Archival Traces of Irmgard Bartenieff

Posted on January 9, 2018 by Carol-Lynne Moore

Prior to the Bartenieff Symposium last year, I arranged to peek at a few files in the newly accessible Bartenieff Archive at the University of Maryland. My aim was to look at correspondence between Warren Lamb, Judith Kestenberg, and Irmgard. I think of these three leading figures in the field of movement study as a triumvirate of minds. While they each did their own thing, they also studied and worked closely with one another. There must have been a fascinating cross-fertilization of ideas….

However, what I discovered among correspondence in the archive had more to do with Bartenieff herself. Among the treasures is a draft or a copy of a letter she wrote to Rudolf Laban in October 1947. By this date, Irmgard had been in the U.S. for over a decade and practicing physical therapy for at least five years.The letter deals with her work rehabilitating victims of the polio epidemic, primarily children.

In writing to Laban about this work, Bartenieff notes that she has also started a dance class for convalescent children, and this work in dance is making her happy. Then, in a moving passage, she writes:

“Once one has experienced with a deepening awe what it does to a human being when the language of the limbs has become blurred or distorted [through acute paralysis] one seems to develop an intensified sense of rhythm and harmony, and the job of rehabilitation seems incomplete unless the elements of play and dance are included in some form.”

What a wonderful expression of the therapeutic value of dance!

Movement Study Anniversaries — Past and Present

Posted on January 4, 2018 by Carol-Lynne Moore

Continuing the January theme of looking back and forward, 2017 marked the fiftieth anniversary of the Language of Dance Center UK and the twentieth anniversary of the Language of Dance US. The LOD centers are dedicated to the promotion of movement literacy by linking dance notation with creative dance exploration and education.

To commemorate these milestones, a celebration was held on October 28, 2017, at the Royal Academy of Dance in London.This event included a free workshop followed by a panel discussion on applications of the Language of Dance in the UK, US, Mexico, and Japan. A gala party followed, which also honored dance notation pioneer and LOD founder, Ann Hutchinson Guest, on the happy occasion of her 99th birthday.

Looking forward, the Laban/Bartenieff Institute of Movement Studies (LIMS) is celebrating its fortieth anniversary with a conference in New York City May 31- June 2. Since 1978, the Institute has carried the mission of preserving, teaching, and advancing Laban-based movement studies.

As a member of the Founding Board of LIMS and one of the honorary conference chairs, I look forward to the event, which will not only honor movement analysis pioneer Irmgard Bartenieff but also highlight the many applications of movement study in all walks of life.

Bartenieff Symposium – Many Happy Connections

Posted on December 14, 2017 by Carol-Lynne Moore

On November 10th close to 65 Labanites gathered at the Performing Arts Center at the University of Maryland, College Park, to celebrate the opening of the Irmgard Bartenieff Archive.

Susan Wiesner, a digital humanist, had organized the event. Here is birds’ eye view of the happy gathering.

– Forrestine Paulay and Martha Davis in conversation about their respective studies and research with Irmgard

– Carol-Lynne Moore – Bartenieff: Icon of Possibilities

– Ann Hutchinson Guest and others – sharing memories of Irmgard

– Movement sessions led by Peggy Hackney, Tara Francia Stepenberg, and Karen Studd

-Robin Neveu Brown (and husband) – comedic performance piece on giving birth through Laban lenses

-Catherine Eliot – Bartenieff’s Legacy and Occupational Therapy

-Rachell Palnick Tsachor – Movement and Trauma

-Susan Wiesner – film showing of “Schrifftanz Zwei” – a reimagining of Bartenieff’s “Chinese Ballad” choreography, based on archival notes and floor plans

The event closed with a movement choir led by Catherine McCoubrey

This was one of the most satisfying events I’ve been to – a wonderful reconnecting with old friends and new. Hats off to Susan Wiesner, curator Vincent Novarra, and the whole staff of the Performing Arts Library Special Collections!

Dance and the Written Word

Posted on December 7, 2017 by Carol-Lynne Moore

Dance is a nonverbal art. Yet, as practitioners of an evanescent art, writing is often quite important to dancers. Nijinsky kept a diary. Loie Fuller, Isadora Duncan, Martha Graham, Agnes DeMille, and Paul Taylor produced autobiographies. Isadora Duncan wrote essays on the dance, as did Merce Cunningham and Murray Louis. Doris Humphrey and Twyla Tharp have addressed creative issues in dance. Katherine Dunham, whose career spans anthropology and performance, has written profusely.

The list goes on and on. Dance may be a nonverbal art, but dancers are hardly silent on this subject. And the written traces of their lives and work matter.

Written traces not only include published works but the much larger body of correspondence, notes, sketches, diaries, photographs, even invoices. From these scattered sources a fuller picture of the individual artist emerges – their friends and family, their private thoughts, their challenges as well as their successes.

For example, the dance scholar Juana de Laban’s archive is housed at the Dallas Public Library. Dr. de Laban, my undergraduate dance history teacher at Southern Methodist University, was the eldest daughter of Rudolf Laban’s second marriage. Her correspondence with her father, dating from after World War II, paints a much different picture of Laban’s family relations than what is usually recounted in other sources.

For this reason, the opening of the Irmgard Bartenieff Archive in the Performing Arts Library at the University of Maryland, College Park, is cause for celebration. More about this miracle in the next blog.

Laban Prevails

Posted on November 19, 2017 by Carol-Lynne Moore

At the recent Bartenieff Symposium, Martha Davis lamented the loss of seminal works in nonverbal communication research. During the 1960s, there was lots of money for research. While she assisted Irmgard Bartenieff at Albert Einstein Day Hospital, other researchers such as Ray Birdwhistell, Albert Scheflen, and William Condon would drop by for informal discussions of what they were doing.Today, no one reads their work; current students are advised not to read research it wasn’t done in the last five years.

But Laban prevails. Through thick and thin, organizations such as the Laban Guild, the Dance Notation Bureau, the Laban/Bartenieff Institute, and the Language of Dance Centres, along with other groups such as Eurolab, ICKL, and Motus Humanus, have provided basic and advanced training and opportunities for collegial exchange.

The Laban communities have produced a rich literature that is still read. The Laban community has continuity.

Movement study has always been interdisciplinary, and perhaps that is what keeps us going. In her Statement to the Press, when Bartenieff was being added to Laban Institute moniker, Irmgard noted:

“We need a place where the related disciplines which deal with human expression and physical function can enrich their knowledge – a center for comparison, analysis, and cross-fertilization of ideas from the whole field of movement study. It is my hope that here we will, in a true sense, strengthen the thinking which we begin to call holistic in science and in the arts.”

On Irmgard Bartenieff

Posted on November 16, 2017 by Carol-Lynne Moore

In the summer of 1975, I left the Nikolai-Louis Studio, walked across Union Square to the Dance Notation Bureau, and declared I was interested in the Effort/Shape Program.

I was ushered in to see Irmgard Bartenieff, a delicate elderly German lady who had worked directly with Rudolf Laban. She was guiding spirit of the Effort/Shape program. I don’t remember exactly what we talked about, but Irmgard was open and encouraging. I became her student, then her assistant, and eventually a fellow faculty member.

After her death, when I left New York and found myself on my own with no Laban colleagues handy, I really missed Irmgard. Then I began to appreciate fully the scope of her knowledge and the positive impact of who she was and her whole way of being in the world.

Consequently, I am delighted that Irmgard Bartenieff’s archives have a home now at the University of Maryland library. I am looking forward to the upcoming Symposium on November 10th, when those influenced by Bartenieff will share their reminiscences. This event, organized by archivist Susan L. Wiesner, launches an exhibit in the Performing Arts Library gallery that follows Irmgard’s path through her professional life. And what a career – dancer, Laban student, Labanotator, physical therapist, dance therapist, Effort/Shape guru, teach, author, and dance ethnographer. She was a living example of the many ways movement study can be applied. Thus the title of my Symposium talk – “Irmgard Bartenieff – Icon of Possibility.”

The Mysterious Mobius

Posted on October 12, 2017 by Carol-Lynne Moore

The mobius strip, also known as a lemniscate, is a unique shape having only one side and one edge. The shape was invented almost simultaneously by two German mathematicians in 1858. It became popular as a prop for magical parlor tricks in the late 19th century, and perhaps this is how Laban encountered it.

You can make one yourself by twisting a strip of paper and joining the ends. A normal band (think of a rubber band or a simple bracelet) has an inner surface and an outer surface and two edges. But the mobius strip has only one surface and one edge. That is, if you start tracing a line on the outer surface, your pencil will move to the inner surface and return to the outer surface without ever lifting the pen. Similarly, if you start running a finger along one edge and circuit the strip twice, you travel along both edges without interruption.

In other words, the outer becomes the inner and the inner becomes the outer.

Laban writes about lemniscates in Choreutics and even maps a couple in the kinesphere using direction symbols. Does Laban mean for this to be taken literally, as a spatial trace-form? Of is this a symbolic form? Find out more in the forthcoming MoveScape Center course, “Decoding Choreutics.”

Advancing Laban’s Work in Germany

Posted on September 21, 2017 by Carol-Lynne Moore

I will be teaching master workshops for Eurolab in Berlin in mid-October. The workshop theme is “Laban as Pattern Maker – Material That Never Gets Taught in the Certificate Program.”

Across three days, we will be exploring patterns in space and effort patterns. In terms of space, I aim to start with concepts that underlie Laban’s Choreutic forms, such as “rhythmic circles,” symmetry operations, and spatial intervals. Practical work will focus on embodying the Primary Scale, along with mixed 7-rings (one of the Choreutic forms that is seldom taught).

We will also explore how Laban applied symmetry and asymmetry in developing effort sequences and patterns. These little known aspects of Laban’s thinking are critical to phrasing effort changes organically and meaningfully.

During the last day of the workshop, we return to spatial themes, learning and working creatively with peripheral and transverse 5-rings, tilted planes, and an open form that Laban’s intriguingly referred to as “snakes!”

Eurolab (European Association for Laban/Bartenieff Movement Studies) has been running Certificate Programs in northern Europe since the late 1980s. By now, there is a healthy community of European Laban Movement Analysts doing very interesting work. I taught and helped run some of the early programs, so I’m very excited to be returning, to reconnect with familiar faces and meet new ones.

Advancing Laban’s Ideas in the Movement Studio

Posted on September 12, 2017 by Carol-Lynne Moore

During the recent MoveScape Center workshop, “Expanding the Dynamosphere,” in New York City, we all had an “ah ha” moment about Laban’s effort theory. Here is how this insight unfolded.

Laban identified four effort drives. Of these, the Action Drive is the best known, for it deals with practical movements involved in working with tangible objects. The other three drives – Vision, Passion, and Spell – are called “transformation drives.” These are more subtle and complex effort combinations that have less to do with physical actions and more to do with mental activities such as thinking, feeling, and willing.

For Laban, mental activities also involve moving. I’m sure he would agree with Mabel Ellsworth Todd, who wrote “For every thought supported by feeling, there is a muscle change.” Laban obviously characterized the combination of space, time, and flow factors as the outward embodiment of visionary states of mind – those mental acts of following a line of thought, steadily concentrating, soaring on the wings of imagination, catching a sudden insight, coming to a gradual realization, and so on.

Yet, when workshop participants were asked to identify associations with the various combinations of Vision Drive, they kept coming up with practical actions, like throwing darts and quenching fires. They reverted to physical actions that were not visionary in the least.

This made us all realize that while we movement folk complain about the mind/body split, we tend to privilege the body over the mind. This sometimes leads us to think about effort in strictly physical terms.

Laban was way ahead. He realized that movement is a psychophysical phenomenon. And he stuck to this view, finding effort in thinking, feeling, and willing as well as in acting.

Body or Soma?

Posted on August 22, 2017 by Carol-Lynne Moore

Laban Movement Analysis allows one to approach the body both objectively and subjectively. Labanotation and motif writing provide means to analyze body actions objectively, while the somatic practice of Bartenieff Fundamentals is focused more on internal self-awareness.

Both bodily perspectives are presented in Meaning in Motion. The first section provides a terse illustration of how bodily actions are analyzed and recorded. The second section places the work of Laban and Bartenieff in the broader context of the somatics movement. A third section discusses principles and exercises of Bartenieff Fundamentals. The chapter closes with a compilation of body level concepts.

By incorporating both perspectives, instructors can tailor the “body” component of an LMA course to their specific needs. For some courses, a more basic and objective approach may be appropriate. What are the parts of my body? What are the types of actions I can do? How can I make simple sequences of actions? Studio activities around these questions can lead on to experience with simple notation or pave the way for another course in Labanotation.

Other instructors may prefer to focus on somatic dimensions. Some students relish this, others may resist. In the context of this, I have found that the key is to link the seemingly simple Bartenieff Fundamentals exercises to more dynamic and demanding movement sequences so that students experience links between body, effort, and space.