Proportion, Music, Movement, and Space

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Proportion plays a key role in both musical harmony and Laban’s harmonic spatial sequences.  As Laban notes, “the octave in music has the relation of 1:2 which means that the vibrations of the high octave are twice as many as the lower octave.”  Laban was intrigued by the “possibility of discovering similar relations” in the spatial pathways traced by the mover’s body.

In order to map these pathways, or “trace-forms,” Laban established geographical landmarks in the empty space surrounding the body using three Platonic Solids – the octahedron, cube, and icosahedron.… Read More

Harmonics of Space

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According to Rudolf Laban, “Between the harmonic components of music and those of dance there is not only an outward resemblance, but a structural congruity, which although hidden at first, can be investigated and verified, point by point.”

In the upcoming MoveScape Center course, “Harmonics of Space,” we explore Laban’s assertion theoretically and practically, through a close look at four of his harmonic movement scales – the Axis, Girdle, Primary Scale, and A Scale.

The workshop examines the underlying principles Laban used to create these scales, while providing tips for performing and remembering these sequences.… Read More

Linking Body and Space

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Dancers move through space as fish move through water.  In the seemingly vacant sea of space, Laban identified central lines of motion that extend through the dancer’s body outwards into the surrounding area, making what appears to be empty tangible.

Angiola Sartorio, one of Laban’s early dance students, explains it this way:

“Try to visualize that the directions in space are everywhere, and when you activate a pathway, you align with a network that already is there for you to find. … Read More

Angles and Curves of the Kinesphere

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An analogy can be drawn between Laban’s maps of the kinesphere and the geometrical grid cartographers employed to create state boundaries in the western United States.

If the boundaries of the western states followed the natural watersheds, the states would be rounded and irregular in shape rather than having the squared off and block-like shapes they have today.

Similarly, while Laban knew that most bodily movements follow curved trajectories, he chose to stylize these as straight lines and angles.  By imposing a regular geometrical structure on the globe of the kinesphere, Laban identified spatial pulls and their directional vectors.… Read More

Mapping the Kinesphere

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North American Indians are said to have marvelous “topographical” memories. According to Lucien Levy-Bruhl, “it is quite enough for them to have been in a place only once for them to have an exact image of it in their minds.”

The natural landscapes of North America have many memorable landmarks.  On the other hand, there are no visual landmarks in the very personal territory of the kinesphere.

Fortunately, pioneering movement analyst Rudolf Laban created maps of space to enable the mover visit new places and enjoy fresh kinesthetic experiences. … Read More

Location, Location, Location!

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Welcome to your movement home – the kinesphere.  It’s prime real estate.  It’s always around you and very convenient.  You can reach every part of it without even taking a step!

What’s that?  The kinesphere just seems empty to you? Nonsense.  As Rudolf Laban said, “Empty space does not exist.  On the contrary space is a superabundance of simultaneous movements.”

Intrigued?  Find out more in “Exploring your Kinesphere:  A Personal Journey,” beginning August 30.

 … Read More

On Center

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In the upcoming MoveScape workshop, “Exploring Your Kinesphere,” we focus on the central lines of motion – dimensions, diagonals, and planar diameters – for two reasons.

First, these are the fundamental lines of motion that Laban uses to define directions in the kinesphere.

Secondly, these central lines of motion connect body and space.  Here is how.  Because your body occupies the center of your personal movement space, body center and kinespheric center are congruent – one and the same.

Consequently, dimensions, diagonals, and diameters can be felt, as vectors emerging from body center and extending outwards into your kinesphere and beyond. … Read More

Kinesphere Basics 2 – Level

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Level provides another simple way to organize the kinesphere.  Laban identified three levels – low, middle, and high.

Low level is near the floor and accessed by bending deeply.  Middle level is where we live in normal activities.  High level is accessed by stretching and extending the limbs.

Laban suggested that individuals may show a preference for a certain level.  For example, “a high-dancer has a natural tendency of uplifting and rising.  He will prefer movements which stress erectness of the body carriage.” … Read More

Kinesphere Basics 1 – Reach Space

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Laban defined the kinesphere as the space surrounding the body that can be reached by extended limbs without taking a step.  This personal space is defined further by the notions of “reach space.”

Quite simply, limbs can be extended in three ways – fully extended to access “far reach space,” partially extended to access “middle reach space,” and barely extended to define the space close to the body in “near reach space.”

Reach space is central to “proxemics” – the study of space and how it makes us feel in relation to objects and others. … Read More

God Geometricizes….

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The observation that God geometricizes has been attributed to Plato, but it could be ascribed to Rudolf Laban as well.

To create a longitude and latitude for mapping body movement, Laban gave the empty space adjacent to the mover a shape.  Or rather, three geometrical shapes – the octahedron, the cube, and the icosahedron.

These geometrical shapes of the kinesphere seem cold, linear, and abstract in sharp contrast to the warm, rounded, concreteness of the body.  Yet Laban found relationships between the two that unlock access to space in new ways for the mover.… Read More