Issue No.

72 July 1993

CONTENTS

1. Timing of Claps 1 5. Fact or Feeling? 4

2. Leg Gestures: Distance from Floor 2 6. Limb Rotation: Back to Normal 5
3. Parts of the Fingers: 7. Spot Hold or Space Hold? 7
For Movement, for Touch 3 8. Back to Normal or Disappear? 7
4. Led by the Wrist 4 9. Part Leading - Use of Toe Hooks 8

EDITOR'S NOTE

This issue is being devoted to minor topics which have surfaced recently, items about which some of our
leading notators seem uncertain. It would seem, therefore, useful for all to go into these points.

1. TIMING OF CLAPS

1.1 Is the hand (or palm) sign considered part of the timing when a clap is written? When in la does the
clap, the moment of contact occur? Because contact bows by their very nature indicate specific timing,
in this example the clap comes on the '&', i.e. where the ends of the bow are (clarified here by the
addition of the dotted horizontal line).

1.2 Because it is the end of the bow that gives the moment, the hand sign can be written below, as in Ib;
above, as in Ic; or centered, Id. Such placement is flexible which is an advantage when other symbols
are near by.

1.3 With the accuracy of computer autography we face the minor problem of le in which the contact bow
ends exactly on the bar line. There it is musically 'sitting on the fence'. It must be seen to within the
'territory' of count 1, or clearly in the previous territory before the bar line (or tick mark).

\o 1

1.4 It was decided some years ago that visually we cannot use a 'time dot' for our symbols. The 'dot' has
to extend to an area, even though quite small. This first came up in connection with the foot hooks.
Which is the moment of touch? Is it If, the end of the toe hook? Or Ig, the base of the hook where
it attaches to the direction symbol? Whatever is decided seems then to be reversed for a heel hook,
Ih. And what about a whole foot hook, li?
2 The Labanotator, No. 72, My 1993

1.5 The logical solution was that the hook should be regarded as a unit, Ij. If this unit is in the space
directly after a bar line or count, the touch occurs on that beat, Ik. This is true, of course, of other
placements of the 'unit' as well. (Note enlargement here for clarity)

1.6 Thus a contact on count 1, shown with a bow, should be drawn as in 11. The unit used is usually half
a square; as can be appreciated, it is basically a visual problem.

rt-i r 7 -i
l\ I >H
L _^ L£ j

2.
1j

LEG GESTURES: DISTANCE FROM FLOOR

1k
1
2.1 Use of the broad staff has produced a problem in knowing where certain indications should be placed.
The very firm rule is that no movement indication should be placed in the support column unless it
refers to supports (weight bearing). The Inner Subsidiary Column (ISC) is usually used for gestural
indications, unless it is tied to the support column by a 'staple', a small horizontal angular bow.

2.2 One method of showing distance of a leg gesture from the floor grew from the way of indicating
distance for a step. In 2a the step forward is a very short distance from place. From this came the
indication of 2b, the leg gesture being very little forward, i.e. very near place, or, as we usually think
of it, near the floor. The appropriate space measurement sign was placed in the support column, next
to the leg gesture. It can be placed at the start of the gesture symbol, as in 2b, or follow the
established practice of centering a minor indication which relates to a main symbol, i.e. placement in
the middle, 2c. If placed at the end there is the danger that it might be read as relating to the step
which follows, 2d, if the writing is not very careful.

2a 2b 2c 2d

2.3 With the broad staff the question of placement needs consideration. Following the previously
established basic logic it should be in the support column, as in 2e. But we meet the placement of 2f.
Does the double X refer to flexion of the leg which, for some reason was written at the side rather
than before the direction symbol? With the possibility of such signs being written alongside to stress
the flexion aspect of the movement, this question becomes more relevant. Then what about 2g in
which the writer intended that the leg should be bent and near the ground? We can guess what is
meant, but we need to be clear on our theory and when variants could or should be allowed. The
important thing is that people know the origins of such usages and write accordingly.

2e 2f 2g
 The Labanotator, No. 72, July 1993 3

3. PARTS OF THE FINGERS - FOR MOVEMENT, FOR TOUCH

3.1 We use the parts of the fingers so seldom that we are not familiar with all the ins and outs. But now
notators are meeting needs in writing Asian dances and so some clarifications are in order. All this
will be explained in full in the Advanced Labanotation publications, but let us make a start here.

3.2 Ex. 3a, the sign for the index finger, is used for the whole finger taking a direction, as in 3b. When a
contact occurs, it is the end of the finger that touches, 3c, illustrated in 3d. Note that the meaning is
not changed if the bow is drawn as in 3c' or 3c", it is still the same part touching.

3a 3b 3c 3d 3c' 3c" 3e 3f

3.3 If a contact should be of the whole finger, then the limb sign must be added, 3e, illustrated in 3f. If
the sign of 3e were given a direction it would mean the same as for 3a. This is also true for flexion
and extension indications.

3.4 For the contact of 3d people sometimes think they need to write the specific sign for the tip of the
finger, 3g. This indication is needed if a particular surface of the finger-tip must be stated: the extreme
tip, 3h; the inner surface, 3i; the outer surface (the nail), 3j; the thumb-side edge, 3k; the little finger-
side edge, 31.

3g 3h 3k 31

3.5 For a directional indication, movement of the last segment is written as in 3m. Here the hand is
shown as being up and the end of the index finger pointing forward (can you do that? I can't, not
without help from the other hand!)

3.6 This same movement could be written as 3n in which the 'ankle joint' of the finger folds forward.

3.7 The knuckles of the fingers can most easily be equated with the leg joints. Ex. 3o is the base knuckle,
the 'hip' joint from which the whole finger moves. This indication is used when that knuckle touches
something or is being touched.

3.8 When the 'knee' knuckle, 3p, moves in space it is like the knee moving the thigh, the base limb of the
finger moves to the stated direction. In 3q the 'thigh' moves backward high. But for flexion the
'knee' joint folds or contracts just like the knee. Ex. 3r shows forward folding of this joint.

3.9 The surfaces and edges of the finger joints and sections are only needed when a contact must be
shown; they are not needed for movement. Backward folding (hyperextension) is shown by the folding
sign; the surface sign is not needed. Ex, 3s shows backward folding of the last thumb joint.

3m 3n 3o 3p 3q 3r 3s
 The Labanotator, No. 72, July 1993

4. LED BY THE WRIST

4c 4d

4.1 How is 4a to be interpreted? What part of the wrist is

leading? It is often necessary to be more specific. What
signs should be used? In a recent score 4b was given. 4e 1*1 4f
The signs of 4c and 4d clearly mean the inner and the
outer surfaces of the wrist. How do these differ from the
simpler signs of 4e and 4f?
4b

4.2 The area of the wrist is comparatively small, 4g. If the inside of the wrist is to lead, how much
should the hand 'get out of the way'? How much backward flexion of the wrist, 4h, should occur?

4g 4h 4i 4k

4.3 When 4i is written what part actually leads? It should not include the hand at all. How different is it
from 4j, the inner surface of the lower arm?

4.4 In my experience the movement usually desired involves the base area of the hand, 4k, shown by the
sign of 4e for the inner surface and 4f for the outer (back) surface. These signs have the advantage of
being both simpler to draw and to read.

4m

4.5 Now let us explore the literal results of what such parts leading produce. In 41 the outer surface of the
lower arm is leading; to do this the hand has to be 'left behind' to some extent.

4.6 If the outer surface of the base of the hand (the 'wrist') is leading, 4m, there will be a bulging. If the
back (outer) surface of the hand is leading, then it must go ahead, must lead, and so be out of
alignment with the rest of the arm. Many people are not aware of this and use 'back of hand leading'
when they only want that surface to 'press against the air'.

5. FACT OR FEELING?

5.1 If leading with the whole outer surface of the arm is

not an appropriate description, 5a, then the intention,
the feeling of what is wanted should be written in the
proposed curved bracket of 5b. Within this bracket
is written, not the facts of the case, but the idea, the 5a 5b 5c
desired impression. The curved bracket came from
the heart sign, 5c, an invention of Jean Cebron which was further developed by me to cover the kind
of dynamic, qualitative indications he was after. He was concerned with the feeling, the inner attitude
toward a movement in addition to the bare facts. By placing signs within the curved bow important
information can be added to the movement instruction.
 The Labanotator, No. 72, July 1993

5.2 In 5d a typical ballet port de bras is given for which

there should be a feeling of leading with the thumb
edge as the arm rises forward and of leading with the
fingertips as it opens to the side. If the fingertips did
actually lead the sideward movement the wrist would
have to fold backward to allow the fingertips to go
first - not at all the balletic style, yet the concept of
leading with the finger tips, the energising of the
fingers is quite appropriate.
5d
5.3 Before we leave this topic, we'll add a few related
examples. In 5e a design accomplished by the right
arm is led by the index finger. This should mean
that the finger is active, that it is moving slightly out
of alignment - how much may depend on the size of
the design, not given here.

5.4 In 5f there is no finger leading but the index finger is

shown to be emphasized. This means that it is
energized, alive, active without making a separate
5e 5f
movement.

5.5 A discussion with Judy Van Zile a while ago produced the following proposed usages. In 5g the
design drawing is added to the notation. The movement next to which it is placed may be sparse and
so this extra piece of information is needed.

5.6 She suggested that in 5h the round bows should have the meaning of "by the way". Perhaps 5h means
that this design is produced through other movement description and 5h is a clarification. If the
curved bow of 5i is used it indicates that the design should be sensed, one should be aware of it, and
because you are, your performance will be 'shaded' slightly differently. It would suggest that while the
audience, the observers are not aware of this design, you, the performer, are.

5g 5h 51

6. LIMB ROTATION - BACK TO NORMAL?

6.1 What does Ex. 6a mean? I met it recently in the recording of Asian dance.
Perhaps there is a key, a glossary that I missed. But let us take this indication
as a point of discussion anyway. 60
 The Labanotator, No. 72, July 1993

6.2 In LN we have established standard palm facings for the main directions for the arms. We also say
that in the standard position the inside surface of the elbow is lined up with the inside surface of the
wrist. Thus it could be said that this is our 'normal'. However, it has been agreed that use of the term
'normal' is undesirable, that 'standard' should be used. What then can the indication of 6a mean?

6.3 One of KIN's objections (originating from Knust) to our standard palm facings, is that people are built
differently, that the LN standard is artificial, a convenience for writing certain styles of dance, hence
ethnocentric, and its use as a zero point from which to determine the degree of inward or outward
rotation (twist) of the limb is undesirable.

6.4 Here we see the practical need coming up against the theoretical. But in this case there is another
practical need which has not been considered. What if, at the beginning of a score, you want to
indicate that there is no standard palm facing, no standard arm alignment being used? These
aspects are to be left open to what is normal, natural for each individual? How to indicate that?

6.5 It would seem then that the 'back to normal' sign within the turn sign could refer to such normalcy.
Our previous usage of the back to normal sign for limb rotations, as in the LN 1977 textbook, p. 291,
Ex. 6b here, seemed a good idea at the time but in practice did not have the value expected. When in
a score a rotational state is changed, it is much more direct to give the new state right there, rather
than refer back to a 'normal' which had been established at the start of the score.

6.6 If the use of 6b is dropped, then the natural rotational state of the legs for 'that person' could be shown
as 6c. A natural, individual norm for rotational state for the arms and palms could be shown as 6d.
M
© O O
o = K K
6o 11 6b 6c tt 6d fl
6.7 The composite sign, 6e, the 'zero' rotational state - legs parallel, feet pointing forward - was, for many
years, rarely used in LN practice; now it is much more prevalent which has the advantage of linking
closer to the KIN usage. With the sign of 6e in common usage, the sign of 6f can mean "rotate the
leg outward to what is normal for you."

6.8 In the case of the head and parts of the whole torso there is a normal rotational state. Thus in 6g the
torso can untwist while remaining tilted. This untwisted state could also be written as 6h.

6.9 For a pre-score indication of 'free', individual performance of palm facing, the statement could be as in
6i, which combines the sign for 'normal' with the sign for 'each one'. Another statement could be 6j.
If the indication of 6c is given it should include the freedom of palm facing.

6.9 The standard rule in LN for arm alignment has never been stated in symbols. Might it be 6k? The
'any direction' for the wrist equalling the 'any direction' for the inside of the elbow.

OR
M
6h O
R = O,
= O+
6e Ixl 6f 6g 6i 6j 6k
 The Labanotator, No. 72, July 1993

7. SPOT HOLD OR SPACE HOLD?

7.1 When is a spot hold needed and when will a space hold suffice for touching leg gestures? In Ex. 7a
will the toe contact remain when the leg has a space hold (retention in space) during the turn? Is a
spot hold needed to retain the contact on that spot? Another similar example is 7b. in which person
'A' places the right hand on the partner's shoulder and then turns away, the arm having a space hold.
Is the hand contact retained?

7o 7b 7c 7d

7.2 In neither instance is there an indication of releasing the contact. It will therefore remain. It is a
change of direction for the limb. In these examples there is no difficulty in retaining the contact.
However, examples can occur in which some extra action must take place for the contact to remain.

7.3 Two typical examples are 7c and 7d. In 7c the hopping pattern on the left foot could easily mean that
the right foot contact would be broken. To retain the foot on that spot the right leg has to bend,
stretch, etc. and passively change direction. An important aspect of a spot hold is that some unwritten
adjustment must take place to be able to maintain contact with that spot.

7.4 This is true also for 7d in which the right leg hops around the left foot for which the contact on the
ball of the foot has to be retained on that spot. In these examples there is an actual spot on the floor
to be retained. The same rule applies to imaginary 'spots' in the air.

8. BACK TO NORMAL OR 'DISAPPEAR'

8.1 With Labanotators giving consideration to use of the cancellation sign to mean the previous state is
no longer in effect, the question comes up as to when to use this cancellation sign and when the back
to normal sign. It should be noted that in KIN the sign has the same meaning as . We are
interested in its use as having a different message, a usage which could enrich our descriptions of what
is happening. In the following examples the body part in question does not go back to normal, hence
use of that sign would be inappropriate, misleading.

C A A o
m-
8a 8b 8c 8d
8.2 In 8a, after looking at the hand, the head turns to the right. The looking is cancelled, but the head
does not return to normal. In 8b the sideward curving of the chest is no longer in effect when the
whole torso inclines forward high. After the hand has been held in a fist, 8c, the thumb and middle
finger touch, a position in which the hand is not in its normal state. In 8d the situation of the center
of weight starts at middle level (a squat), the body then rises to a standard low level support. At this
level the C of W is not in its 'normal' location, hence is the appropriate sign here to cancel the
previous middle level situation.
 The Labanotator, No. 72, July 1993

9. PART LEADING - USE OF TOE HOOKS

9.1 Ex. 9a was used recently in recording the children's syllabus of

the Royal Academy of Dancing. While I had never seen the
foot hooks used in this way before, the meaning was
immediately clear. On moving the feet forward the movement
is at first led by the balls of the feet. On returning to place high
the toes lead at the start.

9.2 Some years ago, in writing variations of the hand touching an

object, it occurred to me that the mode of contact could more
readily be made clear through application to the hands of the
hooks used for the feet. This idea was not explored but has
possibilities when that kind of need arises. In any case such
application would need to be stated in the glossary.

REPLIES TO ISSUES 70 and 71. 9a

We were delighted to hear from Judy Van Zile in response to these issues and will reply to her
comments in the next issue, thus allowing time for more responses to come in.

editor: Ann Hutchinson Guest

Associate Editor: Jane Dulieu
Production: Zoe Hill, Jean Johnson Jones

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