Dynamics FINAL4

DANCE DYNAMICSE F F O R T & P H R A S I N G

WORKBOOK & DVD COMPANIONV E R A M A L E T I C© 2005

2 2 E A S T 1 7 T H AV E | C O L U M B U S , O H 4 3 2 0 1 | ( 6 1 4 ) 2 9 9 - 9 9 9 9 | W W W. G R A D E A N O T E S . C O M

C O N T E N T S

Preface / iiiAbout the Author / ivAcknowledgements / v

INTRODUCTION

The Significance of Dance Dynamics / 1Rudolf Laban’s Contribution to the Field of Movement and Dance / 7Notes / 8

PA R T A / T H E E F F O R T T H E O RY

INTRODUCTION / 9Fig. I. The Effort Graph / 12

VARIATIONS WITHIN ONE MOTION FACTOR / 13Space / 14Weight / 16Time / 18Flow / 20

COMBINATIONS OF TWO MOTION FACTORS / 23Space and Time: The Awake State / 24Weight and Flow: The Dreamlike State / 26Space and Flow: The Remote State / 28Weight and Time: The Near State / 30Space and Weight: The Stable State / 32Time and Flow: The Mobile State / 34Recommended Reading / 36

EFFORT–SPACE (SHAPE) AFFINITIES / 37Fig. 2. The Effort Cube / 38

COMBINATIONS OF THREE MOTION FACTORS / 41Space, Weight, Time: “Action Drive” or Basic Effort Actions / 42Flow, Weight, Time: “Passion-like Drive” / 46Space, Time, Flow: “Vision-like Drive” / 48Space, Weight, Flow: “Spell-like Drive” / 50Recommended Reading / 52

COMBINATIONS OF FOUR MOTION FACTORS / 53Notes / 55

CONTENTS / i

PART B / P H R A S I N G C L A S S I F I C AT I O N

INTRODUCTION / 57Classification of Phrasing / 59Notes / 63

EIGHT PHRASING TYPES / 65( I ) Even Phrasing / 65( I I ) Increasing-Intensity; Impactive / 66( I I I ) Decreasing-Intensity; Impulsive / 67( I V ) Increasing-then-Decreasing Intensity / 68( V ) Decreasing-then-Increasing Intensity / 69( V I ) Accented / 71( V I I ) Vibratory / 72( V I I I ) Resilient / 73

SEQUENCING OF PHRASING / 76( A ) Consecutive / 76( B ) Concurrent / 77( C ) Overlapping / 78

EIGHT PHRASING TYPES ANNOTATED WITH EFFORT SIGNS / 79( I ) Even Phrasing / 79( I I ) Increasing-Intensity Phrasing / 80( I I I ) Decreasing-Intensity Phrasing / 84( I V ) Increasing-then-Decreasing Intensity / 85( V ) Decreasing-then-Increasing Intensity / 87( V I ) Accented / 90( V I I ) Vibratory / 91( V I I I ) Resilient / 92

SEQUENCING OF PHRASING / 96( A ) Consecutive / 96( B ) Concurrent / 97( C ) Overlapping / 98SUMMARY / 100

APPENDIX I: Methodological Considerations / 103APPENDIX II: C.G.Jung’s Influences On Laban / 113APPENDIX III: Phrasing of Dance Qualities in Labanotation Scores / 117BIBLIOGRAPHY / 127

D V D C O M PA N I O N & V I E W I N G G U I D E / 1–22

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P R E FA C E

This Workbook supports studio work in dance dynamics by facilitating interac-tion between the presentation of the content and the reader. Opportunities for students to generate movement examples and images accompany the introduc-tion of every new concept. Notes about the feel of various dynamic patterns and specific movement qualities in performance and viewing are encouraged. Observation outside the class is facilitated by means of the DVD companion with video excerpts from various works.

Since Rudolf Laban provided a comprehensive system for identifying move-ment and dance qualities, his framework is the basis for this text. Laban’s main concepts are identified and explained by means of descriptions, examples, dia-grams, tables, and figures. Movement qualities are referred to as “Efforts” (the term used in the English tradition), denoting the motivation and exertion of movement. Laban’s propensity for synonyms is also pointed out.

Among special features of the Workbook is the fact that the text is informed by the tradition of Laban's teaching in Europe, as it was originally formulated and reformulated by his students, as well as the development of Laban’s theories in the USA. In addition, based on Laban’s foundation, the classification and notation of Phrasing has been developed by the author, Vera Maletic. A brief review of literature clarifies the distinction between the terms “phrase” and “phrasing” in dance, and the rationale for using “phrasing” is explained. Eight types of Phrasing are defined and exemplified by way of description, notation, and video excerpts.

Presentation and discussion of the two major components of dance dynamics constitute the main sections of the Workbook. PART A discusses movement qualities, or Effort, and PART B investigates Phrasing types. Rather than work-ing through them in a linear, sequential manner, the two sections can be used concurrently.

Three Appendices elaborate on the following issues:

(I) Some methodological approaches to the teaching-learning processes

(II) A consideration of C. G. Jung’s influences on Laban

(III) The application of Effort and Phrasing in qualitative annotations of Labanotation scores

A general Bibliography concludes the text.

A DVD viewing guide complements the disc in the back of the book.

PREFACE / iii

A B O U T T H E A U T H O R

VERA MALETIC is Professor Emerita in dance at The Ohio State University. She earned her M.A. from the University of Zagreb, Croatia (history of art and culture), and Ph.D. from The Ohio State University (interdisciplinary). Having received her initial Laban training from her mother, Ana Maletic, one of Laban’s disciples in Europe, Maletic subsequently studied at the Laban Centre in England, where she earned the Laban diploma.

While in Zagreb, she was the choreographer and artistic director of the Studio for Contemporary Dance, creating works for stage, film, and television in for-mer Yugoslavia, Austria, and Sweden.

During her subsequent teaching appointment at the Laban Centre (1966–77), she classified Laban’s manuscripts, which contributed to her insights into the roots of the Laban theory. Since the late 1970s, her background was expanded and informed by interpretations and developments of Laban’s theories in the United States, particularly through the work and writings of Irmgard Bartenieff and Martha Davis, as well as professional exchanges with the late Robert Ellis Dunn. Her book, Body-Space-Expression: The Development of Rudolf Laban’s

Movement and Dance Concepts, was published by Mouton de Gruyter in 1987.

At The Ohio State University’s Department of Dance (1980–2000), Maletic developed the curriculum in several directions. She taught courses based on Laban’s framework dealing with the spatial structure and dynamics of dance. Maletic also developed courses in analysis of choreographic style and in post-modern dance. She spearheaded the dance and technology area, including Videodance and approaches to CD-ROM for dance documentation. Maletic was primary co-investigator in two multimedia projects funded by the National Initiative to Preserve America’s Dance.

Currently she divides her time between activities in Columbus and Zagreb, Croatia. This includes bilingual writing and projects in dance documentation by means of technology.

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A C K N O W L E D G M E N T S

The author wishes to thank: Melanie Bales, Associate Professor, for her collaboration particularly in providing

dance examples for various Effort qualities and Phrasing types. Lucy Venable, Professor Emerita, for the annotation of scores in Appendix III,

and comments on Phrasing symbols in general. Vickie Blaine and Odette Blum, Professors Emeritae, for their input regarding

both the contents and the form of the text. Certified Movement Analysts Melanie Bales, Peggy Berger, and Jeff Friedman for

their responses and suggestions from the points of view of the American Laban dialects.

Clark Leavitt, Professor Emeritus, for challenging some assumptions based on dance theory.

Warren Lamb, for providing the opportunity to view a copy of a letter written to him by Laban in 1952.

Edward Luna, MA candidate in dance, for redesigning the workbook and con-tributing suggestions from a student’s point of view.

The Dance Preservation Fund at The Ohio State University Department of Dance, for funding the production of the 2005 revised edition of the workbook.

Motus Humanus, for a seed money grant towards the production of the DVD companion.

Jeanine Thompson, for giving her time and talent for recording the DVD voice-over.

Special thanks are due to the following choreographers and performers for per-mission to include excerpts of their work in the DVD companion:

Melanie Bales: choreographer and performer; Balinda Craig-Quijada: cho-reographer and performer; Karen Eliot: choreographer and performer; Zvi Gotheiner: choreographer; Susan Hadley: choreographer; Irene Hultman: choreographer; Kristina Isabelle: choreographer, improviser, and perform-er; Rosalind Pierson: choreographer; Noel Reiss: choreographer; Susan Sanborn: choreographer and performer; Jeanine Thompson: choreographer and performer; Susan Van Pelt: choreographer and performer.

The following Ohio State University MFA and BFA students gave permission for the inclusion of their work:

Joe Alter: composition; Robin Anderson: composition and performance; Lauren Bisio: performance; Ama Codjoe: performance; Teena Custer: performance; Michael Estanich: composition, improvisation and perfor-

ACKNOWLEDGMENTS / v

mance; Keren Ganin-Pinto: performance; Luke Gutsgell: performance; Chad Hall: composition and performance; Kristin Hapke: composition and performance; Jason Hedden: juggling; Kamilah Levens: performance; Scott Lowe: composition, improvisation, and performance; Christina Providence: improvisation and performance; Michelle Stortz: performance; Marc Woten: improvisation and performance.

Notations and graphs on LabanWriter by Gina Jacobson.

—V. MALETIC, December 2004

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I N T R O D U C T I O N

THE SIGNIFICANCE OF DANCE DYNAMICS

Past and present

For centuries dance traditions of various cultures were based on demonstrat-ing and replicating movement sequences. This left in abeyance not only the development of consistent vocabularies for describing the strands of dance but also comprehensive notation systems, and theoretical frameworks. Even now at the beginning of the new millennium, many significant components of dance are taken for granted within the practice of teaching-learning, choreographing, and coaching; a certain reluctance to identify them verbally and discuss them theoretically still survives. Granted, it is not easy to pin down and define this ephemeral art form that has its own means of non-verbal communication. This may be the reason for the scarcity of theoretical considerations of the dynamics of dance.

Questions of terminology

Dynamics as related to movement and dance is interpreted in many different ways. A recent publication—Dance Words1—contains entries that have been collected from various sources, such as classes, rehearsals, workshops, publica-tions, texts on dance films, and interviews. Collecting entries for the section on movement as such proved to be most problematic, perhaps due to its non-verbal nature. Great variations in approaches and descriptions are found in entries under the title of “Dynamics and Energy” but have in common references to texture, coloring, and expression of feelings and emotions. The term dynamics

is also used interchangeably with the term energy.2

Ana Maletic, for instance, makes the distinction between “dynamics” and “dynamicity.” While “dynamics” refers to the intensity and weight aspects of movement, “dynamicity” refers to “the energy as a result of all motion fac-tors.”3

In this text the term dance dynamics is used as an overall designation pertain-ing to the phrasing of movement energy. Movement qualities, on the other hand, denote specific colorings or the textures of movement. Both terms refer

INTRODUCTION / 1

to movement intent or expression. Issues of emotional, kinetic, conceptual, and other motivations are discussed with reference to contemporary theatrical dance, and various other dance traditions.

Dynamics as part of some dance traditions

In many dance traditions, terminology is generated from movement qualities and dynamics that characterizes various dances. Here are some examples:

In Javanese traditional dance there are three basic principles that address dance dynamics. The first one is wiraga, described as a way the dancer controls the movement while traveling smoothly and evenly as a breeze through a palm tree (for female) or flowing water (for male). The second principle, wirasa, deals with the dancers’ capacity to express feeling that would be communicated to the audience. The third principle, wirama, refers to tempo and rhythm which are considered indispensable elements of dance.4

Different emotions embodied through breathing rhythms are an intrinsic aspect of traditional dances of Korea. Breathing is a central force that influences the body movement and creates different qualities. Ogae Jit (shoulder movement) Ogae Jit (shoulder movement) Ogae Jit

makes the breathing visible through a slight rise and fall. For instance in Salpuri

Chum the emotion of Han, including sadness, anger, and discontent, may be marked by deep exhalation. It has to be overcome by the dancer to achieve Heung, a state of joy, pleasure, and excitement.5

The qualities of resiliency, bounciness of the whole body, has been observed in many forms of a ritual dance performed in the Central Philippines, called sinu-

log. This quality is seen as linked to some healthy patterns of life, and can be found in both traditional and non-traditional dancing.6

Resilient step patterns, the so-called drmez, in dances of Croatia, have been among the most characteristic motives in circle dances—kolos of plains or flat ground regions. They are reminiscent of ancient work motives imitating tread-ing and crushing corn. The vertical emphasis of resilient shifts of weight, alter-nating with lively vibration, both gives in and resists the pull of gravity.7

Capoeira Angola, an Afro-Brazilian game/dance/fight, is often ironically called vadiação (or “doing nothing in particular”); indicating a relaxed but highly alert attitude appropriate to a street-oriented form. This attitude is demonstrat-ed dynamically in a series of casual feints called mandinga (or “sorcery”), used to distract the opponent and disguise one’s true intentions. Likewise, a player adept at malícia (“treachery” or “double dealing”) may collaborate closely with the opponent, only to interrupt the game with a surprise attack.8

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INTRODUCTION / 3

The terminology of classical ballet contains some basic forms of dynamic move-ment, in other words dance vocabulary, such as battu or battement (“hit” or battement (“hit” or battement

“thrusting”), coupé (“cut”), coupé (“cut”), coupé glissé (“glide” or “slide-like”), glissé (“glide” or “slide-like”), glissé fouetté (“slashed” fouetté (“slashed” fouetté

or “whipped”), and jeté (“thrown”), are named according to the quality of their jeté (“thrown”), are named according to the quality of their jeté

performance. This terminology, created by French dancing masters of the 18th century, inspired Laban to name his basic Effort actions, such as thrusting, glid-ing, slashing, etc.9

The staccato, hard and fast angularity of urban American street-dance (as seen in the work of Rennie Harris Puremovement, for example) demonstrates the flu-idity and multirhythmic ease found in much of West African vernacular dance.10

Moreover, in the culture of hip-hop dance, many terms have dynamic connota-tions. “B-boy” or “b-girl” break dancers take their name from the “break”; a percussive interlude found on many funk recordings of the 1960s–’70s, which is often “broken” and remixed by a DJ. Other terms, such as “popping” and “locking,” describe impactive gestures fragmented by stillness. The term “hip-hop” itself (perhaps derived from “hep,” or fashionable) betrays the importance of pelvic movements which are readily visible in the form.11

This brief survey has shown how various motivations—such as representing gender differences, particular emotional states, some healthy patterns of life, work actions, combat-like dance tactics, and descriptive language—have cre-ated patterns in different traditions and served as the basis for movement and dance-derived terminology.

Some theoretical considerations of Dynamics

The first theoretical reflections on the expressive aspect of Western theatrical dance started to emerge in periods of “expressive crises.” The decline of the courtly ballet in eighteenth-century France motivated Jean George Noverre (1727–1810) to write his Letters on Dancing and Ballets, a severe critique of the use of sheer virtuosity, stereotyped movement and mask; he urged that the link between movement and meaning be visible and that expression should be given preference over virtuosity.12 The Industrial Revolution and subsequent periods of decline of theatrical dance in the second half of the nineteenth cen-tury, prompted persons such as Delsarte and Duncan to address expression in performance, practically and theoretically. Francois Delsarte (1811–1871) formulated principles, laws and orders of movement expression with particular reference to actors and singers. Several of his American disciples and follow-ers (such as Genevieve Stebbins, and Ted Shawn) applied Delsarte’s principles to dance.13 The foremost endeavor of Isadora Duncan (1878–1927) was the desire to express her being in movement and dance; she “sought the source of the spiritual expression to flow into the channels of the body filling it with vibrating light. . . .”

14

The development of technology between the two World Wars, and the emer-gence of modern dance in Europe, was the background of Rudolf Laban’s investigations into the common denominators of the dynamics of movement expression referred to as Effort. Because of its systematic classification, his theory is “one of the most important for modern dance thought.”15

Since the 1940s several American dance educators and choreographers have also acknowledged the significance of the constituents of dance dynamics. For instance, Margareth H’Doubler states that “to execute any movement, we must make an effort; this effort consists of an expenditure of energy. . . . Since energy is a determining factor in the character of expressiveness of movement it is interesting to consider actions with respect to the way energy is released to produce them.”16

Doris Humphrey refers to dynamics as the ingredient that adds spice and inter-est to living as well as dancing, and argues that “dynamics is the lifeblood of the dance, and is ignored at the peril of your existence as an artist.”17 Alma Hawkins discusses the perceptual dimensions of dance qualities, and maintains that the aesthetic quality of dance movement is determined by the flow and control of energy. She further explains that:

Energy, or force, is the source of movement, and it is also the basic ingredient in the aesthetic qualities of dance. The choreographer con-trols the dynamic flow of the dance through a sensitive organization of movement tension. The play of forces set in action by the structured movement tensions evokes a kinesthetic response in the perceiver and thus enables the dancer to communicate. The tension aspect of the movement causes the observer to empathize or “feel into” the dance and thus perceive its import.18

Drawing on her experience as a dance viewer and philosopher of art, Susanne Langer wrote in the 1950s that:

In watching a dance, you do not see what is physically before you—people running or twisting their bodies; what you see is a display of interacting forces, by which the dance seems to be lifted, driven, drawn, closed, or attenuated, whether it be solo or choric, whirling like the end of a dervish dance, or slow, centered, and single in motion. . . . The forces we seem to perceive most directly and convincingly are created for our perception; and they exist only for it.19

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Descriptions of Dance Dynamics in various contexts

Within their mode of description, dance critics, historians, theorists, and film-makers frequently depict movement qualities, for example: (Emphases are the

author’s.)

[Sara] Rudner likes to play off opposites against each other. One is the disparity between an inward, nonspecific focus and an outward, alert

riveting of her attention. We see it in the first dance as she oscillates gen-

tly inside her body, feeling a flow,flow,flow nothing more, then suddenly straight-ens and looks to the side as if an alien noise had surprised her. (Marcia B. Siegel, The Tail of the Dragon, New Dance, 1976–1982. Durham, NC: Duke University Press, 1991. 17.)

[Blondell] Cummings’ performing presence is intensified by her quick

hand gestures and split-second changes of facial expression that contrast dramatically with her slower, more fluid shifts of weight. (slower, more fluid shifts of weight. (slower, more fluid Ann Cooper Albright, “Auto-Body Stories: Blondell Cummings and Autobiography in Dance.” Meaning in Motion, J. Desmond ed. Durham, NC: Duke University Press, 1997. 191.)

As the dancers attempt to extend the duet encounter, movement phrases lengthen and the quality of movement extends beyond passive free

falling. At times, dancers control the movement in order to guide the momentum of an encounter or keep it going. They also direct their direct their direct

movement with intentional strength or lightness in order to guide a fall. (Cynthia Novack, Sharing the Dance: Contact Improvisation and

American Culture. Madison, WI: University of Madison Press, 1990. 66.)

She [Meredith Monk] poses sharply,sharply,sharply rooted in a wide stance: one out-stretched arm points up, and her face is startled, startling. Then care-

fully,fully,fully she removes her wig, jumps off the platform, and moves to the middle phase of her life/dance. (Leslie Satin, “Being Danced Again: Meredith Monk, Reclaiming the Girlchild.” Moving Words: Re-writing

Dance. New York: Routledge, 1996. 134.)

Slowly the man touches the woman beside him, . . . the restless thrash-

ing body before them suddenly seeming to communicate as anguish ing body before them suddenly seeming to communicate as anguish ing

that complements their drowsy affection. (Jennifer Dunning, “Images of Light and Dark Connect East to West.” Review of Akram Khan’s Kaash.

The New York Times, Oct. 18, 2003.)

INTRODUCTION / 5

An admirable and fairly unique quality of Dan Wagoner is his weight. . . . in the way his movements are weighted. It looks as if he were press-

ing against heavy water rather than air. The effect is quite different from ing against heavy water rather than air. The effect is quite different from ing

the kind of dancing that gives the illusion of flitting or flitting or flitting floating. The viewer is involved in seeing the energy that pressed into the floor or lifts pressed into the floor or lifts pressed

out of it. This is a quality of his that shows consistently, whether he is moving slowly or quickly, in the air or on all fours. You see this and are glad that gravity can be a dancer’s partner. (Paul Taylor, “Down with Choreography.” The Modern Dance: Seven Statements of Belief. S. J. Cohen ed. Middletown, CN: Wesleyan University Press, 1966. 92.)

Movement qualities are the result of personality, of height and weight, of involuntary mannerisms, or rehearsed efforts, of musical response, of the whole body, or of only isolated parts, and on and on. So much goes into the making of the qualities that define the particular artwork that is the dance itself. One must see and think a good deal to see subtle movement qualities. (Gerald Myers, “Do You See What the Critic Sees?” Philosophical Essays on Dance, 1981. 48.)

Meaning [in film] is conveyed—or should be—by the quality of what is seen rather than by what is said. The more attention is paid to stylizing the screen, to making the quality of how it looks convey the meaning, the closer you get to dance, which is precisely that—the communication of meaning through the quality of movement. (Maya Deren, quoted by Leslie Satin in “Movement and the Body in Maya Deren’s Meshes of the Afternoon.” Women & Performance: A Journal of Feminist Theory, vol. 6, no. 2, 1993. 41.)

As the eight performers come and go, thrashing or thrashing or thrashing worming into move-worming into move-worming

ment, heads cock, hips and elbows jut, backs sway, shoulders roll and roll and roll

hike, knees collapse, feet strike out into space . . . either simultaneously strike out into space . . . either simultaneously strike out

or in rapid succession, as if the dancers were trying to direct their body direct their body direct

parts toward various directions in space. (Deborah Jowitt, “How Many Ways To Twist It?” Review of “The Room as it Was,” performed by the Ballett Frankfurt, choreographed by William Forsythe. The Village

Voice, October 8–14, 2003.)

Assignment

Pay attention to descriptions of dance qualities in dance books, journals, and newspaper articles. Sample the descriptions that you find helpful in visualizing the dance.

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INTRODUCTION / 7

RUDOLF LABAN’S CONTRIBUTIONS TO THE FIELD OF MOVEMENT AND DANCE

Who was Laban?

Rudolf Laban’s (1879–1958) multiple experiences as artist-designer, dancer, choreographer, director, teacher, work-study adviser, and remedial consul-tant, provided a foundation for the formulation of his theoretical framework. Laban’s acquaintance with the heritage of dance and traditional thinking on one hand, and his exploration of anatomy, psychology, and crystallography on the other, significantly contributed to the forming of his theories. Contrary to traditional approaches to the study of dance, such as learning steps and move-ment sequences, Laban believed that in order to gain a mindful approach to movement and dance, their underlying principles must be understood. His view of modern dance as human expression connected with universal forms of move-ment brought him to seek movement elements as common denominators of all types of movement—in everyday life, work, and the performing arts.

His major contributions

Three major systems of movement and dance classification constitute Laban’s theoretical framework:

(i) A comprehensive movement analysis and description that also under- lies his system of notation—Kinetography Laban or Labanotation20

(ii) The theory of spatial relationships of movement and dance referred to as Space Harmony or Choreutics21

(iii) The theory dealing with the dynamic structure of movement known as Eukinetics and Effort22

Laban’s fundamental view of the unity of all movement components is appar-ent in his concept of a general movement harmony; it considers the affinities between the movement’s energy or Effort and its placement or unfolding in space.23 This concept was later developed into the “Effort/Shape” methodology of movement observation and training in the U.S.A.24

Notes for Introduction

1. Valerie Preston-Dunlop, compiler, Dance Words (Choreography and Dance Studies,

Vol. 8, 1995).

2. Preston-Dunlop, Dance Words, 268–273.

3. Ana Maletic, Pokret i Ples (Zagreb: Kulturno-prosvjetni sabor Hrvatske, 1983) 45.

4. Sal Murgiyanto, , “Seeing and Writing about World Dance: An Insider’s View,” in

Dance Critic’s Association News (Summer 1990) 7.

5. Si-Hyun Yoo, Young-Sook Han’s Salpuri Chum: Labanotation and Stylistic Analysis of

a Traditional Korean Dance (Master’s thesis, The Ohio State University, 1995).

6. Sally Ann Ness, Body, Movement, and Culture: Kinesthetic and Visual Symbolism in a

Philippine Community (Philadelphia: University of Pennsylvania Press, 1992)

222–224.

7. Ana Maletic, Knjiga o Plesu (Zagreb: Kulturno-prosvjetni sabor Hrvatske, 1986) 316.

8. Edward Luna, from Master’s thesis in progress (The Ohio State University, 2004–05).

9. Rudolf Laban, Choreutics (London: Macdonald & Evans, 1966) 30.

10. Brenda Dixon Gottschild, Digging the Africanist Presence in American Performance

Dance and Other Contexts (Westport, CN: Greenwood Press, 1996) 158-59.

11. See, for example, the definition of the adjective “hip”( or “hep”) in the Fourth Edition of

The American Heritage Dictionary (Boston: Houghton Mifflin Company, 2000), which

refers to a the Wolof (Senegal) word hipi, or hepi, meaning “to open one’s eyes, be aware.”

12. Jean-Georges Noverre, Letters on Dancing and Ballets, transl. C. W. Beaumont

(London: Beaumont, 1951, first published 1930).

13. Genevieve Stebbins, Delstarte System of Expression (New York: Dance Horizons,

1977, originally published in 1902), and Ted Shawn, Every Little Movement

(Pittsfield, MA: Eagle Printing and Binding Co., 1954, first published in 1910).

14. Isadora Duncan, My Life (New York: Garden City Publishing Co., 1927) 75.

15. Selma Jeanne Cohen, “Dance as an Art of Imitation,” in What is Dance? Roger

Copeland & Marshall Cohen, eds. (New York: Oxford University Press, 1983) 19.

16. Margaret H’Doubler, Dance: A Creative Art Experience (Madison, WI: University of

Wisconsin Press, 1966) 79.

17. Doris Humphrey, The Art of Making Dances (New York: Grove Press, 1959) 102.

18. Alma Hawkins, Creating through Dance (Englewood Cliffs, NY: Prentice Hall, 1964)

34–35.

19. Susanne K. Langer, Problems of Art (New York: Scribner’s, 1957) 5.

20. Rudolf Laban, Principles of Dance and Movement Notation (London: Macdonald &

Evans, 1956).

21. _________. Choreutics (London: Macdonald & Evans, 1966).

22. _________. & F. C. Lawrence, Effort (London: Macdonald & Evans, 1947).Effort (London: Macdonald & Evans, 1947).Effort

23. _________. Choreutics, 31–36.

24. Vera Maletic, Body-Space-Expression: The Development of Rudolf Laban’s Movement

and Dance Concepts (Berlin: Mouton de Gruyter, 1987) 78.

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PA R T A / T H E E F F O R T T H E O RY

INTRODUCTION

Sources for theory

The concept of Effort and its theory is presented in several of Laban’s English books.1 The first one, Effort, published in 1947, was an outcome of Laban’s collaboration with F. C. Lawrence, a management consultant in industry; Lawrence had invited Laban to record industrial processes and to assist with work-study. While this first book focuses on Effort in work and industry, the 1948 book Modern Educational Dance proposes a new dance education or a “free dance technique,” based on the practice of Effort sequences. The 1950 book The Mastery of Movement on the Stage, and its subsequent editions as The Mastery of Movement (1960, 1970, 1980), elaborate on Effort expression in mime, acting, and dance.

Development of theory

Laban’s first investigations into the dynamic structure of movement focused on expressive qualities in dance. In the ‘20s and ‘30s he referred to this area as Eukinetics (Eu, “good” and Kinesis, “movement”), and defined it as exploring “good movement” in terms of harmonic principles in dance.2 As a complement to Eukinetics, in the ‘40s, Laban developed the Effort theory that considers the various qualities of mind-body movement involved in human exertion in gen-eral. Laban’s term Effort differs from its common usage of denoting activity that requires substantial expenditure of energy.

The concept of Effort

Laban sees Effort as the inner impulse—a movement sensation, a thought, a feeling or emotion—from which movement originates; it constitutes the interface between mental and physical components of movement. This inner impulse or motivation is expressed by way of Motion Factors. Accordingly, every human movement, including thought, has the potential to engage the Four Motion Factors—Space, Weight, Time, and Flow. Flow. Flow The particular emphasis on, or selections from, these factors make up what Laban calls the characteristic Effort patterns of a person (or an actor’s and dancer’s role).

THE EFFORT THEORY / 9

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More specifically the Effort patterns result from bi-polar inner attitudes of accepting, yielding to the physical conditions influencing movement or resisting, fighting against them. The moving person’s attitudes of accepting or resistingthe four Motion Factors result in bi-polar Effort qualities* or Effort Elementsof: SPACE—indirect or flexible, and direct; WEIGHT—light, and strong; TIME—sustained, and sudden, and FLOW—free, and bound. The attitudes of accepting or resisting may not always be voluntarily exercised but can also occur unconsciously and automatically.

*The term Effort qualities is used to denote single or combined Effort element.

MOTION FACTORS EFFORT ELEMENTSaccepting resisting

Space INDIRECT or FLEXIBLE DIRECT

Weight LIGHT STRONG

Time SUSTAINED SUDDEN

Flow FREE BOUND

Laban further associates four phases of the mover’s inner participation with the Motion Factors as follows: Attention is associated with Space, Intention with Weight, Decision with Time,3 and Progression4 with Flow.

In addition, Laban also associates the emphasis on Space with a person’s power of Thinking, Weight with Sensing, Time with Intuiting, and Flow with Feeling.5

Since these powers loosely correspond to C. G. Jung’s theory of function types, there are frequent references to Jungian influences on Laban [See Appendix II for further discussion].

MOTION FACTORS INNER PARTICIPATIONwith phases of

"Powers of"

Space ATTENTION THINKING

Weight INTENTION SENSING

Time DECISION INTUITING

Flow PROGRESSION FEELING

THE EFFORT THEORY / 11

How do all these strands relate to the performance and observation of Effort qualities?

Movement with emphasis on the Motion factor of SPACE is associated with the cognitive capacity or power of Thinking, and can bring about Attention to direct channeling of the focus of movement or give it a multi-focused, indirectquality. This may be manifested as clarity of thought and/or performance.

Movement with greater emphasis on the Motion Factor of WEIGHT is associ-ated with Sensing and can bring about strong or light Intention. This may show in the context of mental work, and/or in a display of strength or delicacy in performance.

Movement that shows predominance of the Motion Factor of TIME may indi-cate an Intuitive readiness for Decision making, either suddenly or with sus-tainment. This may manifest itself in thinking, and/or showing a good sense of rhythm in performance.

The emphasis on the Motion factor of FLOW is related to feeling that can bind or free its Progression. This can show as holding back or being outgoing in communication, and/or as performing great nuances in the progression of movement or dance.

The concept of the Effort Graph

The innumerable variety of the moving person’s situations or actions, creates a range of dynamic qualities of movement. It arises from the choices between either an accepting, yielding attitude, or resisting, fighting against attitude. These attitudes are also visually represented in the design of the Effort Graph, that facilitates the descriptive or prescriptive application of the Effort theory. (See FIG. 1, overleaf.) For example, while the execution of an arm gesture may be described as direct and bound (Space, Flow), the qualities for an efficient performance of a long leap forward may be described as direct, sudden and free (Space, Time, Flow).

12 / DANCE DYNAMICS

Space

M O T I O N FA C T O R S E F F O R T E L E M E N T S

Weight

Time

Flow

F I G . 1 : T H E E F F O R T G R A P H

INDIRECT

OR FLEXIBLE DIRECT

LIGHT STRONG

SUSTAINED SUDDEN

FREE BOUND

ACCEPTING

RESISTING

ONE MOTION FACTOR / 13

Predominant variations within ONE MOTION FACTOR

In considering Laban’s Effort theory one has to keep in mind that the dynamic structure or quality of a particular movement gains its full significance or mean-ing only when it is related to what precedes and what follows. In other words, one has to view it within a movement sequence or a context of phrasing. This also points to the fact that most frequently qualities are present only for a moment before they transform.

One movement quality seldom appears in isolation. A predominance of varia-tions within one Motion Factor may, however, indicate a particular preference. Thus for study purposes we will consider each Motion Factor and the contrast-ing Effort Elements* separately, including clarification of:

(a) The significance of those instances where the predominance of one Motion Factor is observed; descriptions of characteristics of the Effort elements

(b) Quantitative and qualitative aspects of Effort qualities*

(c) Suggested ways of engaging the body to facilitate and enhance the performance of Effort qualities

(d) Affinities between Effort elements and spatial areas

(e) Observations of Effort qualities in self and others (noting that qualities can be experienced as thought or movement actions)

(f) Examples of instances where one quality changes to its opposite (in recognition of the momentary value of these)

*In this description terms Effort elements, Effort qualities, and qualities are

used interchangeably.

14 / DANCE DYNAMICS

S PA C E

(a) The emphasis on attitudes toward Space can be associated with the cognitive capacities of orienting, attending, and organizing. The inner participation or faculty of “Attention” can give movement a multi-focused, indirect, or flexible quality; or channel the focus of movement into a direct, pinpointing quality. Its mastery can give clarity to dance execution, including the dancer’s alignment and his/her relation to the environment.

The two Effort elements of the Motion Factor Space are:

INDIRECT or FLEXIBLE

accepting the 3-dimensionality of space

MANIFESTED AS

· encompassing

· multi-focused

· with all-round attention

DIRECT

resisting the plasticity of space

MANIFESTED AS

· narrowing down

· focused

· pinpointing

YOUR DESCRIPTIONS

(b) A distinction from the measurable, quantitative aspects of space, i.e. shape and size should be kept in mind:


is not the same as wavy, curved, twisted

design, but does coincide with a plastic,

three-dimensional movement

DIRECT

does not mean a straight line, but does

coincide with linear, one-dimensional

movement

(c) Ways of engaging the body can enhance the performance of


shows a tendency toward a combination

of twisting, bending-extending actions

of several parts of the body (Body flow*

tends to be more successive, sequential)

DIRECT

shows a tendency toward aligning the

joints and performing bending and

extending actions (Body flow* is more

likely to be simultaneous)

*Body flow refers to sequencing the movement either in a successive, sequential way, where one body part moves after the other, or in a simultaneous way, where several parts move at the same time.


(d) Affinities with areas in space:


open movements into the unrestricted

areas of the sides of the body

DIRECT

movements across the body as creating

an obstacle to the three-dimensional use

of space

YOUR DESCRIPTIONS

(e) Description of bi-polar qualities as observed in self and others:


INSTRUCTOR’S EXAMPLES

· I am alert to many points of view.

· Jane is an alert person.

· I am performing a spiral fall.

· The Spinning of the Dervishes is

three-dimensional.

DIRECT


· I am zeroing in and pursuing the

problem.

· He is really concentrating.

· I am moving through the space.

· Her arabesque is clearly designed.

[Note that examples include qualities experienced as thought or movement actions.]

YOUR EXAMPLES

(f) Examples of instances where one quality of Space changes to its opposite:


· From an all-round awareness of the classroom to spotting a particular student.

· From a spiral fall into an elongated body shape on the floor.


YOUR EXAMPLES

16 / DANCE DYNAMICS

W E I G H T

(a) The predominance of Weight qualities may indicate sensing or sensibility for assuming light or firm “Intention” towards an action, ranging from lighthearted to assertive. By monitoring various muscular tensions, the dancer can display strength or delicacy in performance.

The two Effort elements of the Motion Factor Weight are:

LIGHT

accepting or adjusting to gravity

MANIFESTED AS

· fine touch

· delicate

· sensitive

STRONG

resisting the pull of gravity

MANIFESTED AS

· firm

· solid

· forceful

YOUR DESCRIPTIONS

(b) The measurable, quantitative aspects like light/weak and heavy, in terms of how much you weigh, or exert energy, differ from qualities of weight, although the quantitative aspects influence them:

LIGHT

is not the same as lighter weight or a

weaker, passive attitude, but is adjusting

to a lesser pull of gravity

STRONG

is not heavy weight, but deals with

greater resistance to the pull of gravity

(c) Ways of engaging the body can enhance the performance of opposite qualities:

LIGHT

shows a tendency toward lesser mus-

cular tension, engaging the “center of

levity,” chest, upper body; movements

further extended; inhalation; peripheral

transitions

STRONG

shows a tendency toward muscular

tension, participation of the center of

weight, pelvic area, lower body support;

movement closer to body, more con-

tracted; exhalation; central transitions



LIGHT/FINE TOUCH

upwards directed

STRONG/FIRM

downwards directed

(e) Observations of opposite qualities in self and others:

LIGHT/FINE TOUCH


· I feel airborne.

· Jeff is handling this delicately.

· I am gently touching a kitten.

· The group gracefully performs a

sequence of ballet port-des-bras.

STRONG/FIRM


· I feel grounded.

· Pam intends to stick to her argument.

· I am gripping the wild dog.

· Ron warms up with push-ups.


YOUR EXAMPLES

(f) Examples of instances where one quality of Weight changes to its opposite:INSTRUCTOR'S EXAMPLES

· Take care darling—and give up smoking!

· Push the piano and gently pluck one cord.[Note that examples include qualities experienced as thought or movement actions.]

YOUR EXAMPLES

18 / DANCE DYNAMICS

(a) A great frequency of Time qualities may indicate an intuitive readiness for “Decision” making, either in a sustained manner or suddenly. Its mastery gives a calm or alert approach to thought or movement actions.

The two Effort elements of the Motion Factor Time are:

SUSTAINED

accepting the ongoingness of time

MANIFESTED AS

· calm or calming

· prolonged

· lingering

SUDDEN

resisting the duration of time

MANIFESTED AS

· excited or excitable

· immediate

· unexpected

YOUR DESCRIPTIONS

(b) A distinction from the measurable aspects of time, i.e., fast and slow in relation to clock or metronome time should be kept in mind:

SUSTAINED

does not mean slow, but may coincide

with slow tempo of movement

SUDDEN

does not mean fast, but may coincide

with fast tempo

(c) Ways of engaging the body can enhance the performance of:

SUSTAINED

shows a tendency toward large, total

body movements; expanded movements

SUDDEN

shows a tendency toward isolated

gestures; smaller movements

T I M E



SUSTAINED

movements forward and outward

SUDDEN

movements backward and inward


SUSTAINED


· There is a whole eternity.

· Ann is taking her time.

· I am leisurely stretching.

· The introductory dance is stately.· The introductory dance is stately.· The introductory dance is stately

SUDDEN


· Now is the moment.

· Ron feels rushed.

· Jim’s tabla playing is speedy.


YOUR EXAMPLES

(f) Examples of instances where one quality of Time changes to its opposite:INSTRUCTOR'S EXAMPLES

· Being calm and unexpectedly being startled.

· Performing a developpé followed by a series of frappes.[Note that examples include qualities experienced as thought or movement actions.]

YOUR EXAMPLES

20 / DANCE DYNAMICS

(a) The emphasis on Flow can be associated with the emergence of feelings that, depending on the interaction with self or others, free or bind the continuity of movement and give either a controlled and careful or exuberant and outgoing “Progression.”

The two Effort elements of the Motion Factor Flow are:

FREE

accepting the continuity of movement

MANIFESTED AS

· easy, carried by

· outgoing

· fluent

BOUND

resisting the flux of movement

MANIFESTED AS

· controlled

· inward pulling, restrained

· withheld

YOUR DESCRIPTIONS

(b) A distinction from the quantitative aspects of flow, i.e., continuity or stop should be kept in mind:

FREE

is not the same as mechanical continuity

but displays a tendency toward it

BOUND

does not necessarily stop the movement

but manifests a tendency for stopping

(c) Ways of engaging the body can enhance the performance of:

FREE

running, turning, jumping; swinging;

off-balance; initiation from the torso

and spreading out to the extremities;

successive flow; total body movements

BOUND

balancing on small surfaces; center of

body held while limbs move; move-

ments starting from the extremities

towards the center of the body;

simultaneous flow

F L O W



FREE

movements into the area towards

open-forward (and high)

BOUND

movements across

backwards (and low)


FREE


· I feel with it, enthusiastic.

· Mary is finally communicating.

· Running and whirling is refreshing.

· Tom enjoys diving.

· Karl balances with command.

BOUND


· I feel ambivalent, restrained.

· Greg is still cut-off from his peers.

· I hold my breath when handling

crockery.


YOUR EXAMPLES

(f) Examples of instances when one quality of Flow changes to its opposite:


· I am carefully scrutinizing a new acquaintance until I am at ease in her presence.

· Try running toward center stage, then stopping and balancing on one leg.[Note that examples include qualities experienced as thought or movement actions.]

YOUR EXAMPLES

Combinations of TWO MOTION FACTORS

After having considered each of the four Motion Factors and their respective Effort Elements, we will see how the combination of two Motion Factors can create new qualities. These are observable in transitions between actions in everyday life and are frequently elaborated in dance. There are six combinations of two Motion Factors and Laban refers to them as “incomplete efforts” that are expressive of a variety of “inner attitudes.”6 Bartenieff prefers to identify them as “inner states.”7 Since the term “attitudes” is also used to denote atti-tudes of yielding or resisting the Motion Factors, the term States will be used in this text.

While the combination of Motion Factors SPACE and TIME (of thinking and intuiting) and their respective Effort Elements create an alert, awake attitude, the opposite combinations of WEIGHT and FLOW (of feeling and sensing) are more dreamlike, unaware. Laban refers to the former combination as giving information about “where” (S) and “when” (T), and the latter about “what” (W) and “how” (F).

Whereas the combinations of SPACE and FLOW Elements (of thinking and feeling) give a more abstract, remote mood, their opposites, the combinations of WEIGHT and TIME Elements (of sensing and intuiting) create a rhythmical, earthy, near attitude. The first combination indicates “where” (S) and “how” (F), and the contrasting one “what” (W) and “when”(T).

As the combinations of SPACE and WEIGHT (thinking and sensing) are likely to produce a stable, steadfast attitude, their opposite combinations of TIME and FLOW (feeling and intuiting) can create a mobile, adaptable attitude. The first combination gives information about “where” (S) and “what” (W), and the contrasting one about “when” (T) and “how” (F).

Each of the six combinations has a potential for four variations. For example the combination of WEIGHT and TIME includes:

LIGHT / SUSTAINED | STRONG / SUDDEN | STRONG / SUSTAINED | LIGHT / SUDDEN

There are thus twenty-four distinct qualities within this range.

TWO MOTION FACTORS / 23

24 / DANCE DYNAMICS

S PA C E A N D T I M E / “ T H E AWA K E S TAT E ”

The four variables resulting from the combinations of Space/Time (of thinking and intuiting) produce alert, aware, awake attitudes and actions, such as are seen in Merce Cunningham’s work in the 1950s and ‘60s. Here the information about “where” and “when” is particularly evocative.

Laban approximates this inner attitude as “awake” in that awareness arises suddenly or gradually and may be concentrated or embracing.8

M E N TA L A C T I O N

(1) pinpointing

(2) prolonged focusing

(3) instantly adjusting to

all facets

(4) all-round lingering

consideration

M O V E M E N T A C T I O N

darting gesture

slow linear path

twirl

slow turning and twisting

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

DIRECT / SUDDEN

DIRECT / SUSTAINED

INDIRECT / SUDDEN

INDIRECT / SUSTAINED


The four S/T variables can be observed in various sequences, such as:

Here is a brief narrative for a scene of searching:

Where is it? Here? There?

E v e r y w h e r e A quick glance around,

and another, here it is! I s l o w l y approach it . . .

Perform the scene with clear focus and shaping in gesture, turning, locomotion; in addition small, isolated and large, total body movement may enhance the time variables.

Read and perform the following sequence that includes the S/T variables:

Notice if your performance brought about any movement actions you described

on the previous page.

26 / DANCE DYNAMICS

W E I G H T A N D F L O W / “ T H E D R E A M L I K E S TAT E ”

The four variables resulting from the combinations of Weight–Flow (of sens-ing and feeling) bring about a less conscious, almost dream-like attitudes and actions; some Contact Improvisation sequences at times assume such attitudes.

Laban approximates this combination as “dreamlike” since the lack of aware-ness may be bold or diffuse and exalted or gloomy.9


(1) forced restriction

(2) slight apprehension

(3) powerful outgoing

(4) delicate ease


supporting a heavy slippery

partner

delicately balancing

swinging

suspension

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

STRONG / BOUND

LIGHT / BOUND

STRONG / FREE

LIGHT / FREE


The four W/F variables can be observed in various sequences, such as:

Here is a brief narrative for a scene about a nightmare:

I am hovering on a brittle cliff;

I fall into the water and emerge out of it; gradually I start enjoying a

light breeze but then I fall into a quicksand patch and struggle to get

out.

Perform the scene with suspension, falling and rolling, swings, and pulling inward.

Read and perform the following sequence that includes the W/F variables:

Notice if your performance brought about any movement actions you described on the previous page.

28 / DANCE DYNAMICS

S PA C E A N D F L O W / “ T H E R E M O T E S TAT E ”

The combination of Space–Flow elements (associated with attention and pro-gression as well as the “powers” of thinking and feeling), bring about almost airborne, more abstract attitudes and actions. These may be associated with the image of dancers in the period of the Romantic Ballet.

Laban approximates this inner attitude as “remote” in which detachment “may include focus on self, together with restraint or abandon.”10


(1) restricted honing in

(2) straightforwardly

streaming

(3) careful survey

(4) released dissemination


strict linear shaping

projecting a linear move-

ment into far distance

three-dimensional move-

ment with control

turning outward

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

DIRECT–BOUND

DIRECT–FREE

INDIRECT–BOUND

INDIRECT–FREE


The four S/F variables can be observed in various sequences, such as:

Here is a brief narrative for a scene about a nightmare:

In a scene from Giselle Albrecht is carefully looking for her;

seeing Giselle’s specter his heart goes all out to her and he turns

around in joy. But where has she disappeared? He searches again. . .

Perform the scene using predominantly torso, arm and leg gestures, balancing and getting off-balance that leads into locomotion.

Read and perform the following sequence that includes the S/F variables:


30 / DANCE DYNAMICS

W E I G H T A N D T I M E / “ T H E N E A R S TAT E ”

Rhythm in movement and dance consists of groupings of accents (Weight) and duration (Time). The four variables resulting from the combination of Weight–Time (of sensing and intuiting) thus create predominately rhythmical, down to earth, engaged attitudes and activities, such as in Flamenco and Tap dancing.

Laban approximates this inner attitude as “near” in which a presence may have a sudden impact or sustained consideration, or it may express strong attach-ment or superficial touch.11


(1) emphatic assertion

(2) delicate nod

(3) enduring power

(4) persisting subtleness


stomp

touch

drag

slide

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

STRONG / SUDDEN

LIGHT / SUDDEN

STRONG / SUSTAINED

LIGHT / SUSTAINED


The four W/T variables can be observed in various sequences, such as:

Explore one of the suggested sequences:

A sequence of tap dance in the style of Savion Glover

OR

If you are more familiar with Spanish Flamenco dancing “orchestrate” your feet with a variety of stomps and touches

Read and perform the following sequence that includes the four combinations of W/T:


32 / DANCE DYNAMICS

S PA C E A N D W E I G H T / “ T H E S TA B L E S TAT E ”

The four variables resulting from the combinations of Space–Weight (of think-ing and sensing) produce persevering, well-defined, more stable attitudes and activities. Examples may be found in gymnastics, “pedestrian” activities, and some court dances from the Renaissance.

Laban approximates this combination as “stable” in which steadfastness can be resolute or receptive, as well as solid and encompassing or delicately pinpoint-ing.12


(1) convergent firmness

(2) delicate focusing

(3) strong all-round

scrutinizing

(4) delicate all-round

scanning


strong clear-cut locomotion

tracing fine lines

strong twisting

delicate spiraling

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

DIRECT / STRONG

DIRECT / LIGHT

INDIRECT / STRONG

INDIRECT / LIGHT


The four S/W variables can be observed in various sequences, such as:

Explore steps and shoulder-arm patterns in the style of a courtly processional dance from the time of the Renaissance, such as the Pavane:

Advancing with two low steps, then two high transferences of weight

is followed by a retreat consisting of two small steps and closes. This

alternates with shoulder-arm gestures, displaying a splendid pelerine and showing off the dagger, that are performed without locomotion.

This motif is repeated with variations of your own design.

Perform the sequence with predominantly downward and upward as well as narrowing and widening movements.

Read and perform the following sequence that includes the four combinations of S/W:


34 / DANCE DYNAMICS

T I M E A N D F L O W / “ T H E M O B I L E S TAT E ”

The four variables resulting from the combinations of Time–Flow (of intuiting and feeling) create changeable, more mobile, at times agitated attitudes and activities. They may appear in dramatic movement and dance scenes.

Laban approximates this combinations as “mobile” in that one’s adaptability may be sticky or easy, and abruptly changing or slow forthcoming.13


(1) startled

(2) sustained control

(3) pleasant surprise

(4) unhurried ease


jerk

stalking

fluttering gesture (when

repeated)

calm advancing

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

YOUR EXAMPLES

SUDDEN / BOUND

SUSTAINED / BOUND

SUDDEN / FREE

SUSTAINED / FREE


The four T–F variables can be observed in various sequences, such as:

Improvise the scene below:

Are we going to catch our flight? On a crowded airport we are jerked

several times toward the departing gate—trying to prevent falling we

continue to advance cautiously. Suddenly there is an announcement

about the plane’s delay. What a relief! Now we can take our time lei-

surely and even enjoy the forthcoming rush of checking in.

Perform the scene by alternating movement that pulls inwards with agita-tion and control, and streams outward with ease and excitement; also include moments of withholding balance in contrast to nearly falling off-balance.

Read and perform the following sequence that includes the four T/F variables:


Recommended reading about Combinations of Two Motion Factors:

WEIGHT AND TIME

Laban, Rudolf. The Mastery of Movement (1980 edition) 78–79.The Mastery of Movement (1980 edition) 78–79.The Mastery of Movement

North, Marion. Personality Assessment Through Movement (Macdonald & Evans, 1972)

252.

Preston-Dunlop, Valerie. A Handbook for Dance in Education (London: Macdonald &

Evans, 1980) 15–16; 9 b.

Bartenieff, Irmgard. Body Movement: Coping with the Environment (New York: Body Movement: Coping with the Environment (New York: Body Movement: Coping with the Environment

Gordon & Breach, 1980) 59–60.

SPACE AND FLOW

Laban 78–79.

North 252–253.

Preston-Dunlop 35–37; 194.

Bartenieff 59–60.

WEIGHT AND FLOW

Laban 78–79.

North 249–251.

Preston-Dunlop 35–36; 194–195.

Bartenieff 59–60.

TIME AND FLOW

Laban 78–79.

North 254.

Preston-Dunlop 35; 195.

Bartenieff 59–60.

SPACE AND WEIGHT

Laban 78–79.

North 253.

Preston-Dunlop 36; 195.

Bartenieff 59–60.

SPACE AND TIME

Laban 78–79.

North 251.

Preston-Dunlop 36–37; 194.

Bartenieff 59–60.

36 / DANCE DYNAMICS

EFFORT / SPACE (SHAPE) Affinities

Before elaborating on the variables of Combinations of three Motion factors, Laban’s concept of affinities between the dynamic qualities or Effort and its spatial unfolding are considered. The concept has already been hinted at in the description of affinities of Space, Weight, Time, and Flow elements with the areas in space around the body.

Laban found close correlation between Effort elements and the six dimensional directions. These were based on his observation that a light movement has an upward tendency, and a strong movement aims downward; a straight, direct movement correlates with movement across the body, while a roundabout, flexible or indirect movement is correlated with an opening outwards; a sudden movement tends toward a backward direction, and a slow, sustained one reaches forward. Elaborating compounds of these, Laban arrived at the eight variables of the Action Drive or the “eight basic Effort actions,” which correspond with the eight Diagonal directions. Accordingly, a light/indirect/sustained movement is associated with the high-open-forward diagonal, and a strong/direct/sudden one with the down-across-back diagonal, etc.14

A helpful visualization of the above can be seen in FIG. 2 (p. 38, overleaf) rep-resenting the “Effort cube” with directional and Effort symbols.

EFFORT-SPACE AFFINITIES / 37

38 / DANCE DYNAMICS

F I G . 2 : T H E E F F O R T C U B E

(a) Along the edge transitions

(b) Across the planes transitions

(c) Diagonal transitions

The scaffolding of the cube also presents a device for the exploration of transi-tions among the eight basic Effort actions:

(a) over the edge transitions, indicated by the solid line, create sequences with changes of one element, such as:

or

YOUR EXAMPLE of another transition over the edges:

(b) across the planes or faces of the cube transitions, indicated by the arrows, create sequences with changes of two elements, such as:

or

YOUR EXAMPLE of another transition across two planes or faces:

(c) the diagonal transitions through the cube, indicated by arrows, can embody contrasting transitions, such as:

or or

YOUR EXAMPLES of two other transitions through the cube:

EFFORT-SPACE AFFINITIES / 39

Laban’s concept of affinities was the point of departure for Warren Lamb’s elab-oration of Effort and Shape relationships. Initially Laban’s student and assis-tant in developing the Laban-Lawrence Effort assessment test for work study purposes, Lamb evolved his own methodology. In Posture and Gesture Lamb presents his scheme for observation and analysis of physical behavior in which the emphasis is placed on degrees of affinity between Shape and Effort varia-tions, including his elaboration of “shape flow” in addition to “effort flow.”15

The observation of actions such as “posture,” “gesture,” and their “merging” is also a significant variable.16 In the 1960s Lamb’s Effort-Shape construct contributed to the forming of Laban-Lamb-based methodologies in the U.S.A. promoted by Irmgard Bartenieff and Dr. Judith Kestenberg. While Bartenieff developed Effort/Shape with reference to research and teaching,17 Kestenberg expanded some of its concepts in context of Freudian developmental phases and observations of infants.18

40 / DANCE DYNAMICS

THREE MOTION FACTORS / 41

Combinations of THREE MOTION FACTORS

The combinations of three Motion Factors and their respective Effort Elements bring about a more intense movement expression that Laban refers to as drives. Taking the “Action Drive” as the point of departure, Laban identified three additional drives in which Flow replaces the other three Motion Factors. He gave them metaphorical names, such as “Passion Drive” (Flow replac-ing Space), “Vision Drive” (Flow replacing Weight), and “Spell Drive” (Flow replacing Time),19 and also labeled them as Transformation I–III.20 Marion North elaborates on them in the context of personality assessment and refers to the spaceless drive as an emotional stressed drive; timeless as a spell-like drive, and, weightless as a visionary drive.21 Bartenieff subsequently describes them as “transformation drives” and names them simply “spaceless,” “weightless,” and “timeless”22

The ACTION DRIVE combines Effort elements of Space, Weight, and Time(thinking, sensing, and intuiting), while Flow (feeling) remains latent. The eight possible combinations of the above elements are also described as “basic Effort actions” of thrusting, floating, pressing, flicking, gliding, slashing, dabbing, and wringing.23

The PASSION DRIVE arises when the Flow factor replaces the Space factor and transforms the Action drive into a more emotionally emphasized drive. It includes the eight possible combinations of Weight, Time, and Flow qualities (sensing, intuiting, and feeling) that override the clarity of Spatial placement and shaping (thinking).

The VISION DRIVE emerges when the Flow factor substitutes the Weight factor changing the movement into a more weightless drive. It includes eight possible combinations of Space, Time, and Flow qualities (thinking, intuiting, and feel-ing) that override the bodily import (the sensing).

The SPELL DRIVE appears when the Flow factor replaces Time qualities, trans-forming the movement into a timeless drive. It includes eight possible combina-tions of Space, Weight, and Flow qualities (thinking, sensing, and feeling) that override the sense for timing (intuiting).

Each of the four drives has a potential for eight variables, which provides for thirty-two qualities in addition to twenty-four qualities of inner attitudes or incomplete Efforts.

42 / DANCE DYNAMICS

S PA C E , W E I G H T, A N D T I M E / “ACTION DRIVE” OR BASIC EFFORT ACTIONS

Functional actions such as work, gymnastics, and dance training require clear spatial attending, an intentional use of weight, and a good sense for timing. In these cases the emotional participation resulting in bound or free Flow is not needed or even appropriate.

(In this drive Laban’s question of “how” associated with Flow is in the back-ground, while “where”—S, “when”—T, and “what”—W are in the fore-ground.)

The combination of Space-Weight-Time elements is therefore referred to as “action drive” and to each of the eight variables Laban gave a work-like descriptive term. His first inspiration for this terminology actually came from traditional ways of describing basic forms of movement actions (“steps”) and their qualities, such as the battu, fouetté and glissé of the French ballet vocabu-lary, that corresponds to thrusting, slashing and gliding.24

[The Action drive, like the other three drives, can be further analyzed with regard to the inner attitudes that are embedded in each, such as S/W (stable), S/T (awake), and W/T (near)25]

BASIC EFFORT ACTIONS

M E N TA L A C T I O N M O V E M E N T A C T I O N

(1) PUNCHING/THRUSTING

making an emphatic statement frappé actionfrappé actionfrappé YOUR EXAMPLE

(2) FLOATING

eventually releasing gently scattering YOUR EXAMPLE

(3) PRESSING

strongly persistent slow tendu

YOUR EXAMPLE

(4) FLICKING

quickly dismissing toss of a hand/foot

YOUR EXAMPLE

(5) GLIDING

easily pursuing glissade

YOUR EXAMPLE

(6) SLASHING

reckless force whipping gesture YOUR EXAMPLE

(7) DABBING

pinpointing tap dancing YOUR EXAMPLE

(8) WRINGING

tortuous scrutiny twisting upper body against the lower

YOUR EXAMPLE


DIRECT / STRONG / SUDDEN

INDIRECT / LIGHT / SUSTAINED

DIRECT / STRONG / SUSTAINED

INDIRECT / LIGHT / SUDDEN

DIRECT / LIGHT / SUSTAINED

DIRECT / LIGHT / SUDDEN

INDIRECT / STRONG / SUSTAINED

INDIRECT / STRONG / SUDDEN

The eight combinations of S/W/T can be performed in sequences with changes of one, two and three elements both with WORK-LIKE or DANCE-LIKE actions.

(a1) Perform the movement sequence of WORK-LIKE ACTIONS below using four of the S/W/T combinations by changing ONE element each time:

FLOAT FLICK DAB GLIDE PRESS WRING SLASH PUNCH

(a2) Create and write down another sequence in which you change one element.

(b1) Perform the movement sequence of WORK-LIKE ACTIONS below using four of the S/W/T combinations by changing TWO elements each time:

FLOAT PRESS DAB SLASH

(b2) Create and write down another sequence in which you change two elements.

(c1) Perform the movement sequence of WORK-LIKE ACTIONS below using all eight of the S/W/T combinations by changing THREE

elements every time:

FLOAT PUNCH GLIDE SLASH FLICK PRESS DAB WRING

44 / DANCE DYNAMICS

By performing the instructor’s examples of the S/W/T combinations within an imaginary Effort cube around you (See Fig. 2), you can create a sequence with more DANCE-LIKE ACTIONS:

(a1) First perform the sequence with transitions ALONG THE EDGES of the cube; see p. 38 Fig. 2 (a).

(b1) Second, perform the eight actions with transitions ACROSS THE

PLANES or FACES; see p. 38 Fig. 2 (b).

(c1) Finally, perform the eight actions by connecting them with transitionsDIAGONALLY through the cube; see p. 38 Fig. 2 (c).


46 / DANCE DYNAMICS

F L O W, W E I G H T, A N D T I M E / “PASSION DRIVE”

There are instances in everyday life and dance when the feeling component overrides thinking. This may happen in various situations, such as emotional outbursts and in some tribal ritual dances. The “passion drive” also emerges in climactic moments of Spanish Flamenco dancing. In such instances clear Spatial attending becomes undifferentiated and the binding or freeing control of Flow is coupled with an intentional use of Weight and a sense of Timing.

(In this drive Laban’s question of “where” associated with Space is in abeyance, while “when”—T, “what”—W, and “how”—F, are in the foreground.)

[Further analysis of embedded inner attitudes shows combinations of W/F (dream-like), T/W (near), and T/F (mobile).]

In contrast to the Action drive, no set terms have been created for the eight com-binations of Flow/Weight/Time (feeling, sensing, and intuiting). Following are attempts to find descriptive words for the performance of these combinations.

To start with the transformations of the basic Effort actions may be helpful.29


(1) (SPACELESS THRUST)

shocked spasmodic contaction

YOUR EXAMPLE

(2) (SPACELESS FLOAT)

vague daydreaming drifitng

YOUR EXAMPLE

(3) (SPACELESS WRING)

hemmed in slow contraction

YOUR EXAMPLE

(4) (SPACELESS FLICK)

quizzical light jerk

YOUR EXAMPLE

BOUND / STRONG / SUDDEN

FREE / LIGHT / SUSTAINED

BOUND / STRONG / SUSTAINED

FREE / LIGHT / SUDDEN


(5) (SPACELESS SLASH)

blurting out wild throw

YOUR EXAMPLE

(6) (SPACELESS GLIDE)

cautious hovering precarious balancing

YOUR EXAMPLE

(7) (SPACELESS DAB)

light irritation a gasp

YOUR EXAMPLE

(8) (SPACELESS WRING)

menacing intent forceful shoving

YOUR EXAMPLE

The W/T/F combinations can be performed in various sequences, such as:

Perform this study with actions you described above.

Here is a proposed sequence that may help you explore the “Passion Drive”:

Take the work-like action sequence (c1) from p. 44 with the change of all three elements. By introducing repetitions within pairs of opposites, and gradually replacing Space with Flow elements, transform the entire sequence into emotionally charged movement in which you lose any sense of a working-like situation.

Feel free to repeat the entire sequence until you get a sense that you went through the transformation.

FREE / STRONG / SUDDEN

BOUND / LIGHT / SUDDEN

FREE / STRONG / SUSTAINED

BOUND / LIGHT / SUSTAINED

48 / DANCE DYNAMICS

S PA C E , T I M E , A N D F L O W / “VISION DRIVE”

In this combination the feeling component manifest in the Flow of movement overrides the bodily sensing that becomes undifferentiated. The physicality of strong and light tension is transcended by the binding and freeing control of Flow and coupled with a clear Spatial attending, along with a good sense of Timing. One may suggest that Merce Cunningham’s style of the 1960s predomi-nantly uses a selection of Space (mostly direct), Flow (mostly bound), and Time (both polarities) combinations.

[Here further analysis regarding inner attitudes embedded in the drive will show that the gist of the Cunningham style has already been identified in the S/T (awake) combination; the additional S/F (remote), and ballet-like T/F (mobile), give a more complete account of the dynamic texture of his style.]

(It is also helpful to remember Laban’s reference to Flow with the question “how,” Space “where,” and Time “when.”)


(1) (WEIGHTLESS THRUST)

taken aback precise, fast lunge

YOUR EXAMPLE

(2) (WEIGHTLESS FLOAT)

indulging in fantasies slowly stirring water

YOUR EXAMPLE

(3) (WEIGHTLESS PRESS)

persistently precise drawing a smooth line

YOUR EXAMPLE

(4) (WEIGHTLESS FLICK)

instant release quick and fluid twirl

YOUR EXAMPLE

DIRECT / SUDDEN / BOUND

INDIRECT / SUSTAINED / FREE

DIRECT / SUSTAINED / BOUND

INDIRECT / SUDDEN / FREE


(5) (WEIGHTLESS SLASH)

sudden unease quick, controlled wriggle

YOUR EXAMPLE

(6) (WEIGHTLESS GLIDE)

clearly considering striding purposefully forward

YOUR EXAMPLE

(7) (WEIGHTLESS WRING)

persisting overall tension precise shaping

YOUR EXAMPLE

(8) (WEIGHTLESS DAB)

lively focusing lively darting jumps

YOUR EXAMPLE

The eight S/T/F combinations or selections from them can be performed in vari-ous sequences, such as:


The scene below may facilitate the exploration of the “Vision Drive”:

Perform the sequence of work-like actions (b1) from p. 44, with the change of two elements. By repeating it several times see if you can gradually replace Weight with Flow elements, and change from a man-ual worker to a visionary leader who supports her/his ideas with arm gestures and facial expression.

INDIRECT / SUDDEN / BOUND

DIRECT / SUSTAINED / FREE

DIRECT / SUDDEN / FREE

INDIRECT / SUSTAINED / BOUND

50 / DANCE DYNAMICS

S PA C E , W E I G H T, A N D F L O W / “SPELL DRIVE”

There are rare instances in everyday life and dance that the feeling component Flow replaces the sense of Timing, and combines with Space and Weight. When we watch a horror movie we sometimes get spell bound. In dance, Japanese Butoh and some of Eiko and Koma’s work convey predominantly such hypnotic qualities.

(Here Laban’s questions show that “when” associated with Time is in abeyance, while “where”—S, “what”—W, and “how”—F, are in the foreground.)

[Further analysis of embedded inner attitudes shows combinations of W/F (dream-like), S/W (stable), and S/F (remote).]


(1) (TIMELESS THRUST)

steadfast concentration strong, controlled resistance

YOUR EXAMPLE

(2) (TIMELESS FLOAT) nebulous yielding like blown by the wind YOUR EXAMPLE

(3) (TIMELESS PRESS)

powerful effusion strong, fluent advancing

YOUR EXAMPLE

(4) (TIMELESS FLICK)

restraint wavering delicate, controlled carving

YOUR EXAMPLE

DIRECT / STRONG / BOUND

INDIRECT / LIGHT / FREE

DIRECT / STRONG / FREE

INDIRECT / LIGHT / BOUND


(5) (TIMELESS SLASH)

overwhelmed but not voicing it contortion

YOUR EXAMPLE

(6) (TIMELESS GLIDE)

pursuing with light ease light, directed gestures

YOUR EXAMPLE

(7) (TIMELESS WRING)

firm, all-round influencing strong, fluent twisting

YOUR EXAMPLE

(8) (TIMELESS DAB)

meticulous tight-rope walking

YOUR EXAMPLE

The eight S/W/F combinations or selections from them can be performed in various sequences, such as


The scene below may help you explore the “Spell Drive”:

You are working on a conveyor belt using work-like actions from the sequence (a1) with the change of one element (p. 44). While repeating it and replacing Time with Flow elements you gradually lose the objec-tive work-like approach. Repeat the sequence as many times you need to make a transition from the Action into the Spell drive.

INDIRECT / STRONG / BOUND

DIRECT / LIGHT / FREE

INDIRECT / STRONG / FREE

DIRECT / LIGHT / BOUND

Recommended reading for Combinations of Three Motion Factors:

SPACE, WEIGHT, TIME / “Action Drive” / Basic Effort ActionsLaban, Rudolf. Modern Educational Dance, third ed. (1975 “Rudiments of a Free Dance Technique”) 52–84. North (1973) 255–261.Preston-Dunlop (1980) 60–79.

FLOW, WEIGHT, TIME / “Passion-like Drive”Laban (1980) 80–81.North 261, 263–266.Preston-Dunlop 197–199.

SPACE, TIME, FLOW / “Vision-like Drive”Laban (1980) 80–81.North 261, 263–266.Preston-Dunlop 197–200.

SPACE, WEIGHT, FLOW / “Spell-like Drive”Laban (1980) 80–81.North 261, 263–266.Preston-Dunlop 197–200.

52 / DANCE DYNAMICS

Combinations of FOUR MOTION FACTORS

The combinations of four Motion Factors are referred to in England as “com-plete Effort actions,”27 in contrast to the combinations of two that Laban iden-tified as “incomplete Efforts.” Bartenieff, on the other hand refers to the com-bination of four as “full Effort combinations,” and describes them as extreme survival responses.28 As dance audiences we can also get a glimpse of an active engagement in all four Effort elements while watching peak-performances.

Each of the eight basic actions can be performed with either free or bound Flow. There are only two basic actions—“floating” and “thrusting”—which due to their predominant “indulging” and “fighting” structure, may have a natural tendency toward free flow (“floating”) and bound flow (“thrusting”).

The combination of Space, Weight, Time, and Flow create further sixteen distinct variations in addition to twenty-four incomplete Effort actions, and thirty-two drives.

Additional considerations

This text has presented Laban’s classification of seventy-two observable move-ment qualities. All these qualities can be further articulated in several ways. They may be performed with a greater emphasis in one of the components.

This differentiation is referred to as ranking.29 For instance in emphasizing Weight in a pressing action you change it into crush, with Space emphasis it becomes a cut, and with Time it becomes a squeeze. The emphasis can be notated by placing a dot at the end of the symbol. The Effort combinations may also be varied through grading of the intensity of the performance which can be diminished or exaggerated.30

An example can be a gliding action in which Space and Time may be diminished while the Weight remains unaltered. In this case a minus sign would be placed at the end of the symbols.

Another glide can have an exaggerated Time, while the Space and Weight remain unchanged. A plus sign indicates this grading.

The significance of Effort qualities emerges through their placement in the sequence of actions as well as their bodily performance. Singular qualities gain meaning when they are related to what follows. As we saw (p. 39), transitions or mutations from one quality to another can occur either with the change of one element that is gradual, or more surprisingly with the change of two, or they can create opposition with the change of all elements.

FOUR MOTION FACTORS / 53

Different movement styles are created through bodily performances of Effort rhythms. A movement sequence can be performed with the whole body being attuned to a particular Effort quality. On the other hand, various qualities can be performed by different body parts at the same time. Brenda Dixon Gottschild refers to the latter as “polyrhythmic” that characterizes the style of Africanist movement. “For example the feet may maintain one rhythm while the arms, head, or torso dance to different drums.”31 Polyrhythmy as well as polycen-trism—where two or more body centers may operate simultaneously—are fea-tures which have made a strong impact on American dance, and are visible not only in movement styles of Trisha Brown and Twyla Tharp but also in some of George Balanchine’s work.32

How various aspects of Effort transitions and bodily performances are reflected in the eight types of Phrasing, will be discussed in Part B of this text.

54 / DANCE DYNAMICS54 / DANCE DYNAMICS54

Notes for Part A: The Effort Theory

1. For full bibliographic information see Bibliography on pp. 125 / 129.

2. See Vera Maletic, "Emergence of Eukinetics" in Chapter II of Body-Space-Expression,

97 / 99.

3. Inner participation and its phases of Attention, Intention and Decision are first referred to

in Laban's Effort, (London: Macdonald & Evans, 1947, 60 / 62).

4. All four phases, including Progression, are listed and explained for the first time in R.

Laban's The Mastery of Movement, sec. edition 1960, 120-121; they are also referred

to in the 1980, ed., 114 / 115.

5. See Laban, The Mastery of Movement, 1960, 121; 1980, 115.

6. See Laban, The Mastery of Movement, 1960, 82-84; and 1980, 77 / 79.

7. See Irmgard Bartenieff, Body Movement: Coping with the Environment, 1980, 59 / 60.

8. Laban, 1960, 83; 1980, 79.

9. Laban, 1960, 83; 1980, 79.

10. Laban, 1960, 84; 1980, 79.

11. Laban, 1960, 84; 1980, 79.

12. Laban, 1960, 84; 1980, 79.

13. Laban, 1960, 84; 1980, 79.

14. See Laban Choreutics, 1966, 30 / 34.

15. Warren Lamb, Posture and Gesture. 1965.

16. Lamb, explains on p. 16 that Posture is an action involving a continuous adjustment of

every part of the body with consistency in the process of variation; Gesture, on the other

hand, is an action confined to a part or parts of the body.

17. See Bartenieff, 1980, Chapter 6.

18. Judith Kestenberg, The Role of Movement Patterns in Development. 1967.

19. Laban, 1960, 84-85; 1980, 79 / 81.

20. Laban, 1960, 122-125; 1980, 116 / 119.

21. Marion North, Personality Assessment through Movement. 1972, 261 / 263.

North worked with Laban on movement observation during the last years of his life.

22. See Bartenieff, 1980, 61.

23. See Laban, Modern Educational Dance, 1975 ed., 59 / 75.

24. See Laban, Choreutics, 1966, 30.

25. See North, 1972, the chart on p. 262.

26. See North, 1972, 263 / 266.

27. See Valerie Preston, A Handbook for Modern Educational Dance, 1963, 141.

28. See Bartenieff, 1980, 63.

29. See Laban, 1980,170 / 172.

30. See Laban, 1980, 173 / 181.

31. Brenda Dixon Gottschild, Digging the Africanist Presence in American Performance

Dance and Other Contexts, 1996, 14.

32. See Dixon Gottschild, chapters 4 and 5.

NOTES / 55

PHRASING / 57

PA R T B / T H E O RY A N D P R A C T I C E O F P H R A S I N G

INTRODUCTION

Phrasing is an organizing factor underlying the performance and perception of movement within the continuum of Space, Time, Weight and Flow. When we choreograph or direct a work we articulate dance movement into various phras-ing rhythms that enhances the theme of the dance. Clear phrasing also facilitates the perception of dance for audiences, dance critics and researchers.

Is there a difference between the notions of phrase and phrasing in modern and post-modern dance? Writings about these concepts are on the whole brief and incomplete. Several authors, such as Elizabeth Hayes1 and Jacqueline Smith2 use the term “phrase” or “phrasing” without defining it. Could that suggest that dancers frequently depend on the theory of music to articulate and conceptual-ize even those phenomena that are so fundamentally linked with movement? In surveying handbooks for dance and dance composition, one can find only a few descriptions of the terms, such as Doris Humphrey’s definition of “the phrase” as the organization of movement in time-design, and “phrased move-ment” as an expenditure of energy at various rates followed by a rest.3 Yvonne Rainer, the exponent of post-modern dance points out the distinction between a “phrase” and “phrasing.” While she sees the “phrase” as having several con-secutive movements or as a metaphor for a longer duration containing a begin-ning, middle, and end, she associates “phrasing” with the manner of execution or the way in which energy is distributed in the execution of a movement or a series of movements. Rainer’s view of the significance of phrasing is also seen in her argument that what makes one kind of movement different from another is not so much variations in arrangement of parts of the body as differences in energy investment.4

Descriptions of the various structures of phrases or phrasing appear to have some common denominators. Humphrey gives three simple categories accord-ing to which phrases can have the high point or climax at the beginning or near the end or near the middle.5 While recognizing that “phrasing the flow of move-ment reigns supreme in dance,” Rudolf Laban in his English writings refers only to two possibilities of phrasing depending on the unaccented part preceding and leading up to the accent, or the unaccented part following and dissolving the accent.6 However, in the tradition of his early teaching in Germany one can

58 / DANCE DYNAMICS

find references to movement performed with increasing or decreasing intensity, impulse, and tension.7 Sylvia Bodmer (who first trained with Laban in Germany during the twenties and subsequently in England in the forties), introduces four types of dynamic phrasing, such as impulse, swing, counter-tension, and impact. In addition, she refers to resilient or rebounding movement that is created by a combination of two dynamic qualities.8 Marion North articulates the British school of Laban’s teaching by distinguishing the length, development, rhythms, and patterns of Effort phrases. Under developments she refers to increases, decreases, resiliency, and evenness, and among rhythms she lists simple and combined accents, impact and impulse.9 The common denominator in the above descriptions is the consideration of phrasing as the patterning of energy or stress, rather than the phrase as a compositional unit.

Two authors emphasize the significance of phrase and phrasing in investigat-ing choreographic and cultural dance styles. In the seventies Yvonne Rainer and dance anthropologist Anya Peterson Royce associate changes in attitudes toward phrasing with changes in contemporary choreography; both also point to the need for further investigation. Rainer sees phrasing as an indicator of changes from modern to post-modern dance. She distinguishes the climactic phrasing of traditional modern dance from the energy equality of minimalist tendencies of the late 1960s and early ‘70s.10 Royce suggests that the length of a phrase may indicate innovative trends in choreography. She sees the length-ening or shortening of the dance phrase against its traditional conventions as providing potentially fruitful research both for the study of creativity and the cross-cultural variations in movement style.11 It seems as though such important research should begin in the new millennium.

As to the issues of developments in the terminology of phrasing, two Laban scholars in the 1970s describe the lack of its classification and analysis. In com-piling a movement glossary about “pattern features” Martha Davis lists move-ment phrases and gives the examples of two contrasting phrasing with intensity building or diminishing. At the same time she also states that a terminology of movement phrases is virtually underdeveloped.12 Cecily Dell maintains that there is minimal research regarding a detailed analysis of phrasing.13

My own experience of teaching Labananalysis and Dance Dynamics/Effort at The Ohio State University, and conducting research in choreographic style, has motivated me to further develop the Laban-based classification and notation of phrasing.14 Discussions with colleagues Odette Blum and Lucy Venable about phrasing annotations of Labanotation scores greatly contributed to the follow-ing elaboration.

PHRASING / 59

In summary, phrasing is an organizing factor underlying the performance and perception of movement within the Space-Time-Weight-Flow continuum. Within this framework the term refers predominantly to the qualitative rhythm of movement, or as Rainer puts it, to “the manner of execution of a movement or a series of movements.”15

CLASSIFICATION OF PHRASING

The proposed classification of phjrasing encompasses various groupings of movement qualities (or Efforts) in which changing or unchanging, and repetitive patterns can be identified. Eight main types of Phrasing can be distinguished.

(I) EVEN PHRASING implies the performance of a quality that does not change; it therefore maintains the same intensity. This phrasing can have a variety of Space, Weight, and Flow combinations. With regard to Time, the quality of sus-tained, slow movement enhances the texture of evenness, while the intermittent quality of sudden, urgent movement goes against its nature. The following two examples have both sustained Time but different qualities of Space, and Flow: traveling smoothly through the space with sliding steps can be performed with a direct/sustained/free quality. On the other hand, in carefully weaving a design pattern, we can use an indirect/light/bound quality.

(II) INCREASING-INTENSITY PHRASING implies the performance of a quality that changes in that it increases in intensity. When it reaches a sudden accent, we call it an Impact. Any single movement quality or combinations of qualities can increase. For instance, when speeding toward a goal there is an increase in directness and acceleration. On the other hand, an assertive statement, such as pounding a table, will result in a strong/sudden impact.

(III) DECREASING-INTENSITY PHRASING also changes the movement quality in that it decreases its initial intensity. When initiated with a sudden accent we refer to it as an Impulse. Any single movement quality or combination of qualities can decrease. For instance, one can slow down one’s pace in walking, thus decelerate in time. One can also suddenly turn toward something with an impulse to approach it, and then gradually relinquish this action, thus decreas-ing from a direct/sudden quality.

(IV) In INCREASING-THEN-DECREASING INTENSITY PHRASING quality changes

occur within “one breath.” The changes in the qualities that increase and decrease in

intensity can vary from single movement qualities or their combinations. For instance,

while singing a lullaby and gently swinging a baby there is an Increase-then-Decrease in

acceleration and weightiness.

PHRASING / 60

(V) In D E C R E A S I N G - T H E N - I N C R E A S I N G I N T E N S I T Y P H R A S I N G* quality changes also occur during “one breath,” and can vary from single movement qualities or their combinations. For instance, when gradually relaxing from an intense tension and becoming tense again, there is a decrease from strength and bound flow and then an increase toward it again.

* This phrasing type was included as a result of Robert Ellis Dunn’s observation that

decreasing-then-increasing phrasing is “also existing as an archetypal shape both in move-

ment and music.” (Letter of May 6, 1984.)

(VI) ACCENTED PHRASING consists of a repetition of intermittent, suddenaccents that form a rhythmic entity. While the quality of fast or sudden Time is constant it can be combined with other qualities of Space, Weight, and Flow. For instance, when tapping impatiently with fingers, a light/sudden quality is repeated. In contrast, when stomping in anger a strong/sudden/bound quality is repeated.

(VII) VIBRATORY PHRASING consists of sudden repetitions that continue overa shorter or longer period of time. While the quality of exaggerated sudden Time is constant, it can be combined with other qualities of Space, Weight, and Flow. For instance, when mime artists imitate a butterfly they perform light/sud-den hand vibrations. On the other hand, in convulsive shaking the entire body is engaged in strong/sudden/bound vibrations.

(VII) RESILIENT PHRASING is a result of repetitive, rebounding qualities that can be performed with three different emphases. An Elastic, bouncy resiliency can be experienced or seen when dribbling a ball. Buoyant resiliency can be experi-enced or seen when jumping on a trampoline. Weighty resiliency can be experi-enced or seen in shaking out a heavy rug.

See further movement and dance examples beginning on page 65.

Writing of Phrasing and its usage

Phrasing signs can be annotated with two sets of dynamic symbols: signs from Kinetography/Labanotation, or Effort signs.

(a) Phrasing annotated with dynamic signs from Kinetography/Labanotationis used for the purpose of indicating an overall performance of move-ment and dance energy. This less complex mode is appropriate in the beginning stages of learning. Its shortcomings are due to the nature of these signs that pertain only to selected combinations of Weight and Time, i.e. strong/sudden and light/sudden accents, and to aspects of resiliency.

(b) Phrasing annotated with Effort signs is used when movement qualities need to be captured in greater detail. This more complex mode of Phrasing notation presupposes an understanding of the Effort theory. Since there are over seventy combinations of Space, Weight, Time, and Flow factors, and innumerable transitions among them, there is a poten-tial for a great amount of phrasing variations.

Phrasing can be written horizontally or vertically. The vertical notation includes vertically. The vertical notation includes verticallythe use of the Motif Writing. In contrast to Labanotation, Motif Writing cap-tures overall movement ideas, such as body actions, spatial directions, body signs and relationship aspects. Symbols used most frequently in the context of Phrasing, are action strokes, and signs for stillness, written on an open staff.

The usage of the classification and notation of Phrasing can be descriptive and prescriptive:

(a) It can be used to describe performances viewed live, on film, or on videotape for the purpose of clarifying the observations of movement and dance sequences, or

(b) It can also be used to “prescribe” or set different types of phrasingof movement qualities in order to heighten the performance in a dance class, a rehearsal, or in the context of a Labanotation score. Its usage in structured improvisation is also effective.

61 / DANCE DYNAMICS

Explicit and implicit references to Phrasing in dance

In addition to descriptions of dance qualities in dance writings (see pp. 4–5) here are excerpts that refer more specifically to Phrasing. While the first two quotations explicitly address Phrasing, the others implicitly refer to Phrasing by describing the performers’ actions and interpretive images perceived. (Emphases

are the author’s.)

In movement terms Bobov’s phrasing swings along more phrasing swings along more phrasing evenly with regular alterations of flow in contrast to the emphatic phrasing of emphatic phrasing of emphatic phrasing

Satmar or the impulsive dynamic phrasing of Lubavitch. (Jill Gelerman. phrasing of Lubavitch. (Jill Gelerman. phrasing

“Mayim Patterns in Three Hasidic Comunities,” in Essays in Dance

Research, Dance Research Annual IXDance Research Annual IXDance Research Annual . CORD 1978. 129.)

Mr. Granados is a fine dancer with a distinctive style, which is as crucial in flamenco as it is in tap. His phrasing is deft and witty. . . (Jennifer phrasing is deft and witty. . . (Jennifer phrasing

Dunning. “A Dancer Shows how Rhythm can Set Fire to Flirtation.” The New York Times, Nov. 28, 2003. B3.

Virtually all is flow, and continuous energy, punctuated with martial thrusts amid repeated sinking and rising bodies. (Anna Kisselgoff. “The Syncretism of Tai Chi and Bach,”by Lin Hwai-min and the Cloud Gate Dance Theater, The New York Times, Nov. 20, 2003. B1.)

In response to the changing mood of the word and music, dancers walked meditatively, gazed heavenward, trembled in desperation and trembled in desperation and trembled

embraced and rejected one another. Most of all, they ventured boldly

into space like people leaning to transcend their rage against injustice into a spirit of idealistic determination. (Jack Anderson. “Rod Rodgers Remembered: Lyric and Vivid Choreography,” The New York Times, Nov. 26, 2003. B15.)

Slides and brushing stepsbrushing stepsbrushing were punctuated by hearty stamps. Allegro sequences resembled bursts of firecrackers. (Jack Anderson. “Feet with a Lot to Say and Ways to Say it,” The New York Times, December 18, 2003.B3.) Dance review of Savion Glover’s Improvography.

PHRASING / 62

Notes for Part B: Theory and Practice of Phrasing

1. Elizabeth R. Hayes, Dance Composition and Production (New York: The Ronald Press

Co., 1955) 31, 32, 70.

2. Jacqueline Smith, Dance Composition—A Practical Guide for Teachers (London: Lepus

Books, 1976) 28.

3. Doris Humphrey, The Art of Making Dances (New York: Grove Press, 1959) 67.

4. Yvonne Rainer, “The Mind is a Muscle” in Work: 1961–73. (New York University,

1974) 65.

5. Humphrey, 68–70.

6. Rudolf Laban, The Mastery of Movement (London: Macdonald & Evans, 1980) 43.The Mastery of Movement (London: Macdonald & Evans, 1980) 43.The Mastery of Movement

7. See Vera Maletic, Body-Space-Expression: The Development of Rudolf Laban’s

Movement and Dance Concepts (Berlin: Mouton de Gruyter, 1987) 94–97.

8. Sylvia Bodmer, Studies Based on Crystalloid Dance Forms. (London: Laban Centre for

Movement and Dance, 1979) 5.

9. Marion North, Personality Assessment Through Movement (London: Macdonald &

Evans, 1972) 21–28.

10. Rainer, 64–65.

11. Anya Peterson Royce, The Anthropology of Dance (Bloomington: Indiana University

Press, 1977) 189.

12. Martha Davis, Towards Understanding the Intrinsic in Body Movement (New York: Towards Understanding the Intrinsic in Body Movement (New York: Towards Understanding the Intrinsic in Body Movement

Arno Press, 1975) 41–42.

13. Cecily Dell, A Primer for Movement Description (New York: Dance Notation Bureau,

1970) 92.

14. Vera Maletic, “Dynamics of Dance” (International Council of Kinetography Laban:

Proceedings of the Fifteenth Biennial Conference, 1987) 82–101.

___________ , “Issues in Phrasing and Effort Annotations of a Humphrey Score” (ICKL:

Proceedings of the Sixteenth Biennial Conference, 1989) 105–126.

___________ , “Qualitative Annotations of Labanotation Scores” (ICKL: Proceedings of the

Seventeenth Biennial Conference, 1991) 73–103.

15. Rainer, 65.

63 / DANCE DYNAMICS

Note about the order of explications for each phrasing type

In sections entitled “Eight Phrasing types annotated with signs for dynamics from Kinetography/Labanotation,” and “Eight Phrasing types annotated with Effort signs”:

(1) Phrasing types are marked by Roman numerals (I–VIII), followed by a succinct description of their characteristics.

(2) Exemplars (EX) provide verbal and notational samples of ways in which movement is patterned or phrased.

(3) Examples include movement that embodies the Phrasing under consideration.

(4) The assignment

“Be prepared to demonstrate your example” is based on the assump-tion that students performed the exemplars and some of the examples, and had time to explore their own solutions and images.

(5) The summarizing assignment

“Describe your experience of a particular phrasing” refers both to stu-dents’ experience of performing or observing various Phrasing types. It may also lead to the identification of their own movement propensities.

PHRASING / 64

Eight PHRASING TYPES Annotated with signs for Dynamics from Kinetography/Labanotation

(I) EVEN PHRASING

Same intensity is maintained while moving or keeping still.

EX 1 Same intensity during an action.

OR

Examples:Examples: ballet ballet développé;développé;développé Tai-Chi sequences.

Be prepared to demonstrate your example.

EX 2 Same intensity while pausing.

OR

Examples: holding the leg up after a développé;développé;développé balancing.


Describe your experience of Even Phrasing:

PHRASING TYPES / 65

66 / DANCE DYNAMICS

(II) INCREASING-INTENSITY PHRASING

Energy builds up from a lesser to a greater intensity; it may or may not reach a climactic accent. The latter is referred to as IMPACTIVE PHRASING or IMPACT

[see EX 4a, b].

EX 3 The increase is achieved gradually.

OR

Example: a modern dance side fall.


(IIa) IMPACTIVE PHRASING

EX 4a The increase builds up to a strong accent or Impact; this is also referred to as IMPACTIVE PHRASING.

OR strong accent =

Examples: striking as in martial arts; ballet frappé;frappé;frappé lunge.


EX 4b The increase builds up to a light accent; this is also referred to as IMPACTIVE PHRASING.

OR light accent =

Examples: ballet piqué;piqué;piqué typing.


Describe your experience of both Increasing and Impactive Phrasing:

PHRASING TYPES / 67

(III) DECREASING-INTENSITY PHRASING

Energy diminishes from a greater to a lesser intensity. The decrease can occur gradually or can follow an initial outburst. The latter is referred to asIMPULSIVE PHRASING or IMPULSE [see EX 6a, 6b].

EX 5EX 5 The decrease can occur gradually.The decrease can occur gradually.

OR

ExamplesExamples: slowing down a walking pace; slowing down a walking pace; gradually releasing from a tensely held position.


(IIIa) IMPULSIVE PHRASING

EX 6aEX 6a A light sudden outburst is followed by decreasing energy; A light sudden outburst is followed by decreasing energy; this is also referred to as IMPULSIVE PHRASING.IMPULSIVE PHRASING.

OR

Examples:Examples: tossing the sleeve in Asian dance; throwing a small ball. tossing the sleeve in Asian dance; throwing a small ball.


EX 6bEX 6b A strong sudden outburst or Impulse is followed by decreasing energy.A strong sudden outburst or Impulse is followed by decreasing energy.

OR

Example:Example: a ballet sissonne ouvertesissonne ouverte; throwing a sandbag.


Describe your experience of Decreasing and Impulsive Phrasing:

68 / DANCE DYNAMICS

(IV) INCREASING-THEN-DECREASING INTENSITY PHRASING

The increase and decrease is gradual. The length of the increase and decrease can be the same [EX 7a] or different [EX 7b].

EX 7a The energy builds in intensity in the middle of the phrase and gradually diminishes towards its end. (When associated with Effort elements of

Weight, Time and Flow it becomes swing-like.)

OR

Examples: a ballet grand jeté;grand jeté;grand jeté modern dance swing; golf swing.


EX 7b The increase and decrease may vary in length.

OR

Example: Breathing exercise in which inhaling is shorter than the exhaling, followed by a longer inhaling and shorter exhaling.

Be prepared to show your example.

Describe your experience of Phrasing with Increasing-then-Decreasing inten-

sity:

PHRASING TYPES / 69

(V) DECREASING-THEN-INCREASING INTENSITY PHRASING

The decrease and increase can be gradual or be initiated with an impulse and/or end with an impact. Each phase can have a different length [EX 8b].

EX 8a Energy decreases from and builds toward greater intensity gradually.

OR

Examples: arm circling upwards-backwards-forwards-upwards decreas-es from, and builds toward greater intensity; your anxiousness is gradu-ally released but then it again builds-up.


EX 8b The decrease and increase may vary in length.

OR

Example: a variation on the breathing exercise in that you exhale brief-ly and inhale longer, followed by a long exhalation and short inhalation.


Describe your experience of Phrasing with decreasing-then-increasing intensity.

70 / DANCE DYNAMICS

EX 9a Decreasing from a strong Impulse, the energy builds up to a strong Impact. Each phase has equal length.

OR

Example: from ballet sissonne to assemblé; jumping from two feet toone, followed by a jump from one foot to two.


EX 9b Energy changes from a light impulse to a light impact. Energy changes from a light impulse to a light impact. Energy changes f

OR

Example: picking and tossing some lint.


EX 10a A gradual decrease is followed by an impactive build-up.

OR

Example: releasing from a ballet relevé into a relevé into a relevé tombé.


EX 10b An impulse is followed by a gradual increase.

OR

Example: a sprinter’s start—sudden response to the start signal followed by a gradual acceleration.


PHRASING TYPES / 71

Describe your experience of Phrasing with Decreasing-then-Increasing intensity:

(VI) ACCENTED PHRASING

Created with a series of accents together forming an entity. It implies exertion of energy that can be repeated and/or followed by a shorter or longer stillness.

EX 11a Five strong accents.

OR

Examples: tap-dancing; Flamenco dancing.


EX 11b Five light accents.

OR

Examples: ballet battements, jetés pointés; typing.


Describe your experience of Accented phrasing:

72 / DANCE DYNAMICS

(VII) VIBRATORY PHRASING

Created by a series of sudden, repetitive movements.

EX 12a It can be performed with sudden-strengths.

OR

Example: Savion Glover’s sequences of very fast and hard tapping; drum roll.


EX 12b It can also be performed with sudden-lightness.

OR

Examples: jazz shimmy, nerve tap; fluttering arms in Chinese Peacock dance.


Describe your experience of vibratory phrasing:

PHRASING TYPES / 73

(VIII) RESILIENT PHRASING

Created by several rebounding movements which form an entity. Its weight activation can have different emphases, such as:

· oscillating between strength and lightness with ELASTICITY

· rebounding with BUOYANCY thus emphasizing lightness· releasing into gravity with WEIGHTINESS and a shorter recovery into lightness

The signs for the three emphases of Resilient phrasing used here are:

ELASTIC, bouncy quality

BUOYANT quality

WEIGHTY quality

EX 13aEX 13a Four Four ELASTICELASTIC movements oscillate between downward strength andmovements oscillate between downward strength and upward lightness.

OR

Examples: shoulder and arm movements in some ethnic dances; shoulder and arm movements in some ethnic dances; dribbling a hand ball.


EX 13b Four bouncy jumps in which the light aerial phase and that of the stronger take-off or landing take an equal amount of time.

OR

Examples: square dancing; four consecutive ballet changements.


74 / DANCE DYNAMICS

EX 14a Four BUOYANT movements which emphasize the upward lightness and briefly recover into the downward heaviness.

OR

Examples: arm movements in some ethnic dances; tossing a ball high into the air from one hand to another


EX 14b Four BUOYANT jumps in which the airborne time of elevation predominates while the stronger take-off and landing are brief.

OR

Examples: jumping on a trampoline; four consecutive ballet pas de

chats.


EX 15a Four WEIGHTY movements: there is an emphasis on a downward giving-in to gravity while the rebounding upward into lightness is brief.

OR

Examples: four grapevine steps; four releasing arm swings.


PHRASING TYPES / 75

EX 15b Four WEIGHTY jumps: longer time is spent sinking downward with heaviness while the rebounding into the air with lightness is brief.

OR

Examples: four consecutive ballet contretemps or assemblés; hopscotch.


Describe your experience of ELASTIC, bouncy Resilient Phrasing:

Describe your experience of BUOYANT Resilient Phrasing:

Describe your experience of WEIGHTY Resilient phrasing:

76 / DANCE DYNAMICS

SEQUENCING OF PHRASING

The above eight types of Phrasing can be performed consecutively or concur-rently or they can overlap.

(A) CONSECUTIVE PHRASING

Can be performed by the same or by different body parts.

EX 16a EX 16a The sequence starts with Even phrasing, followed by Increasing-then-The sequence starts with Even phrasing, followed by Increasing-then- Decreasing phrasing, and ends with an Impactive phrasing.phrasing, and ends with an Impactive phrasing.

OR

EX 16b Three light Accents are followed by three Buoyant movements, and end with light Vibratory phrasing.

OR


SEQUENCING OF PHRASING / 77

(B) CONCURRENT PHRASING

Occurs when different body parts perform different types of phrasing at the same time.

EX 17a EX 17a Accented phrasing performed by the legs occurs at the same time as an Accented phrasing performed by the legs occurs at the same time as an Even phrasing performed by the arms.phrasing performed by the arms.

OR

EX 17b Even phrasing performed by the legs occurs at the same time as light Even phrasing performed by the legs occurs at the same time as light Vibratory phrasing performed by the arms.phrasing performed by the arms.

OR


78 / DANCE DYNAMICS

(C) OVERLAPPING PHRASING

Occurs among movements of various body parts when one action begins before the phrasing of the previous one has ended.

EX 18aEX 18a The Impulsive Phrasing performed with the right arm starts before The Impulsive Phrasing performed with the right arm starts before the Impulsive Phrasing of the left arm has terminated. Phrasing of the left arm has terminated.

OR

EX 18b While the sequence starts with three Accents performed by the right leg,an Even Phrasing performed with the right arm overlaps with it; Phrasing performed with the right arm overlaps with it;

this is followed by an overlapping Vibratory Phrasing of the left arm.followed by an overlapping Vibratory Phrasing of the left arm.

OR

Describe your experiences of Consecutive, Concurrent and Overlapping

Phrasing:

PHRASING TYPES WITH EFFORT SIGNS / 79

Eight PHRASING TYPES annotated with EFFORT SIGNS

(I) EVEN PHRASING

Can be associated with any Effort element or combination of elements except suddenness. (The intermittent quality of suddenness does not create evenness in movement.)

EX 19aEX 19a A direct/sustained quality is maintained during an action.A direct/sustained quality is maintained during an action.

OR

Examples: ballet développédéveloppé;développé;développé Tai-Chi sequences.


EX 19b A direct/bound quality is maintained while pausing.

OR

Examples: holding the leg up after a développé;développé;développé maintaining a lunge.


Describe your experience of Even Phrasing performed with Effort qualities of your own choice.

80 / DANCE DYNAMICS

(II) INCREASING-INTENSITY-PHRASING

Can be performed with any Effort element or combination of elements without reaching a climactic accent.

EX 20A A gradual change toward SINGLE EFFORT ELEMENTS:

EX 20A S PA C E —becoming increasingly direct is followed by becoming becoming increasingly direct is followed by becoming (a) increasingly indirect or flexible.increasingly indirect or flexible.

OR

Examples: a forward reaching gesture; opening to the side. a forward reaching gesture; opening to the side.

EX 20AEX 20A WEIGHTWEIGHT—becoming firmer is followed by becoming lighter.—becoming firmer is followed by becoming lighter.

(b)

OR

Examples: moving into a deep moving into a deep plié; ascending to a relevé.

EX 20A EX 20A EX 20A TIME—gradual acceleration is followed by gradual deceleration.gradual acceleration is followed by gradual deceleration.(c)

OR

Examples: from walking to running; reducing the speed to a walk.from walking to running; reducing the speed to a walk.


EX 20AEX 20A EX 20A EX 20A FLOWFLOW—becoming more controlled is followed by increasingly freeing becoming more controlled is followed by increasingly freeing (d) the flow of movement.

OR

Examples: approaching something dangerous; approaching something dangerous; approaching something joyfuljoyful

Describe your experience of Increasing Phrasing toward a single Effort

Element of your own choice:

82 / DANCE DYNAMICS

EX 20B Gradual increase toward C O M B I N AT I O N S O F T H R E E E F F O RT

ELEMENTS:

EX 20B Becoming stronger/faster/more direct.Becoming stronger/faster/more direct.(a)

OR

Examples:Examples: a modern dance side fall; a modern dance side fall; becoming more assertive


Describe your experience of Increasing Phrasing toward a combination of

Effort Elements of your own choice:

(IIa) IMPACTIVE PHRASING

When the increase reaches a climactic accent or Impact, it is referred to as anIMPACTIVE or EMPHATIC PHRASING. The accent implies suddenness that can be combined with any other Effort elements.

EX 21a The increase builds to an impactive direct/strong/sudden accent.

OR

Examples: striking as in martial arts; ballet frappé; lunge.


EX 21b The increase builds to an impactive direct/light/sudden accent.

OR

Examples: ballet piqué;piqué;piqué lightly pointing to a person.


Compare your experience of Impactive phrasing when associated with strong,

in contrast to light qualities:


84 / DANCE DYNAMICS

(III) DECREASING-INTENSITY PHRASING

Can be performed with decrease in an Effort element or combination of elements.

EX 22 The initial strong-bound quality decreases gradually.

OR

Example: gradually releasing from a strong tension.


(IIIa) IMPULSIVE PHRASING

The decrease can follow an initial outburst or Impulse. The latter is referred to as IMPULSIVE PHRASING in which the initial sudden accent can be combined with any other Effort element.

EX 23a The Impulsive Phrasing starts with a strong/sudden quality which gradually decreases.

OR

Example: a ballet sissonne ouverte; throwing a sandbag.


EX 23b The Impulsive Phrasing starts with a light/sudden quality which gradually decreases.

OR

Example: tossing the sleeve in Asian dance; throwing a light ball.


(IV) INCREASING-THEN-DECREASING INTENSITY PHRASING

Can be performed in relation to any Effort quality. The length of the increase and decrease can be the same [EX 24a, 24b] or different [EX 24c].

EX 24a The action increases then decreases in the qualities of directness/speed/ free flow.

OR

Examples: accelerating run for a long jump (ballet grand jeté;) and gradual recuperation.


EX 24b The action increases then decreases in the quality of weightiness*/speed/ free flow in a Swing-like manner.

OR

Examples: front-back leg swings; whole body swings from side to side.


* = The sign for weightiness or a weighty quality uses a variation of the sign for

Weight: the strong symbol changing into lightness which is drawn much shorter.


The phases of increasing and decreasing may very in length.

EX 24c After a short increase toward weightiness/acceleration/free flow, follows After a short increase toward weightiness/acceleration/free flow, follows a longer decrease; when repeating the increase takes longer than the crease; when repeating the increase takes longer than the decrease.

OR

Example: performing two arm sideway swings; one with short increase performing two arm sideway swings; one with short increase and longer decrease, the second with longer increase and shorter and longer decrease, the second with longer increase and shorter decrease.


Describe your experience of Increasing-then-Decreasing Phrasing in relation to

two different Effort qualities of your own choice:

86 / DANCE DYNAMICS

(V) DECREASING-THEN-INCREASING INTENSITY PHRASING

Can be performed in relation to any Effort quality. The decrease-then-increase can occur gradually; it can also follow or precede an accent. As seen before [EX

21a, b; 23a, b], both Impulsive and Impactive Phrasing can combine their sud-den quality with any other Effort element. Further, the two above Phrasings can be combined with a gradual Decrease and Increase, and the Phrasing may vary in length.

EX25a The decrease-then-increase occurs in relation to a light/bound quality. Both phases have equal duration.

OR

Example: gradually releasing from a light/bound balancing on one foot, and preparing to balance on the other foot with the same quality.


EX25b The decrease occurs slower than the increase in relation to a light/ bound quality. bound quality.

OR

Example: a timing variation of the example for 25a.

Be prepared to demonstrate your example. Be prepared to demonstrate your example.

PHRASING TYPES with EFFORT SIGNS / 87

EX 25c A decrease, initiated by a strong/sudden Impulse builds to a strong/ sudden Impact. Both phases are of equal duration.Impact. Both phases are of equal duration.

OR

Example: from sissonne to to assemblé;assemblé;assemblé in other words jumping from two feet to one is followed by a jump from one foot to two; feet to one is followed by a jump from one foot to two; the first accented take off initiates the decreasing phase that subsequently

increases toward the accented landing.


EX 25d Decreasing after the Impulse takes longer than the increase towards the Impact.

OR

Example: in a fencing exercise you deflect your partner’s blow with anin a fencing exercise you deflect your partner’s blow with an indirect/strong/sudden Impulse that decreases, and then you build indirect/strong/sudden Impulse that decreases, and then you build towards a short attack with a direct/strong/sudden Impact.


88 / DANCE DYNAMICS

The following two examples combine gradual increase or decrease with Impactive or Impulsive phrasing.

EX 26a A gradual decrease from a light/bound quality builds to a direct/ sudden impact.

OR

Example: releasing from a ballet relevé into a tombé; releasing from balancing and falling into a lunge.


EX 26b A strong/sudden impulse increases towards a direct/acceleration.

OR

Example: a sprinter’s start: the sudden/strong response to the start signal is followed by gradual acceleration towards the goal.


Describe some of your experiences with Decreasing-then-Increasing Phrasing

in three variations of your own choice:


(VI) ACCENTED PHRASING

Is associated with suddenness but can vary in elements of Weight. With regard to the Elements or Space and Flow it can be performed more efficiently with directness and bound flow.

EX 27a The group of five accents is performed with a strong/sudden/bound The group of five accents is performed with a strong/sudden/bound quality.

OR

Example: in the style of Flamenco dancing; the ringleader stamps the in the style of Flamenco dancing; the ringleader stamps the tempo for the line-dance.


EX 27b The same rhythm is performed with a direct/light/sudden quality.

OR

Examples: ballet battementsbattements, jetés pointés; sending Morse code signals.


Describe your experience of Accented Phrasing with two different Effort quali-

ties of your own choice:

90 / DANCE DYNAMICS

(VII) VIBRATORY PHRASING

Is created by a repetition of exaggerated suddenness.* It also can be associated with elements of Weight and Flow.

* = exaggerated suddenness

EX 28a A strong/exaggerated sudden/bound vibration.

OR

Example: Savion Glover’s sequences of very fast and hard tapping; drum roll.


EX 28b A light/exaggerated sudden vibration.

OR

Examples: jazz shimmy; mime artists representing a butterfly.


Describe your experience of Vibratory Phrasing with two different Effort qual-

ities of your own choice:


+

92 / DANCE DYNAMICS

(VIII) RESILIENT PHRASING

Is associated with rebounding* Weight and Time qualities in several combina-tions.

* The following signs for rebounding use a variation of the Effort graph: Effort elements

which serve as a preparation for rebounding or releasing from it are drawn shorter and ele-

ments which are emphasized maintain their normal lengths.

Light releasing from strong

Strong or heavy releasing from light

Sudden rebounding from sustained

Sustained rebounding from sudden

The combination of light/sustained rebounding from strong/sudden creates a BUOYANT quality

The combination of heavy/sustained being released from light/sudden creates a WEIGHTY quality

A strong/sudden sign linked vertically with light/sudden denotes anELASTIC, bouncy quality

EX 29a A group of four E L A S T I C , bouncy movements oscillating between downward and upward.

OR

Examples:Examples: shoulder and upper body movement in some ethnic dances; shoulder and upper body movement in some ethnic dances; dribbling a light hand ball.


EX 29b A group of four A group of four ELASTIC springs in which the aerial phases and the take-off or landing take an equal amount of time.landing take an equal amount of time.

OR

Examples:Examples: square dancing; four consecutive ballet square dancing; four consecutive ballet changements.


EX 30a A group of B U O YA N T movements which emphasize the upward lightness and briefly recover into the downward heaviness.

OR

Examples: a motif of arm movements in some ethnic dances; tossing a ball high up into the air four times.

Be prepared to show your examples.


EX 30b Four BUOYANT jumps in which the time in the air predominates while the take-off and landing are brief.and landing are brief.

OR

Examples:Examples: four consecutive four consecutive pas de chats; jumping on a trampoline.


EX 31a Four WEIGHTY movements: there is an emphasis on a downward giving-in to gravity with a brief recovery upward into lightness.

OR

Examples: four grapevine steps; a weary walk.


EX 31b Four WEIGHTY jumps: longer time is spent releasing downward with heaviness while the light recovery in the air brief.while the light recovery in the air brief.

OR

Examples:Examples: four consecutive jumps from one leg to two or ballet four consecutive jumps from one leg to two or ballet assemblés;

hopscotch.


94 / DANCE DYNAMICS

Describe your experience of ELASTIC, bouncy Resilient phrasing:

Describe your sequence of BUOYANT Resilient phrasing:Resilient phrasing:Resilient

Describe your experience of WEIGHTY Resilient phrasing:Resilient phrasing:Resilient


S E Q U E N C I N G O F P H R A S I N G

Different types of Phrasing with various Effort qualities can be performed con-secutively or concurrently or they can overlap.

(A) CONSECUTIVE PHRASING

Can be performed by the same or by different body parts.

EX 32EX 32 The sequence starts with Even Phrasing consisting of a direct/light/The sequence starts with Even Phrasing consisting of a direct/light/sustained quality, followed by Increasing-then-Decreasing Phrasing sustained quality, followed by Increasing-then-Decreasing Phrasing

toward and away from indirect/strong quality, and ends with direct/ toward and away from indirect/strong quality, and ends with direct/ strong/sudden Impactive Phrasing.

OR

EX 33EX 33 A sequence of Accented phrasing consisting of direct/light/suddenA sequence of Accented phrasing consisting of direct/light/suddenqualities is followed by Resilient Buoyant phrasing, and ends with light/qualities is followed by Resilient Buoyant phrasing, and ends with light/

sudden Vibratory Phrasing.

OR

96 / DANCE DYNAMICS

(B) CONCURRENT PHRASING

Occurs when different body parts perform actions with different types of phrasing and Effort qualities at the same time.

EX 34 Strong/sudden Accented phrasing which is performed by the legs occurs at the same time as sustained/bound Even Phrasing performed by the at the same time as sustained/bound Even Phrasing performed by the

arms.

OR

EX 35 An Even strong/sustained quality performed by the legs occurs at the same time as light/sudden Vibratory Phrasing performed by the arms.

OR


(C) OVERLAPPING PHRASING

Among movements of various body parts, one action may begin before the phrasing of the previous one has ended.

EX 36 The light/sudden Impulse performed with the right arm starts before the light/sudden Impulsive Phrasing of the left arm has terminated.

OR

EX 37 EX 37 EX 37 While the sequence starts with three strong/sudden/bound Accents performed by the right leg, an Even direct/sustained/bound Phrasing performed by the right leg, an Even direct/sustained/bound Phrasing

performed with the right arm overlaps with it; this is followed by an arm overlaps with it; this is followed by an overlapping sudden/bound Vibratory Phrasing of the left arm. overlapping sudden/bound Vibratory Phrasing of the left arm.

OR

98 / DANCE DYNAMICS

Make up a sequence with Concurrent Phrasing and describe your experience of

performing it. How successful are you in observing it in performances of oth-

ers?

Make up a sequence with Overlapping Phrasing and describe your experience

of performing it. How successful are you in observing it in performances of

others?


SUMMARY: Phrasing and Effort interdependencies

Although we examined Effort and Phrasing separately, these two aspects of movement and dance dynamics are interdependent, even united. While Phrasing can be seen as a “macrostructure” of dynamic patterns, Effort elements and their combinations constitute their “microstructure.”

As shown on the chart on p. 101, Phrasing integrates Effort qualities in vari-ous ways. For instance, Even Phrasing embraces unchanging Effort qualities, and maintains their intensity under the same “breath.” With the exception of sudden Time, all single elements and their combinations can be performed with Even Phrasing. Increasing or Decreasing Phrasings and their combinations blend Efforts that either gradually change their intensity or start with emphatic accents (Impulses) or end with climactic accents (Impacts). All single Effort elements and their combinations can be integrated in the above types of phrasing.

While Accented Phrasing is intermittent and repetitive, Vibratory Phrasing is continuous and repetitive. All Effort qualities except sustained Time can be performed within these two kinds of Phrasing. The three modes of Resilient Phrasing are rebounding, continuous, and repetitive, and explore the interplay between active and passive attitudes to Weight and variations in Time.

100 / DANCE DYNAMICS

SUMMARY / SUMMARY / SUMMARY 101

M A C R O S T R U C T U R E

PHRASING/GROUPING/PATTERNS

M I C R O S T R U C T U R E

MOVEMENT QUALITIES/EFFORTS

selected examples:

EVEN direct

light/sustained

direct/strong/bound

INCREASING toward light

toward indirect/light

toward direct/strong/bound

DECREASING away from bound

away from strong/sustained

away from direct/light/bound

INCREASING-then-DECREASING toward and away from

strong

direct

bound

DECREASING-then-INCREASING away and toward

strong

direct

bound

IMPULSE decreasing from sudden

decreasing from light/sudden

decreasing from sudden/strong/bound accents

IMPACT building to strong/sudden

building to direct/sudden

building to direct/strong/sudden accents

ACCENTED sudden/light

sudden/strong/bound

VIBRATORY several repetitions of

sudden

sudden/strong

sudden/light/free

RESILIENT (Elastic) oscillating between strong/sudden and light/sudden

A P P E N D I X I

[A] METHODOLOGICAL CONSIDERATIONS

VERA MALETIC

I first conceived the Workbook in the '90s as the text for my classes in Dance

Dynamics. Due to my professional background the text is informed by the tradi-

tion of Laban's teaching as it was originally formulated and re-formulate by the

master and his students, as well as by the development of Laban's framework in

the USA. I first trained in the former Yugoslavia with my mother Ana Maletic,

who was one of Laban's disciples, and subsequently with Lisa Ullmann, Warren

Lamb, Marion North, and Valerie Preston Dunlop. After visiting and moving

to United States, I interacted with Irmgard Bartenieff, Martha Davis, and Bob

Dunn, and was a member of the Theory Network Coordinating Committee of

LIMS (Laban-Bartenieff Institute of Movement Studies) in New York. At The

Ohio State University Department of Dance I established a close collaboration

with Melanie Bales who assisted with my courses and contributed to the mate-

rial in the Workbook.

(a) The demands of teaching/learning Dance Dynamics

The synchrony of bodily practice and theoretical conceptualization, makes the teaching/ learning process of dance dynamics quite complex. Several simultane-ous actions are required from the student:

to attend to and focus on proprioceptive sensations, particularly the kinesthetic feedback during the performance of assigned sequences and the students’ own short studies;to understand the links between emphases on various Effort qualities and the attitudes toward the powers or capacities of thinking, sensing, intuiting, and feeling;to identify performance characteristics while observing others;to identify performance variants while observing videotapes of one’s own stud-ies and assigned sequences;to become increasingly aware of one’s own propensities; to demonstrate an active willingness for expanding this habitual range.

APPENDIX I / 103

Motivating students to engage in these processes of active learning and discov-ery is vital. Linking the material to individual student interests, such as coach-ing, performance, choreography, teaching, directing from scores, and other vocational interests may stimulate involvement.

(b) Suggested approaches to the teaching of Dance Dynamics

Movement and dance professionals teaching Laban’s concept of Effort present the content in a way that is congruent with their own experience and ideas. They sequence it according to the context in which they are teaching, such as type of students within colleges, universities, and other institutions. The length of the course or workshop, and the frequency of contact hours also play an important role in the choice of content and methodology to present it.

Deductive or inductive: choices of approaches

Two approaches can be taken to any complex subject, such as dance dynamics: either from the general to the particular, or from the detailed to the overall. In the summary on p. 101, Phrasing was seen as the “macro-structure” of dynamic patterns grouping the detailed Effort qualities. On the other hand, the latter can be seen as the “micro-structure” identifying individual Effort elements and their particular combinations.

Here are two examples of the deductive or general-to-the-particular approach:

(1) When comparing the execution of a Tai-Chi sequence it may be easierto notice first the EVEN, uninterrupted Phrasing of two performers, than the individual Effort qualities, such as direct/bound versus light/bound.

(2) The most noticeable feature of the Galliarde (dance from the Renaissance) are groups of accented steps or ACCENTED Phrasing. The distinction of qualities among the performers, such as sudden/strong or sudden/bound, may require longer training. Thus where the length of the course in Dance Dynamics is short, it may be more effective to start with the Phrasing aspects.

Following are two examples of the inductive method, i.e. from detailed descrip-tions to the overall dynamic patterns; these approaches that are drawn from working with combinations of two or three Effort elements.

(1) The performance of a direct/light/sustained quality may feel and look differently if maintained in an EVEN pattern or when gradually emerg-ing in an INCREASING Phrasing.


(2) The execution of a strong/sudden/bound quality may gradually dissolvein a DECREASING pattern, or may bring about a temper tantrum-like expression in a VIBRATORY Phrasing.

(c) The choice of modalities

[In the following text, quotations from student papers in 1998–99 are inter-

spersed in italics.]

A combination of work in and out of class is effective. It can include the fol-lowing aspects:

“Physicalizing,” i.e. exploring and subsequently composing movement sequenc-

es as well as short studies on assigned topics.

I frequently introduce a particular phrasing type or a movement quality by either describing it in word images and sounds or by giving movement exam-ples. After this directed introduction I ask students to explore this particular aspect of dynamics and proceed with problem solving in their own way. As a homework assignment I can ask them to select movement material from their explorations and compose sequences that they can show in class and teach to others. I see bodily experience as a vital initial stage of learning.

The aspects of class I found most enjoyable and stimulating are the improvisation explo-

rations at the introduction of the new concept, and also the showing of our studies.

Another important mode of learning is Observing and recording movement

sequences and studies.

To sharpen the aspects of performance and of observations one can use both videotaping and notating of sequences and studies.

VIDEOTAPING dance dynamics can have its limitations, as well as advantages. While the limitations lie in the loss of some nuances of movement qualities and in recording one singular performance, the advantage of observing videotapes is the opportunity to compare the proprioceptive feedback during the perfor-mance with the visual perception of the performer/spectator. The reliability of the “inner” perspective of the performer in movement and dance (where the performer and the performed are in one person) varies according to the degree of kinesthetic feedback during the performance. Therefore distancing oneself from one’s work, and looking at it from the spectator’s point of view can be more effective than only comments by the teacher and classmates. The use of both, the kinesthetic and the visual perception, the “outer” and “inner” perspective, can provide a good synergy of critical self-observation and lead to subsequent revisions.

APPENDIX I / 105

Evaluating my final studies is the most interesting assignment. This process sheds the

light on how a phrasing type feels, in contrast to how it looks in performance.

NOTATING sequences by means of simple Motif Writing, Phrasing and Effort signs can serve as a means for clarifying students’ own compositional and performance intents. If students have had no instruction in Motif Writing it is helpful to give a general introduction to the basic staff, action, and stillness signs. Additional symbols can be introduced when the need arises. [See Ann Hutchinson-Guest Your Move: A New Approach to the Study of Movement and

Dance, New York: Gordon & Breach, 1983, as a reference book.]

Creating studies and notating sections of them was enjoyable, interesting, and

stimulating.

Describing the “lived experience” of performing various phrasing types and

movement qualities.

In general, the process of generating adjectives that describe the bodily experi-ence of performed sequences brings about the awareness of how particular combinations of Effort Elements give different moods, expressions or feelings within particular Phrasing types. Such descriptions are suggested throughout the Workbook in both, the Effort and the Phrasing sections. In the latter stu-dents are asked to describe how the performance of a particular phrasing type makes them feel.

Such descriptions serve several functions:

They can create a resource that simultaneously engages the kinesthetic sense as well as the verbal representation of a particular Phrasing and Effort quality. In other words, they creates the link between the physical and mental component of movement qualities. This has been succinctly described by two students:

I liked the worksheet descriptions because it helped me to form my impressions

or ideas more concretely. By putting into words how a dynamic makes me feel,

I have a resource to go back to when I am trying to achieve a certain quality

in movement.

The colorful imagery used in class is interesting and helpful in defining the

phrasing types.

In addition, the synonyms and descriptions of personal experiences, draw atten-tion to the link between particular Efforts and various aspects of our conscious-ness. As described in Workbook, predominant attitudes to Space are linked with thinking or attending, those to Weight are linked with sensing, those to Time with intuiting, and those to Flow with feeling. Various emphases of these Effort


elements and their combinations significantly contribute to the expression of meaning in dance. Furthermore, these emphases also point to the dual aspects of Effort qualities that are present both in physical and mental actions.

One of the most useful results of taking this course is a resource of imageryresource of imagery in

words & ideas to help access the various Effort Qualities. This helps not only

my performance when emboding notated movement, but will help in future

when coaching other dances.

I also see a strong link with my interest in dance criticism and analysis. I also see a strong link with my interest in dance criticism and analysis. I also see a strong link with my interest in dance criticism and anal

Observing and understanding choreographic and performance choices in

Dynamics and Phrasing will inform my interpretation of the work and ground

that interpretation in something tangible/quantifiable.

Viewing video excerpts from a variety of dance pieces.

The DVD companion provides an opportunity for creating an objective distance between one’s own performance of various components of dance dynamics, and that of the choreographers and performers. Thus movement and dance excerpts selected from dance pieces, studies, and improvisations can be viewed on two levels:

(1) an experiential, non-analytical mode (while turning down the voice- over text), and(2) as another source of information about a particular aspect of dance dynamics.

The non-analytical mode can be enhanced with descriptions of the “lived expe-rience” of what was seen. Descriptive adjectives can encapsulate the kinesthetic or emotional feel. On the other hand, reviewing the text in the DVD guide and the Workbook can support the cognitive mode. Both modes are essential com-ponents of the perception of movement and dance.

Follow-up reading and discussion serve to complement all the above described

modalities.

Overview and summary papers (such as midterm and particularly finals) are an

important aspect of the learning process.

A quarter system, and even semester system, are a relatively short period for introducing and assimilating the material. Thus the final assignments give an opportunity to review and summarize both the experience and knowledge.

APPENDIX I / 107

The synthesis from the final study and paper were extremely helpful. In many

ways this is where it all comes together for me and can therefore be carried forth

into my work beyond this term. Thus, this final discussion may be the most

important modality for me.

DESCRIBE class modalities that worked best for you:


[B] SELECTED TEACHING APPLICATIONS

MELANIE BALES

I was first introduced to Laban study at the University of Illinois while work-

ing on my MFA, through the teaching of visiting choreographer Bill Evans.

In 1982, I participated in an Evans summer workshop in Port Townsend,

Washington, taking introductory courses in Space Harmony, Effort and

Bartenieff Fundamentals with CMA Gregg Lizenberry. I immediately found

a place for the ideas in my teaching, especially ballet. While teaching at The

Ohio State University, I organized a Certification Program in Laban Movement

Analysis (LMA) through the Laban/Bartenieff Institute of Movement Studies

(LIMS). I completed the course in 1994, studying with Ed Groff, Peter

Madden, Elizabeth Kagan and Eleanor Weisman. I have taught summer intro-

ductory workshops to students with backgrounds in dance, theatre, and music.

For several years, I assisted in Vera Maletic’s courses, and I continue to enjoy

learning and exchanging ideas with Professor Maletic. Currently, I teach Dance

Dynamics (Effort) and Foundations of Labananalysis (LMA). I have also writ-

ten through the lens of the Laban framework in articles that bring recent dance

writing into dialogue with issues about dance training.

The theoretical nature of Laban’s Effort study allows for great variety and imagination in terms of application. It also necessitates continual and fluid referencing to human experience in order for it to be understood in context. Sometimes the reference or illustration can be more general, or abstract; other Sometimes the reference or illustration can be more general, or abstract; other times, more concrete or specific. For example, introducing the Phrasing Types (macro-structure) before delineating the individual Effort Elements (micro-(macro-structure) before delineating the individual Effort Elements (micro-structure) is effective for dancers who will recognize and easily physicalize pat-structure) is effective for dancers who will recognize and easily physicalize pat-terns like swingy or resilient movement. Later, more discrete units of movement terns like swingy or resilient movement. Later, more discrete units of movement or individual qualities can be extracted from the larger, more general patterns or individual qualities can be extracted from the larger, more general patterns of the Phrasing Types. It is also effective to establish links to other content areas (in dance, for our purposes). A student might create a sequence out of one or two Phrasing Types that could be used in teaching beginning dancers, or look at a sequence from a recent technique class in terms of those same patterns. A composition course developed by Vickie Blaine (at the OSU Department of Dance) asks the mover to examine and isolate his/her relationship to body weight and gravity, and is a pre-requisite to Dance Dynamics. Because the studies for the course center around three themes—Resiliency (Weight sensing, Resilient Phrasing), strength (strong Weight, and individual variations in Time, Space and Flow), and lightness (light Weight and Time, Space, Flow variations, often the “indulging” Efforts in contrast to strength)—students come to Dance Dynamics with physical knowledge related to the Weight Factor. A next step can be the development of descriptive language pertaining to experiences and observations from the composition class. Descriptive phrases, movement illus-trations and characterizations can also be ways of evoking or eliciting Effort or

APPENDIX I / 109

dynamic patterns that are less familiar, or outside a dancer’s habitual qualitative range. Words or phrases can be useful and provocative for the performer who wants to expand his/her movement palette, and also for the budding writer, critic, coach or director.

As outlined above under The Demands of Teaching/Learning Dance Dynamics, the student learns through several modes, including observation, analysis, self-reflection, improvisation, visualization. In making the connections between a movement experience or an inner state and the various dynamic configurations as espoused in the theory, individuals will choose whatever mode that works best for them at the time. Exercises and assignments can be designed so that students expand both the modes they use and the connections they make. Two examples of class assignments follow.

Example 1

At the beginning of the quarter, we filled in the answers for strong and light Weight as a group, drawing from experiences in the composition class dealing with Weight mentioned above. As we learned about the other Motion Factors, we continued adding to the chart, reflecting on the studies from class. The chart could then be helpful for accessing a particular quality through its relationship to body use or spatial content.

EFFORT QUALITY BODY BODY BODY SPACE

Strong (WEIGHT) Wide stance Low level

Direct (irect (irect SPACE) Simultaneous sequencing Linear, spoking

Bound (FLOW) From periphery to center Confined, small

kinesphere

Sudden (TIME) Simultaneous sequencing Inward/backward

Confined gesture

Light (ight (ight WEIGHT) Peripheral body parts Upward

Indirect/Flexible (SPACE) Successive movement Spirals, twists

Free (FLOW) From center outwards Expansive

Sustained (TIME) Successive sequencing Forward direction

Horizontal

This chart shows how a particular Effort quality has a tendency to associate with certain bodily and spatial configurations.


Example 2

The following words can be starting points for: developing group or individual movement sequences that illustrate the quality or inner state; finding which Effort Elements or qualities are most predominate and which are not active for each word; developing a character or situation based on the word and having the class guess the word.

Calm

Controlled

Careful

Agitated

Hesitant

Overbearing

Sloppy

Paranoid

Resilient

Perky

Confident

Stuttering

ADD YOUR OWN

The following illustrations also provide opportunites to extract the various Effort Elements and discuss which in the foreground. They may lend themselves to an examination of certain States (Near, Remote, Dream, etc.).

Walking on eggshells; on hot coals

Walking on a tightrope

Brushing something off a child’s eyelash

Big lazy fanning on a hot day

Crossing a room after seeing someone you know

Typing furiously

Playing tug o’ war

Tiptoeing into a class late

APPENDIX I / 111

Example 2 (cont.)

Below, the student provides the illustration. The movement issuing from the directions might be either mimetic as in the illustrations above, or more abstract as in dance movement.

A strong/sudden action resolving into light/A strong/sudden action resolving into light/A strong/sudden action resolving into light sustained /sustained / (Weight and Time)

A direct/A direct/A direct bound action changing into indirect/bound action changing into indirect/ /bound action changing into indirect/bound action changing into indirect free /free / (Space and Flow)

A strong/A strong/A strong sustained action becoming light/sustained action becoming light/ /sustained action becoming light/sustained action becoming light sudden /sudden / (Weight and Time)

A direct/A direct/A direct sudden action transforming into directness/sudden action transforming into directness/ /sustainment /sustainment / (Space

and Time)

A bound/A bound/A bound light action becoming free/light action becoming free/ /strong /strong / (Flow and Weight)


A P P E N D I X I I

OPEN-ENDED CONSIDERATIONS OF C. G. JUNG’S INFLUENCES ON LABAN

Psychologist Carl Gustav Jung started developing his theories during the first decades of the 20th century in the cultural milieu of his native Switzerland. Among his early publications is Wandlungen und Symbole der Libido (1912) that was translated into English in 1916 as Psychology of the unconscious:

a study of the transformations and symbolisms of the libido.1 Besides some loose references to what would become Jung’s theory of introvert and extravert personalities, the book draws from mythology, religion, ethnology, art, and lit-erature, and announces Jung’s break from Freudian psychoanalysis. Underlying the concept of personality types, Jung proposed four psychological functions by which consciousness obtains its orientation. As he writes in his Man and his

Symbols, 1964: 61, “Sensation (i.e. sense-perception) tells you that something exists; thinking tells you what it is; feeling tells you whether it is agreeable or not; and intuition tells you whence it comes and where it is going.”2

In order to establish a meaningful correlation between some concepts developed respectively by C.G.Jung and by Laban, further research is required concerning Laban’s assimilations of some of Jung’s notions.

During and after WW I, Laban resided in Switzerland, and was aware of some of Jung’s ideas. In Die Welt des Tanzers (The Dancer’s World, 1926),3 he lists Jung’s Wandlungen und Symbole der Libido among the literature that could expand dancers’ insights. Apparently Laban did not take further interest in Jung’s work until the forties.

About Laban’s contacts with a group of Jungian psychologists in England in the 40’s and 50’s, one can glean information from John Hodgson & Preston-Dunlop (1990),4 Preston-Dunlop (1998),5 and Hodgson (2001).6 Laban was invited to establish movement therapy at the Withymead Centre, an establish-ment based on Jungian approaches to psychotherapy. Though Laban chiefly delegated this task to his assistants, exchanges with one of the founders of the Centre, Dr Champernowne, gave him the opportunity to get acquainted with Jung’s psychological types and the four main functions—thinking, feeling, sensation, and intuition. These contacts may explain the appearance of related terms in the 1960 edition of The Mastery of Movement.7 On “Table VII: Survey

APPENDIX II / 113

of the Type and Meaning of Motion Factors and their Combinations,” Laban presents for the first time the link between the Motion factors and what he calls “man’s powers”: the Motion Factor of Space affect man’s power of “Thinking,” of Weight—”Sensing,” of Time—”Intuiting,” and of Flow—”Feeling.” On the same table, there also is a link between “Inner Participation” with Attention and Space, Intention and Weight, Decision and Time, and Progression and Flow. While Laban elaborated on the association of Inner Participation with Motion factors, he did not explain the link between “man’s powers” and the four Motion factors. This hiatus is unfortunate since it obfuscates the origins of this significant concept in his thinking. One can speculate that the fact the four powers are put in quotation marks may be a tacit reference to Jung’s four func-tion types. It is as though we are presented with the results of Laban’s thinking but not with the origin and process that led to them.

Several documents, however, hint at permutations in his thinking that must have preceded associating the four functions with the four Motion factors. By permission of Warren Lamb, I have had the opportunity to inspect a letter and graph that Laban sent him in 1952. (At the time, Lamb was Laban’s assistant in his work in industry and started developing his own methods of movement assessment.) In Laban’s letter and graph, Inner Participation of attention, intention, decision, an precision are linked interchangeably with intuiting, feel-ing, thinking, and sensation. Further, Laban collaborated with Bill Carpenter (associated with the Withymead Centre) on an unfinished manuscript titled “Movement Psychology”; it was written between 1952 and ‘54. In Hodgson’s (2001) summary of its content, there is a reference to four mental factors of sensing, thinking, intuiting, and feeling and their associations with Weight, Space, Time, and Flow. Like in the 1960 edition of The Mastery of Movement, there is no mention of Jung.

To gain a more complete picture of Laban’s process of assimilation and appro-priation of Jung’s concepts further research is needed. Additional analysis of “Movement Psychology,” and an investigation of Warren Lamb’s archive appear as viable points of departure. The Laban-Carpenter manuscript is housed at the Laban Archives at University of Surrey’s National Resource Center for Dance (NRCD). Lamb’s archives are in the process of classification and will be avail-able at NRCD at a later time.


Notes

1. Carl Gustav Jung, Psychology of the Unconscious: a Study of the Transformation and

Symbolisms of the Libido (Princeton, NJ: Princeton University Press, 1991).

2. _______________, Man and his Symbols (London: Aldus Books Ltd., 1964).

3. Rudolf Laban, Die Welt des Tanzers (Stuttgart: Walter Seifert Verlag, 1920).

4. John Hodgson & Valerie Preston-Dunlop, Rudolf Laban: An Introduction to his Work

and Influence (Plymouth: Northcote House Publishers, 1990).

5. Valerie Preston-Dunlop, Rudolf Laban: An Extraordinary LifeRudolf Laban: An Extraordinary LifeRudolf Laban: An Extraordinary Lif (London: Dance Books,

1998).

6. John Hodgson, Mastering Movement: The Life and Work of Rudolf Laban (New York:

Routledge, 2001).

7. Rudolf Laban, The Mastery of Movement (London: Macdonald & Evans, 1960).The Mastery of Movement (London: Macdonald & Evans, 1960).The Mastery of Movement

APPENDIX II / 115

A P P E N D I X I I I

PHRASING OF DANCE QUALITIES IN LABANOTATION SCORES

Not unlike music scores, the general purpose of dance scores is the documen-tation of dance works within their artistic, cultural, and social context. The analysis of features, such as body movement in space and time, and the progres-sion through the performance area, provides components for the synthesis in restaging various choreographies. In this process, the notator and/or the direc-tor attempt to capture the expression of embodiments, or the corporealization of choreographic images and ideas.

Although the Labanotation system does not have many signs for dynamic quali-ties, the scores, however, contain information about dynamics and phrasing, in an implicit and explicit manner.

Ways in which particular movement motifs and/or sequences are written can imply their performance qualities. For instance while jumping normally implies Resilient Phrasing, a slow balancing motif is likely to be performed with Even Phrasing maintaining the same quality. Furthermore, a tombé-like move-ment connotes increasing speed and energy, and a swing usually implies an Increasing-then-Decreasing Phrasing.

A few explicit signs, such as accents and phrasing bows, have been used when particular qualities or phrasing in the score need to be enhanced. Effort signs are also used, though not in a consistent way.

I have been interested for some time in elaborating on such explicit signs that can be used in annotating dance scores. (See annotated bibliography at the end of this Appendix.) As referred in the introduction to my Phrasing classifica-tion, discussions with colleagues Odette Blum and Lucy Venable about Phrasing annotations greatly contributed to my investigations in this area.

This appendix contains excerpts from a paper I presented at the Conference of the International Council for Kinetography Laban (ICKL) in 1991. It is titled “Qualitative Annotations of Labanotation Scores,” and published in ICKL:

Proceedings of the Seventeenth Biennial Conference. The intent of the paper was to examine the rationale for annotations of Labanotation scores using

APPENDIX III / 117

Phrasing and Effort symbols, and to point out the need for an acquaintance with the Effort theory on the part of notators.

The examples selected for this appendix illustrate two resources for qualitative annotations of scores. These include descriptions from the choreographer of the notated piece, and descriptions from a notator and performer with an in-depth knowledge of the work’s choreographic style.

Samples representing descriptions from the choreographer are excerpts from Victoria Uris’ Breakers. The work was originally created in 1986, and restaged with the University Dance Company in the 1990/91 season. The excerpts are from two sections: the “Man’s Solo,” and “Harmonious Assault I—Sextet.” The piece was notated by Wendy Mang Ching Chu, MFA candidate at the OSU Department of Dance, in Winter and Spring 1991, under the supervision of Odette Blum. During the process of notating Breakers, Uris pointed out sections that required additional Phrasing and Effort annotations.

Lucy Venable, who performed in José Limón’s There is a Time, subsequently notated the work. She was the resource for annotations of Phrasing and Effort presented here. She danced the woman’s part in “A Time to be Silent” which she learned from Lavinia Nielson who danced it in the first cast. Limón created the work in 1956, and Venable staged it with the University Dance Company in 1983. Having a thorough knowledge of the style of the piece, she considers Phrasing and Effort annotations of this score to be a historical resource for future directors.


The first example shows a Phrasing annotation coupled with ONE SINGLE

EFFORT ELEMENT. Since one Effort quality seldom appears in isolation, such annotations are appropriate only at times when the Labanotation provides the context.

In measure 28 from Limón’s “A Time to be Silent” the dancer flicks her leg with a sense of urgency, and touches the floor with precision. While “urgency” is conveyed with the sudden quality of Time, the associated quality of Space—flexibility or indirectness can be seen from the rotation of hip and pelvis. The suddenness including the innate quality of indirectness create a short Impulsive Phrasing. The direct quality of Space that denotes “precision” is associated with a slight deceleration resulting in the touch—thus an Impactive Phrasing.

APPENDIX III / 119

Annotations consisting of qualities that result from COMBINATIONS OF TWO

MOTION FACTORS and their respective Effort elements describe the inner attitudes motivating the dance sequence. (Each of the six inner attitudes have four combinations that amount to twenty-four qualities with distinct charac-teristics.)

In the first measure of Limón’s “A Time to be Silent” stillness is maintained with a direct and bound quality that is one of the six combinations of Space and Flow. While the Space/Flow combinations tend to create a remote, abstract mood, the particular direct/bound quality shows a restricted honing in. The phrasing sign indicates that this quality does not change throughout the dura-tion of the stillness.


In the second measure of “A Time to be Silent” the direct/bound quality changes into sustained/bound—both combinations of Time and Flow.Time and Flow.Time and Flow Since Time/Flow combinations are generally characterized by a more adaptable attitude, the sus-tained/bound is maintained while turning and gesturing that one can interpret as remaining in control.

APPENDIX III / 121

Another example of annotations with a COMBINATION OF TWO MOTION

FACTORS can be found in the score of Victoria Uris’ Breakers, in measures 7–10 from “Harmonious Assault I—Sextet.” The strong/sudden quality is a combination of Weight and Time characterized as rhythmical involvement with activities. Placed within the Increasing-then-Decreasing Phrasing sign this quality becomes stronger and faster and gradually fades out. The dancers’ preparation for a hop emphasized by sweeping arm gestures is described by the choreographer as “seagulls diving into water.”


Annotations consisting of qualities that result from COMBINATIONS OF

THREE MOTION FACTORS and their respective Effort Elements, describe externalized drives which motivate parts or sections of a dance. (Each of the four drives has eight combinations, and their qualities amount to thirty-two combinations that have particular characteristics.)

In measure eight of Uris’ “Man’s Solo” the dancer advances over three beats while building up to an impact in the first half of the fourth beat. The direct/strong/sudden quality of the Impact is one of the combinations of the Action drive or eight Basic Effort Actions, referred to as punch-like.

The Impactive Phrasing from the “Harmonious Assault I—Sextet” section is created by the recurring motif of a sisonne enhanced by a torso and tossing arm gesture. The quality of the Impact that is strong/sudden/free belongs to one of the eight combinations of the “spaceless” Passion drive. In contrast to the action-like punch, this combination in which the Flow factor (which Laban associates with Feeling) replaces the Space factor (that Laban associates with Thinking), expresses an emotional outburst.

APPENDIX III / 123

The final example shows several Phrasing and Effort annotations that occur SIMULTANEOUSLY or CONCURRENTLY. In measure 56 from Limón’s “A Time to be Silent” the light/sudden Vibratory Phrasing maintained in the legs is juxtaposed to two short Impulses of the head and arms performed with a direct/sudden quality, terminating with a light/sudden Impulse.


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Conclusion

The purpose of the qualitative annotations of a work by José Limón and Victoria Uris is to show the inner motivation for particular movement sequences. The annotations were based on discussion about motivating imagery and qualities with choreographer Uris, and on insights into Limón’s motivation behind the movement vocabulary from performers Nielson and Venable.

Annotated Bibliography of V. Maletic’s articles on Dynamics and Phrasing

“Dynamics of Phrasing in Movement and Dance” (International Council of

Kinetography Laban [ICKL]: Proceedings of the Thirteenth Biennial Conference, 1983) 110–126. The paper contains the nucleus of my classification and nota-tion of phrasing, developed further in Workbook for Dance Dynamics: Effort

and Phrasing (1999). In addition to an excerpt from José Limón’s and Phrasing (1999). In addition to an excerpt from José Limón’s and Phrasing There is a

Time (with Lucy Venable), an excerpt from Anna Sokolow’s Odes is annotated from coaching points given by the choreographer to dancers from The Ohio State University Department of Dance.

“Dynamics of Dance” (ICKL: Proceedings of the Fifteenth Biennial Conference, 1987) 82–101. The paper gives a historical account of the status of dynamics in Kinetography/Labanotation and presents a revised classification of phrasing. Of particular interest is a report on initial stages of a joint research project with notator Ray Cook, assisted by Lucy Venable and graduate associate Amanda Tom (89–90; 101–102). Questions, such as how do various ways of notation enhance the desired quality of the dance, and how do we interpret various dynamic symbols used in the score have been examined in segments from Sokolow’s Moods.

“Issues in Phrasing and Effort Annotations of a Humphrey Score” (ICKL:

Proceedings of the Sixteenth Biennial Conference, 1989) 105–126. Several ver-sions of the performance of Doris Humphrey’s Invention are analyzed from the point of view of characteristics of Humphrey’s dance vocabulary, her concepts of “breath rhythm” and “fall and recovery,” and the dynamics captured in the Labanotation score. Additional phrasing and Effort annotations are proposed as a resource for directors and performers that are historically removed from Humphrey’s style.

“Qualitative Annotations of Labanotation Scores” (ICKL: Proceedings of

the Seventeenth Biennial Conference, 1991) 73–103. In addition to excerpts included in the Appendix III, the paper includes four examples of folk dances from Croatia, annotated by V. Maletic (91, 92, 97, 101).

“Qualitative Annotations of Labanotation Scores revisited” (ICKL: Proceedings

of the Twenty-Second Biennial Conference, 2000) 87–100. The paper includes new examples of excerpts from dance scores, such as Lester Horton’s The

Beloved, and Don Redlich’s Passin’ Through, and Croatian folk dances anno-tated by V. Maletic.

APPENDIX III / 125

B I B L I O G R A P H Y

Bartenieff, Irmgard with Dori Lewis. Body Movement: Coping with the

Enviroment. New York: Gordon & Breach, 1980.

Bodmer, Sylvia. Studies Based on Crystalloid Dance Forms. London: Laban Centre for Movement and Dance, 1979.

Cooper Albright, Ann. “Auto-Body Stories: Blondell Cummings and Auto bio- graphy in Dance.” Meaning in Motion. J. Desmond ed. Durham, NC: Duke University Press, 1977.

Cohen, Selma Jeanne. “Dance as an Art of Imitation.” What is Dance?

Copeland, Robert & Cohen, Marshall., eds. New York: Oxford University Press, 1983.

Davis, Martha. Towards Understanding the Intrinsic in Body Movement. New York: Arno Press, 1975.

Dell, Cecily. A Primer for Movement Description New York. Dance Notation Bureau, 1970.

Dixon Gottschild, Brenda. Digging the Africanist Presence in American

Performance Dance and Other Contexts. Westport, CN.: Greenwood Press, 1996.

Duncan, Isadora. My Life. New York: Garden City Publishing Co., 1927.

Gellerman, Jill. “Mayim Patterns the Three Hassidic Communities.” Essays in

Dance Research. Dance Research Annual IX., CORD 1978 120.

Hawkins, Alma. Creating Through Dance. Englewood Cliffs, NJ: Prentice-Hall, 1964.

Hayes, Elizabeth R. Dance Composition and Production. New York: The Ronald Press Co., 1955.

BIBLIOGRAPHY / 127

H’Doubler, Margaret. Dance: A Creative Art Experience. Madison, WI.: University of Wisconsin Press, 1966.

Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.

Hodgson, John & Valerie Preston-Dunlop. Rudolf Laban: An Introduction to

his Work and Influence. Plymouth: Northcote House Publishers, 1990.

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_______________. Psychology of the Unconscious: a Study of the Transform-

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Laban, Rudolf. Die Welt des Tanzers. Sttutgart: Walter Seifert Varlag, 1920.

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____________. The Mastery of Movement on the Stage. London: Macdonald & Evans, 1950.

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____________. The Mastery of Movement. London: Macdonald & Evans, 1980.

Laban, Rudolf & Lawrence, F. C. Effort. London: Macdonald & Evans, 1947.

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Novack, Cynthia. Sharing the Dance: Contact Improvisation and American

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BIBLIOGRAPHY / 131

D V D V I E W I N G G U I D E

The companion DVD provides opportunity for observing short movement and dance sequences that can be viewed repeatedly without changes in performance, unlike live performance that may change from time to time. Making distinctions between various components of dance dynamics, such as Phrasing types and Effort qualities can facilitate a conscious awareness of these strands of move-ment. It is as though the elusive medium of dance can be temporarily captured by means of classification and terminology. Such identification, in turn, leads to a descriptive language.

The video excerpts on the DVD emphasize the visual modality and enlist kin-esthetic feedback. Music accompaniment is deliberately left out as it may bring up unnecessary issues, such as contrapuntal or complementary dynamics, and interfere with the focus on movement itself.

The DVD examples have been donated courtesy of choreographers and per-formers that are acknowledged after each excerpt.

Some suggestions for viewing

In addition to the sequencing and the voice-over provided by the DVD you also may explore the following approaches:

View examples while turning off the voice-over to find out what you actually saw. Before trying to identify various movement dynamics and qualities just imitate or mimic what you saw.Jot down a few descriptive adjectives about the feel of the sequence without using any technical terms.Stop the DVD to repeat viewing an excerpt that appears complex to you.Reviewing related aspects of dynamics and movement qualities in the Workbook, may also be helpful.The DVD Chapter Menu gives an overview and the opportunity for additional viewing of any aspect of dance dynamics that you choose.

NOTE: While the voice-over descriptions are reproduced in this guide, a more extensive analysis is added to some video excerpts.

DVD VIEWING GUIDE / 1

D V D C H A P T E R M E N U

The DVD provides you with the choice of playing the chapters and sub-chap-ters in the order they have been recorded or of selecting sections of your own choice.

( 1 ) P E R C E P T I O N O F D A N C E D Y N A M I C S I N G E N E R A L T E R M S Variety Repetition Contrast

( 2 ) D Y N A M I C S O F P H R A S I N G

PHRASING TYPES Even Increasing Impactive Decreasing Impulsive Increase–Decrease Decrease–Increase Accented Vibratory Resilient

Elastic BuoyantWeighty

SEQUENCING OF PHRASING Consecutive Concurrent Overlapping

PHRASING ANALYSIS OF TWO EXAMPLES Contrast Variety

2 / DANCE DYNAMICS

( 3 ) E F F O R T Q U A L I T I E S

ONE MOTION FACTOR Direct and Indirect Space Strong Weight Light Weight Sudden Time Bound Flow Free Flow

TWO MOTION FACTORS—STATESWeight/Flow–Dreamlike & Space/Time–Awake

Space/Flow–Remote & Weight/Time–Near Space/Weight–Stable & Time/Flow–Mobile

THREE MOTION FACTORS—DRIVES Space/Weight/Time–Action Drive Flow/Weight/Time–Passion Space/Flow/Time–Vision Space/Weight/Flow–Spell

SYNTHESIS: EFFORT and PHRASING ANALYSIS OF TWO EXAMPLES Contrast Variety


ACCOMPANYING TEXT and listing of video sources

( 1 ) P E R C E P T I O N O F D A N C E D Y N A M I C S I N G E N E R A L T E R M SThe following video excerpts show some easily observable features.

Variety of dynamicsVariety is one of the general features of dance dynamics that can be seen at first glance. Three performers interact with percussive, more languid, and some changing movement qualities.

FROM: Six Tangos (2004)

CHOREOGRAPHER: Melanie Bales

PERFORMERS: Robin Anderson, Ama Codjoe, Christina Providence

Videotaped by Emily Lawrence

Repetition Repetition of the same movement quality is another feature that can be noticed with ease. While the first example showed a repetitive elastic walk, the second presented a repetition of jerky movements performed with different arm and body gestures.

FROM: Composition study (2004)

CHOREOGRAPHER / PERFORMER: Michael Estanich


FROM: Tracking (2004)Tracking (2004)Tracking

CHOREOGRAPHER: Kristin Hapke

PERFORMER: Michelle Stortz


Contrasting dynamics Contrasting qualities enhance each other. The smooth interaction between the two dancers contrasts with their more agitated outbursts. The two qualities clearly stand out from one another.

FROM: African Funeral Song (2004)Song (2004)Song

CHOREOGRAPHER: Susan Hadley

PERFORMERS: Lauren Bisio, Keren Ganin-Pinto

Videotaped by Victoria Uris

4 / DANCE DYNAMICS

( 2 ) D Y N A M I C S O F P H R A S I N GThe following set of excerpts will be observed from the point of view of Phrasing of movement energy.

PHRASING TYPES[Also refer to Workbook pp. 59–60.] The author has classified Phrasing into eight main types.

EvenIn this Phrasing type the movement energy does not change.

(1) The right arm and subsequently the head of the performer move with an unchanging, Even intensity from the beginning till the end.

FROM: Figuring (2004)Figuring (2004)Figuring

CHOREOGRAPHER / PERFORMER: Chad Hall


(2) In the next excerpt three Even Phrasings follow one another in the per-formance of the two dancers.

FROM: African Funeral Song (2004)


IncreasingThe performance energy increases in its intensity.

(1) During the turning sequence the momentum and the speed of the move-ment gradually increases until abruptly stopped.

(2) In the second short sequence the momentum of the performer's move-ment becomes increasingly controlled as though approaching something dangerous.

FROM: Tornado (1993)

CHOREOGRAPHER / PERFORMER: Jeanine Thompson

Videotaped by Rosalind Pierson

ImpactiveAn Impact occurs when the Increase builds to a climax.

(1) Two leg kicks and the performer's final lunge create three Impacts.


CHOREOGRAPHER / PERFORMER: Scott Lowe



(2) In the second example two motifs with a series of Impacts are performed with arm, torso and leg gestures, as well as a lunge. The somewhat agi-tated mood eases with a slide, which is Increasing in released fluency.

FROM: Garras dos Sentidos (1999)

CHOREOGRAPHER / PERFORMER: Balinda Craig-Quijada

DecreasingEnergy can decrease from a greater to a lesser intensity.

(1) The dancer's turning gradually decelerates creating a Decreasing phras-ing.

FROM: Lachrymae (1997)

CHOREOGRAPHER / VIDEOGRAPHER: Rosalind Pierson

PERFORMER: Susan Sanborn

(2) In the second example the tense, taut pull between the two dancers gradually Decreases.

FROM: Directed improvisation (2004)

PERFORMERS: Kristina Isabelle, Christina Providence

Videotaped by Shawn Hove

ImpulsiveThe Decrease can follow an initial outburst.

(1) Most movement actions in this sequence are initiated with a light Impulse after which the energy gradually diminishes.



(2) In the second example a series of strong Impulses conveys an unsettling, agitated mood.


PERFORMER: Kristina Isabelle


6 / DANCE DYNAMICS

Increase–DecreaseThis Phrasing can occur in a variety of movement qualities and body actions.

(1) In this sequence all the arm swings are performed with Increase–Decrease in speed and weightiness. Leaps and turning jumps also are performed with Increase–Decrease in speed and lightness.

FROM: Chairs (2004)

CHOREOGRAPHER: Zvi Gotheiner

PERFORMER: Scott Lowe


(2) The second example includes a sequence of exercise-like lateral swings that precede a dance excerpt. In it a series of fast paced Increase–Decrease swings is performed with arms and torso gestures and a roll.

FROM: Boxed In (2003)

CHOREOGRAPHER / PERFORMER: Kristina Isabelle


Decrease–IncreaseDecreasing-then-Increasing Phrasing can occur gradually or more abruptly with an Decreasing Impulse and Increasing Impact.

(1) In this sequence the dancer gradually releases from an arching tension and returns to it.

FROM: Variation based on material from Boxed In (2003)

CHOREOGRAPHER / PERFORMER: Kristina Isabelle


(2) In the second example the Impulse in the torso can be seen as a prepara-tion for an Increasing side fall that is repeated several times.




(3) The third excerpt shows both dancers performing two Decrease–Increase Phrasings as an Impulse into an Impact.

FROM: African Funeral Song (2004)Song (2004)Song



Accented A sudden exertion of energy that can be repeated and/or followed by stillness is referred to as Accented Phrasing.

(1) In the first sequence intermittent sudden stomps form several rhythmic entities of Accented Phrasing.

FROM: Improvisation on the image of a toreador teasing an imaginary bull (2004)



(2) In the next excerpts several jerky Accents are performed with the right arm and head; the subsequent Even sinking is punctuated with one more gentle accent.

FROM: Kristen Come Home (1997)

CHOREOGRAPHER / PERFORMER: Susan Sanborn


VibratoryAn uninterrupted series of sudden repetitions creates Vibratory Phrasing.

(1) In the first example fast, repetitive hand movements shaking an imagi-nary red cloth in front of a bull, create a series of Vibratory move-ments.

FROM: Improvisation on the image of a toreador teasing an imaginary bull (2004)


(2) The second example shows that Vibratory Phrasing also can be per-formed by the entire body.

FROM: R.E.M. (2004)

CHOREOGRAPHER: Joe Alter

PERFORMER: Luke Gutgsell


8 / DANCE DYNAMICS

RESILIENT[Also refer to Workbook pp. 73–76; 92–94.]Repetitive, rebounding qualities make up Resilient Phrasing. It can have three emphases.

ElasticIn this Resiliency there is an equal emphasis on strength and lightness—a kind of oscillation between these qualities.

(1) Several rebounding or bouncy steps create Elastic Resiliency conveying a happy-go-lucky mood.




(2) In the second example Elastic, springy Resiliency can be seen in the performer's rebounding jumps.

FROM: Is a Woman (1987)

CHOREOGRAPHER / PERFORMER: Susan Van Pelt

BuoyantThe emphasis in this Resiliency is on lightness.

(1) In the first excerpts performer's hops and leaps have an airborne Buoyant resiliency.


CHOREOGRAPHER / PERFORMER: Robin Anderson


(2) In the second example the juggler's manipulations also have a Buoyant resiliency.

FROM: Improvisation (2004)

PERFORMER: Jason Hedden


WeightyThe emphasis in this Resiliency is on heaviness or weightiness.

(1) The first hip-hop sequence starts with Weighty Resiliency and then becomes more bouncy, elastic.

FROM: Improvisation in the style of hip-hop dancing (2004)

PERFORMER: Marc Woten


(2) The performer appears bogged down with Weighty resiliency.

PERFORMER: Michael Estanich


SEQUENCING OF PHRASING[Also refer to Workbook pp. 96–98.]Phrasing of movement actions can be performed in three different ways.

ConsecutiveIn most of the sequences observed the Phrasing was performed one after the other, i.e. Consecutively with various body parts or the entire body. The types of Phrasing can be the same or different.

(1) In the first excerpt two Increasing drops of the right arm and head are followed by a Weighty Resilient lowering and rising of the entire body and continuing with a brief Decrease–Increase, ending with an Impactive squat.

FROM: The Touch (1995)

CHOREOGRAPHER: Irene Hultman

PERFORMER: Melanie Bales

(2) The second sequence starts with Even movements of the legs rising that follow each other; a slight Accent precedes an Increasing drop which reverberates with some elastic Resiliency; a slight Impulse leads into the Even lowering of one leg.

FROM: Kristen Come Home (1997)

CHOREOGRAPHER / PERFORMER: Susan Sanborn.


10 / DANCE DYNAMICS

Concurrent PhrasingDifferent parts of the body can perform different phrasing types at the same time, i.e. Concurrently:

(1) The first excerpt shows fast turning steps that produce Vibratory phrasing, while at the same time the right arm raises and lowers with Impulsive phrasing; the sequence ends with an Increase–Decrease fall of the whole body.

FROM: Wild Mushrooms in North America (1989)

CHOREOGRAPHER / PERFORMER: Karen Eliot

(2) After three Consecutive moves the performer's head leans backwards Evenly while Concurrently the foot repeats several short Increase–Decrease rotations and the leg lowers Evenly; finally the entire body collapses with an Increase.

FROM: Tick (2002)

CHOREOGRAPHER / PERFORMER: Susan Sanborn


Overlapping PhrasingWhen actions of various body parts begin before the Phrasing of the previous action has finished, Overlapping Phrasing occurs.

Here is an example of Overlapping Phrasing that also includes Consecutive and Concurrent Phrasing:

(1) After a fast Increase–Decrease torso movement, two Even arm ges-tures Overlap with the torso recovery. Even Bending and stretching of the foot initiates Overlapping eye, head, arm and finger movements. All Overlapping movements are Even except for Vibratory fingers, and a slight Impact of the hand. Consecutive leg rotations continue with Vibratory movement of both legs that is Concurrent with Increasing–Decreasing arm gestures that end with an Impact of the entire body.

FROM: Girl Blue (2004)

CHOREOGRAPHER / CAMERAPERSON: Noel Reiss

PERFORMER: Balinda Craig-Quijada


PHRASING ANALYSIS OF TWO EXAMPLESAfter having considered Phrasing types and their sequencing separately, we will observe aspects of Phrasing in two longer excerpts that have been seen before.

Contrasting DynamicsContrasting Phrasing types alternate in this sequence.

(1) The unfolding of the first gestures and the subsequent lowering and ris-ing of both dancers is performed with Even Phrasing. This is punctuated with the dancer in the background performing an Increase–Decrease scooping turn, while the dancer in the foreground Increases downwards. Their respective launching onto the floor is performed with Decrease–Increase phrasing, and two faster Impulses followed by Impacts; this is interspersed with Even turning over and looking around at the end. The sequencing of Phrasing by each dancer is Consecutive.



Variety of DynamicsVariety of DynamicsVThis example has four different types of Phrasing.

(1) Three Performers move first one after the other with differing types of Phrasing: an Impact with Even recovery, two Accents followed by Even moves, then at the same time with Even Phrasing punctuated with knee initiated Impulses by two performers that changes the initial grouping. The third performer then establishes herself with two pelvic Accents and, gains momentum for two subsequent Impactive Phrasings that again cre-ate changes in the grouping. The sequencing of Phrasing by each dancer is Consecutive.



12 / DANCE DYNAMICS

( 3 ) E F F O R T Q U A L I T I E SRudolf Laban developed the Effort theory that considers various movement qualities and describes specific coloring or texture of the movement.

ONE MOTION FACTOR[Also refer to Workbook pp. 13–21.]Single movement qualities seldom appear in isolation. The following examples will show the predominance of qualities in one Motion Factor, and subsequently in one Effort quality.

Direct & Indirect Space(1) The performer alternates direct, straight reaching gestures with indirect,

flexible ones. Some changes in Time are also noticeable.



PERFORMER: Christina Providence

Strong Weight(1) The dancer exerts all the actions with strength or firmness while the

strand of bound Flow is also noticeable.


CHOREOGRAPHER / PERFORMER: Scott Lowe


Light Weight(1) This example shows a predominance of light, fine touch qualities that

are associated with varying Time, Space, and Flow variables.


CHOREOGRAPHER / PERFORMER: Robin Anderson


Sudden Time(1) Repetitive sudden leg gestures also show some light and direct quality.

For this excerpt, Christina Providence has recalled her performance experience in the

Croatian folk dance Ensemble Zivili in Columbus, Ohio.



Sustained Time(1) In this example the sustained quality is maintained over an Even

Phrasing while the performer is advancing.


CHOREOGRAPHER / PERFORMER: Kristin Hapke

Bound Flow(1) In this scene, predominant bound Flow is coupled with sustainment and

some instances of sudden Time.

FROM: Breaking the Current: Ms. Toad’s Wild Ride Through the Twists and Turns of

the Psychedelic Journey Called Life (1999)


Videotaped by Janet Parrott

Free Flow (1) Free Flow and fast tempo are generated by most of the movement

actions in this example.

FROM: Tornado (1993)



TWO MOTION FACTORS—STATES[Also refer to Workbook pp. 23–35.] Laban identified “incomplete efforts” as the emergence of a combination of two Motion factor’s elements. Bartenieff referred to them as “inner states.” Such combinations are observable in movement transitions and in some dance sequences.

Weight/Flow—Dream-like & Space/Time—Awake(1) This scene shows a brief Dream-like or daydreaming State in which the

performer engages Weight and Flow elements that oscillate between their polarities. From it she changes into an Awake sudden and direct pauncing, thus engaging elements of Space and Time, though some strength and bound Flow also are noticeable. Finally she returns to the Dream-like State again.


PERFORMER / CHOREOGRAPHER: Kristina Isabelle


14 / DANCE DYNAMICS

Space/Flow—Remote & Weight/Time—Near

Remote(1) This ballet adagio-like sequence displays aspects of Space and Flow.

From a direct/bound to more direct/free reaching, changing into indi-rect/free and continuing with fluctuations between direct/indirect, and bound/free qualities.




Near(1) In contrast here is a tap dance sequence that shows rhythmic variations

in qualities of Weight and Time. Some stronger and lighter taps alternate with sudden and sustained qualities. At times, though, some Flow quali-ties appear in the arms.




Space/Weight—Stable & Time/Flow—Mobile

Stable(1) In this ritualistic sequence, variations of Space and Weight qualities are

noticeable. The predominant combinations are direct/light, direct/strong with some sustained Time, and some indirect/sustained. The quality of bound Flow is also noticeable in direct/strong combinations.




Mobile(1) The excerpt shows Flow and Time fluctuations that create a Mobile

State. Predominant free Flow coupled with sudden Time, occasion-ally changes into bound Flow and sustainment. Towards the end some Spatial directness appears.




THREE MOTION FACTORS—DRIVES[Also refer to Workbook pp. 41–51.]In movement and dance expression, clear combinations of three Motion Factors are frequently noticeable. Such combinations are referred to as Drives.

Space/Weight/Time—Action DriveIn dance actions and everyday activities as well, emotional participation that manifests in the Flow factor is not required. Rather, Space/Weight/Time combi-nations are most appropriate.

(1) In the first excerpt kneading the imaginary dough includes transitions from Gliding to Pressing actions, interspersed with some Dabbing actions.

FROM: Is a Woman (1978)

CHOREOGRAPHER / PERFORMER: Susan Van Pelt

(2) The second example shows some Basic Effort Actions performed with the entire body, such as Slashing, Pulling, Punching, Wringing, Floating, Flicking-Dabbing, and Gliding.




Flow/Weight/Time—Passion DriveIn emotionally emphasized Drives the Flow factor replaces qualities of Space.

(1) The dancer lashes out wildly as though chasing some nightmares. Free Flow, strength and sudden Time are prominent while Spatial clarity is in abeyance.




(2) In the second excerpt frantic tilting of the chair, temporarily loosing one's bearings, followed by vigorous gesturing and coming full tilt against the chair, shows an emotional state in which components of Flow, Weight, and Time are in the foreground.

FROM: Chairs (2004)

CHOREOGRAPHER: Zvi Gotheiner

PERFORMER: Kamilah Levens


16 / DANCE DYNAMICS


Space/Flow/Time—Vision DriveIn this Drive Space/Flow/Time are emphasized while bodily Sensing associated with the Weight factor is in the background.

(1) The dancer appears pursuing an imaginary path with a direct/free Flow/light quality and some additional Time changes in terms of acceleration and deceleration.

FROM: Lachrymae (1997)

CHOREOGRAPHER / VIDEOGRAPHER: Rosalind Pierson

PERFORMER: Susan Sanborn

(2) In the second example the performer stares at a situation that causes direct/sudden/bound arm and torso jerks.


CHOREOGRAPHER: Kristin Hapke

PERFORMER: Michelle Stortz

Space/Weight/Flow—Spell DriveA more timeless Spell-like Drive emerges when the Flow factor replaces qualities of Time.

(1) In the first scene the performer's tentative gestures show bound Flow, lightness, and predominant directness, as though under the Spell of a nightmare.

FROM: Breaking the Current: Ms. Toad’s Wild Ride Through the Twists and Turns of

the Psychedelic Journey Called Life (1999)


Videotaped by Janet Parrott

(2) In the second duet the couple is fascinated with each other as though there is an eternity for their interactions that show predominantly Space, Weight and Flow variations.



PERFORMEERS: Teena Custer, Marc Woten


SYNTHESIS: EFFORT and PHRASING ANALYSIS OF TWO EXAMPLESFinally let us observe Phrasing—as a dynamic’s macrostructure, together with Effort—its microstructure. The examples of Contrast and Variety are analyzed further.

Contrast(1) Two dancers stand next to each other facing stage right. At the start, the

Even Phrasing sections of both performers are colored with sustained Time, some Spatial directness, and while turning on the floor with some bound Flow. Interrupting these sections are an Increase–Decrease in weightiness and free Flow in the turning of one dancer, and Increase in weightiness in the sinking of the other. Follow the performance of sudden/free Decreasing–Increasing into sudden/bound by both dancers. When repeated in a faster tempo some strong Weight is added, creating an Impulse–Impact. The final raising, looking, and lowering of the head and upper body by the dancer in the foreground is performed with a direct/sustained/bound quality.

From the predominant combination of Effort variables one can deduce two contrasting Drives: Passion in all the outbursts, and Vision in the beginning and at the end.



Variety(1) Three dancers stand in a tight group, linked by arms. Starting with a

downward arm gesture of a sudden/strong Impact that recovers with Even sustained quality, the first mover triggers two sudden/bound Accents from the second one, motivating all three performers to change grouping with Even sustained qualities; in this process the first and sec-ond performer turn with a light/sudden Impulse initiated by the knee. The third performer takes her initiative with two sudden/strong/bound Accents performed by the pelvis and gains momentum to pull both com-panions with an strong/sudden/free Flow Impact, followed by another sudden/strong/bound Impact that results in another change of grouping.

From the predominant combinations of Effort variable one can notice that performers in this scene are coming in and out of Passion Drive with some instances of the Near State, and the Mobile State.



PERFORMERS: Robin Anderson, Ama Codjoe, Christina Providence

18 / DANCE DYNAMICS

NOTE: The observation of the two strands of dance dynamics—Phrasing and Effort have been the main focus of the Workbook and DVD companion. As it can be seen in the paragraph below, the descriptions also refer to other impor-tant movement and dance components, such as BODILY ACTIONS, BODY

PARTS, GROUP FORMATIONS, INTERACTION/RELATIONSHIPS, and SPATIAL

DIRECTIONS.

Three dancers stand in A TIGHT GROUP, LINKED by ARMS. Starting with a DOWNWARD ARM GESTURE of a sudden/strong Impact that recovers with Even sustained quality, the first mover TRIGGERS two sudden/bound Accents from the second one, MOTIVATING ALL THREE PERFORMERS to CHANGE GROUPING with Even sustained qualities; in this process the first and second performer TURN with a light-sudden Impulse initiated by the KNEE. The third performer takes her initiative with two sudden/strong/bound Accents performed by the PELVIS and gains momentum to PULL both companions with a strong/sudden/free Flow Impact, followed by another sudden/strong/bound Impact that results in another CHANGE OF GROUPING.

While aspects, such as body parts, body actions, interaction or relationships, group formations, and spatial directions, are more readily identified and described, the qualitative area of dance dynamics is more subtle in its manifesta-tions and continues to provide challenges in the study of movement and dance performance.

Write adjectives describing the feel of the video excerpts illustrating:

(1) PHRASING TYPES

· Even

· Increasing

· Impactive

· Decreasing


· Impulsive

· Increase–Decrease

· Decrease–Increase

· Accented

· Vibratory

· Elastic Resilient

· Buoyant Resilient

· Weighty Resilient

(2) SEQUENCING OF PHRASING

· Consecutive

· Concurrent

· Overlapping

20 / DANCE DYNAMICS

Write adjectives describing the feel of the video excerpts illustrating:

(3) EFFORT QUALITIES—ONE MOTION FACTOR

· Direct and Indirect Space

· Strong Weight

· Light Weight

· Sudden Time

· Bound Flow

· Free Flow

TWO MOTION FACTORS—STATES

· Weight/Flow–Dreamlike & Space/Time–Awake

· Space/Flow–Remote & Weight/Time–Near

· Space/Weight–Stable & Time/Flow–Mobile


THREE MOTION FACTORS—DRIVES

· Space/Weight/Time–Action Drive

· Flow/Weight/Time–Passion

· Space/Flow/Time–Vision

· Space/Weight/Flow–Spell

22 / DANCE DYNAMICS

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