Snakes in Space?

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Rudolf Laban thought so; he found them in the kinesphere!  “Snakes” are one of the seldom taught space harmony forms that Cate Deicher and I will be exploring in our “Advanced Space Harmony” workshop, December 3-4, in New York City.

Our aim in this workshop is to introduce new Choreutic forms and demonstrate how these can serve as a design source for movement.  Unlike most of the familiar space harmony scales, snakes are not rhythmic circles. That is, they do not begin and end at the same point in the kinesphere. … Read More

Advancing and Promoting Movement Analysis

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If the field of Laban-based movement study is to grow, theoretical research must be on-going, public demand for the services of movement professionals must be cultivated, and the field must be self-governing so that incompetent and unethical practices are not tolerated.

Since its inception in 1991, Motus Humanus has addressed these needs in a variety of ways.

Research and Publication. Through our Seed Money program, Motus Humanus has provided over $3000 of funding for research, publication projects, and archival support.  We have published two monographs, contributing copies to universities where Laban Movement Analysis or Labanotation are taught.… Read More

Serving the Laban Community

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Since 1991, Motus Humanus has been serving the Laban community by providing various services to support movement professionals as they develop their post-certification careers.  These include the following.

Continuing Education for Movement Analysts.  Motus Humanus has sponsored 14 advanced seminars addressing topics such as space harmony, effort phrasing, Bartenieff Fundamentals, teaching Laban Movement Analysis, observation and notation, movement psychology for actors, understanding movement patterns, and more.  Our roster of instructors draws upon 40 leading Laban experts from the US and overseas. … Read More

Motus Humanus Turns 25!

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In 1991, Charlotte Honda, Kaoru Yamamoto, and I formed Motus Humanus, a professional organization for Laban-based movement specialists. Over Labor Day weekend, we celebrated our 25th anniversary in Santa Fe, New Mexico, with over 30 movement analysts and invited guests.

“Six Conversations about Human Movement” provided the theme for this, our 8th Roundtable on Professional Issues.  In this unique event, each of our six volunteer Board members (David Bauer, Cate Deicher, Alison Henderson, Becky Nordstrom, Kaoru Yamamoto, and myself) invited a special guest for a chat. … Read More

Tensegrity – Did Laban Beat Bucky Fuller?

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In 1975 Buckminster Fuller coined the term “tensegrity” by contacting two terms —  tensional and integrity.  Simply defined, tensegrity refers to “compression elements in a sea of tension.”

“Tensegrity structures,” cantilevered struts held together by strings, appear in photographic records of sculptures created by Rudolf Laban during his convalescence at Dartington Hall (1938-39).  Of course, Laban was modeling Choreutic trace-forms.  But he seems to have happened upon the concept of tensegrity, or more accurately, to have grasped intuitively today’s emerging models of the body as a biotensegrity structure.… Read More

Choreutic Practice – Healing the Mind-Body Split

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The aim of choreutic practice, according to Rudolf Laban, is “to stop the process of disintegrating into disunity.”  In his view, bodily movement “can have a regenerating effect on our individual and social forms of life.”

In our upcoming Advanced Space Harmony workshop, Cate Deicher and I intend to “push the envelope” by exploring new frontiers in choreutic practice.  The workshop focuses on bringing seldom-taught space harmony sequences to life.  This requires, as Laban notes, “integrating the bodily perspective, the dynamic feeling and the controlling faculties.” … Read More

“Summer of Dance” Dissed

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I may think the Denver Art Museum’s “Summer of Dance” is splendid, but the Denver Post’s critic disagrees.  He writes, “As a theme, ‘dance’ is, frankly, thin, a fringe topic that’s wholly without risk and lacks the kind of gravitas that a serious museum has the skill and resources to tackle.”  Other phrases are similarly dismissive:  “escapism,” “light touch,” “fun,” and finally, in response to the display of Anna Pavlova’s tutu – “This year, its feathery fluffiness feels like a metaphor for the whole lineup at DAM.”… Read More

Denver Art Museum’s “Summer of Dance”

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My home town’s major art museum is hosting four separate exhibits on dance this summer.  Art and Dance have many close connections, so I think it’s splendid to see dance featured so prominently in a major museum setting!

My favorite exhibit is “Why We Dance: American Indian Art in Motion.”  This exhibit, assembled by in-house curators, draws upon paintings of traditional dances and displays of dance costumes, drums, and other artifacts.  It also incorporates videotaped interviews with Native American dancers who participate in the yearly powwow held at the Denver Art Museum. … Read More

Dance’s Duet with the Camera Published

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I am happy to announce the publication of Dance’s Duet with the Camera.  This collection of essays, edited by Telory D. Arendell and Ruth Barnes and published by Palgrave Macmillan, “takes on the difficult task of verbalizing how the live aspects of present, sweaty, energy-driven dancers might collaborate with the more staid, focused, and digitally manipulated forms of either 2D or 3D film.”

My own contribution to the book is a chapter on Fred Astaire.  This marvelous dancer’s best work was captured on film. … Read More

The Value of Choreutics Part 2

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In addition to developing physical skills, Choreutic practice also challenges movers intellectually.  It gives us a way to think about space.

Generally, if we think about space at all, we think of it as a void, an empty place. In other words, for us, space is an absence.  Laban, on the other hand, asserts that space is a presence, a “superabundance” of potential movements.  And he provides a geography to help us visualize the many possible pathways our movements may take.… Read More