Issue No.

58
The JCabanotator January 1990

CONTENTS
1. Change of Key for a Space Hold 1
2. Swing that Bow! 2
3. Thumbs Out 4
4. Afterflow . 4
5. Approximate Moment of Passing 6
6. Floor Plans - Holding Hands 6
7. When Does Movement Start? 7
Request for Hand Circle Comments .8

1. Change of Key for a Space Hold

1.1 In most instances the space hold is used to retain the same Constant direction, i.e. the same
room direction. But, as we saw in the Labanotator No. 28, a gesture which requires a space
hold may need to relate to a circular path, in other words, the 'room direction' is being carried
around on the circular path. As No. 28 was issued in 1978, we are reproducing the material
here.
Maria Szentpal wrote:
1.2 Space Hold While Circling (1978)
It is a common occurrence in circle dances that the arm does a
'fouette'' (retention of the spatial direction ) while the dancer
changes the focal front relationship, as in Ex. la. But
means 'space hold', retention of a room direction, and as the
circling is continued, this indication is just not true. It gets even
i\i
worse in Ib with change of level!
We have the need to express a fouett6-like action not bound to
retention of a room direction. I have no answer for this. It is I
an open question, but a big need. You may ask how I solved
this question in the past and how I solved it at present. Just
with the wrong way - writing a space hold! j
1.3 Ann's Contribution (1978) la *
It is interesting that you brought this up, for Sigurd Leeder
pointed out just this problem when I was working with him in
Herisau this past December. In his case the example was more
like Ic here. The larger arm movement made the problem more
obvious.
My first thought to solve this problem is to tie an indication for d) fl
the arms to the path sign, as in Id. Then the version of le came
to mind. Would this be better to express clearly that the spatial
direction being held is tied to (relates to, is dependent on) the
path?

c) e)
 The Labanotator No. 58, January 1990

1.4 My more recent idea for indicating that the space hold relates to the path is If here. This
would be placed as a key to the left of the staff and would take care of circling right or left for
any part of the body that requires an indication of spatial retention.
1.5 Since the statement of orientation is in relation to the path of the circle, Ex. If, that orientation if
should dominate, rather than the room directions. If this were agreed, then the problems aired
in The Labanotator No. 28 would be solved as the changing front which results from the
circling and the other directions (forward, backward, etc.) would be those to which the space
hold referred. In other words, the direction being retained would be carried along with the
circling.
1.6 If, by chance in such context a space hold relating to the constant directions is needed, it could
be so designated as a change of key, as in Ex. Ig. >,
1.7 A simple, practical solution in performing la and Ib would be to accept the general
understanding that O relates automatically to the direction of the circular path, using Ig
when ^ does not relate to the path but to a constant room direction.
1.8 If the direction for O relates to the path, we could borrow from the
sign for the Line of Dance. Ex. Ih is the key for orientation according ...
to the Line of Dance, from which come the front signs of li, used in |J [i]
ballroom dancing. j)
1.9 The sign of Ij could mean a space hold in relation to the Line of Dance,
in Exs. la and b) this could be the clockwise circling.
1.10 The sign of Ij could not be confused with the signs for a secret turn,
Ex. Ik, because for those the pin never points forward.
1.11 Rob van Haarst came across a different version of the
space hold problem. In Ex. 11 the torso continues to tilt
after the right arm has arrived at its destination. But this
horizontal destination should be retained, and so a space
hold is used. There would be no problem if the
performer were not turning at the same time, thus the
space hold needs to refer to the torso direction and not to
a room direction.
1.12 In 1m there is no problem because there is no turn. Is
Ex. 11 an instance where the Standard Retention: ® is
the answer? This retention relates limbs to the standard
directions which, of course, turn with the body, that is,
they are carried along being related to the Standard Cross
of Axes. (For further details see Labanotator No. 46 and
Comments in No. 50.)
1.13 In 1m the right arm will end side horizontal; in 11 it will end diagonally backward:
l*j . If the Standard Retention of In is used for 11 instead of O the right arm will
end sideward horizontal in relation to the body, as in 1m.
n) IT

2. Swing that Bow!

2.1 We are all accustomed to the horizontal curved bow for contact, parts touching, Ex. 2a or 2b
being the shape predominantly used. However, there are times when the symbols for
accompanying movements get in the way and placement of a pin to indicate the relationship of
a contact can become a problem, as in 2c.
 The Labanotator No. 58, January 1990

2.2 Knust solved this problem by swinging the bow out, giving it a bulge in which to place the
needed pin. Exs. 2d and 2e show such a bow and 2f is used to solve the crowded staff
problem.

2a

2.3 This same device can be used for all relationship 'bows', including
addressing, near, supporting, etc. It came to our attention that many
Labanotators are not familiar with this possibility. It is also useful when h),'
an V or a hold sign needs to be added to a contact bow, as in Exs. 2g
and 2h.
2.4 We all know the problem when such indications have been placed in the
center of the staff where they appear to relate to the support or to
gesture columns. Using Knust's device can avoid such questionable
placements. The flexibility in being able to use straight lines for the
center part of curved bows, Ex. 2i, is so often a help in placing them for
easy reading. Knust's 'bulge' indicates clearly that a round bow is being j)
used.
2.5 The same device of swinging outward can be used for angular bows, as
in 2j for addressing, and 2k for supporting. k)

C84
682

2.6 The examples given here, taken from Knust's 1979 Dictionary of Kinetography Laban, show
'swinging' round, angular or addressing bows to make reading easier. Note placement of the
retention sign (the spot hold) above the V, the 'swinging' of the bow allowing room for both.
2.7 Ex. 582 also shows indication of the placement of the two dancers in relation to each other,
through use of the meeting line. The double circle meaning 'each' indicates that they have the
same relationship to each other. They start facing one another, then jump diagonally so that a
side-by-side relationship is produced, and so on. A spot hold sign for the grasping is used
instead of the ordinary hold sign because of the possible need for a slight adjustment in
placement of the hands as each new relationship is produced. The spot hold allows for this
adjustment whereas the hold sign o does not.
2.8 In Ex. 584 the swinging outward of the supporting line
for the left hand is similar to 2j.
2.9 The addressing sign in Ex. 609 for the head is shown to
retain the spot, i.e. keep looking at person 'y' while this
person walks in front of 'x'. The changing location of 'x'
to 'y' is indicated next to 'y's staff.

609
4 The Labanotator No. 58, January 1990

3. Thumbs Out
3.1 The thumb is a kind of 'odd man out'; it is part of the hand and yet in many hand movements
it is passive, or not involved in the main activity. The four fingers, though different in size,
move in a very similar manner, and often move together as a unit.
3.2 Such actions are very different from finger movements in which each finger has some specific
activity which needs to be recorded. In using the hand sign it is always assumed that the
thumb is fully included. Admittedly there are many instances where the question of how the
thumb is to behave never comes up, but even before one gets into fine detail on hand gestures
the non-involvement of the thumb arises.
3.3 To give an example, when the hand contracts, as in Ex. 3a, does the thumb also |
contract? Is the result as in 3b, or as in 3c? 3a p,
3.4 In our experience most people perform 3b. The contraction of
the thumb which requires use of a base joint unrelated to that of
the rest of the hand, seems to be an extra movement, one which b) <
should be explicitly written.
3.5 Here we come across views and usages in movement based on anatomy and how the body
tends naturally to move. Is this a culturally-based reaction? However that may be, we face a
need and hence a solution is being put forward.
3.6 Ex. 3d is the general sign for the hand; 3e represents the five fingers, fc j$ |5 |j
i.e. the thumb is included. ^ ^ ^5 ^
d) e) f) g)
3.7 Ex. 3f specifies the individual fingers. For such specification there must
always be five strokes, even if only the four fingers (thumb not
included) are to be designated, as in 3g. h)
3.8 The suggestion now being put forward is to use Ex. 3h when an activity
for the hand does not include the thumb. Will this sign look like a
carelessly drawn sign for the fingers? Will it be distinct enough? J'
3.9 Of course we can indicate with the exclusion bow the fact that the thumb should be excluded
in the folding statement of 3i. Another possibility - always at hand - is to state in the glossary
that a hand indication with an asterisk should mean the thumb is excluded, as stated in 3j.
While a need for this may not often be met, it is of value to know that such questions do come
up and to have an idea of how they may be handled.

4. Afterflow
4.1 'Afterflow' is the term given to a movement in which the main impulse, the activity, usually a
spatial change, stops slightly short of its final destination and the body part then continues on
to reach the stated destination in a passive, resultant way. It could be likened to a cloth at the
end of a stick being dragged through water in that, once the stick has ceased to move, the cloth
will continue on its path in the same direction in a resultant manner. The main difference
between afterflow and the illustration just given is that there need not be any leading involved,
the limb may move in one piece and the afterflow is spatially small and subtle.
4.2 Another image might be the sensation of a gentle coasting of an object to its destination the
main movement thrust having disappeared. Examples could be a golf ball that slows down and
finally comes to rest, or the last few inches of movement when a wave which has rushed onto
the shore loses its momentum but travels that last little bit before being pulled back into the
sea.
 The Labanotator No. 58, January 1990

4.3 In dance such afterflow provides a softening at the end of the main movement which is
desirable for certain styles of movement, for example elegance, soft femininity, a subtle
conclusion to the movement, an avoidance of 'impact*. In Effort terms it could be considered
use of free flow in that, whatever the dynamics of the main movement, it resolves (terminates)
into only free flow.
4.4 Such Effort statement may be written as in 4a, an increase in
sustainment and free flow. This could be placed near the end of
a movement indication, as in 4b. The simple indication used in
the past has been a dotted line following the main movement, a
very simple version being 4c. This dotted line can easily 4a
indicate the duration of the afterflow, 4d and 4e.
4.5 What needs to be understood is that the direction symbol states
the destination to be reached and the performer has to plan
enough ahead to arrive just short of that destination so that the
body part can 'waft' into place, so to speak, Ex. 4f. This is not
a question of passive guidance at the end of the movement as
(L
would be suggested by 4g. The afterflow is intended to be a
very subtle event, almost as though it did not intend to happen. d) e)
4.6 The question arises as to whether the dotted line should be tied to the
previous movement symbol, as in 4h, so that the link is quite clear and
a slight change in destination is not intended as a result of the afterflow
movement.
4.7 The importance in the use of afterflow is the effect it can have on
timing. The main action may be to reach a point by a certain count. In
Ex. 4i the arm reaches forward middle on count 2 and holds for the rest
of count 2 and count 3, moving up only on count 4.
4.8 To fill this gap and prevent the effect of separated movement, afterflow may occur thus
softening the movement sequence. In 4j the main movement still occurs on the same counts
but the afterflow effect extends through count 3 right into the start of the upward movement.
4.9 In 4k the first movement finishes on count 1 with an afterflow continuing through count 2.
Here there is a break before the movement up is started.
4.10 Ex. 41 illustrates the path of the movement for 4k, the expected proportion of the action (solid
line) and the afterflow (dotted line). In 4m an approximation of a breakdown of the movement
is spelled out, a movement ending on count 4.

4i j) k) m)

4.11 It is felt, however, that use of a direction symbol for the afterflow as in 4m destroys the idea
because it is not comparable to a passive, resultant, performance of a directional change.
 The Ldbanotator No. 58, January 1990

5. Approximate Moment of Passing

5.1 The meeting line in a score indicates the moment
of a particular relationship in meeting or passing
a person or object. In 5a dancer G passes B on
count 3, B being on G's right; shown in the floor
plan of Ex. b).
5.2 In the case of several people passing one person, !l 16
the members of the group will pass that person at
different moments. It is not usually necessary to
indicate the exact moment of passing for each 5a c)
person, a general message will suffice. In 5c the
meeting line is extended with dotted lines to state A,D,E.
a 'passive duration' thereby indicating that the
moment of passing for each person is not being
stated (as in floor plan 5d), but that all do not
pass on the third step, as might be supposed if an
exact reading of the meeting line itself were
considered.
5.3 Lengthening the meeting line, as in 5e, could be b) d)
understood but theoretically should state that all
have that relationship to B for the stated length of
time. As the meeting line is not normally
extended the meaning of 5e may not be clear,
thus 5e is not an appropriate solution.
8
5.4 An alternate to 5c could be 5f in which the first
person to pass is indicated as the leader, and the BK
dotted line continuing the meeting line indicates
the resultant passing of B by the other V
performers. e) f)

6. Floor Plans - Holding Hands

6.1 A bird's-eye view on floor plans of how dancers are holding hands can give an immediate
visual message, even though the details are written on the appropriate movement staves.
6.2 The device used is of thin curved lines representing the arms and a small dot representing the
grasping hands. When arms are crossed the arm which is below is indicated by a broken line.
The height of the arms, the exact direction and degree of bending is shown in the movement
notation.

6a b) c)

6.3 In 6a the man and woman are standing side by side, holding inside hands. In b) they are also
side by side but closer together, the arms being now held forward while holding hands.
6.4 In 6c they are again holding the same hands but are facing each other. How high the arms are
and how near or far each dancer is from the other can be determined by the height of the arms
and the degree of bend in the movement notation.
 The Labanotator No. 58, January 1990

6.5 Ex. 6d shows that the arms are held out to the sides and rounded, whereas in e) the arms are
held straight.

e 6d e) f) g)
6.6 When right hand holds right and left hand holds left, the arms are crossed as illustrated in 6f.
Here the left arm is on top.
6.7 Ex. 6g shows a familiar trio, one man with two women, holding hands, as in 6b. In h) the
man's arms are open but each woman's outside arm is crossed over to grasp the man's hand.
Nothing is indicated for the women's inside arms.

6h i) j) k)

6.8 In 6i the women's inside arms are shown to be holding hands behind the man while the man's
arms are crossed as he holds the women's outside hands.
6.9 In the diagram of 6j two women are holding hands behind their backs. Their arms will
actually be closer to the body than drawn; for clarity on the floor plan the lines representing the
arms cannot be drawn too close to the pins. No arm line is broken so it does not matter which
arm is on top.
6.10 In 6k the same type of hand holding occurs in front of the body.
6.11 For easy reading the arm lines should be drawn lightly, the pins darker. Spacing in placing the
indications does not always allow the dot for the hands to be drawn at exactly the correct
place; the needed message is, however, still imparted.

7. When Does Movement Start?

7.1 At the start of a score, when the dancer is already on stage, and a brief
introduction needs to be shown, where should the double horizontal line
for start of movement be placed?
7.2 In Ex. 7a because of the introduction there is a wait of 4 counts. c
o
Should the double line be placed as it is, or should it appear just below o
the step forward? 3
T3
2
7.3 While holding still is not moving, it is not the same as the statement
below a double line, the starting position, which has no time
significance. A hold sign is a command not to move, so placement of
the double line before the hold sign could be considered correct. This is 7a
purely a theoretical discussion since the movement intended is quite
apparent.
8 The Labanotator No. 58, January 1990

Comments on Hand Circles

Labanotator Nos. 55, 56 and 57 were devoted to the topic of Hand Circles. We realise this is a
fairly involved topic and hope you find time to study it as we would like to publish comments on it in
the next issue. We would therefore appreciate hearing your comments, thoughts, views and ideas on
the topic. For our readers it is frustrating not to have replies to comments and know how others have
reacted. For our publication and concentrated discussion it is not practical to spread comments on one
topic over several issues. The Labanotator No. 59 is due out in April so it would be helpful to us if
you could send your comments by the end of March/first week of April.

Editor: Ann Hutchinson Guest

Associate Editor: Jane Whitear
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Discussions in the Labanotator represent the thinking of experienced practitioners on choices in

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