Zweig’s memoir chronicles the descent into dystopia and the multiple displacements triggered by war —  features of the life of his generation that also impacted Rudolf Laban.  Yet there is another side to the history of this period, one captured in Larraine Nicolas’s chronicle, Dancing in Utopia.

The book focuses on Dartington Hall, a rural estate in southwest England purchased by the wealthy Elmhirsts in 1925.  The couple aimed to create a community where industry and agriculture were carried out scientifically and where the arts would be available to all workers.… Read More

For an insightful look backwards, I recommend Stefan Zweig’s memoir, The World of Yesterday.  Zweig (1881-1942) was a contemporary of Rudolf Laban (1879-1958).  Both were born and educated in the Austro-Hungarian Empire and both became artists – Zweig as a popular writer in the 1920s and 1930s; Laban as a leading dancer during the same period.

In his final book, written in 1942, Zweig provides a first-person description of peaceful European culture before the first world war and the subsequent violent disruptions of the war, the rise of fascism, and the beginning of the second world war.… Read More

The month of January is named after the Roman god, Janus.  Janus, the god of doors, gates, and transitions, is depicted as having two faces – one looking back and one looking forward.

This depiction calls to mind Winston Churchill’s observation:  “Those that fail to learn from history are doomed to repeat it.”

Movement is evanescent, yet by now, movement study has a history, in part due to the seminal work of the 20^th century polymath, Rudolf Laban.   Lest we forget this history, this month’s blogs address books that provide insight into the life, times, and career of this pioneer in the study of human movement.… Read More

MoveScape Center (MSC):  I’m sure readers are eager to know how you manage to enter and leave homes through the chimney. The famous poem by Clement Clark Moore makes it sound easy.

Santa (S):  I know, but it takes more than laying a finger on the nose and nodding to get up a chimney.

MSC:  So what is your secret?

S:  I use Laban’s idea of spatial tension.  He relates diagonal pathways to mobility – I use these to hop in and out of my sleigh. … Read More

As he endeavored to paint the human being in motion, Leonardo da Vinci was the first to detect a “second form” of the body.  This “second form” became visible in the circling movement around the body center and that of the limbs around their joints.  Laban called these circling movements “trace-forms.”

Laban stylized Leonardo’s circles, transforming them into rhythmic circles or polygons.  “Polygons are circles in which there is a spatial rhythm,” he explained. “A triangle accentuates three points in the circumference of a circle, a quadrangle four points, a pentagon five points, and so forth.”… Read More

For Laban, the body and the space immediately surrounding it are closely related, for the center of the body is also the center of the bubble of personal space called the kinesphere.

Moreover, the body and kinesphere are also related to general space.  While general space may appear to be a “void in which objects stand and – occasionally – move,” Laban asserts that “empty space does not exist.”

Instead, space is a superabundance of simultaneous movements, a matrix of forces and vectors. … Read More

Just as the body is personal, so is the space it occupies.  “We must distinguish between space in general and the space within reach of the body,” Laban explained.  He called this personal reachable space the “kinesphere.”

The kinesphere is the space surrounding the body whose periphery can be reached by easily extended limbs without taking a step.  Outside the kinesphere lies the rest of space, which can only be accessed when we begin to locomote.

Even when traveling through space in general, the kinesphere is an ever present  extension of the body itself. … Read More

Body, Effort, Space, and Shape have been identified as the four major categories of Laban’s analytic framework.  Each factor can be seen as discrete and categorically different.  Nevertheless, all four factors are simultaneously manifested in every physical action. As Laban writes in Choreutics, these different movement elements “are entirely inseparable from each other.”

This inseparability led Laban to look for some underlying principles to explain the tie that binds these elements and allows them to seamlessly cohere with undue mental calculation on the part of the mover. … Read More