For years after Bartenieff’s death in 1981, the Laban Bartenieff Institute of Movement Studies carefully stored her papers but lacked the funds for full preservation and cataloging. The papers remained, untouched and unseen, in a warehouse in Brooklyn. And then there was a fire in the warehouse.
A cry for help went out to the Laban community, and through crowdfunding, enough money was raised to allow Vincent Novarra, Curator of Special Collections from the University of Maryland Performing Arts Library, to rent a truck, drive to Brooklyn, and see if Bartenieff’s papers had survived.… Read More
In the summer of 1975, I left the Nikolai-Louis Studio, walked across Union Square to the Dance Notation Bureau, and declared I was interested in the Effort/Shape Program.
I was ushered in to see Irmgard Bartenieff, a delicate elderly German lady who had worked directly with Rudolf Laban. She was guiding spirit of the Effort/Shape program. I don’t remember exactly what we talked about, but Irmgard was open and encouraging. I became her student, then her assistant, and eventually a fellow faculty member.… Read More
I am dedicated to advancing Laban’s thinking – on the printed page, in the real space of the movement studio, and in the virtual space of the internet. I’ll be working in all three areas this autumn.
Irmgard Bartenieff observed that Laban’s life was “one great unfinished symphony.” She wanted her students to understand that Laban’s notation and movement analysis systems did not come about all at once. According to Irmgard, Laban was counting on future generations to carry the study of movement forward.… Read More
Laban Movement Analysis allows one to approach the body both objectively and subjectively. Labanotation and motif writing provide means to analyze body actions objectively, while the somatic practice of Bartenieff Fundamentals is focused more on internal self-awareness.
Both bodily perspectives are presented in Meaning in Motion. The first section provides a terse illustration of how bodily actions are analyzed and recorded. The second section places the work of Laban and Bartenieff in the broader context of the somatics movement. A third section discusses principles and exercises of Bartenieff Fundamentals.… Read More
Laban’s Choreutic forms both mirror and challenge the natural range of motion of the human body. As Laban was designing these movement sequences, he drew upon his first career as a visual artist. It’s clear from his figure drawings that he had studied anatomy. And he applied this knowledge in theorizing the shapes the moving limbs can trace in space.
Human beings have big heads, and biomechanically speaking, this is a headache. Standing up freed our arms and hands and opened new spatial horizons. But it also means we must cope with balancing our heavy heads against the constant pull of gravity.
Irmgard Bartenieff always felt that homo sapiens are still working out the possibilities of movement in three-dimensional space. Evolution has given us greater potential than we have figured out how to use. And this is where Laban’s Choreutic theories come in.… Read More
Laban did not neglect the body. He had to create body part symbols and categorize bodily actions to develop his notation system. Movement themes in Laban’s Modern Educational Dance address awareness of the body and explorations of various actions of the limbs, while over half of Mastery of Movement is devoted to enumerating bodily actions of all kinds. Laban’s focus in both these works, however, is primarily expressive.
When I first studied Laban Movement Analysis with Irmgard Bartenieff, I was in my early 20s and she was in her mid-70s. Like all of the other young students, I regarded her with a certain amount of awe.
Irmgard had an extraordinary resume. Not only had she studied with Rudolf Laban in Germany in the fertile and exciting 1920s, she had gone on to work as a movement professional in an amazing array of fields – dance, physical therapy, visual anthropology, child development research, and dance/movement therapy. … Read More