a
falling action.)
A high jump was formerly written as the center of gravity travel-ing a long way up, 798e; this is now written with a path sign (the
whole body traveling upward), (f).
In very early scores (pre-1954) the center of gravity at floor level was described as low level, 798g, and the point halfway between the floor and normal standing was middle level. The point of sup-port for the center of gravity became middle level, (h).
IT 798a Old
I 798c Old
~ p [j]
798e Old
I III
798g Old
[] h New
(] b New
I d New
T D ~
1 f New
8 • h New
36. (p. 374). Direction judged according to the Constant Room directions was formerly indicated by a small box (i.e. the present key but without the cross superimposed), 799a. It is
now written as (b). 799a Old b New
APPENDIX B OLD VERSIONS 439
37. (p. 3S1). The sign for the Fixed Points in the Room was formerly: rsJ.
3S. (p. 395). Deviations were formerly indicated by tiny di-rection symbols placed as pre-signs before standard-sized direction symbols which indicate the main movement,
SOOa SOOa. As a pre-sign, the deviation was included in the time value of the symbol. Fig. (b) shows the current method. Old New
39. (p. 401). Half support, half gesture was written as SOL Found clumsy, it was dropped as exact division is hard to determine, and indication of a modified support or modified gesture has sufficed.
40. (p. 39S). The spot hold was formerly drawn: S8:i or 0. SOl
41. (p. 405). Fingers were formerly indicated by dots placed between the strokes of the hand sign.
42.
43.
Fig. S02a indicated the five fingers, (b) being the current symbol. The thumb was shown as (c), now drawn as (d). The little finger was (e), now written as (f), and so on.
~ ~ ~ ~ ~ ~ etc.
S02a Old b New c Old d New e Old f New Fingers Thumb Little finger
(pp. 40S, 409). The double lateral spreading and ~ ~ \.c::J' /L..:o.\
narrowing signs, drawn formerly as S03a, are now S03a Old b New drawn as (b).
(p. 417). The cartwheel sign was formerly 2> ~ ( ~ drawn as in S04a and (c), now written as (b) and (d). S04a Old b New c Old d New
44. (pp. 42S, 429). The dynamics signs S05a, (c) and (e) are now drawn as S05b, (d) and (f). , " b New
IU d New
Relaxed
.fj) or ~ oJ)
f New or oJ
New S05a Old cOld e Old Strong
45. (p. 429). Passive turning used to be written with vertical dotted lines, S06a; now solid lines are used with a separate passive indica-tion alongside, (b).
46. (p. 430). Accelerando and ritardando were shown ~) by different lengths of the same symbol tied to-
gether. Now use is made of the Time Signs for in- ~ crease or decrease in speed. S07a ace.
47. (p. 431). Some indications that were formerly placed in a curved vertical bow, SOSa, are now j written in an angular addition bracket, (b).
SOSa Old 4S. In very early scores (pre-1940s) the
amount of turn and amount of circular
~, ~, {
path were shown with small black direc- • tion symbols, S09a, instead of using black Y, pins, (b). S09a Old
Old Resilient
~i S06a Old b New
~) ~ ~ ~ b rit. C ace. d rit.
Old New
j b New
'f' ~, ~
{ t • T { ~ Y, b New
c ORTHOGRAPHY AND AUTOGRAPHY
In Labanotation the symbols have been devised so that differences between them are obvious and their meanings remain clear even when drawn hastily or by a child. Standardization in orthography is based on what is visually practical to facilitate reading. Full details on orthography for finished scores are provided in the two Labanotation computer programs, Calaban (Computer Aided Laba-notation) for PC and Laban Writer for Mac. For hand scores, details can be obtained from Labanota-tion centers such as the Dance Notation Bureau in New York City.
1. DIRECTION SYMBOLS
i) The length of the indicator on direction symbols is one third to one quarter that of the whole symbol. In using a computer, flexibility in proportionate length is somewhat limited. Side symbols are usually drawn to a point, however, when very long, the point is flattened so that the symbol fits into the column. Note: until mid 1940s the point was flattened even for short sideward symbols.
SlOa
ii) Symbols meeting with slanted sides, as in SlOe should not overlap, as illustrated in (0. In (g) dotted lines are used here between symbols to indicate clearly the space which shows the amount of time spent in the air.
2. PLACEMENT OF HOOKS
On symbols with slanted edges hooks are placed as in 81la, as though attached to a straight edged symbol, not as in (b). When a hook appears at the end of the symbol, it should terminate where the symbol terminates, as in (c), not as in (d). On the slender indicators the hook is placed in line with the other hook, as in 811 e; (f) is not considered correct; (g) is acceptable but not preferred.
3. USE OF THE COLUMNS
811a
810e
811e
g
b c 1 d
g [
The following chart illustrates standard placement of symbols on the vertical three-line staff. Alternate placements are described in the various chapters dealing with specific parts. When hand and finger indications do not exist, head indications and path signs are placed closer to the staff. The same is true of measure and count numbers and Front Signs placed on the left of the staff.
Only the three basic lines of the staff are used in actual practice.
APPENDIX C ORTHOGRAPHY AND AUTOGRAPHY 441
812 Repeat Sign
~ ~I~I~
2
I I I I I 1 I I 1+1
3: : I
2 I 1 I 1
1 :+:
~I~I~ ~I ~I ~ 1 I I
: : '1 I I
I :I1t1$
1 1101 I~ I
:§
~I ~I ~I ~I I I I I I I
~I ~I ~ I~ I I I : :1: I I I I I I I I 1
I I I I
1 I I 1
:!i'J: 1: I 1 I I I I I I I : c: :
I I", IV I'B
1]1 $ I R I (\) I ~ I 2: 1:r:11'l..11'l..
Repeat Sign
4. UNIT TIMING; EXACT TIMING
A general statement of timing for a movement presupposes a general interpretation. Precision is indicated by the size and placement of the movement symbol, or by the specific performance
sign: *. The following examples illustrate how the timing of one beat is generally interpreted and how it is made more specific. (See also page 3l3.)
Timing of a Step. In 813a, (b) and (c), a clap occurring right at the start of beat 1 would come at the moment the foot contacts the ground (start of the step). Any preparatory movement prior to this contact is taken for granted. The timing of such preparatory movement is usually in proportion to the timing of the step that follows. In (a) the step (transference of weight) takes all of count 1 and into count 2. By count 3 the step is over, there is no movement. In (b) the step takes all of count 1 and is finished by count 2. A quicker step occurs in (c), there is no movement on the second part of count 1, the' &' count. Such a staccato step would have an equally swift, minimal preparation for the step. In
(d) a step of the same duration as (a) finishes exactly on count 1, having started comfortably before the beat. If in this example a clap occurred on count 1 (on the 'dot') i.e. at the start of count 1, it would coincide with the end of the step, the final centering of the weight that concludes the step.
2
8l3a b c d 2
Timing of a Leg Gesture. Fig. 8l3e shows a leg gesture starting on count 1 and taking two counts to complete; by count 3, movement has ceased. In (f) the same gesture ends at the beginning of count 3. A very quick gesture in indicated in (g), arriving right on count 1. Arrival on count 1 may occur with
a slower gesture. In (h) the gesture starts on the previous count 3, the moment of arrival is the same as in (g). In these two examples, if the foot were to hit a drum at the conclusion of the gesture, the sound would come right on 1, the start of that beat.
:W 2
8l3e f g h 3 0
D
UPPER BODY MOVEMENT
A method of analyzing and writing torso movements, known as Upper Body Movements, originated by Rudolf Laban, has been in use among Kinetographers since the early days. This usage, explained in this appendix, served well for Laban's Space Harmony sequences and it does have certain advan-tages, but in general this description of torso movements has not been used by Labanotators. Their concern has been with more exactness of detail in describing movements of the parts of the torso.
A general description of torso (trunk) movements is suitable for the type of actions in which the spine, the thorax, and shoulder areas participate in movements of the arms. Such actions can be seen in work activities as well as everyday actions. Many folk and national dances use the torso in this manner, it being a natural and unstudied usage. The term 'Upper Body Movements' (formerly called 'upper part of body movements') has been given to such actions that may also occur without being caused by arm gestures.
DESCRIPTION OF UPPER, BODY MOVEMENT When caused by an arm movement, resulting participation of the upper body is indicated in Laban-otation by an inclusion bow (see pages 221-226). When the same form of upper body movement is required, but without an accompanying arm gesture, it is described in Upper Body description as the direction symbol that would have been written for the arm, had the arm caused it. To understand such usage, the reader must comprehend the special analysis in direction and level for Upper Body Movements.
ANALYSIS OF UPPER BODY MOVEMENTS The term 'Upper Body Movements' refers to movements that range from involving only the shoulder section of the spine (the upper dorsal vertebrae) to involving the whole of the movable spine includ-ing the lumbar region. In all these movements the hip joint is not involved. How much of the spine is used is indicated by the level of the direction symbols; it may also depend on the movement context. It is purposely not exactly defined-leeway in individual interpretation is seen as natural and desir-able for this movement style.
In the analysis of Upper Body Movements the upper torso can be likened to the letter T in which the stem (spinal column) is flexible but fixed at its base. The crossbar at the top of the T represents the shoulder section (upper thorax area of the spine). This cross bar can tilt or twist or do both at the same time. One side of the cross bar may initiate the movement causing a resultant movement of the other side, or both may move in unison or in op-position to one another.
814
A special convention keeps movement description simple in the analysis of Upper Body Move-ments. Direction and level are not described in the usual terms of destination, the point to be reached, but in terms of motion toward a direction. High level means a slight movement in the stated direction, involving only the upper spine. Middle level indicates a bigger movement involving the dorsal spine. Low level indicates a still larger movement involving the lumbar vertebrae. It is im-portant that this convention of describing Upper Body Movement from the point of view of motion
APPENDIX D UPPER BODY MOVEMENT 443
instead of destination be clearly understood from the start. In writing a starting position, the direc-
tion symbols indicate the result of the preparatory movement. Upper Body Movements may feature one side (of the T) or both at once. For this reason columns
on each side of the staff are needed.
METHOD OF WRITING Upper Body actions are written with direction symbols placed on either side of the staff in the third columns, those just outside the outer staff lines, 81Sa. For Kinetographers these columns are under-stood to be for this usage and so no pre-sign is needed. In Labanotation the symbol for the upper body is used, (b). Although one side of the upper body cannot move in isolation without affecting the other side, actions are described as being one-sided body actions when one side is predominant.
A feeling of one-sided body actions is a particular feature of this description of torso movement. Fig. (c) shows the symbol for the right side and (d) the left side. The following explanations illustrate the KIN usage. The normal situation for the upper body is place high, (e) .
is . g .~
~ .s .s 0 0
pO pO
& ~ 0- R K :0 :0 b 8lSa 321 123 C d e
SINGLE-SIDED UPPER BODY INDICATIONS Movements led or initiated by one side of the upper body are written in either the right or left third column on the staff, according to which is applicable. (See Appendix B, note 21.)
In the Lateral Direction Inclinations to the right side are written in the right third column, they are usually initiated by the right side of the upper body. The degree of tilt and increase in involvement of the spine are shown by the level.
816a OJ =r! b ill ~ c ill Iff In the Sagittal Directions Movements forward or backward with one side produce a twist in addition to a tilt. When a diagonal direction is used, this twist is proportionally less. Levels in the forward direction:
817a [J] ~~
b ill R c IT] P
Levels in the backward direction:
817d W ~ e IT] ~ f
[J ~
444 LABANOTATION
Involvement of the Head. The head does not actively join in upper body movements, but reacts pas-sively in tilts, i.e. is carried along so that there is no stiffness. When a twist results the head does not turn.
DOUBLE-SIDED UPPER BODY MOVEMENTS
In the Same Direction When both sides of the upper body move in the same direction, no twist occurs. In the sideward di-rection double-sided indications produce a more definite tilt, both sides being active.
818a
In Opposition When each side is shown to move into an equal and opposite sagittal direction, as in 819a, only a twist occurs, a tilt is cancelled out. A lesser twist is indicated by use of diagonal directions, as in (b). 819a m b m ARM MOVEMENTS WITH UPPER BODY MOVEMENTS The arms may move in the same direction as the upper body, or they may move elsewhere. In the for-mer case, the upper body movement can be written as an inclusion if the upper body change is a re-sult of the arm movement and not an action on its own. Compare 820a and (b).
lilt W[~ ~rn or ~ W[~ -[~ ~.-.~ ~J_[~ S20a b c d
Unison in arm and The same written On count 2 the right side Similar movements right-sided upper as a body inclusion is predominant, the left written as body body movement arm balancing in the inclusions
opposite direction
The following examples show upper body movements with the arm in other directions.
S20e The same upper body movement as (al with
different arm movements
'm~~ ~. .~ f _
The same body movements as (cl, the arms being up when the spine is twisted, then moving diagonally backward as the
right upper body moves forward low
USE OF SYMBOLS FOR UPPER BODY MOVEMENTS By using the upper body symbols, this kind of movement can be written out of context, as may be needed in Motif Notation. The following examples show the equivalents between use of the symbol and the KIN use of the third columns.
APPENDIX D UPPER BODY MOVEMENT 445
b c m CANCELLATIONS An upper body movement indication is valid until cancelled by:
a) a return to normal,
b) another upper body indication,
c) specific movements of the shoulder section, chest or whole torso.
In the following examples all upper body movements occurring on count 1 are cancelled on count 2.
822a b c d e f
Figs. 822a and (b) show a return to normal. In (c) the forward arm inclusion may not totally can-cel the sideward tilt, hence the use of the general 'away' cancellation sign. In (d) the left side low tilt is cancelled by the right -sided forward high tilt plus twist. In (e) the double-sided forward tilt is changed to a left-sided forward low tilt plus twist. In (f) the upper body movement is cancelled by
the chest tilt. For further information see Knust's 1979 Dictionary of Kinetography Laban, Section F,412-417
and 419k.
E TERMINOLOGY
'a' - the name of the second part of a triplet, a beat of music divided into three. "a" column - additional inner subsidiary column (ISC) for the legs. Adequate Curve - equal to the curve stated and expected, sufficient. Aerial Step - one in which the performer rises into the air, i.e. some form of springing. 'and' or'&' - the name of the second half of a beat of music. Attached Symbol-smaller symbol (representing a minor segment of a limb) placed immediately adjacent
and attached to a standard sized symbol representing the main segment of that limb. A rotation may often be attached. The attached symbol takes the same timing as the main movement.
Augmented Curve - greater than that stated or expected. Autography - the drawing of symbols; conventions and standardization pertaining to their drawing. Axis - the principle line along which extension occurs or around which rotation takes place. "b" column - additional outer subsidiary column for the body and arms. Bar -a commonly used term for a measure in music. Binary-consisting of two parts. In skips and gallops it is the rhythmical arrangement ofthe three-part ac-
tion into a time division of two parts. Bending - the folding in of a limb toward the center in which the extremity approaches the base on a
curved line (see analysis on page 277). (See also Folding, Curving.) 'Blind Turns' - see Non-Swivel Turns. Body-as-a-whole - the complete person, the torso and limbs moving as a unit. Body Directions - directions described according to the Body Cross of Axes. Bound Flow - movement in which the factor of motion itself is controlled, guided, restrained, con-
strained, confined, held back. 'Butterfly' -a nicknamefor the symbols: ~ and ~ or ~. Center of Gravity - the point about which a body is in equilibrium, balanced. Central-pertaining to parts of the body at or near the center. For the body-as-a-whole it is the parts of the
torso, hips, waist, shoulders. For the hand, the wrist is the central part. Movement that is spatially cen-tral occurs near the center of the body; it may be performed by peripheral parts of the body.
Constant Directions - directions described according to the Constant Cross of Axes. Contraction -a form of flexion; specifically the drawing in of a limb toward the center in which the ex-
tremity approaches the base on a straight line. (See analysis on pages 277, 278.) The term 'contraction' is given in its anatomical sense and not, as in certain contemporary dance techniques, specifically ap-plied to a stylized movement of the torso.
Cross of Axes - three lines intersecting at right angles. From the point of intersection each line goes out in two opposite directions into infinity. It is from this center point, called 'place; located at each articulat-ing joint (other than those of the spine), that all directions are judged.
Curling - see Curving. Curving-the action of bending (folding) in which a multi-segmented part of the body produces a curve
(see analysis on pages 277, 278). (See also Bending, Folding.) 'da' - the name for the third part of a triplet, a beat of music divided into three. Dependant Part -a segment of the body attached to a larger or more centrally situation part. (See also
Major & Minor Parts.) Destination -a state or position that is reached as the result of some action. Deviating Curve -a curve normally lying on a plane (two dimensional) but which is caused by a turn of
the body to pass through a third dimension and become conical.
APPENDIX E
Deviation -a departure from the main line of a movement or from a standard position. Diminished Curve -less that stated or expected.
TERMINOLOGY 447
Distal-that end of a segment of the body that is farthest from the center, or from the point of attachment to the body.
Distal Center - the center point of a system of directions (cross of axes ) centered at the extremity of a body part, e.g. the finger tips.
Dynamic - pertaining to power, to physical forces or energy, to forces producing motion. Dynamics - the action of forces that produce or change motions of the body. In dance dynamics refers to
the ebb and flow of energy, factors that affect the expression, texture or quality of motion. Effort-Shape - see definition on pages 9 and 10. Expansion - three-dimensional extension, enlargement. Facing - the action of directing a surface of a part of the body toward a person, an object or a particular
spatial point. Fine - end, last time for a repeat. Fixed-base Turns - see Non-Swivel Turns. Flexion - the general term for the group of actions to which contracting and bending (folding) belong. Folding-bending a single joint in which the free end approaches the base on a curved line (see analysis on
page 277). (See also Bending, Curving.) Free End - that end of a limb which is not attached to the body. Free Flow - movement in which the factor of motion itself is free to follow its natural course, unrestrained,
unfettered, uninhibited, uncontrolled, unrestricted. Friction - the resistance to relative motion between two parts in contact. If the parts are in sliding contact,
e.g. the foot and the floor as in pivot turns, the resistance is called sliding friction. ('Frictionless turns' was a former misnomer for non-swivel turns.)
Front Signs - signs for the Constant Directions in the Room, used to indicate in which room direction (or stage direction) the performer is oriented, where his/her Front is.
Glossaries -A glossary is often used at the start of a score to define particular usages or special symbols that the style of the piece requires.
Horizontal Curve -a curve lying in a horizontal plane. Inclusion - participation of one part of the body in an action of a neighboring part. Jump - specific meaning: the term 'a jump' refers to the specific form in which the performer leaves the
ground from two feet and lands on two feet. Jumps - general meaning: aerial steps; also known as springs, springing. Key - an indication used in dance scores comparable in use to keys in music notation. The key stated at the
start of a score modifies subsequent directional movement indications. Usually the term 'key' refers to a system of reference for directional description.
Key Signature -a statement at the start of a score concerning certain specific usages to be applied throughout the score. These may be abbreviations expressed as an equation. Such statements are also termed pre-score indications.
Kinetography-the transcribing of movement (translation of movement) into signs on paper. Kinetology - the science and study of movement. Kinetogram -a sequence of movements written in Labanotation (Kinetography Laban). Labanalysis (Labananalysis) - the analysis of movement based on Laban's investigation which has been
further developed by specialists in the field. Labanotator-one who records movement using the Laban system. Lateral-lying in or pertaining to the side-to-side plane or directions. Legato - bound together, a smooth and connected manner of performance. Major Parts - the central or main parts of the body, e.g. upper arm in relation to lower arm, lower arm in
relation to the hand. (See also Dependent & Minor Parts.) Measure -a group of beats in music enclosed by bar lines, e.g. a measure of 3/4 (3 beats of quarter note
value grouped together), a measure of 4/4 (4 beats of quarter note value grouped together). Meter - the time signature of a piece of music or dance, i.e. the division of a composition into measures
consisting of a uniform number of regularly recurring beats or time units. Minor Parts - the extremities of the body, parts farther away from the center, e.g. the hand in relation to
the lower arm, the lower arm in relation to the upper arm. (See also Major and Dependent Parts.)
448 LABANOTATION
Motif - the idea behind a movement, the concept, the intention of an action, the motivation that causes an action. Also the 'germ' or 'theme' comparable to a Leitmotif in music.
Motif Notation - (formerly called Motif Writing) see definition on page 9. Motion -a movement or action, the tendency, intention, or character of which is stated (e.g. rising, ad-
vancing, contracting, relaxing, etc.) but for which the terminal state (destination) is left open. Non-swivel Turns -a turn of the body in which there is no sliding friction on the supporting surface (also
known as Fixed-base turns, or by the nickname 'Blind Turns'). Orthography - art of writing words with the proper letters, according to standard usage, correct spelling,
therefore correct usage of symbols. Parasite Symbol-a nickname given formerly to a smaller symbol attached to a main symbol. Passive Movement-a change in a part of the body or of the body-as-a-whole produced by an action in an-
other part or by another person, the affected part 'allowing' the change to take place. Peripheral-pertaining to the external boundary or surface of any body. Peripheral parts of the body are
the extremities: hands, feet, head. Spatially peripheral movement is that which occurs far from the cen-ter and for which the limbs usually must be extended.
Place (Place Middle) - the zero point, the center from which all directions emanate and from which they are judged and accordingly named. In supporting, place is beneath, at, or above the center of weight.
Point of Attachment - the base of a limb where it is attached to the body, or where a minor part is attached to a major part.
Position - an established and recognized destination. Pre-score Indication -a statement at the start of a movement score indicating specific usages which are to
be in effect throughout the score. Often these are key signatures. Pre-sign -a sign placed before the main symbol, e.g. a space measurement sign or a part of the body sign
placed before a direction symbol. Pre-staff Indication - any indication placed below a staff, e.g. identification of a person, specific use of
columns, or a reminder of a previously established position. Proximal-that end of a segment of the body that is closest to the center of the body. Resultant Movement -a change for a part of the body or for the body-as-a-whole that is caused by an ac-
tion in another part or by another person. This outside action affects the passive part, allowing move-ment to happen.
Retention Sign -a sign stating that some aspect of an acquired state is to be retained. While the word 'hold' is often used (e.g. hold sign, space hold, spot hold), the term 'retention' is more suitable for all uses to which retention signs are put.
Revolution -a progressive motion of a body around a center or axis, a turn or rotation of the body-as-a-whole.
Rolling - traveling by means of revolving (turning over and over) while supporting (iying, etc.) on a surface.
Rotating - the turning as a unit of a segment of the body by means of flexibility in an adjoining segment, e.g. the head rotates through the flexibility in the neck. (Compare with Twisting.)
Sagittal-in movement, reference to the forward-backward plane and any plane parallel thereto. Anatom-ically this term refers to the suture between the parietal bones of the skull, hence the plane of the body in which this suture lies.
Satellite Center - the center point of a system of directions (cross of axes ) at the extremity of a limb or at the center point of the path of a gesture.
Shifting - displacement (as far as physically possible) of a part of the body on a straight path. In a shift both upper and lower ends of the area in question move an equal degree in the stated direction.
Skew Curve -a three-dimensional space curve producing a partial cone, as opposed to a two-dimensional plane curve.
Sliding - traveling by means of moving smoothly across a slippery surface, as in skating or skiing. Spring - the general term for jumps when the specific form of an aerial step need not or cannot be stated.
A spring is the action of rising from the ground, the subsequent landing being taken for granted. (See Jumps, Aerial Steps.)
Stability-the state of being when the body is in balance. Staccato - movement that is separated, disconnected, cut short or apart.
APPENDIX E TERMINOLOGY 449
Stance - the support of the body (usually the feet or one foot) that retains the previously established Front when a twist occurs in the rest of the body.
Standard Directions - directions described according to the Standard Cross of Axes. Structured - description of a movement or the notation of a movement in which the elements of timing,
space, and the part of the body used are clearly defined. Style - distinctive or characteristic mode of presentation, construction, or execution of patterns of
movement. Systems of Reference - established distinctions in determining to what a direction symbol refers, i.e. how
a stated direction is to be interpreted. Ternary-consisting of three parts. In skips and gallops, the rhythmical arrangement of the three-part ac-
tion into a time division of three equal parts. Three-dimensional-the use of more than two directions in movement, movement filling or enclosing an
imaginary sphere. Two-dimensional-movement using two directions at the same time or movement on a plane (describing
a two-dimensional surface). Twisting -a turning of a part of the body in which the free end turns farther than the base (point of at-
tachment to the body, to the floor, or to a person or object). The resulting movement produces a spiral within the part specified. (Compare with Rotating.)
'u' - the name for the fourth part of a beat of music divided into four (pronounced as in up). Undeviating Aim -a movement that continues on a bee-line toward a specific point regardless of other si-
multaneous and influencing actions. Upper Body - term referring not to a specific part of the body but to a use of the upper torso that may in-
volve only a shoulder section (upper dorsal vertebrae), the chest, or the whole of the movable spine down to the lumbar region. (See Appendix D.)
'y' - the name for the second part of a beat of music divided into four (pronounced 'ee' as in any). Zed Caret - the name given to the double caret shaped like the letter Z.
GLOSSARY OF SYMBOLS
I-
I-
DIRECTION LEVEL
The three levels are
D~~d distinguished by the different shading of the symbols.
~ 0 ~ ~ Up, high
D ~ Q ~ D Middle
Direction is indicated by
I the shape of the symbol. Down,low
-------------RELATIONSHIP PINS
_ ....... -)'1'
Low
(position signs; minor movements)
Middle
/'y'\
High
~ ~~ ~ ~ ~~ ~
• • • • ~ ~ ~ I 0 ~ ~ ~ ~ , , . • 8 ~~ ~ ~ ~~ ~
etc.
Intermediate positions, directions; or minor movements
-
---------Intermediate Directions
A point half-way between two stated directions
ABBREVIATIONS
•
Move half-way to this direction
Elimination of Limb Signs
or
A point 1/3 way from forward middle toward forward low
A point 1/3 way from forward high to right forward high
Attached Additional Information
--
Full version Divided column Attached symbols Attached rotation symbols I
THE BODY THE STAFF
The staff represents the body. Placement of movement indications on the staff shows which part of the body executes the movement.
I I I I I I I I I I I I I I I I I 1 1 1 ~I~ 1 1 1 1 1 1 1 1 1 ~L-,I 1 1 1 1 1 1 1 I~ ~I~ ~: "': 8:"0:"0
1 1 1 I ~I ftlftl ~:~: 1 1 1
1]18 >J~ ~I~ OR
1 1]181 >.I,gj I ~I~I 1 §I"OI ]I~ ~I~ ~ig,-<, 81 a:s 1 ]I~I ~I~I al]1 1<181
::ll:< III 1 00 8J& 001 III 1 I:I:I:I: 1 ::ll:<: o:llb1)1 8.1 &1 oolllli 1 I:I:I 1 1 1.3 §'I §< jl 1 1 1 1 1 1 1 1,31 §"I §"I jl 1 1 1 1 1 1 I ifl,UJ. 1 1 1 iflliZll 1 1 1 1 1 1 1 1 1 1 1 1 1
Left Right Left Right
Standard Staff Expanded Staff
1"0 1\1 I:I: 1
GLOSSARY OF SYMBOLS 451
THE BODY SIGNS The Joint Signs
For the Anns For the Legs
1 f" Shoulder + l r- Hip
:::J t:: Elbow :f ~ F Knee
3 t Wrist =1= ~ ~ Ankle
:j: § t Hand f ~ ~ Foot
§ ~ Fingers t ~ ~ Toes
left right general left right Body Areas
[g] [jJ ~ IT] [i] etc.
o Basic sign for an area
[CJ BB [QJ Area of Shoulder Chest Waist Pelvis Whole Unit of knee Unit of foot
head section (rib cage) torso to head to chest --- - -- --- --
Surfaces of Body Areas n A surface, any surface
[CJ ~ 0- -{jJ [If l6 ~ Face Back of Right side Left side Right front Upper front Lower left side
chest of waist of pelvis side of knee of chest of pelvis - ----- ------ - -
Moveable Parts within Body Areas (see Adv. Labanotation)
EJ ~ [g) CJ ~ [!] etc.
Breastbone Upper dorsal Right side Diaphragm Lower dorsal Abdomen spine of rib cage spine
Limbs
II 1t ~ ~ it 11 ~ c II
A limb Both anns Left ann Right ann Both legs Left leg Right leg Neck
II II 91 II IF II
~I or It:: 9 or or ~
or t:: F
Right upper Left lower Right Left lower arm ann thigh leg
--- --- - -- - -- - --Surfaces of Limbs
H H L I ~ II R L, I II'R
Under or Outer Thumb or big Little finger or inner or top toe side little toe side
452 LABANOTATION
Area, Surfaces and Edges of Hands and Feet
n ~ ~ Lf} flR L"n nOR n Area of Palm, sole Back of hand, Thumb or big Little finger or Tip of fingers,
hand or foot offoot top offoot toe edge little toe edge tip of toes
U ~ ~ LlJ--UR LOU UOR W
Area of base Under side, Upper side, Thumb or big Little finger or Tip of heel of hand or foot sole of heel instep
Specifying area of foot, left or right
Specific Fingers
Specifying area of hand, left or right
toe edge little toe edge
tJ ~ Specifying area of base
of foot, left or right
1J U Specifying area of base
of hand, left or right
Thumbs Index fingers Middle fingers Ring fingers Little fingers
Parts of the Fingers
Right middle finger
Base knuckle of right middle finger
I~ It
Middle knuckle of middle finger
~
Last knuckle of middle finger
Tip of right middle finger
~ etc.
Limb of right Base segment Under side of Top, nail side middle finger middle segment oflast segment
------------ -- I - ---Specific Toes and Parts Thereof Parts Above and Below Joints
I ( ~ ~ ~ etc. ~ ~ etc.
Big toes 2nd toes Pad of big toe Nail oflittle toe I Above Below
R elbow L knee L __
Above Rankle (cou de pied)
Parts of the Head (Pictorial signs have been used in scores, also detailed signs when known.)
Simple Pictorial signs
Nose
Mouth
Tongue
Ears
[Q Eyes
Detailed Signs (the whole range is given in Knust's Dictionary ex. 344 - 346)
Top of head Right ear Left ear
Forehead Left cheek Tongue
Nose Mouth Teeth
Chin Eyes Beard
% Throat ® Right eyeball Right eyebrow etc.
GLOSSARY OF SYMBOLS 453
SIGN FOR UPPER BODY MOVEMENT
Both sides ~ Right side X Left side
REVOLUTION, TURN, ROTATION SIGNS
0 0 ~ t) 9 Q Tum, rotate Tum, rotate Somersault Somersault Cartwheel Cartwheel
counterclockwise clockwise forward backward to left to right
~ ~ 0 0 00 00 ~ Q ~ Q Any turn, Any Supports: Tum right or left; More or less Twist within a Rotate as revolution rolling Gestures: Parallel, untwisted parallel part of the body a unit
---- ------------- ----- - -Degrees of Rotation (also used for circling) Pins for amount of rotation
1 1 1 7 1 1 are placed within the symbol
"8 ~ 8 "8 ~ 8
~ ~ ". .,., ". .,., !-- -2
1 __ - 1 --El 4 4 4 4
-~
T '\ -~
T '\ Full tum 3/4 tum 2 turns
3 5 5 3 counter-clock- clock-8 1 4" 8 1 4" clockwise wise 2 2 wIse
Counterclockwise Clockwise
g g 0 8- 8 000
Very little A great deal Tum to face 114 right from un- End facing Tum as much tum of tum focal point twisted state audience as possible
PATH SIGNS For Body as a Whole
I I T T T I 1 I ~ X 0 1 1 1
Any Straight Straight Straight Revolving on Circular Circular Circular path path path to path, short a straight path path path left
left side distance path left right or right
I f l' ~ f f f f f f f -----e ~ • • 0 \j '(j "0/ ~ V Wj
1 ~ * V1 J J, J, J J, J, J } ~ 114 circle Travel for- Avery A large Circling, Spiral path Spiral path
left ward while small circle no change approaching going away circling circle of front center from center
454 LABANOTATION
RELATIONSHIP SIGNS, HORIZONTAL BOWS
Duration I Address I Near I Near/Sur- I Touch I Grasp I Support I Grasping support
---~ L __ L roundin_g L __ L L_~ ---Momentary I --....J 1 ", ___ / 1 "'-x-/ 1 ~ 1 "---x/I "----/1 "-xJ
- ---- - 1 --Passing, 1--1--1--1--1-1 brief duration, 1 momentary ~ I ''''':::.~:::.==-~;:.;/'' I '~~~::::~)¢:~::::~' I ~ I ",x/ I~ ij'1 ~xd' sliding
~ f- ---- L __ L __ L __ L __ L_~ __ _
Retention 1 ~ 1 ",_0 __ /' of state
r---~--L
I " 0 ,/ , -x-'
L __ I~I "-~J L_~ __ _
1 1 1 1 1
° Retention 1
(continuation) 1
of passing relationship, 1 sliding
~ 1 '\~ .. 0 /;// ...... -.::::::-:.-..... 1 '"""~,,,,~ 1 ~ 1 "'~/ I~ 0 1'1 ~~d'
r-InterlaCing 1 _*, / f-Penetrating ~ _ '::::::.
1 1 1:--;1:--L"'-*-~ L "---*/
1
Each bow may be swung ----.f\ ,/---", ~
upward, if preferred
r---------Meeting Line
~ A is in front
of reader
AI A is on read-
er's left
A ..... or ~
A is beneath reader
1 1 1 -1-1---_L_~ __ _
~ (also~ and~)
I~ A is to the right and above reader
- -
A~ A is in forward
low of reader
CONTACT HOOKS Modification of the contact bow to indicate part of foot which touches the floor. Unspecified touch: '-../ or r'\
J~ J'- J\.. .... n. .... ~~ .... n ... - - "0- ",r ir ,r Nail of Tip of Pad of Full ball 112 ball 114 ball ball Whole 112 heel 114 heel Full
toe toe toe (3/4 toe) (112 toe) foot heel
r-- - --- -- -- -- -- -- --- - ----Abbreviations for Hooks
Heel ("or,,\ Toe I.... or oJ drop drop
Simul.. Caret: taneous action bow
Continuation; same part of
body or symbol, retain same
place
rn = aJ ~ = CQ l + j j j J1j
f g h 1 J j ~ ]
b c d
(a) Phrasing bow (b) Passing state:
deviation (c) Passing state:
part leading
e
(d) Inclusion bow (e) Hip included (f) Shoulder area included (g) Head not included
(h) Addition bracket (i) All actions are accented (j) All gestures are bent
GLOSSARY OF SYMBOLS 455
FLEXION AND EXTENSION SIGNS (Contraction and Elongation)
Shortened, Contracted
X -I degree, small (rounded)
><: -2 degrees
Z -3 degrees (right angle)
~ -4 degrees, very small (bent)
~ -5 degrees
$ -6 degrees (totally flexed)
1-------
Specific Contractions and Extentions X
Contract over the front
Stretched, Elongated
VI -I degree, long (limb straight) tx1 V1 -2 degrees (limb extra stretched)
limb neither ~ -3 degrees
b:1 -4 degrees, very long
~ -5 degrees
Vol -6 degrees
~ -7 degrees
IX Contract over the right front
ill Extend over
the back
stretched nor bent
ill I Extend over the left side
- -
etc.
1------ ------Folding (Bending) Unfolding
':,L {- K f- 7\ etc. ':,L :,L ¥ :M i:& ~ A ).L F. RFD. R. RBD. B. 1. 2. 3. 4. 5. 6. Cancels any form Unspecified The different physical directions
The 6 degrees of folding (bending) offolding folding into which folding can occur.
---------Two - Dimensional Contraction and Extention
Along longitudinal axis: X, * etc. l!1, b1 etc. l!1 , ~ etc.
Along lateral axis:
~ '\V ~ '-c::::/ "C:/ "C:/ . Joining, closing, adducting
Three - Dimensional Contraction and Extention
* - - --
SPACE MEASUREMENT SIGNS
~ All degrees are possible: 7':
Spreading, separating, abducting
'* etc.
------
Reference to Space is shown by enclosing the signs X, and VI in a diamond to specify the spatial aspect: 0 <& when the above signs are not applied to steps and traveling.
-
Space Measurement - Specific Distance
[] = 3 step lenghts ffil = 6 step lenghts
SUCCESSIONS, BODY W AVES
V A An outward sequence,
succession An inward sequence,
successIOn
v Outward
body wave
A Inward
body wave
-
456 LABANOTATION
FLOOR PLANS
Indication of floor plan of room or stage:
AREA SIGNS
St. L.
0 Basic sign for an area (also used for parts of the body)
IQI An area, any area
Audience
I (dowo"",,' I St. R.
Back (upstage)
~ Front of an area
~ Center of an area
Indication of Performers on Floor Plan
Girl Boy Person
~ ~ [Q(
-1QI ~ [Q]---
Specific parts of an area: )Ql ~ IQl The Main Defined Areas (Stage Areas)
[]I~I~ _:.J_L_ IJI III I[)
-~-r-
~11;;;;;l1[]
The Floor
Periphery of the room
Center area of the room
Exact center of the room
LEl Sign for the floor, ground (terra)
FIXED POINTS IN A ROOM
~ Key for a Fixed Point
in a room or on a stage 'm ~ ~
Level is shown by use of the pins -m ~ ~ ), 1 ~ . Inbetween points
are shown by using two pins ~ ~ ~
Near the edges of the room
Beyond the edges of the stage
Lower left front corner
Upper left front corner
Center of ceiling
Between lower and middle left front corner
FRONT SIGNS, STAGE DIRECTION PINS AudiencelFront of Room
-$- Key for System of Reference based on the Constant directions in the room
For Ballroom Dancing
Key for Line ri1 of Dance: l!J Facing L.O.D r.!J
Intermediate,-t,r 'K:n directions eJ , -o.J etc.
Back to L.O.D ~
ANALOGY SIGNS
Equal ~or (
Similar, ad libitum
REPEAT SIGNS
;/. or ---;-
Identical (the same)
* Exact
;j: or
Lateral symmetry (to the other side)
Parallel
=or
Lateral symmetry
GLOSSARY OF SYMBOLS 457
Il:Or :11 Sagittal
symmetry Oppositional
(ballroom)
rn rn rn Repeat bar 4
Do what A is doing now
Do what A did in bar 4
The analogy sign for lateral, sagittal and oppositional symmetry are also used for indications of repeats.
En Croix Repeats
Forward, side-ward, backward
on right side
The same on the left side of the body
Forward, sideward backward and side-
ward again
The same on left side of the body
Four times en CroiX
--- -- -------
f-
Outside the Staff: Sectional Repeats
For shorter sections
Repeat
JIr the same
Repeat
JIr to other side
Total
JIr of four times
--- -First and Second Endings
(as in music)
For longer sections and enclosing other repeats
I ~ --
I ---
[N A different [_ 2ndendmg:
,-,-
Labeling a reprise
--
[" A different
[~ 4th ending:
--
Later repeat of identified
reprise
-
~ A different
[~ last time:
HORIZONTAL LINES
(a) Count marks (ticks) a", r== f-d ,--
~ (b) Bar lines
b\ -+- f-e - f- f r-r-(c) Double starting line (start of action)
r--(d) Ending line r-r- -- f-f (e) Lines enclosing repeats r-r- 2 (f) Artificial bar lines c-->'='= e---> -;- '='=
458 LABANOTATION
GROUP NOTATION (Note: some indications given here may be met in scores but are not explained in this book.)
Formations: General Group Shapes -Pictorial indication of solid group shapes
Formations, Arrangements
-$- ~ ---$-Side by One in front Circle
side of the other facing in
Pre-Staff Signs
b ~ ~ A female A male A couple
Use of Numbers
2b ®~ ®JJ1 @)b
Linear formations
0 (pictorial indication)
@ Each one
Any number of people one behind the other, left side to the center, the front person facing the audience, the back person facing upstage, i.e. a semi circle.
~ J1 Each lady Each couple
t9-$-Lj ~ [J ® [1] ~@ [!lJ]
2nd lady 4 men 8 trios Each 3 ladies 8 people side by side 5 men in a file facing front, 4 step one behind the
Plain number = person's number lengths from the other, each 3
Encircled number = number of people, front of the stage step lengths
couples, etc. apart.
Double encircled number = each set of stated number of performers
Identification of Members of a Group Indication of Person Leading
tJLlu Ll Person in front,
1) t front of group Path led.by Path
[] [!] [) [!] Center person, person In led center of group front byB
Dc:JD [) Person on right Ll
Types of Circling for a group
Individual
1 Wheeling
1 Shifting the 1 Whirling: wheel-
1 circling group (circl- ing in which each (each on ing as a [!] member covers own path) unit around y the same distance
the center) on his own track -- -- - ------- - ---Canon Staff (placed to the right of the movement staff) - see Advanced Labanotaion text book.
[I] ~ Reverting =:J canon
j Synchro-~ nized canon
Simultan-eous canon
GLOSSARY OF SYMBOLS 459
TIMING (vertical length of symbols)
I
I X
I ~ 0 0
o IV[JIO II : J-t:l Quick, sudden Slow, sustained
The relative length of the movement symbol deter-mines its time value.
For symbols which show timing, length indicates the duration of the action.
For signs not elongated.
Accelerando
Increase speed
Ritardando
Decrease speed
----------------Vertical Lines - Active, Passive
I I I I I I
Action stroke, duration line
Resultant movment, passive reaction
Resultant direct-ional movement.
HOLD SIGNS
~ ~ rn (Retention Signs)
0 Hold, retain (Body hold)
0 Space hold Caret: Zed caret: Zed caret: Retain the Land on Step on
0 Spot hold same place same spot same spot
KEYS FOR SYSTEMS OF REFERENCE (Crosses of axes)
-$- + -+ t -$ + Constant Standard Stance Base-of- Twisted- Body
Cross Cross (Untwist- Twisted- Part Cross of Axes of Axes ed Part) Part of Axes
FOCAL POINT, CENTER OF GRAVITY
• = h Focal point is the chair
T ,,( I I I I I I etc. I I
..1 Y Resultant
path
CANCELLATION SIGNS
o Back to normal
1\ Previous state disappears
c) or ~
<? or~
Release (contact)
Release space or spot hold
~ t -$-Body-Body- Body-Stance Base-of- Twisted-
Twisted-Part Part
• Center of gravity
460 LABANOTATION
MOTIF NOTATION INDICATIONS The following signs are used specifically in Motif Notation. Those marked * are also used in Structured Description.
Action of the body
Motion: *
Toward
A spring (I) of some kind 1
Away
Gathering* Scattering*
J l 1 liT Left Right Both Left Right Both
Destination:*
EFFORT SIGNS (those in parentheses are Laban's abbreviated version)
The Eight Basic Efforts
-I (if) Strong, direct, slow (press)
c- (If) Strong, direct, fast (punch)
) (~) Strong, indirect, slow (wring)
~ (~) Strong, indirect, fast (slash)
Element of Control
Bound flow, guided, controlled, restrained
Free flow, unrestrained
-l,- (-I) Light, direct, slow (glide)
k- (f) Light, direct, fast (dab)
~ h) Light, indirect, slow (float) -
~ (\-) Light,indirect, fast (flick)
The Complete Effort Graph
a - weight (force)
b - space
c - time
d - flow
b
: fC:b a
------------------------
-
-
DYNAMIC SIGNS
The use of energy, or absence of energy in movement.
ACCENT SIGNS
'l.. 'i/ 17 Slight accent
, , , Strong accent
Resultant, passive
---- - ----------Increased Degrees of Energy I Decrease in use of Energy
I U LJ " (;\
I Strong Gentle Relaxed Limp
~ ) I
\0 J I Emphasized Unemphasized
I
I I I I I I
--- -- ---- --- - - -
o.lJ J I Resilient (elastic) I
See Appendix B for old signs
-
Shaking, I vibrato, tremolo
----In Relation to Gravity
Fighting
fO\ fO\
Uplift Buoyant
Yielding to, using
~ Weighty Heavy
(reaction to pull of gravity)
Index NOTES
1. The page number for the main entry for an item is underlined. 2. Alphabetization ignores minor words such as "of, for, use, with," etc. 3. Apart from a general listing, actions (verbs) are listed under the part of the body (noun), e.g. tilt-
ing is given under "Tilting", but tilting the head under "Head tilt': 4. Special listings are given for cancellations and timing. Degree of an action is listed under the
specific action.
ABBREVIATIONS
anal-analysis aug - augmented
destin - destination indic - indication ref - reference deviat - deviation meas - measure revolut - revolution dimens - dimensional mvt - movement sig - signature C of A - Cross(es) of
Axes dir - direction MN - Motif Notation simult - simultaneous C of G - Center of
Gravity contr - contraction desc - description
dur-during perf - performance symb - symbol gest - gesture pos - position syst of ref - systems of horiz - horizontal prep - preparation reference ident - identification pt - point
'a' & 'b' columns 19 'a' column, uses of 153,204 Abbreviation, devices (see also
analogy and repeat signs) 173,211-2
Abdomen 451 Abducting hand (fingers) 402 Above, sign for 386
use for arms 388-9 for legs 348 for relationships 389
Above a joint 407 Absence of mvt, hold sign
for 41-2,115,134-5 Accelerando 107, 430 Accents 10,131,149,425-8,460
timing of 426 vertical sign 426
Accompaniment, see Music Accompanying, anal 221-2 Acrobatics, C of G mvt
Acromion process Action, an
awareness of degree of continuous initiation of of limb
355, 364-5 220
17-8,20 150 15 44 15
197 preparatory - 49 producing a touch 197, 198
resulting in a support 339 start of 36-8, 2lO quick 32
Action strokes 17-8,20,31-32, 149
for jumps 77,87-8,421 for writing rhythm 52 small- 128 in structural desc w supporting sign
Actions, blended sequential and
148-149 339
81
simult 31-2,127,245 Active part 293,295,430
person 293 Active touch (leg) 185 Adagio 320 Addition bracket 157,267,289,
292,383,426,431, 433,454
Addressing 179, 293-4, 300, 389 Adducting 409 Adequate curve 116 Ad lib. (similar) 160,244,
for arm gest for circular path for degree of turn as duration line general for leg rotation
285,312 149,312
168 97
312 312 244
w-with
for repeats for run for supports wavy line
'Adverbs' (mvt)
313 312 312 305
15-6 Aerial mvts, see Jumps
revoluts 421-2 steps
w leg gests 65-88, 128-53
128 turns
Aimofmvt 87-8,93, l36
179 161-2,338
399 ofapath undeviating - --aimed destin (arm)- 103
Air, in the, see Aerial Air line, see Action stroke Airborne 66 Alignment, normal 213 Allegro 320 All fours, on 352 Alphabet, letters use of 331 Alphabet des Mouvements
du Corps Humain 2 Alternative versions 432 Amalgamated step-turn 95 Amount, see Degree Anacrusis 184 Analogy signs (see also
repeats) 303,311-8,457 Analysis of dir 368-84
(see also Syst. Ref. & C of A)
462 INDEX
Anal of mvt, see Mvt anal Anatomical, descrip 13,143
for joints 199-200,277-89 'And' (counting beats) 33 Andante 320 Angling 345 Angular bows, see Brackets
path of C of G in steps 46-8 steps 48
Ankle 145,196-7 contr of 280 dir mvt of 202-3 displacement extended flexion (resultant) folding of rolling of
Anthropology Anticipated action Anticlockwise Any, path
surface
250 180,343 145,204
286 250
6 312
78, 160 160 299
turn, revolut 453 Apparatus, as focal pt 94 Apart, feet slightly 393 Approaching 25,160,161,298
focal pt on circular path
sign 176-7
298 Appropriate action Approximately, see ad lib.
312
Arabesque, pose w 134, 209 pelvis tilt in an - 233
Arbeau, Thoinot Arc of gest 100,135 Arc, 1/4 circle (of path) 167 Arch of foot, see Instep Arch, forced (contact) Arching the spine Archimedean spirals Area(s), an
180 287 177 404
around a joint 404 arriving at-of body, details of center - of body a defined sign signs for hand specific - in room spot in a defined -stage - (room) surfaces of an -work-
Arm(s), (arm gests) action strokes for
162 407 387 89
289 406 159
381-2 158
299,404 89 98 20
behind the body 113 bending 147-51, 287
unwritten 114 black pins for 100, 114, 388 Body C of A key for 378-9 body hold for 115-6, 236-7 both - sign for 197 both - turn of 240 carriage of the - 99
(ref palm facing) 109-10 (ref rotation) 113 port de bras 388
carried dur tilts 236 dur turns 115 dur torso twist 260,266
use of center, see Place central path 103 circular path 102,107,109
overhead 378 perf of 113-4
Constant C of A, use for-373-5
continuity of mvt for 104 contr 147-51 crossing -- 100
perf of 11 0, 114 curved path, see Curves curving path 287 destin desc 98 details of perf 109 deviats from path or a pos dir, anal of 99 direct path 101-2 dir & level 26-7, 98-9 dir of - -, w torso twist
260,268-71,377 distance between dir pts
101-2 extension (stretch) 144,151 flexions 147-51,287
unwritten 114 folding 287 gests horiz circling
19,26, 98-119 384
curves 116 including body 222-6 inclusion (unwritten) of
shoulder area 114 intermediate dir legato length (for C of G
distance) levels for-
390-2 104
364 26-7
lower arm (see list below) naturaloppos 99,107,143
normal state parallel-parts of -, mvts parts of - sign
143 99,102
204-7 197-8,207
passive 430 path in space 24,25, 100-3
(see also Paths) dur torso twist 271 shortest route 100
peripheral path 100-2 placefor 26,103,150,201 pos, pins for 388 range of mvt 98 relationship, pins for 100 rotation 254-6
unwritten 112, 113 sequentialmvt 412-3,414-6 space hold 116-7,237,267,
271 destin stated
staccato (sudden) in straight line straight path for
118-9 104 144
101,103, 397
surfaces 403-4 sustained (legato) 104 symmetrical 102 taut (extended) 144 three dim ens path 117 transversal path 101 turning, effect on - 115-7 twists in the - 254-6 upper arm (see list below) windmill mvts 102 whole arm (see list below)
Arm: Lower Arm 19,196,257, 403
analofmvt 206 carried along 205 circles 206,210,395 dir & level for 200-1, 236-7 pronation of 257 reaction to upper arm
mvts 205-6 supination of surface of twists in
Arm: Upper Arm dir and level for
257 403
79,256,257 403
200-1, 205,210
rotations, caused by lower arm 206,210
sign for 207 surfaces 403 swings of (elbow) 209
Arm: Whole Arm 144 general dir for - 147 rotating as a unit signs for 197, in a straight line twist in the
254 404 144 254 205 Army Posture (shoulders)
Around the clock 420 321-2 Arranging score
Arrive at, see Destin Arrow (floor plans)
w broken line double headed
159,326 327
327-8 for unison paths 328 wedge shaped - head 328
As many as possible (turns) 97,435
Asian dance 256,257 Assemble, basic form 66,67
w leg gest 130,132,133,136 w sliding 188 w turning 88,136 variations 133
Assemble soutenu turn 86 Asterisk sign 142, 185, 311, 313 Atlas vertebra 422-3 Attached, rotation 246
symb 212-3,245,342, 404,450
Attachment, pt of, 26,143, 200
for parts oflimb 199 Attitude (ballet) 209,212 Audience (stage dir) 90, 158,
369 Aug: body sections 221
curve, see Curve staff, see Expanded (broad)
staff tilts of body sections 234-6 torso sections 220
Autography 440 Awareness (relationship) 293 Away 298 'Away' sign (cancellation) 112,
215,237,239,263,292 Axes of circular paths 377
revolues, rotations 376,378-9
use of (for torso) 274-5 Axes, Cross of, see Cross of A Axle of a wheel 164
Back of torso Back -to-back
350 337
Back fall Back surface
oflimb
353 299
403-4 Back-to-normal 112,156-7,
213-5,288,292,301 body alignment
215,263,265 for C of G 357,359 for contr 156 for hips 214 for leg rotations 245-6 for shoulders 201 for state oflegs dur steps 156 for tilts 229-30,237 for turn sign 263
Balance 13 aid to 342 equilibrium 354-67 line of - 354 stability 357 loss of - (see also falling)
355,361,362 momentary
maintaining - in kneeling
- for torso tilts regaining shift of C of G in-
Balance Balanchine
361
342 358 362 355,
357-9 57
333 Ballet (see also individual
entries) arm pos 256,388,391 elbow 'lifted' 256 key sig for-
for leg rotation Balletmaster
254 253-4
319 technique, examples of
touch & slide 188 Ball of foot, contact of
26,180-1 used in kneeling 343 walking on --- 189
Ballroom Dance 382 key sig for 253-4 Line of Dance (L.O.D.) 176
key & front signs 382 'opposition' in -- 311, 316 pre-staff indic 176 steps 42
Bar lines 34,36,457 Bar numbers 37 Bars, marking off 34, 36 Barbershop cartoon 368
INDEX 463
Barre, exercises 121, 309 as focal pt 94
Bartenieff, Irmgard 3 Base line of dir 287 Base of part of body 26, 268
(see also Pt of Attach'nt) - of staff 36 supporting - 43 - of-twisted-part 268
Base-of-Twisted-Part Key 380,385,459
Basic unit, statement of 32,35-6,33,35
Battement balanroire 188 cloche 188 degage 188 glisse 188
Batterie, battu 131 Beard 452 Beat 32
audible 131 breakdown of 33 indic of - mark 32,36 on beat, offbeat jumps 75 longer basic unit 187 strong musical-, use 49, 51 subdivision of, verbal 33 upbeat 37,42,46,50-1 weak musical-, use 49
Beating legs in air 131 Beats per minute 36 Beauchamps, Pierre 2 Beginning, see Starting Beginning 1st & 2nd 311 Behind, for arms 100
in back (pin) 41 for pos of feet 53-4 for steps 40-1
Below, sign for 132,386 Below, a joint 407,452
staff indication see Pre-staff Beneath (a person) 454 Bending 147,277
(see also Folding, Curving, Contracting; Tilting)
anal of- 277-8 backward 287
(see also Arching) supporting legs 151
Benesh, Joan & Rudolf 3 Bent limbs, retention of 157 Big toe 407 Big toe side of leg 403,452 Binary division (timing) 76 Black diamond 118,272-3
464 INDEX
Black pins, see Pins Blank dir symbol 346 Blended step-turn 81,95 'Blind' turn 96,261 Block symbols 11 Body, ( signs) 451
alignment, (for body parts) 213,237
stressed 230 - and arm, see Inclusions awareness 134 -Base-of-Twisted-Part key
380,385 center lines & areas 387 circle representing-
aspects 317 column 19 contact of parts of 131,
197-8,294-8,427-8 contr (general statement)
420 - Cross of Axis, see Cross
of A cross of dir in-dir hangs down (C of
G level) inclusion of -lateral symmetry
(in use of)
201 369-73
365 218,221-6
317 longitudinal axis 370 relationship, retained 215 revolut'sof- 417-22 right & left sides 22 ripple 412-5 rotation (twist) 240-2 Stance key 380, 385 inclusion 224-7 Twisted-Part key 380,385 twist, resulting from
inclusion 224-6 upper -, see Upper Body
Mvts vertical line in - 201 wave weight of wheeling
412,415-6 424
Body Areas, (signs) cart wheeling of --details of --
273-6 451 423 407
inclusion of -- 227 shifting -- 290-2 somersaultsof-- 417,422 straight path for -- 289
surfaces of-- 299,407,451 units, mvts of 221
Body Hold 215,383 for arms 115-6,236-7 for chest 238 for head 238 compared w space &
spot hold 399,400 for parts of limbs 203 for relationship 296, 399 understood use of -- 266 weight of 424
Body Key 292 Body Lengths (for distance
C of G) 356,364-7 Body: Parts of Body 18,450-2
active in releasing 297 as axis for revolut 422 facing of 299-302 inclusion of 143,223-6 leading 15 lengthening oflimb 143 rotating of 422-4 supporting on turns, twists of
Body Sections inverted used for falling tilts of aug
Body Stance Body symmetry Body Units
(see also Sections)
339-53 79
221 234,273
363 236
379-80 317 451
Body-as-a-Whole 370 contr of 420 orientation of (Front) 299 progression of 18,40 revolut of 376-7,378,
381,417 rotation (turn) of 79, 170,
240-1 Bouncing 428,431 Bound flow of mvt 10,460 Bows (see also Angular
Bracket) horiz, small: angular staple
identifying support column 87, 95
curved, connecting gest columns 245, 256, 383
horiz long: for relation-ships 454
for addressing 293,454 for carry 295,454
for contact, touch 131, 179,181,197-8,294,
296,454 for near 294,454 for support 295,402,454
vertical, small: for connected actions
for simult actions 81, 88, 211, 245, 390, 454
for space hold destin 216 vertical long: for
deviations 394-5 for guidance 412 for inclusions 223,454 for part leading 411,454 for passing state 358,359,
454 for phrasing 107,454 for sequential mvt 414 forC ofG in
motion Box, holding a
lying on a
359,361 297
letter in - for reprise Box waltz pattern Boy - see Male
373 310 87
Bracket (vertical) 454 addition - 157,374,383,431 for 1st & 2nd beginning 311 for 1st & 2nd ending 310
Bracket, curved - on stage plans 328
Breaks, Time Step (Tap) 193 Breastbone 451 Breath, pause 44
rhythm 32 Broad Staff - see Expanded
Staff Brush (leg gest) Brushing (hand) Buck (Tap Step) Build of performer
(step length) Bulge, of hip joint Bulk of the hand Buoyant Butterfly (symbol)
186, 188 295 193
139 290 147 462 212
C, sign for head 218,230 C of A, see Cross of Axis Cabriole(s) 132,179 Calaban 50,440 Camera, focussing 299 Can-Can (leg mvt) 202
Cancellation of: (signs) 459 addressing 297 folding 288 attached rotation 246 bend, stretch 151 body hold 215 C of G leading
shifting 364 changes of level 363 chest tilts 238 contact 297 contr 282,288,363 C of A keys, automatic 270
stated 276,383 direction for parts of
limbs 202-7,213 extension 155-7, 282, 288 facing 301 falling 362-3 flexion 155,282, 288 folding (K signs)
282-3,288-9 grasping guidance hand, dir hip mvts hold sign
297 412 207 201 121
in support column inclusions
45,77 226 213 345 155
joint signs kneeling length of step loss of balance lying mixed supports palm facing part leading passing deviat pre-signs (joints) relationship retention of part
leading
362-4 351-2
352 111-2
411 395 213 297
412 rotations 245-6, 258,
263-4,265 shoulder mvts 205 shoulder-section tilts 238 shifts 292
351 sitting space hold spot hold
117,215,217 361,400
156 state of leg dur step step length supports, mixed Syst of Ref.
155 352
276,383
thumb edgefacing 111-2 tilts 229, 237-9 touch (leg gest) 186 toward and away 298 twists, see Rotations Upper Body Mvts 445 vibrations 395
Cancellation sign, General 265,288,301,342-3
Canon staff 458 Cardinal dir(s) 22 Caret 59,73,208-10,341,
344,454 for chest 262 for continuation of symbol
118-9,178 for kneeling for repeat sign for shift of weight for stepping on same
spot zed-
344 305 63
400-1 400
Carriage of limbs (see Arm, Leg)
'Carried along', of minor part 198,205,236
of chest in pelvic tilts 233 Carry 295 Carrying umbrella 296 Cartwheeling 417-9,421
in air 421-2 degrees of 418-9,424 room axis for 376-7
Cast ident 331-5 Cast list, current 335 'Catch'step 42 Caterpillar 413-4 Ceiling, reaching for 368 Center, at-
(place) of circle
386 20,27
164 distancefrom 138 for gest 26,103,150,201 joint oflimb 145 pos for shifting 289 of room 176
Center area of body 387 Center of Gravity
(weight) above pt of support at pt of support below pt of support cancellation of level
of falling
354-67 366 367 367 364 362
INDEX 465
come to rest 361 distance of 356-64, 366-7
345 360-1
in kneeling leading levels of 46,356,366-7
46-7 level, in steps maintaining level specified changes specific situation unspecified
changes unwritten in lying,
sitting location
360 355 364
354-5
350-1 365-7
lowering 357 momentum of 43 motion of 25-6, 28
on a direct line 55 in falling 408 in a step 28,40,44 in a step in place 43 in walking 43,360-1
path of --- in steps 46 at pt of support 366-7 progressions of 18,355 return to normal 357 set in motion 360 six degree scale on vertical
line 356 shifts 291,358-9 situation of, general 355
specific 364-7 space hold, spot
hold for 360 traveling of 140 traveling (in jumps) 70 undeviating path 360
Center of Levity, see Chest Center line 17
of body 18,123 lateral-- 55 vertical-- 17-8 walkingon-- 58
Center pt of dir 20,26,103,201,214
Center, at, sign for 358,386 Center stage (room) 159 Center of Weight (see also
CofG) in balance 13 in motion (mvt) 40,43, 127 at rest 127 traveling 140
Centered, normal-pos 289
466 INDEX
Central path (gest) Cervical vertebrae Chain of turns Chair, as focal pt
grasping a-illustrating tilting
130,123 218
84,85 94
256 228
sitting on a 295 Change offront 162 Characters, ident of 332,334 Charleston, steps 249 Charts: Dir when Standing,
Lying 371-3 Interrelation between Parts
of Limbs 198-9 Levels of C of G 366-7 Mvt Family Tree Systems of Ref Types of Revolut's
Chasse, w coupe Cheek Chest
analofmvt arching/ curving
16 385 418
190-1 452
218,451 219 287
aug - area 220 aug - tilts 232,234 body hold for - 238 cartwheeling 424 column 19 displacement in pelvic
tilts 233 facing front of-
300-1 369
front surface of 299,407 -plus-waist 220,231,234 rotation 261-2 shift 290-1 somersaulting 423 tilts, 229,232
w torso twist 260,268 twist 261-262 upper chest, see Shoulder
Section Chestward 370 Children pting (picture) 369 Chin 452 'Chimney' (of dir symbol) 20 Choregraphie, ou I' art de
decrire la danse 1 Choreography, means of
preserving Choreologist Choreology Choreometrics Choreutics
6 8 3 8 3
Circle, focal pt in relation to - 164, 174
circumference of 164 group in a - 330 of the hand 258 numbers in a - 330 part of - (for gest) 101 situation of 164
Circle for Body Aspects 317,370
Circling, Circular gest, see Paths, Circular
Circling in place 310 Circular path 160-70
of C of G shifts 358 on floor of head tilts of whole torso tilts
Clap parts of body
162 230 229
427-8 428
passing - 428 w sound (loud) 4238
Clasped hands 297 Classical dance, see Ballet Clavicle (shoulder girdle)
205,220 Claw (of hand) 411 Clockwise 78,80,160 Clog, Waltz (Tap) 194 Closeness (near) 294 Closing, active foot in 56 Closing fingers, hand,
laterally 409,410 Clothing, see Props Columns (on staff)
18-19,440,441 'a' &'b' 19,153,203-4 division of 19,211,212 inner subsidiary (ISC)
19,261 outer subsidiary (aSC) 19 use of - for arms 19,208
-legs 19,204 - for torso (body) 19,221 vertical 18 specific use of 262,440-1
Comic jump 248 Comma, use ofa 315 Common time 34 Compass dir 89 Composite circling sign 160,
175,453 Composite turn sign 78,97
263,453
for focal pt for limbs
97 242,244
meaning of - 242 Compound meters 34 Computer 32 Concave surface 281 Cone-shape path for arm 378 Consecutive touch 183,187 Constant Cross of Axes 89
(see C of A Constant) Constant Dir 89,90,374
for orientation 299 compared w
standard 374-5 Constant Spirals 177 Contact (bow) 131,179,294,
296,454 continuous, foot sliding 186
hand sliding 297 end of 296 hooks 181,343,454 of hand & foot 204 of legs 131,145,179 moment of - 179,296 neutral contact 343 of parts of body 427-8 of parts oflimbs 197-8 passing - 296 retained - (leg gest) 185
Continuation bow 118-9,178 Continuity of mvt
81,99,104,305 Continuous turning 86-7 Contraction 144-51,277-81
anal of 277 of arms degrees of everyday instances examples of general indic lateral meaning of word motion of physical dir of specific -, of joints
of the ankle of the elbow of the knee
147 279-81
144 150-1
138 281,409
145 432 278
279-81 280 279 280
of the whole torso 281 of the wrist 279
three dimens 278,409 timing 149 total-versus place 150 two dimens 278,408
Control and lack of 424 sign for 460
Conventions in Writing 11 black pins for arm &
feetpos 388 jumps 66 levels of kneeling 340 levels of supports 152
Corner areas of stage 159 Corps de Ballet, ident of 333-4 Cossack jump 204 Cou de pied 452 Count (see also Beat) 33
abbreviation for 323 dancer's 37 -numbers 37 subdivision of a 33
Counterclockwise 78,80,160 Country dances, see Folk dances Coupe 128,191 Couple, a -, each - 332,458
ident of in score 332 group formations 330
Crook (to bend) a limb 277 Cross( es) of Axes 385,459
anal of a --- 13, 369 application of - --
374-81,385 keys for rotation,
twist 275-6 The Three --- 369
C of A: Body 369-73,378-9, 385,417
for gests 379 for head wheeling 276 keys, use of 378-81 for revolut's, rotations 381
C of A: Constant 89-90,369,
as front signs key
uses of key sig
373-375,385 90,374
89 90-1,374-7
431 for paths involving
turning 376 for performers w different
fronts 375-6 retention of Constant dir
see Space Hold for revolut's, rotations &
paths 376-7,419-20 C of A: Standard 369-70,375
keys, use of 269-73,377-8 for rotations & paths 377-8
Cross of Dir centered in body 89,201
Crossed fingers 409 Crossing arm gests 100,113-4 body inclusion 225-6 Crossing steps, perf of 44 Crotchet(s) 32-3,36 Crouch, walk in half 360 Crowd, ident 332-3 Curling 277,282
(see also Curving) Curve (s) (paths of gest)
adequate 116 horiz: simple, aug,
diminished 116,134 vertical plane -,
undeviating 117-8,137 vertical: three dim (skew),
135,271-2 Curved bows, see Bows Curved path of C of G
in steps 46-7 Curved path for gest 101-2 Curving, in body, anal of
277-8,282-4 -a multi-jointed part
283-7,409-10 Cut in music, in dance
score Cutting step
Dab (Effort) Dance director
320 128
460 335
Dance Dramas, cast ident 334 Dance libraries .8., 319 Dance Notation Bureau 4,338 Dance score (see also Score),
drafting the 319 coordination w music
score 319-20 Dancers, see Performers Dancer's counts 37 Darting step 127 Deboule turns 84 Deep knee bends 357 Degage, battement 188 Degree of (see also Space
Measurement & Intermediate Dirs)
contr 145,146,147 knee bends 152 narrowing 141 relationship 293-7 turn 80,163,392,453
INDEX 467
twist 255,240 widening 141-2
Delsarte Falls, Three 353 Demi-plie 26,152,
anatomical desc 286 Demi-pointe 26,180,189 Denishawn 353 Dependent parts,
carriage of Design drawing
visual-Destination
266 395
13,15,16 23,58,460
aimed - lQl, 102, 123 change of front as - 90-1 desc for dir 12,23-4,243 established pts 24 of the front 243 indic of - 23-4 for the palm 256 of path 161-2,338,397 of path on floor plan 326 of space hold ll8,216-7 of turning 374
Detourne (for leg) Detours, see Deviations Developing leg gest 123 Developpe 209 Deviating curve, see Curve Deviations 393-401
from paths 15,395 from pos 393-4
Diagonal, dir, perf of 21,41 relationship 53 steps
Diamond black use of for distance white
Diaphragm Dimensional, three
two
41,165 ll6,215-7
ll8 227 ll8 451 278 278
Diminished curve, see Curve Direct (Effort) 10,460,462 Direct path (for gest) 101,397 Directing a surface, see Facing Direction(s) 20-1,22,146,450
anal of 23,368-71 line of - 143,278
arm (whole) 147 cardinal- 22 center pt of 20, 26, 103 choice of desc 268 change of-desc of mvt stressed.
135,284 230
468 INDEX
Direction(s) (continued) deviat from a - 393-401 determining - for
armgest 99 diagonal 21 established pts 12, 143
degree of distance between 101-2
faced 329 for gests 26-7,98-9 intermediate 22,348,390-2,
key sig for -- 431 for limbs dur torso
twists 260-1, 268-70 Line of Dance (L.O.D.) 176 local cross of 201 when lying 371-3 mam-of path
20 24
384 389 234
of progression of relationship reverse - desc room (stage) spatial centre stressed of turn of twist (arms)
Dir: Body Dir emphasis on lateral
88-91,374-7 20
230 79
255 378-81
377 41,201
sagittal 201 Dir: Constant Dir 89
compared w Standard 375 for steps & gests 374 for performers w different
fronts 375-6 Dir: Standard Dir 369,377
compared w Body 370-3 when standing 371 for steps dur torso
twists supporting on hips
Dir symbol(s) blank--correct drawing of pins inside placement on staff shading space hold in a
268-9 371
22,450 346 440
391-2 22-3
21
118,136-7,271-3 spot hold in a 360-1, 398 in support column 40-4 use of unqualified -- 157
Directional destin for part of limb
11
when turning 199-200,384
384 Displacement 278
(see also Shifting) of elbow (in arm contr) 147 of knee (in leg contr) 145-6 of part oflimb 198-9 use of pins for 393 temporary
Distal, center center pin
Distal center of limb Distance: of C of G
in handstand in standing
betw dir pts for gests on floor plan of leg gests from floor
394 393 394 284
366-7 365 356
100-2 325 154
measurement signs 142,455 betw performers 138-42 of shifting 291-2 of sitting 348-9 specific statement 142,402 for step: general 138-42
specific 402 - traveled on path 162 walking on knees 344
Displacement, minor 289 for pelvis 290 of weight 291
Divided column 193,211-2, 342,379,450
Divided front 260,267,379-80 use of keys for
269-70,377,380 Diving, dir when 370 Dorsal spine 451 Dos a dos 324 Dot, use of 141-2,390 Dotted line(s), vertical
horiz bow
187,429-30 305 294
Double horiz lines (short) 210 Double starting line 17,262-3 Downhill slope (for lying) 350 Drama, dance - 334 Dramatis Personae 335 Draw in (contract)
144-5,148,277 'Dropping' of elbow 256
Dropping umbrella 297 Duets, pre-staff ident 331 Duple time 34 Duration of actions 10,32
(see also Timing) of flexion, extension 153 relative 32
Duration line 149, 153-4, 185,
Dynamics
accented
359,414-5 10,13,15,
424-30,460 10
effect of music on 425 innate 425 key sig, use of 431 'texture' or quality 10
Each person, couple 332 Ears (right, left) 452 Earth bound springs
66,133,360 Earthy sense 189 Ebb of energy 49 Echaine 84 Echappe 69-70,192,435 Edges, of body area 404,452
ofroom (walls) 176 Effort-Shape 3,462
desc 9,10 Effort signs (graph) 460 Egyptian arm mvts 207 Eighth note(s) 139 Eland 127 Elastic 10 Elasticity 428,460,462 Elbow( s), (sign for) 196
bending the 147 contr of 279 dir mvt of 206 displaced in space 147 'dropped' - 256 focus on - 279 folding the - 284 hanging by - 367 hyperextension of - 279,284 led by the - 411 'lifting' the - 256, 388 relaxed 143 rotation of -rounded supporting on-swings of-tip of-
256,279 143
340,365-6 209
301,404
Elevation, steps of 65 Elongation 143,281,288 Emotional intensity 424 Emphasis, on hand 257
on space pattern 284 variations in 49
Emphasized 10,357,460,462 Enchafne turns Enclosing En croix (meaning of) En dedans, en dehors turns Ending lines
295 309 124 37
324 310
Ending pos, stage pins for Endings, 1st & 2nd Energy, flow of 49,108
140,143 140
expending lacking -
increase in 144
use of kinetic - 143 release of use of 144,429
Ensembles, large 334 Entrance, on floor plan 327
scoring of 322 Entrechat quatre 131, 179
- royale - six 131
Enveloping leg gest 123 Epaulemen 262 Equal, sign 242, 254, 289-92,
turn for each part Equidistant spirals Equilibrium Eshkol, Noa Established pts of dir Ethnochoreologist Eukinetics
311,314
177 354,357
3 24 8 3
Exact, perf sign 142,311,313 key sign 313 sign to negate stated
key 142 timing 184
Exit, on floor plan 327 scoring of 322
Expanded staff, use of 19-20, 153,181,203,212,450
Expending energy Express'n of mvt Extended curve Extension
degrees of duration of
140,143 144 287
143,288 144
149,153
everyday instances -for gests 142
lateral-of limbs 26 specific 281 sudden, sustained 149 three dim ens 409 two dim ens 144,408
Extremity: path of 103 satellite center for 393 spatial distance from
base 143 Eversion of foot 250 Eye, eyeball, eyebrow 452
Face, indic of - 299 signs for parts of -
300,452 Facing, anal of 299
for parts of body 299-302 general indic of- 299
Facing pins, see Front Signs Falling 355, 362
CofGmvtin 361-3 dir of - 362 distance 362 to floor 363 incomplete 362
False 1st pos 53 FamilyTree,Mvt 16 Fanning kick (dur turning
leap) 137 Far, see Distance Fast as possible 394 Feet (see also Foot)
active, both 53 adjust 59 apart 54,393 hanging from - 367 parallel 43, 244 parts of - 406-7 placement of - on circular
path 167 retention of weight on 41 sliding - apart, tog 192 slightly apart 393 supporting on together turning on both
Feet, Pos of the changing level in changing
by jumping by leg rotation
25,339 393 80
52,140 54,59 58-62
67 252-3
by sliding by stepping
closed crossed distance between 'false' 1st
INDEX 469
192 59-62
52 55
140 53
intermediate 392 lateral relationship of - 56 narrow, wide 140-1 open- 54-55 open 1st, 3rd & 5th 393 parallel-- 53,244-5 parts of 406 place in open -- 54 size of 140-1,155 transition between open
& closed 58-61 variations in
Female, pins for
Feuillet, Raoul Fighting gravity File, on floor plan Films 6 Fine (end, last time) Finite (specific) time Finger(s)
abduction of adduction of circle column contr of
393 89,158, 324,434
2 460,
328-9
313 36
405,452 411
409-10 395
19 10
crossed 409 curving 409-10 & hands, combined actions
410-11 joints, knuckles 'limb' (segment) of little - side (surface) parts of penetrating separating surfaces of -tip( s)
405 405 403 452
259,295 411 406
405-6 in centre area 388 next to center line 339 pad at- 405
Finishing pos on floor plans 159
Fist, a 409 First & second beginning,
ending 457 Fixed-base turns 96
470 INDEX
Fixed Points, in room 381 Flat-footed walk 189 Flat pin 158 Flexible (Effort) 460 Flexing, see Contr, Folding Flexion 143-5,143-5,149
awareness of -duration of -retaining state of specific -unwritten
Flick (Effort) Float (Effort)
150 149 150
277-281 114 460 460
Floor, indic of 402 use of understood 295
Floor pattern 158-78 circular (no change of
front) 162 Floor Planes) 322
arrows on 326 continuity of 326 coordination of --:
w mvt score 323 w music score 323
crossing paths on 327 director's 322,335-6 ending location on -- 320 enlargement of -- 330 exit & entrance on 327 for folk dances 323 ident of performers 335 mini -- in score 337 placement of 322 quantity of 331 repeat signs in 336 within score line 323 "see floor plan" 168 sequence of action in 323 size of pins in 325 square, dance 323
Flow effort 10 of energy
Fluent mvt (also see Legato)
Focal pt
104
94, 160 approaching -- 160-1, 167 for circle dances by circular path sign as destin of turn withdrawing from as Front sign ident of indic of-
174 175 94
161 94,174
314 174
relation to -sign
174,348 161
w turn sign 174 Focus, as a camera 299 Folding 144,277,282
cancellation of 202-3,288 degree of 283 desc of 282 a joint the knee specific -
147,283-1,285-6 286
of ankle of arm of elbow of hip of wrist
unspecified Folk dance(s)
floor plans for ident of couples in key sig steps
Following Fondu Foot
(see also Feet)
282 286 287 147 285 285 285
323 332
253-4 248
221-2 209
action 69 active in adjusting 59 anal of mvt of 203 angle of -w floor 180 areas of 452 ball of 26 base of brushing, sliding -to-chest as unit used in kneeling dir, level for eversIOn
199,452 186, 188
451 345
200,203-4 250
flexibility of - in walking 189
free from floor & hand contact heel of-instep inversion
145 204,428
406 452 250 180 340
keys to parts of & knee support Foot-kneel 342,345-6 used in kneeling 343 parts of - hooks 180-1 picking up - at end
of step 39, 153 placement of - for
non-swivel turns 96
retain weight on - 31 rolling from one part to
another 189 rotation of - 250 sign for 196 slapping - (Schuhplattler)
428 sliding on - dur leg
rotation 253 sliding into place 191 space hold for 96 supporting on the - 340 support level for
parts of - 345 surfaces, edges 451 swivel on one - 251 top of - on floor 343 touching floor 181 transitions in use of
parts Footward Footwork, fast Force Forced arch
185-8,190 369
184,193-5 460 180
Forearm, see Arm, Lower Forehead 452 Formation, linear, solid 327 Former rules, signs 434-9 Fouette releve 135 Fouette saute 136 Fours, on all- 352 Forward-backward,
see Sagittal Forward fall 353 Fraction, for circular path
sign 173,275,378 for degrees of
somersaulting 419 Freedom: choice of action 149 in perf 312 'Free end' of parts of
limbs 26,268, 289 Free flow 460 Free timing 32 Friction, avoiding for turn 83
sliding - see Swivel 'Frictionless' turn, see
Non-swivel turns Frond of a Fern 282,287 Front, area of stage 89,158
change of- 91,162 destin of the - 91
(in turn sign) 244 divided -, see Divided
fall (forward fall) 353 indic of - 174 in relation to center of
circle of parts of body
162 299,404,
451 for limbs dur torso twists
260,268-9 for parts of torso dur torso
twists 260,268 for steps dur torso
twists 269 surface of limbs for
bending 299 Fronts, performers w
different 375 Front sign(s) 90
for ballroom dance (L.O.D) 382
as destin of turn 88 focalptas-- 94-5,174-5 intermediate 392 placement in score 91 within turn signs 92
Fundamental Training Exercises 353
Gait, wide 401 Gallop 75-7,151 Gap in column 266 Gathering 460 General statement, 7,460
(see also Motif Notation (MN))
General cancellation sign
Gentle Gesture(s), anal of
112,214 460 144
arm, see Arm Gest bending-see Contracting,
Folding center, place for 26 circular paths, axes of 381 contr 144-51 definition of term 19 dir for. 26-8, 98 diminishing horiz
curve- 134 extension for 142-4 flexion for 142-50 including body 222-6 Keys for 268-71,373-5,377,
379-80 leg -, see Leg Gest
manner of perf 403,411 MN indication 460 paths of, see Paths (gest) - quality (partial supp) 402 slanting (oblique) 21,27 space hold for 116-8, 266-7 step -, timing of 126 step-gesture rule 127 w torso rotation 266,269-71 touching leg - 181
Girl, see female Glancing 179 Glide (Effort) 460 Gliding, see Sliding Glissade 188 Glossary for a score
(see also Key Signature, pre staff indic)
'Good-by' (waving) 199 Grammatik der Tanzkunst 2 Grand battement 121 Grand fouette saute en
tournant 136 Grand jete en tournant 137 Grand plie 357 Grand rand de jambe 124,209 Grapevine step 42 Graph paper, use of 32, 50 Grasping an object 295-6 Gravity, Center of, see Center
of Gravity Gravity, force of - 21,424
line of - 354,368,370 natural pull 108, 200 relation to 460 use of - in swings 107
Groin, articulation in 290 Grotesque, key sig for 254 Ground, sign for 402, 428 Group action, general 330
center of, 458 - circling, types of 458 formations, general 330 identofmembers 333,458 leader 458 number of people 330,458 unison mvt
Guidance retention of
Guided (Effort)
321 15,412
412 460
Gymnastics, C of G mvt in 355
Half circle, correct perf 167 group in a -- 173
Half, heel knee bend toe toe, a step on -
Half note( s) Half support Halfway pt (dir) Hand(s)
INDEX 471
180 26, 152 55, 180 26, 189 33, 139
439 390 196
addressing 294 active in clapping 427 anal of - mvts 207 area sign for 406 back of 406,452 base of - 406 bulk (center) of - 147 brushing 296 center joint 408 circles of 258 clap 427-8 clasped 430 closing in (joining) 409 column 19, 208, 439 contact 204,294,408,427 contr curving (curling) dir & level for
409,411 409-10
199,200, 207, 210 distal area
center for 406 393
emphasis on - notation 257 expanding 409 extension 408 & fingers, combined
mvt flexing grasping hanging from-on hips heel of-on waist hyperextension of lateral axis (plane) contraction leading Local C of A for longitudinal axis mvts of parts of near normal curve of palm side of parts of proximinal area relaxed release after claps
408 409,410
295 367 407 406 407
409-10 408 409 411
201,380 408
408-11 294 409 406
404-6 406 143 427
472 INDEX
Hand(s) (continued) rotations of sliding up post spreading straight (flat) stretching supporting on surfaces, edges thumb side touching twist in the
257 297 408 408 408 340
451-2 406 294 257
'Hands up!' cartoon 368 waving 199,201,303 weight on 365
Handshake 222 Handstand 365-6 Head
analofmvt area of-
218 218-9
230,290 body hold for carriage of - in torso
267
contr 280 carried along in body
tilts 232 affect of inclusions 224-5
cartwheeling 423 'circling' of - 230 circling - without change of
front 378 column crown of-
19,441 230
dir from body C of A
distal center 379 393 300 299 230
facing front surface (face) inclining - to-knee slanting line nod, repeated
234 305 452 234
parts of the - to-pelvis unit rotations sign shift skew curve for somersaulting space hold for - stand supporting on tilt,
comparision w cartwheeling
undeviating curve use of pre-sign C
79,259 230
289-90 135,273
422 238,267
366 340
230,272-3
423 273 230
wheeling, Body axis 276 wheeling, Constant vertical
axis 275 whipping action of 399
Headward 369 Heavy mvt 10,132,460 Heavy pt, see Pelvis Heel, contact of 180 Heel drop 190 'Heel' of hand 406 Heel, tip of 452 Heels, walking on 189 Hesitation 44 High level supports 26,44 Highland Fling, Scottish 248 Hip(s) 196
active -articulation in as base of torso bones bulge in - joint
sideways folding - joint flexion in hands on inclusion of led by the-
201-2,263 290 281
290,347 290 286 285 287 407
144,344 411
mvts 201-2,209,263 mvt in crossing steps 44 resting on heels
(in kneeling) 341 'shaking' the 262 single signs 290-1 shift of the single - 290 sliding on floor 398 supporting on 347-8
(see also Sitting) versus pelvic girdle 201
Hip Hop 415 Hitch kick w bentlegs 151 Hitting (foot) 428 Hold (retention) 359
in body, see Body hold for contact (relationship)
296-7 in support column 31,41,
45 for part of foot supporting
189 repetition of 121 sign 41,121,257,296
cancellation of - 45 within turn sign 257
in space, see Space Hold on a spot, see Spot Hold
Holding, see Carrying Holding weight (support
column) 65,76-7 Hooks (contact for parts of
foot) neutral hook 343 placement of hooks: 181-2
forleg gest 181 for supports 181 on symbol 440 for timing 181
qualifying supports 188-91 Hop, basic form 129,132
w leg gest 130 turns 136, 188
Horizontal, bow 150,156,179, 245,294,295
circling of body 419 curve (for arm) 116 level (for gest) 27 lines, see Lines path (for steps) 46,360 plane 21 staple 86
Hutchinson, Ann 4 Hyperextension, anal 281
of arm (elbow 285 of hand 409 of knee 281
LC.K.L. viii, x, 4 Identical repeat 303 Identification, placement
of 334 Iliac crest of pelvis 407 Imaginary spot, holding 398 Impact 426 Impatience (foot tapping) 203 Impulse 415-6,426,
body wave 416 swing 108
Inbetween, see Intermediate Included in dir, part 226
of body 143 Inclusion(s), anal 221-7
of body area 227 of body in arm gest 221 body tilt, twist resulting 224 bow 214,223 degree of 227,259 everyday examples 222-223
INDEX 473
for gest crossing the partes) above, below- -to-head as a unit 451 body 225-6 407,452 contr 280
of upper body in head touched 294 crawl 345 mvt 227 Jooss, Kurt 434 displaced 145-6
timing of 226 Jump(s) 65 facing 301 unwritten 114 (see also springs) folding the 286
Increase of energy 144 a - (basic form) 65 & foot support, see sign 161, accenting rising 426 Foot-kneel
Increasing spirals 177 anal of jumping 69 hanging by 365,367 Increments, for angling 346 beating legs 131 hyperextension of 281,286 Indirect way, see Deviation w bent legs 151 led by- 411 Indirect (effort) 460 C of G traveling in 71 left, right 340 Infinity sign 97 Cossack- 204 relaxed 143 'In front' pin 41 five basic forms 66 rigid - 401
for steps, arms 44,114 following a held support 77 rotation of 249 for pos of feet 54 height of 355 size of steps on 344
'Inner' surface of parts 403 wleg gest 129 walking on 343-4 Inner subsidiary columns landing on same spot 73 Kneel(ing) 340
19,86-7,95 levels of 68 C of G displacement 341 Inside, within 386,389 on beat, offbeat 75 dir of 341 'Inside'turn 84 over a person 389 foot-kneel 342,346 Instep (offoot) 407 pliancy in legs in- 66 fourthpos- 342
touching floor 343 resilience eliminated 359-60 levels of 340-1 Intention of mvt, see revolving on a straight mixed-kneel 342,346
Motivation path 171 placem't of lower leg 343 Intermediate, dir 390-2,450 w rotated leg gest 248 shift of weight in 344
degree of turn, front tiny (springs) 68 transit to sit, 341 signs 392 traveling 171 from standing 341,345
Interwoven turns 86 turning 88 upright 346 aerial turns 88 writing convention for 66 weight placement 342
Intertwined fingers 295 Knock-kneed 249 Inversion of foot 250 'K'signs 281-3 Knuckles 405 Inverted body sections 234 Keep, see Retention of fingers of hand, Inward sequential mvt, Key(s), cancellation of 383 contracting 410
succeSSlOn 413-4 chart of - (syst ref) 385 Knust, Albrecht 4,426,432, Inward rotation of leg 244 for fixed points 381-2 434,452 Inward twist for arm 255-6 placement of 383 Ischia, supporting on 347 for rotations & twists 275 Laban, Rudolf 3,143,434 Italian music terms 320 sig 43,254,313-4,431 Laban Mvt Analysis (LMA) 3
for syst of ref 374-83 Laban's Space Harmony 10 Jazz hip mvts 209 (see also Crosses of Axes) Labanotation, early
step(s) 202,252,290 Kinetic energy, use of 143 development 4 Jete, in attitude 209 Kinetic sense 49 Labanotator 8
en avant 188 Kinetogram 319,431 Laban Writer 440 grand - en tourant 137 Kinetography Laban 5,432, Landing, timing of 74
Joint(s) of body, area, surfaces 434 Language of Dance® 14, 15 of- 404 Kinetographer 8 Largo 320
centre - diplaced 279 Knee(s) 196 Lateral body dir (arms) 112 contraction of- 279-80 area around 404 Lateral contr, extension 408-9 local cross of dir at bending 286 Lateral swings (leg) 124
each- 201 degrees of -- 26 Lateral symmetry 311, 315, 336 of the fingers 405 cap (front surface) 404 repeat 303 folding a- 284-6 -to-chest as a unit 221 Lawrence, Ee. 3
474 INDEX
Leader (for path) 458 length (for C of G) 364 use of in kneeling 342-3 Leading 411 levels for 27 rotations of 249
anal of 221-2 natural carriage for Leg: Upper leg 403 CofG- 360-1 gest 120,134 analofmvt 202 part 411-2 near floor 154-5 resultant rotation 203
Leaning 402 off floor (while sitting) 348 surfaces of 403 Leap, basic form 77, 129, 132 parallel- 53,253,261 Leg Rotations 43,240,244
-hop 129 parallel, nearly 244 changing pos of feet on beat, offbeat 75 w partial weight 402 by-- 252 w leg gests 132-3 parts of 197,201 effect on non-swivel -turn 88 passive slide 187 turns 96
Leeder, Sigurd 4 path of free leg in steps 62 inward, outward 244-9 Leg(s), Leg Gests 120,129,143 path in space 123-4 jumps w-- 248
(see also Gests) w pivot turns 134 key sig for 253-4 action strokes for 122 place for 27-8 parallel 244,250,252,254 active touch 185 place low, perf of 125 on part of foot 251-3 aerial steps w -- 122,129-33 as prep for step 126 resultant 203
turns 136 resting on floor 347-8 during springs 248 analmvt 26-8 resultant - rotation 203-4 while supporting 250-4 assemblew 130 resultan t - slide 187 dur transference of beating dur jumps 131 resultant touch 185 weight 250 bending 286 retained contact, bent or traveling by -- 252-3 bent, Key sig 314 stretched 185 unstressed 169
durjumps 151 retention state dur steps 153 Legato, gests 126 dur steps 153-4 revolut's w -- 421 steps 44
both - rotating 241,251-3 rotated state 120 Length of steps 138,139, sign for both - 197 --w rotations 247 153, 155
break at the top of- 407 rotations, see list below determining 140 carriage of -, dur when sitting 348 on knees 344
supports 153 sliding 186-7,348 natural modifications in open steps 124-5 duration of 186-7 lll-- 139 dur turns 134 small circle of 395 normal-- 40,138 torso twist space hold for 134 specific step length 141
circular, half - 134 split (stride) 142 Length of symbol 33 column 19 during springs 248 Length, scale of 138-42
for parts of leg 204 stamping-- 426-7 Lengthening limb 143-4 contact: 179 step-hop w -- 130 Lento 320
in jumps 131,179 straight 143 Letter in a box 310,457 wfloor 343,347-50 straight path for -- 123 Letters, on floor plans
contr 145-6,153,248,356 stretched -, 227,248 330,332-5 when sitting 347-8 while supporting 153 w meeting line 338
developing mvt 123,209 surfaces of- 403 in music score 320 dir & level for 27-8 -swing 124-5 for performers 333 dir for -w torso Twists 266 touching 131-2,179 Letting go (release) 186 distance of - -, from timing for 182 Levels, anal of 26-8
floor 154 terminating touch 182 change of level: durjump 154 timing of gests 126 in pivot turns 83
enveloping 123 transient touch 183 in pos of feet 55 extended (taut) 120 turns w-- 134 in a step 28,39,41,153 extensions 153 untwisted state 242 in support 128 flexion, ful 357 whiplike action of 135 in a symbol 105,450 hopsw 130 whole -, sign for 197,404 ofCofG 46 including body 227 Leg: Lower leg 403 of jumps 68 jumpsw 129 analofmvt 202-3 of kneeling 340-1
of pivot turns 83-4 of shift 292 in sitting 347 for supports 26 the three - 21
'Lifting' of elbow 256 Lifting a partner 337 Light, also see Uplift 460 Light, pt, see Chest Lighting designer 335 Lightness (Effort) 10 Limb(s), a 240,403-4,451
carried dur torso mvts 266 centre joint of 145 dir dur Divided Front 269,
271 dir & levels of - when
lying 350 extension flexion
143 143
'limb' of finger placement in sitting,
406
lying rotation sign for shaft of-state of straight, taut surfaces of -
347-8 146,240-58
240 394 248 143
403,451 turning 240 twist within a - 241-2
Limbs, parts of 196-217,451 charts 199,200 contact between 197-8 'free end' for 26 mvts of 199 pt of attachment 26 specific 403
Limp 462 Limping 'catch' step 42 Line(s); of balance 291,358
bar- 36 base -(for folding) 287 broken - (on floor plan) 327 for contractions 278 Line of Dance (L.O.D) 176
key for 382 direct-(forCofG) 46 of Gravity, Constant 354 Meeting Line 174 for scoring 36 solid - (on floor plan) 327
Line: Horiz Line(s) 457 connecting staves 321
305 8,36-7
37
dotted double ending extended for scoring
307,316,322 36
short (tick marks) short double starting thickened
36 210 37
37,310 Line(s): Vertical Line(s)
action strokes 17 -20,91 458
18 32
canon staff center - of body Center Time Line dotted 429,460
149-51, 154, duration line
path signs wavy
Linear shapes, group
156-7 160-2
429,460 329-30
Little finger side (edge 403,406,452
Little toe, edge 403,452 Local C of A, (Syst of
Ref) 201 Local individual Body Dir
(Twisted-Part key) 380 Location of person, see
Meeting Line Locomotor patterns 77 Log rolling 274,419 Long path 138,140 Longways set, plans for 323 Looking (see also Facing) Loops on floor plan path
sign Lower arm, see Arm Lower leg, see Leg Lumbar vertebrae Lunge
falling -Lying
ona box general statement levels of
327
219,233 182 363
350-2 350,372-3
350 350
prone (on front) 350 revolut'swhile- 419 placement of limbs 350 starting pos for 350 supine (on back) 350 transitions to 351
M.M. 320 Mahoney, Billie 193-4
INDEX 475
Maintaining, circular path 175 (see also Retention)
Major limb segment, effect on minor 198
Male, man (floorplan) 158,324 Manner of performing
gests 15,411 Marching, (thigh action in) 202 Marking time (steps) Meaning, exact Measure, abbreviation Meas, marking the Meas numbers
in dance score
313 323 34
37,308 320
in music score 319 in parentheses 307,320 for repeated material 308 meas (reminder) 307
Measured timing 32 Measurement, space - 153 Meeting line 174,278,281,
282,285, 337-8 Metacarpus 408 Metatarsophalangeal joints 180 Metatarsus 358,257 Meter(s), change of 10,35
compound 34 simple 34 steps in different - 42 suitable for swings 108-9
Metronome marking 36,320 Middle, see Center Middle level 26,229
44 steps jumps 68
Mid-dorsal vertebrae 235 Military bearing
(shoulders) 205 Military salute (lower arm
mvt) 206 Mini floor plans 337 Minor limb segments, affected
by major 199,202-3, 205-6
passive rotation 206 Minor (small) mvts 394-5 Mirror image 315 Mixed-kneel 340,342, 345-7 Mobility ( C of G leading) 361 Mode of Progression 14 Momentum 107-9 'More or less' 300 Morris, Margaret 2 Motif Description 9
476 INDEX
Motif Notation (MN) 4,7,22, 79,90,138,143,160-1, 197,198,240,339,378,
403,419 MN indication of:
an (any) action 17,460 composite circling 174 contact 198 contr, extension dir mvts 22-3 flexion, extension 138,143 front signs, general use 90-1 gathering 460 gest, a 460 limbs 403 log rolling 419 motion, destin 460 parts of body mvt 197 paths 160-1
oflimbs 378 relationship 298 rotation, twist scattering supporting toward, away
240 460
295,339 298
turns, general statement of 79
Motion 12,23,58,460 away, toward 25,161,214,
368 desc in terms of 25 of rising, sinking 401
Motivation of mvt 12 Mouth 452 Moveable Parts in Body
areas Mvt,aimof
accented anal for steps
for gest approaching (gest) angular of area as a unit away CofWeight concepts conjunctions continuity of description education elastic emphasized entity
451 179 10 25
98-9 25 46
289 298 43 Z
49 81-2
58,59,61 Z
10 10 49
Family Tree heavy linking long line of minor motivation observation 'phrases' research 'sentences' slow, sustained of spine, whole 'words'
Mvt analysis arm circles balance bending
16 10,132
49 49
450 12 Z
49 Z
49 32
287 49
144 112-3 357-8
277 (see also flexion)
cartwheeling of body areas
C of G in steps chest
423-4 46
219 163-8 circling
contr dir distance falling folding gests head hip inclusions jumping leading levels
144,278-81 23-5,368-73
139,141-2,154 362
278,282-7 26-8,123
218-9 201-2 221-7
69, 122 411-2 46-8
palm facing II 0 parts of arms 204-8
foot 180-1 legs 201-4
parts oflimbs 199-201,216 pelvis 219 pos feet 52-5 principles of -- 12. revolut's 417-22 rotation 240-2,247,249-50,
sequential mvt shoulder
254-7,259 412-6 204-5
somersaulting body areas
spiral paths step(s) tilting
422 176-7
43,168-9 228-34
timing 33, 106, 126, 149, 211
turns w leg gest 134-7, 172-3
twisting 260-2,271-2,274 walking 39-41 weight shift 62
Mudra (hand pos) 410 Multi-jointed section
curving a 287 Muscles 'pulled up' 143 Muscular, intensity 424
use in extending, lengthening 143 Music, effect on mvt
dynamics 425 notation 5-7 note 33 numbering - meas 319-20 relation of mvt pattern
to- 49 - score co-ordination w:
dance score 319-20 floor plans 323
- score, edition used - terms, Italian 320
Musical: beat, use of 36 indic of in dance score 320
Nail; of finger 452 of toe 180,454
Narrow(ing) 138 degrees of narrowing 141 to - (contract) 277 -81 positions of the feet 140-1 signs 243 six degree scale of 141
Natural dynamics modification pliancy of legs resilence, elimination of stride
424,460 139 68
359 139 12
294-7,454 Nature of mvt Near(ness) Nearly, see Ad lib. Neck
action 404,451
289 base of - as extremity of
whole torso 281 mvts of- 218 twisting 241 use of in head mvts 218
INDEX 477
Neither; in nor out (rotation Often as possible, as 394 side of hand 406 oflimb) 78,244 Old signs, rules 434-9 sign 406
bent nor stretched 99,151, On all fours 352 Parallel, arm mvts 99,102 156,314,349 'On the beat' 184 feet 244
Neutral contact 348 One-third support 402 legs not quite - 244 "No", saying 260 Open diagonal pos 55 paths for groups 397 Nod, of head 305 Open out, three dimens Parallelogram 78,83 Non-swivel turns 86,87 extension Parentheses 307,311,320,361
for circular path 168 Opening the shoulder 114 Participation, see Inclusion revolving on straight Oppositional arms, walk w- Part Leading 411
path 170-1 108-9 compared w inclusion 411 Normal; (see also Back to Oppositional symmetry during succession 414-5
Normal) 311,316 retention of 412 body alignment 213-14 Optional, see Ad lib., Partner, as focal pt 94 carriage, arms, legs 143 Orchesographie 1 ident of in score 332 comfortable step 140 Orientation of the body 299 relationship to in degree of twist from - 243 indications 174 score 337-8 return to- 358 Orthography 440-441 Parts of body, see Body standing position 52 Other side, repeat to 303 Parts of: groups 452 state, of rotation for Outer subsidiary columns hand 451-2
legs 244 (OSe) 19 head 451 step length 139-40 'Outside' turn 84 oflimb 403,451-2
Nose 452 Outward of room (noun) 293 Notation, memorizing 47-8 rotation, extreme 253 of torso, see Torso
history of- 1-4 succession 411 Partial support (weight) Notation of Movement 2 twist, for arm 255-6 69-70,193 Notes, music 32-3 Outwardly directed focus 299 Part twisted, see Twisted Part
eighths - 139 Over-crossed step in place 392 Pas de basque 175,188 half- 139 Over-extension (reaching out Pas de bourree 188 quarter 139 into space) 143 Passe 212
'Nouns' (mvt-) 14 Overhead Passing, contact 296 Nudging w elbow 205 arms exactly 388 on floor plan 327 Numbers, direction - 368-9 ill score 338
in arrow head 328 Overlapping actions 81-2 Passing relationships 296 in a box 142,402,458 leg gestures 132 Passing State bow 358-9,454 count 37 for deviations 396 in a circle 320 Pad of toe 180 for displacement 359 in a diamond 432 Paired -kneeling 340 for successions 414 measure 37 Pairs, see couples Passive 429-30,460 in parentheses 308,311,320 Palm(s) 452 being carried (limb) 206 of people 330,458 clapping 427 pelvic rotation 290 of repeated measures 308 contr of 410 reaction of minor of repeats, total 307 - as destination of arm limb 206,209
Numbering the performers rotation 255 slide (leg gest) 187 333-334,458 facing 19,99,109-12 touch (leg gest) 185
Numerals, use of 37 importance 207 Path(s) 160 direction for 256 aim of- 161-2
Objects 293 unwritten 109-10 any- 160 (see also Props) folding 410 approaching focal point
Objects (floor plan) 371 reading study in 115 ill, 176 Off balance situation 360 retention of 111-2 for arms 100-2 Off-vertical rotations, understood dir for - shortest- 100
see Rotations 109-10,207 center for - of (gest) 395
478 INDEX
Path(s) (continued) degree in fractions 167, Peasant dance step 203 central-for arms 100 172-3 Pecourt, Louis 2 central-for legs 123 diminishing/augmenting Pelvis, Pelvic Girdle 218 of C of G in steps 46 176 analofmvt 219 circular, see path circular direction of 165 augmented - area 220 crossing (floor plan) 327 w focal point indication 175 augmented - tilts 235 curved- 278 for groups 453 cartwheeling 423
(see also Curves) for head 275-6 column for 19 description of 160 interpretation, freedom of involvement in torso destination, of 161-2 shape 168 contr 281 deviation from - for: for limbs 377-.a-9 plus-waist 220
steps 397 maintaining --w mixed dir passive rotation of 290 gest 395 steps 175 resultant small rotations
dir of- 72-3 maintaining front 173 209,226 distance covered on 162 perf of 114,112,3/4 167,168 rotation of 262 on floor plan, single or perf of steps on 170 shift, in whole torso
multiple 159,324, pivot turns on 172 tilts 231,358 326-8 in place 169 shift (when lying) 352
of gest in sliding step 191 repeats w-- 308 somersaulting of 423 of gest during torso twist 271 resultant 429 tilts 229,233,423-4 indication of 159 revolving on 172-3 tilts, automatic 281 for leg (gest) 123-4 right or left 175 upper rim (for contact) 407 for limbs (gest) 123,271 segments of, determining 163 Pendular mvt oflower arm 210 ofmvt 24 situation of 164-7 Pendulous swing, upper multiple on floor plan 328 size of 164 arm 210 parallel-for group 375 spiral 161,176-7 Penetrating 295 passive-(resultant) 429 Standard C of A for People, pins for 324 peripheral (arm) 1Q1-3,123 gest- 377 Performance, exact 313 produced by leg rotation step dir on -- 165-7 manner of 5
252-3 for torso 275-6 of steps 43 produced by log rolling 419 undeviating (for gest) 384 Performer( s) (see also radial-for group 397 without change of front 173 Scoring) retracing (on floor plan) 328 for head, for torso 275-6 build of the 139 signs for 160,453 Path: Straight Path (gest) 278 current cast list 355 size of, long 140 approaching 161 dir related to the - 40-1
short 162 central (gest) 103, 123 distance between - on floor spiral 176 for limb(gest) 397 plans 325 starting point for- 161 inMN 160-1 identification of -straight - (for leg gest) 123 revolving on 70,171 158,,331,335 transversal-(gest) 101 Path sign(s) 72, 140 indic of- 158,324 undeviating - for C accent signs 427 each one, couple, trio, 332
ofG 360 continuation of 178 number of- 330 variations in gest - 386,397 CofAin 276,376 pre-staff ident 331 withdrawing on a 161 dotted 429 ref to another- 336
Path: Circular Path 160-70 floor plan on 168 relationship of -, on floor ad lib., shape, degree 168 to modify steps, jumps plans 324 amount of circling 177 401-2,427 in score 338,389 approaching focal pt 161 narrow sign in a 155 Person, above another 389 away from focal point placement of 72 each- 332
on-- 161 produced 419 on floor plan 158,324 for arms (gest) 102,ill-6 turn sign in 170-1, 173 indication of 294 composite sign 160,175 Pause (for gest) 104 -leading 458 Constant C of A for 376-2 Pause sign, see Hold Petits tours 84
INDEX 479
Phalanges 257 Pins: White Pins 158 Pointing, forward (feet) 244 (see also Fingers) for girl, female 158,324 Port de bras 388
Phrase, dance, musical 37 in turn sign 259,243 Pose, in arabesque 209 rhythm 32 Pique -turn 171
Phrases, mvt - 49 - arabeseque turn 134 Pose coupe 85 Phrasing, bow 107,358 -turns 171 Position(s), des, anal of 58,61 Physical, activity, focus on 288 Pique coupe 85 of the feet, see Feet Pins (Position signs, Pirouette 84, fetal 278
Relationship pins) wlegin 2nd 134 finishing - on floor plan 159 131,450 wspotting 399 for gestures 26-8,98
for bouncing 428 Pivot turns, see Turn, Pivot - signs, 386,450 for cartwheeling 419 Place (center) 20,369 (see also pins) for contact 389 for arms & legs 27 starting - 28 for deviations 393-7,416 forCofG 341 variations in- 15,386 in direction symbol 391 circling in - 169 - Writing 59 for displacement 292 dir - versus total con tr 150 Post, hand sliding up 297 encircled 331-2.-3 distance from 138 Prances 202 on floor plans 324 at end of step 25 Prat fall 363 for intermediate dir 391 -high 21 Precipitation, see Loss of for intermediate pos of for hip 201-2 Balance 362
feet 392 -low 21 Pre-graph statement of 253 use w meeting line 337-8 middle (centre) 214 Preparation (push-off) 74 in mvtscore 337 in open pos of feet 54-5 slow- 132 or an object, people 324 for shoulder 204-5 for a step 43 for performers 158,324 sliding into - 121-2 Prepartory mvt 'words' 49 for pos of feet 92 steps in- 169 Pre-score indic 176 use of both - for 5th pos 53 on circular path 169 (see also Key Sig) relationship - 386,389 for supports 52-3 pre-staff signs 331
to center lines of Where is Place? 29-31 Pre-sign( s) 139, 141, 196 body 58,387 Placement, of limbs 148 curving/folding 287
size of 325 of turn signs 169,256 exclusion from timing 210 for successions 415 Plane curve, see Curve, use of key as 374,379 various shapes 324 Plans, see Floor Plans placement of - 196
Pins: Black Pins 158,173 Pliancy, of legs in jumps 68 specific indication of for arms crossing 100 natural-eliminated 359 rotation, twist 241 for armpos 387-8 in steps 39,44,359 Pressure (Effort) 192,460 for below 132 Plie, demi 26,57,286 Pre-staff indic performers for male 158,324 grand 357 314-17 for crossing steps 40-1 Pointe s) of attachment (base) Pre-staff identification of for degree of 26,143,145,199,268 performers 331-2
turn 80,259,343 distance between - Presto 320 in an oblong 382 (for gest) 101-2 Preston-Dunlop, Valerie 4 for pos of feet 91,393 established - in space 24 Prima volta, see 1st & 2nd for revolutions 418 Fixed - in Room 381-2 endings in a square 382 "Point forward" 369 Progression, dir of 384 in a turn sign 80,243 motion away from 25 Projection 299
Pins: Straight Pins( tacks) of reference for tilts 228 Promenade turn 85 for C of G shift 357 of relationship, spot Pronation of lower arm 257 for person 324 hold a 399 Prone, lying 350 for pos of feet 393 at - of support (for C Proximal centre for in turn sign 244,259,243, of G) 355 limb 284,394
374 Pointe, full (toe contact) 189 Props, use of for wide gait 401 step on full- 189 a barre 297
480 INDEX
Props, use of (continued) a bench 295 abox a chair a post a skirt a table an umbrella
Pull out (from body), see inclusion
'Pulled up' muscles Pulling up legs during
jump Pulse Punch(Effort) Puppet (for mvt anal)
297,373 295 297 296 372 296
143
129 32
460 199-200
Qualitative desc, amount of rotation 243
Qualities of mvt, see Dynamics
Quantity signs 13
space measurement 138-42,455
degree of turn 80-1,453 Quarter, circle (correct path
of) 173 foot (ball) 180 note 10,32,36,139
Quaver 33-5 Quick, contractions
mvts steps
Quicker, getting Quick as possible
( vibrating)
149 32
44-5 107,430
394,429
Rank (on floor plan) 328 Reaching, see Destination Reaching for object
(inclusion) 222 Read exactly 185 Reading, direction 17 Reading, notes on 39-40, 47 Reading material on:
armmvt 102 contr & extension 150-1 contrasts in the use of
timing joint signs jumps kneel, sit lie leg rotations pins
45 208-9 67-8 353 247 57
rhythms in steps shift of weight Spanish dance steps Tap touch & slide
Reading, notes on Reading study on:
aerial steps w turns
42 64
195 48
193-4 188
39-40,47
93 arm mvts 105 gallops & skips 77 palm facing 115 steps w pivot turns 82 traveling jumps (springs) 74
Rebound springs 66 Rebound steps 132 Rectangle (place) 20 Recueils des Danses 2 Reference, Systems of 13 Rehearsal director 319 Relationship (see also Position
Signs) 293-8 of arms to body 100, 113,
386 between two parts 179,387 bows 293-7 brief 296 to center lines of body 387 diagonal (3rd pos) 53 duration of 296 direction of 389 to focal point
. indication of of legs in crossing moving - passing of performers:
on floor plans III score
to person/object
94,174 293
40-1 296
324 337-8
179 - pins 386,450
(see also Position Signs) retention of a 296-7 spot hold at point
of 399-400 of supports 53-7
Relaxation, muscular 143 Relaxed 460
holding oflimbs 143 Release, oflegs from floor 348
of relationship 296-7 sign, (let go) 186-7,
296-7,351 angular 96,361,400 for clapping 427
for space, spot hold 217 of support 351
Releve passe devant 209 Releve, sprung 57 Remain, see Hold Repeat(s),signs 176-7,303-9
ad lib" number of 313 alternating sides 193, 303,
307-8 bridging two staves 305 in a column 305 en croix identical
309,457 303,306-7
labelling a section 310 lateral symmetry 303-4, 306 meas to be -ed 306 modified -ed material 306 number of times 307-8 oppositional 316 outside the staff 307 -11 path signs included 308 ref to another perf 336 reminder of -ed
material sagitta for scoring
307 311, 315-6
336 section defined (dotted
lines) sectional repeats signs
in floor plans size of--
within the staff Reprise Research, tool for mvt Resilience, natural
eliminating Resiliency, sign Restrained Resultant, mvt
contact inclusions
305 307,457 303,457
336-7 304,336
304-6 310
7 428 359
428,460 460
221, 460 185
221-6 rotations 112-3,203-4,
206,224-5 187 slide (leg gest)
Retained, spatial relationship
- resultant contact 147 185
Retention, of bent or stretched state 157
in the body, see Body Hold of C of G shift 359 of contact 185,296-7,427 of a guidance 412
INDEX 481
of hip displacement 202 Rand de jam be, it terre 188 dir symb, validity of 99 of a spot 398-9 en l'air 396 lower arm reaction 206 of nearness 430 grand--- 209 reading direction 17 of palm facing 112 Room, (see also Stage) 158 specific - for sitting, of part leading 412 areas 159 lying 351 of a relationship 296-7 centre of- 159,176 step-gesture - 127 of rotation for leg 246 diagonal 21 Run 68,77,151 signs (hold signs) 383-4 Fixed Points in- 381-2 no rise, fall 359 in space, see Space Hold Rotated supports 250-3 Running waltz, a 304 of state ofleg during Rotation(s) of limbs 240,259 Russian folk step, (travelling
steps 156 (see also Turns, Twists) by leg rotations) 252 of support, weight 31 amount 260
Retire 209,212 anal of 241-2 Sagittal, plane 117,135 Retracing paths 327-8 attached-symbol 245 swings (leg) 124-5 Retreating, mvt away 298 cancellation of 245-6,258 symmetry 311, 315, 316 Return to normal, see Back axes of 381 tracks 389
to normal degree of 243-5,453 Saint - Leon, Arthur 2 Return to place (for shift) 292 destination of front 243, Salsa, the 290 Revolution(s) (see also Pivot 263,378-9 Same, part of body (caret) 208
Turn, Cartwheel, elbow 256 spot caret 400-1 Somersault, of individual parts of spot, landing on 73 Wheeling) 417 body 79 support 344
in the air 421 interrelated - for parts of at - time, see Simultaneous anal of 418 torso 264-5 Satellite Center of: any -, sign for 419 natural transitional- the extremity 393 axis for 418 ( unwritten) 112 the line of the path 395 Constant C of A for 377 in one piece 241-2 Scale of Distance degrees of 418-9 parts of torso 259-76 for lowering C of G 356 on the ground 419 use of keys for 275 for narrowing 141 types of 417-24 of the legs 43 for sitting 349
Revolving (turning) oflimbs 146,240-58 six degrees 139,141 on circular path 172-3 method of writing 242 statement of -142 on a straight path 170-1,376 inMN 240 for widening 141-2
Rhythm(s), action strokes for neither-in -nor-out 78 Scapula 220,254 recording 50 off-vertical-( twisting, Scarf laying down,
contrasts in use of 45,57 wheeling) 273-6 lifting 413-4 steps in different 42 passive, of leg 203 Scattering 460 uneven- 76 qualitative desc of amount SchriJttanz 3
Rib cage, (see also Chest) 451 243,245, 248 Schuhplattler 428 Right, left, indic of 22-3 resultant -, see Resultant Scientific studies 33 Right foot 340 spatially augmented, Scissor-like kick 137 'Right of way' on floor diminished 264 Score, Scoring 319-38
plans 327 specific indications 242 amalgamation of staves 314 Rigid carriage, (knees) 401 - or twist, diff electronic 33
oflimbs 115 between 241-2 exits and entrances 322 Ripple in limb, torso 412-3 as a unit 242,259 for folk dances, see Folk Rising from, floor 352 unstressed 169,206 layout 321 Rising, motion of (arms) 298 unwritten 242 lines used in drafting 36-7 Ritardando 430 Rule(s), (see also relationship indications in Rolling, log rolling 419 Cancelations) the- 337-8
any kind of- 419 aerial steps, jumps 65-6 repeat signs for 336-7 from one part of foot to carriage of minor body requirements 338
another 189 parts 236,266 Scottish Highland Fling 248 -the ankle 250 dir w divided front 268 Secondary symbols 11
482 INDEX
Section, labeling a 310 Sectional repeat 307-8 'See floor plan' 168 Segment, of circle 163
- of spine tilting 235,236 Semiquaver 33 Sense, kinetic 49 'Sentences', mvt 49 Separated mvts (arms) 104 Sequence, of actions
(on plan) 323 recording mvt - first
Sequential actions Sequential mvt Shading, dir symbol
50 15,32 412-6
21 turn sign 83
Shaking 429,460 Sharp (see also Staccato,
Accented) Shape of a group Shawn, Ted Shift(ing)
anal of of body areas distance of the group levels of method of writing very small weight on feet
Shorten, see Contract Shorthand
149 329 353
289-92 289
290-2 291 458 292 289 292
61,62
10 Shorthand, use of repeats
used 336 Shoulder(s), (shoulder
girdle) 196 anal of mvt 199,204-5,220 area, double, see Shoulder
section blade (scapula) column on staff dir centered in -exercises
205,219 19
201 209
hanging by- 367 inclusions (unwritten) 114 inclusion 220 involvement in whole arm
rotations 254 - Line 260,270 'opening' the - 114 shrugging 205 -stand 366 supporting on the 340 touching the 198
Shoulder Section arch, curve facing tilt, incline twists of
Shuffle (Tap)
218-9 287 301 232 262
Similar (more or less) 193-4
300, 311-2
34 31-2,
211,245 81,88,211
32, 127 66
Simple meters Simultaneous actions
--bow gesture and step
Sissonne, basic form w leg gest turning
Sitting on a chair distance of-levels of
130 88
347 295
348-9 347
specific desc 347 starting pos for 349 ways of - down 349
Six degree, scale 141,139,356 of folding 283
Sixteenth note 33 Size, (also see Distance, Length)
of path, statement 162 Skating 192 Skew curves 135,271-2 Skips 75-7
thigh action in 202 Skirt, grasping 296 Slap 428 Slash (Effort) 460 Sliding, contact 297
detailed desc (for foot) 187 - feet into open and closed
pos leg gest friction (swivel)
dur spot hold leg rotations - part of foot resultant -- steps, see Steps
192 186-8 95-6 398
251-3 252-3
187
- support, see Support transfer of weight unspecified part up post (hand)
Slip step Slouch (shoulders) Slow (Effort)
190 348 297 76
205 32,460
preparatory steps 132
steps turns on one foot
Slower, getting Slowing down Small, see Distance Smallmvts Smooth walk, run 'Snatching' (feet) Soft Shoe, Old (tap) Sole of foot
hook for sole
42 85
107,430 106-7,430
386,394-5 359
69-70 194
407,452 181
Solo performer, pre-staff identification of 331
Somersault(ing) 417 in the air 421 degrees of 419 for head 422 for pelvis 423 - roll 420
Sound, contact w 131 for steps compared w gest 184
Soutenuturn 86 South Asian Folk, steps 248
hand gest 257 Space, established pts in 24 Space (effort) 10 Space Harmony, Laban's 10 Space hold 95-6,116, 134,215,
266,383,384 for arm gest 237, 117,236,
267,271 cancellation of 217 compared w body & spot
hold 398 destination modified destination stated duration of for head whop turn for leg gest for parts oflimbs retention of in stepping for torso tilts unwritten, for chest within direction
217 216 117 238 136 135 216 267 95
272 233
symbol Space measurement
95,118 138-42,
455 (see also Distance, Contr,
Extension) general indic (MN) 138 signs 139,141,153,162
Spanish steps 195
INDEX 483
Spatial (dir) slight 70 ofmvt 17 change (for limb) 199 timing of 74-6 position 28 destination 368 upward - accented 426 focal pt for - 175 intention 106 Springboard action 69 pins on plans 324 pattern 284 Squares on graph paper 32 Stenochoregraphie 2
notes on reading 47 Squat 152,356 Step(s), Stepping 28, 39-48 relationship for arm 147 Stability 357 (see also Walking) symmetry, lateral 317 Staccatissimo 104 action strokes for 20
sagittal 318 Staccato 184 anal of a 28,43 variations, leg gest 129 gestures 126 angular 47
Speed, in die of 36,430 steps 44 anticipation of new- 361 increase, decrease 430 Staff, the (Staves) 18-20,441 CofGduring 127
Specific, areas of room 159 base of- 36 change oflevel in 28 contr, extension 278-282 broad (expanded) 19,181, circling during slow & circular path, in die 162 247,261,450 quick- 170 folding 278,282-6 center line of 17-8,31 on circular path, perf parts of foot 180-1 floor plan pins within 337-8 of 168-9 statement of scale 142 joining one to another 314 close 40,42,76 timing (touch) 185 narrow 181,246-7 turns 85
Spine, dorsal (lower) 451 reading dir for 17 crossing- 44 line of (Body C of A) 370 standard 450 cutting - (coupe) 28
Spiral, paths 161,176 terminating a - 37 deviation from stated fall 353 vertical-, origin of 434 path 397 increasingly large 177 Stage 158 diagonal- 41,165 in torso 260 (see also Room) dir for- 40-1,169
Split (legs apart) 141-2 area sign 158-9,322 dir w divided front 269 Spot in a defined area 381 direction signs (see Front dir on floor plan 326 Spot hold 360-1 Signs) 90,244 - gesture rule 127
forCofG 360 plans, see Floor Plans gradual change in cancellation of 400 director's plans 335-6 perf of 401 in a dir symbol 399 Stamp(ing) step 376,426 hop 76,129-30 for fixed points signs 381 gest 426 timing of 76 for head 'spotting' 399 Stance (standing pos) w knees bent, stretched 153 for imaginary spot 398-9 'Stance', definition of 260, 268 on knees 343-4 performance of 398 -key 269,377 -leap, variations 132 at pt of relationship 400 use of 267-73 w leg gest 126-7 retained 400 Standard Cross of Axes 201, leg rotation, effect on 43 sign 398 369-70 legato- 44 tangible spot 398 - Directions 370-1 length of 40-2,138 for undeviating aim 399 key, uses of 269-70, 377, 385 determining - 140
Spot, landing on same 73 Standard Retention 384 indication of - 139 stepping on the same 401 Standing, dir when 371 -lengths, see Distance
'Spotting' for turns 399 distance of C of G 356 levels in- 39-45 Spreading fingers 409 position, normal 52 become longer 401 Springes) (see also Jumps) still 31 become lower, higher 401
into the air 65-6, 128 up after kneeling, sitting, marking time 39 earthbound 66 lying 345,352 middle level, perf of 44 height of 65,355 Staple (horiz), joining modified- 153,401 w leg gestures 128,248 columns 95 Motif indic for 426-7 level of 68-9 Start, of action 36,210 motion, desc of - 23, 25, minor, major 66 see Pre-graph Statement 58-9 natural resilience in 359-60 Starting, graph 331 natural pliancy in- 39,44 on/offbeat 75 line, double 17,28,36 notes on reading- 39 rebound - 66 location in room 161 perf of 43
484 INDEX
Step(s), Stepping (continued) w pivot turns 82 in place, over crossed 392 position desc 58-9 into pos of the feet 60-1 as preparation for turn 81 qualified by hooks 188-91 radial 175 rhythms in rotations w-on same spot size of -, see Length sliding -staccato -stamping state of legs retained
during-swaying timing of-& turn, amalgamated & turn blended & turn, simultaneous undulating
42 250-1 400-1
190-1 44
426
156 40,48
44 95
81-2 169 48
upbeat-variations in-waltz-
45-6,50 397,401
48 Stepanov, Vladimir 2 Stiff-kneed 401 "Stop!" 207 Straight leg 143 Straight path, see Path Straight pins, see Pins Strength measurement signs,
see Dynamics Effort 10
Stretch(ing) 151,281,287 legs while supporting 153
Stride (spilt) 141-2 natural (step length) 139
Strong, sign for 429,460 Strong accent ill, 248,
425-6,460 Strong musical beat, use of 51 Structured description 9, 10,
241,294,403 Subdivision of a beat 33,76 Successions 412-6
overlapping 415 Sudden contr & extension Sudden (Effort) 10 Sudden gest 104, 126, 133 Sudden steps 44-5 Supination, lower arm 257 Supine, lying 350-1, 380
Support(s), (weight bearing) 295
action resulting in a 339 absence of 65 action strokes for 20 additional 351 on all fours 352 anal of dir for 25 use of horiz staple for
additional support column 402
w bend & stretch 151 directional step 28 on hips, see Sitting hooks qualifying-on knee & foot
189-92 295,345
347 levels of - (standing) 26,39,
152 levels of -w parts of
foot 26,189 on object 295 partial- 69-70,401-2 on parts of body 339-52 inMN 295 a partner 337 point of - 365,367 retention of previous 45 rotation of - 250-4 sliding - (steps) 190-2 stamping - 426
Support Column 18-9,181-2 body part in -- 339 dir symbol in -- meaning
of 47 gap in -- when sitting,
lying 351 hold sign in -- 31,45
Surface(s), a, any- 299,403, 451
of an area 299,404 of body part 299,451 interpretation of - 278
of a finger 406 oflimbs 403,451
Surrounding 295-6 Suspension in air, impression
of 133 Sustained
Effort Swaying steps Swing(ing)
development of a dynamics in a
149 10
40,48 107 109 425
impulse - 108 leg- 124 meters for - 108-9 pendulous - 107
Swivel on foot 95,251 - turns 86-7,96 - when revolving on a
straight path 170-1 Symbol(s), attached 212-3
change oflevel in a 105-6 continuation of a 119 length of 33 separation between unmodified
106 139
Symmetry (Symmetrical) body-lateral oppositional sagittal spatial
Systems of Reference
317 311,315
311 311,315
317 13,385,
368,431 (see also Cross of Axes )
chart of syst ref 385 Fixed Points in Room 381 keys, use of 374-81 local syst ref 201
SzentpaI, Maria 320
T (terra), use of 402 Table, lying on a 372 'Tack', see Pins, Straight Take off, landing 74 'Taking a dir', see Tilting Tap, dance 184 Teeth 452 Tempo, specific Tempo, change in
effect on mvt Tension, see Dynamics Ternary (timing)
subdivision Terminating touch Terra (ground), sign for Terre a terre Texture of movement,
36,320 321 107
76,109 76
182-3 402 360
see Dynamics Thigh, see upper Leg Third Column, see Upper
BodyMvts Third-way point 391 Thoracic spine (inclusion of)
230 Thorax, see Chest
Three dim curve (for gest) 135,137
fanning movement 137 Throat 404 Thumb 405 Thumb, edge
facing side of area
Tick, marks for
Tightrope walking Tilt(s), Tilting
anal of
403,452 110-1,256
406 32,432 6/835
58,387 228-239
degree of 228 229
method of writing segments of spine used
229
Ill- 235-6 & twist combined 271-2
Time, (see also Timing) binary, ternary divis'n
common finite (specific) free
75-76 34 36 32
-Line 32 metered- 34 step & breaks (Tap) 193 Sign for speed 430
Timing 31-6,459 of accents 426 of touches 198 of arm mvts 104-9 of back to normal 213-4 of body in air (jumps) 65-6 of C of Weight shifts 359 change of speed 36, 430 of circular paths 160 of contact 179, 183-5,
296-7 of contact bow 198,296 of contraction, extension
149 exact- 313,441 exclusion of pre-sign
from - 210,262 of extension of flexion of folding free-general indication ofhoriz curved bow of inclusions of intermediate dir in use of joint signs
149 149 284 32
31,33 198 226
390-1 210
of jumps (springs) 65-6,69, 74-6
effect on springs 132-3,425 legato (arm mvts) 104 ofleg gest 126,132 of rotating leg 247 ofloss of balance 362 measured 32-35 the flexion, extension signs
next to supports 153-4 notes on reading - 47-9 overlap of actions 132 for part of foot: supporting
189-90 foot touching floor 132-5,
182-5 of passing through dir
points 107 of part leading 412 pause (gest) 104 for pre-signs 210, 229 of sequential mvt 414 of shifts 359 of shift of weight 63 of sliding leg gest 186 slowing down 107 of space measurement signs
(for limbs) 149 anal of supports, gestures
127 specific -, statement of 185 of spring 74-5 staccato (arm mvts) 44,45,
of a step of step & gest of step & turn
126,104 44,360,441
126-8
of steps on circ path of stretch
81 170 149
sudden (see staccato) supports qualified by hooks
188-90 ofa swing of tilts of transference of
107-8,425 229
weight 44, 441 unit- 183-4,247,313,441
for a step-leap 132-3 Tip of finger, toe 452,405-7 Toe, contact hook 180-1,454
-drop 90 parts of 407,452,454 tucked under 343
Tombe 361-2
Tongue Top, of foot
-of head 'Top' of the room Torso (whole)
alignment, return to
INDEX 485
452 348,452
452 323
218-9
upright 229 arching 287 augmented - sections
220,235 bending (curving) 287 body-length (for C
of G) 364 circular pattern for 275 column for 19-20,441 concave surface of 281 contraction of, direction
280-1 convex surface of 281 curving of 287 curvature, natural 231 extending 287 front surface of (sign) 299 inclusions: in leg gest 227
in a step 227 'log rolling' (twist) 274 parts of 218-21 rotations (as a unit) 261
Constant C of A 275 gest combined w -- 266 interrelation of parts in -
shifting skew curve for spiral in straight -successIOn III
supporting on surfaces tilts,
264 291 272 260 231
415-6 350
299,350 231
234-6 augmented sections circular pattern curved paths
229 272
260,268 twists anal of around Body C
of A off-vertical
368
274-6 272
wheeling 275 Touch(es), Touching 179,294
active 185,295 forlegs (in air) 179 floor 181-3,348,402 parts of limbs - 198-9
486 INDEX
Touch(es), Touching (continued)
resultant passive - (leg) 185 w rotations (leg) 247-8 transient 187
Tour jete 137 Toward 160-1, 298 Track pins 388-9 Tracks 387 Transference of
weight 28,39-40,46 (also see Steps)
Transient relationship 296 Transient touch (leg) 183 Transition to next mvt
understood 69 Transitional natural
rotation 113 Transversal path (gest) Traveling, jumps 70-3,171
by means of leg rotations 252-3
Tree, Mvt Family Trembling (tremolo) Trio, a (performers) Triplet, tripple time;
triplet
16 429,460
332
33,34 Trunk, see Torso Tuberosities of the ischia,
supporting on 347 Turn(s), Turning 78-88,240
(see also Rotation, Twist, Revolution)
aerial 87 -8, 136-7 amalgamated step - 95 any-(revolution) 419,453 assemble- 136 of body-as-a-whole 79 blended 136 'blind' 96 chains of - 84-5 change oflevel during - 83 continuous 86-7 counter clockwise 78 deboule 84 degree of 80,92,97,392
ad lib. destination of focal
97
point 174 room dir 92
effect on arm mvts 115-8 either way (R or L) 78, 79,97 enchaine- 84-5 as fast as possible 97
fixed base 96,261 -w Front signs 92-3 general, statement
(MN) 79,240 hop - 88,136, 172 of individual parts (MN) 79 'inside' (inward) 84 interwoven - 86, 88 jump- 88,97 leap - 88, 136-7 w leg gest 134-7 levels of 83-6 when lying 419 as many as possible 97 - out legs, see Leg Rotation as much as you like 97 non-swivel- 96,261 'outside' (outward) 84 petits tour 84-5 pique arabesque - 134 pirouette 134 pivot-, 34
between two points 84 - on circular path 172 - on one foot 84 - on two feet 85-6
pose- 85 as preparation for a step 81 promenade - 85 right or left 78-9,97 -& step combined 81 -& step, simultaneous 169 slssonne - 136 skip - 88 'spotting' for - 399 step close - 85 on straight path 170 swivel- 86,87 of torso, limbs 240-58 unobtrusive (unwritten) 91 unstressed 81 vertical plane curve
while- 135 Turn sign, rotation 78-9
attached 256 composite 78, 97, 242, 244 empty, MN 79,240 empty, (re degree) 243 focal point destination 97 hold sign within a 240,242,
257 key in a 275,377-8 infinity sign in 97 outside of the staff 87
in path signs 170-1 placement of (for gest) 256 shading the - 83-4 stapled 86-7 unqualified (for gest, torso)
242, 260 Two dimensional curve 117,
137 Twist (see also Rotation)
240,259 anal of cancellation of degree of direction of in the hand in lower arm specific indic use of keys for & tilt combined
Twisted-Part, Key Base of---
from Body C of A Twisting, off-vertical
241-2 258
255-6 255 257
79,257 241-2 275-6 271-2
270,377 270,380, 385,459 379-80 273-4
Two degrees of extension 143-4
Two dimens path (gest) 117 Two-thirds support 402
'u' 33 Umbrella carrying 296 Undeviating, aim 399
curves, see Curves path 360
Undulating step 48 Unemphasized 460 Unfolding 288-9
degrees of 288 method of writing 288 motion of 289 sign for 288
Unison mvt, see Simultaneous
on floor plans 328 in scoring
Unit, basic choice of length, change of statement of
314,321 33,35
32 36 35
Unit Timing 183-4,247, 313,441
Units within body 451 (see also Body Sections)
Unrestrained 460
Untwisted-Part key 270 (also see 'Stance')
Upbeat 37, 42, 46, 50-1 meas, numbering of 320 preparation 184 repeat starts on 307 space allowed for - 51 use of turn as - 81
Uphill slope, lying on 350 Upper arm, see Arm Upper Body 19
included 223-4 mvt 218,442-5 symbol for 443,453
Upper chest, see Shoulder Section
Upper leg, see Leg Upper sacral region 354 Upstage area 159
V for victory, hand gest 411 Validity: see Cancellation Variations in steps 39-51
in dynamics 49 'Verbs', movement - 14
Vertical, bow, see Bows bracket, see Bracket center line 17 -18, 22 columns 18-20 - constant 370 curves, see Curves line, see Line rising, sinking
Vibrating Vis ii vis Visual aids
47 394-5,429
325 7
Visual design 15 Visuality of system 11 Volta, prima, see 1st & 2nd
Endings Victoria, Felisa 195 Vivace 320-1
Wachmann, Abraham 3 Waist 218-9
hands on Walk, Walking
anal of warm opposit'n on ball of foot on center line flat footed -on heels
407 43,58,77 39,43,46
99,108 189
57-8 189 189
interrupted -on knees motion of C of G in ordinary--over
65,127 343-5 360-1
43 420-1
pliancy in resilience in smooth
39,44,189 359-60
stiff-kneed tightrope-
Waltz, basis of -Clog (Tap) in place, turning
359 401
57-8 39,48
194 376
running - 304 step patterns 48 turning box - 87
Warm-hearted 222 Wave, body- 412,415-6 'Waving good-bye' 199 Waving hand 305, 394 Way sign, see Path Sign Wedges (floor plan) 158,159,
324 Weight, absence of - for
touching gest 182 automatic adjustment - 358 - bearing, degree of 179, 402 - 'caught' on new support
361 - centered 537-8 Center of -, see Centre of
Gravity displacement of - in low
kneel 341 freeing of - (for step) -on hand inclusion of -lifting - from feet
from foot
39 351 402
69-70 127
partial-, see Partial Support placement of - in kneeling
340-2 retention of - 41-2 shift of - 62-4,357-9 shift of - in kneeling 344 shift of -, unwritten 62 transference of - 28, 39-40,
46,127-8,250 (see also Steps) w change oflevel rotations during
Weightless state Weighty
47-8 250-1
370 460
INDEX 487
Wheeling, whole body 419-20, 420
for group 458 torso, head 274-6 without change of front 275
'Where do you look?' 299 'Where is your head
facing?' 299 White pin, see Pins Whip-like leg action 135 Whirling, of group 458 'Who cares?' (shoulders) 209 Whole arm, see Arm Whole body, turn of 79
(see also Body) Whole leg, see Leg Whole note 33 Whole torso, see Torso Wide, widening 138,141-2,
243 degrees of - 141 - positions of feet 140-1 - sign in turn sign 243
Wile, Charlotte 4 Windmill arm mvts 102 Withdrawing (mtv away)
161, 298 from focal pt on a circular
path 176 Within 386 Woman (floor plans) 324 'Word', mvt - 49 Wring (Effort) 460 Wrist (joint) 196,451
cross of dir centered in 201 contraction of 279 dir mvt of 206-7 folding 285 leading 411
Writing (also reading) direction 17 notes on
X symbol
'y'
Zapateado Zed caret Zenith of deviation Zig- Zag steps,
C of G path during Zorn, Albert
49-50
138
33
184,195 400 396 360 360
2
