Issue No.

75 April 1994

CONTENTS

1. Paths, Traveling 1 5. LOD - 'Path' versus Traveling' 3

2. Meandering Symbol - A New Idea 2 6. Movement of Body-as-a-Whole or of a Part? 6
3. Path Signs and Room Areas 2 7. Can a Starting Position Indicate Movement 7
4. 'A Step' 3

CLARIFICATIONS IN USE OF MOTIF DESCRIPTION

The Language of Dance Foundation Course held in January 1994 raised questions regarding usage and exact
meaning of certain symbols, details not set forth clearly in the YOUR MOVE textbook. Here are some which
I believe will be of interest to everyone.

1. PATHS, TRAVELLING

1.1 How exactly should the sign for 'any path', any form of travelling be interpreted?
Question: does Ex. la mean:
i) one pathway, the type being your choice
of Exs. Ib, Ic, Id or le; OR does it . ^ ~T ~\. / ' /T\:

ii) travelling for the stated duration with any

mixture of these basic possibilities that
you choose? If so, then one form of
travelling will blend in with the next with -] a ^s 1b I 1 c ^x 1d X 1e
no sense of new, separate paths occurring.

1.2 The difference between these two interpretations is sufficient to make a separate, distinct choice.
Which interpretation should be appropriate for Ex. la?

1.3 The idea of placing the vertical ad lib. sign at the

base of the path sign, as in If, to suggest the
meaning of ii) was put forward at the January 1994
intensive LOD course. This usage ties in with the
placement of this ad lib. sign at the base of a circular
path to indicate that the shape is not exact, i.e., not a
true circle, there is some freedom in the shape, Ig. U
In structured scores this fact is often expressed by
alerting the reader to look at the floor plan as in Ih.
1 f /\ 1g ih>
1.4 Therefore, Ex. la means 'a path', travelling in one of the four forms and Ex. If means 'any path'
travelling as you wish, mixing all or any of the forms at will.
 The Labanotator, No. 75, April 1994

2. MEANDERING SYMBOL - A NEW IDEA

2.1 The shape of the meandering path sign, Ex. 2a, has never been ideal
because the shape suggests curving. This reaction may have contributed
to the fact that meandering is mistakenly interpreted as meaning 2a 2b
'curving', that is, making partial circular paths.

2.2 To be considered is whether modification of the sign in some way - 2b is one suggestion - would
visually give a better image of the sense and lack of intent of meandering. Please respond with your
ideas on this. (See discussion in 5.5 on motivation for meandering.)

2.3 If a new sign is adopted (this one or some other) for meandering, would 2a then mean curving? (See
5.10 for discussion of curving versus circling.)

3. PATHS SIGNS AND ROOM AREAS

3.1 Before the 'toward' and 'away' signs of 3a

and 3b came into general use, the indi- 3a T T
cations of Exs. 3c and 3d meant travelling
toward the stated room area. This idea is V ?
now much better expressed as 3e and 3f.
What then do 3c and 3d now mean? 3c ,> „!
3.2 Let us first look at 3g and 3h. In 3g the
performer starts in the downstage right
(DR) area and circles clockwise an un-
stated amount and with open choice as to
direction of steps. In 3h the circling ends
in the DR area. This is better expressed
orthographically with the vertical bow
Unking the path to the destination, as 3g C5 3h 3i
in 3i.

3.3 Heidi Weiss and Tina Curran suggested that the old usage of 3c could
mean that circling occurs in that area, as could occur in the statement
of 3j which shows starting and ending in the DR area. But 3j could be
interpreted as starting DR and ending DR but not necessarily circling in
that area, i.e. the performance of 31 rather than 3m. Is 3c a simpler way
a
of indicating this? The performance of 3d then is not obvious. A better
example would be several straight paths in that area. Perhaps 3k is the
best way of expressing that since several paths would be needed. C5 3k J_ _.

31 3m
 The Labanotator, No. 75, April 1994

4. 'A STEP'

4.1 The difference between transference of weight from one extremity to another ('walking', 'stepping'),
and transferences by steps which are specifically on the feet, had not been made clear. The following
modifications and meanings of the signs are now in the process of being established.

an action leading 'walking', 'stepping', weight

to a new support transference to an extremity
4a
(hand, foot, knee, head, etc.)

T
4c I
transference of weight
specifically to the feet.

a step on
either foot 4e
a step on
I left foot 4f r a step on
right foot 4g
weight onto
both feet

4.2 Previously there was not a clear distinction between 4b and 4c; this is needed. By establishing the
meaning of c), the transition to 4d, 4e, 4f, and 4g is more logical. Note use of the ad lib. sign across
the stem of the step symbol to denote 'either side', and the double vertical line to show both feet, 4g,
which may occur in coming to the feet after sitting or kneeling. This usage follows through when a
direction is specified:

a forward transference of a step forward on the

weight to an extremity right or left foot

a forward step a forward step

on the left foot on the right foot

a transference of weight onto both feet

41

5. LOD - 'PATH' VERSUS 'TRAVELLING'

5.1 In a very interesting discussion with Charlotte Wile (CW) in February, 1994, we compared how each
of us teaches 'paths' and 'travelling'. Charlotte who has been involved with Labanotation and also took
the LIMS course which includes Motif Writing and Effort Shape, has been working for some time with
children at Ballet Hispanico, teaching dance and introducing the Motif symbols to them. We found
that we have very different approaches to the topic of travelling. CW focuses on the design, laying a
yarn or string on the floor in an appropriate design and using this as a starting point for the children to
make the same design on the floor as a path.
4 The Labanotator, No. 75, April 1994

5.2 I see travelling as an activity which stems from some inner motivation, some sensation which then
produces an appropriate design, a path across the floor. The initiation of travelling can be very
different. It may result from inner stimulus, an internal need or desire. The outer stimulus of
producing a design on the floor, that suggested by CW, is more cerebral, the result of an exterior
command in that there need be no inner expression involved.

5.3 Both approaches to the topic are possible and sometimes one may be more relevant than the other. I
see focus on the process as important. Having a reason for travelling, having a need, is the point of
departure as to what shape, what form the path will take. For example, short straight paths may result
from the thought, "I want to go there! No! I want to go THERE! No - THERE!!" Constantly and
suddenly changing your mind causes the short straight paths. Or there may be an object or person
blocking the path which causes it to be short. The person may push you away into another direction,
like a ball being deflected. Such pushing away need not be negative but a game. "Are you the one
who has the (some special object)? No? Is it you? (going to the next person). Maybe YOU? How
about YOU?" These possibilities provide reasons that produce short straight paths. There are many
more. The PacMan idea is good, in that, in the computer game, Pacman is 'running' away from other
beings that try to eliminate him; as soon as he encounters one he changes direction. Such obstacles
can be objects, chairs, people dotted around the room which block the path thus giving a reason for the
interruption of the straight path causing it to be short.

5.4 Paths can start with floor plans. Here is a design, how are you going to achieve it in movement?
What direction will your steps be? Forward? Will you use steps in other directions? In how many
different ways can you produce this path? The path remains the same, but the movement you use can
vary considerably. Such a task may start as an intellectual task; here are the choices, select a few.
Later, once the movement sequence has 'jelled' motivations, reasons why those movements might have
been chosen can be explored and perhaps a little story, a sequence of events, i.e., the reasons,
developed.

5.5 Meandering
Recent discussions on meandering have provided much food for thought and possible reconsideration of
previously established ideas. This would seem to be a good time to discuss the subject.

5.6 CW was a bit uncertain about how best to approach meandering - and she is not alone! I started, not
from the path that results, but from the inner feeling, the sense of going, the lack of intention, the
aimlessness, the unawareness of producing any particular path which, to me, is the essence of
meandering. It is the freedom from planning ahead, the freedom of enjoying the moment, the going.

5.7 In meandering there are two factors to be considered: the resulting path through space which is
different from straight or circular paths, and the state of mind which produces meandering, in other
words, the result or what causes it. As we dig a little deeper we find that examples from everyday life
may be wandering down the street, looking around, window-shopping, or in a large store or
supermarket, wandering around with no particular aim. In such wandering it is possible that a straight
path may result, but quite unintentionally. Previously it had been thought that straight paths were not
appropriate for meandering, the image was more of a meandering brook (the word 'meander' comes
from the river in Phrygia proverbially noted for its windings).

5.8 In producing such wandering there is a sense of ample time, haste is not a factor. In contrast quick
unplanned paths result when children are let out into the playground and burst forth, filling the open
space with an enjoyment of freedom. Whatever path results, the meandering is not planned.
 The Labanotator, No. 75, April 1994

5.9 After the event, the path can be drawn. But to draw the path first and then try to follow it destroys
the whole essence of what is at the root of meandering. If in class the children draw an aimless
pattern all over a sheet of paper, the hand going unpremeditatedly where it will, they can then emulate
in movement the feeling of the ongoingness experienced by the arm and hand as opposed to recreating
the path which they drew. If a typical meandering path is drawn on the board and the child/student/
dancer tries to follow that and recreate it, he/she must spend some time working out the path in
movement, checking and rechecking (which can be quite time consuming) and then backtrack, so to
speak, to find the inner feeling that would have produced that path. This process could occur in
recreating a choreographic score, but that is for the more advanced student. Of prime importance for
children is to understand and experience the source, the motion which produces meandering.

5.10 Curving
Is 'curving' different from circling? If so, how does it relate to the
activity of circling? Are there pathways that we intentionally make,
enjoying curving lines without any sense of circling, that is, of
producing a clear shape in relation to a focal point around which the
path is going? Such curving need not be haphazard, it does not come
from a meandering state of mind. Curves of different sizes may be
intentional and enjoyed for their own sake; the degree of planning ahead
may be slight or more definite. Ex. 5a looks at first glance like a
meandering path, but the idea was to produce in movement curves of 5a
different sizes, shallower or deeper, and in different directions.

5.11 The resulting design could be split up into segments and analyzed as
sections of circling, an analysis used by Laban and Knust in the early
days but one which is now more practically served through the
indication 'see floor plan' as in Ex. 5b.

5.12 In 5c a performer wends her way between objects placed in a line. This
activity is not meandering, it is intentional, planned ahead. These loose 5c 5d
curves could be flatter or more rounded; they do not provide a sense of
circling. The idea and feeling of making circles is not in mind or body.
Do we then see curving as a distinctly separate activity? What is your
experience in relation to this? If 5b (2a) is the sign for curving can Ex.
5d (which is 5b drawn upside-down with a little 'tail') be a possibility as
the sign for meandering? Can you come up with a better choice?
5e 5f
5.13 Circling
The very word circling means move around, revolve around, i.e. going around something, either an
actual object or the centre of the circle. For a true sense of circling there needs to be a focal point,
real or imagined. To get the feel of circling one needs to perform at least a half circle, 5e. A lesser
degree has more the feeling of curving. Quarter circles are, technically, circling, but accurate
performance is not so easy and awareness of the focal point is weaker.

5.14 With her LIMS background, CW brought in some interesting terminology. In discussing circling she
spoke of 'peripheral'. Of course, a circular path is peripheral in that it occurs on the periphery; the
centre, the focal point, is like the hub of the 'wheel'. But to speak of 'peripheral' in relation to
walking or running a circle suggests leaning outward so that the sensation of the body (or of an
accompanying arm gesture) is toward the periphery. In the same way 'central' suggests leaning
inwards so that the body or arm gesture relates to the focal point, the centre of the circle.
 The Labanotator, No. 75, April 1994

5.15 CW and I discussed how, organically, a circular path stems from an inner sense of turning, an inner
rotary action toward the right or left (and this is true of curving also), so that, what would have been a
straight path, veers toward the right or left. CW told of her experience with young children that, when
asked to perform a circular path, they often start by turning on the spot. This was interesting as it
relates to a top which spins until it loses control and spins out into space, making a spiral. Although
in spiralling the distance to the centre focal point changes, it is still very much a circling activity.

5.16 To be considered is whether, in defining these possibilities more precisely, we are not providing too
much choice, too many signs.

6. MOVEMENT OF BODY-AS-A-WHOLE OR OF A PART?

6.1 Does a Motif Description indication automatically refer to a movement of the body-as-a-whole unless a
body part is specified, or is it completely open, i.e. the action can be done by the whole body or any
individual part; it is up to the reader's choice? This question has come up in particular in relation to
direction signs, and also to travelling.

6.2 The YOUR MOVE book was written with the unstated basic premise that actions were for the whole
body unless otherwise specified. At a lengthy meeting with Charlotte Wile and Ray Cook a couple of
years ago the conclusion arrived at was that the basic movement symbol, the unqualified indication
should be completely open to interpretation as to what body part should be used. Thus whole body
movements would always have to be shown by the pre-sign [JJ .

6.3 In the process of going deeper into usages in Motif Description and
movement exploration, I find that I am now questioning that decision.
Input from other people would be valuable. Let us look at some points
of discussion. Ex. 6a states a forward movement. Some people believe
this can be interpreted as travelling forward, 6b. But travelling is a
major activity on its own and here the direction is a qualifier to that
main activity. Should not a directional action be expressed as an axial,
1
non-travelling movement? Such directional movement might be a ^-1 6b
shifting forward of the body, a tilting, a forward gesture, a forward
focus for the head, etc.

6.4 Should the norm in interpreting the symbols be totally open choice, or should the larger unit, the body-
as-a-whole, be the starting point? Let us take a look at the 'letters' of the movement alphabet and see
what differences may emerge in our automatic understanding of what will happen. Let us start with
the least likely - a spring. This is usually an activity of the whole body. Can it be anything else?
Obviously the answer is no.

6.5 Balance and falling are usually seen as involving the whole body. It could be argued that the head
could be held in perfect balance, that focus is on its being exactly centered, aligned and relaxed. An
arm held up above the shoulder could be in perfect balance so that, even without the muscles
intentionally holding it there, it would not fall. Conversely, if the neck is relaxed and the head is
enough off true vertical it can 'fall'. And so can the arm, once the perfect balance point is lost. At
what point do we expect examples such as these to be brought into movement exploration? Should
they be investigated in the early stages?
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6.6 Transference of weight usually concerns the main body weight, not the weight of a part, of an aim, a
leg, the head, etc. A more specialized example of 'weightbearing', 'weight transference' is the weight
of the arm resting on the waist when the hand is on the hip. The contact of hand to waist allows the
arm to relax and thus the waist to carry the weight of the arm. If the arm is in the same position but
there is no contact with the body, the arm muscles must be in action to hold it in that position. A
similar supporting situation occurs when sitting with the foot of one leg resting on the knee of the
other. These are examples which come up in more advanced Labanotation analysis. Ought they be
part of the elementary introduction to Motif? Ought they be choices of equal value to general
transference of weight, awareness of how the body-as-a-whole is supported?

6.7 Travelling is definitely an activity of the whole body moving in space. However, the concept of
making paths across the floor, as with a series of footprints, the activity of producing shapes on the
floor, designs, leads more readily to gestural paths, the making of designs with the extremity of a limb
or part of a limb. Paths for gestures relate more directly to Design Drawing than to the activity of
travelling.

6.8 Rotation, turning is usually experienced as an action of the whole body though twists within the body
follow fairly close behind. Twisting the torso and arms, turning the head (a twist in the neck) are such
common everyday movements that their exploration is only a step away from their daily practical,
functional use. The difference lies in using such twisting turning movements for their own sake, for
their expressive content. There is an interesting difference between performance of twisting movements
and performance of general flexion. A twisting action of the torso will probably involve the head
(being the extension of the spine) but will not automatically involve twisting actions of the arms or of
the legs. These limbs do not automatically join in; there is no need for them to do so. In flexion and
extension of the whole body it is common for the limbs, arms and legs, to be involved.

6.9 Flexion, Extension may readily be experienced either as performed by the body-as-a-whole or an
individual part, e.g. a hand. Again, drawing in, reaching out are familiar everyday motions used for
practical purposes. A flexion activity could be a folding of the elbow joint, or a closing of the
shoulder joint, the upper arm being brought in to the chest. Full body movements for flexion and
extension are very natural and are often performed, particularly by children, without awareness of them.
Conscious use of them may need practice.

6.10 Education or Choreography? Do we have a different attitude to the meaning of the basic symbols
when they are being used for movement education, particularly with children, from when they are
being used for choreography? What we are finding in these discussions is that a different logic
emerges from movement education concerns than from what the symbols themselves can mean on
paper. We have to face whether the symbols are being used as part of initial movement education or as
devices for choreography where the unusual, the unexpected may be desired. For the latter need there
is a desire to have the interpretation of the symbol left as wide open as possible. For the former there
is a logical movement progression in defining the meaning and application of each basic symbol.

7. CAN STARTING POSITIONS INDICATE MOVEMENT?

7.1 Symbols in a starting position can describe movement. For a complicated starting position the way in
which the position is described gives the best way to get into that position. This should solve your
problem. When a couple gets into a complicated lift position in the wings before entering, the way she
is to get into it, the sequence of actions, can be very helpful.
 The Labanotator, No. 75, April 1994

7.2 The starting position in 7a involves a twist and a tilt of the torso. Because the
direction for tilts of the torso, chest, etc. are taken from the shoulder line, it is
best to perform the degree of twist (rotation) first, then perform the tilt. As it
is a starting position it makes no difference whether you got there via a skew 7a
curve or an undeviating curve. Thus you do not need to bother with white or
black diamonds.

This issue of the Labanotator has focused much more on how movement is viewed. This is a departure
from the usual content, do you see this as a welcome change? As thought-provoking?
As something to which you want to contribute? Be involved with? We welcome your response.

Editor: Ann Hutchinson Guest

Associate Editor: Jane Dulieu

Production: Heidi Marshall, Jean Johnson Jones

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Discussions in the Labanotator represent the thinking of experienced practitioners on choices in

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