It also takes effort to plan, to think, and to imagine.  These activities transport us into the Vision Drive, which combines the motion factors of Space, Time, and Flow.  This is the Weight-less drive.

Of all the drives, Vision is the one most related to mental activities.  When embodying this weightless drive, the mover slips the bonds of gravity and is free to soar on the wings of imagination.  It is no longer necessary to stay grounded in the here and now. … Read More

When Flow replaces one of the other motion factors, it changes everything.  Yet it is not only what is added, but also what is lost, that is transformative in the chemistry of effort.

If we consider the Passion Drive, it is not only the addition of Flow, it is also the loss of Space effort that turns a practical action into an expression of emotion.

Laban believed that the motion factor of Space related to paying attention, orienting one’s actions in the environment, and, more broadly, to thinking. … Read More

The basic actions provide a foundation for Laban’s effort theories.  In these combinations, Flow is latent, providing a subliminal baseline to the conscious activation of Weight, Space, and Time.  But when Flow replaces one of these factors, the mover is transported, away from the practical world of action to new “inner landscapes.”

For Laban, Flow changes everything.  Take combinations of Weight, Time, and Flow.  These are not merely actions in which variations in pressure and speed are performed with greater or lesser control.  … Read More

Effort chemistry begins with combinations of the motion factors of Space, Weight, and Time.  These combinations yield the eight “basic actions” – floating, gliding, dabbing, flicking, punching, slashing, wringing, and pressing.

Laban first identified these basic actions in his observations of manual labor.  In this sense, the basic actions are concretely physical in nature.  Then, working with management consultant F.C. Lawrence, Laban extended his observations to other types of labor – to clerical and managerial functions.  Together they made a remarkable discovery.… Read More

Laban Movement Analysis is very parsimonious – there are only four motion factors and eight effort qualities with which to describe the dynamics of any movement a human being can do.  Yet when different effort qualities combine, there is a miraculous effort chemistry that produces many kinds of movement moods.

In the upcoming Movement Harmony Project, Part 2 – Effort Harmonies, we will be exploring the various movement moods that occur when effort qualities are combined.

What is most interesting to me is that embodying effort moods involves the whole person. … Read More

As noted in the previous blog, Laban’s claims that dance and movement have a harmonic structure analogous to music have been criticized as fanciful metaphysical speculations. Nevertheless, harmony remains useful concept for examining how different parts of a work of art are brought into relationship to create an expressive whole.

For artists and musicians, harmony is not a mystical concept – it is a perceptible quality with a rational basis.   This is because light and sound are vibratory phenomena.  Thus each color and each musical tone has a certain number of vibrations.… Read More

Beginning in the late 19^th century, avant-garde European artists began to move away from representational painting.  They wanted to create a new art that was non-representation, yet deeply expressive.   For example, August Endell proposed “an art with forms which signify nothing, represent nothing and remind us of nothing, which arouse our souls as deeply and strongly as music has always been able to do.”

Thus music – expressive, abstract, free from any necessity to refer to the natural world – came to be seen as an exemplar for the new visual arts.… Read More

Laban insisted that “between the harmonic components of music and those of dance there is not only an outward resemblance, but a structural congruity which can be investigated and verified.”  He has taken a lot of heat for this assertion.

The philosopher Suzanne Langer viewed Laban’s notions of movement harmony as “fanciful and sentimental;” dance historian Lincoln Kirstein characterized them as “quasi-mystical attempts to enforce the supremacy of movement;” and the English educator Gordon Curl called them a “Pythagorean dream.”

But is the notion of movement having a harmonic structure really such a ludicrous idea? … Read More

By proximity, I’m not talking about social distancing.  I’m referring to a principle of effort phrasing articulated by Rudolf Laban.  He notes that “extreme contrasts of dynamic actions cannot be performed by the body immediately one after the other.”

For example, “linking a punching movement with a floating movement without a break is quite impossible.  Transitional movements must be introduced.”

So, if you have been performing the Diagonal Scale with Action Drive affinities, you are guilty of breaking the Law of Proximity!… Read More

Anyone with even a passing acquaintance with Laban Movement Analysis will have encountered the “eight basic actions” – float, punch, glide, slash, dab, wring, flick, and press.  These are the readily recognizable combinations of the motion factors of space, weight, and time that Laban identified in practical working actions.

Transposed to the dance studio, these basic actions are usually performed in conjunction with diagonal spatial trajectories, as an oscillation between contrasting actions.  So one might float upwards along a diagonal path, then punch backwards in the opposite direction.… Read More