The kinesphere is not an empty space, for it has a visceral center that is occupied by the mover’s body and enlivened by his/her desires and needs. When we move, we feel space. Literally. We have sensory systems that signal where our limbs are, our relationship to gravity, and whether we are in balance, or not.
There is a very close relationship between body and space. Laban investigated this relationship carefully, first as a visual artist representing the human figure in motion; then as a dancer and movement theorist. Drawing on these two lines of artistic endeavor, Laban designed spatial sequences for dancers analogous to the tonal sequences or “scales” practiced by musicians.
Laban’s “harmonic” spatial sequences are abstract, geometrical patterns. They are not easy to embody. Yet, when carefully studied and imaginatively performed, Laban’s Choreutic forms are full of feeling.
This is exactly what individual movers and participants in the Movement Harmony Project Part 1 reported. Find out more in the next blogs.