the £ab(violator

Issue No. 55 April 1989

CONTENTS
1. Hand Circles 1
2. Do We Describe Intention, Idea? 5
Comments on The Labanotator No. 54 5

1. HAND CIRCLES

The recent development of interest in dance of different cultures, leads us to look into
certain movement in greater detail. Hand movements are featured in East Indian dances and while
many of them are static hand poses (Mudras) with the fingers in particular positions or shapes,
many circular hand movements occur. These are also familiar in Spanish dance, thus an
investigation here into how to analyze and write them may be useful as well as timely. The
general description will be investigated first, moving to the specific and alternate ways of
writing will also be discussed.
To be considered are:
1. The direction of the circling ('clockwise', 'anticlockwise').
2. The direction into which the palm predominantly faces ('backward', 'forward').
3. The inclusion of rotation (inward, outward twist of the lower arm).
4. Wrist folding, the degree used.
5. Full range of possible circling (Lateral, Horizontal and Sagittal).
6. Descriptions from -^-
7. Descriptions from -©-
8. Inclusion of Gathering and Scattering.
9. Addition of sequential movement in hand and fingers.
10. Specification of sequential use of the individual fingers.
11. Augmentation through inclusion of lower arm; of whole arm.
Without Rotation
1.1 To make the movement easier to see we will start j]m
with the arm forward and the palm facing in: N.Q
1.2 Circling can be clockwise (a lateral circle to the right) or anticlockwise (a lateral
circle to the left). We begin with a clockwise circle. The circle can be started at any
directional point but we will begin 'up'.
1.3 In la absence of any rotation (which might be
considered allowable) is stated by the retention
of the unrotated state. The size of the circle
depends on the wrist flexibility, the forward high
direction will barely be reached.
K

1.4 Similarly in Ib the degree of wrist flexion

possible for adduction and abduction will be
limited.
w
£S
Directional Wrist flexion
description description
 The Labanotator No. 55, April 1989

1.5 For the path description, Ic, the preparatory

starting point is stated. If no rotation is
to be allowed to facilitate the path, it
should be indicated, as it is here. For
those interested in spatial shapes, these
'circles' are cones. However, our
awareness is usually of the periphery, the
line in space described by the extremity of
the hand rather than the cone shape which
the hand is 'carving' in the air. To stress
this extremity awareness, the movement Ic
could be shown as led by the fingertips.
Note use here of the abbreviated sign for
lateral circling.
1.6 The design drawing of Id shows clearly that Path description Design
the circle begins upward. description
With Rotation
1.7 As soon as the hand (lower arm) is allowed to rotate the circling can be much augmented.
Note the unrelated state is considered to be that with the inside of the wrist facing to
the left. Palm facing indications have been added for clarification in the following
discussion.
1.8 To make the biggest circle possible it will be found that the performer will continuously
twist the lower arm in one direction until the 'point of no return' forces the lower arm to
make an equal twist in the other direction in order to be able to start again. Such 'point
of no return' is the same as that which occurs in performing an arm circle. The limb
reaches its limit and an equal amount of limb rotation must take place in the opposite
direction for the circling to continue. One full circle involves one full rotation.
Perhaps a review of this fact for arm circles would be helpful here.

1.9 In le the arm starts up, palm facing in. As it moves

forward and downward no rotation occurs. To keep the
palm still facing sideward as the arm moves back requires
some shoulder flexibility but is not unusual. However,
from that point (marked with an arrow) the arm can barely
be lifted until the shoulder is 'opened' by a full
outward rotation as it returns to the starting position.

le
The reverse is true for a backward circle, If. For this a
f) complete inward rotation must take place as the arm moves
to backward horizontal.
(TFI
1.10 To return to hand circles, for 'extreme', i.e large circles we will begin with a normal
state for the hand. It is common for such lateral hand circles to be performed with the
palm facing in toward the performer. In Ig, as a preparation (count 4), the hand points
inward to the left with the palm backward. In the notation below we give the rotational
state in terms of destination, i.e. degree from 'zero' (shown in i) by white pins) as well
as indicating the degree that is taking place (shown in ii) by black pins).
1.11 As it circles down and to the right the lower arm twists inward. Before it can circle
upward a 3/4 outward twist must take place, resulting in 1/4 twist to the right from zero.
This 'inward palm facing' lateral circling can also be done in the reverse direction, i.e.
circling outward, with outward twist taking place at the start (not shown here).
 The Labanotator No. 55, April 1989

1.12 In Ex. Ih, the hand circles on an outward lateral path (cartwheel to the right), the palm
remains facing forward (away from the performer) as the lower arm twists to the right. By
the time the hand is pointing down maximum twist in that direction has been achieved and to
continue the circle the lower arm must twist inward to return to the starting position. In
terms of degrees of twist the movement requires 3/4 gradual outward twist followed by a
more rapid 3/4 inward twist. Note the indications of degree from zero.

Inward Outward
circle, circle,
palm facing palm
inward facing
outward

lg h)

ir in

1.13 From the same starting position a reverse circle can be made. This will require the
rotational adjustment at the start as the hand moves downward and the palm then returns to
facing forward for the rest of the circle. This inward (cartwheel to the left) circle is
not shown in notation here.
1.14 Note that while a whole arm circle involves a full rotational adjustment, the lower arm and
wrist are more limited, 3/4 being the usual maximum (we have, however, to allow for double-
jointed people!).
1.15 In the above examples the basis of the movement, the circling, is shown by the sequence of
direction symbols. In Spanish dance the focus may be on the wrist flexions combined with
the twisting. We will now investigate the flexion description. In the examples below for
additional clarity in this presentation indications are given for i) wrist facing, the
sign: 1^1 being used to state the inside surface of the wrist and ii) palm facing.
Wrist Flexion with Rotation
1.16 Ex. li starts with the right arm forward, the
wrist being extended normally extended, the lower
arm twisted to the left so that the inside of the
wrist faces down. The circle is started with a
backward wrist folding. As inward twist is
increased the wrist changes at once to a forward
fold which is maintained during the subsequent
outward twist, but reverts to a backward fold on
count 4, as at the start. Note that in this form
the wrist is folded forward most of the time and
the result of the action is that the palm faces 1
predominantly in toward the performer. The
details given here are not all needed, but are
provided for exploratory purposes.
 The Labanotator No. 55, April 1989

1.17 Ex. Ij shows a reverse circle which starts in the

same manner but the wrist is predominantly folded
backward which results in the palm facing away
from the performer.
1.18 When the 'counteracting' twist occurs all at once
within the circular design, one has the impression
that a loop occurs on the circular path. Such
circles are often performed less precisely the
rotational change being spread out more evenly.
When that occurs there is much less awareness of
the twisting action. lj

1.19 As can be seen from this placement of the arm, the

scope of the circling is enlarged when inward twist
occurs as the hand circles away from the body and
outward twist when it is circling toward the body. The same result is true when the hand
performs the same -<&• movements when the arm is in different locations.
1.20 For movement analysis in exploring possible hand circles the above descriptions serve us
well. However, when these forms and facts are familiar we welcome simpler statements. If
circling is the main feature it would seem obvious that circling signs should be used.
Circular Path Descritions
1.21 Continuing with lateral circles, we have in Ex. Ik a statement
of circling with no other specification than the upward
starting position. Without doubt most performers will use
forward wrist folding, this being more usual. When precise
performance is not needed such a simple circular path statement
will suffice. By giving additional detail in a glossary the
score can be kept simpler. Note that the lateral path sign used
Ik in Ik is a more easily written and read abbreviation of the full
sign of 11 for a cartwheel path to the right.

1.22 The desired twisting actions can be indicated simply within an addition bracket. In Ex. 1m
inward and then outward rotation are shown to be included without statement of specific
timing. The statement could also be 'inclusion of inward and outward rotation', Ex. In.

of.

I
fT
n)

SR
 The Labanotator No. 55, April 1989

1.23 The reverse performance is shown in lo, i.e. circling with the palm facing away from the
performer. The combination of the path and the rotational sequence spells out the desired
movement.
1.24 Similarly rotation can be added to a design description, as in Ip which produces the inward
palm facing circle, and Iq which produces outward palm facing.

2. DO WE DESCRIBE INTENTION. IDEA?

2.1 Years ago I saw Ex. 2a in a notated sequence at the Laban Art of Movement Studio and
questioned if it were physically possible (taking it for granted that contortionists were
not the individuals for whom it had been written). It was explained that this choice of
description best expressed the intention, the movement idea of the torso and leg
expressing the backward high direction. They recognized that it was not an anatomically
correct notation, but it served their direct purpose. Ex. 2b illustrates the kind of
movement which was intended with the spatial direction of the energy indicated.

0 E
i
X

x!
I
X
?
SI
2a A d)
^
2.2 The ipoint was made that, if the movement were written correctly, as in 2c or d), the
performer would not strive in the same way to achieve an expression of backward high. No
serious notator would write a), yet there is merit in the argument given. If c) is written
the energy is used differently and the attitude to space is different. The fact is there
but a particular message, the 'spirit' of the movement is lacking.
2.3 If the notation of a) were placed in the curved 'Intention' bow, as in e), the reader would
know that this statement is not the physical fact, the actual structure of the movement but
an aim or idea which can affect the performance.

COMMENTS ON LABANOTATOR No. 54

Passive. Resultant
The Passive Resultant discussions brought forward some interesting comments, some of which
are still being tossed to and fro. We will begin by presenting the simpler more direct state-
ments. Paragraphs refer to those in No. 54.
1.2 Ray Cook asks whether the passive body parts end, and remain, displaced.
Answer: When no direction symbol is used for the passive part, as in la - Ic (repeated
here), the end result is not specified. If a return to normal alignment is desired, it should be
stated. It should be noted that additional examples are given new numbering.

I!
la b)) r c)
 The Labanotator No. 55, April 1989

A1-A4 The dotted vertical line for passive can continue after the main movement showing the
coming to rest to occur slightly later, Al. In A2 the passivity ends before the conclusion of the
main movement, implying a return to the normal alignment. In A3 the return to normal is stated.
If the destination of the passive part is other than normal alignment and the end placement is
important, it can be stated. In A4 the head travels to the point halfway to side horizontal.

i
Al gj A2 C A3 g A4

1.2 Ray continues: "You state that there will be a slight delay in the passive part. Unless
this is stated as a rule that is understood because of the meaning given to the word 'passive' and
therefore the meaning of the symbol, one could just as readily think and do Ib with the hand being
passive immediately, i.e. give a spot hold to the fingertips until such moment that the hand has
to follow.."
To answer Ray's points I must refer you to the LN textbook page 253 and the illustrations
of leading, accompanying and following.

358a Leading b) Aoicompanying Following 35 9 C Following

358c-359c For the passive part to follow it cannot start into the stated direction at the same
time as the active body part, it must be slightly delayed. The main difference between examples
358c and 359c and la - Ic in No. 54 is that the latter indicate to and fro movements. For a part
to behave passively, it has to be delayed, to 'hold back' and allow the active part to lead before
it can react passively. Therefore the idea of the fingertips having a spot hold in Ib, as Ray
suggests, is what is understood and therefore need not be written. The passive reaction is not
unlike waving a cloth underwater; it passively reacts to the changes in direction of the hand/arm
movements.

I
()

Id if

1.4 The difference should be noted between when the dotted passive line is the only indication
for that body part, as in la - Ic, and when it is placed alongside a movement indication for that
part, as in Id - If. In Id person B is the active 'part' and his arm rising causes A's arm to
rise, the spatial change being simultaneous. This timing is also true when one causes one's own
limb to change direction, but in a passive manner. In If the turning action is the initiator for
the arm change, but the performer exerts enough control (slight additional energy) to be sure
that the path of the arms arrives at a particular destination. In Id dancer A need exert no
energy to arrive at the desired destination as B is in control.
 The Labanotator No. 55, April 1989

1.6 Ray: "This has always been a problem for me. I agree that there must be a difference but,
as a performer and director, I think that there are three situations:
a) movements that are truly passive
b) movements that are included but not passive, i.e. those that you must
consciously do, so that in Ij the movement would look like the movement of an
augmented part.
c) those in which you consciously try to make the movement look passive (and
therefore it isn't). Would this last one have the information inside brackets as we
do for additional information?"

II B IL
j) A5 A6 A7
A5-A7 Answer: In an inclusion the proximal part of the body allows itself to be involved in the
main movement, e.g. an arm gesture which affects the upper body, A5. In Ij, for most people, the
head cannot arrive at forward middle level unless they allow the upper body to relax enough to
accommodate the head movement. If this action is written as an augmented body part - head to
shoulder section, as in A6, - the upper body would be active, as active as the head, whereas in Ij
it is not. The timing of the accommodation could be more precisely stated, as in A7 where it does
not come into play until near the end of the head movement when it is needed. Ij is taken as a
statement as a whole. As to Ray's category c) above, to be sure what he means we would need to see
some examples in person.

tl

Iv Iv' w) A8

1.10 Ex. lu should have had a black diamond in the backward direction symbol.
1.11 Ray spotted the omission in Iv of leg contractions to indicate a gradual lowering to
sitting, not a sudden plop onto the floor! This is corrected in Iv'.
1.13 For Iw Ray says "If you are not familiar with what is required your legs may be far from
this end result and therefore a specific movement would have to be made to place them after the
completion of the turn."
A8 Since drafting issue No. 54 we have seen scores with similar examples in which the small
vertical bow for destination has been used, as in A8, the performer understanding that an
adjustment may need to be made. Rob van Haarst pointed out that his legs do not end in the
position designated, which highlights the fact that different builds produce different results
particularly when training for exactness in such movements has not been undertaken. Even for
Graham technique experts some minor variations exist.
1.16 Ray picks up on the question of whether short symbols taking one or two squares should be
given a staccato performance. This will be dealt with in Issue No. 56.
 The Labanotator No. 55, April 1989

Standard Rotation for the Arms - A Change?

2.7 Ray's comments on this paragraph indicate how unclear it
is. Let me have another go. In a twist of the whole arm
A A the hand is carried along. Only when a great amount of
twist is required does the effort of increasing the
degree cause the hand to be involved in the movement.
In striving to twist further the fingers will be
activated. What was not clear, it seems, is the
tr difference between the hand being 'involved' in the sense
of carried along, or involved in the sense of
2c B1 contributing what it can to increase the degree of twist.

2.9 The wording here "the hand is excluded" in an elbow rotation means that the hand is not
carried along in the action of the lower arm. While the direction into which the elbow faces
changes in an elbow rotation, the palm facing direction does not. Thus inward rotation of the
elbow is correct for the 'lifted elbow' used in classical ballet.
Pins for Crossed Arms
4.1 Ex. 4f lacked a 1 pin for the left arm.

COMMENTS ON THE LABANOTATOR NOS. 52 AND 53

These will be dealt with in Issue No. 56 where it is hoped more space will be available.

Editor: Ann Hutchinson Guest

Associate Editor: Jane Whitear
Production: Nancy Harlock, Daphne Tribe
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