Issue No.

73 October 1993

From the Desk of Ann Hutchinson Guest

CONTENTS

Responses From Our Readers

1. Hand/Finger Fan 1 5. Motif Indications? 4
2. Track Pins, Black Pins 2 6. Fact or Feeling? 4
3. Led by the Wrist 2 7. Limb Rotation - Back to Normal? 5
4. Distance of Leg Gesture from Floor 3 8. Revolving While Travelling 6

RESPONSES FROM OUR READERS

1. Hand/Finger Fan

1.1 Judy Van Zile has sent interesting comments on Issues 70, 71 and 72:
'I very much appreciate Janos's "elbow rotation' analysis in issue 70 of the Labanotator. It occurs to
me that the situation is rather analogous to the notion of 'hand twist/finger fan' that I have had
problems with for so long. Writing a twist of the hand or fingers to describe the 'fanning' action is
really just a shorthand for describing some displacement that goes on in the 'bones of the hand' and
that is amplified by sagittal (within the hand) spreading of the fingers - which looks like a twisting
action because of the different lengths of the fingers and thek non-horizontal 'attachment' to the rest of
the hand. (This is not stated nearly as eloquently as Janos's argument, but I think the point is there.)"

1.2 When Knust first showed me his way of writing a finger fan he clearly stated that it was a shorthand
device, but very useful as a general statement. At that time (the 1960s) he demonstrated a full three-
dimensional fan making use of the metacarpals. As the fingers cannot rotate at all, nor twist, it seemed
to me a useful shorthand to provide a general statement of such hand positions.

1.3 In his 1979 Dictionary Knust makes no mention in his word explanations of its being a shorthand
device. He describes a twist in the hand, 372a and b), as a "fanning of the hand" and states that no
rotation should occur in the forearm. In addition he writes: "A twist of the fingers in which only the
fingers change their relationship to one another with a fan-like result but the metacarpal bones are not
involved, is written as a rotation of the five fingers", as in d) and f) here. This is a departure from
what he had originally demonstrated to me.

372a
2 The Labanotator, No. 73, October 1993

1.4 The LN text covers twists in the hand, Ex. 433, but not finger fans. (Oh, that
the book had not been restricted to a exactly 528 pages!) The sign for sagittal
spreading, Ex. la here, has come into use since 1979. This sign is useful for a
two-dimensional spreading; for three-dimensional spreading, a statement of
twisting is appropriate. Investigation into detailed hand and finger movements
are planned for an Advanced Textbook Chapter. The range of such movements
in Asian dance, the differences that appear, which ones are most commonly 433
used, etc. is a special study that is much needed. So far these simple notations
provide only a general statement. Detailed descriptions can be indicated by
writing movements and positions of the hand and the individual fingers. These
may be put in a glossary to state the performance of a simpler 'shorthand'
statement used in the score.

2. Track Pins, Black Pins

2.1 Our thanks to Judy for pointing out in Ex. 7c, issue 71, the missing dots for the tracks next to the
center line. Judy writes: "I have found it useful in some scores to set up a clear difference in meaning
between track and black pins - which I state in a glossary." It appears that many people are uncertain
how to use these pins correctly because there is some overlap where they mean exactly the same thing.
I had hoped that my piece on this topic in issue 71 would have clarified the usages. However, to
answer Judy's next need - she writes: "There are times when I want to simply say 'place the arms
forward middle, but move them in towards the center line of the body' - a broad statement in which
the point is to move them in, but with no precise destination."

2.2 Using a black pin for this need is less specific than using a track pin, but the pin will still be read as a
destination. It has been my practice in writing ballet arm positions to use black pins as a general
statement because the different 'schools' place the finger tips closer or farther apart; it is a destinational
statement. In a book on ballet technique the exact position can be spelled out in the glossary with the
specific track pins.

2.3 For the need Judy describes, why not use a displacement pin? In Ex. 2a the tack refers to the distal
center and produces displacement of the extremity of the arm toward the left. This is comparable to
2b in which each foot is displaced to the side, producing an open stance, feet slightly apart.

H
2a 2b 2c 2d

2.4 If it is a small shifting action which occurs, this can be shown by placing the equal sign = on the shaft
of the pin. In 2c, after the arm has arrived there is a slight shift to the left. According to the (rather
hasty) decision made at the 1979 ICKL conference, distal center reference, as in 2a, should have the
small single stroke across the shaft of the pin, 2d. In this case the reference is so obvious that this
added indication is not needed - except to be theoretically quite correct.
 The Labanotator, No. 73, October 1993

3. Led by the Wrist

3.1 Referring to the last issue, No. 72, Judy writes: "In item 4,1 do not see
why 41 and 4m do not produce essentially the same movement (with
only the 'feeling' of the performer being different). In 41, since the
movement is led by the back-of-the-hand surface of the lower arm, it
seems to me that the hand should trail behind, just as it does when the
base of the back of the hand leads."

3.2 Referring again to Knust, I remember his explaining that in 'leading'

movements, a joint 'bulges' (is displaced) but a surface only faces the
direction of progression, there is no displacement. In the LN text (pp
463-4) a difference is established between 'part leading' (joints) and
'guidances' (limb surfaces and edges). The questionable body part in fl
such separation of leading and guiding is the palm which is at times 4m ''
used to lead an arm gesture, the wrist folding backward enough to allow
this to happen. Theoretically, as a surface, the palm should not 'bulge' (be displaced). It should
'press' against the air in the same way as the inner surface of the lower arm. The guidance may be
written instead for the lower arm to avoid this question of performance, but the palm will then lack the
energizing effect which occurs when it is actively guiding.

3.3 How is 3a below to be performed? How to establish specific notation which would clearly spell out
the difference between 'leading' and 'guiding' for the palm. If it were the hand leading, the hand
would displace since it must go first into the stated direction. Combining the hand sign with the palm
indication could indicate that it is not only the front surface of the hand that is being described but a
body part (joint) as well. Note that in this discussion of part leading the term 'joint' is used in a
general way for parts that can be displaced.

3a 3d 3e

3.4 In view of what has been established, in 3a the arm rises to forward middle with palm guidance.
There should be no displacement, only an outward rotation. The palm surface will be energized,
'pressing' against the air. In 3b the hand as a 'joint' leads the movement How will this be
performed? Will it require wrist flexion toward the thumb side of the wrist? Will there be inward
rotation and backward folding of the wrist? Or the reverse, outward rotation and forward wrist
folding? Some further indication is needed.

3.5 In 3c the combined sign should mean that the palm will 'bulge' in leading the arm gesture. To avoid
this becoming the performance of 3d, (inside of the wrist leading), the arm will need to flex slightly, a
passive, unemphasized movement needed to allow the palm to go first. This slight flexion will
disappear at the end of the gesture. In 3e the outward rotation of the arm allows the leading action
(displacement) to disappear at the end of the gesture, but the rotation remains.

Thank you, Judy for your interesting comments.

 The Labanotator, No. 73, October 1993

Claude Perrottet also wrote detailed comments on Issue No. 72. He pointed out the missing hold signs in the
left support column for Ex. 2b-g in that issue. The following are some of the points he brought up.

4. Distance of Leg Gesture from Floor

4.1 Claude questions if there is a confusion between modifying signs on the one hand and
relationship signs on the other. He sees the double X in Ex. 4a here as a relationship 4a
sign, expressing the relationship between the foot and the floor, in this case, very near,
almost touching. While that is true and the chosen description produces that result, the
X signs do not belong to the family of relationship signs. To express the same thing
using a relationship sign one should write 4b. This use of the dotted bow is not
popular because it is often hard to draw and hard to read. It is, of course, quite correct
and has the advantage of being more accurate in timing in that it gives the relationship 4b
at the end of the movement where it is needed.
I
5. Motif Indications?

5.1 Claude questions whether the arm examples on page 4, issue 72, are meant to be Motif.
One example, 4m, is repeated here. If it is Motif Writing, then carets should be used to
indicate that the writer is still referring to the arm. The reply to this is that very often
space (and time) is saved by not writing in the full staff; instead the particular body 4m
part is excerpted, usually with a starting position and a short double line to indicate the
start of movement. The shortness of the double line and the statement of body part in a discussion on
detailed structured movement makes it clear, we believe, that the indication is not one of Motif
Description. It would be interesting to hear from others on this.

6. Fact or Feeling?

6.1 Taking his discussion into a slightly different direction, Claude writes: "As teachers or scholars of
Kinetography/Labanotation we should be right in assuming that a feeling, or emotion, is always
inextricably linked to a motion, a human movement. If we are able to discern that such a movement
takes place (which includes its visibility) then we are also able to notate it. In the case of no motion
in the body being observable, nothing will be registered, i.e. notated on paper. Notwithstanding, a
feeling, an emotion or a thought is assumed to exist, or arise, at the onset of, during, or as an
immediate consequence of, a movement of the body, or a part of it, in the surrounding space - no
matter how large or how small the action is. If no spatial displacement takes place, we do not tend to
speak of movement, or action, happening, at least not in the kinetographical sense, but of a movement
pause." He continues:

6.2 "There is, indeed, the rare possibility of, for example,
strength increasing and then decreasing again, in an arm
which remains in its spatial direction throughout - clearly a
movement phrase too:" Claude's Ex. (5) and (6) here are >:> >
'more or less equal', as shown by the sign:«^. (Editor's
note: In KIN the strong accent sign in a bow shows strength, 0 o
or increase and decrease of strength, as indicated here. In LN r
•
x 6
, ~(Is /•„
Od
an accent sign is considered to have in-built timing, i.e.
suddenness. Hence use of the ordinary strength sign, Ex. 6a
here, is considered more appropriate.)
 The Labanotator, No. 73, October 1993

6.3 Claude continues: "One would, however,

expect such a dynamic phrase to be
performed as a more dance-like, or
fit
organic, variation, as in (7) and (8)." *
7 IT 8
6.4 Knust was very firm about the fact that, if no movement was observable, then nothing could be written
in Kinetography. Over the years Labanotators have been taking a different point of view. Much inner
activity not generally visible may be needed. For example, in gaining dance technique one has to learn
to use inner muscles for which we have no signs, nor do we always know the names of the muscles,
but the image of what we need to do to achieve the desired result can be quite clear. For example,
"Stretch the front of the area around the hip joint." "Relax and lengthen the distance between the
pelvis and the top of the thigh bone." "Broaden the front area between the hip joints while relaxing
the back lower part of the pelvis, allowing it to curve under (as in the start of a backward somersault
motion)" A dance student can stand there working on such tasks and nothing will be observed by the
onlooker except that concentration and some effort is being made. If success is achieved a better body
alignment, strength and control may result. Such notations are not in general use, but the possibilities
exist to make such statements, to create images which will produce the desired results.

7. Limb Rotation - Back to Normal?

7.1 First, a little background note to this item which appeared in issue no. 72. In reading scores written by
other people one comes across errors, usually of a slip-of-the-pen type. But occasionally there are
usages which the writer may think correct but which are questionable. Is this the way they learned it?
Did they make up this combination of signs? Is this a misunderstanding of what the indication ought to
be or ought to mean? Items in the Labanotator have often been based on such different usages, this
being a good forum for discussion. If everyone concerned read this periodical and responded to it we
would find out the origin of these different usages and no doubt benefit from the sharing. But these
discussions appear to come to the attention of very few, or certainly few find the time to take part in
such discussions. Each notator cannot study each score that is produced and write to every other
notator asking "Is this what you meant?" No. But why not send in examples you have come across?
Right here in the Labanotator we have the means to communicate, to find and discuss differences in
daily usages and thereby keep the general functioning of our system clear. These matters are not legal
ICKL discussions requiring official voting, though some items might lead to official presentation at a
conference. We need to toss ideas around, find ways of expressing a particular need - the kind of
thing which usually has nothing to do with official changes in the system as such.

7.2 What do you understand by Ex. 7a here? Do most of you use it? My
discussion in issue 72, sparked by seeing this notation in a score, was aimed at
pointing out that, because in LN we have established standard directions for
palm facing, we have no way of indicating that the standard palm facing
directions should not be used, that it should be open to what is natural for ~r j~
each individual person. We do not have a norm for leg rotations, the
rotational state has to be stated. For the arm it has been a different matter. Ex. ^a ?b
7b states rotational alignment, neither inward nor outward rotation/twist.

7.3 Standard palm facings have proved to be a very useful rule. Rather than throwing this usage out, its
value has been confirmed by the excellent ICKL 1989 paper by Janos Fuegedi which indicates how to
define palm facing directions for the various intermediate directions, a task which had not previously
 The Labanotator, No. 73, October 1993

been tackled. My discussion in issue 72 sought to find an indication to state that the natural, personal
palm facing should be in effect. We do not usually check with each other what our natural stance is
regarding palm facing when the arms are in certain directions. To cite an example of such differences,
years ago I observed that, when my arms hang down, the palms face in toward the legs (toward each
other). Then I observed Knust's palms as he stood with his arms down. His palms habitually faced
backward. So people are different, and that difference needs to be allowed, to be catered to.

8. Revolving While Travelling

8.1 In Issue No. 43, which came out in 1986, the topic of revolving on a straight path was discussed.
Since then there has been further thought as to the most appropriate way to write this type of
movement. Discussions at ICKL were brief and inconclusive, no formal paper was presented. Bearing
in mind Ray Cook's often repeated comment "If we were starting now to design the system we would
probably do many things differently" does bring us face to face with the fact that to some extent the
system has 'grown like Topsy', and though over the years we have streamlined the system to meet the
demands of logic and practicality, we still have instances of a heritage from the past which is not
serving us to full advantage. It seemed, therefore, to be a good idea to give a cold calculating look at
how we would establish the writing rules, given the present choices in description. Because this matter
needs to be further discussed at ICKL, the presentation here is in the nature of a preliminary
investigation. Give it immediate thought and send in your comments right away!

8.2 What is the basic movement material being used in revolving while travelling? Obviously travelling is
basic, therefore the signs of 8a will be required. Turning (revolving around one's own axis) occurs,
therefore one or other sign of 8b will be needed. In Motif Description the combined form of travelling
on a straight path and revolving at the same time would be expressed as 8c.

8.3 Combining these signs as in 8d makes the path sign hard to see. It is close to Knust's original
cartwheel sign, 8e, a turn sign combined with a straight path sign, a cartwheel being a revolution while
travelling on a straight path. Because Knust's sign looked like a place high sign with too few stripes,
it was modified to the drawing of 8f in which the revolving is predominant. This sign was adopted for
unification and logicality to mean a cartwheel to the right. For revolving on a straight path, the
drawing of 8g is more serviceable as the path is seen to be dominant with the turn occurring within it.

8a 8b 8c 8d 8e
I
8g
8.4 Because no circular path occurs, writing 8h for the activity of 8g is unsuitable. Why then has it hung
on so long? The answer lies in the question of whether on each step the foot swivels or does not
swivel to achieve the change of Front.

8i 8j ^- 8k 81 8m
 The Labanotator, No. 73, October 1993

8.5 In 8i 1/4 of a circle is walked with four steps. To keep on the circular path, each leg prepares by
rotating slightly in the direction of the circling. We do this instinctively; only occasionally does this
action need to be spelled out, as it is in 8j where each leg is rotated 1/16th on each step and is
followed by a non-swivel turn (blind turn). With four steps the same 1/4 circle as in 8i will be
achieved.

8.6 In 8k 1/4 circle is achieved with only two steps, therefore the degree of leg rotation and of blind turn
will be 1/8 to the right for each step. If a full circle is to be walked with four steps, as in 81, it is
very likely that quite a bit of swivel will have to occur. This sequence can be achieved completely
with non-swivel turning if each leg is markedly rotated a full 1/4 rotation to the right on each step.
This requires a bit of effort and if such performance is necessary it would need to be spelled out.

8.7 Ex. 8m states revolving on a straight path, but as no degree of turning is stated we do not know
whether swivelling or non-swivelling will occur. We see therefore that the number of steps and
amount of circling governs to a large degree whether the performer will naturally use swivel or non-
swivel turning. When nothing is stated, then the easy, comfortable, natural way should be expected.

8.8 In 8n four steps are taken on a straight path while revolving 1/4 to the right; no swivelling need occur.
But in 80 7/8 of a turn occurs during three steps; swivelling will happen naturally.

T
8 Pi Ik ^
8n 80 1. fln _L
8q >. W
8r 8s
8.9 But how to be specific about manner of performance when such
a statement is needed? Ex. 8p shows the space hold for the foot
next to the turn sign, thus designating blind turns. In 8q the foot
is stated with the indication for sliding support (to produce
swivelling); no part of foot to be used is designated. Ex. 8p
1
could be simplified to 8r and 8q reduced to 8s, the foot symbol
being understood, as it is in 8t which, if written fully should be
8t 8u
indicated as 8u.

T T
8v 8w 8x 1 »1 8y 8z

8.10 In the 1986 discussion on this topic, other solutions were put forward. While the logic is clear, the
description chosen is not so close to the information which the reader needs. In 8v the manner of
turning is shown to be through twisting, a twist within the body. This usage is taken from the Motif
sign for rotation within the body. In 8w the = sign within the turn sign states the reverse, the body
turns in one piece, i.e. there is no rotation within the body. While the logic behind this idea is clear, it
is one stage removed, so to speak, from the immediate concern. The reader wants to know what to do
8 The Labanotator, No. 73, October 1993

with the feet, how should the feet work during the turn? Therefore the statements of 8p and 8q are
preferable because they give the information directly.

8.11 The other 1986 suggestion for a solution also used the space hold sign, but placed on either side of the
turn sign, as in 8x, to indicate non-swivel turns. If the turning should be through swivelling, then the
angular release signs would be placed next to the turn sign, 8y. The significance here of the angular
release signs derives from their established usage in 8z in which the turn starts as a blind turn and then
releases so that from then on it pivots (swivels).

Editor: Ann Hutchinson Guest

Associate Editor: Jane Dulieu

Production: Alison Peirce, Jean Johnson Jones

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

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 THE LABANOTATOR
INDEX OF CONTENTS
Comments on topics are denoted by the letter 'C' next to the issue number.
Abduction,Adduction 34 Claps, Timing of 72
-,-, of Thumb 47 Classroom Combination (Ray Cook), Excerpt from 116
Accelerando, Ritardando, Time Signs 28 Modern Dance 31
Action Stroke(s) 43 Closed Position, Moving from Open to 45
- -, Duration Line 43 Closing into Fifth Position; Slow 50, 53C
- -, Release Sign; Timing 49, 52C, 53C -, Signs for Spreading and 43, 45C
Ad Lib Runs 27, 61 Comments, Request 53
Addition Bracket, Statement of Shift in 45 Constant Key for Orientation, Use of 53
Addressing, looking 41 Contact, Heel 35
Adjective or Verb? 26 Contraction and Folding of Arm; Hand Indication 50,
Adjustment/Retention of Grasping (Hands) 46 53
Aerial Turns; Air Lines 31 -, Hip 34
- -, Visual Impact or Logic? 26 -, Specific 42, 44C
Afterflow 58 -, with Tilting; General to Specific Meaning 47
Anatomical Description(s) 34 Counts, Beats, Terminology 28
Analogy Signs 66
'Any' 35
Aplomb; Line of Balance 50, 53C DBF for Gestures 42, 44C
Area of Room, Quiz 26 , Choice of 47
Arm(s), Choice of Directional Statement 45 Decrease Sign in Cancellation, Use of 35
- Column, Definition of 30 Degree of Led by (Joints) 29
-, Contraction and Folding of; Hand Indication 50, 53C Design Drawing, Statement of Shape of Surface 43,
- Directions, Effect of Side-of-Body Inclusion on 28 45C
- in Second in Ballet 27 -, Statement of Size of Design 35
- Leading 72 Destinational Points, Anatomical Description(s) 34
- Swings 61 Developpe, Slight 32
Assemble Turns, Simplified Form 31 Deviations 65
Autography Problem 29 Diamonds Galore! 48
Axis of Turning 59 Direction(s) from Body Part (DBF) for Gestures
42,44C
—, Choice of 47
Balance, Line of Aplomb 50, 53C -, Cut the Corners 30
Ball and Socket Joints, Anatomical Descriptions 34 -. Effect of Side-of-Body Inclusion on Arm 28
Bar Lines 66 - to Focal Point; Proposed Key 30
Beats, Counts, Terminology 28 - of Folding 34
Blind (Non-Swivel) Turn 41, 65 - of Foot on Circular Paths 30
Body Hold Sign for 'Rigidity'? 52 -, General to Specific Statement 43
- Inclusion on Arm Directions, Effect of Side-of- 28 -, Intermediate 26, 30, 43, 67, 68
- Key for Palm Facing 46, 51C, 53C -, -, Choice of 47
- Rotation/Twists - Cancellation of 45 - , - , - - Descriptions 35
- Parts of 62 -, -, Possible -way points 51, 53C
Both or Either (Limbs/Joints) 29 -, The Missing 53
Bow, Contact 58 - Symbol for Pathway, Empty 37
-, Not Needed 27 -, Understood Neighbouring 30
-, Phrasing 30 -, Where is Place? 31
-, Supporting, Variations in 30 Directional Definition, Choice of 47
-, Vertical, Are Two needed? 27 - Statement for Arms, Choice of 45
Bracket, Statement of Shift in Addition 45 Discussion Papers, Notation 35
Distance in Jumps 65
Distance in Sitting 42, 44C
Cancellation(s), or Back to Normal 72 - of Steps 35, 60
-, Body Rotation/Twists 45 Duration Line, Action Stroke 43
-, Centre of Gravity and Retention 44, 46C Dynamics 40
- of Folding 34 -, Impulsive/Impact/Swing 45
-, Use of Decrease Sign 35 - Signs; Right and Left? 45, 48C
Canon Form 36
Caret(s), Double 32
-, Needs 32 Each One; Symbol 47, 52C
-.Position/Movement Writing 32 Either or Both (limbs/joints) 29
- for the 'Same Spot' 32 Errata on 43 -45C
-, Use of 31 . .44 - 46C
Carriage of Limbs in Log Rolling; Standard Retention . . 45 . 48C
44, 46C - - 46 - 5OC
Carry or Hold Your Skirt? 26 - - 47 - 52C
Cartwheel Signs 64 - - 48 - 52C
Centre of Gravity; Retention, Cancellation 44 - - 62C,
-; -, -, Use of 65 - - 64 - 65C
Chest Facing; 'Opening' 45, 46C Excerpt from 116 Modern Dance Classroom
Chinese Kenpo Karate 39 Combinations (Ray Cook) 31
Circles, Hand 54, 55, 56, 57
Circling, Group 61
Circular Paths 63, 64
 The Labanotator Index of Contents, ed. 1994

Facing, Chest; 'Opening' 45, 48C -, Do we Describe as 55

-, Looking Requires a Verb 27 Intermediate Directions 26, 30, 43, 68, 67
-, Palm, Body Key for 46, 51C, 53C - -, Choice of 47
-, -, Timing 45, 47C, 48C - - , - - , Descriptions 35
'Feeling'; Intention 50, 53C - -, Possible -way points 51, 53C
Feet; To Point or Not to Point? 37
Fingertips Leading 50 Jazz Study by David McKittrick 29
Fingers, Parts of, for Movement 72 Joints, Ball and Socket 34
Flexion, Placement of Dots 29 -, Degree of Led By 29
-, Ankle 60 -, Hinge; Degrees of Folding 34
-, and Extension 69 -, Hip 34, 42, 44
-, Duration of Leg 59 -, Knee 31, 34, 42
Floor Plan(s), Advantage of Round Pins for 48 -, Shoulder 34
- -, 'See' 26
- -, Holding Hands 58
- -, Spiral Paths on 59, 61 Karate, Notating Chinese Kenpo 39
- -, Indication of Performers 68 Keys, Body, for Palm Facing 46, 51C, 53C
Floorwork/Partnerwork; Simple Description 52 -.General/Specific Timing of 32
Focal Point, Direction in Relation to; Proposed Key 30 -, Interpretation of Stance 30
- -, Relationship to 27, 37 -, Proposed; Direction in Relationship to Focal Point
- -, Quiz 26 30
Folding, Anatomical Descriptions) 34 -, Standard Retention; Log Rolling; Carriage of Limbs,
-, from Base of Knuckles 46, 51C Use of 41
-, Cancellation of 34 Knee(s), Anatomical Description(s) 34
- and Contraction of Arm; Hand Indication 50, 53C -, Rubbing 31
-, Degrees of 34 -, Signs for Right and Left 42, 44C
-, Directions of 34 Knuckles, Folding from Base of 46, 51C
'Following V'Passive'/'Resultant' 48
Foot Direction on Circular Paths 30
-, Hooks 69 Labanotation Textbook n 27, 46, 49, 60
Front Signs 68 Landing for Glissade, Pas de Chat, Sissonne, etc, 37
Led by, Degree of (Limbs/joints) 29
- -, Wrist 72
Gathering and Scattering 56 - -, Arm 72
Gesture(s), Indication of Paths for 38 Legato, Timing 32
-, Relationship Between Support and Leg 48, 52C Level in Standing 30, 45
-, Leg; distance from floor 72 - in Steps, Fluent Change of 45
Glissade, Landing for 37 - of Supports, Choice in Description 45
Grasped, When an Object is 31 , Effect of Heel Height on 30
Grasping (Hands), Retention/Adjustment of 46 - While Swivelling, Change of 26
Gravity, Retention, Cancellation of Centre of 44, 46C Limbs; Arms in Ballet 27
Group Circling 61 -, Both or Either 29
-, Carriage of; Use of Standard Retention; Log Rolling
46, 5OC
Hand(s) Exist?, Does Base of 27 -, Signs for 42, 44C
- Indication; Contraction and Folding of Arm 5O, 53C Log Rolling, Carriage of Limbs; Use of Standard
- on One Side of Staff, Write 'Both' 41 Retention 46, 50C
-, Circles 54, 55, 56, 57 Looking 'Beyond' 50
Head Facing, Wishful Possibility 29 -, Facing Requires a Verb 27
- Rotations, White Pins for 29 -, Timing of 30
Heel Contact 30
- Drop 46, 51C
- Height on Level of Support, Effect of 30 Meaning, General to Specific 47
- Signs for Parts of 46, 51C Motif Description 38, 41
Heeled Shoes; Use of Hooks 46 Movement; Sequential 28
Hinge Joints, Degrees of Folding 34 -, Stopped 29
Hip(s), Contraction 34 -, Start 58
- Movements, Point of Reference 42, 44C - Writing or 'Position Writing? 32
- Signs for Right and Left, 42
History of System 61, 62, 63, 64, 65, 66, 67, 68, 69
Hold or Carry Your Skirt? 26 Non-Swivel Turn 28, 41
-, Spot or Space 72 - -, while Travelling 43
Holding Hands, Floor Plans 58
Hop Turns 31
Horizontal Lines, Use of Double 33 Off Stage, Starting Position 26
Hooks for Heeled Shoes, Use of 46 Open to Closed Position, Moving From 45
- for Supports, Placement of 44, 46C 'Opening the Chest'; Chest Facing 45, 48C
Orientation Indications, Abbreviated 53, 56C
-, Clarification 53
Impact/Impulses/Swing; Dynamics 45 -, Use of Constant Key 53
Inclusion on Arm Directions, Effect of Side-of-Body
28
Information, Organization of 34
Intention; 'Feeling' 50, 53C
 The Labanotator Index of Contents, ed. 1994

Palm Facing; Body Key for 46, 51C, 53C Rotations), Attached, Placement of 45, 47C
-, Timing 45 -, for the Arms 54, 55C
Partnerwork/Floorwork; Simple Description 52 -, of Body Parts
Parts of Body 62 -, Cancellation of Body Twist 45
Part Leading, Use of Toe Hooks 72 -, Elbow 70
Pas de Chat Landing for 37 -, Indication of 34
Passing; Approximate Movement of 58 -, of Limbs; Back to Normal 72
'Passive'/'Resultant'/'Following' 48 -, Meaning of Symbols 45
'Passive', 'Resultant' Movement 54, 55C, 57C -, Turning 63
- Turns; Symbology 45, 47C -, White Pins for 29
Path(s), Foot Direction on Circular 30 Round Pins for Floor Plans, Advantage of 48
- for Gestures, Indication of 38 Runs, Ad Lib 27, 61
-, Retrace 35 -, a Simple 61
-, Revolving on a Straight 31
-, Length of Signs 59
-, Signs as Modified 56 'Same Spot' (Caret) 32
Pathway, Empty Direction Symbol for 37 Score Checking 49
-, Indication or Peripheral 37 - Details, Handling of 35
-, Quiz 27 Secret Turns 47, 52C, 56C
Pelvic Movements 65 Segment; Moving and Fixed 34
Pins for Floor Plans, Advantage of Round 48 Sequential Movement 28
-, for Crossed Arms 54, 55C Shift of Head 63
- for Head Rotations, White 29 Shift, Statement of in Addition Bracket 45
-, Placement of 29 - or Step 29, 37
-, - - Relationship 27, 71 Short Signs 56
-, Track 47, 71 Shorthand Devices 35
- in Turn Signs, White 29 - Ideas (S. Leeder) 35
Place, Where is? 31 Shoulder Flexion 34
Pointing 37 - Movements; Point of Reference 42, 44C
Points of Reference 42 Shoulder Blade, Movements of 34
Position(s), Moving from Open to Closed 45 Sissonne, Landing for 37
-, Slow Closing into Fifth 5O, 53C Sitting, Distance in 42, 44C
-, Starting 26 Sliding Steps 60
-, -, Off Stage 26 Sound, No Sound 46, 51C
-, Retire^ Exact Description 51 Space Measurement, Distance 69
Position Writing or Movement Writing? 32 Space Hold while Circling 28
Props, Handling of 70, 71 - -, Change of Key for a 58
- -, or Spot Hold 72
Specific Parts of the Body 64
Reference Point (State), Anatomical Description(s) 34 Spiral Paths on Floor Plans 59, 63, 61
- -, Hip Movements, Point of 42, 44C Spreading, Closing, Signs for 43, 45C
- -, Shoulder Movements, Point of 42, 44C Staccato, Timing 32
Relationship of Focal Point 27 Staffs, Change of 41
- Pins, Placement of 26 Stage Area Signs 68
- between Support and Leg Gesture Movements 48, Stance Key, Interpretation of 30
52C Standard Retention; Log Rolling, Carriage of Limbs,
- Sliding 61 Use of the 46, 5OC
- Touching Hands 62 Standard Rotation for the Arms, a Change of 54, 55C
Release Sign, Action Stroke; Timing 49, 52C, 53C, Standing, Level in 31
56C, 59, 61 Staple(s), Carets 32
- -, Existing Uses 49 52C, 53C Step(s), -, Distance of 35
- -, in Support Column 44, 46C, 49, 52C -, Fluent Change of Level in 45
- Weight in Support Column 44, 46C -, or Shift? 29, 37
Repeat(s) 48, 66 -, Undeviating 54
-, Indication of (Reprise) 29 Step Turn, Timing of level change in 59
-, Movement or Notation? 45, 47C Stepping; Change of level 45, 61
- of a Reprise 27 -, Simplification in Writing Patterns 32
-, Sectional for Group Scores; Restatement of Material Stopped Movements 29
33 Study by David McKituick, Jazz 29
Reprise, Indication of 29 Supports), Choice in Description of Levels in 45
-, Repeat of 27 - Column, Release Sign in 44, 46C, 49, 52C
'Resultant'/'Passive'/'Following' 43, 54, 55C, 59C, 57C Support Column, Release Weight Sign in 44, 46C, 49,
Retention/Adjustment of Grasping (Hands) 46 52C
-, Cancellation of Centre of Gravity 44, 46C -, Lines, Slanting 26
-, Standard Use of; Log Rolling; Carriage of Limbs 46, -, Placement of Hooks for 44
50C -, Relationship Between Leg Gesture and Movements
Retire Position; Exact Description 51 48, 52C
Revolving on a Straight Path 31 Supporting on Other Body Parts 49
- while Travelling 43 Surface, Design Drawing, Statement of Shape of 43,
Rhythm(s), Visualization of 32 45C
Rigidity, Body Hold Sign For? 52, 56C Swingflmpact/Impulse - Dynamics 45, 61
Ritardando, Accelerando (Time Signs) 28 Swivelling, Change of Level while 26
Rolling, Log; Carriage of Limbs; Use of Standard Systems of Reference 67
Retention 46, 5OC
 The Labanotator Index of Contents, ed. 1994

Tap Dancing, Analysis and Notation of 33

- - Dictionary in Preparation, Excerpts 28
Thumb, Abduction, Adduction of 47
-, Inclusion 58
Tilting with Contraction; General to Specific Meaning
47
Time, Aspects of (Pamphlet) 32
- Signs, Accelerando, Ritardando 28
- -, Snippet 35
Timing, Indication of General of Specific 32, 37
-, of Claps 72
-, of Level Change in Step Turn 59
-, Keys 32
-, Legato 32
-, of Looking 30
-, Palm Facing 45, 47C, 48C
-, The Question of What Follows 32
-, Release Sign/Action Stroke 49, 52C, 53C
-, Specific; Some Leeway 32
-, Staccato 32
-, Statement of Unit 28
-, Terminating Touches 32
-, Visualization of Rhythms 32
Toe Hooks for Part Leading 72
Torso, Signs for 64, 63
Travelling, Revolving while 43
- Turns in the Air 48
-, When does it Stop? 37
Turn(s), Aerial; Air Lines 31
-, Axis 59
-, -, Visual Impact or Logic? 26
-, Assemble, Simplified Form 31
-, Hop 31
-, Non-Swivel 41, 28, 65
-.Passive, Symbology 45, 47C
-.Secret 47, S2C, 56C
- Signs, White Pins in 29
-, Travelling; in the Air 48
-, out for Legs; 'Normal' 54
Twists/Rotations of Body, Cancellation 45

Undeviating Steps 54
Unfolding 28, 42, 44C
Unit Statement 28
Upper Body Movements 64, 63

Verb or Adjective? 26

Wrist or Lower Arm 60

Wrist Leading 72