Issue No.

59
Zabawtator April 1990

CONTENTS
1. Use of the Release Signs'^ and'V. 1
2. The Meaning and Logical Use of ^. 2
3. Axis of Turning. 4
4. Spiral Paths on Floor Plans. 5
5. Length of Path Signs. 5
6. Duration of Leg Flexion. 6
7. Timing of Level Change in a Step-Turn. 6
8. A Return to the Topic of Resultant. 7
Added Thoughts to Topic 1. 8

USE OF THE RELEASE SIGNS ^ AND ^ .

The following discussion is based on material contributed by Maria Szentpal in September 1988. In
this presentation I will reply to the various points which she brings up.

M.S. writes: "Preface: The reason I want this issue to be clarified is the following. When checking DNB
scores I found that space hold and spot hold signs were always cancelled with --V whereas a body hold V was
always cancelled by ^. In certain contexts the use of these cancellations was inappropriate. Yet, I am not
sure if all of us are in agreement with my understanding.

A. The Meaning and Logical Use of ^.

1. The basic meaning of ^v is: release.

1.1 From the basic meaning it follows logically that release can only be the release of a contact, whether it
be with or without weight.

1.2 The ^ is used not only after a 'o' (keep contact/weight), but also in such cases where the convention
assumes a hold without being stated as such (with the 'o' sign) as shown in the examples below.
or
©

la b) d) 4
1.3 In Ex. la there should be a sudden release after the clapping (an accentuated rebound).

1.4 In Ex. Ib there are repeated releases of the contact ahead of each new contact (old story, familiar
example.)

1.5 In Ex. Ic the release - representing a fairly low jump - is used with the meaning (meaning of M.S.) of
a terre a terre sissonne. I find for such terre a terre jumps the release sign very sensible and
meaningful!

1.6 In Ex. Id the arm has a body hold while the trunk is tilting. Afterwards the trunk straightens, and here
to use the "^ sign would be basically wrong, because there is nothing to release, there is a need to
annul the 'o' sign. I am not sure, though, if the back to normal, or the repeated arm direction, or in
KIN the A would be the appropriate cancellation. All I know definitely is that the use here of ^
would be basically wrong.
 The Labanotator, No. 59, April 1990
1.7 RATIONALE for my belief why the use of ^ in Ex. Id would be basically wrong is: the meaning of ^
is in the first and last place RELEASE, and one can only release something which previously was
contacting."

Ann Hutchinson Guest Replies

1.8 The release sign was my invention. It came from the idea of a broken hold sign: O • By making the
two halves into one sign as in ^ or <) a cancellation of the sign 'o' was born.

1.9 It has been used in all such contexts as Maria's Ib for which an understood hold existed. Thus it came
to be associated specifically with contact signs, and, by extension, by other of the relationship indi-
cations (address, near, grasp, etc.).

1.10 I agree with Maria that use of a release sign to indicate a very slight rise from the floor, as in Ib, is
practical and desirable.

1.11 In connection with Id I would not use a release sign to cancel the body hold for the arms. In our LN
rules no specific cancellation sign is usually needed for such usage; it will be cancelled by a new arm
movement or by a space hold if there is another torso movement and a spatial retention is desired.

1.12 Ex. le gives an instance where a body hold for the arms might need to
be cancelled. After the tilt the torso comes upright and then twists.
During the twists the arms should not be specifically held, a slight
natural reaction being allowed. For such cancellation I would use the
sign \h the meaning of 'disappear', 'forget about it', 'it has gone'.

1.13 Autography note: the sign A needs to be drawn slim and pointed rather
than the inverted succession sign: A , otherwise they can be confused.
le
1.14 Theoretically the release sign ^ should be applicable in each situation
where a 'o" hold sign has been used. However, if a particular state of a
limb has been retained it makes more sense to indicate a back to normal
state than a release sign. In If the right fist is held until the arm lowers or
to the side. The thumb facing for the left hand also returns to normal
when the arm moves to side middle. If the limb does not return
specifically to its understood (standard) normal state, the A cancellation
is appropriate. Note that this use of A for a less specific cancellation is

I
pu
being advocated by Labanotators to fill an important need; for whatever
reason, statement of 'back to normal' is not appropriate. In KIN A is If
used with the same meaning as 'back to normal'.

B. The Meaning and Logical Use of ^.

2.1 Maria writes: "The sign fy has a very restricted meaning, it was invented
to show the cancellation of a non-swivel rum, i.e. a Q sign near to a
turn sign which should only be valid for a part of the turn, the rest of 2a
the turn should be a swivel turn, as in Ex. 2a. In MS practice it is also
used as in Ex. 2b as a kind of warning: do swivel at the start and then
stop swiveling while the turn is continued. (I know that not everyone
likes this orthography, but I found it very useful in actual practice.)
2b
 The Labanotator, No. 59, April 1990

2.2 What I have seen in actual practice is the use of *y with the meaning of
release, in cases where a contact was held by a spot hold. Ex. 2c shows
such a use. I found this use completely illogical, because the ^ wanted
to be used for the release of the grasp, and not for the meaning: forget
about the spot hold. Therefore I insisted to use in each of such cases
the 'V sign in the hand column, regardless of which modifying signs was 2c
placed previously for the kind of hold.

CONCLUSION: Notators presumably were concerned rather on the 'shape' of the hold sign and not the
meaning of the two kinds of cancellation signs*

Ann Hutchinson Guest Relies:

2.3 The cancellation sign of ^ was invented as a logical counterpart of^ to cancel
signs. Because a spot hold is related to a space hold the same form of
cancellation has been used for both space and spot holds. Maria's main need
for ^ has been in connection with a turn which is partly swivel and partly non-
swivel, as in 2a and 2b.

2.4 The ^ cancellation is also sometimes needed for the head and for arm gestures. 2d
In 2d the spatial retention for the head is cancelled on count 3. In 2e the arm
has a space hold until half way through the turn. s
2.5 The main reason that1^ is not needed so often is that we have at present the T
cancellation rule that ^ has to be repeated each time it is needed, i.e. automatic
cancellation is in effect. \f
2e
2.6 To avoid such repetition of 0 the use of 2f was introduced. If 'tf is considered
to have only the meaning of a 'body hold' then such usage is illogical (as Knust
pointed out). As there is no general, generic retention sign, "d" has been used
instead. If one can accept such usage, it proves to be clear and useful. The
cancellation of 2d is 'V because it is the spatial retention that is being
cancelled. A 0 sign would produce a normal body alignment but no statement
regarding <> will have been made. For those concerned with logical 'spelling',
this may be important.

2.7 A contact may be retained as a spot hold and subsequently the spot hold is
given up and only the contact remains. In 2g the spot hold for the right foot
no longer is in effect for the last two hops to the left.

2.8 An advantage in using ^Vand'V is that one knows what kind of retention is
being cancelled. However, in the case of a spot hold sign used for grasping
hands, as in 2c, we would all know what is intended if^/is used for the 2g
cancellation. (See continuation on page 8).

I am glad that Maria brought up this discussion. Knowing the origins of signs, knowing early usages
and why changes were made help us all to understand the system better as well as the reading of
4 The Labanotator, No. 59, April 1990
scores. We invite you to contribute any ideas or questions you may have. Maria has had the outstanding
advantage of reading so many scores written by other people. This is true of rather few of us, thus we are not
aware of other ideas and hence other usages.

3. AXIS OF TURNING

The following questions have been contributed by Terri Richards of the Dance Notation Bureau. We
welcome them and thank her for taking the time to send them in.

3.1 In 3a the body is carried along during the turn; at the end of the turn the torso is still inclined
forward high, so it is like wheeling around the constant vertical axis.

3.2 As the body's vertical axis is the line of the spine, 3b, would 3c result in the torso ending backward
high, as though it had had a space hold? Would it produce the same result as 3e?

3.3 The answer is no, Ex. 3c is confusing. The body key states the rotation should be around the line of
the spine which is physically impossible in that standing position, (you would end in mid-air as in 3b').
Thus to end with the torso backward high the appropriate notation is that of 3e where the standard turn
sign is used with a space hold for the torso.

3.4 As long as the support is at the base of a vertical limb, as in standing on a leg or supporting in a high
kneel, a turn sign in the support column is understood to be around the vertical axis, i.e. -^- . The leg
may be very bent, but the line from ankle to hip is vertical. Thus this axis is understood in 3a and 3d.

3a b) b') c) d) e) f)
3.5 Terri continues: For supporting on body parts other than the feet or knees -^- is the understood axis
for turning. Does 3f produce a log roll type of movement? Does the torso end forward high?

3.6 if a space hold is not specifically stated. Where a freer interpre-

tation is allowed it is likely that the reader would lie down. If a full roll occurred some degree of
lying closer to the floor will probably occur unless specific instructions have been given.

3.7 Terri comments: Ex. 3g produces a wheeling. Yes, here the axis is clearly stated, and no matter where
the limbs or torso are placed the rotation is around the vertical axis.

3.8 Now she comes up with a poser: What about supporting on the feet with the torso plus legs at an
angle, as when someone else is turning you, as in 3h? Which type of turning is understood by 3i?

3.9 Ex. 3i should produce a 'wheeling', as in 3j where the whole body describes a cone shape as it turns
around. Turning around its own axis could be written as in 3k (note the passive signs next to the turn
sign since someone else is making the turning happen). Or, equally the turning could be written as in
31 with a space hold for the body unit foot-to-head, the axis of the rotation being understood to be the
vertical line going through the feet.
 The Labanotator, No. 59, April 1990

3h i) j) k) 1)

3.10 On this whole matter one thing needs to be made clear, a point which Rob van Haarst and I came up
against in working through variations on floor work. Rolling on the floor in its many forms is not
synonymous with rotating around the axis of the body. In log-rolling when the body is in one line,
it is the same thing. But rolling occurs with the body in different configurations, and the rolling
may occur around the thigh, the lower leg, and so on. Another important point: we say that turning
while kneeling is like turning on the feet, i.e. swivelling. This is true for a high kneel and a
middle level kneel, but a low kneel is, in fact, really a form of sitting and from there a roll is
natural, rather than swivelling on the lower legs - not so comfortable (too big a surface).

4. SPIRAL PATHS ON FLOOR PLANS

4.1 Terri Richards pointed out the problem in trying to draw spiral paths on floor plans for several dancers
moving symmetrically. Below are her examples:

V
i
4a
•© 4b
A
i **"
-O
C-

4c

4.2 Each person takes the same time to make a complete circle spiralling in. Ex. 4a is my solution; 4b
shows the ending position. Would 4a be understood? To make an accurate drawing of each person's
path on one plan produces a very messy and hard to read result. Would four separate plans, one for
each dancer be a better solution?

4.3 My suggestion is that use be made of repeat signs on the floor plan, as in 4c, with the addition of the
finishing plan. This device of using repeat signs was very helpful in the score of Night Shadow where
rather intricate patterns were performed in exactly the same way for four couples. Writing each out
fully not only took time but proved more confusing to read.

5. LENGTH OF PATH SIGNS

5.1 Terri Richards included a few minor items which do pose a question. How long should the path sign
be? Should the path sign end as in 5a or as in 5b?
 The Labanotator, No. 59, April 1990

5.2 Theoretically, on establishing the 2nd position you have

ceased to travel, so 5b would be more accurate. However,
no one would misunderstand 5a; it is only those who wish to
be very accurate in movement description who would
complain.

5.3 We met a similar problem years ago with examples such as

5c in which a brief amount of travelling took place. If the 5a b)
path sign were confined just to the time in the air it would
be very small, thus it was agreed that it could extend to cover the landing. In
actual fact the weight is often still being centered on the landing, the feet touch
the ground before the weight finishes travelling forward to be centered over the
feet, thus this notation is not really a violation of logic.

6. DURATION OF LEG FLEXION

6.1 Terri inquires about the following: Ex 6a shows a continuous walk ending
feet together, knees slightly bent. Some colleagues believe duration lines
should be added for the leg flexion, as in 6b. If what is being stated is a
position, are these lines needed?

6.2 In former times we were very conscious of giving time value to such use of
leg flexion signs. Then it was realized that when steps (supports) are quick 6a b)
the timing of the flexion is not significant, thus, when placed next to the
start of the support sign the 'x' is considered to be part of the support sign.
In the case of slower supports placement of the 'x' can have significance, oc-
curring in the middle of a change of weight, as in 6c or at the end, as in 6d.
6c d)
7. TIMING OF LEVEL CHANGES IN A STEP-TURN

7.1 Again from Terri Richards: Which of the examples given below of a smooth step combined with a
turn has the same timing as Ex. 7a?

7a b) c) d) f) g)

7.2 This is a tricky one! Let us explore what each example states. In 7a the transference of weight
forward takes two counts. Half way through this transference the level of support changes to low.

7.3 In 7b the very small bow linking the step and the turn mean that both occur simultaneously; the step
prepares in the forward direction and the turning action starts right after the foot contact. By using the
broad staff, as in 7e, the two actions can be written side by side which clarifies the timing element.

7.4 Note that Knust usually included a space hold sign within the step sign, as in 7f, to show that the
weight progression continued into the same spatial direction, even though the body front was changing.
 The Labanotator, No. 59, April 1990
7.5 Ex. 7b should mean the same as 7a with regard to level change, however, when put side by side in a
broad staff, as in 7g, the message is different; there is a contradiction going on regarding level. In this
respect 7c is more accurate as, on broad staff it becomes the same as 7e.

7.6 Ex. 7d indicates a sinking to low level only at the end of the whole movement, a little late to reflect
the timing of 7a.

7.7 What we see here is a difference between what the notation actually states in 7b, 7c and 7d and the
immediate message received by the reader from the placement of the symbols. The eye sees 7b as a
'step, turn while lowering, and - yes, blended', in 7c the eye gives the message 'lower sooner and then
turn, but with a blending.' An approximate performance will probably result; it is only on a second or
third reading, when the reader is 'squeezing' the symbols for all the information that the correct
performance will be mastered.

8. A Return to the Topic of RESULTANT

8.1 In the Labanotator No. 48 passive, resultant movements were discussed. Another good one to add to
the list has come to our attention. This is the change of foot position resulting from rotating the legs.
In 8a the change of weight placement from being on the heel to the ball of the foot during the outward
and inward rotations results in a 2nd position being produced, 8a. By stating the new position at the
end the reader is both reassured and also understands the aim of such leg rotations. Note that the foot
hooks are attached as though to a support symbol since the weight remains on the feet all the time.

8.2 It was suggested that as the position is gradually being reached during the leg rotations, the sideward
signs could extend from the beginning of the action to the end, as in 8b. Of course in this example
the weight is not moving sideward, as in jumping into 2nd position, the weight remains centered; it is
the legs which move out. Ex. 8a would therefore seem to be the clearer statement since it states
clearly that the 2nd position is a result.

8.3 In 8c the weight is gradually travelling to the right as the right leg rotates out and in to produce the
2nd position. Thus it would seem more appropriate to have the sideward support symbol written all
during the action. Or 8d may be clearer, especially if the focus of the movement is on the leg
rotations rather than the weight shift.

8.4 In relation to 8c there is also the question of the direction symbol in the support column immediately
giving the impression of an ordinary step taking place, that is, as the foot contacts the ground to the
side and gradually takes weight, the leg rotates, as in 8e. But in fact in 8c the weight is not
transferred, it is on the right foot all the time, so 8c is misleading and 8d is more correct.

8a d)

Send in your comments, please. We try to reply when enough have come in on each topic, so that it is not
such a long drawn out discussion. Better still - send in material to be included!
8 The Labanotator, No. 59, April 1990
Added Thoughts to Topic 1

Among other papers related to the use of the ^ and fy question I found a couple more points which
would be a helpful addition here.

2.9 Our use of the term 'release' has nothing to do with the specialized use given to it by Martha Graham
for whom it is the opposite movement (or letting go) of a 'contraction'. As her technique is now so
widespread, the LN meaning of 'release' has to be made quite clear to avoid confusion.

2.10 Possible use of the back to normal sign to cancel a contact had been put forward. The following
examples illustrate why this sign is not appropriate.
0>

. &>~^ *fe-^
2h 2i 7\j | 7T

2. 1 1 In 2h the hand, closed into a fist, touches the table. This contact is held until the subsequent release,
the fist remains. In 2i the hand returns to normal but the contact with the table remains. In 2j the
contact is released and the hand returns to normal. A simple example is given here and you may ask
why retention signs are needed. In context many other things may have been happening which require
that the retention signs be used. We illustrate their cancellation.

Editor: Ann Hutchinson Guest

Associate Editor: Jane Whitear
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