Shape as Laban Conceived It

Posted on August 17, 2017 by Carol-Lynne Moore

Choreutics (space) and Eukinetics (effort) are the two broad categorical headings under which Laban grouped elements of movement. He did not single out shape as a separate category. Initially, shape was a Gestalt concept for Laban, a combination of the lines traced by the body in space and the dynamic qualities observable in these three-dimensional sequences.

Laban’s first career as a visual artist and his familiarity with Art Nouveau and abstract Expressionist theories influenced his initial description of shape as an element of dance and movement. In Meaning in Motion, I explain that Laban’s notion of the mover’s space has two aspects: one descriptive and one prescriptive. Now it is time to explore Laban’s “Language of Space”: https://movescapecenter.com/labans-language-of-space/For example, Laban studied with the Swiss botanist and artist Hermann Obrist. Obrist admonished his students to understand natural objects as images “full of expressive forces, full of linear, plastic, constructive movements.”

Laban applied this notion to dance. In his first book, he noted that “the dancer observes the form of things and the movement of living creatures as to their directional tendencies.” Then the dancer translates these into gestures laden with “psychic tension.”

Consequently, the shape chapter in Meaning in Motion opens with a movement exploration based upon the shapes of natural objects, such as rocks, shells, pine cones, branches, etc. The chapter moves on to discuss a more precise definition of movement shapes, focusing on modes of shape change and shape qualities. The chapter closes with working definitions of the elements of shape.

Laban’s Alphabet of Human Movement

Posted on August 8, 2017 by Carol-Lynne Moore

In the early 20th century, before there were video cameras and smartphones, Laban recognized that dance, like music, needed a notation system to allow choreographies to be recorded. Developing a movement notation system necessitated two steps. First, the elements that make up the “alphabet of human movement” had to be identified. Secondly, symbols to represent these elements and their combinations and sequences had to be invented.

Like all good theoreticians, Laban wanted to control the number of elements so as to make his notation system as economical as possible. He had observed that “the dancer moves, not only from place to place but also from mood to mood.” This observation provided two broad categories for delineating elements of movement: “Choreutics” – where the parts of the body move in the space around the body, and “Eukinetics” – how energy is deployed as the dancer moves through space.

In delineating Choreutic and Eukinetic elements of movement, Laban’s analytic system becomes more detailed and complex. Nevertheless, Laban’s alphabet of movement requires the observer to recognize essential similarities among actions that appear rather different. As I write in Meaning in Motion, the effort quality of lightness “occurs in the tender stroking of a loved one’s cheek and in dusting crumbs off a table top – actions that seem to have little in common.” Yet they share an essential effort quality.

It can be a challenge to help college students recognize, as Laban did, that “whether the purpose of movement is work or art does not matter, for the elements are invariably the same.” But this recognition leads on to the realization that movement is a common denominator of human action. As life becomes ever more complex, isn’t it worthwhile to know this?

Effort and Human Potential

Posted on July 25, 2017 by Carol-Lynne Moore

“We live only part of the life we are given,” writes Michael Murphy in The Future of the Body. “Growing acquaintance with once-foreign cultures, new discoveries about our subliminal depths, and the dawning recognition that each social group reinforces just some human attributes while neglecting or suppressing others … suggests that we harbor a range of capacities that no single philosophy or psychology has fully embraced.”

Rudolf Laban would certainly agree. “Preference for a few effort combinations only results in a lack of effort balance,” Laban notes. “New dances and new ideas of behavior arise by a process of compensation in which a more or less conscious attempt is made to regain the use of lost or neglected effort patterns.”

If we live only a part of the life we are given, it is because we habitually use only a few effort combinations. To me, the great benefit of effort study is to experience, if only fleetingly, other ways of being in the world.

While I was first studying Laban Movement Analysis, I had a profound experience embodying an effort combination of the Spell Drive. I momentarily became someone else and glimpsed an unfamiliar inner landscape. This was not a part of the world that I normally inhabit. Maybe I didn’t really want to live here. But it was wonderful to discover a new realm of experience and to realize that I could consciously choose to enter this new world simply by moving in a certain way.

To me, the study of effort is the study of human potential, a chance to access a greater range of capacities that are not just physical in nature, but personal, psychological, and perhaps even spiritual.

Psychological Dimensions of Effort 1

Posted on July 11, 2017 by Carol-Lynne Moore

Rudolf Laban recognized that the four motion factors (Space, Weight, Time, and Flow) characterize both physical and mental effort. He associated Space with attention, Weight with intention, Time with decision, and Flow with progression.

Laban saw these mental efforts as both preceding and accompanying “purposive actions.”

Warren Lamb went on to refine these correlations of physical and mental effort in relation to a decision-making process. He found that through the careful observation of an individual’s movement patterns, a unique decision-making profile can be discerned. Recent research has confirmed that Movement Pattern Analysis provides a reliable prediction of how an individual will apportion his or her time and energy across the processes of giving attention, forming an Intention to act, and taking that decision to the point of Commitment.

MoveScape Center is offering an “Introduction to Movement Pattern Analysis” this summer. This seminar, limited to six participants, not only covers the core theory and practice of Movement Pattern Analysis (MPA), it also allows each participant to have his/her own profile constructed by the instructor.

Over the past 75 years, MPA has helped thousands of people work more effectively, both individually and in teams. Find out more….

Flow Changes Everything

Posted on June 20, 2017 by Carol-Lynne Moore

When flow takes the place of another motion factor, Laban wrote, “the expression is more intense” and the whole configuration “gains new meaning.” In the Mastery of Movement correspondence course, we tested Laban’s assertion.

Readers were asked to choose one of the transformation drives – either Passion or Vision or Spell. They were to work out the eight effort quality combinations of that drive and then embody each mood.

The Vision Drive combines the motion factors of Space, Time, and Flow (the motion factor of Weight is latent). Cate Deicher, who will be co-teaching the July workshop, “Expanding the Dynamosphere,” with me, explored the Vision Drive. She has graciously allowed me to share her descriptions of what each combination felt like…

I went to a Merce Cunningham exhibit this past weekend and saw footage of Merce dancing. His movement seemed to be a lot about Vision Drive. Those images have stayed in my mind, so I chose that drive. I’ve also been thinking about Iceland. I was there 40 years ago and will be going back soon. So this is a combination of Merce + Iceland.

1) free+indirect+decelerating: I take pleasure in leisurely exploring the incredible, charmingly, unfamiliar landscape.

2) free+ direct+decelerating: I see an unusual patch of color in the stony landscape, and want to get a closer look. As I approach it I take my time to enjoy how the shading of color changes with the movement of the clouds.

3) free+indirect+accelerating: In the harbor, a strong gust of wind scatters a flock of seabirds in the sky above. I try to keep track of all of them as they circle about.

4) free+direct+accelerating: I scoot quickly, gleefully away from Geyser as it begins to bubble up.

5) bound+indirect+decelerating: We’re entering an ice cave. The ground is icy, but there is otherworldly light that is reflected all around.

6) bound+direct+decelerating: I’m approaching Geyser. It’s a stunning display, but I’ve been told that sometimes you can feel and observe fissures starting to form in the earth. I’m careful about this, I also want to be able to flee if I start to feel the ground rumble. Still, I’m fascinated by Geyser; my whole body is trained upon this spectacle.

7) bound+indirect+accelerating: I know there are no birds here, so I feel a bit threatened by something that just flew by me from out of nowhere. Where did it come from?

8) bound+direct+accelerating: I shudder and dash to the shelter of the bus stop as the cold, heavy rain begins to fall.

Just Add Flow

Posted on June 13, 2017 by Carol-Lynne Moore

Laban’s well-known basic actions combine the movement factors of Space, Weight, and Time. However, the whole mood of an action changes when Flow replaces one of these motion factors. Then the functional action is transformed into a visionary, passionate, or spell-binding mood.

Laban admits that “even when man sets about a working job and his bodily actions have to fulfill practical functions they are distinguished by personal expression.”

However, when flow takes the place of another motion factor, “the expression is more intense.” According to Laban, this is because “These configurations build up individual units in which the single constituent part submerges entirely.” Thus the whole gains a new meaning and importance. In other words, the Vision, Passion, and Spell drives are distinctive moods in which the whole is greater than the sum of its parts, just as green, while being composed of blue and yellow, is a distinctive color all its own. This is where Laban’s effort theory, composed of only four motion factors and eight contrasting effort qualities, blossoms into a multi-colored landscape encompassing both function and expression.

In the forthcoming workshop, “Expanding the Dynamosphere,” we will start with the basic actions and organic sequences of these actions. Then we explore the transformation drives – Vision, Passion, and Spell. Find out what happens to the chemistry of effort when we just add flow!

Demons Into Goddesses Through Effort Magic

Posted on June 8, 2017 by Carol-Lynne Moore

Laban personifies each of the eight basic actions in Mastery of Movement. He characterizes Floating (all indulging qualities of Weight, Time, and Space) as the Goddess and Punching (all fighting effort qualities) as the Demon. He goes on to note that it will not be difficult for the actor or dancer to depict these characters, for we “remember the age-old symbolism of love’s soft floating movements, and of the violent and abrupt movements of hatred.”

During the recent MoveScape Center Mastery of Movement correspondence course, Rebecca Nordstrom created a sequence of basic actions and imagined this movement sequence as a scenario involving the Demon and the Goddess. It is a beautiful example of how imagination can bring Laban’s effort theories to life.

Becky has graciously allowed me to share her scenario….

Scale of moods order: Punch, slash, wring, press, glide, dab, flick, float.

A demon looks at the large oblong object that mysteriously appeared in his lair. First, he strikes it with his fist, punching repeatedly to try to break it open. He then slings it violently and repeatedly around the room sending it crashing into the walls, floor, and ceiling (slashing). When that doesn’t work, he grabs it in his hands and tries to twist it open with great force (wringing). Lastly, he leans against it with all his force trying to crush it (pressing). Exhausted, he collapses into a heap and falls asleep.

Out of a hole at one end of the object a veiled figure slowly, gently and steadily emerges (gliding). Once free of the object the figure quickly but gently pokes at the surrounding veil with long delicate fingers and toes (dabbing). Once loosened, the veil is gently but quickly tossed aside with flicking gestures.

Now completely free of the veil, the figure begins to spread its wings and gently, delicately rises. As the butterfly goddess knew, she was only able to emerge from her chrysalis cage with the help of the unsuspecting demon. She hovers over his sleeping body to whisper her thanks before floating gently out of his lair and into the bright sunshine.

Laban’s Eight “Basic Actions”

Posted on June 6, 2017 by Carol-Lynne Moore

Anyone with even a brief exposure to Rudolf Laban’s work will be familiar with the eight Basic Actions – float, glide, dab, flick, punch, press, wring, and slash. These functional actions are the bedrock of Laban’s effort theory.

As Laban noted, humans move to satisfy needs. Some needs are tangible – food, shelter, rest, and physical safety. This is where the basic actions come in – we employ these when working with material objects to achieve material needs.

Movement occurs in sequences, and these basic actions can be arranged to create a “scale of moods.” In the recent MoveScape Center correspondence course, “Mastering Rudolf Laban’s Mastery of Movement, we played with creating sequences of basic actions to see what kind of situations these effort changes might suggest.

In Mastery Laban notes that the “chemistry of effort follows certain rules because the transitions from one effort quality to another are either easy or difficult. In ordinary circumstances, no sane person will ever jump from one quality to its complete contrast because of the great mental and nervous strain involved in so radical a change.”

Consequently, my correspondence students were instructed to shift from floating to its dynamic opposite, punching, by only changing one effort quality at a time. It’s a great challenge — and one that takes you deeper into understanding effort.

Find out more in the upcoming MoveScape Center workshop, “Expanding the Dynamosphere” in New York City, July 29-30.

April Dances Bring Advances 2

Posted on May 18, 2017 by Carol-Lynne Moore

Fifteen years ago, Olie Westheimer, executive director of the Brooklyn Parkinson Group approached the Mark Morris Dance Company about creating a dance class for her clients. Dance for PD©, a program training teachers and providing classes for those with Parkinson’s disease, is the result.

The program initially met with skepticism, recalls dancer-developer David Leventhal. Medical doctors felt that dance is “frivolous.” As Leventhal notes, “There is a lot of misconception about the amount of learning and skill and brain work and physical work that somebody has to do to execute a dance.”

Helen Bronte-Stewart, a Stanford professor of neurology and former dancer, agrees. “As physicians, we stress the importance of physical activity, social interaction and mental stimulation to our patients with Parkinson’s disease. Dance for PD gives them all three.”

Here we have the same triumvirate of benefits noted in the research on contra dance and memory – dancing provides cognitive and social stimulation in addition to physical activity. But that is not all.

As Bronte-Stewart continues, dance is more than just physical therapy – “The PD dancers have told us this type of dance restores their self-image and brings them joy.” Immersed in the activity, participants sometimes find they are able to regain function. For example, during a flamenco dance routine, one woman found herself snapping her once-rigid fingers – “it just came to me,” she recalled in amazement.

April Dances Bring Advances 1

Posted on May 16, 2017 by Carol-Lynne Moore

In late April we celebrate National Dance Week. This year’s festivities come with scientific evidence that dancing is good for you! A research team based at Colorado State University found that contra dancing may help to fend off aging in the brain.

A four-year clinical trial followed a group of 174 healthy adults aged 60 – 79. The group was divided into four parts. One group did aerobic walking, another not only walked but also took a nutritional supplement, the third group participated in stretching and balance classes, and the fourth group attended contra dance classes involving a sequence of figures as dancers progress up and down a line. Each group met three times a week for six months.

The study focused on the fornix, which connects the hippocampus with other areas of the brain and is believed to play an important role in memory. Each participant’s fornix was measured at the start of study and six months later. The integrity of the fornix increased in the dance group in contrast to declines noted in half of the other participants.

This finding led researchers to conclude that “there is more benefit in activities like dance, that simultaneously provide cognitive and social stimulation in addition to physical activity,” according to an article in The Denver Post.

This study of the benefits of contra dancing is just the tip of the iceberg. Find out more in the next blog.