The combinations of Space, Weight, and Time in the Action Drive were the first examples of effort chemistry that Laban identified.  Flow is the missing, or latent, motion factor.  When Flow replaces either Space, Weight, or Time, it changes the movement mood from one of practical action to an entirely different way of being in the world.

For example, when Flow replaces Weight, a whole new movement mood results.  It is not simply that the combinations of Space and Time are performed with greater or lesser control.… Read More

Effort chemistry depends on adding and subtracting kinetic ingredients.  For example, Laban delineated four effort “drives” – each of these is a combination of three of the four motion factors.

For example, the Action Drive is a combination of the motion factors of Space, Weight, and Time.  Laban observed these effort combinations in work with material objects, in which the appropriate focus, application of pressure, and speed of the action were critical to getting the job done right.

We can look at the Action Drive in terms of what is combined. … Read More

The ingredients in Laban’s “effort” theory are simple enough – only four motion factors and eight effort qualities.  But these motion factors and effort qualities can be combined in a variety of ways to describe a wide range of movement dynamics.

Laban used the metaphor of effort “chemistry” to describe how different effort combinations are transformative.  For example, bread is made with only four ingredients: flour, water, yeast, and salt.  Each ingredient has its own flavor, but when combined and baked, bread has a flavor all its own.… Read More

We know that human movement is incredibly varied, both in its visible spatial forms and its dynamic nuances.  Nevertheless, there are natural limits to physical movement and the flow of thoughts and feelings.

Having studied artist’s anatomy, Laban recognized that joint structure, range of motion, and bodily proportion define the kinds of trace-forms that the dancer’s limbs can create in the kinesphere.  These are natural limits.

Through his theory of effort drives, Laban provided a map of the inner landscapes of the dynamosphere. … Read More

Laban once wrote that “the dancer moves, not only from place to place but also from mood to mood.”  Movement from place to place occurs in the kinesphere, where the direction symbols invented by Laban facilitate creating and recording visible movements of the limbs.

To facilitate movement from mood to mood, Laban conceived four motion and eight dynamic qualities.  He also recognized that these motion factors and qualities combine, creating a variety of different moods.  Practicing various effort combinations provides a way to explore and expand one’s range of movement dynamics.… Read More

Effort is driven by inner intent and embodied visibly.  Laban referred to this visible display as the “Flow of Weight in Time and Space.”

Flow, Weight, Time, and Space are the four motion factors.  Laban conceived these as representing psychological functions, and correlated Flow with Feeling, Weight with Sensing, Time with Intuiting, and Space with Thinking.

These correlations provide insight into the psychological aspects of human movement. Find out more in “The Transformation Drives.”… Read More

In the previous blog, I characterized the “kinesphere” and “dynamosphere” as being different. However, there are also similarities in the way Laban conceived and gave structure to these distinct realms of human movement.

While the space surrounding the body is visible, it is also empty without any landmarks to map where the mover’s limbs go.  To provide landmarks, Laban used the corners and edges of Platonic solids, inscribing a kind of longitude and latitude on the sphere of space around the body.… Read More

Historically, Laban’s dance notation system and his movement analysis framework were developed separately and at different points in Laban’s career.  Since notation came first, it has a longer track record and a more delineated focus on dance.

Movement analysis theories crystallized later, when Laban was working in industry, education, psychology, and theatre rather than dance.  Perhaps this accounts for the many different ways in which movement analysis is being used today.

The overlapping conferences at OSU both revealed these diverse perspectives and also reinforced the shared roots of notation and movement analysis. … Read More

Attending the Laban Bartenieff Movement Studies conference highlighted the many uses of movement analysis, not only in dance practice and research, but also in somatics, business, psychology, self-help, theatre, animation, robotics, and more.

Concurrent sessions of workshops, lectures, and panels meant that the LBMS conference was an embarrassment of riches, one requiring choices.  It simply was not possible to attend all the sessions one desired!

However, shared sessions with the ICKL conference on Friday afternoon brought the notation and analysis communities together.  … Read More