The £abatiotator

Issue No. 60 July 1990

CONTENTS

1. Ankle Flexion - When Folding, When Contracting? 1

2. Performance of Sliding Steps 2
3. Measurement of Distance 5
4. Wrist or Lower Arm? 6
Labanotation Textbook n Update 7

1. ANKLE FLEXION - WHEN FOLDING, WHEN CONTRACTING?

1.1 In certain situations it is not always clear as to whether an ankle flexion is actually a folding or a
contraction. Let us take a moment to check on the technical difference. In a folding action the distal
segment moves in space (is displaced) while the proximal segment does not move. In contracting a
joint the segments on either side of the joint involved draw closer together.

1.2 An added factor which determines how the distal and proximal segments 'behave' is whether the limb,
or part of the limb, is contacting the floor, an object, or being held in some way that governs the kind
of movement that is possible.

1.3 We will start with kneeling on a table, as in the illustration of la. The feet are extending over the
edge of the chair, thus there is nothing to constrict free movement of the ankle. The instruction of Ib,
a three-degree ankle fold, results in the position of Ic. To reverse this movement an unfolding would
take place.

1*1,

e)

*
*
la b) c) d)

1.4 If, however, one is kneeling on the floor, an ankle flexion cannot be a fold as the foot cannot move
into the floor, a contraction must result, i.e. Id, producing the drawing together of lower leg and foot
as in le. To reverse this movement an elongation takes place.

1.5 While sitting on the floor, as in a Graham 4th position sit, the front foot is placed 'on the walk' and
subsequently the ankle extends and flexes while the little toe-edge side of the foot remains on the same
spot. (In Graham technique, as the ankle flexes the toe-edge part contacting the floor becomes the
outer pan of the ball of the foot.) Here we will take a simple example, starting with the foot normally
extended in line with the lower leg.
 ! .i
,<VU

2 TVie Labanotator, No. 60, July 1990

1.6 In the drawing of If the ankle is extended. The dotted line shows the line of the leg at the start. An
ankle fold will cause the foot to move toward the lower leg, Ig. A subsequent unfolding will bring the
foot back to its original position, i.e. the movement sequence of Ih.
* ® *
V/

1.7 For the foot to have a spot hold where the little toe is while the ankle flexes the movement must be
one of contraction, the foot and lower leg moving toward each other. The illustration of li shows the
ankle normally extended with a spot hold marking the little toe which is not displaced. Ex. Ik
illustrates the result of the ankle contraction of Ij. The knee and the little toe retain the original line
of the lower leg and foot. To return to the starting position of li the action must be one of elongation
in which foot and lower leg move away from each other into a straight line, shown at the end of Ik.

1.8 Such contraction of a joint is unfamiliar to many. In contracting the whole arm i |
or leg the two major parts of the limb come together and it is the centre joint
which ilexes and which is so noticeably displaced in space. The form of such & t]
flexion for the whole arm or leg is a contraction; because the movement is n n
thought of as one of the whole Limb, emphasis is not placed on the central joint. u "
- - — ---- fr "fr
1.9 Ex. 11 shows a familiar contraction of the arm. In 1m a very similar movement u m)
is produced but the focus is the elbow contraction so there will be more
emphasis (energy) placed on the centre of the limb.

1.10 A question that is often asked is "What happens to the hand when the whole arm contracts? How does
it react? How is it affected?" If only the elbow is to articulate and the hand is merely carried along,
then the action is really one of the elbow alone, i.e. it should be written as an elbow contraction. For
precise notation this difference should be made. The same is true of elbow folding. The question
again comes up that if a folding for the whole arm is indicated (particularly to a large degree) then
should not the hand also fold, the fingers curve in? If only the elbow is to fold and the hand is
merely carried along as an extension of the lower arm, then the movement should be written as such,
i.e. an elbow fold.

1.11 We hope that the above examples and discussion will help clarify these points. While knee, ankle,
elbow and wrist contractions mainly occur when a part of the limb is constrained as by being on the
floor or supporting body weight, the same spatial change can occur for a free gesture. This is rare but
occurs in pantomimic gestures.

2. PERFORMANCE OF SLIDING STEPS

2.1 How exactly are sliding steps performed? Two issues need to be considered: (i) the timing of weight
transference in relation to sliding; (ii) whether or not to pick up the stepping foot when a series of
sliding steps take place. In an ordinary step the leg is lifted, it advances into the direction of the step,
contact takes place and the weight is transferred. When sliding is to take place during such a step
does the sliding occur both in the preparatory gesture and in the transference of weight?
 The Labanotator, No. 60, July 1990 3
2.2 In Ex. 2a we have the commonly used notation for a sliding step forward on count 1 starting from
place, followed on count 2 by the left leg which has a longer distance to cover on its way forward.
How much of each of these steps is performed with sliding? Let us first take the step which starts in
place. Performing a sliding gesture forward, into the step, is easy. Do we usually also slide during the
transference of weight? (Note that Ex. 2b-f are enlarged versions of count 1 of Ex. 2a.)

2a b) 0 d) f) €]
2.3 Of course we can spell out a sliding gesture, as in 2b, for which the zed caret is appropriate in
showing the unity of gesture and support. Does 2c provide a simple statement of using a sliding
gesture, but not sliding during the transference of weight? It should be observed that the hooks do not
extend to the end of the forward symbol as they do in 2a, they are placed only at the start of the
direction symbol.

2.4 In contemporary technique walking patterns often include long striding steps which slide majestically
across the floor. The sliding action is much aided by pushing off with the 'back' foot, as shown in 2d.
Here the ball of the foot has a spot hold as it presses backward and dowmvard. This spot hold is
released and the foot ends sliding passively on the toe as a result of the long step. An abbreviation of
this form of sliding could be 2e in which the sliding is shown to take place during most of the
stepping process. Obviously if fast sliding steps are taken a large enough unit will have to be chosen
to allow this difference in writing to be clear, or a key to exact performance must be written out
elsewhere.

2.5 In 2d, if the floor is slippery enough and the weight held well forward, the gesture phase can be
shorter and most of the sliding can occur during the transference of weight, the resulting motion begins
to be closer to what happens in skating. Ex. 2f shows a simple illustration of a skating step. The feet
start together in 3rd position, all of the weight placed on the right foot. The left foot then presses
backward thus propelling the body forward on the right leg. The left leg releases quite quickly and the
sliding continues. The important difference here is that the weight is on the sliding leg from the start,
thus it is not a step at all in the sense of a transference of weight We will not go into all the ins and
outs of writing skating here (which edge you are on, the use of circular paths rather than straight, etc.);
the example was designed to illustrate the important difference in placement of weight.

2.6 In mimicking skating as in Ashton's ballet Les Patineurs children usually

perform 2b, that is the sliding occurs virtually only in the preparatory gesture, a
series of such steps taking place. If the surface is slippery enough there will be
some sliding supporting as well Let us look again at count 2 of the first
example, 2a, and see what happens when the leg starts backward in preparation
for a sliding step forward. Ex. 2g shows the appropriate starting position in
illustrating a single step of this kind. 2g
 The Labanotator, No. 60, July 1990
2.7 In 2g the sliding is written in the general way, as it was in 2a.
In 2h the sliding gestures are written out with only a little
sliding happening at the start of the transference of weight. Note
that use of the zed caret indicates that the foot is not lifted,
I
gesture is linked to support.
2h i)
2.8 Clearly passing through place can be taken for granted in this
context, thus 2h can be simplified to 2i.

2.9 The fact that the gesture in Ex. 2h has farther to travel than that for the step which
starts in place does not mean that it cannot be simplified to 2j, the transition in bringing •
the leg forward through place being understood. The sliding here is again shown to
occur only at the start of the step.
j)
2.10 If the foot is specifically to be picked up between sliding steps the release sign must be added, as in
2k. Ex. 21 shows 2i with the added fact of the foot lifted slightly at the start. Just where the foot is
placed again on the floor is not explicitly stated in this example, but could be if desired.

2.11 Ex. 2m is the simple statement of 2a

without any lifting before the second step,
and 2n the simple indication of a slight
preparatory lift.

2k 1) m) n)

2.12 Clearly some modifications occur in use of the feet in such sliding steps when different levels, different
directions and different states of leg rotation are used. All such variations can be spelled out in detail
when needed. A general, expected performance will result from the simple statements.

2.13 Walking on the knees brings up similar questions regarding sliding. Because one has only half a leg
(the thigh) with which to step there is more likely to be some degree of sliding on each step; the lower
leg (which helps to keep balance) sliding lightly along the floor. In 2o two steps on the knees are
shown; an easy 'natural' performance is expected.

2o P) q) B)

2.14 In 2p sliding is specifically stated, this means that it should be stressed. Note the use of the small
curved bow for contact which does not specify any particular part (as do the foot hooks).

2.15 To walk on the knees without any sliding requires that the knees be picked up before each step, as
shown in 2q. Ex. 2r (enlarged) specifies that as the knee picks up the weight travels forward. The
path sign for the center of weight does not indicate distance, only direction. Too much forward
placement of the weight would result in a falling onto the knee (ouch!). The indication of a forward
weight shift, Ex. 2s, may be enough to convey the required message of the weight transition into the
step on the knee.
 The Labanotator, No. 60, July 1990 5
3. MEASUREMENT OF DISTANCE

3.1 In working on the Labanotation Textbook n chapters Rob van Haarst and I had to consider the
question of specific distance for steps on the feet, knees, hands, 'all fours' etc. Can the same scale of
distance be applied to each instance? Do we need different scales for, say, walking on the feet, on the
knees, sitting down from standing, and so on? Obviously one unified system would have great
advantages.

3.2 Defining exact distance is a problem for any system of notation. As our system has developed over
the years, different people have contributed different ideas. Each idea was adopted where it seemed
logical and practical. But in the matter of distance measurement some of the resulting rules are in
conflict with one another. Without going into the matter fully we would like to present our findings in
relation to the distance measurement applied to sitting down from standing. This topic was considered
in the Labanotator No. 42 with comments in No. 44.

3.3 Albrecht Knust established that in sitting down from standing the distance that the hips are placed
away from the feet is based on the length of the leg. This measurement had an advantage in that the
distance sign used in the support column for sitting, 3a, coincides with the resulting degree of leg
flexion, 3b.

3.4 LN accepted Knust's usage as a practical measurement with the one question of the distance for the
unqualified statement. The time has now come to rethink this whole matter. Can there be just one
method of judging distance? Can it be applied to all needs? The following is our proposal.

3.5 First the question of general versus specific description. When no measurement sign is given the step
length (we will start with ordinary steps) is understood to be 'what comes naturally', that is a length
which requires no extra effort either in making it larger or keeping it smaller (holding back). It is
agreed that a person's step-length is dictated first of all by length of leg. The mood, presence of an
abundance of energy - or lack of it - will usually affect step-length.

3.6 Direction and level of the step are also understood to affect step-length: high steps tend to be shorter,
reaching out is not so easy, an effort must be made to keep them the same length as middle level
steps; low steps tend to be longer because a greater distance between the thighs can be achieved as the
step is being taken. Backward steps tend to be smaller than forward steps; open sideward steps are
larger than crossed sideward steps. For general purposes these differences are understood and often do
not matter. In certain forms of dance, take folk dance for instance, certain conventions regarding
distance have been established. For example, in circle dances backward steps are the same distance as
forward steps. In Graham triplet patterns the high steps are as long as the low. Such specifics can
always be spelled out where need be.

3.7 Statement of distance can be relative or specific. When only a relative difference needs to be stated
for length of step, then the simple set of space measurement signs are used, as in Ex. 3c.

0 X * H

3a b)

d) X X K. V\
6 The Labanotator, No. 60, July 1990
3.8 Once the set of specific distance signs of 3d are used, then the length of
the step is precise and is the same whatever the level or direction of the

3.9
step. The normal step-length, 1*1 , is two foot-lengths, the size of the
foot-length being that of the individual.

In Ex. 3e one forward step with parallel legs is shown. The length is
.1
best measured from heel to heel, thus the degree of turnout does not
affect the distance. Ex. 3f shows the same step-length with the legs
turned out. This distance may seem larger to some people but personal
sensation or feeling cannot enter into determining exact distance when a
general principle applicable to all cases is sought. 3e f)

3.10 Because the signs X ,^ , \A and V\e the same in both sets of distance measurement signs, (3c and
3d) the question arises as to how one can tell which set is being used when those signs appear. Once
signs with dots are used there is no question, but for the four listed above it is assumed
that they refer to the relative set unless an identifying statement is added. Ex. 3g
shows such a statement. The sign for 'specific' is combined with one of the relative
measurement signs, usually the 'X'. While other ways exist to state that specific
g measurements are in use, the one given here is simple and direct.

3.11 The step-length scale described above is that which will also be applied to distance in sitting down
from standing. When so desired the resulting degree of leg flexion can be stated in the leg gesture
column as in the past, but this will not match the measurement sign in the support column as it did
before. , -

3.12 This change in determining length is seen as a unifying measure in the system. It is not unifying in
the sense that there still exist (and may exist for a while) other methods in use. One of these is to
base measurement distance on gap-length, the distance between the two supporting parts, as in 3h, the
standard gap-length being the length of one foot. Note indication of the knee in Ex. 3h.

O = f)
4^
3.13 In Ex. 3h use of gap-length between knee and foot seems serviceable, but a problem arises when
changes in leg rotation occur particularly when both feet are involved. In 3i the feet are parallel with
one gap-length between them. Li 3j the legs are turned out but the same gap-length exists between the
heels. However, in 3k inward leg rotation has produced a very different gap-length despite the fact
that the legs have not moved, the heels (the end of the shaft of the leg) are still in the same place.
Among other things, this change produced by leg rotation brings up the question as to whether gap-
length is serviceable.

4. WRIST OR LOWER ARM?

4.1 The Advanced Labanotation chapter on Design Drawing brought into focus the question
as to whether a movement indication placed after a wrist sign, 4a, should be a
movement of the lower arm, as it is with a direction sign, 4b, or a movement fl -•
specifically of the joint itself, as in 4c which has traditionally been performed as a jj -
slight upward and downward displacement of the wrist, causing a bulging type of £ te
movement.
4a b) c)
 The Labanotator, No. 60, July 1990 7
4.2 It has been suggested that for a very slight lower arm movement the limb sign -•— /!
be used as in 4d. This idea of using the limb sign in certain contexts is not —°~ [/•
new. 4d 1C: e)

4.3 A turn of the wrist, as in 4e, is, of course, a twist of the lower arm, yet this
ambiguity has caused people to ask "How can the wrist turn?" Bill Reynolds, A
in his early days of investigating the logic of our system, wanted to use limb Hf
signs for all upper and lower arm and leg movements. This is a logical idea, s g)
and we all know the difficulty some students experience in understanding that ,
the elbow sign 'controls' direction for the upper arm, and, more difficult yet,
that the wrist states the direction for the lower arm and the ankle for the lower
leg. Use of the limb signs for these parts could well eliminate this teaching
problem. Yet we have all found ourselves reluctant to make such a change, to
give up use of the simpler signs which are easier to read as well as to write. If
the limb signs were used, then the joint signs would be just the joint, as they jf
are for flexion, extension, and also contact. 4f IP

4.4 In Design Drawing this same question came up in relation to the wrist performing a design. Is 4f a
lower arm design? In this example the arm starts out to the side and the circular design for the 'wrist'
is drawn on the forward middle surface. This causes the lower arm to move down, across to the other
side (hand near the shoulder) and then up. The movement required to achieve this is only folding and
unfolding in the elbow joint plus arm rotation.

4.5 If in 4f the design is made on the same surface with the wrist itself, perhaps as though rubbing out
something on eJi imaginary blackboard, then the arm articulation will be one of flexion and extension
of elbow and shoulder joint, the elbow dropping down as the wrist arcs downward, the elbow flexing
more as the hand approaches the shoulder (elbow and shoulder joint now totally flexed) and then the
elbow rising sideward again and the elbow unfolding as the wrist describes the upward arc.

4.6 To distinguish a design of the wrist itself from one of the lower arm we advocate use of the sign for a
surface of the wrist. Ex. 4g shows the area of the wrist, the tick indicating the front surface (as it does
for the chest, etc.). An alternate version is that of 4h in which the inner surface of the wrist is shown
as an area, the black circle having the same meaning as for the palm.

4.7 In exploring a variety of designs which occur in dance and in pantomimic gestures it was found that
many are performed by the palm of the hand (as in polishing a table top), the tips of the fingers (as in
writing a name in the air) and so on, these surfaces and edges producing a very different result to
designs traced by a limb. This is not the place to go into what part is active in producing a design,
what part is passive, where the focus is in drawing the design and where, in fact, the movement that
produces it is taking place. All this is spelled out carefully in the chapter on Design Drawing.

LABANOTATION TEXTBOOK II UPDATE

A contract is being signed with Gordon & Breach for a series of 'tracts' called Advanced Labanotation.
The first issue, Canon Forms, has been ready for some time and is in the publisher's hands. Because this is a
new venture and ours is a strange and wonderful field, it has taken the contract writers some time to know
how to deal with us.
The second issue, Design Drawing, is having its last cosmetic going over to reach perfection; it is
virtually ready to go to press.
Next on the list is Kneeling, Sitting, Lying, a very detailed and 'meaty' exploration of floor work on
8 The Labanotator, No. 60, July 1990
which Rob van Haarst has done a splendid job of researching all sources and cross indexing examples and
rules. This issue is 90% ready. Work is going ahead with acrobatics and other major topics.
The plan is to issue these individual 'chapters' as and when they are ready. Subsequently three or four
(depending on length) will be published as a 'volume'.
Rob has mastered all the intricacies of CALABAN resulting in production of beautiful Labanotation
examples.
All this work has taken much time, but we are convinced that all colleagues and future students will be
delighted with the results of these years of work and feel it was worth waiting for.

Editor: Ann Hutchinson Guest

Associate Editor: Jane Whitear Dulieu

Production: Nancy Harlock, Jean Johnson Jones

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Discussions in the Labanotator represent the thinking of experienced practitioners on choices in movement
descriptions, uses of symbols, rules, etc., and are not official in the sense of decisions concerning formal
adoption of any item, point of view or usage. Official adoption or changes will be clearly stated as such.