Issue No.

37
The Zabawtatot L.O.D.C. October 1983

Dear Reader,
The previous issue of the Labanotator, No 36, contained information on canon
form which was not generally available elsewhere. There have been no comments re-
ceived as yet on this material, and indeed little was expected. Nothing presented
was new, and then many people were involved with the ICKL discussions which had to
take precedence.
In this issue we present minor points, several of which have come up from
reading other people's scores. We hope they are of interest; they certainly are
points on which we should reach agreement. The differences in thinking are in-
teresting; we need to find out whether the differences are needed.
Our plan is to concentrate on a larger item for the issue after this. It will
probably be monopins or paths for gestures - material which was prepared for the
1971 ICKL conference and never properly discussed
Ann Hutchinson, Editor

IN THIS I S S U E
Small Items to Present at ICKL 1985 Page.
Relationship to Focal Point 1
Empty Direction Symbol for Pathway 2
Indication of Peripheral Pathway 3
Points of Clarification
Shift or Step? 4
Landing for Glissade, Pas de Chat, Sissonne, etc. 5
To Point Or Not To Point 6
Uhen Does Travelling Stop? 6
Indication of General or Specific Timing 7

SMALL ITEMS TO P R E S E N T TO ICKL 1985

The following minor items have been in use by several people for some time but
never made official by being discussed and passed at an ICKL conference. It would be
good to get these considered and accepted so that they need not be placed again and
again in glossaries.
1 R E L A T I O N S H I P TO F O C A L P O I N T
History
1.1 Many years ago LN adopted Knust's way of indicating
the performer's relationship to a focal point. For a
starting position Knust wrote the composite turn sign
with the black circle for focal point appropriately
placed. Ex. 1a indicates facing the focal point, 1b) la) b)
states starting with the right side to the focal
point.
(2 The Labanotator, Issue No. 37, 19&3

1. Relationship to Focal Point (continued)

1.2 After a turn occurred the new focal point
relationship was indicated by the appropriate
turn sign (right or left according to what
0
had just taken place) with the focal point d)
added, Ex. 1c, 1d.
1.3 With our concern for greater logicality in our system, the following points
came up concerning Knust's usage:
1.4 Why is a movement sign used for an indication of orientation? No movement
sign is used to indicate the new front for a Constant Direction front.
1.5 What is the significance of the composite turn sign for a starting position?
Does it mean "Turn neither right or left to face the focal point"? Or does it
mean "Turn either right or left to face the focal point"? Students often ask
this question - why use the composite turn sign?
New Proposal: Use of the Meeting Line
1.6 The meeting line is already in use to indicate location. It shows where ano-
ther person or object lies in relation to the performer. Why not use the same
device to show where the focal point lies in relation to the performer?
1.7 Ex. 1e states the focal point is in front of you.
In Ex. 1f the focal point lies to your right, and so on. -i-
etc.
le)
I-
f)
Arguments Against the Meeting Line
1.8 It has been argued that use of the meeting line
as in 1g and 1h) looks too much like an LN repeat •
sign, Ex. 1i. But 1i is significantly different. In h) i)
practice we have not found this to be a problem. We
-wcul~d-44-k-e—to- pr-opo-se that -u&s -of- the- si gss—&f—^3-be
officially adopted. Please write in your reactions. etc.
A formal 'paper' will be presented at the 1985ICKL
conference.
2. EMPTY D I R E C T I O N S Y M B O L FOR P A T H W A Y
2.1 When gestural pathways are written with di-
rection symbols, an additional symbol is re-
quired for circular paths between 3rd degree
points. In Ex. 2a the arm will 'cut across' \r
on its way from start to finish. In 2b a cir-
cular, peripheral path w i l l be performed be-
cause the side direction symbol has been added.
The circular path can also be produced by using
the appropriate diagonal symbol, as in 2c.
Note that we are not being concerned here with 2a)
fr
b) c)
timing of the action, only with the path. Both
2b and 2c produce the same path.
2.2 If the gesture starts forward high, then
what level is the intermediate direction to be?
If a side direction is used, as in 2b, then
should it be middle level, as in 2d, or high
level as in 2e?
2.3 Obviously two different paths are being de-
scribed in 2d and 2e, and neither produces the
simple, peripheral curve that is desired.
2.4 The same problem arises if the diagonal di-
rection is used as the intermediate point,
Ex 2f, 2g.
 The Labanotator, Issue No. 37, 1983 3)

2.5 From the above we see that if we are to de-

scribe the exact level for the side or diagon-
al symbol, we have to write an intermediate
level, and have to work out just what this
should be.
2.6 If level is left out of the symbol, level
need not be considered, the reader will pass
through side using the simplest 'direct1 curve,
Ex. 2h.
In case the reader is concerned about the
empty direction symbol being a destination, it
can be tied to the final destination to show
that this sign is the aim, the destination,
Ex. 2i. This use of a bow for destination fol-
lows that established for paths across the
floor and for the resulting destination for a
space hold when a modification occurs during a
spatial retention, Ex. 2j.
3. I N D I C A T I O N OF P E R I P H E R A L P A T H W A Y
3.1 When the peripheral pathway is wanted it
may help the performer if the movement is de-
scribed in such terms.
3.2 We have the means of showing a straight pathway between two points, as in
Ex. 3a. Such a straight path can be between 1st,. 2nd, 3rd or 4th degree points,
as illustrated in 3b - 3e.

A n

3a)
If IT
3b) c) f) h)

3.3 If the extremity of a limb is to describe a peripheral pathway between 1st,

2nd and 3rd degree points in the same level, the path to be taken can be under-
stood.
3.4 Between the 1st and 2nd degree points of 3f and 3g our established interpre-
tation is the peripheral curve.
3.5 Without any added indication the performance of 3h will be a slightly curved
transverse path. Ex. 3i w i l l be a slightly curved central path.
3.6 If the sign which in Motif Description means
'any straight path 1 , Ex. 3a) can in Structured
Description mean the appropriate, expected, ob-
vious straight path, then this same modification
in meaning should be applied to the sign of 3j
which in Motif means 'any curved path'. Ex. 3k k)
will mean the appropriate curved path. The con-
text modifies the freedom allowed in Motif De-
scription.
(4 The Labanotator, Issue No. 37, 1983

Indication of Peripheral Pathway (continued)

3.7 If paragraph 3.6 is agreed then Ex. 3h can
be written as 3m.
3.8 Because of the nature of this particular \)
example, it would be quite appropriate to use
the clockwise circular path sign as in 3n.
n)
3.9 Ex. 3o is ambiguous since opposite points
can be joined via the periphery remaining in
the same level in two equally valid ways. How-
ever, the body build makes it probable that
Ex. 3p would be chosen rather than 3q, but in or
no way would 3q be wrong.
3.10 Ex. 3r shows peripheral points at different
levels. Can the peripheral path automatically &
be known? Is there more than one possibility 3o) P) q)
which may be equally valid? This question
came up at the 1979 ICKL conference.
3.11 If in Ex. 3r the change of level is con-
stant (i.e. not retaining the previous level I
or dropping quickly to the ending level) then
there is only one possible peripheral path -
approximately that of 3s.
3.12 Between 4th degree points, as in Ex. 3t, if 3r) s) t)
nothing is stated it is expected that the path
will be a horizontal one, and most likely over
forward because of the body build. T
3.13 To jndicate^ other pjos_sjble peripheral paths
between tKese pbints^'li\/e~carf "add minor dire<>
tion signs. Ex. 3u shows a peripheral path
overhead; 3v a peripheral path via forward
high, and in 3w via forward low. 3u) v) fr w)
POINTS OF C L A R I F I C A T I O N
The following items have arisen from comments on recently published materials.
4. SHIFT OR STEP?
History
4.1 Because Ex. 4a is a complete transference
of weight on each step, Knust established that 4a) b) c)
4b is also stepping with complete changes of
weight.
4.2 When such stepping begins after a starting
position, as in 4c, there has often been doubt
about whether a step is intended; many readers
want to interpret the notation as a shift of e) f)
weight.
4.3 When a change in level occurs, as in 4d, there is an even greater tendency to
want to shift weight rather than take a full step (i.e. transfer the weight com-
pletely to the left so that the right foot is picked up to take a complete step).
New Thoughts
4.4 At the 1983 ICKL conference there was discussion that Ex. 4d should be open to
interpretation, that it could be performed either way. If only a shift is wanted,
a caret is used, as in 4e; if a step is intended, then preparatory release of
weight can be shown as in 4f.
 Th,e Labanotator, Issue No. 37, 1983 (5)

4.5 What if a gesture occurs at the same time? Ex.

4g which was intended as a rise (releve) while A
lifting the leg to the side was questioned by a
DNB notator who felt that it was necessary to add
the caret as in 4h if a step was not wanted. 4g) h)
4.6 If we still believe in the 'step-gesture' rule,
then there is no question that Ex. 4g is just a
rise because it is not possible to start lifting
the leg while at the same time starting a trans-
ference of weight (a full step) on the right.
4.7 Generations of ballet scores have been written with retires as in Ex. 4i
without any suggestions of carets being needed. Was there ever any doubt on
this, or is it because this ballet step, is so well known that no one questioned
the performance?
4.8 As our system advances and 'matures1, we become more and more aware of finer
details and about being careful and accurate about what we write. Do others
feel that carets are needed for Ex. 4g and 4i? Please let us know.
5. L A N D I N G FOR G L I S S A D E , PAS DE CHAT, S I S S O N N E , etc
5.1 The original analysis and writing of a land-
ing at the end of a glissade, pas de chat, sis-
sonne, etc. was written as in Ex. 5a in LN.
5.2 Knust pointed out that in many cases the
weight (the center of gravity), is still travel-
ling during the closing, thus he had adopted
the 'spelling' of 5b, which expresses a more
fluent, overlapping action. Seeing the logic of
this idea, LN adopted this 'spelling'. 5 a) b)
5.3 The question now arises, is there not a distinct difference in performance
between the two notations? We feel the answer is yes, and that at times one is
more correct than the other in capturing a particular performance.
5.4 In Ex. 5a the weight has fully travelled on the landing and the closing takes
place on the spot. This performance usually occurs when only a small amount of
travelling is involved and when the closing is an action on its own.

d) f)

landing landing
5c) spot e) spot g)

5.5 Ex. 5a is also appropriate when the weight is over the landing leg during the
spring, as in Ex. 5c, illustrated in 5d.
5.6 Ex. 5b is usually appropriate when a longer distance is travelled and when
the leg extends into the direction of travel, as in Ex. 5e, illustrated in 5f.
5.7 Change in level on and after landing may be separated and hence the notation
should be as in Ex. 5g.
5.8 We suggest, therefore, that both forms of notating are correct and each
should be used where it is applicable.
(6 The Labanotator, Issue No. 37, 198,3

6,1 TO P O I N T OR NOT TO P O I N T
The example of 6a appeared in a ballet varia-
tion in which the style has somewhat the flavour
of a character dance. The intention was to slide
the whole foot along the floor as long as pos-
sible, the leg ending off the floor at low level.
If Effort signs had been included, pressure would
have been shown.
6.2 The comment made on this notation was that the b)
foot would not point when it left the ground, and
the original notation of 6a was corrected to Ex. 6b. But the emphasis was not on
sliding whole foot to toe; that transition gives quite a different feeling.
6.3 We are puzzled to know what there is in the notation that suggests that the
foot would not point at the end of the gesture. The piece was obviously in the
balletic style for which all leg gestures are understood to be performed with
pointed feet unless otherwise indicated.
6.4 If the style were not known and no key given, then the foot should end with
the relaxed ankle and foot of the untrained performer, as happens so often in
folk dance.
We will be interested to hear comments on this one.
7. W H E N DOES T R A V E L L I N G STOP?
7.1 History T
d
Early discussion on use of a path sign for 1
travelling jumps (springs) brought up the
following ideas:
L.2 _Jh_e travelling .actually occurs while,.t
performer is in the air. Once the feet land,
the distance from the take-off point is set.
In Ex. 7a it is quite correct for the path to
finish at the start of the landing symbol.
7.3 When the action is fast, as in 7b, the
path sign for travelling is very short.
7.4 It was agreed that to facilitate reading
the path sign could extend to the end of the
landing support sign, as in 7c.
7.5 If there is a change in direction during
a series of such springs, Ex. 7d, the landing
before the change in direction w i l l not con-
tain travelling, the center of weight has to
be centered (stabilized) to move off into the
new direction, thus 7e is more correct than 7d
7.6 In general practice one would not fuss
over such a small point, but it is very
valuable in pointing out to students how
their center of weight has to be control-
led when a change of direction takes place.
7.7 Ex. 7f shows travelling hops followed
by a change in direction, correctly ana-
lized. In 7g the convention of extending the path sign to the end of the landing
symbol has been used to provide a longer path sign which may be easier to write
and also to read.
7.8 It is important to be aware of when are are using a practical device and when
what is written is fully logical and an exact description of what should occur.
 The Labanotator, Issue No. 37, 1983

8. GENERAL TIMING, SPECIFIC TIMING

8.1 The experience of professional notators is that, even in advanced work, one
still needs to write general timing for one or another particular reason. Here
are the results of the latest discussions on the pros and cons.
8.2 Ex. 8a shows a typical step-touch-step
pattern written with specific timing. The
gap between the touch and the second step
gives a visual impression of a break in
the flow of movement.
8.3 In Ex. 8b which uses general timing
there is no visual break, but the toe
touch appearing on paper so close to the
whole foot stamp symbol gives a wrong impres-
sion of the timing of these two contacts.
b) c)
8.4 If fluency in the movement is wanted, 8b
provides that visual message, but is not accurate if the contact hooks have time
significance. Between the toe, touch and the whole foot stamp there has to be
time for the leg to move out to the side in preparation for the step.
8.5 In 8c exact timing is used and the movement of the leg out to the side to take
the step is shown by the action stroke for the left leg gesture which is tied
with a zee (zed) caret to the step which follows, expressing the idea that the
action is linked to that step, i.e. indicates the preparation for it.
8.6 Even lovers of exact timing w i l l not want to write the detail of 8c each time.
Two solutions present themselves.
8.7 In the glossary of scores using this type of movement the notation of 8b can
be indicated as having the meaning of 8c.
8.8 A timing sign can be evolved for the waiting of 8a which will have the meaning
of 'perform fluently, without any breaks (separation) 1 .
8.9 For those who would read 8a as a generally fluent sequence, an indication
could be added to state that separation is desired.
8.10 To show separated movements we shorten the symbols and leave gaps between. It
would be a great convenience, particularly in fast writing to be able to state
that all indications should be performed with separations. Such separations need
not be staccato, and, of course, in any final, detailed score the degree of sepa-
ration should be clearly indicated.
9. I N D I C A T I O N OF G E N E R A L OR S P E C I F I C T I M I N G
9.1 Specific timing is usually obvious in the ;
notation, as illustrated in 9a, 9b and 9c.
9.2 General timing is also usually self-evi-
dent, as in Ex. 9d and 9e.
9.3 When all subdivisions of a count are be-
ing used, as in 9f, it is quite clear that
use must be made of specific timing. ;

9.4 If, however, the notation looks like gen-

eral timing but is in fact to be performed
as specific timing, then indication for
'specific in time' must be added, Ex. 9g. \5 Many of the signs for time are applic-

able mainly in connection with Motif Des-

cription, but we are coming across more in-
stances where time signs will help in writ-
ing definitive, structured scores. 9s)
 T H E L A B A N O T A T O R

EDITORIAL: Ann Hutchinson

PRODUCTION: Renee Caplan, Nancy Harlock, Jude Siddall

SUBSCRIPTION RATES: A issues 8 issues

(All rates include U.S.A. $15.00 $25.00

postage) CANADA $18.00 $30.00
U.K. t 5.00 fc 8.50
EUROPE fc 6.00 fclO.OO

PLEASE: Address all subscription applications, comments and

suggestions to:-

The Language of Dance Centre, 17 Holland Park, London,

W l l 3TD, U.K.

Make all cheques payable to: Ann Hutchinson Guest.