Glide Reflection in Dance

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Glide reflection combines translation and reflection. In this symmetry operation, a shape is moved a constant distance and then reflected; that is, the shape is oriented in an opposite direction. Many ornamental borders utilize this combination of symmetry operations.

In dance, glide reflection patterns can often be created by having dancers face in different directions. For example, in a line extending across the stage, the dancers alternate facing downstage or upstage. Or two lines of dancers stand facing each other then and cross through each other’s lines, heading in opposite directions.… Read More

Translational Symmetry in Dance

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Translational symmetry involves repeating the same shape simply by shifting it a constant distance, usually in a line.  This type of symmetry can be found in many man-made objects, such as a row of evenly spaced identical pillars or the slats in a Venetian blind.

In dance, the choreography for the chorus line or the corps de ballet often utilizes translational symmetry.  The precision marching of soldiers on parade and even an unruly conga line will also display translational symmetry.

The Rockettes of Radio City Music Hall combine symmetry operations with synchronous timing to create the precise group patterns for which they are rightly famous.… Read More

Rotational Symmetry in Dance

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A symmetry operation has to do with moving a shape through space in various ways and repeating the shape. The pattern is created through repetition. In rotational symmetry, shapes are moved in equal distances around an imaginary axis. For example, flower petals arrayed around the center of the blossom have rotational symmetry.

Circle dances performed by a group are the most obvious example of rotational symmetry. But a soloist can also create rotational symmetry simply by making a series of quarter turns and repeating an action or pose.… Read More

Symmetry in Motion

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Like many animals, bilateral symmetry is built into our bodily structure. Shapes that develop in nature are closely related to motion. Since many human actions – swimming, walking, running, biking – alternate activation of the right and left sides of the body, form follows function.

Bilateral symmetry helps us get around in the world. In the hands of choreographers, dancers can also exploit reflective symmetry in arrangements and group movement.

Laban built reflective symmetry into his spatial scales. Find out more in “His Hand and Head: How Laban Created Movement Patterns.”… Read More

Symmetry in Natural Forms

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Like a butterfly, the human body has bilateral symmetry. That is, the right side of the body and the left side are mirror images of each other.

Dance training exploits bilateral symmetry. If a sequence is performed leading with the right side of the body, it is also practiced leading with the left.

Bilateral symmetry wasn’t enough for Rudolf Laban. He thought dancers should train for symmetry in all three dimensions. He designed movement scales for just this purpose.

Find out more in “His Hand and Head: How Laban Created Movement Patterns.”… Read More

Patterns in Art and Dance

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When a young Rudolf Laban began his art studies in 1899, Art Nouveau, with its emphasis on stylization of natural forms, was in fashion everywhere in Europe. Consequently, Laban came-of-age as an artist by learning to see and create visual patterns, such as the designs shown here.

When Laban’s interests turned to dance, he was already sensitive to the use of symmetry in visual design. And the dances of the period were rich with symmetries – from the corps de ballet and the chorus line to circle dances and festive folk processions.… Read More

The Dance World in 1900

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As Laban’s desire to become a dancer grew, he realized that he had set his heart “on the most despised profession in the world.”  Compared to the visual arts, dance was a discipline defined more by what it lacked than by what it offered.

By the beginning of the 20th century, the visual arts had a long history, surviving masterpieces, institutions devoted to preservation and development, evolving venues for innovation, and most importantly, theories and writings by artists themselves that illuminated practices, styles, and innovations.… Read More

The Art World in 1900

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1900 was the year when Rudolf Laban’s family finally allowed him to study art in Munich.  It was a terrific year to enter the European art world for the following reasons:

  • The great European art academies were still functioning, preserving the knowledge and skills of three-dimensional lifelike representation in painting and sculpture.
  • The late 19th and early 20th century was a period of innovative movements:  Symbolism, Art Nouveau, Fauvism, Futurism, Expressionism, Cubism, Dada….
  • The art world was international. 
… Read More

Modern Art and Modern Dance

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Of all the iconoclastic art movements of the late nineteenth and twentieth centuries, Art Nouveau (literally “new art”) was the most self-consciously modern.  It broke with the long-standing European tradition of realistic painting that conveyed a lifelike three-dimensionality.  Instead, Art Nouveau artists opted for a two-dimensional stylization of natural forms, with an emphasis on pattern.

Likewise, the early modern dancers abandoned long-standing European dance traditions, breaking out of the set vocabulary and spatial geography of classical ballet.

As he emerged as a leading figure of modern dance in Europe, Laban’s familiarity with Art Nouveau not only inspired his search for new forms, but also provided him with a deep understanding of how to create beautiful patterns.… Read More

Laban, Leonardo da Vinci, and Albrecht Dürer

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Rudolf Laban and the great Renaissance artists, Leonardo da Vinci and Albrecht Dürer, shared a common interest – how to depict the human figure in motion with a lifelike three-dimensionality.

Through his academic art studies in Munich and Paris in the early 20th century,  Laban undoubtedly became familiar with the different approaches to representing movement pioneered by Leonardo and Dürer.  Laban’s beautiful figures drawings of dancers testify to his practical grasp of techniques developed during the Renaissance and preserved in academic art training.… Read More