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

Attending the 34^th Biennial Conference of the International Council of Kinetography Laban highlighted the critical role that dance notation plays in the preservation of theatrical choreographies and folk dance traditions.

Truly international in focus, conference presenters and attendees hailed from the Americas, Europe, and Asia.  Lectures and workshops demonstrated the value of recording dance in symbols and its many uses in dance pedagogy, dance history, and the preservation and restaging of significant dance works for the stage, as well as the conservation of sacred and secular cultural movement forms.… Read More

During the week of July 14-20 the Laban Movement Analysis and Labanotation communities shared workshops, lectures, panels, and performances at the Ohio State University in Columbus, Ohio and nearby Kenyon College.

The overlapping conferences were organized respectively by the Laban/Bartenieff Institute (LIMS) and the International Council of Kinetography Laban (ICKL).  The gatherings marked an historic moment of reconnection and a re-envisioning of dialogue and mutual enrichment between the dance notation and movement analysis fields.

Get an eye-witness view of both conferences in the next blogs.… Read More