“Transitions from one effort quality to another are either easy or difficult,” Laban observed.  He then created harmonic effort scales or sequences in which changes in quality are easy.

Laban modeled these sequences using the eight “Basic Actions.”  For example, he modeled a natural effort change in which a Pressing Action can change to its contrast, a Flicking action, one quality at a time.

Laban’s modeling of harmonious effort changes goes beyond the Action Drive.  Find out more in the upcoming MoveScape workshops, “Incomplete Efforts (Mostly)” and “The Transformation Drives.”… Read More

“Man moves to satisfy a need,” Laban writes.  He goes on to note, “It is easy to perceive the aim of a person’s movement if it is directed to some tangible object.”

This is why the eight “Basic Actions” identified and named by Laban are fundamental – they deal with practical actions involving tools and material objects.  They are obvious.

Moreover, these eight combinations of Space, Weight, and Time factors are the only named effort combinations.  And everyone who has ever studied Laban’s work will know their names – Float, Punch, Glide, Slash, Dab, Wring, Flick, and Press.… Read More

The notion of four motion factors with contrasting qualities dates from Laban’s Eukinetic studies of dance in Germany.  However, his effort theories only really crystallized after he began observing physical labor in British factories during World War II.

These observations led to the publication of Effort in 1947.  This book, co-authored with management consultant F.C. Lawrence, introduces the four motion factors, eight effort qualities, and eight “Basic Actions” that provide the foundation of Laban’s conceptualization of the dynamics of movement.

Laban continued to develop his theories, introducing “incomplete efforts” as well as “transformation drives.”… Read More

Laban’s notation merely describes the spatial path of bodily actions.  In contrast, Space Harmony prescribes sequences of directional change, which Laban called “scales.”

Laban’s Choreutic scales are patterns based upon joint structure, bodily proportion, range of motion and the necessity of maintaining bipedal balance as we move through the gravitational field of our environment.

At the most basic level, Laban’s scales address orientation to space through three body axes – vertical, horizontal, and sagittal – and the motions used in attack and defense. … Read More

Laban’s initial work focused on creating a way to record dances in symbols – Labanotation/Kinetography was the result.  Analogous to musical notation, this way of looking at movement serves to make a record of the visible structure of movement that can be read and reproduced.

To do so, the notation indicates the parts of the body that are used, the directions and spatial paths they follow, and the duration of these actions. It differentiates among weight-bearing and non-weight bearing actions, with close attention to where a movement is initiated.… Read More

Laban primarily used the octahedron, cube, and icosahedron as movement models.  However, geometrical models are usually sold in sets that feature all five Platonic Solids, including the tetrahedron and dodecahedron.

For movement study purposes, you need “skeletal” models; that is, models without solid faces.   Skeletal models consist only of edges and corners, such as the Platonic Solids shown in the accompanying illustration. These models make it possible to see into the interior space of these regular three-dimensional forms.

You can find kits for building skeletal polyhedral among educational children’s toys, such as Zometool. … Read More

Laban recognized that movement is a psychophysical phenomenon involving both body and mind.  Understanding Laban’s notions of space harmony also requires both physical and mental effort.

In the upcoming MoveScape Center workshop, “Harmonics of Space,” we approach Laban’s space harmony scales using both body and mind.  We explore how Laban created a comprehensible geography of movement space, and then employed consistent design principles to create elegant, “harmonic” sequences of directional change.

To support our mental efforts, I recommend working with visual, three-dimensional models. … Read More

Laban developed spatial sequences known as “scales” using both the octahedron and cube. His major harmonic scales, however, unfold within an icosahedron.  There are many reasons why Laban preferred this three-dimensional form as a virtual geography of the kinesphere.

The icosahedron is more spherical than either the octahedron or cube.  The oblique lines of motion defined by the edges and transverse rays of the icosahedron are “those which we most easily distinguish when seeing and experiencing movement,” according to Laban.  Moreover, there is a strong correlation between “the angles of the icosahedron and the angles occurring in the movements of the body in normal everyday use.”… Read More

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