Labanotation

VsitCr

Ann Hutqhinson

n. Third Edition, Revised

 \

Labanotation
Labanotation
or Kinetography Laban

The System of Analyzing

and Recording Movement

Third Edition, Revised

Ann Hutchinson
Illustrated by Doug Anderson

A THEATRE ARTS BOOK

Copyright (c) 1954,1970 by The Dance Notation Bureau, Inc.
"Alphabet of Basic Symbols" Copyright 1954 by Rudolf Laban

Library of Congress Catalog Card Number: 69-11446

Published by Theatre Arts Books

333 Sixth Avenue, New York, N.Y. 10014

All rights reserved. Except for brief passages quoted in a newspaper,

magazine, radio or television review, no part of this book may be re-
produced in any form or by any means, electronic or mechanical, in-
cluding photocopying and recording, or by any information storage and
retrieval system, without permission in writing from the publisher.

Other publications about Labanotation are available from The Dance

Notation Bureau, 19 Union Square West, New York, N.Y. 10003.

The principal centers of Labanotation (Kinetography Laban) are:

DANCE NOTATION BUREAU, 19 Union Square West, New York 10003

Dance Notation Bureau Extension at Ohio State University

Dance Notation Bureau Branches and Libraries in Philadelphia,

London and Israel

Kinetographische Institute, 43 Essen-Werden, Folkwang Hochschule,

Germany

Language of Dance Centre, 5 Lincoln's Inn Fields, London W.C.2,

England

Laban Centre for Movement 8t Dance at University of London

Goldsmiths* College, New Cross, London SE.14 6NW.

Revised Third Edition, 1977

Printed in the United States of America

Table of Contents

Author s Note to the Second Edition ix

Preface by George Balanchine xi

Foreword by Rudolf Laban xiii

Chapter

1 A Brief History of Dance Notation 1

2 Introduction to Labanotation 6

3 The Approach to Movement Notation 11

4 Fundamentals of Labanotation 20

5 Variations in Steps 46

6 Positions of the Feet 61

7 Aerial Steps (Jumps) 77

8 Turns 92

9 Arm Gestures 115

10 Leg Gestures 140

11 Distance - Space Measurement 158

12 Floor Patterns, Paths 181

13 Touch and Slide for the Legs 205

14 Parts of the Limbs 223

15 Parts of the Torso, Inclusions 248

16 Tilting (Inclining) 260

17 Rotation of the Limbs 274

Chapter

18 Rotation of the Torso and Head 297

19 Specific Contraction and Extension; Bending; 318

Gestures on a Straight Path, Shifting

20 Relationship 336

21 Repeat and Analogy Signs 346

22 Scoring 360

23 Supporting on Various Parts of the Body 383

24 Equilibrium, Loss of Balance 398

25 Systems of Reference 414

26 Variations in Positions, Paths, and Steps 434

27 Specific Parts of Limbs; 453

Movements of Hands;
Manner of Performing Gestures
28 Types of Revolutions; 469
Dynamics; Miscellaneous

Appendixes

A Alternate Versions 485

B Old Versions 486

C Orthography 490

D Upper Body Movements 492

E Terminology 495

Glossary of Symbols 499

Index 510
 DEDICATION

This book is respectfully and affectionately dedicated to:

ALBRECHT KNUST
who has inspired us all by his example of
patience, logic and meticulous accuracy.
This book has drawn tremendously on his
knowledge and ideas.

LUCY VENABLE,
MURIEL TOPAZ, MIREILLE BACKER,
BILLIE MAHONEY and ALLAN MILES
who have each contributed immeasurably
to thisbook through their knowledge and
experience in using Labanotation as teach-
ers and notators and have helped to make
clear the needs this book must satisfy.

MARIA SZENTPAL
VALERIE PRESTON-DUNLOP and EDNA GEER
and other International Council of Kinetography
Laban colleagues who have helped in establishing
terminology and universal usage in the
"grammar" of Labanotation.

PHILIPPA HEALE
who helped so much with the organization
and coordination of this work.

Last, but not least, to the spirit of Fanny

Elssler who, keeping my husband Ivor
Guest engrossed, provided me much
needed time to work on this book
 ACKNOWLEDGEMENTS

This revised and expanded edition of LABANOTATION was made

possible through the generosity of Marjorie and Irving Isaac
and through a grant from the New York Foundation. In add-
ition the author is grateful to the many members of the Dance
Notation Bureau who contributed to the final funding of the
work.

The preparation of the original edition of LABANOTATION was

aided by a grant from the Rockefeller Foundation.

The author is particularly grateful to: Juli Nunlist , who

went over the manuscript with a fresh eye and made many
valuable suggestions; Terry Heard, who provided technical
advice on mathematical terminology as well as proofreading
and practical assistance; Maggie Burke, who drew the no-
tation examples; Philippa Heale and Mary Ann Jones, who
painstakingly "typeset" the manuscript, and who, together
with my patient, understanding, and helpful husband, Ivor
Guest, assisted continuously in countless ways.

The author is also pleased to acknowledge the aid she has

had in referring to the following works Handbook of
:

Kinetography Laban by Albrecht Knust , Readers in Kinetography ,

Series B by Valerie Preston-Dunlop , and Marie Szentpal's
correspondence course in the Laban system.

LABANOTATION (Kinetography Laban) con-

forms to the orthographic rules estab-
lished by the Dance Notation Bureau Inc
,

in conference with the International

Council of Kinetography Laban (I.C.K.L.)
Author's Note to the Second Edition

In the fifteen years that have elapsed between publication of the

original edition of the textbook "Labanotation" and the present pub-
lication, more has happened development of notation than dur-
in the
ing the previous three decades. The systemitself has changed very
little; rather, there has been a period of change in how notation is
used and in approaches to movement analysis. Certain areas of
transcription have required increased precision in recording detail,
while other areas demanded broader over -all descriptions.

The intervening years have seen a tremendous advance in in-

ternational exchange of ideas and experience in the whole field.
The International Council of Kinetography Laban, founded in 1959,
has brought together specialists in movement notation from many
different countries who have benefited from each other's knowledge.
Modifications in the system have resulted from a consensus of the
most experienced research and field workers. Through the advent
of Motif Writing, a specialized application of the system, the intro-
duction of notation during the early stages in the study of dance and
of dance composition is now possible. This provides the student
with a greater insight into the nature of movement, as well as pro-
viding the tool of dance literacy from the start.

Because of the existence now of specialized Labanotation books

and materials designed to fill the particular needs of different age
levels, styles of dance, and areas of movement study, the aim of
this book is to present the principles of the system in definitive
terms with sufficient examples of its practical application to pro-
vide a firm foundation on which specialized skills may be built. Be-
cause each chapter progresses from a broad outline of the material
at hand to specific detail in its application, the student may delve as
lightly or as deeply as his needs demand. The teacher may modify
the sequence of material to serve the interest of his students. Be-
cause so much separate reading material now exists only a few
studies are given in this book. A second volume will deal with ad-
vanced material which is not presented in this book or is touched on
only lightly. Albrecht Knust's dictionary of the system "A Hand-
book of Kinetography Laban, " is a valuable companion book.

London. 1970 ^^Aw^ AA^TcX^^ r

Preface by George Balanchine

The subject of dance notation has interested me since I first en-

countered it as a student at the Imperial Dancing Academy in Rus-
sia. At that time I studied the Stepanov method, a system based
exclusively on the classic ballet vocabulary and unsuited for the
recording of any other kind of dance. In spite of its limitations,
knowledge of it made me aware of what was needed in a sound sys-
tem of movement notation. Later, as a choreographer, I became
more sharply aware of the need for an accurate and workable
method for notating my works. To me, the prime requisite of such
a notation system would be its ability to correlate faithfully the
time values in the dance with the music, because my choreography
either closely follows the line of the music or contrasts directly
with it.

When I heard of Laban's system of notation it seemed the most

completely developed method evolved to meet this need. After
studying the system and watching Ann Hutchinson, America's lead-
ing notator and teacher, at work, I realized that this was indeed the
answer and I decided to embark immediately on the long-range pro-
ject of having my ballets recorded. "Symphony in C," "Orpheus,"
"Theme and Variations, " "Symphonie Concertante," and "Bourree
Fantasque" are among those already completed. Thanks to these
scores I am now assured that these ballets will be accurately per-
formed in the future.

As the musician needs to record the precise and minute details

of his composition to insure correct performance of his score, so
the choreographer needs a notation capable of equal accuracy.
While some people advocate the use of films to record ballet, I
have found them useful only in indicating the style of the finished
xii Preface

product and in suggesting the general over -all visual picture and
staging. A film cannot reproduce a dance step by step, since the
lens shoots from but one angle and there is a general confusion of
blurred impressions which even constant re -showing can never
eliminate. Labanotation records the structure of a dance, reveal-
ing with perfect clarity each of the specific movements of each
performer.

Through Labanotation we can actually sit down and compare or

analyze different styles of dance. Even the complicated techniques
and studies take up little space and are easy to reconstruct intel-
lectually through the notated patterns. There is no longer any
need to wade through pages of verbal descriptions, which eventu-
ally become unintelligible

In making Miss Hutchinson for the preparation of

the grant to
this book, the Rockefeller Foundation demonstrated its belief in
the value of this system of notation and in the influence which its
widespread use will have on the future development of dance. I
am grateful for this belief and for the creative policy of this
humanistic fund, for I am one of the choreographers who will bene-
fit from the increased acceptance and use of Labanotation. I be-

lieve that it will soon be universally recognized as being as neces-

sary to the dancer as musical notation is to the musician. Ann
Hutchinson is the ideal person to have prepared this definitive
text book, which will be of inestimable value to all persons work-
ing in the field of dance

New York
April, 1954
 . -

Foreword by Rudolf Laban

Approximately two hundred years ago a writer on the manners

and morals of the French court, J. P. Menetrier, complained that
on the night tables of the ladies one could find many more chore-
ographies than Bibles. It has to be surmised that these ladies were
able to read the choreographies of dances written in the famous
Beauchamps-Feuillet dance notation.* We assume that they could
read them as fluently as music notation or ordinary writing, which
were all subjects of their general education.

During the last fifty years an increasing number of people have

had a nodding acquaintance with dance notation, and some are even
convinced that written dance, or script -dance, is a cultural neces-
sity of our time

The author of this book, Ann Hutchinson, has for more than ten
years contributed in a most efficient way to the spreading of script
dance in the United States. Miss Hutchinson and her numerous as-
sociates call this system of movement notation "Labanotation," in
which title my own name is incorporated. I am most honoured,
not only by this fact but also by her request that I write a few intro-
ductory words to her book.

In my have always stressed

early publications on this subject I

the point that the endeavour to describe the movements

of a dance
in special symbols has one main purpose. That is the creation of
a literature of movement and dance. It is obvious that notation or

• Beauchamps was recognised in 1666 by a French Act of Parliament as the inventor of

a system of dance notation. Feuillet published dances recorded in this notation a few
decades later.
xiv Foreword

script facilitates the communication of movement ideas to other

people. When, ages ago, mankind awoke to the idea of standardis-
ing pictures and signs in order to communicate certain ideas to one
another, bodily actions and gestures were of course included from
the very beginning. Early forms of writing are full of signs or
symbols for action and movement. No form of writing could pos-
sibly omit the enormous number of verbs which, to a great extent,
are always bodily actions involving movement. In my search for
primary action signs, I found fascinating examples of movement
description in the mantic symbols invented by ancient Tibetan
monks and in the cuneiform characters of the Assyrians and Baby-
lonians. In Egyptian and Chinese scripts I found a rich variety of
movement symbols which are, in a sense, the archetypes of dance
notation signs.

Noverre, the creator of the "Ballet d'Action," in which the rigid

steps of his predecessors were liberated into a rich and all-round
expression of the whole body, was a decided enemy of dance nota-
tion. He preferred to record the contents of his ballets in words.
This is most regrettable for us because we have great difficulty in
reconstructing his famous movement inventions from the contem-
porary drawings and illustrations of his productions. The dances
written down by Feuillet do not need to be reconstructed, they can
be simply read by anyone who takes the trouble to learn his system
of notation.

In my newest book* on this subject I took the functional move-

ment order on which Feuillet's notation based as granted. His
is
basic principles are universally valid and his system of notation is
simple and rational - the egg of Columbus, as it were. One won-
ders that they were not discovered much earlier.

The first problem that faced modern notators of dance was to

overcome the prejudice that a choreographic script is unable to de-
scribe all the subtle variations of movement in modern stage danc-
ing and indeed in all other kinds of dance styles. Ballet, modern
dance, folk and national dances, including all the historical and ex-
otic forms of dancing which we study and perform today, cannot,
it is true, be precisely fixed with Feuillet's restricted symbols,
so the modern notator had to create a form of movement notation

" "Principles of Dance and Movement Notation " by Rudolf Laban (Macdonald & Evans,
London, 1956).
 .

Foreword xv

which would be able to serve the purposes of industrial operations,

of educational exercise and of psychological movement investigation.

So far as my own research is concerned, years of struggle

were filled with the study of ancient movement symbols, with ex-
periment and with controversial discussions. In the early twenties
I decided to write two volumes containing the details of my investi-

gations.* Only one volume appeared. Instead of the second volume,

I compiled, a few years later, the first edition of the "Method and
Orthography of Kinetography Laban."

Much has happenedin the twenty -five years since the formula-
tion of a contemporary dance-script became possible. The advent
of a new generation of movement notators has made it possible to
try out my ideas on a larger scale. My late friend and colleague,
Dussia Bereska, who some forty years ago was the only supporter
of my notation ideas and of my hope for a future script -dance liter-
ature, predicted the coming development with astonishing accuracy.
To her are due my greatest thanks for the encouragement and ad-
vice which accompanied me on the thorny path of the first consoli-
dation of the system.

In later years a number of enthusiastic supporters have helped

to improve my first conception. A system of notation cannot arise
from the solitary endeavour of one person only. The great merits
of our senior dance notator, Albrecht Knust, are well-known, but
people who have excelled chiefly in other fields of the dance as
Kurt Jooss, Sigurd Leeder, Lisa Ullmann and others - have also
contributed much to the early development of our system

I have often been sceptical because I believed that it would be

several generations before the creation of a dance literature could

become a reality. However, we have moved on more quickly and
here now, in 1954, is this book of Ann Hutchinson as a harbinger
of things to come. Her activity as the founder and leader of the
New York Dance Notation Bureau has everywhere awakened keen
interest and appreciation. I can say that the gratitude of all people
striving for the creation of a literature of dance and movement,
with its own language and its own symbolic representation, is se-
cured for this young author.

* "Choreographie" - First Volume, Publishers: Diedericks Jena, 1926

xvi Foreword

We must remember, too, that much has been collected and

much is waiting to be published in the Dance Notation Bureau's
desk and in many other places. A script-dance literature actually
exists, if only in manuscript.

What do we expect to find in the script-dance libraries of the

future? We
surely need technical works on the orthography and
proper use of the system. Training manuals are needed to develop
capable notators. There must be books useful for spreading know-
ledge of movement and dance through the curricula of schools.
Material on movement notations in industry and therapy, which
younger notators have already begun to collect and record, will
also have its place in future libraries and will indicate the possible
ties for scientific- research in many fields, such as anthropology
where the symbols of early times could be transcribed into the
new idiom of modern dance notation.

The manifestation of human

spirituality which has made dance
a sister art of poetry and music can survive only if its products
are written, printed and read by a large circle of laymen and per-
formers. One could go on to describe what has to be done and
what is partly already there, but unfortunately out of reach of the
great public, such as a veritable encyclopaedia in many volumes
by Albrecht Knust, in which all the possible variants of human
movement are recorded. What the author of this present book,
Ann Hutchinson, has already done in the field merits appreciation
exceeding the limits of this foreword. I can only say that I heartily
welcome this publication as an early flower in a fertile soil, where
the productive spirit of our young dance creators and notators, I
sincerely trust, will be able to plant solid roots.

Addle stone, Surrey

1954

Laban's death in 1958 has not diminished the constant growth of his in-
fluence as a major force in all movement research. The clarity and scope
of his vision has inspired many others to carry on his work in a variety
of fields. Though years ago Laban delegated responsibility for further
development of the system of notation to Lisa Ullmann, Albrecht Knust
Sigurd Leeder and myself (the founding core members of the International
Council of Kinetography Laban), this book, as its name suggests, stands
as a tribute to this great man and an acknowledgement of our immeasur-
able debt to him. - Ann Hutchinson.
CHAPTER 1

A Brief History of Dance Notation

For attempts have been made to devise a

at least five centuries
system movement notation. Some scholars believe that the an-
of
cient Egyptians made use of hieroglyphs to record their dances
and that the Romans employed a method of notation for salutatory
gestures. However, the earliest known attempt, recorded in two
manuscripts preserved in the Municipal Archives of Cervera,
Spain, dates from the second half of the fifteenth century. Since
this time, many other systems have been devised. Some were
published and achieved a measure of popularity for a while but all,
until the present day, fell eventually into disuse.

It is music notation, which opened the way for

significant that
development music as we know it today, was first con-
in the art of
ceived in its modern form in the eleventh century, but was not es-
tablished as a uniform system till the beginning of the eighteenth.
Dance notation got off to a much later start and has undergone a
long succession of false attempts.

That so many unsuccessful beginnings were made is not surpris-

ing. Dance is more complex than music because it exists in space
as well as in time and because the body itself is capable of so many
simultaneous modes of action. Consequently, the problems of for-
mulating a movement notation that can be easily written and read
are numerous.

Earlier methods were outgrowths of phases in the development

of the dance itself, and, therefore, all of them ultimately failed be-
cause the continual expansion of the vocabulary made each system,
in turn, outmoded. The three fundamental problems - recording
complicated movement accurately, recording it in economical and
2 A Brief History of Dance Notation

legible form, and keeping up with continual innovations in move-

ment - left dance notation in a state of flux, incapable of steady
growth for centuries.

One of the first methods of notating dance - if it can be called a

method - was the use of abbreviations for the names of steps, such
as, R - reverencia, s - single, d - - represa.
double, re This
method presupposed a knowledge and hence its limita-
of the steps,
tions are obvious, but it flourished for about two hundred years.

The first book to define the many well known steps of the period
was Thoinot Arbeau's "Orchesographie," published in 1588. Writ-
ten descriptions of well-known positions and steps were accompa-
nied by the name and by figure illustrations. His notation consist-
ed of placing these names opposite the corresponding musical
notes on which the given steps should be performed. Without Ar-
beau's lengthy explanations of terms, the dances are unintelligible.

The development of professional dancing during the time of

Louis XIV produced the first fully fledged system of notation.
Based on an invention of Beauchamps, Raoul Feuillet first published
the method "Choregraphie, ou l'Art de decrire la Danse, " in 1700.
This was followed by several "Recueils des Danses" containing com-
positions by Feuillet as well as by Louis Pecourt, a leading dancer
and choreographer of the time. Thanks to Feuillet's notation, we
can study the steps and dances which form the basis of the classi-
cal ballet of today, but this system, although extremely well work-
ed out, recorded little more than footwork and lacked a clear indi-
cation of rhythm. It can be described as a "track drawing" method,
the individual steps being represented on a drawing of the floor
pattern made by the dancer. The book, however, obviously met
the needs of the period, because translations appeared in England,
Germany, Italy, and Spain and modifications of the system were
well known throughout Europe until the end of the century.

The next device tried for a system of notation was based on the
idea of stick figures depicting the various positions of the arms
and legs. The dancer and choreographer Arthur Saint Leon pub-
lished his book "Stenochoregraphie" in 1852. This placed the
stick figures under the musical staff for clarification of timing.
Another version of this system, published by Albert Zorn in 1887,
was entitled "Grammatik der Tanzkunst." This attained a certain
measure of success and was used as a textbook in dancing acade-
mies in Europe. It was also published in English in the United
Chapter 1 A Brief History of Dance Notation 3

States in 1905. In spite of apparent immediate advantages, stick

figure notation has three distinct drawbacks. It is usually drawn
from the audience's point of view, so that right and left have to be
reversed by the reader; the third dimension is not easily indicated
and it gives a description of position rather than movement. Be-
cause timing must be indicated separately, only general indications
of the timing of actions can be given.

The obvious need accurate rhythm of movement

to indicate the
led to the development of systems based on music notation. In the
late nineteenth century, the most successful of these was that of
Vladimir Stepanov, dancer and teacher at the Imperial Maryinsky
Theatre in St. Petersburg. The title of his book, "Alphabet des
Mouvements du Corps Humain, " published in 1892, indicates his
attempt to record the movements of the whole body in anatomical
terms. The development of the system was limited by the early
death of the inventor and the fact that it was used only as a ballet
shorthand.

The idea of adapting music notes to meet the needs of describ-

ing movement has remained popular, but it has become ever more
apparent that they are not sufficiently flexible in design to take
care of the many needs in the field of movement notation.

Two systems concerned with universal aspects of movement ap-

peared in 1928. Margaret Morris' book "Notation of Movement" is
based on a sound anatomical analysis of movement, and illustrates
the use of the system for many different forms of movement. The
drawbacks in her system are its arbitrary choice of symbols, its
asymmetrical indications of symmetrical positions and movements,
and its need to indicate timing separately in a way that fails to
show continuity and subtlety in the relative timing of actions.

"Schrifttanz" (written dance), the system by Rudolf von Laban,

also first published in 1928, offers two innovations: the vertical
staff torepresent the body, which allows continuity as well as the
correct representation of the right and left sides of the body, and
elongated movement symbols, which, by their length, indicate the
exact duration of any action. His analysis of movement, which is
based on spatial, anatomical, and dynamic principles, is flexible
and can be applied to all forms of movement.

During the decade between 1946 and 1956, two systems appear-
ed based entirely on the mathematical description of movement in
 .

4 A Brief History of Dance Notation

terms of the degrees of a circle in a positive or negative direction.

The most complete of these, developed by Noa Eshkol and Abraham
Wachmann, published in 1958, deserves admiration for its accura-
cy in the form of movement description it employs. It is precise
in indicating timing, but it uses a cumbersome staff to represent
the body and does not allow movement to be described in terms fa-
miliar to dance, sports, or everyday life

The desire for a quick means of recording ballet led to the de-
velopment of the stick figure based system "Choreology, " by Joan
and Rudolf Benesh, published in 1956. Adopted by the Royal Ballet
of England to fill its immediate needs in recording the repertoire,
the use of the system has spread to other ballet companies in dif-
ferent countries, notators being trained at the Institute of Chore-
ology in London. Its analysis of movement is limited, because it
is based on the visual result of movement as seen by the outside
observer. While this method cleverly solved the problem of three-
dimensional representation for general purposes, it did little to
improve timing problems inherent in a stick figure based notation.

Every few years a new system appears. Most fall back on one
or other of the devices already tried, and most favor one form of
dance. As modern technology develops, the emphasis is upon
mathematical systems which can be adapted to the computer. It is
essential, however, that the human aspect is not lost. The system
which can record objectively the changes in the angles of the limbs,
the paths in space, and the flow of energy and can also record the
movement motivation and the subtle expression and quality de-
serves special attention. Labanotation is such a system.

Because of his interest in movement in every phase of life - the

market place, the workshop, and the theatre - it was inevitable
that Laban should devise a system based not on any personal style
but on the universal laws of kinetics.His early interests had led
him At twenty -five, he
to study all aspects of the theatre arts.
founded his own school in Munich where he developed his theories
of forms of movement in space (choreutics) and of the qualities of
movement (eukinetics). He later became director of movement at
the Berlin State Opera and thereafter held similar posts at other
state theatres. Laban spent his last years in England where, with
the businessman F. C. Lawrence, he examined the movements of
industrial workers and wrote the book "Effort." This study has
led to the present highly developed Effort -Shape analysis of move-
Chapter 1 A Brief History of Dance Notation 5

ment used for personnel assessment in business and also for medi-
cal and psychiatric purposes.

In the course of these varied activities, Laban formulated his

notation system, Kinetography Laban. Since the original text was
published tremendous strides have been made in the development of
the system, and it has been applied also to numerous other fields
of movement. Various individuals and dance centers both in
America and abroad have added their contributions. Acting as a
clearing house for ideas in the field, the Dance Notation Bureau Inc.
with headquarters in New York, is a non-profit, educational insti-
tution, founded in 1940, and dedicated to furthering the art of dance
through the use of a system of notation. The present day activities
of the Dance Notation Bureau have broadened to include acting as a
center for movement research and analysis as well as the practical
application of movement analysis, notation, and other recording de-
vices in the performing arts and behavioural sciences. To this end
the Dance Notation Bureau has chosen to concentrate on the system
of analysing and recording movement which the members have de-
termined to be the most effective and comprehensive - that originat-
ed by Laban. The Bureau works in cooperation with similar centers
in other countries and with the International Council of Kinetography
Laban (I.C.K.L.) for uniformity in usage and practice of the system.
Today Labanotation is comparable to music notation in its universal-
ity and application, and provides for movement a level of accuracy
and flexibility which music notation has yet to achieve.
CHAPTER 2

Introduction to Labanotation

Labanotation, or Kinetography Laban, is the system of recording

movement originated by Rudolf Laban in the 1920's. By this scien-
tificmethod all forms of movement, ranging from the simplest to
the most complex, can be accurately written. Its usefulness to
dancers is obvious. The system has also been successfully applied
to every field in which there is the need to record motions of the
human body - anthropology, athletics, and physiotherapy, to name
just a few.

THE PRACTICAL APPLICATION OF LABANOTATION

A Means of International Communication
Labanotation is a triple -edged tool because it provides a means
of recording movement on paper for future reference, a sound,
fundamental analysis of movement and a carefully selected ter-
minology which is universally applicable. It provides a universal
understanding of movement and hence serves as a common "lan-
guage" through which workers in all fields and in all countries
can communicate. The system is, therefore, a "Rosetta stone"
by which the kinetic content of all forms of movement and styles
of dance can be understood. Common elements can be discerned
and differences noted. Its nonverbal symbology poses no lan-
guage barriers to international exchange and research.

A Dance Equivalent to Music Notation

Labanotation serves the art of dance much as music notation

serves the art of music. The score plays an important part in
the work of the composer, teacher, student, and, of course, per-
former. Because of the great wealth of printed music available,
Chapter 2 . . Introduction to Labanotation 7

musicians have at their fingertips the works of great composers

from previous eras and from other countries. The conductor or
performer, wherever he may be, can obtain the score of Beethoven's
piano sonatas or the latest work by Stravinsky. The student learns
his instrument not only by practising exercises but also by playing
the classics which are readily available in sheet music form. A
parallel has now developed for the dance. Work in each compara-
ble area - studying, teaching, rehearsing, and composing - is ex-
pedited through the use of notation.

A Means for the Preservation of Choreography

The use for movement notation which is immediately obvious is

the preservation of choreography for future re-creation. This in-
deed was the purpose of each of the historical systems of dance no-
tation. Because of the inadequacies of earlier methods of notation,
we cannot be certain, even upon a careful reading of Feuillet for
example, that eighteenth -century court dances are being recon-
structed today precisely as they were originally performed. De-
tails of style and execution were left unstated because knowledge of
these was assumed. But generations to come will be able to dance
choreographies of this period exactly as the choreographer would
wish, for the professional notator of today works with the chore-
ographer during the creative period, marking the directions as
they are given to the dancers at the rehearsal, and adding as much
or as little detail as the choreographer wishes. Every fine point
of the correct performance is included to insure its proper re-
creation in the future. Where only a general statement of move-
ment isrequired in order to allow the performer freedom in inter-
pretation, the notation can be handled accordingly, giving the rea-
der the motive behind each movement without stating which specif-
ic form it should take.

An Adjunct to Films
A comparison between notation and film for the recording of
movement is inevitable in any discussion of movement notation.
Labanotation is a complement to film as a tool for movement analy-
sis and choreographic preservation; neither can replace the other.
A comparison with music makes the point for notation clear. Re-
corded music has not made the printed sheet unnecessary. A first
impression of a musical work is best gained by hearing a perfor-
mance of it, and, in the absence of a live performance, this will be
a recording. But the study of the work itself for performance, for
8 Introduction to Labanotation

critical evaluation, or for educational purposes is still achieved

through music notation. In dance, the film provides a similar re-
cord of a given performance of the work by a particular group un-
der its director. The work itself is seen at second hand through
the interpretation of that director and his company. All this quite
apart from the practical advantage of paper and pencil in contrast
to expensive photographic equipment, or the accessibility of a page
of score which can be carried in a brief case and referred to on a
train to film which requires a projector, a screen, and a darkened
room. The pure concept of the work is best recorded in notation.
The complete record of any choreographic work should include
both a film and notation. Ideally, there should be several films,
just as in music we have several recordings. In areas other than
dance, such as in time -and -motion study and anthropology, films
are particularly valuable because they can be studied in slow
motion. Slowing down the film causes the movement elements of
strength and weight to become distorted and timing to become less
recognizable; therefore, a companion record in notation in which
these elements are specifically stated is necessary.

A Tool for Movement Education

The Laban system has proved a valuable tool for movement ed-
ucation ranging fromwork with four- to five-year old children to
post graduate and doctoral studies.

Visual Aids . New methods

of teaching mathematics and sever-
use of visual aids. Labanotation has
al other subjects include the
provided a similar visual method for the dance and for physical
education. Its symbols aid in clarifying the differences between
the basic elements of movement as well as between variations in
the structured forms. The method of learning movement through
imitation does not guarantee the observer an understanding of
what is occurring. Labanotation provides an additional channel
through which knowledge can be imparted at every age and level
of study.

Development of Movement Concepts. The raw material of the

dance, indeed of all movement, should be studied at some point by
every serious student. It is not enough just to learn the set struc-
tured patterns formed by variations and combinations of these
basic actions. Recording the gist of an action, the idea or motiva-
tion behind it, its kinetic "sense," is called "Motif Writing. " This
has its place not only in certain types of choreography, but also in
Chapter 2 Introduction to Labanotation 9

dance education where freedom for exploration and improvisation

on a basic movement idea or theme is desired. By this method,
the first broad statement of the action can gradually be defined in
greater detail, producing an increasingly specific description until
finally a very precise form has been achieved in which the exact
use of the body, time, direction and energy have been stated. In
training children, the teacher can work progressively from the
simplest of disciplines in movement - concentrating on one aspect
at a time while all else is left open to choice - toward a greater
specificity of detail as the child's physical and mental abilities and
coordination develop.

Training in Movement Observation. Careful observation is

essential for everyone concerned with movement, from the small
child to the professional performer. The untrained eye will catch
only the broad outline of a movement. Only when the eye and the
understanding have been trained to recognize differences can the
viewer observe the specific details of a performance. Such recog-
nition is greatly aided by codification of the elements of movement.
By giving specific names and symbols to these elements, and by
recognizing them in combined forms both in performance and in no-
tated form, the viewer can grasp the many patterns which emerge.
As in other fields, in movement a method for the rapid identifica-
tion of similarities and differences is essential for good learning.

A Tool for Movement Research

The handing down of detailed knowledge in any field requires a

system of notation for recording pertinent facts in an unambiguous
way. Comparisons can then be made, differences evaluated, new
ground broken. The scientist would be lost without his symbols by
which he can communicate his ideas objectively to his colleagues
everywhere. The student of movement requires a similar method
of notation in order to compare variations of the same movement
pattern and reach conclusions which would not otherwise be possi-
ble. His research may be for medical, psychiatric, anthropo-
logical, or scientific purposes. He may want to record motion
during the weightless state or computerise the instructions for
mechanical devices, such as robots. Or he may want to conduct
research into the best way to analyse and teach a basic dance ex-
ercise. Only through a language can all forms of movement re-
search be expressed in a way that is internationally understood.
The Laban system provides such a language.
10 Introduction to Labanotation

The Development of New Professions

The profession of Labanotator, or Kinetographer, has developed

with the advent of the widespread use of the Laban system. The re-
corder of movement may specialize in many different fields, which
range from medical research to classical choreography. The musi-
cologist now has a counterpart in the Kinetologist, or specialist in
the art or science of movement. The ethnomusicologist now has his
counterpart in the ethnokinetologist, who may work with "Choreo-
metrics, " the movement analysis of work, play, and dance actions
found in anthropology. The dance critic will, in future, be able not
only to assess the dance composition on its own apart from a parti-
cular performance of it by reading the dance score, but also have
an enlarged vocabulary for describing qualities and variations in
performance.

A Means for the Establishment of Dance Libraries

Labanotation has given rise to the establishment of an authentic
and unequivocal literature which will raise the level of knowledge
in all areas. In dance it will mean raising this art out of the realm
of the minor arts, a fact as yet recognized by few. All movement
research, including that done in the art of dance, has until recently
been hampered by the lack of a means of capturing the essential
factors on paper, the absence of a common method of analyzing
movement, a universal terminology, and the scarcity of the record-
ed knowledge of the past which would allow recent and future gener-
ations to build on what has been achieved rather than have to start
again from the beginning. It is evident that Labanotation can fill
the needs of the various fields of movement study in a way that no
other system of the past or present can begin to approach.
CHAPTER 3

The Approach to Movement Notation

The process ofrecording movement on paper involves the conver-

sion of the elements of space, time, energy, and the parts of the
body involved into symbols which can be read and converted into
movement. When this process is understood, the logic behind the
Laban system and the reason for the range of choice in movement
description can be comprehended.

CHOICE OF MOVEMENT DESCRIPTION

The detailed description of every kind of movement which the
Laban system provides is not always required. According to his
field and his needs of the moment, the notator may select any one
of the three following kinds of description:

1. Motif Description (M)

2. Effort -Shape Description (E)

3. Structural Description (S)

MOTIF DESCRIPTION
Motif Writing provides a general statement concerning the
theme or most salient feature of a movement. It also pinpoints
the motivation of a movement, its idea, aim, or intention. The
Motif Description may be kept simple or may be made increasingly
detailed until eventually it becomes a fully structured description.
This method of progression is extremely valuable in teaching. It
also has a place in choreography when only the gist of the move-
ment needs stating. In this book basic actions described by Motif
Writing are introduced with an indication of how they may become
more specific. Specialized books on Motif Writing are available.
12 The Approach to Movement Notation

EFFORT -SHAPE DESCRIPTION

"Effort Observation and Analysis" is the term applied to the in-
vestigation of movement according to its dynamic content. The
word This method of observa-
"Effort" refers to the use of energy.
tion and analysis and its symbols are concerned with the changing
patterns which occur in the ebb and flow of energy within the body.

"Shape" refers specifically to the expressiveness inherent in

the form which movement takes. The viewer must observe the re-
lation of the path of a gesture to the performer or to the dimension-
al directions in order to assess its expressive or functional value.

Together, Effort -Shape provides a valuable description of move-

ment in terms of its quality and expression, in contrast to the
structural description which has been standard in Labanotation.
The Effort -Shape approach is particularly valuable in the fields of
physio- and psychotherapy, in personnel assessment, and in indus-
try. It is also extremely valuable in anthropology and athletics as
well as in all kinds of dance.

STRUCTURAL DESCRIPTION
The term "Structural" is given to the description of movement
in clearly definedand measurable terms. Such description, the
most commonly used, expresses movement in terms of:
the body -the specific parts that move;

space -the specific direction, level, distance, or degree of

motion;

time -meter and duration, such as a whole note, a sixteenth;

dynamics -the quality or "texture" of the movement, whether it

is strong, heavy, elastic, accented, emphasized, etc.

A very complete picture of the movement emerges if all these ele-

ments are described as they are used.

Such a complete method of description needed for writing

is
specifically structured exercises, whether these have been formu-
lated for remedial, practical, or artistic reasons. It is essential
for the preservation of folk and ethnic dances and choreographic
works. Some fields require Structural Description together with
Motif Description and Effort -Shape analysis. The various forms
of notation may be freely combined to fill any need.
Chapter 3 The Approach to Movement Notation 13

LONGHAND VERSUS SHORTHAND

Because notation uses symbols, it is often likened to shorthand.
This analogy is, however, only correct for Motif Writing, for ab-
breviated versions of sequences written for students and memory
aid scores for those already familiar with the work. Labanotators
(Kinetographers) use shorthand devices for writing at speed. The
standard system is, in fact, a longhand which scrupulously accounts
for every detail necessary to the correct performance of each move-
ment. The writer must always think in terms of the readers who
must study his score in order to translate it back into movement.
In preparing materials for publication the writer has no way of
knowing the movement background or experience of his readers.
Short cuts in writing are acceptable for personal use or among col-
leagues in the same field where certain knowledge can be taken for
granted. But a score, research paper, or teaching manual for gen-
eral circulation must contain all the details necessary for an accu-
rate performance so that the result is completely unambiguous.

SIMPLE DESCRIPTION FOR SIMPLE MOVEMENT

The basic principle of structured Labanotation is that simple,
natural movement should be written in the simplest and most direct
way. The second premise is that everything that occurs must be
recorded. These two statements may seem contradictory. Actual-
ly they are not, but one must know where to draw the line. For in-
stance, walking is a simple, natural movement. Each person
varies slightly in the manner in which he walks, but the basic pro-
cess is essentially the same. It is such a familiar action that one
forgets that it is a complicated process. In writing the movement
of walking, we
usually state only the direction into which the cen-
ter of gravity moves by means of a step on the right or left foot.
A detailed description is given only to denote a stylized walk or to
explore the process in detail: how the leg is lifted to extend into the
direction of each new step, how the foot contacts the floor, how the
weight is transferred, and how the leg is freed of weight at the end
of the step. Such description may include changes in level, changes
in bending and stretching the legs, changes in the use of the diffe-
rent parts of the feet, use of rotations, deviations in the gestures,
and changes in timing such as the use of accents, ritardando, etc.
There should also be an accurate indication of when during the time
taken for the whole transference of weight each such change occurs.
From this breakdown we can see why Labanotation has adopted a
 .

14 The Approach to Movement Notation

convention for writing walking in a simple way. It is one of three

such conventions devised to make familiar actions such as walking
and jumping easy for even a five -year -old child to read. For the
advanced student a more detailed analysis is always possible.

THE VISUALITY OF THE LABAN SYSTEM

Direct representation is impractical for converting movement
into diagrams on paper. In any comprehensive system, information
must be abstracted and put into symbols. In Labanotation the depic-
tion of the elements of space, time, energy, and the parts of the
body have been made as visual and pictorial as possible. This can
be seen in the vertical staff representing the body with its pictorial
division into right and left sides, the shape of the direction symbols
which point into the required direction, and the length of the symbol
to indicate timing. Reading is facilitated by having the block sym-
bols state the basic form of the movement. Secondary symbols
such as hooks, pins, and bows modify the basic form and indicate
variations in style, and the strong, visual pattern provided by the
block shapes enables groups of symbols to be read at a glance
The relative timing of the parts of the movement, the presence of
simultaneous, sequential, overlapping, or separated actions can
readily be seen from the lengths and placement of the block shapes.

PRINCIPLES OF MOVEMENT ANALYSIS

A complete method of movement analysis is required to record
movement by means of symbols on paper. How movement is ana-
lyzed can vary widely according to the particular field of study. In
the field of dance, the method of movement description is often
based on a particular form of dance and therefore has no universal
application or commonly understood terminology. While patterns
which are the result of combined movements may be identified
and given names, the content of these patterns, their basic struc-
ture, may not always be understood.

To the layman it might seem obvious that all movements should be

described in anatomical terms, the contraction, extension, or ro-
tation in the joints of the body. Because man is built the same the
world over, such a description would seem to provide a universal
basis for common understanding. As we shall see, there are sound
reasons for providing other possibilities of movement description
as well. These alternatives have arisen to meet specific needs.
 .

Chapter 3 The Approach to Movement Notation 15

THE NATURE OF MOVEMENT

Movement is the result of the release of energy through a mus-
cular response to an inner or outer stimulus. This response pro-
duces a visual result time and space. In transcribing movement,
in
the notator does not record the initial stimulus. The muscular re-
sponse itself is also not usually recorded, that is, not in terms of
the use of specific muscles or groups of muscles. Rather, the ob-
server must note the resulting changes which the muscular action
produces. This will range from inner tensions in the body, which
are felt by the performer and which vary the expression of his car-
riage, to the more obvious changes affecting the shape of the body
and resulting in clearly visible changes in the placement of the
limbs in time and space.

CATEGORIES OF MOVEMENT MOTIVATION AND ANALYSIS

The particular purpose of the choreographer or need of the re-
searcher will dictate the form of description and the method of ana-
lysis he will select. Details of importance in one field of study
may be of little value in another. Because it is a comprehensive
system, Labanotation fills the various needs of movement study
and research in the many fields in which movement is analyzed,
codified, and recorded. There are eight basic categories of move-
ment motivation, though seldom is any one used in isolation.

1. DIRECTIONAL DESTINATION. The common approach to

movement description dance and allied fields is in terms of the
in
spatial directions into which the parts of the body move, that is,
the directional destination (e.g. the right arm forward then up,
the left arm side). The aim is to arrive at an established position
or state. The way there is less important than the final position.

2. MOTION Sometimes
it is not the destination but the motion

itself which needs be stated. This may be movement away from

to
a previous position or state or toward a focal point. This category
also includes movement along a particular path for which no destin-
ation is Such motion emphasizes change and allows free-
stated.
dom and concentration on the act of moving rather
of interpretation
than on the result of reaching a specific goal.

3. ANATOMICAL CHANGE . For some actions an anatomical

description is more suitable. This is based on the changes occur-
16 The Approach to Movement Notation

ring in the various joints of the body, flexion, extension, or rota-

tion (e.g. a flexion in the knee joint, a rotation of the thigh in the
hip socket). The emphasis is centered on physical changes in the
joints, taken singly or in unison.

4. VISUAL DESIGN. The visual design, the path in space

created by the movements of the limbs or the whole body may be
the basic idea to be conveyed. The shape or design produced may
be a path across the floor, a design (trace form) made by the ex-
tremity of a limb (e.g. a circle, zigzag, or figure eight), or plas-
tic shapes made by the limbs or the body as a whole.

5. RELATIONSHIP. The purpose any action may be to re-

of
late to an object or person. This may
be to approach it or move
away from it, to be close to it, to touch, grasp, or carry it. The
physical actions which must take place to produce these aims are
often not important and not described.

6. CENTER OF WEIGHT, BALANCE. The focus of movement

awareness and analysis may be concerned with the center of weight
in the body and the use of, or loss of, balance for a particular pur-
pose or effect. Such focus can range from placement and trans-
ference of weight in simple steps to complex acrobatics.

7. DYNAMICS. The quality of movement, patterns in the ebb

and flow of energy, the expressive use of weight, space, force and
time, may be of prime importance and actions may be described
in these terms (e.g. a sudden thrusting action, or a freely flowing
gliding movement). The kind of effort involved, the qualitative
aspects of the component parts are more important than the speci-
fic quantitative use of space, force, and time.

8. RHYTHMIC PATTERN. Movement may occur as a direct re-

sponse to a basic recurrent beat or to rhythmic patterns in music,
the chief purpose being the translation of rhythms into physical ac-
tion. Other aspects of movement are usually subservient to this;
the part of the body or direction used may be unimportant.

This book will be concerned chiefly with the Directional Des-

tination, this being themost commonly used category. The other
types of description will be touched upon briefly where they apply
and will be explored in greater detail in Book II.
Chapter 3 The Approach to Movement Notation 17

SYSTEMS OF REFERENCE
any spatial description of movement, the reader must know
In
the frame of reference. When a forward direction is stated he
must know whether the resulting movement should be toward the
front of the room or stage or toward the front of the performer.
These systems are the same only when he is standing facing the
front of stage. If an upward movement is stated he must know

whether this is a gesture toward the ceiling, or past his head. In

the normal standing position these two systems are the same, but
when the performer is lying down they are not. In describing di-
rections there are three possible systems of reference:

1. The Constant Directions in the Room

2. The Standard System of Direction (the Constant Line of

Gravity System)

3. The Constant Directions in the Body

Each of these systems is based on a cross of axes, that is, the

cross of directions produced by the intersection at right angles of
the lines extended in each of the three dimensions. For full de-
tails see Chapter 25.

THE GRAMMAR AND SYNTAX OF MOVEMENT

Dance is a "language" of expressive gestures through which non-
verbal communication can be achieved. Like verbal language, it
has basic "parts of speech." There is a clearly constructed gram-
mar which defines the relationship of the movement "words" to
each other and their given function in the movement "sentence" as
a whole. The basic elements in this language of movement fall in-
to the categories of nouns, verbs, and adverbs. Adjectives occur
only rarely and are therefore not given in the following table.

Movement means change and to produce change an action of some

sort must occur. In the grammar of movement, these actions are
the verbs. The parts of the body that move are the nouns. How
the action is done, the degree of change or the manner of perfor-
mance, is described by the adverb. The following lists give some
idea of the content of these three categories. These lists and the
chart on page 19 are not intended to be complete.
 .

18 The Approach to Movement Notation

NOUNS
. The individual parts of the body which move.
. A partner or other person to whom movement is related.
. Parts of the room to which the performer must proceed or to-
ward which gestures are directed.
. Objects or properties which are carried or handled.

VERBS (numbers refer to the 13 root verbs)

. General statement of an action (1). Absence of action (2).

The three basic anatomical possibilities :

. Contraction (3); Extension (4); Rotation (5).

Movements produced by the three anatomical possibilities :

. Paths in space, of the body as a whole; of limbs (6).

* Direction, movement to defined points in space (7).
. Motion toward (8); Motion away (9); each in relation to points in
space, a person, object or the performer himself.
Mode of Progression, Change in the Support of the Body :

. Weight -bearing, transference of weight (10); Absence of support,

jumping (11); Movement in balance, shift of weight (12); Loss
of balance, falling (13).

Results of Basic Actions (statement of effect rather than cause):

. Relating to a person, object or part of the room.
, Visual design: the shape made by the body; linear trace forms.

ADVERBS
All the verbs mentioned above and their variants can be modi-
fied by the following adverbs:

Timing: sudden or sustained, or any specific time value.

. Dynamics: use of energy, flow of movement, inner attitude.
. Degree of action: degree of rotation, distance covered, etc.
. Manner of performance: (i) physical modification: initiation of
the action, part of the body leading, guidances, sequential ac-
tions, (ii) spatial modification: deviations in paths, variations
in positions

It is important to observe that while actions or retentions of a

position always involve time, the use of time itself may be unim-
portant, unstressed, and therefore not specifically included in the
description. The same is true of dynamics. All actions require
some degree of energy, but only a greater or lesser amount than
the functional level is stated.
 9

Chapter 3 The Approach to Movement Notation 1

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CHAPTER 4

Fundamentals of Labanotation

INDICATIONS OF ACTIVITY
In the study of transcription of movement, the broad general state-
ment of an action will be followed by increasingly specific ones.
Movement must often be indicated in broad terms. The first basic
indication of any movement simply the statement that "some-
is
thing happens, " that one or more actions occur.

THE ACTION STROKE

A vertical stroke, called an "action stroke, " represents the
occurrence of movement of some kind. Its interpretation depends
upon the performer. If the writer wishes to be more specific he
must add the necessary details.
Rule: the reading direction in Labanotation is from the bottom
of the page up, or, if the book is held horizontally, in the forward
direction. A double horizontal line ===== indicates the start
the beginning of movement.

An action Two actions, Two actions

one after the occurring sim
other ultaneously

la

Note that when two action strokes are written one after the other
on the page, they occur one after the other in time. When they
are written side by side, they occur at the same time.
 -

Chapter 4 Fundamentals of Labanotation 21

THE CENTER LINE

The next step in a progression from general description to more
specific is the indication of the use of right or left side of the body.
An action may occur on one side of the body or the other. To show
this, we draw a vertical line to represent the vertical center line
in the body and place action strokes on either side of this center
line. The vertical centerline is centered on and connected to the
double starting line.

2a 5

Actions on the An action on A left -sided action fol-

right side only the right then lowed by simultaneous
on the left side actions on both sides

This vertical center line forms the basis of the vertical three -line
staff on which structured description is written.

THE STAFF
Labanotation uses a vertical
three -line staff.* This staff
represents the body, the cen-
ter line being the center line
of the body, dividing right and
left. Vertical columns on each
side of the center line are used
for the main parts of the body.
Movements of the legs and feet
are written within the three Left Right Left Right
line staff, and movements of
the torso, arms, and head are written outside. Within the staff
there exist four major vertical columns (two on either side of the
center line). Outside the three -line staff imaginary vertical lines,
parallel to the main staff lines and comparable to ledger lines in
music, provide additional vertical columns, as many as are needed,

See Appendix B, note 1

 -

22 Fundamentals of Labanotation

USE OF THE COLUMNS

By placing the movement indication
in one of the vertical columns of the
staff we state an action for one of the
main parts of the body. Fig. 4 illus-
trates which part of the body each
column represents.

1st Column: Supports. Immedi-

ately next to the center line are the
support columns . The placement of
the weight of the body is important,
and is usually the factor we need to
know first. Direction symbols
placed in these columns indicate
progressions of the whole body,
that is, progressions of the center
of gravity of the body by means of
transference of weight, jumps, or
falls. The weight of the body nor-
mally rests on the feet, but it can
also be supported by the knees, Left Right
hips, hands, and even the head. In
Center
such cases, a sign for the specific
Line
active part of the body is placed in
one or other of the support columns.

2nd Column: Leg Gestures. Adjacent to the support columns

are columns for leg gestures. The term "gesture" is used for
movement of a limb which does not carry weight. A direction
symbol here describes a gesture of the whole leg moving in one
piece. These columns are also used for the individual parts of
the leg - thigh, lower leg, and foot - as indicated by specific signs
for those parts.

3rd Column: Body. Columns immediately outside the three

line staffare used for the body. Direction symbols placed here
without a specific pre -sign describe movements of the "upper part
of the body," that is, superior spinal movements used freely as an
accompaniment to arm gestures (see Appendix D). Movements of
the whole torso, the chest, pelvis, shoulder girdle, etc. are writ-
ten with the specific signs for those parts.
 . )

Chapter 4 Fundamentals of Labanotation 23

4th Column: Arms. Immediately beyond the body columns, to

either side, are columns for the arms. A direction symbol in
these columns describes a gesture of the whole arm moving in one
piece. These columns are also used for individual parts of the
arm, the upper and lower arm, as indicated by specific signs for
those parts.

Columns beyond the fourth. Up to the fourth column no pre-

sign for a main part of the body is needed. Beyond the fourth col-
umn the pre-sign for a specific part must be given. The fifth col-
umn may be used for the lower arm, but more frequently it is used
for the hand. When complex hand gestures occur requiring a des-
cription for fingers and palm facing as well as for the hand itself,
additional space outside the staff is used, and the appropriate pre-
signs are given.

The Head Column. The head is written on the right side, slight-
ly apart from the other columns. If a score is simple, head indi-
cations can be written closer to the staff in the sixth column from
the center. Where complex hand movements require additional
columns, the head is placed farther out. The specific sign for the
head is always used to identify the column.

Additional Columns Supplementary columns can be added as

needed. These are placed outside the staff, as in the case of col-
umns which indicate the handling of props, or within the staff if
more room is needed for leg and body movements. Fig. 4 shows
a simple staff, but this is often expanded as in Fig. 5. The addi-
tional columns allow room for symbols modifying the main move-
ment. (Note: the additional columns between the support and leg
gesture columns are called "a" subsidiary columns and those be-
between the body and arm columns "b".

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CD • . p 3, CD 1
u
:<s —ll ,co CO J
1 i—l &\
M
4 "1 y 3 2 "a" 1 l a"2 3"] 3" 4

Left Right
 .

24 Fundamentals of Labanotation

Indication of Action for the Main Parts of the Body

The occurence of movements for the main parts of the body is

shown by placing action strokes on the three -line staff.

6a

Steps, supports Two gestures Gestures of the arms,

right, left, right of the right leg left, right, then both

SPACE
DIRECTION SYMBOLS Up
The directions in space email'
ate from a central point — the R.
L.
spatial "center." This point is /
called "place, " and is represent-
ed by a rectangle. Directions
/w
are judged from this point. 7a Place Down
Symbols for directions are
modifications of the shape of
this basic sign, and shapes
7c
are pictorial in pointing to
the direction they describe. Forward To the right

The Eight Main Directions

Forward Backward
ft
Left side Right side
4 hD'
Left Right
forward forward
diagonal U diagona
Left Right
ba ckwa rd backward
diagonal P diagona
See Appendix C , note 1
Chapter 4 Fundamentals of Lalpanotation 25

Note that there are two symbols for directions forward and back-
ward, one for the right side of the staff and one for the left. The
indicator or "chimney" is placed on the inside, toward the center
of the staff. This is a convention in writing which does not, how-
ever, change the meaning of the symbol.

When this book is placed horizontally, forward symbols point

to the forward direction, a side right symbol points to the right,
and so on. Diagonal directions lie exactly between forward and
side directions (right forward and left forward diagonals), or be-
tween backward and side directions (right backward and left back-
ward diagonals). The word "diagonal" is used in Labanotation as a
direction in space and not for a gesture which is slanting upward
or downward. Such oblique slanting is described in terms of level.

THE THREE LEVELS

The level of movement
upward, downward, or horizontal - is
-

indicated by the shading of a symbol. A movement into any direc-

tion can be horizontal, low, or high in level. Straight up is "high"
(place high). Straight down is "low" (place low). Down moves to-
ward gravity, with the gravitational force; up, away from it. The
horizontal plane lies at right angles to both.

9a E I
High Middle Low
(straight up) (at center, place) (straight down)

Each of the main directions can be in any of the three levels

Forward Forward Forward

[L
high (slant- middle low (slant
ing up) 9d (horizontal) e ing down)

Right Right Right low

high (slant- middle (slanting
ing up) 9g (horizontal) h down)

Right Right Right

forward forward forward
high 9j middle k low 4
26 Fundamentals of Labanotation

The Twenty -Seven Principal Directions

10a
> i _

V D

For general purposes the twenty -seven main directions suffice.

Intermediate (in between) directions are explained in Chapter 26.
Note that for gestures place (center) is considered a direction.

GENERAL STATEMENT OF DIRECTIONAL MOVEMENT

By themselves, the direction symbols state only information con-
cerning the element of direction. In order for us to know what part
of the body moves in a stated direction, a symbol must either be
placed in the appropriate column of the full vertical staff or be pre-
ceded by the symbol for that specific part of the body. The follow-
ing progression from the broadest statement to the most specific
(Figs. 11 and 12) illustrates the flexibility of the system.

Motif Writing

In Motif Writing (see page 11) a directionsymbol by itself indi-

cates an action whose principal feature is the use of that given di-
rection in space. Exactly how this is performed may vary accord-
ing to the interpreter. Fig. 11 (a) illustrates such a general des-
cription. Use of the vertical center line permits indication of
movement for the right or left sides of the body as in (b) and (c).

lla

A general movement of The right side of The right side of the

the whole body horizon- the body moves body moves forward,
tally forward, then to the forward, then to then the left side
right side horizontally. the right. moves to the left.
Chapter 4 Fundamentals of Labanotation 27

SPECIFIC STATEMENT OF DIRECTIONAL MOVEMENT

Placement of a direction symbol on the staff shows which part
of the body moves in the stated direction. In the following exam-
ple, which illustrates the highlight of a jump, only arm and leg
gestures are given. There are no symbols in the support column.

Right arm forward high

Left leg forward low

Left arm backward low

Right leg backward low

For smaller parts of the body, the specific sign for the given
part is placed in front of the direction symbol. Such indications
can be used out of context, for example in Motif Writing, as in
Figs. 12 (b) and (c), but usually appear in a structural description
in which specific details of parts of the body, time, direction, and
level are all stated, as in (d).

I
12b

The right The left foot These two actions

hand moves moves up. shown in context
down.

ANALYSIS OF DIRECTION AND LEVEL

and level, gestures and supports of the
In the analysis of direction
body differ basically from one another. Two entirely separate con-
cepts are involved. Gestures are usually described in terms of
movement toward a specific point, that is, a destination; steps are
described as motion away from a previous point of support. We
will consider these concepts first, then explore direction and level
applied to them.
28 Fundamentals of Labanotation

THE WRITING OF MOTION OR DESTINATION

Labanotation is a movement notation because the symbols repre-
sent change; absence of movement is shown by the absence of sym-
bols.The basic premise of the system is that a position is a move-
ment which has come to rest. In a description of movement a
choice exists between one of the two following points of view:

1. Transition to an established point in space (destination);

2. Movement away from a starting point in a direction

relative to that point (motion).

In the case of destination the description is in finite terms,

movement toward a known destination. We use points in space as
milestones. The path itself along which the movement travels is
not described. In certain contexts a description in terms of a des-
"
tination is called "position writing.

In the case of motion, the path of the movement is described as

a movement away from a starting point. This might be a forward
and upward movement in relation to the starting point. How far the
movement progresses in that direction is not necessarily stated.
Information on distance can be added if necessary. To differen-
tiate clearly between destination and motion, we shall look at a
geographical analogy.

Established Points - Destination

In travelingfrom Rome to London, one is moving between two

fixed points in the world. The direction happens to be a northwes-
terly one, but the traveler need not be aware of this and will mark
London as his destination and continue until London is reached.

Relative Direction of the Path

The relative direction from Rome to London is northwest. A

traveler starting on a northwesterly path from Rome may not know
what his goal is; he may only know his direction in relation to his
starting point. If he continues for a short while, he will arrive in
Milan. To reach London he must continue in the same direction for
a measured distance. If he does not stop in time, he will go past
London to an unknown destination.

From this analogy we can see that in writing movement, we may

sometimes need to know the relative direction of the path, but in
general it is more practical to state the destination.
Chapter 4 Fundamentals of Labanotation 29

Description in Terms of Established Points

In writing gestures we describe movement as the path of the ex-

tremity of a limb between established points in space. The actual
movement is the transition from one point to the next. To know
the exact path by which a point is reached, we must also know the
starting point.

In Fig. 13 (a) the starting

position for the arm is up.
The arm then takes a down-
ward path to arrive at the Oz
side middle destination, "x"
indicates the starting position, 13a
"y" the path, and "z" the destination.

In each of the following examples the destination is side middle,

but different starting positions result in different paths.

13b
The arm moves from place The arm moves horizontally
low upward to side middle from forward to side middle.

Thus, the standard choice of description for gestures of the

limbs is in terms of the destination to be reached. Steps may be
described similarly: a performer can be instructed to make a path
the aim of which is to arrive in another part of the room.

Start.

Destination:
center front
13d

Fig. 13 (d) shows an actor starting at the center back of the

room. If told to move to a destination center front, his path will
lie between those two points. The same destination reached from
other starting points will result in other paths as in Fig. (e).
 —
30 Fundamentals of Labanotation

Description in Terms of Motion

For ordinary walking steps, jumps, leaps, etc., the direction

of the path inwhich the center of gravity moves is described in
terms of motion away from the starting point. This is the stan-
dard Labanotation description for steps; only occasionally is the
description given in terms of destination. Fig. 14 (a) shows a step
forward. From the starting position, the movement is a forward
one. Once the step is finished (the forward motion ceases), the
performer is standing with his center of weight over his point of
support, in place. No evidence remains to indicate his forward
movement. We can deduce this only if we know his starting point.

l Forward
movement
—I /

Resulting
b position
14a
In aforward step the direction At the end of the step only a
symbol describes the movement. support in place is evident,

For arm and leg gestures we seldom describe motion, but an

example is given here for clarification to illustrate the method.

OR
14c

In Fig. 14 (d), from the starting position with the right arm up,
the path of the gesture is side low. We may not know how far this
sideward -downward motion progresses. It could end part way, as
the first arrow suggests, or could continue until the side middle
point is reached, as the second arrow indicates. Fig. 14 (e) shows
another sideward -downward movement from another starting posi-
tion. Spatially these actions all have something in common because
they follow parallel paths, but in relation to the body each is diffe-
rent. To produce a specific action we need to know the starting
position as well as the degree of "sideward and downward" motion.

See Chapter 20, page 341

 )

Chapter 4 Fundamentals of Labanotation 31

POSITIONS: SUPPORTS ON THE FEET

The bodyis normally understood to be supported by the legs.
We can show the exact flexion in ankle, knee, and hip used in stand-
ing or walking, and can also indicate the part of foot which contacts
the floor. For general purposes, however, we have established a
convention of three main levels: middle, low, and high.

In the following examples illustrating levels of support, the legs

are shown as being together, in place, directly beneath the center
of weight. The weight is divided equally between the feet. No
statement is made concerning the rotation of the legs The figure
.

illustrations show the feet parallel and also with some degree of
turnout to indicate that rotation of the legs does not change the
basic direction and level of the position. Details on rotations of
the legs are given in Chapter 17.

Middle Level Supports

In an ordinary stance the whole

foot is on the ground. The knees
are straight, but not taut. The
level of this ordinary standing 15a
position is called middle level. Place Middle

Low Level Supports

In a low support the center of
gravity of the body is lowered by
bending the legs The weight is
.

on the whole foot. This low sup- 15b

port is called a "demi-plie" (half Place Low
1 or

bend) in ballet. Exactly how much the knees will bend in an ordin-
ary low support will depend on the individual build of the perfor-
mer, but in every case the whole foot should remain on the ground.
The exact degrees of knee bend from the slightest to a full knee
bend are shown with additional indications. (See page 175.

High Level Supports

In a high support the raising of V

the center of gravity of the body
produces an extension of the legs.
/
The weight is on the ball of the 15c
foot, and the knees are straight. Place High (on demi-pointe)
32 Fundamentals of Labanotation

POSITIONS FOR GESTURES

For gestures of the limbs, trunk, and head, direction and level
are determined by the spatial relationship of the extremity (free
end) to the base (point of attachment). A line drawn between the
free end and the base indicates to which direction the limb has
moved. This is true whether the limb is bent or stretched.
Place for Gestures

Place for gestures is the center point,

the pointfrom which all other directions
and levels radiate. In Fig. 16 this cen-
ter point is illustrated for the right arm
and for the left leg. Place for the arm
is at the shoulder. Place for the leg is
at the hip joint.
16
Levels for Arm Gestures

The whole arm moves from the shoulder

The relation of
joint (point of attachment).
the hand (free end) to the shoulder (base)
determines direction and level for the arm
as a whole. In the normal standing position
the arm hangs straight down from the shoul-
der by the side of the body. As the hand is \"j

below the shoulder, the whole arm is place

low. A
middle level gesture is at shoulder
Arms strai ^ht down >

place low
level, horizontal, and parallel with the
floor. A high level arm gesture slants upward, above shoulder
level. A low arm gesture slants downward, below shoulder level.

i fi

forward low forward middle forward high place high

)fX
18 side low
Y )
side high place high
Chapter 4 Fundamentals of Labanotation 33

Levels for Leg Gestures

The whole leg moves from the hip

joint, its point of attachment. Direc-
tion and level are determined by the
relation of the foot (free end) to the hip
(base). When in the air, as in Fig. 19,
the legs are gesturing straight down, 19
into the direction place low. Low leg gestures

In the following chart the extension of the legs shown in the fig-

ure illustration is not stated in the notation.

20

k
forward
low forward high place high

side
low side middle side high place high

Place for the Arms and Legs

A
limb is said to be at place when
itsextremity is close to its base.
For the arms and legs this means be- jO

ing bent, drawn in close to the body.

Place is directly between high (straight
up) and low (straight down). 21

Starting Positions

Because indications placed before the

double starting line mean positions, not
motion, in writing a starting position for
a sequence of movements we need not be o
concerned with timing. Fig. 22 indicates
a starting position with the weight on the
right leg, left leg gesturing backward low,
IE >
right arm at side middle and left arm up, 22

I
34 Fundamentals of Labanotation

MOVEMENT
A Directional Support, a Step

The appropriate direction symbol is written in the support col-

umn to show the center of gravity of the body moving into a direc-
tion by means of a step. In moving away from a starting point, the
whole body is transported by the action of the legs. In walking,
each leg in turn takes over the weight of the body.

End
result:

23a

In Fig. 23 (a) a step to the side is taken on the right leg in mid-
dle level. The action is basically one of the center of gravity mov-
ing to the right. The right leg must move out to the side to start
the step, but this action is understood and is not written unless it

is tobe performed in a specific manner. The step itself may be

defined as the movement of the center of gravity to the right by a
transference of the weight to the right leg (foot). When the trans-
ference is completed the right support is in place, as in (b). There-
fore the ending position, in which the center of gravity has come to
rest, is different from the movement into that position.

A Directional Step with Change of Level

In changing the level of the support, we raise or lower the cen-

ter of gravity by extending or contracting the legs. For this ac-
tion we usually use the main levels: middle, low, and high.

End
result:
J]
24a

The same process happens when we take a step with a change in

level. Here the center of gravity simultaneously travels to the side
(through the transference of weight) and lowers slightly (through
bending the leg). Fig. 24 (a) illustrates this progression. When
the transference of weight is completed, a support on the right leg
in place low results, as in (b).
 .

Chapter 4 Fundamentals of Labanotation 35

WHERE IS PLACE?
In Labanotation the concept of place must be kept clearly in
mind; the word "place" has various connotations when used in
other contexts. For example, in ballroom dancing the word "place"
is used for the spot on the floor on which the performer was stand-
ing a moment ago. Thus the ballroom instruction: "Step side with
the right foot, step in place with the left, " may mean a step to the
right side followed by a step to the left side, which would bring the
performer back to the spot at which he started. In other forms of
dance a performer may have his "place" in the formation or on
stage, to which at certain times he is to return. In Labanotation
the idea of place for supports follows the basic law that place is
directly related to the center of gravity of the performer. This is
true for the simplest steps as well as for complex acrobatic forms.

The following cartoon helps to illustrate this basic concept, par-

ticularly in relation to supports

Have you
been introduced
to PLACE?

Do you know
WHERE
PLACE
is?

PLACE
is
NOT
WHERE YOU WERE
36 Fundamentals of Labanotation

PLACE
is
NOT
"HOME BASE"

PLACE GOES
where YOU GO all the time

This is all very fine

when you have
ONE SUPPORT

But what if your

SUPPORT
is DIVIDED?

THEN -

WHERE IS PLACE?

PLACE IS BENEATH YOU STRAIGHT DOWN

Chapter 4 Fundamentals of Labanotation 37

PLACE
is
ALWAYS BENEATH YOU

PLACE is on the
PLUMB LINE
from your center of
WEIGHT \S*)I

Your WEIGHT is
very IMPORTANT
and
PLACE
DEPENDS ON IT

INDEED -

No matter what
you may be
UP
TO

PLACE IS:

ABOVE,
AT,
or
BELOW
your
CENTER OF WEIGHT
 —

mnda mentals of Labanotation

TIMING
The center line of the staff if also the time
line. When read from the bottom up, it

indicates visually the flow of time.

GENERAL INDICATION OF TIMING

ment indications placed side by side
occur at the same moment in time and o
be compared to the notes of a musical chord.
:ations placed one after the other occur
sequentially. We 25a
illustrate this first in a
general way with action strokes. The sign Passage of time
o means hold.

Simultane Sequential
actions of both actions of the
arms, right sup- right support,
port and left leg, left leg, right
before and o arm, and
a ftei stand- left arm
25b —
ing still

The simultaneous actions shown

in Fig.25 b) are described as I
being into specific directions in
::ons
indicated in (c) are now more
specifically described by direc-
tion symbols.
25c UL
Duration: General Statement
The longer the action stroke.
the longer it takes to complete

the given action, i.e. the slower

the movement. The shorter the
stroke, the sooner it is complet-
ed, i.e. the faster the movement.
Fig. 26 (a) shows one slow sus-
tained movement for the right
arm. Fig. (b) shows three quick
actions for the right arm. 26a
Chapter 4 Fundamentals of Labanotation 39

FREE TIMING
The timing of actions may be free in that it
is not measured. One action may have more
duration, another less. One may start sooner
or later than another. There may be a great
deal or very little overlap in the occurrence
of two or more actions. The relative duration
of actions and when they start and finish with
respect to one another may be clearly estab-
lished but otherwise the timing is free; it is
felt, sensed rather than measured or counted
in any way. Even in choreographed theatre
pieces timing may be based completely on a
breath rhythm or a phrase rhythm which is 27
felt and not counted. Labanotation provides
for such needs. In Fig. 27 action strokes have been replaced with
specific direction symbols, but timing is still only general. A slow
step leads into faster steps, and a slow right arm gesture is follow-
ed by two quick separated gestures.

PROPORTIONATE, MEASURED TIMING

To indicate metered (measured) time, the
recurrence of a regular basic beat (pulse) and
the grouping of such beats into measures (bars)*
as in music, the center time line is marked off
at regular intervals by small ticks.** Each tick
beat (
marks the beginning of a new beat. The space
between the ticks represents the duration of
the beat. Because the amount of time occupied
by each beat is regular, the distance allowed
28
for each on paper must also be regular. A
basic unit is taken for each beat. For the quarter note (crochet J)
we usually allow four squares on graph paper or one half inch,
(1.25 cm). More space may be needed for complex movements, in
which case the basic unit can be increased to six or eight squares.
The unit chosen must be kept uniform throughout the section or
piece. A change in the unit must be indicated, see pages 42, 43.

* The term "measure" is technically correct, although the word

"bar" is also commonly used. Strictly speaking the bar lines
separate the measures. **See Appendix A, note 1.
40 Fundamentals of Labanotation

Length of Symbol

The relative length of

each movement symbol
indicates its time value.
Once the basic unit the , = O
length on the paper used
for each beat, is estab-
lished, the whole scale
of values is accordingly
J J
determined. For in-
stance, a whole note is
29 I
d-;
twice the length of a half note, and a half note twice the length of a
quarter note. The music note is used to establish the value of the
basic unit. Music notes are not otherwise needed in the dance score,
Timing (the length of time used) is an integral part of each move-
ment symbol; therefore the Labanotation score does not require the
accompanying music to be written alongside its indication. The de-
vice of using different lengths of symbols to represent time values
makes changes in rhythm visually easy to recognize. The flexibility
of this device makes the system suitable for use with electronic
scores and for scientific studies where time is measured in seconds,

Breakdown of a Count (Beat)

Just as a single
count in music can
be subdivided, so 30a U b
can the linear unit One beat, a Two eighth Four six-
representing one quarter note notes teenth notes
count in Labanotation. (crotchet) (quavers) (semiquavers)

Verbal Subdivision of a Beat

In counting beats for dance and in writing word notes, we must

use a common terminology whichaccurately states the subdivisions
of a beat. The word "and" should be used only for subdivisions
which fall on the half beat. The following terminology has been
standardized in Labanotation and is presented as the best method
available today.

The single count or beat is called "1, " etc. according to

2, 3,
its placement in the measure. When it is divided in half, the first
part is still called by its appropriate number, and the second half
Chapter 4 Fundamentals of Labanotation 41

is called "&." Thus consecutive eighth notes would be counted:

"1, &, 2, &, " etc. Divided into fours, that is, into sixteenth notes,
a beat counted: "l,y, &,u, 2,y, &,u, " etc.
is (The "y" is pronoun-
ced as in "any" and the "u" is pronounced as in "up".) In a triplet,
a beat is divided into three equal parts. A frequently met termin-
ology for this, "1, &,a, 2, &,a, " is not technically correct, as the
symbol "&" should be used only for a true half beat. A more ac-
curate terminology for the triplet is: "1, a, da, 2, a, da, " etc.

da-

Triplet

31a U b

MARKING OFF THE MEASURES (BARS)

Simple Meters

Like music notation, Labanotation uses a staff which is marked

off in measures (bars) by horizontal bar lines. Fig. 32 shows ex-
amples of different meters: (a) the grouping of quarter note beats
into twos, 2/4 meter, or duple time; (b) into threes, 3/4 meter, or
triple time; (c) into groups of four, 4/4 meter or common time,
as it is called, and (d) into groups of five, 5/4 time. Remember to
read the dance staff from the bottom up.

etc
L u

et c.
t 1

I M-

1 3

Z 2.

1 i

32a
 .

42 Fundamentals of Labanotation

Compound Meters
In compound time in music 6

each beat is divisible by three

Of the possible meters in this
category, 6/8 is the most fam-
3
iliar, though 9/8 and 12/8 and
also 6/4 and 9/4 are often met. z

Musically, 6/8 is to be compar- 1

ed with 2/4 in that there are two 6

main beats in each measure.
But in 6/8 each beat is divided
4
into three eighth notes. This
subdivision into three of each 3

of the two main beats in the Z

measure is always felt but not 1

always counted. In studying

dance and relating it to music,
we may find it helpful to count
all six beats of the measure in
order to know on which one a
33a
certain action falls. But gen-
erally speaking, in a measure of 6/8 we need count only the strong
beats, "1,2." Fig. 33 (a) illustrates two measures of 6/8 meter
with each of the six subdivisions (the eighth notes) marked. Note
that the middle tick is made stronger to stress the main division
into two. In (b) the same two measures of 6/8 are drafted with only
the main subdivisions, but the possibility of triple subdivisions is
still allowed for. 9/8 and 12/8 meter are handled in a similar way.

Statement of Basic Unit Used

It is common practice to estab-

lish the length of the basic unit be-
ing used for a given piece in the
starting postion. In Fig. 34 (a)
this unit is longer than in (b).
Where the unit needs to be stated ffl
separately, it is written with the

appropriate length and time value

notes as in Figs. 34 (c) and (d).

34a
Chapter 4 Fundamentals of Labanotation 43

34c
j.
d U
-I - T-J
Fig. 34 (e) shows an alternate method 5 l

of indicating length and time value. A

basic unit statement can be written as
a key under the staff or placed to the
leftnear the starting position, as 4 l

shown in Fig. 35. If during the course

of the score we need change this ba-
to
sic unit, the new must be stated
length
at this time. Such a statement appears
outside the staff on the left as shown in
the third measure of Fig. 35.

Statement of Change of Meter

The indication for a change of

meter during a piece should appear
just before the measure in which it
takes place. This indication serves
as a warning. In Fig. 35 a change 2 i
from 3/4 to 2/4 occurs at the third
measure, as well as a change in the
basic length used.

SPECIFIC, FINITE TIME

Where exact tempi are required,
the metronome indication is inclu-
ded. This indication is the same as
that used in music - the number of
1 l
beats per minute: J = 60, J = 112,
etc In a dance score this indication
.

is placed at the beginning to the left

of the staff as illustrated in Fig. 35.
It is also placed on the left when a 35
change occurs during the score as
can be seen in measure 3 of this ex-
ample The indication of speed can
.

be combined with that for the basic

j- 60
36 U
unit as shown in Fig. 36.
 .

44 Fundamentals of Labanotation

THE USE OF LINES IN DRAFTING A SCORE

The following principles of standardization in the use of lines
have helped to make scores and kinetograms more uniform and
hence easier to read.

Beat Marks: The beats are separated by short horizontal

strokes across the center line.*

Bar Lines: The measures are marked off

with horizontal lines extending
across the three -line staff.
While short bar lines, as in
Fig. 37 (a), are standard,
they may also be extended
farther to facilitate reading,
as in (b). 37a

Base of Score: To give the staff a neat appearance, a line may be

drawn across the three-line staff before the start-
ing position, as illustrated in Fig. 37 (a).

Start of Action: Double horizontal lines mark the beginning of ac-

tion. In Fig. 37 (a) these fall on the bar lines. In-
dications before this double horizontal line signify
a position; those following it signify movement.

The double starting line may come

before the bar line. In Fig. 37 (c)
the starting position is followed by
an upbeat, a rising into the air on
the "&" to land with feet apart on *
m
count 1 of the new measure. The
double starting line often does not
coincide with the bar line.
37c i
Ending Lines: At the end of a dance or ex-
ercise a double line is used.
The upper one may be drawn
thicker, as in (d).For ex-
tended lines, the drawing
will be as in (e). 37d

Full details on use of lines in scoring will be given in Book II

* See Appendix A, note 1

Chapter 4 Fundamentals of Labanotation 45

USE OF NUMERALS
For easier reading of scores, the following standard use of nu-
merals has been established. Note this practice in Figs. 33 and 35,
Count Numbers. Where counts for the beats are needed, they are
indicated by small numerals placed outside the staff to the left,
just after the mark separating the beats.
Measure Numbers. The number for each measure is placed out-
*

side the count numbers to the left of the staff. These numbers are
written larger than count numbers and are placed directly after
the bar line. The measure numbers correlate with the numbered
measures in the music score.
Dancer's Counts The term "dancer's
.

counts" applies to counting by the musi- (16)

cal phrase, or to counting groups of in-

dividual movements in which the counts 50 Us)

are established for the benefit of the

(14)
dancers. When using relatively simple
music, the dancer may need to count 49 (is)

dance phrases of twelve or perhaps ten.

When following the work of modern com-
posers, the dancer may find it difficult,
undesirable, or even impossible to count 48 (ii)

according to the written music. It is im-

(10)
portant that the relation of the dancer's
counts to those stated in the music be 47 ($)

noted in the dance score. Usually the

counts which appear in the dance score (8)

are the musical counts; therefore, the

46 (7)
dancer's counts are placed in parenthe-
ses. A example of counting by
typical
the phrase occurs with a 2/4 meter in
which four measures are counted as a 45 (5)

phrase of eight or eight measures are

(4)
counted as a phrase of sixteen. Fig.
38 illustrates a phrase of 16 counts oc-
44 (3)
curring in the middle of a dance score,
beginning with musical measure no. 43.
Any special usage of numbers should be
explained at the start of a score. 43 (1)

* See Appendix A, note 2. Fig. 38

CHAPTER 5

Variations in Steps

SUPPORTS AND STEPS WITH USE OF LEVELS

IN PLACE
w
I
/
/
K /
/

t /
/
i
/

ill i
39a
Changes in Steps in Marking time The basis for
level, weight place mark- in low and a waltz: low,
on both feet ing time high levels high, high

Notes on reading. When the weight is on one foot, the other is

free, just clear of the ground,as in ordinary walking. In per-
forming Figs. 39 (b), (c) and (d), the right foot is lifted prior to
the step on count one. The weight should be transferred complete-
ly from one foot to the other. In middle and high level the knees
are not stiff; the natural pliancy in stepping is understood.
 -

Chapter 5 Variations in Steps 47

FORWARD AND BACKWARD STEPS

A direction symbol in the support column indicates that the cen-
ter of gravity of the body has moved away from previous stand-
its
ing position (stance) into the stated direction by means
of a step on
the right or left leg. Each step means a progression of the whole
body in which the weight is transferred until it is vertically above
the new point of support.

40a
Forward steps, Backward Forward steps Backward steps
a normal walk steps in low level in high level

Notes on reading. A step in any direction should be a normal

sized step, that is, the usual stride of the performer. Longer and
shorter steps are discussed in Chapter 11. All directions relate to
the front of the performer, that is, to the side or corner of the room
which the performer is facing.

41a b
Changes of Swaying for- Steps and change Swaying backward
level in for- ward and of level on the and forward with
ward steps backward same leg a change in level
48 Variations in Steps

STEPS TO THE SIDE

Step to the right Continuous

side with the
right foot, close
steps to the
right side, i
the left foot to the left leg
) )
it in place, lift- crossing in
ing the right foot front and
>)
just off the floor. then behind
Repeat.
)

42a

Steps to the side refer to the side direction from the body and
not to the side of the room. In Fig. 42 (b) a black pin is used to
show the relationship of the two legs as the step across is taken.
The point of the pin is the indicator, as on a clock or compass.

In front: Behind (in back):

DIAGONAL STEPS

i )
V \ )
43a

Forward right Forward left Backward right Backward left

diagonal diagonal diagonal diagonal

Notes on Reading. Be sure these steps are all taken diagonally

from the body (the personal diagonal of the performer, not the dia-
gonal of the room). Turning the body to face a new room direction
will be discussed later. The diagonal direction from the body
should be a clear cut line between the side (lateral) body directions
and the forward -backward (sagittal) body directions.
Chapter 5 Variations in Steps 49

THE RETENTION (HOLD) SIGN

The sign o when placed in a support column indicates that the
weight on that foot is to be retained. This retention sign is usually
called the "hold" sign, and when it appears in the support column,
the "hold weight" sign. When both feet are to hold, the hold sign
can be centered over both symbols, as in Fig. 44 (a) below, or a
hold sign may be placed above each support as in (b).

44a
or o o

mm or
i
Hold on both feet. Keep the weight on The same as (c) and
the right foot when (d) with a change in
the left closes. level.

Because the direction symbol represents movement and the sinr

pie act of holding the weight is not a movement, Fig. 44 (c) is a
better description than (d). In stating the entire position, as in (d),
we give the description in terms of the position reached, rather
than of the movement (or absence of movement) which produced it.
Where a change of level occurs, as in (e), the direction symbols
must be written. Change of level is a movement and cannot be in-
dicated by the hold sign.

)
l T
44f s

Step, close, Step, close, The same as (f) and (g) with
ending with ending with a change in level. In (i) the
the weight the weight on hold sign cannot be used.
on one foot. both feet.
50 Variations in Steps

STEPS IN DIFFERENT RHYTHMS

Rhythmical variations in steps are given herein different meters.
Figs. 45 (a) and (b) are well-known ballroom steps using the timing
"slow, slow, quick, quick, slow." Fig. (c) shows a limping "catch"
step as found in folk dances. The term "catch step" is given to a
fast step (change of weight) which occurs at the last moment before
a main step. Note that it starts on the upbeat. In (d) the 5/4 meter
is given with a "grapevine" step (crossing front and back).

Notes on Reading: The tempo chosen for the quarter note in Fig.
45 (a) should be kept for (b), (c) and (d) so that the faster and slow-
er steps have a consistent rela-
tionship in time. Such consis-
tency in tempo is understood
for all comparable examples.
fl
>
'
1 >
4 '
]
3 J i
<
J

4
4
1-

{
l[
l
X

L
i
1 i\

45a
Chapter 5 Variations in Steps 51

DETAILS IN THE PERFORMANCE OF STEPS

A step is the total transference of the weight of the body from
one foot to the other. The preparation for a step is the releasing
of the active leg from the floor so that it can swing forward into
the appropriate direction for the step. This preparation is not
usually specified in the notation. The beginning of a step is under-
stood to be the moment the stepping foot contacts the ground and
the transference of weight begins . The beginning of the direction
symbol represents this moment. A step ends when the weight is
fully on the new support, centered on the supporting base.

Ordinary Walking

The direction symbol column represents the sim-

in the support
ple, natural way The exact interpretation of "natural"
of walking.
is hard to define as people vary considerably in their movement;
however, a "norm" can be observed and is distinct from stylized
movement. When stylization is required we must add the specific
details which produce the style in question. When these additions
are constant throughout the piece, a key signature is given at the
start to indicate such consistency.

Rotation of the Legs

Should these walking examples be performed with the legs turned

out or with the feet parallel? Thus far no indication has been gi-
ven for any rotation of the legs. Even though these patterns look
and feel different when performed with outward rotation or with the
legs parallel, the basic pattern remains unchanged. A step for-
ward is still a step forward, and the feet together (in place) are
still feet together whether turned out or not. To perform these
steps in a simple, natural manner, the beginning reader should use
the degree of rotation easiest for him; symbols for rotation will be
discussed later.
Movement of the Center of Weight

In continuous walking in the same direction, the center of weight

(center of gravity) of the body is set in motion and continues to move
in the stated direction until it comes to rest on one or both supports
A step in place or a pause between steps brings the center of weight
to rest. When we change direction we must check the momentum of
the center of weight so that we are ready to move fluently in the new
direction. This anticipation of the new direction is not written, but
is understood from what follows.
 .

52 Variations in Steps

Center of Center of weight ceases

weight to go forward and must
comes prepare to go backward
rest.
to
i
before the step back- \
46a ward.

Slow Steps

In a slow step, Fig. 47 (a), the transference of

weight must be spread throughout the time allowed
for the step, in this case three counts. Too often it
is performed too quickly and then a pause ensues.
A long step symbol indicates a sustained and contin-
uous action in transferring the weight.
47a

Quick Steps

In a quick step, the action of contacting

the floor with the foot and transferring the
weight to the new support occurs almost
simultaneously, as in Fig. 47 (b).

Legato Steps 47b

Legato means "tied together;" legato
movements follow one another smoothly J
without a break This type of movement
.

is shown in the notation by one symbol

following immediately after the other,
as in the previous examples of walking
and in Fig. 48 (a).
48a \
Staccato Steps

Staccato means "separated", o

a break between movements I o
This break may be very slight o
as in Fig. 48 (b) where there is t if

a slight pause, a hesitation or

L o
"breath" between the steps. In
o
(c) there is a definite break, a
\ h
pause of half a beat. Fig. (d)
48b c d
shows extremely staccato steps.
 .

Chapter 5 Variations in Steps 53

Crossing Steps

To facilitate steps which cross the center line of the body, we

tend to allow the hips to turn. Any such dis
placement returns to normal as soon as the <
step is over. If the hips should be specifi-
cally held still or should be specifically in-
9
cluded in a crossing step, an additional in- <
dication must be written (see page 259).
Middle Level Steps
49a I
Although in standing, middle level means
that the knees are straight, in walking, nor-
mal pliancy is expected. This occurs as
the leg is freed to prepare for the next step
and also when the leg is released after it
has relinquished the weight. This is also
true of high steps 50a

CANCELLATION OF THE HOLD SIGN

A hold sign in the support column is valid until cancelled by:

(a) A step (on either foot), or

(b) An indication for a gesture of the leg previously held.

A step cancels a previous hold sign written for either foot or

for both feet. A direction symbol in the support column indicates
that all the weight is transferred to a given leg, therefore the hold
sign will need to be repeated if a previous support is to be retained.
An action stroke or a specific direction symbol written in the leg
gesture column will cancel a previous held support on that leg.
(See Fig. 103, page 90 and Fig. 200 (b), page 152.)

&

51a
The step on the The forward step on
m
The hold sign must
right foot cancels the left foot cancels be repeated to keep
the previous hold the previous hold the weight on the
on both feet. for the right foot. right foot on count 3,
54 Variations in Steps

Contrasts in the Use of Rhythms

4
o
h 3

I. 2.

i
o

k 4
o
3

4-

1
o

I 4
O
3

4-

o
4 \
6 4
52a 4
Sustained Staccato Swaying steps Quicker steps
Figs. 52 (a) (b) are the same pattern but (a) is legato while (b)
and
is staccato. In (d) two steps lead into the first measure, these
form two upbeats on counts "4, &."
Chapter 5 Variations in Steps 55

PATH OF THE CENTER OF GRAVITY IN STEPS

When the performer takes directional steps, his center of gravity
moves into the direction stated. A rise and fall in the level of the
center of gravity occurs with a change of level in the progression.

STRAIGHT PATHS
Horizontal Path

When a step follows in the same level as the previous step, the
center of gravity will follow a horizontal path.

In
53a I
each of these examples the center of gravity moves horizontally,
parallel with the floor, with no rise or fall.

Oblique Path

When a change of level occurs while the performer is progres-

sing, his center of gravity rises or lowers on an oblique path.
Both legs participate in effecting this change of level, though it is
more noticeable in the leg actively becoming the new support.
In Fig. 54 (a) the cen- Path of Center
ter of gravity lowers on of Gravity:
a direct line. The left
knee begins to
the right foot steps out
bend as
[I
and both continue to
bend during the trans-
ference of weight.
54a
In Fig. 54 (b) the center
of gravity rises on a di- Path of Center
rect line. The left knee of Gravity:
begins to stretch as the
right foot steps out and
both legs continue to
straighten and rise on
half toe as the transfer-
ence of weight continues
I
54b
56 Variations in Steps

ANGULAR PATH, CURVED PATH

A change of level which occurs during the process of transfer-
ring weight produces a curved path for the center of gravity. These
curves contrast with the angles produced when a change of level
occurs after the progression (transference of weight) is finished.
In the following examples the comparable angular movement will
be given first.

55a

The sideward progression re- The sideward progression

mains horizontal and is follow- starts horizontally but begins
ed by a vertical rising. to rise part way through.

55c Id

A horizontal sideward progres- The sideward progression takes

sion followed by a vertical two counts and starts horizon -
sinking. The transference of tally, but part way through it
weight takes one count. begins to sink.

It important for the performer to note

is
that (b) and (d)
have transferences of weight
which take two counts. This sustaining of
the stepping action is physically difficult
and requires control. Such changes in level
within one step occur in all smooth flowing
waltz steps. Fig. 55 (e) illustrates an un-
dulating pattern which, starting in low level,
if repeated, will move the center of gravity

through the following path: 55e

Chapter 5 Variations in Steps 57

READING MATERIAL
See next page for notes on reading.

<>

\ u.

b 4 c 4

Swaying Undulating Angular steps Waltz

58 Variations in Steps

NOTES ON READING
Simple as walking patterns are, it is important to establish good
reading habits from the start. Before physically performing the
examples, glance over the whole exercise to get some idea of what
is coming. Look for:
1. The meter used, and the tempo, if this is indicated.
2. The timing. Are the steps mainly slow, fast, at the same
speed, or varying between all these?

3. Direction and level. What are the main directions used; is

there constant change in direction? The sense of the spatial
pattern often becomes clear when the rhythmic pattern has
been worked out.
4. Familiar forms of movement. Are there known steps and
patterns which can be called byname? Such recognition helps
to speed up the memorizing process.
Our purpose in reading notation is not tobecome experts at de-
ciphering symbols but to be able to translate into movement the in-
formation they contain as fast as possible. Because the dancer can-
not perform with paper in hand, he must memorize the passages as
soon as possible, teaching them to himself as though they were
learned directly from a teacher. To be able to do this with ease,
it is important to develop facility in recognizing the following:

5. Movement "words." The unit in movement which is compar-

able to a word in verbal language is any group of symbols
forming a movement entity, an identifiable pattern. For ex-
ample, a pas de basque is a dance word composed of three
steps. This pattern may be performed simply or with much
detail added but the unit remains the same. A dance word
may coincide with a measure of music, it may be less, or
more. The reader must discover this for himself; no rule
can be stated.

6. Movement "phrases" and "sentences." A passage of two or

more movement words forms a dance phrase or sentence.
As in verbal language the phrase is incomplete, the sentence
comes to a conclusion.
7. Major and minor words. Not all movement words are of
equal importance in the dance sentence. Many words are
conjunctions which serve as preparatory actions or as linking
Chapter 5 Variations in Steps 59

movements for the main words. In western dance major

words usually begin and end on the strong musical beat, mi-
nor, linking or preparatory words falling on the weaker beats.

8. The kinetic sense. Look for the movement sense, or move-

ment "meaning," as soon as possible. Do not memorize
long stretches in a superficial way; it is better to master
shorter sections more completely and find the kinetic mean-
ing before moving on. The dance equivalent of musical
phrasing here comes into play: discovery of the natural unity
of thought, the long line of the movement, the correct place-
ment of emphasis and the ebb and flow of energy. Attain-
ment of the kinetic sense includes awareness of how move-
ment passages relate to the accompanying music. Even sim-
ple walking patterns provide leeway for subtle variations in
emphasis, dynamics, etc. underlying the movement pattern.

Once the piece has been memorized review it carefully, giving

attention to all important details, particularly the rhythms. With-
out a teacher on hand these are often inaccurately performed.

NOTES ON WRITING
In beginning to write we tend to take material in which we are
interested, without regard to its complexity. But for a first ex-
ercise it choose something that can be done with sim-
is better to
ple steps, regarding as a challenge the making of an interesting
composition from such basic material. This chapter contains a
wealth of material with which can be written basic forms derived
from many styles of dance, particularly folk dance steps. Much
character and style can be indicated just by a change of direction,
and by the use of level, of rhythms, and of open and closed steps.

An experienced notatorcan record at once both sequence of steps

and timing, but the beginner should tackle one thing at a time. He
may first write the sequence and then adjust to the correct timing,
or indicate the timing by action strokes correctly placed on the
metered staff and then turn these into direction symbols.
Recording of Sequence First

For steps it is sufficient at first merely to draw the center line.

The following examples show a sequence first outlined simply, then
with counts added, and finally copied neatly. Fig. 57 (a) illustrates
the sequence of steps . In (b) the correct count numbers have been
60 Variations in Steps

placed next to the steps and

the bar lines have been in-
serted. In (c) this informa-
tion has been copied neatly
onto graph paper with the
step symbols correctly pro-
portioned, some counts gi-
ven as an indication, and 3
the measure numbers added.
5
For children, graph paper
%
of 6 squares to the inch (or
2.5cm) is usually used, for 2 I

adults 8, for notators 10.

3
Space is left for the start-
ing position which is drawn \
the same length as the ba- 1 i

3
sic unit for the piece. 57a C 4

Recording of Rhythm First

o
The notator may choose to pin
5-
down the rhythm of the steps by ,

means of action strokes. He t

first marks off accurately the

I
3

X
beat and measures so that the 1.

action strokes can be placed cor- i 1

rectly. These then can be re- « 1.

placed by the appropriate direc- f

tion and level symbols. Some 4

notators prefer to write the rhyth

mic pattern this way, as in Fig. *-

58 (a), then give the spatial pat- 1

tern separately, as in (b), finally 6 1

combining the two as in (c).

58a
Upbeat s

Observe whether a piece begins with an upbeat. An upbeat oc-

curs at the end of a measure and leads into the main movement
which follows on the strong beat of the next measure. Allow room
for an upbeat after the starting position and before the first bar
line. Fig. 58 shows an upbeat step on count 6 of the previous mea'
sure prior to the main movement on count 1.
CHAPTER 6

Positions of the Feet

POSITIONS OF THE FEET ON THE FLOOR

The five positions of the feet are part of the balletic heritage. The
standard number is five, although some schools include a sixth.
The best known terminology is given here as a guide. In these ex-
amples the positions are illustrated with the balletic turnout (90°),
with a moderate turnout (45°), and with the feet parallel. The use
of rotation of the legs is not stated in the notation of the position;
this is given in Chapter 17.

THE CLOSED POSITIONS (Feet Together)

First Position

Normal standing position is understood to be with the feet togeth-

er, side by side and touching, the center of weight being between
the two feet, as shown in Fig. 59 (a). Any specific rotation of the
legs (not written here, but necessary in stating balletic and other
movement styles) does not change the basic relationship of the sup-
ports one to another or to the center of weight. The "false" first
position referred to by Feuillet, in which the feet are turned in, as
in (e), is written with the same place direction symbols but the toes
are touching instead of the heels or inner edges
of the feet. (See page 66, Fig. 68 (d) for the
appropriate pins to show side by
side relationship of the feet.)

59
0=^3 Ci^O) ^
62 Positions of the Feet

Third Positions

This position is basically the same as first in that the supports

are directly beneath the center of weight, in place. The difference
lies in the relation of the extremity of the legs, i.e. feet, one being
diagonally in front of the other. A black pin is used to show this re-
lationship, the point of the pin indicating the appropriate diagonal.
The position can be described in terms of one foot being diagonally
in front or the other foot being diagonally behind. The choice de-
pends upon which foot is active. Both pins are used when both feet
are active at the same time, as when the dancer is changing posi-
tion in the air. The illustrations show third position with the right
foot in front. Third position with the left foot in front is the same,
but reversed laterally. In writing starting positions only one pin
is needed, although both can be shown.

or v

• or ;
eS^
60

Fifth Position

Fifth position is basically the same as first position in that both

supports are in place, but here one foot is directly in front of the
other. To show this, the black pin points directly forward or back-
ward. Fifth position can also be described as having one foot in
front or as having the other behind, depending on which is active.
When both feet are active, both pins are used. Only one pin need
be used for a starting position. The choice of which pin to state
is usually determined by which leg begins the next movement.
The illustrations give fifth position with the right foot in front.

or r-i

i or

61
Chapter 6 Positions of the Feet 63

OPEN POSITIONS OF THE FEET (Feet Apart)

In the open positions the feet are apart and place (directly be-
neath the center of weight) lies exactly between the two feet. In the
diagrams here "X" marks place. The foot illustrations are drawn
with a comfortable degree of turnout. This has not been indicated
in the notation, which gives only the basic position.

Second Position

In second position, each support is

to the side of center, the right foot to
the right, the left foot to the left. The
symbols appear in the support columns
as for all weight -bearing indications.

The Fourth Positions

The question of terminology arises here as differences exist in
what is termed "fourth" position, and some schools add a sixth posi-
tion. In notation the ambiguity of terminology can be dispensed with
since the action itself is written. The following possibilities are
those most commonly met.

Fourth Position Opposite First.

Fig. 63 (a) shows the simple fourth
position taken as though opening out
from The heels are
first position.
lined up on either side of the center
line of the body, just as they are in
^
first position. In ballet this position
is called fourth "ouverte" or open
fourth. 63a

Fourth Position Opposite Third.

Fig. 63 (b) shows a fourth position
taken as though opening out from k T
third position. 63b
^
64 Positions of the Feet

Fourth Position Opposite Fifth

Fig. 63 (c) shows a fourth position
£
taken as though opening out from
fifth position. The center line of
the body extends through the cen-
ter of each foot. In ballet this
^
position is commonly called fourth
"croisee" or crossed fourth.

The Diagonal Positions

63c i
In certain forms of dance the
diagonal positions are used.
D
The Open Diagonal Position
Fig. 64 (a) illustrates the open
diagonal position (sometimes
%
called an open fourth position).
Each foot has a diagonal rela-
tionship to place. 64a

The Crossed Diagonal Position

Fig. 64 (b) shows the crossed dia-
gonal position in which the right
o.
foot is in the left forward diagonal \
relation to place, and the left foot
is in the right
relation to place.
backward diagonal
To perform
\
this correctly the body should not
turn, otherwise the crossing effect
is lost. 64b

The Crossed Second Position

In the crossed second position,
familiar to us in folk dances and
s>
children's games, the black pin
shows which leg
front or which behind.
is crossed in
In Fig.
p
65 the left leg is in front. To
show the feet on the lateral cen-
ter line — or •— must be added. 65 A
Chapter 6 Positions of the Feet 6.5

CHANGE OF LEVEL IN POSITIONS OF THE FEET

The position of the feet must be restated for each change of le-
vel. Low level is comparable to a half -knee bend (ballet demi-
plie), and high level to a rise on the half toe (releve). The full
knee bend or deep knee bend (grand plieT) is written with an addi-
tional indication, as explained on page 175.

1it I
66a
Start in 2nd position
b 1
Start in 4th position, Start in 3rd, right
on the half toe, knees left foot in front in foot front; bend
straight; then lower low level; straighten knees, remaining
the heels to a normal the knees and rise in 3rd.
standing position. to the half toe.

In each of these examples, the feet do not

move from the established position. Although
in Figs. 66 (c) and (d) the feet do not move, we
need to restate the pins for third and fifth posi-
tions. Without the pin, the position would be-
come a first position. For a starting position
66d I
5th position, left
only one pin is needed and to retain such a foot front: start
position only the same pin is needed. with bent knees,
then straighten.
Mixed Levels in an Open Position

In an open position of the feet, a different level can occur on

each support. When the levels are the same, the weight is pla-
ced equally on both feet. When one support is lower than the
other, the center of weight will be closer to the lower support.

67a b

I A
 .

66 Positions of the Feet

INDICATION OF ACTIVE FOOT IN CLOSING

In closing into a third or fifth position, the pin is written for the
foot which actively does the closing.

After the step

forward, the
left foot closes
into 5th position,
1 From 1st posi-
tion while rising
the right foot
moves into 5th. I
68a

Where a change to first position occurs

and it is not obvious from the context which
foot should move, the pin which shows the
sideward relationship of the feet must be = —
added to show which foot makes the adjust-
ment. Fig. 68 (c) shows first position as
usually written, while (d) shows the fully 68c d
stated lateral relationship of the legs

Note the use of the sideward relationship pin in the following ex-
ample where without it the meaning of the diagram is ambiguous.

A change from 5th

position to 1st.
indication is given
No I The same change
from 5th to 1st,
with the right foot
1
as to which foot is making the adjust-
to move into 1st.
68e ment.

In a rise (releve) in fifth position, it is usual for one foot to

adjust so that the feet are neatly one in front of the other at the
end of the rise. In lowering, an adjustment must also be made.

The right foot The left foot

adjusts each
time to form
a neat 5th
I/A
adjusts for
each change
of level (rele
position. ve and plie).
68g Jl
For a rise in fifth where neither foot adjusts, see page 69.
Chapter 6 Positions of the Feet 67

READING MATERIAL - Use of the Pins

Balance step
(balance) and
Tightrope
pas de basque
walking
(simple form) o

!'

if

]P
^y\

p]

>
69a
3
4
4
b 4 I c
2
4
. .

d
4
4

See page 58 for notes on reading.

68 Positions of the Feet

TIGHTROPE WALKING
In normal walking each foot is placed on a path in line with its
own hip. Walking on the center line, one foot in front of the other,
as in tightrope walking, is shown by using black pins.

70a
Fig. 70 (a) shows tightrope walking, or walking on a center line.
Each foot is placed in front of or behind the other. In (b) the steps
are all in place, but each foot steps directly in front of the other
foot. As a result, there will be a slight traveling motion forward.
The amount of this traveling will depend on the rotation of the legs.
If they are very turned out as in ballet, the distance covered will

be only the width of the foot, but if the feet are parallel, it will be
the length of the foot for each step. Fig. (c) shows the same pat-
tern but performed in high level.

TRANSITIONS: OPEN AND CLOSED POSITIONS

RETENTION OF A PREVIOUS POINT OF SUPPORT
When there is no change of level a hold sign o is used to in-
dicate that the foot remains on the ground carrying weight.

„ o L,

t oL

o J [, o

71a
Stepping out to Stepping from Stepping into Stepping into
2nd position one 4th position 2nd. then 4th 5th position
then back to 1st into another
Chapter 6 Positions of the Feet 69

Where a change of level occurs, the hold sign cannot be used

and a direction symbol must be written. Which direction symbol
should be used depends on whether the action is described as: (a)
Motion - the movement which produces the new position, or (b)
Destination - the end result, the position to be reached.

MOVEMENT DESCRIPTION, POSITION DESCRIPTION

As explained in Chapter 4, the rule is to write steps (the path
of the center of gravity) and changes in positions of the feet in
terms of motion away from the previous point of support, and to
write gestures in terms of destination, movement to established
points . Finer descriptions of shift of weight from one position to
another are written in terms of the movement of the center of gra-
vity (movement description), but even advanced notators use posi-
tion writing when it is more suitable to describe the end result.

The Staple - Position Writing

When choosing write supports (transferences of weight) in

to
terms new position to be reached) this difference
of destination (the
in description is expressed by the use of the staple Q or ] .

The staple makes the following statement: "Whatever the direc-

tionsymbol states, the foot is to keep to the spot where it is at this
moment (or where it was most recently)." A good example of a
change in support best described through the use of the staple is a
rise in fifth position in which neither foot is to be displaced. In
writing such a rise, if no pin is written, the fifth position becomes
a first position. If one pin is used, it indicates which foot actively
adjusts to form a neat fifth position. If two pins are used they in-
dicate that both feet adjust (This can only be done with a slight
.

spring.) Two staples are needed to anchor the feet to the ground
when neither foot is to adjust.

'4
W\
/ //
// A
'A //
// /A //
OR

72a

A
i
rise changing to
1SK
The
li

right foot adjusts

I i ML
Neither foot adjusts;
1st position; either into 1st. (The left foot the balls of the feet
foot may adjust. remains where it is. ) remain where they are,
 .

70 Positions of the Feet

Stepping From Closed to Open Positions

Fig. 73 (a) states a simple opening out from )
first to second position by stepping with the
right foot without any change in level. This
73a
basic action will be used in the following dis-
cussions. Where a change of level occurs while stepping out into
an open position, a direction symbol must be written instead of a
hold sign, and a choice must be made between movement descrip-
tion and position writing.

Movement Description. To finish in second position low level

both legs must bend, the left staying where it is, the right taking a
low step to the right This action is correctly stated in Fig. 73 (b),

I E LB
73b
To understand the writing of Fig. 73 (b), which produces a second
position with bent knees, we must first see that it is the combin-

ation of (c) and (d) happening simultaneously. In (c) the weight is

lowered while remaining over the left support. In (d) the weight
is lowered while it is transferred completely to the right leg.
When these two actions occur together, the center moves only
half way to a point midway between the two feet.

Once the new position has been reached, any further change in
the level of that position is written as usual (see Fig. 66).

8
1 7?
/
73e g

Step back with the Step forward with The right foot steps into
right leg into a high a high crossed diagonal
the left leg into a
4th position, then low 4th position, position, then lowers to
lower to middle level then rise. middle level.
Chapter 6 Positions of the Feet 71

In all these examples it should be noted that the foot takes a

normal-sized step in the stated direction but the center of gravity
moves only half that distance.

With Change of Level: Position Description. In position writing,

the destination to be reached is written and the staple is used to in-

dicate how this destination was achieved, that is, which foot does
not move.
Fig. 74 (a) shows a change into a low second
position. The staple placed next to the side
bol for the left foot states that this
end result (not the movement) and that the left
foot is to remain where it is. Therefore, the
is
sym-
to be the
I
right foot steps out to form the new position. 74a

Once the position is established, any further change of level in

the same position does not require a staple, as illustrated in Figs.
74 (b), (c), and (d), which are the same as Figs. 73 (e), (f), and (g).

r
i
ft I7

74b i
Stepping from One Open Position to Another: Position De scription

Where no change of level occurs,

the change in stepping from one open
position into another can be written
with the hold sign. In Fig. 75 (a) the
right foot holds while the left steps for-
ward into fourth, then the right holds
while the left steps back into fourth.
In (b) the same progression involves
changes and so it is written
in level
as position writing with a staple.
/Da
72 Positions of the Feet

Stepping from Open into Closed Positions

The hold sign is used to show which foot remains where it is

The direction symbol shows which foot moves.

The right foot steps The left foot steps

into place next to o into place next to o
the left foot. the right foot.

76a I 11
In the starting position of Fig. 76 (a), place is directly between
the two feet. In the process of picking up the right foot to step,
the center of weight automatically shifts to the left foot, and the
direction place goes with
it. This adjustment is understood and in
simple examples need not be specifically written.

With Change of Level: Position Description. The transition

from an open position into a closed position involving a change in
level may need to be described as simply as possible. This is
possible through position writing and the use of the staple.

77a

From
m
a low 2nd From
I
a high 4th From an open
/
71

diag-
position, close the position, close the onal position, close
right foot to the right foot to the left the left foot to the
left in middle level. bending the knees. right while rising.

With Change of Level: Movement Description. In

closing the feet together from an open position with a
change of level, the movement description must show
the center of weight shifting over to one support be-
fore the other closes in. Fig. 78 illustrates a low
second position followed by a shift of weight to
(a),
the left foot coming up to middle level (b), then the
right foot closing to the left (c). This two-part action
of shifting and closing may involve specific timing for
each part. Before exploring this timing basic shifts
of weight will be discussed.
 .

Chapter 6 Positions of the Feet 73

SHIFT OF WEIGHT

Unwritten Shifts of Weight

Fig. 79 (a) states simply that the weight is held

on the left foot but not on the right, thus the shift
over to the left foot is understood. 79a

The weight which must occur prior to a

shift of
step often
is automatically understood and so need
not be written. In (b) the feet start together with
the weight equally on both feet. On count 1 there
is a step forward on the right foot. The right foot
must be freed of weight in order to take this
first
79b
step. Therefore, just before count 1 the weight
will shift completely over to the left foot. Spatial-
ly this is such a small shift that it is almost un-
noticeable and it need not be written in the notation.
The same shift occurs in (c), where the step on the
right foot is in place 79c

79d Qw ^s^ri?
In starting from an open position, the shift of weight before tak-
ing a step is larger, as in Fig. 79 (d). Here also the shift to the
left foot is understood and need not be specifically written. The
direction of the forward step will be judged from the new position
of the center of gravity over the left foot. This same understood
shift of weight occurs in a step in place, following an open posi-
tion of the feet. In Fig. 79 (e) the right foot steps in place next to
the left foot.

Fig. 79 (f) also shows the right foot stepping

next to the left foot, in place, but in this ex-
ample the weight ends on both feet, as indi-
cated by the hold sign. 79f
 '

74 Positions of the Feet

Written Shifts of Weight

The following movement exam-

ples illustratewhen the shift of
weight must be specifically indica-
ted. Fig. 80 (a) shows a simple
step in place on the right foot in
ra^w
low level. In (b) a sinking motion
on the right leg follows a start in 80a b c
first position. To show that this is a shift of weight, not a step in
place, the caret < or > must be used. This symbol is used in the
statement of the movement. The direction place low is also a state-
ment of the position reached. The movement could also be written
with a staple, as in (c). In this instance both notations are correct.

A shift must also be written when the weight

is transferred to one foot after an open position
on both feet. In Fig. 80 (d) the weight is shif-
ted from second position completely to the right
foot. The movement is one of the center of gra-
80d
vity moving to the side, lowering as it shifts.
The caret is used to indicate that this is not a Movement
Description
new step, because the foot is not lifted as it
would be prior to stepping.

In Fig. 80 (e) the same action has been written

as its final result. The position reached is a sup-
port on the right leg in place; therefore the place
symbol is used and the staple indicates that this is 80e
Position
position writing. The right foot does not move. Writing

Meaning of the Caret. The symbol < or > called the "caret,
,

refers to a previous indication, stating that it is still in effect,

Basically the symbol means "the same." In shifts of weight it
shows that a previous partial support becomes a total support.

Timing and Change of Level in a Shift of Weight

Fig. 81 (a) is the notation of the action descri-

bed in Fig. 78.Following a start in low second o.J

position, the weight shifts to the left foot on count

1 while coming to middle level. On count 2 the
right foot closes to the left. Slight variations on
this same movement pattern will now be explored. 81a
Chapter 6 Positions of the Feet 75

81b I
Shift the weight The weight
shift of The
ffi
weight
shift of
over to the left is slower and the is fast while the
foot in low level. closing and straight straightening and
Straighten on the ening are faster. closing are slower.
closing.

Where a space occurs between this reference

and the previous support, the caret is not elonga-
ted but attached to the new indication where its
message is This is illustrated in Fig.
required.
81 (e) in which there is a pause between the sec-
ond position and the shift of weight to the left foot. 81e

From these examples we see that a range of subtle variations

can be shown for such a movement. Illustrated below are some
of the possible variations which might occur if Fig. 81 (f), which
is written in position description, were written in movement des-
cription instead. Once the actual movement is described, ques-
tions concerning timing for the change of level as well as timing
for the shift of weight before the new fourth position must be an-
swered specifically.

1 I
If Q g h

Figs. 81 (g), (h), (i), and (j) each provide a subtle variation on the
step pattern simply described in Fig. (f). Such subtle description
is often not needed.
76 Positions of the Feet

READING EXAMPLES
Stepping into Open Positions; Shift of Weight.

Figs. 82 (a)and (c) are movement writing; (b) and (d) use posi
tion writing. Note that (a) and (b) are the same pattern.

T
Q
?
_53

n <>

Eh.

CI
2 l

(>

3-
s
o
1 l 1 l

4 3
4 4
82a
CHAPTER 7

Aerial Steps (jumps)

SUPPORT AND ABSENCE OF SUPPORT

A gap between movement symbols means an absence of movement.
In the support column,however, a gap between movement symbols
means an absence of support.
Continuous A run. The
steps, the gap indicates
t
weight sup- no support;
ported on the weight h
the feet leaves the
83a ground. &
AERIAL STEPS, JUMPS
The term "jumps" is used here as a generic term referring to
all modes of unsupported movement, i.e. aerial steps, steps of
elevation which spring into the air. The term "a jump" is used
for the specific form given in Fig. 85 (a) on page 79.

The Basic Rule Regarding Jumps

Springing into the air is written by leaving a space in both sup-
port columns. As long as the weight is shown to have a support,
a jump does not occur. Where no movement symbol is written in
the support column, the hold sign o is written to keep the weight
on the ground.

The amount of between support symbols indicates how

space left
This may be momentary, or for one or
long the body is in the air.
more beats. The longer the space, the longer the time spent in the
air. This time may be used to jump higher or travel farther.
78 Aerial Steps

6
84 &
k ffl
A moment spent in Half the beat spent Rebound springs,
the air, earthbound in the air, a comfort- most of the time
springs able rising and landing spent in the air

Fig. 84 (a) shows a simple run; (c) and (e) show leaps with (e)
the more airborne.

THE WRITING CONVENTION

Through the convention of leaving the support column blank, the
complex action of the legs required in rising off the ground and re-
turning to it can be written simply. The level of the supports and
the time spent in the air indicate the adjustments necessary for
small springs, close to the ground, or for high jumps using the
physical "springboard, " without the need to write complex details.

TYPES OF JUMPS
For purposes of analysis, jumps
fall into two general categories:
Minor Jumps
Simple unadorned steps such as
those which occur in many folk dances
need only be described by symbols in
the support column. The free leg is
used in a simple, unstressed way and
so it need not be described.

Major Jumps
In larger jumps the use of the legs
while in the air is often of particular
importance. These include jumps in
which the legs are spread or the knees
pulled up. In such cases it is neces-
sary to state what the legs do, and so
leg gestures must be written.
Chapter 7 Aerial Steps 79

Two leg gestures will cancel any previous support of the feet. A
gesture of the supporting leg will send the body into the air. Only
basic jumps will be dealt with in this chapter. For jumps with leg
gestures, see Chapter 10.

The Five Basic Forms

Each aerial step, no matter how complicated, belongs to one of
five basic forms. Ifthese are recognized from the first, analysis
of the more complex types met later on becomes easier.

85a

Jump: from both Leap: from one Hop: from one

feet to both feet foot to the other foot to the same

ffl ffl
Landing Landing
is more is more
sustained sustained

85d

Assemble: from one Sissonne: from both

foot to both feet feet to one foot

The terms "assemble" and "sissonne" are borrowed from bal

let, because there are no everyday terms for these two forms
However, they exist in all forms of dance, sports, etc.
80 Aerial Steps

JUMPS USING THE POSITIONS OF THE FEET

In jumping from one position of the feet to another, as in the
examples below, the center of weight remains over the same spot,
while the feet change their relation to the center, i.e. to place.

X I

86a i
Jump from feet Jump from Jump from Spring from 2nd
together to feet 2nd posi- one 5th position to one
apart (from 1st tion to 1st. position to foot, landing in
position to 2nd), another, both place, beneath
feet adjusting. center of weight
READING MATERIAL

II II

o <>

I o E.

II II ii
<>

1 .3

87a r i
In all theseexamples the center of weight stays over the same
spot, only the direction and placement of the supports change.
Chapter 7 Aerial Steps 81

LEVELS OF JUMPS
The levels of supports used in steps are also used in jumps.

Middle Level

Jumps are written with middle level supports when there 'is very-
little vertical change (rise and fall), the body remaining in the
same vertical area. The weight is supported on the whole foot or
with the heel just slightly off the floor. The natural pliancy of the
legs is understood because middle level does not imply stiff knees.

<.

88a

Slight springs in Hops barely rising Tiny springs between

2nd position off the floor each support

High Level

Springs in high level also use the natural pliancy of the legs,
Such jumps are basically
but the weight is on the ball of the foot.
high level supports with a moment in the air between each. The
rise from the ground is achieved through use of the toes and by lift-
ing the center of weight. Here knee flexion is slight. Only small
springs can occur from high level supports. For a high jump the
springboard produced by a low support (bending the legs) is needed.

I
/
i
a \
89a
p
Ax

Tiny springs in A
//

run in high level

m
Tiny springs
1st position a tiny spring be- from 4th to 2nd
tween each step
82 Aerial Steps

Low Level
In jumps written with low level supports, the use of the legs de-
pends on how high the jump is. If there is only a moment in the air,
the legs do not have time to stretch and the feet will hardly leave
the ground. Where a longer time is spent in the air, it is expect-
ed that the legs will extend as part of the springboard action.

Tiny springs A normal - Transitions

in 1st
tion,
posi-
the
body hardly
i

t
sized jump,
half a beat
spent in
i in level un-
derstood
but not writ
i
rising at all the air ten in (b)
£1
90a

Lifting the Weight from the Feet

A change can be made from one position of the feet to another by

lifting theweight off the feet enough for them to move to a new posi-
tion without a real jump having occurred. This foot action is some-
times called "snatching"; in ballet it occurs in an "echappe" (escap-
ing movement) and also in a spring from a low fifth into a high fifth
in which both feet adjust. The feet are not usually clear of the floor
but no marked sliding need occur. To show this lifting of the weight
without lifting the feet clear of the floor at the moment of the un-
written preparation for the change, we indicate a partial support by
writing action strokes in the gesture column next to the supports.
Degrees of weight -bearing or part of the foot still contacting the
floor can be shown when a detailed description is needed. Compare
Fig. 91 (a) and (b) below. In (a) the tiny space between support
symbols indicates a slight spring so that the echappe is performed
with the feet just clear of the floor. In (b) no spring occurs but the
weight is lifted so that the feet can shoot out simultaneously. In (c)
the toes are drawn together in a high fifth by lifting the weight.*

Jl
w I I I I

91a
Echappe in 2nd
i-

Releve
•
i
A 1
in oth The same as
if a pause occurs
(c).

See Appendix B, note 2.

Chapter 7 Aerial Steps 83

TRAVELING JUMPS
A direction symbol in the support column indicates traveling of the
center of weight. In stepping (transference of weight to a new point
of support) the direction in which the center and
of gravity travels
the direction inwhich the foot steps are the same. This holds true
for springing from foot to foot, and landing indicates the direction
in which the center of gravity has traveled. In stepping the direc-
tion of the new support is judged from the previous point of support,
In jumps direction of traveling is judged from the center of gravity.

Step to the side. Leap to the side.

The center of weight The center of weight
moves to the side. moves to the side.

92a

TRAVELING IN CLOSED POSITIONS OF THE FEET

In jumping with the feet together, the center of weight remains
over both feet; in terms of direction the description can be the
same as that for jumping on one leg.

93a
Hop on the right Hop on the left Jump on both legs,
leg, traveling to leg, traveling traveling to the right
the right. to the right. with the feet together.

can readily be seen that Fig. 93 (c) is a combination of (a)

It

and Jumps in third and fifth position can also be written in

(b).
this way, as can any spring which, though starting on one foot, or
with the feet apart, ends with the feet together.

Jump in 5th
position, travel-
EE Jump from one
5th position to
ing backward. the other, travel
ing forward.

93d I
 .

84 Aerial Steps

I 1 I T
93f

Jump
I
in 1st
g

Jump from
I 1st Jump from 2nd Jump from 2nd
position travel- position into position into position into
ing right for- 5th, traveling 1st, traveling 1st, traveling
ward diagonal. left. right. forward.

TRAVELING IN OPEN POSITIONS OF THE FEET

In jumping into an open position of the feet, the direction sym-
bols in the support column state the relation of the two supports to
the center (place) and do not state traveling of the center of weight
as they do in a step or in a spring which lands on one foot

94a

The support and The support and The supports move

center of weight center of weight out but the center of
move to the right, move to the left. weight remains over
the same spot.

In most cases traveling of the center in jumps in open positions

must be shown by the addition of a path sign.

PATH SIGNS
A path sign to show the traveling of the center
of weight is placed outside the staff on the right,
adjacent to the jump it describes. Traveling on
a straight path is shown by short horizontal lines b
connected by a vertical line as in Fig. 95 (a).
The direction of the traveling motion is written
inside the broken vertical line. The direction
indicator is left blank unless one is specifically
traveling up or down as in going up or downhill. 95a
Chapter 7 Aerial Steps 85

V I

d?

<>
b d

<> 5k

95c
Jumps in 2nd Jumps in 4th posi- Jumps in 4th and 2nd
position, travel tion, traveling positions traveling
ing forward to the right right forward diagonal

Path for a Single Traveling Jump

Certain traveling jumps can be written either with direction
symbols in the support column or with a path sign. There is no
difference in meaning; it is just a choice of description.

OR
T
b
OR
I
i
96a uc b in d ni
In certain cases the most direct way to show traveling is with
a path sign, as in the following examples.

T
d
1
T

1
H T
b
i
I
96e BE f
g
The path signs are placed on the right side of the staff, outside
the column for the head. If there are no indications for the head
or for the arms, the path sign can be drawn closer to the staff as
in these examples. The path starts with the rising into the air
and finishes as the weight is centered (ceases to travel) over the
new support. This is usually after the foot touches the ground on
landing (after the start of the landing direction symbol).
 .

86 Aerial Steps

Landing on the Same Spot

Sometimes in jumping from open to closed positions one foot

should land on the same spot as that on which it was placed in the
previous position. This can be shown by the use of a staple. The
action is comparable to that of stepping into or out of an open posi-
tion of the feet, but in this case it is sprung rather than stepped.
The staple indicates the retention of the same spot for that foot.

I
97a I
In a plain jump, both feet The left foot lands where it was
spring apart. The center before. The right foot lands to
of weight remains over the side while the center travels
the same spot. half that distance.

As we can see, Fig. 97 (b) can be compared to stepping into

second position, because the result is the same both for the place-
ment of the feet and for the traveling of the center of weight

I I

97c
In a plain jump, the land- Place is designated as being
ing in place will be on the where the left foot was. There-
spot between the two feet. fore, the foot will come down on
that spot and the center will move
left to end over that support.

When a staple is written in consecutive stepping,

the footremains on the floor. In jumping the foot
must release because of the spring, but it will re- 3
turn to the same spot. In Fig. 97 (d) the landing is
written as place, being described as the final posi-
tion reached. Fig. (e) shows the movement des-
cription of a similar action but does not specify
that the foot lands on exactly the same spot. 97e
Chapter 7 Aerial Steps 87

READING STUDY IN TRAVELING JUMPS

!
I\

12 16

/
.*
A
11 15

¥
A
L 10 14 s

\X
t o

I 13

Fig. 98
Aerial Steps

THE TIMING OF JUMPS

Take -Off and Landing { iL

The end
jump shows
of the support
the moment when
symbol before a
the leg leaves
the ground, and a prior push -off preparation
H
is understood. In Fig. 99 (a) this is shown 99a
by "w." During the space that follows, a
rise into the air is understood to take place
and also a falling toward the ground again.
This is shown by "x." The moment of con-
tact with the ground, the start of a new sup-
port (landing) is shown at "y." The landing
"z" can be abrupt, as in (a), where the du-
99b
ration of the shock absorbing action is short
and the position reached is held, or it can be sustained as in (b),
where the length of the landing symbol shows the cushioning effect,
the control of landing softly. If this landing is followed by another
jump, part of the symbol will be understood to include the prepara-
tion for the following jump. Thus as in representations of steps,
the exact meaning of the support depends on what follows (see
Appendix C for exact timing).

On Beat, Off Beat Jumps

Most forms of The dancer's return to
jumps land on the beat.
the ground, occurs on a relatively strong beat in the
the landing,
music. Off beat jumps in which the performer is in the air on the
strong musical beat create a different expression and quality. If
a jump is to land on the beat, the moment in the air must precede
the beat. The space to show this moment in the air must be writ-
ten before the landing support symbol, which is placed on the beat.
In off beat jumps, the moment in the air will be on the beat.

100a
1
On beat jumps Off beat leaps On beat leaps Off beat leaps
Chapter 7 Aerial Steps 89

SKIPS, GALLOPS
A skip can be analyzed as a step followed by a hop, as in Figs.
101 (b) and (c), or as a hop followed by a step, as in Fig. 101 (d),

depending on where in the two-part action one starts. But a step-

hop is not necessarily a skip. A skip always has an uneven rhy-
them. A step -hop may have even timing.

5 5
<3
?
s
6
bl C 8

101a Binary Ternary

Even step -hop Skips, starting Skips, starting

with the step with the hop

In Fig. 101 (a) the step occurs on count 1, and the hop lands on
the "&." The arrow pointing to the start of each symbol (which
gives the rhythm) shows the steps are evenly spaced. If each sup-
port were stamped, the regular division could be heard clearly. In
(b) an uneven rhythm, as is illustrated by the arrows, is produced
in 2/4 meter. This is termed a binary division; the step takes half
the count, the moment in the air and the hop landing take the other
half (one quarter each). In contrast, (c) shows the same skip pat-
tern written in 6/8 meter with a ternary (three -part) subdivision.
The latter is more comfortable to perform and hence more usual
for skips Note the slight difference in the spacing of the arrows
.

between Figs, (b) and (c). In (d) the ter-

nary skip starts with an upbeat hop. da

The gallop is similar in rhythmic

pattern to the skip but the footwork is
a step -leap form. The same foot takes E>
the step each time and the landing after
the moment in the air is always on the I
other foot. Fig. 101 (e) shows a step-
close pattern, and (f) the same pattern 101e
with the moment in the air after the Uneven Side gallop
step which turns it into a gallop. step-close (slip step)
 . . —

90 Aerial Steps

'The gallops shown in Fig. 101 (f) in a ternary subdivision can

also be performed in a binary rhythm and all gallops and skips
can be done in different directions

In another form of gal-

lop the moment in the air L - land close
occurs before the travel- air ra land
ing step, which is followed b step air
immediately by the closing E : land F close
step as in Fig. 101 (h). « air h land
The character of the step step air
is altered by this different
placement of the rising into
the air. Figs, (g) and (h)
lOlg h
are placed side by side for
comparison. Two forms of gallop

LOCOMOTOR PATTERNS
The term "locomotor" is given to all movements of the body
which progress in space. These consist mainly of walking, run-
ning, leaping, jumping, galloping, and skipping, and their many
variations In reading and writing
.

these, it is important to observe

where the moment in the air (the s
"air space") occurs, as this may
change the basic form of the move- LiJ
ment. Note that Fig. 102 (a) is a
step, hop and (b) a leap, hop, the
difference being shown by the gap
between the starting support and 102a
the first forward symbol. Step, hop Leap, hop

JUMPS FOLLOWING HELD SUPPORTS

When a spring into the air follows a held support,
an action stroke written in the appropriate leg ges-
ture column indicates that the leg is free of weight,
thus cancelling the previous hold sign. In Fig. 103
an action stroke is needed for the right leg to show
springing into second position, then for each leg to
show springing into first. When specific leg ges-
tures occur, appropriate direction symbols replace
the action strokes 103
Chapter 7 Aerial Steps 91

READING STUDY IN GALLOPS AND SKIPS

i II

L J
('
12 16

ft <f

11 5. 15
> n o

<: i
K <i >

< 10 14 i
i
>
>
? ^
> 13
f

Fig. 104
CHAPTER 8

Turns

PIVOT TURNS
Turning (rotating) is one of the basic forms of movement. It can
be performed by individual parts of the body, or by the body as a
whole, revolving as a unit, as in a pivot turn. A pivot turn is a
revolution around one's own vertical axis. Pivot turns are perfor-
med to the right (clockwise) or to the left (counterclockwise or
anticlockwise). The symbol for turning is a parallelogram whose
slanting lines indicate the direction of the turn.

DIRECTION OF TURN

X
105a X
Clockwise Counterclockwise Right forward Right
(to the right) (to the left) diagonal turn

Note in Fig. 105 (c) the difference between the drawing of a dia-
gonal direction symbol in which there is one slanting line indicat-
ing the desired direction, and the turn sign which has two parallel
slanting lines, thus indicating the revolving action.

The Composite Turn Sign

The composite turn sign, the two turn signs drawn
on top of one another as in Fig. 106, serves certain
X
purposes. It can state "turn either right or left,"
leaving the choice to the performer; it can be used as 106 X
Chapter 8 Turns 93

a statement of focal point for a starting position (see Fig. 140 this
chapter), or it can mean "rotated neither in nor out" when applied
to gestures of the limbs (see Chapter 17).

GENERAL STATEMENT OF TURNING

In Motif Writing the turn sign by itself
makes the general statement that such a
y
revolution of the whole body is to be per-
formed. The amount of turning is not
stated,
Fig. 107
but is left open to the performer.
(a) illustrates a motif consisting
I
of turning to the right followed by turning
Fig. (b) states a general move-
to the left.
ment forward followed by a turn either to
107a
the right or to the left.

SPECIFIC STATEMENT: PLACEMENT ON THE STAFF

The turn symbol is used for turns of the body as a whole as
well as for rotations or twists of the individual parts of the body.

By placing a turn sign in the appropriate column of the staff, the

part of the body that is to turn can be indicated. Fig. 108 (a) shows:
(1) the support column - turns of the body as a whole;
(2) the leg gesture column - rotations (twists) of the leg;
(3) the third (body) column - rotations (twists) of the torso;
(4) the arm column - rotations (twists) of the arm.
Rotations can also be shown for specific parts of the body by
placing the specific sign for that part in front of the turn sign, as
illustrated in Figs. 108 (b) and (c).

KN\M//1 [s K

108a
M Ms! ^Vw v
4 32 1123 4

Placement of the turn Rotations right Outward and in-

sign on the staff and then left of ward twists of the
the head right lower a^rm
94 Turns

The following discussion will center around pivot turns. Rota-

tions of the arms and
legs are dealt with in Chapter 17, rotations
of the torso and its parts in Chapter 18.

In the Support Columns

A turn sign placed in the support column indicates a turn of the

whole body on its support, usually one foot or both feet. During
such turns the foot swivels on the floor. To show turning on both
feet the symbol is drawn across both support columns. Note the
meaning of the following:

/ \ 7

\
/ \ /

109a
A right A left A left A right A
i
right A left
turn on turn on turn on turn on turn on turn on
the right the right the left the left both both
foot foot foot foot feet feet

DEGREE OF TURN
The amount of turn accomplished is stated within the turn sign.
Black pins are used to indicate the degree of turn, that is, the re-
lation of the new front to the front established just before the turn.
This previous front is like the number 12 on a clock, and the black
pins can be likened to the hands of the clock moving clockwise or
counterclockwise through the possible degrees of rotation of I, \,
i, j, etc. Note that these degrees are relative, the destination
reached by \ turn right would require \ of a turn left.

110a
Clockwise Counterclockwise
(turning to the right) (turning to the left)
Chapter Turns 95

Once a turn has been performed, a new front is established from

which the amount of a subsequent turn will be judged. If, before
starting a turn, the performer points into the direction indicated
by the pin, this direction will become the new front. Thus it can
be seen that in each case the black pin shows the relation of the
new front to the old.

Ilia

\ turn to the right turn to the right

For both half and full turns the destination is the same whether
one turns clockwise or counterclockwise.

112a V
Full turn right left right
J i left I right

(< A A
112f V g 7 P
l| turns to 2§ turns to Stating the fraction first or last is
the right the left an interpretive aid to the reader

The pin is preferred as a sign to the number 1 because the latter

is notalways distinguishable from other symbols. However, for
multiple turns of two or more the number is used, as in (g).

COMBINATION OF STEPPING AND TURNING

A turn can occur before a step, after a step, or during a step,

The Turn as a Preparation for a Step

A quick turn, often of only a small degree, fre-

quently occurs just before a step, usually on the mu-
sical upbeat. The purpose of such a turn is to face
m
into a new room direction. In performance it is giv-
en no importance and occurs without being stressed. 113a
96 I

Step as a Preparation for a Turn

die turning action is important die pre-

ceding usually
s:e;: is eight being trans-
ferred quickly so that the allotted time can be
spent turning. Thus the step is not of particular
importar.. sn though it u sua. rs jn an
important beat in the measure. 113b

Ble -.urn

When one symbol (movement in- :-

dication) follows another without a
brea"; : 3d that there
no break in the com:
ment. Fig. 113'- 5 a turn fol-

lowing a step immediately. Ther. 113c

no stop between the two actic:

To blend the two, thai

ill

one action overlap the other, the

bols must be tied by a vertical
clearly separ.
e

fc
s
the
I 1
if explained bei:
113e

Hi =

The simultaneous action bow (a

round vertical be
that r ements of a
ritten one aft
paper, should occur
plied here,
it na-

t on

the length of this bow

U3g 1
indicates the duration of
the overlap of the two actions of stepping and turning. The longer
the bow, the more overlap, as in (d) and (e). A short bow indicates
. .lap as in
(f). In sach bier.: -turn ac-
-

placed on the floor in preparation foi p be-

fore the turning action begins, so that the direction of the step is
clear. To show this, the bow is not started until after the start
of the step. Where a fast step leads into a turn, the body tends
naturally to perform 5 Ltten. To
stress such overlap and the resulting smoothness, the bow can be
written as in (h). Other possibilities in combining turns with steps
are given on pages 102 and 1
 .

I
Chapter 8 Turns 97

READING STUDY IN STEPS WITH PIVOT TURNS

This study presents some basic rumba patterns found in ball-
room dancing. No style for exact performance is given, only the
outline of the pattern of the steps

T :
^

) j

4 y
12
11?
<
- )
^ L

>

{ , i 11 J.
T o
"4 .o

-
o\
lA 10
1
c
i^

i E.

( . ( . f . /
]
7 ig. 114
 .

98 Turns

LEVEL OF PIVOT TURNS

A turn is performed in thesame level as the previous step or
support. low and middle level the heel is raised enough to avoid
In
undue friction, this weight on the ball is understood and not written

115a

\ turn left in \ turn right in J turn left in

middle level low level high level

Change of Level During a Turn

If there is a change of level during a turn it can be shown by-

shading the turn sign. The shape of the parallelogram is kept in-
tact. When a change of level occurs at the start of a turn, the be-
ginning of the turn sign is shaded; when it occurs at the end, the
end is shaded; when it occurs throughout the turning action, the
whole sign is shaded, but a segment in the middle must be left
blank for the pin showing the degree of turn. It is also possible to
write the change of level as a support sign in place and to tie this
indication to the turn sign with the simultaneous bow to indicate
that the two happen at the same time.

OR OR

116a

Rising at the start of the turn Sinking at the start of the turn

J A 9 r?n
I
1

\ \ / r
I k JI A
H6e f g h i J
k 1

End turning in Sink at end Rise through- Sink through

middle level of the turn. out the turn. out the turn.
 .

Chapter 8 Turns 99

There may be more than one

change of level during a turn,
N A \\A \\A
as in Fig. 116 (m). Space
must be left for the pin.

Note the correct drawing of

116m
X* w
the slanting lines and the
method of indicating middle level as in Figs. 116 (n), (o), and (p)

PIVOT TURNS ON ONE FOOT

A complete pivot turn on one foot, called a "pirouette" in clas-
sical ballet, can startfrom any of the positions of the feet. In the
typical examples given below no indications have been stated for
the free leg, which may be in any direction, though it is usually
placed with the foot close to the supporting leg. For such pivots
the terms "outside turn" and "inside turn" are used. An "inside
turn" is a turn on the right foot to the right, or on the left foot to
the left. An "outside turn" is a turn on the right foot to the left or
on the left foot to the right

\W
/
rr \
1 1\

117a \M
"Outside" turn
E
"Inside" turn Two
1
"outside
1
ffl
Triple "out-
(outward, en (inward, en turns from side" turn
dehors) from dedans) start- 4th position starting from
5th position ing on one leg ending in 5th 2nd position

Pivot Between Two Points

A combination of step turns can,

on being repeated, produce pivoting
around two points, as in Figs. 118
(a) and (b). Note the space patterns
produced by steps combined with
I
half turns in Figs. 118 (c) and (d). 118a 1 >
Turns

For :
j1- Alte mating the di-
ad by half turns :on of the turn
prod. :ing does not change the
around two poi~ space pattern estab-
but no progression lished in Fig. Ill

Chain of Turns

:ontinuous progression in space occurs when steps taken in

opposite directions are combined with turning, as in the examples
below. A common form of this movement (known in ballet as
" pe tits tours, " "enchaine" or "deboule" turns) ps to the
side with a half pivot turn between each step, turning always into
•.•me direction. Such turns are usually composed of stt
high : In Fig. 119

T
l

119a 1
A chain of turns Ies ::'
A progre- The same se-
eling on a enchaine on a straight quence with a
straight path turns path with turns ::-.^r.re :: ".eve".

to the right

Step-Close Turns

rtep-close turns, called "pose" or "pique" turns in ballet,

a full turn appears to be performed on the foot ~:eps out,
with the closing action occurring afterward, ritten in Fig.
120 (a). In practice, however, part of the turn is taken on the
foot which closes to prepare for the following turn and to produce
an unbroken flow of turning action. Fig. 120 (b) shows a single
turn, and (c) a double. No position is given here for the
free leg, which can be in any direction but is usually held close
to the supporting leg.
Chapter Turns 101

X %
see

<]
242)
.
/

page

n (for
M

i
120a

A step turn, close A single pose turn A double pose turn

SLOW TURNS ON ONE FOOT

In a slow turn on one foot, called a
"promenade" turn in ballet, the turning
action is never interrupted. During the
turn the heel is raised and lowered mo-
mentarily several times to assist the
turning action, but this raising and low- /
ering is not usually written.
121

PIVOT TURNS ON TWO FEET

A is like a swivel in which both feet re-
pivot turn on two feet
main where they are The swiveling action normally occurs on the
.

balls of the feet, rather than the heels. The turn sign is written
across both support columns. For clarity in explaining these ex-
amples, the end position resulting from the turn has been written.

End: End :1
A
7

End: //•
N
N
% A

122a

A
1
swivel from 4th Swivels starting in 2nd A swivel from one
to 4th in high level and finishing with the 5th position to the
legs crossed other
102 Turns

INTERWOVEN TURNS
An interwoven turn can start on two
feet and finish on one, or it can start /
on one foot and finish on two. In Fig.
123 (a) a low level swivel turn starts
from fourth position and ends turning
only on the right foot. Altogether one
full turn is performed. In (b) the same
turn occurs with a change in level.
123a II
Here the swivel starts in middle level
and then rises as the weight goes over
the right foot. When the turn starts on / ffl
one foot and continues on two, the sec-
ond foot must be placed on the floor.
Just when and where this support takes
place must be indicated. In (c) a side
i 1

step is followed immediately by a pivot

turn on that foot. Then, while continu-
ing to turn, the left foot is placed in
123c
front of the right and the turn continues
on two feet. One full turn results. In Soutenu turn
(d) thissame kind of turn is written (Assemble soutenu turn)
with more precise detail. Starting in
low level, the turn rises as the second foot takes on weight. The
turn then continues on both feet until toward the end of the action,
when all the weight is taken over by the left foot so that the right is
free to be closed neatly into fifth position. In this example the a-
mount of turn has been broken down for each part of the action, \,
j, 4, but there is no break in the flow of turning and a single full
turn is thus achieved. (See page 142 for leg gestures.)

CONTINUOUS TURNING
Where continuous turning is combined with a
change of level, it is better to place the turning
action outside the staff. Fig. 124 (a) illustrates
the placement of the turn sign in the support col-
umn as usual. The step forward is followed by
a continuous rising and lowering while turning
on that support. Although the continuity of turn-
/
ing is clear, the amount of turning must be divid-
ed. Such detailed analysis is often not required. 124a
Chapter Turns 103

5 / A
/

J
I /
/
/

%
\ /
/
V /
124b V V
In Fig. 124 (b) the turning action has been written outside the staff
(beyond indications of arm and head actions where these exist)
alongside the rising and lowering action in the support column. It
is understood that sliding friction occurs between the foot and the
floor. Fig. (c) shows steps in place constantly turning, the amount
of turn for each step being stated. When such a breakdown is un-
necessary and all that is required is an over -all statement of how
much turning is achieved in all, the action of constant pivoting can
be written outside the staff as in (d). In (e), a box waltz pattern is
shown with continuous turning to the right. The performer will
pivot on each step.In this example no degree of turning is shown;
this is left open to the reader.

TURNS IN THE AIR

A turn in the air involves turning the whole body in an unsupported
state. To indicate a turn in the air, the turn sign is written across
both support columns and is accompanied by action strokes in the
leg gesture columns to indicate that both legs are in the air, as in
Fig. 125 (c). If special gestures are required, the appropriate
direction symbols take the place of the action strokes, as in Fig.
125 (d). (See Chapter 10 for jumps with leg gestures.)

v 1

T
125a
A jump with A pivot turn A turn in the A turn in the
out special on both feet air,no special air with special
gestures (a swivel) gestures gestures
104 Turns

Each of the five basic forms of aerial steps can be performed with
turns. In performing aerial turns which travel, the direction of
traveling is judged according to the front after the turn is complet-
ed, just as the direction of a step following a pivot turn is judged
after the turn has been completed. The following examples show
hop, leap, assemble, and sissonne turns as well as a turning skip.

125e
ail
1 i i
1 <

>

Step, hop Step, leap Step, assem- Sissonne Skip

turn turn ble turn turn turn

INTERWOVEN AERIAL TURNS

The actions of turning on the floor and in the air can be inter-
woven. It is possible to start turning on one foot and then to rise
into the air continuing to turn. It is also possible to start with a
turn in the air and to continue to turn after landing.

An assemble turn. A sissonne turn

The turn starts on the traveling to the {
right foot and then
continues in the air
without any break.
126a
I right which con-
tinues to turn
after landing on
p
I

the right foot.

Note the use of the simultaneous action bow in Fig. 126 (b) to show
that the turning action does not stop.

FRONT SIGNS
Where movements are performed in a defined area, such as a
room or stage, at some point there is a need to relate to that area,
to state toward which direction in the room the performer's own
personal front is facing. The defined area may also be a field in
which nearby trees or buildings make it possible to establish
which direction shall be designated as the front, which the back,
and so on, of the effective stage.
 . . .

Chapter 8 Turns 105

A DEFINED AREA
The sign for a defined area is Only rarely is a room, a
.

stage, orwork area completely square, but regardless of its shape,

in relating to the directions in a defined area, one treats it as
though it were square, using directions that are parallel with those
of an imaginary square set at its center.

Once the area has been defined, one side is specified as the
front,and the other main directions fall into place: the back, the
right side, the left side, and the four diagonal directions in be-
tween - the right -front, the left -front, the right -back, the left -back.

The Constant Directions in the Defined Area

When a group of performers is spaced over the room and all
face one of these room directions, they face a direction parallel to
one arm of the central cross of directions in the room. As most
rooms are oblong, in the following illustrations the area represent-
ing the room has purposely been so drawn. The white pin i re-
presents a girl performer (see page 365). The point of the pin in-
dicates where she is facing. The dotted arrow in the diagrams in-
dicates the central room direction to which all performers relate.
The cross of directions emanating from the defined area is indi-
cated by the sign -ffi-

o— -£^ ->

o— —
o o—
127a

All face the front All face the right

of the room side of the room

The same principle ap-

plies if the dancers face a
diagonal direction. Here
each faces downstage right,
parallel to the right front
direction of the central </ </ </
cross of axes. 127c
106 Turns

In orientating himself to this cross of

directions, the performer must imagine
that he has a duplicate cross centered in
his own body. This cross of directions
travels with him wherever he goes, but it
does not turn when he turns. The front
direction always points to the front of the
room. Thus it functions as a compass 128a
in which the direction north is constant.
The person holding the compass may turn,
but its arrow remains pointing in the same
direction in the room. Fig. 128 (a) shows
a performer centered in such a square
compass, with the directions set. In (b) a
performer has turned, but his frame of ref-
erence has not changed. 128b

This idea of room directions is familiar

to students of ballet who are often told to imagine that they are
standing in the center of a perfect square (comparable to Fig. 128)
and are asked to relate their movements to the sides and corners
of that square. In various schools of dance these directions in the
room have been given numbers, but because different systems of
numbering exist, for clarity Labanotation uses special symbols.

THE CONSTANT CROSS OF AXES

The system of directions in a defined area is called the Con-

stant Cross of Axes, or the Constant Directions in the Room. For
short it is called the Constant Cross. The word "constant" refers
to the fact that this cross of directions neither turns nor tilts. It
is the most fixed of thesystems of reference used (see Chapter 25).

The symbol for this system of reference,

Fig. 129, is based on a square for a defined
area combined with a cross. When this
system of reference needs specifically to be
stated, this symbol serves as a key. From 129
itare derived the signs for the established
directions in the room, which are called the Key for the
"
"front signs, " the "stage direction signs, Constant Room
or the "facing pins." Directions
Chapter 8 Turns 107

The Front Signs*

the front of the room,
IS the audience, downstage

the right side of the

-a & room, stage right

the right -front

130 5 Q direction, downstage
right
The eight established
directions in the room etc.

General Use of the Front Signs

In Motif Writing where the destination for a change of front (the

new direction to be faced) is more important than the exact move-
ment which produced this change of front, a simple statement for
the movement can be made by means of an action stroke. The per-
former is free to find his own way of achieving the stated result.

In Fig. 131 (a) the starting front is given. S)

This states "face the back of the room."
The performer is then told to perform an
action which will result in his facing the
front of the room at its conclusion. A
turn of some kind must take place. Note ¥)
that the final direction to be faced is tied
to the end of the action stroke, indicating
that this is theaim or result of the action.
In (b) the change from facing left front to
B
facing right is more sudden. 131a

Statement of Front in the Score

Description it is important to
In Structural
tell thereader at once toward which direction
of the room he is facing. Thus a front sign
usually appears at the start of a score as part
of the starting position. The indication is
placed to the left, outside any indication for la
the left arm or hand.** course of a
In the 132
score, the front sign is given after each change
of front and also at the start of each new staff so that the reader
can pick up the action at any point and know where he is facing.

* See Appendix B, note 3. ** See Appendix A, note 3.

 . .

108 Turns

Change of Front - Destination Description

Every change of front involves a turn to some degree, but if the

turning action is less important than the new front, we indicate the
change of direction by placing the new front sign at the point in the
score where the new front is reached. It is understood that the per-
former will take the shortest route to the new front. In the case
of changes that involve or § of a turn there is no question as
§, \,
to which way the performer should turn, but for a \ turn such in-
dication leaves the choice of direction open to the performer.

Three steps Each jump lands

m
are taken into facing into a dif-
the right -front ferent direction,
a
13
direction, then the landing in 2nd
always facing the et
three into the
left -front di- front
rection. 6
Ef

133a £) b 13

In Fig. 133 (a) unobtrusive turns occur just before the step into the
new room direction, and in (b) the adjustment occurs while in the
air. This description of facing is ordinarily used for abbreviated
indications.

Change of Front - Movement Description

Where the details of a performance are
important or when a full description for turn-
ing to face into a different stage direction is
13
required, both the turn sign with the degree
of turn as well as the front sign should be
given. The manner performing pivot turns,
of
variations in the timing, or changes of level
often need to be stressed and the full details
for turning must be carefully recorded. Fig.
134 shows a possible variation of Fig. 133
(a), in which the turns indicate specific tim-

ing and changes of level

134 S)
 -

Chapter Turns 109

Front Signs within Turn Signs

When the new front to be faced in turning is of primary impor-

tance and no particular attention need be paid to the degree of ro-
tation, the destination of the turn can be stated directly. The new
front sign is placed within the turn sign, taking the place of the
black pin. It is not necessary to include the box in stating the ap-
propriate front sign; only the straight pin, known as a "tack," need
be written. The directions in which this tack points represent the
directions of the Constant Cross.

o o
A stepping pattern A sis sonne
El
which the first H-
in pattern travel-
step is toward ing toward one
stage right, the if. diagonal room
next to stage left,
a direction after
and the last again another
to stage right

135a (fi b

In these examples the degree of turning is not stated because it

need not be stressed. Although the pin in the turn sign states the
new front, we write the front signs outside the staff on the left as
usual to help the reader find his place. Here the outside front in-
dication is stated at the conclusion of the movement phrase.

Multiple Turns Indicated with Front Signs. Where there is

more than one turn, necessary to state both how many turns
it is
occur and the resulting change of front. The manner of perfor-
mance is influenced by whether the focus on the new front takes
place at the start or at the end of the turn.

Start facing right

front, perform
Start facing left-
front. Turn to
F
two turns, then face right -front
turn to face stage and then turn
left (a total of twice more to
2| turns). that direction (a
total of l\ turns).
136a Ef b IE
110 Turns

READING STUDY IN AERIAL STEPS WITH TURNS

This study gives only basic patterns and so lends itself to adapta-
tion in style. It could be a gay, comic character, such as a jester.

&

-a JP
!

4 12 16 IB- *ll

&
-0 6 13 1
-a
;

3 0- lit 11 B- 15 El

' g

.' -a
I Ef ^r

2 -0 10
151
a

' B-
i 13 4

ld?i
1 i 0- 9
fi 6 Ef

Fig. 137
Chapter 8 Turns 111

FOCAL POINTS
In certain circumstances the directions be faced do not re-
to
late to the directions in the room but to a focal point. This may be
the center of a circle or another person, such as one's partner in
a couple dance. In performing exercises, the focal point to which
the performer relates may be an apparatus, as for instance a
barre. The reader must know whether he is facing this focal
point, has his back to it or his right side to it, and so on.

For group dances, the center of the group is understood to be

the focal point; in a circle dance it is the center of the circle.

Any person, object, or fixed point in the room can be designated

as the focal point. When the focal point is not automatically ob-
vious, it should be stated.

The indication for a focal point is • . The statement identify-

ing the focal point should be written as a key at the start of the
score. It may also appear during the score wherever needed.

• - or • - Barre
138a

Focal point is Focal point is the barre. This Focal point is

your partner. can be indicated either way. the chair.

Relation to Focal Point as the Destination of a Turn

By placing the black circle for the focal point on the appropriate
side or corner of the turn sign, the following instructions can be
given:
y \ / \
139a V b \ c 1/ d \
Turn right until Turn left until Turn right until Turn left until
the focal point is the focal point the focal point the focal point
in front of you. is to your left. is behind you. is at your left
back diagonal.
Focal Point as a Front Sign

The usual front signs (room direction indications) are not appli-
cable to scores in which the descriptions must be given in terms
of facing a focal point, and so the turn sign, with the correct re-
lation to the focal point, is used to replace the front sign. These
marks are placed outside the score to the left. The left -turn sign
112 Turns

is used after a turn and the right -turn after a turn to the
to the left
right, to show the kind produced the new front.
of turn that has
For a starting position the composite sign, made of the two turn
signs, is used.

Starting Position Indications for Focusing

x X M
140a IX X a N
The composite Face towards Right side of the Right front diag-
turn sign the focal point body toward the onal side toward
focal point the focal point

In Fig. 140 (e) the starting

position faces the focal point.
Following the \ turn
left, the focal point is at the
to the b 1
performer's right side as
stated by the new front sign Ll
placed outside. In (f) the
starting position is with the
.

left side to the focal point.

The slow turn is designated
as ending facing the focal \ t>

point. A description of the

destination of the turn may
be preferable to stating the
degree of turn. Indication
of the new front will be a
small right -turn sign fl be-
cause the turn producing it
was a right turn. 140e D
AMALGAMATED STEP AND TURN
The action of stepping and the action of turning can happen si-
multaneously. While the weight is being transferred the body is
gradually changing front. The body direction into which the weight
is transferred changes as the body turns. Where a forward step is
combined with a half turn, the step begins in the forward direction
but ends as a backward transference of weight. What has not
changed is the spatial direction into which the weight is being
 .

Chapter 8 Turns 113

transferred. To indicate this retention of the same spatial direc-

tion, the indication for aspace hold O (retention in space) is writ-
ten within the step symbol

The turning action can be written in the support column, tied to

the step symbol with the simultaneous action bow as in Fig. 141 (a),
or it can be written outside alongside the step as in (b).

a €1

141 \

a IB- b IB

In Fig. 141 (a) the performer starts facing the right side of the
room. He
steps forward, turning constantly during the trans-
ference of weight, to end facing the left side of the room. Fig.
(b) describes the same action. In each case there is sliding fric-
tion on the floor, the foot swiveling as the weight is transferred.

NON-SWIVEL (FIXED-BASE) TURNS

by a pivot turn, the foot is first placed on the
In a step followed
floor, then it as the turn occurs, swivels on
takes the weight and,
the floor. In writing pivot turns sliding friction on the floor is un-
derstood. Where the change of front is very slight, this sliding
friction may be negligible.

For turns up to a half, swiveling can be avoided by the appro-

priate use of rotation in placing the foot on the step that precedes
the turn. The whole body can then rotate above the supporting
foot without any sliding friction occurring. The foot on the ground
has a space hold, remaining pointed in the same spatial direction.
In Figs. 142 an outward rotation of 45° of the legs is assumed.

In Fig. 142 (a) a step forward is followed

by § pivot turn to the right. There will rar
o
be swiveling on the foot as the turning ac-
tion occurs, and the foot will end turned
out on count 3. The footprints illustrate
the placement of the foot for the step and
after the pivot turn. 142a £]
114 Turns

Ef o @ ffl U\
}
/ ik 0/

142b 6 S
In Fig. 142 (b) the right foot (indicated by the foot sign % placed in
the right leg gesture column) is shown to have a space hold (reten-
tion in space) during the turn and therefore the turning action will
occur in the body above the ankle. Because the foot has not moved,
the leg will end in the untwisted state, rotated neither in nor out.
Such a non -swivel (fixed -base) turn previously had the nickname
"blind turn. " In (c) a pivot turn precedes a step. In (d) this action
is specified as a non -swivel turn. Because the space hold is under-
stood to refer to the foot, the indication is usually abbreviated to(e).

SPECIAL INDICATIONS FOR TURN SIGNS

Turning Right or Left

In a group situation where the performers X

face into different directions, the instruction
may be given for all to turn to face a common i
focal point or room Each will turn
direction.
left or right according to which is most suit-
143a N bk
able (the shortest distance). For this the composite turn sign is
used. Fig. 143 (a) states a turn right or left to face the focal point,
while (b) states a turn right or left to face the front of the room.

Optional Degree of Turn

The ad libitum sign I (see analogy signs, p. 354)

placed within the turn sign indicates freedom in the
degree of turning to be performed. Fig. 144 shows
such freedom in a turn in the air (tour en l'air). 144

As Many Turns as Possible

Turning as many times as possible in the given
A A
time, that is, turning as fast as possible, is indi-
or
cated by doubling the top and bottom lines of the
turn sign or by using the infinity sign oo It is

assumed that the performer will return to the pre-

.

V V
viously established front. 145a b
CHAPTER 9

Arm Gestures

THE RANGE OF MOVEMENT FOR ARM GESTURES

Arm movements can be simple or extremely complex. Each form
of dance employs a particular carriage of the arms and a charac-
teristic way of moving them. The stylistic differences result from
the use of the following, in isolation or in combinations: flexion,
extension, rotation, deviation, intermediate directions, sequential
movement, movement led by a particular part of the hand, etc.
All these possibilities will be explored later. For the present we
will be specifically concerned with natural, unstylized gestures.

THE PRINCIPAL DIRECTIONS FOR GESTURES

The arm has tremendous spatial freedom; it is restricted only
by the presence of the rest of the body and by a natural physical
limitation in the backward directions. In moving from the shoul-
der joint, there are hundreds of points in space to which or through
which the extremity can move. Generally speaking, dance makes
use of the principal directions for clarity in movement. These are
the twenty-seven directions given on page 26. Certain styles of
dance use subtle variations of these principal directions; for exam-
ple, in classical ballet the arms are not held out in the true side
horizontal direction but at a point slightly below and slightly for-
ward. These variations may become the standard and take the
place of the cardinal directions. Part of the training of a dancer
is to strike the true direction or any designated point in-between,
just as a violinist must produce each tone by the careful placement
of his fingers on his instrument. The following discussion of arm
movements deals with the principal points; intermediate directions
are given in Chapter 26.
 .

116 Arm Gestures

GESTURES - DESCRIPTION IN TERMS OF DESTINATION

Movements for the arms are usually described in terms of the
extremity of the limb passing from one point in space (the starting
point) to another (the finishing point). The direction symbol writ-
ten in the arm gesture column states the finishing point or destin-
ation. Thus movement for arm gestures is expressed as the path
to an established destination. This is in direct contrast to the writ-
ing of steps in which the description is given in terms of movement
away from the starting point. It is important to recognize the dif-
ferent concepts behind the analysis of gestures and of supports.

Continuous movement for gestures is shown by one direction

symbol following another without a break. A position results when
a limb comes to rest after reaching a point in space. Where no
movement indication is given in a gesture column, the limb stays
still. An empty space implies no change, an absence of action.

MOVEMENTS OF THE WHOLE ARM

The whole arm (the upper arm to the hand taken as a unit) moves
from the shoulder. Gestures of the whole arm may or may not
include bending and stretching. The individual parts of the arm,
the lower arm and hand in particular, may perform separate ges-
tures. These will be discussed after simple gestures and spatial
patterns of the whole arm have been considered.

CARRIAGE OF THE ARM

In the Laban system, we consider that the normal carriage is
relaxed with an easy elbow and wrist. It is neither bent nor
stretched and can best be observed when the arm is down at the
side of the body while the performer is standing. The direction in
which the palm faces is important because it influences the expres-
sive character of the gesture. The direction in which the palm or-
dinarily faces and the method of writing specific indications for
palm facing are given on pages 129 and 130.

DETERMINING DIRECTION FOR ARM GESTURES

Direction and level of arm gestures were analyzed in Chapter 4.
Remember that direction and level are determined by the line be-
tween the hand and the shoulder. Therefore shoulder level is hori-
zontal, middle level; above shoulder level is high, and below shoul-
der level is low
Chapter 9 Arm Gestures 117

imi
i

146a

arm
Natural oppositional Steps with parallel One arm moving
movement accompanying arm movements after the other, then
an ordinary walk both arms moving
When no direction is indicated in the starting position for the
arms, as in Fig. 146 (c), we assume that for the upright standing
position they are hanging naturally by the side of the body.

Crossing Arm Gesture

When the right arm moves to the left or the left arm moves to
the right, it must cross the body. Where no additional indication
is given, as in Fig. 146 it is understood to cross in front of
(b),
the body. If the arm crosses
behind the body, the backward point-
ing black pin must be added. This is the same relationship pin
which is used for the positions of the feet. When both arms cross
in front, the forward pointing pin is added to show which arm is in
front of the other. When both arms cross behind the body, an addi-
tional pin is added to show which arm is behind the other.

i o o o

147a

The right
\
arm The
.«
left arm crosses in
,»
The right arm crosses
crosses behind front of the right (both behind the left (both
the body. in. front of the body). behind the body).
 -

118 Arm Gestures

PATH IN SPACE
In moving from one point to the next, the natural tendency for
an arm is to move in a curve (on part of an arc) because it is at-
tached at one end to the shoulder joint. When the points are some
distance apart, the intention of a movement may be either for the
extremity still to perform a curve, or for it to take the shortest
route, i.e. to follow a straight line. To indicate such a straight
path, we must add a straight path sign as explained on page 446.

Direct Path

Unless a deviation of some kind is shown, the extremity of the

arm takes a direct path in moving from one direction to another.
(Note that a direct path is not the same as a straight path, shortest
route; the former is the natural route involving an arc or curve.)
Where the points in space are close together,
there is no change
in the carriage of the arm. Where the points are far apart, the
direct path involves some degree of bending. The following ex-
ploration of possible paths in space for the arms will illustrate
what is understood by "direct path."

Degree of Distance between Points

In using the twenty six principal di-

rections around the body (place being
omitted), adjacent points are consider-
ed to be at a first degree distance from
one another; and diametrically opposite
points are considered to be at a fourth
degree distance, with second and third
degrees lying in between, as illustrated 148
in Fig. 148.

First Degree Distance. In Fig. 149 (a)

the arm moves from forward middle to the /
adjacent right front diagonal point, a first
degree distance. The extremity of the
arm, the hand, describes a slight arc,
a part of a circle of which the shoulder
L
is thecenter. This is a peripheral move-
ment, one which moves along the external (seen from
boundary (as on the periphery of a circle). above)
All movements between first degree points
will produce this kind of result. 149a
Chapter 9 Arm Gestures 119

Second Degree Distance. Fig. 149 (b) shows a quarter circle

arc in which the arm moves from forward middle to side middle,
a second degree distance. This movement also produces a peri-
pheral path.

1
L

149b

In Labanotation it is understood that movement between second

degree points are to be performed without special flexion of the
arm so that a peripheral curve results. If the arm is to bend and
the hand to follow a straight path, as in (c), the movement follows
a transversal path (one running or lying across) which must be
written with the addition of the straight path sign.

Third Degree Distance. In Fig. 149 (d) a third degree distance

is shown. The points are too far apart for a circular path to occur
automatically. The hand will take the direct route, a transversal
path, which means that the elbow and the wrist will bend in passing
as the arm moves diagonally backward. This flexion of the arm
should be natural and unstressed. To produce the peripheral path
of (e) an extra direction symbol must be written as in (f) or (g).

dorD
L il

149d f J gL

Fourth Degree Distance. In Fig. 149

(h) the arm moves from forward middle
to the extreme opposite direction, back-
ward middle. The hand passes near the
shoulder (the base of the limb). The el-
J
bow flexes, leading the arm backward.
L
Later the wrist bends to keep the hand on
the direct path. Neither of these actions
should be at all stressed. 149h
 . >

120 Arm Gestures

Central Paths

The term "central path" refers to arm movements in which the

hand passes close to the base of the limb, the shoulder.

Central Paths between Opposite Points. The direct path pro-

duced by moving from one point in space to its opposite results in
a central gesture, as in Fig. 149 (h). Other examples of such
paths appear below. In each the hand will pass somewhere near
the shoulder, though this proximity should not be stressed.

L
150a 4
Move n the lateral Move in the vertical Move in the sagittal
(side to side) (up -down) (front -back)
dimension dimension dimension

Whena path on a straight line needs

to be stressed in moving between fourth
degree points, a place symbol is added. If
In (d) the hand should pass as closely as
possible to the shoulder without actually
touching it. This description stresses |L
the use of the center point of direction
i.e. place, making the reader aware of
its importance in the movement. 150d

Central Paths between Adjacent Points. Place can also be used

to produce central paths in movements between other points, as
the following examples illustrate. Such a use of place results in
straight line paths

151 L
<\ — I

The hand passes through place The hand passes through place
on its way to side middle. on its way to right diagonal back
Chapter 9 Arm Gestures 121

Peripheral Paths

Semicircular Arm Movements. Often an opposite point is

reached via another direction. This other direction must be
stated. A few examples are given here.

p P P
152 > I )

a I b. 6 b
Via forward Via side Via up Via down Via side

Circular Arm Movements For the standard description of

movement in terms of directional destination, a complete circle
requires at least four direction symbols in addition to the start-
ing position to be sure that no corners are cut. We shall deal
with the special movement analysis and use of path signs for
writing circular paths for gestures in Book II.

/
/
i i

D
i ;

i i
p
/
/
d 6

153a

Symmetrical arm Large windmill Parallel arm

patterns, circles style movements movements
122 Arm Gestures

TIMING OF ARM MOVEMENTS

The length of a direction symbol des-
cribes the amount of time required to
reach the stated destination. In Fig.
154 (a) the arm
takes four counts to
lower to forward middle. Its sustain-
ed action is spread over these four
counts. This notation should not be
mistakenly performed as (b) in which
o
the arm reaches forward middle on
count one and then holds its position
/
for the three remaining counts.
154a
LEGATO MOVEMENTS
In gestures described by several direction sym-
bols, may mistakenly see these as sep-
the reader
arate movements, pausing in each direction before
going on to the next. When there is no separation
between direction symbols, there is no interruption
in the continuity of movement. Thus Fig. 155 shows
II
one continuous arm gesture ending on count 4.
155
STACCATO MOVEMENTS
Staccato means separated, and the separation between move-
ments is visually obvious in Labanotation. The following examples
show the progression from a slight hesitation between directions
to a definite pause and finally to an extremely staccato movement.

156 I

&
Legato, a con- Demi -legato, Staccato, an Staccatissimo, a
stantly flowing a slight hesi- equal division very fast, clipped
movement (no tation between between moving action with long
separation) movements and pausing pauses between
 i

Chapter 9 Arm Gestures 123

READING STUDY IN ARM MOVEMENTS

Only the outline is given here; style and expression may be added.

O
I
<1 H
A ) I i J 32 ILfill

7
.. B
> /
/
15 4 23 y 31 a
O
(
LJ 7
J 1D>
/
/
14 22 < 30 L

\
/
/
13 21 \A 29 4 O
O

<
J J]
D

L 7\ 7]
/ a /
/ r^ /
12 20 Ld Px \A 28

) 4 4

1
O
27 1 )

o 4 J
i
10 18 1
7
>
< U7 26
/
/
/_
<L I

17 \ 25 <> h
) Fig. 157
124 Arm Gestures

CHANGE OF LEVEL WITHIN ONE SYMBOL

Identical Timing
The same movement may be written in several different ways,
the choice of notation simply directing the reader's attention to
one or another part of the action. Figs. 158 (a), (b), and (c) are
three ways of notating the raising of the arm from down to up via
side. The first is the simplest; all produce the same result.

1
— I A
/
/
L

158a Dl
In Fig. 158(b) the intermediate side low and side high directions
have been added to the description. In (c) these three side direc-
tion symbols have been combined into one longer side symbol show-
ing within it the three levels equally spaced in time. The choice
of one description or another depends largely upon whether the per-
former should be aware of each side level as a separate entity, or
whether the continuity of the action should be stressed. Because
one symbol follows another without a break, there is actually no
difference between (a), (b), and (c). Fig. (b) should be performed
without interruption, as there is no space between the symbols.
The writer must choose the description which best suits the inten-
tion of the movement. For general purposes the simplest version,
(a), is preferable.

Variation in Timing

A change of level within a direction

symbol can indicate variation in the
timing of the transition from one level
to the next. Note the difference be-
tween the following examples. Fig.
159 (a) shows an arm gesture which
takes two counts to move to forward
middle. In (b) one count is used to I I
move to forward low and one count to
159a
go from there to forward middle.
 .

Chapter 9 Arm Gestures .125

A swift move- A slow move-

ment to for- ment to for-
ward low (half ward low with
a count) with a a swift rising
slower rising to forward
to forward middle
middle
159c I

A gradual slow- The reverse

ing down as the timing, with
arm passes a gradual
through forward speeding up
low to forward on the way
middle and then to forward
to forward high high

159e I
This use of level within one symbol allows for flexibility in show
ing such variations in timing.

Note the difference between two sym -

bols following one another closely and i
one symbol containing a change of level.
In the case of two symbols, (g), the sep-
aration is large enough to be clearly
visible but not so large as to cause a
rhythmic change. In drawing one sym- i
159g h
bol, (h), there is no break at all and
the relative length of the directional Two One forward
indicator is usually greater. symbols symbol

THE TIMING OF PASSING THROUGH DIRECTIONAL POINTS

Frequently in arm movements the path of a gesture may pass
several points in space during a given period of time. Where this
passage between points is evenly spaced in time, the symbols will
be of even length. Where the action is slowed down, the symbols
will become longer; where quickened, they will become short
it is
er. In such gestures it is important to observe the over-all pat-
tern and the relative lengths of these symbols. Each of the follow-
ing examples takes three full counts
126 Arm Gestures

I 4
v.
>

iL
160a

Passing through
C V"
Passing through Passing through Passing through
four points five points four points five points
evenly evenly unevenly unevenly

In Fig. 160 (c) the timing is ritardando (slowing down), in (d),

accelerando (speeding up).

lhe Phrasing Bow

Note the use of a vertical phrasing bow in

Figs. 160 (a)-(d). This bow is used to show
y
the unity in thought, in the movement sense,
of several successive direction symbols. R
Such phrasing is often shown by a break be- .. B
tween symbols at the conclusion of continuous
movement.
«
In Fig. 161 where no significant
break occurs, the bow informs the reader
how the movement is to be phrased. 161 >

SWINGING MOVEMENT
A swinging action can vary between a regular pendulous swing,
comparable to that of the pendulum of a clock, and an irregular
swing, which starts with a greater momentum and then dissipates.

Pendulous Swing

In all swinging arm movements, the limb makes some use of

the force of gravity. walk such as that in Fig. 162 (a),
In a natural
the arms "swing" in natural opposition, changing direction on each
step or beat. Tempo has an important part to play in a swinging
action. A comfortable tempo produces a natural swinging pattern
with little or no effort on the part of the walker. Too slow a tempo
involves an effort to hold back the arm swing; too fast a tempo in-
volves an effort to move the arms fast enough.
Chapter 9 Arm Gestures 127

>\
i 1 <
1 \. i

) :
>
162a

The simple pattern shown in Fig. 162 (a) is described more ex-
actly in(b). The action of passing through place low (down, toward
gravity) in between each change emphasizes this direction. There
is no noticeable pause at the end of each arm movement. The sim-
ple pattern of (c) is described more exactly in (d) for the same rea-
son. Observe the difference between (b) and (d). It will be found

that in natural walking the arm reaches its forward or backward

destination as the foot contacts the floor and starts to take on
weight. While the weight is being centered over the new support
and the back leg is being freed of weight, the arms pass through
place low. In contrast to this movement in (d) we see that the arms
follow the path of the center of gravity. They are down when the
step starts and do not reach their side destination until the center
of gravity reaches its destination.

Impulse Swing

A swing which is uneven use of time and space, as in Fig.

in its
160 (c), may start with an impulse using dynamic flow and ebb of
energy. The arm relaxes suddenly, giving in to the pull of gravity,
the downward path increases in speed, the upward path becomes
slower as momentum
gradually lessens, and the limb, having be-
come increasingly comes to rest. A noticeable
controlled, finally
pause between the end of one swing and the start of the next is usual.

For a full description of such swings, dynamic indications

should be included. An accurate description of the correct timing
in the use of directions, however, will satisfactorily indicate the
swinging pattern. The following examples make use of 3/4 meter
which, with its ternary division, is suitable for swings when play-
ed at the right tempo, as is also 6/8 meter (a two-part time with
ternary subdivisions).
 .

128 Arm Gestures

An arm swing 101

E
A side -to -side
coordinating sway using
with the lower- change of level
ing and rising in the step
action of the

M
supports

163a

When reading swings, we must note the over -all pattern - where
the swing starts, where it finishes in the measure, and how the di-
rections are to be passed through. A characteristic feature of an
impulsive swing is the increasing length of each symbol after the
place low symbols as the momentum diminishes.

Note the following development of an evenly spaced arm circle

into a swing and the variations in the timing of this swing, includ-
ing the moment it ends

\ :
PI
/
/ /
\
a
\
1 B

164a ! . ! - \
Fig. 164 (a) shows a continuous circular arm movement per-
formed in three counts; the proportioning is perfectly even. In
(b) the movement to place low has become more rapid and each
succeeding symbol slightly longer than the previous one to indicate
slowing as the points are passed. If this movement were repeated,
there would be no pause between circles as the movement fills all
of count 3. In (c) the movement is slightly faster, so that there is
time for a pause during the last half of count 3. Fig. (d) shows
 .

Chapter 9 Arm Gestures 129

the same swing performed in 2/4 meter. It is important to ob-

serve that even with the change of meter the relative proportion-
ing of the symbols is the same.

DETAILS IN PERFORMANCE OF ARM GESTURES

Because of variations in the human build, we cannot consider any
one way of moving or of holding the arm as the only natural one
For purposes of notation, however, a normal performance for vari-
ous basic movements must be established so that the reader can
know what is to be taken for granted, and therefore is not indicated
in the notation, and what must be specified. The carriage of the
arms considered normal in Labanotation was described on page
116. Further details which we need to consider are the facing of
the palm, the occurrence of rotations which are not written, the
understood use of bending the arm, and the understood inclusion
of the shoulder area in certain gestures.

FACING DIRECTIONS FOR THE PALMS

To simplify reading and writing, a standard has been established
for the directions in which the palm most commonly faces when the
arm is held in the cardinal directions, and all other usages must
be specifically described.

The Unwritten Facing Directions for the Palm

When arms hang down by the side of the body, the palms
the
face in, toward the body. The palms also face in toward each
other when the arms are raised forward or backward or are
straight up. In moving up or down in the sagittal (forward -back-
ward) plane, there is no change in the direction the palms face.

bed
\ \/
/

I
165a
If —
/
/
u II
Palms face in. Palms face in. Palms face in. Palms face in.

When the arms are out to the side, the palms are understood to
face forward, no matter whether the side direction was reached via
forward, as in Fig. 165 (e); via down, as in (f); or via up, as in (g).
130 Arm Gestures

i
J

I65e f
g
When the arms cross to the opposite side, as in Fig. 165 (h), the
palms face backward. For positions between
these main directions, the palms face the logi-
cal intermediate direction. For instance, in \ A
forward diagonal gestures as in Fig. (i), the
palms will face the opposite forward diagonal
directions, the right palm facing £} and the
left palm facing £j .
165
Specific Indication for Palm Facing
The sign for the palm (inner surface of the hand) is F| Note
that it is drawn long and thin, not square, with the base left open.
This symbol represents the surface of the inner side of the hand,
and, as with all surface symbols, when it is followed by a direc-
tion symbol the surface faces in that direction.

The indication palm facing is written next to the arm sym-

for
bol, on the outer side. As this is a minor indication, it is custom-
ary to draw the direction symbols for palm facing narrower so that
they do not distract the eye from the main symbol, the arm gesture,

/
y
Jl /
/ /
/
/
/
/
/
166a 4n R I
nU
The palms face The palms The palms
forward. face up. face down.

To produce the stated facing direction for the palms in these

examples, the lower arm must rotate. In the following examples
palm facing is achieved through a flexion of the wrist. The exact
performance may vary, for there is more than one possibility de-
pending on whether or not there is a specific rotation in the lower
arm. The resulting placement of the hand is usually described by
stating the direction of the hand (see page 236).
Chapter 9 Arm Gestures 131

j a
166d Fl e R ,} Un

Cancellation of Palm Facing Indications

A palm -facing indication is considered in Labanotation to be val-

id only for as long as the arm gesture next to which it is written is
valid. With a new direction symbol the previous palm facing will
*

be cancelled. To retain the effect of a previous palm facing (the

rotated state in the lower arm and hand), the body hold sign is used

In the side The palm

middle ges- continues
ture the palm to face up
returns to its in the side
normal facing middle
direction. gesture.
167a

The hold sign for palm facing is in effect until specifically can-
celled. Cancellation may
be indicated by another direction sym-
bol or by the "back to normal" sign o .** This sign is used to show
the return of a part of the body to its normal carriage or state.

The palm re-

6S The palm re-
mains facing i mains down <
down until the until the last
last gesture B. gesture, when
forward, when it returns to
it faces up. 167c Ml normal. d

UNWRITTEN ROTATIONS
moving from one cardinal direction to another, the arms per-
In
form slight rotations of which the performer is often unaware even
though they are observable to the viewer. These rotations are not
written because they are considered to be the natural result caused
by the structure of the limb in passing from one point to another.
Specific rotations for the arms are given in Chapter 17.

* See Appendix A, note 4. ** See Appendix A, note 5.

132 Arm Gestures

Raising and Lowering the Arms Laterally

Movements of the arms in the lateral (frontal) plane involves a

continuous rotation, outward rotation as the arms are lifted and in-
ward rotation as they are lowered. Note the unwritten rotations
which occur in the following example.

Starting position: arms down, palms facing in,

1. As the arms lift to the side, there is a

outward rotation so that when
slight but constant
the arms are horizontal the palms face forward.
1 1
This gradual rotation continues as the
2.
arms rise to place high. As a result, the palms i
n
end facing in toward each other.
f

3. The arms lower to side middle with a gra-

dual inward rotation, which brings the palms to
face forward again.
i )
4. As the arms move to place low, the gra-
dual inward rotation brings the palms to face in
toward the body again.
1 1
168

It is interesting to try to eliminate this natural rotation. The

palms will face down when the arms are side middle, and out when
the arms are straight up, producing a very twisted feeling. As
soon as they are relaxed, the arms will return to their normal
state, palms facing in.

Moving Horizontally from Forward to Backward

In carrying the arm from forward
to backward via down, as in Fig. 169
(a), there is no change in the facing
ll .

of the palm, and therefore no adjust-

ment is necessary. But in carrying
the arm backward via side a rotation i
occurs. In (b) no change is felt in
the movement to the side, but from
that point on the arm must gradually
rotate inward in order to end with the
169a
palm facing to the right.
 .

Chapter 9 Arm Gestures 133

If Fig. 169 (c) is performed without

any natural transitional rotation, the
arm will end in the forward direction
with the palm facing the left side. To
notate such an action an additional in-
dication must be written - palm facing, 169c 1
rotation or a back of the hand guidance

Moving Vertically from Forward to Backward

i;
When an arm passes from forward to backward
or the reverse via place high, a full rotation takes
place. In Fig. 170 (a) the arm experiences no ro-
tation as it is raised and the palm is still facing
170a L
the right side. But as it passes into the backward
middle direction, the performer must rotate the
J
arm in the shoulder joint a full inward turn to as-
sume the normal palm facing direction. In revers- 7]
ing this movement, as arm must first /
in (b), the /
make a full outward rotation on its way to place
high, after which there is no change.
170b 1
Full Arm Circles

In full arm circles a full rotation occurs, though the action of

rotating is not evenly spaced throughout the circular path.

7
/

1: HI

\ 4
J]

171a fl

In Figs. 171 (a) and

(
(b) the letter
r
"R" has been placed next to
the movement symbol during which the rotation takes place. In (c)
the rotation takes place over the last two symbols. It is, of course,
hard perform a side middle arm gesture which crosses behind
to
the body, but when performed, the palm should end facing back-
ward with the arm rotated inward.
134 Arm Gestures

UNWRITTEN FLEXIONS
The symbol in the arm column indicates a movement of the arm
alone in normally extended state. In gestures which cross the
its
body, however, exact performance may vary according to individual
flexibility of the shoulder joint, length of arm, and width of body.
The arm may bend, but though there should be no marked effort to
keep it straight, its bending is of little importance. Any specific
bending or extension of the arm will be stated with the appropriate
symbols (see Chapter 11).

arm crosses
In Fig. 172 the right
in front of thebody and the left arm
behind. It is expected that the right
arm will bend slightly and that the
left arm will definitely be bent, as ) (
this is a difficult position for most
people to assume. Arm contractions
need not be specifically written in
172
1 1
such cases.

UNWRITTEN INCLUSIONS
To perform arm circles smoothly, in certain
directions the performer must often include the
shoulder area. This is true of a crossing circu-
lar gesture such as in Fig. 173 (a), and also for
circular gestures which make use of the backward
direction. Such inclusions can be kept to a mini- 4
mum or even dispensed with by a loose -jointed
individual; they should not be stressed and should
disappear as soon as possible.
173a

To facilitate moving the arm in

the backward direction, a slight in-
clusion of the shoulder area, called
"opening the shoulder, " is expected.
Many people cannot achieve a true
backward direction without it. Such
an inclusion should disappear as
soon as possible; it is not written )
unless the inclusion is to be given
173b
special emphasis.
Chapter 9 Arm Gestures 135

READING STUDY IN PALM FACING

Measures 5 and 6 and 13 and 14 are repeated to the other side.
See Chapter 21 page 350 for repeat signs.

I I

MNfl
(16)
14

^D («>q, P
/R ? 13 fll_

»
l
12

11 W
Note: Because of the retention of palm facing,
174 the palms will face up in measure 3.
136 Arm Gestures

THE EFFECT OF TURNING ON ARM MOVEMENTS

CARRIED ARM GESTURES
When there is no indication in Labanotation of movement for the
arms, they are carried along with movements of the body as a
whole. A position for the arms or for the free leg is retained dur-
ing turns. During a turn the relationship which the arms have es-
tablished to the body is retained; the arms are not held immobile,
however, but may react slightly to the momentum of the turn. To
indicate a rigidly held limb the body hold sign o is used.

During the turn the The arms are

arms remain in shown by the
front of the chest, hold sign o to
but no effort is be immobile
made to hold them during the
completely still. turn.

175a

It important to note the difference between physical change

is
(movement within the body), e.g. movement of the arm which en-
tails a change in the shoulder joint, and spatial change (movement
in space), e.g. the arm passing through space as it is carried along
with movements of the body. The rush of air against the limb im-
parts a sensation of movement even though the limb is inactive.

HORIZONTAL CURVES
Turns affect arm gestures in the horizontal plane. The path of
an ordinary horizontal gesture is augmented or diminished in its
passage through space according to whether the direction of the
gesture and the direction of the turn are the same or opposite.

Simple Horizontal Curve

Fig. 176 (a) shows a simple horizontal

curve performed without any accompanying
turn. Such an ordinary curve is termed an
"adequate curve." In this case the arm des-
cribes a half -circular path moving clockwise

176a S)
Chapter 9 Arm Gestures 137

Augmented Horizontal Curve

5 /
If the performer turns in the same direction
as the path of his arm gesture, as in Fig. 176 \>

(b), the gesture will be augmented. Its change

of direction in relation to the body is the same,
I
but its spatial path is extended. The performer
has the feeling that, in relation to his body a * 4
much larger gesture has been performed. 176b

Diminished Horizontal Curve

By turning into the direction opposite to the

s
path of his arm gesture, the performer dimin-
ishes the gesture, as in Fig. 176 (c). He feels
as though he has not gestured at all. The arm
has changed its relationship to the body, but it
has not moved in space. Such an action could A
be described as a turn in which the arm keeps
176c
its relation to a previously established room di-
rection. In this example, the arm gesture started toward the left
side of the room and remained in that direction. Thus it retained
its relation to the Constant Directions in the Room while changing
in relation to the Standard (Gravity Constant) Cross of Directions.

RETENTION IN SPACE - SPACE HOLD

of a gesture to a room direction may be important
The relation
enough be described in those terms. Such description is needed
to
when a limb is to retain a previously established direction in the
room even though the rest of the body turns away from it. This re-
tention in space, or "space hold, " usually is needed in connection
with turning. The sign for a space hold is a diamond, .

In Fig. 177 (a) the performer a a

starts facing the right side of the
room. The right arm gesture re-
mains forward from the body dur-
ing the following turn. In (b) the
space hold causes the right arm
to retain its room direction dur-
ing the turn. At the completion
arm will end as a
of the turn, the
B m I
gesture backward from the body. 177a
138 Arm Gestures

Duration of a Space Hold *

A
space hold lasts for the duration of a turn sign or other spe-
cial indication in conjunction withwhich it is required. For each
new movement requiring a space hold, the sign must be repeated.*

VERTICAL CURVES
Turns may affect arm gestures which describe vertical curves.
Simple Vertical Curve

Fig. 178 (a) shows a simple arm gesture i

which rises in the sagittal plane to forward
middle. This is a two-dimensional gesture
a
when it is not accompanied by a turn.
Deviating or Skew Curve 178a l
When the same arm gesture is accompa-
nied by a turn, as in (b), it takes the same
path in relation to the body (the Standard
Cross of Axes) but spatially it describes a
three-dimensional path instead of a two-
dimensional. This change is the normal re- /

sult of combining these two actions so no ad-

ditional indication is needed in the notation. 178b I
Undeviating Vertical Plane Curve

Where a two-dimensional curve is desired in spite of the accom-

panying turn, the indication must be given in terms of the relation
of the gesture to the unchanging room directions. To write such an
undeviating curve, the direction and level for the gesture are given
as if no turn occurred, that is, into the direction established just
before the turn began. Then, to counteract the normal effect of the
turn, the space hold sign is placed within the arm gesture symbol.
Thus during the whole movement, the limb must retain its relation
to that direction in the room toward which the movement started.
In (c) the performer starts by moving his right arm toward the
right side of the room (a backward gesture from the body) and then
keeps moving it toward that room direction during the turn. At the
end of the turn his arm will be in front of his body. This final re-
lationship of arm to body is not stated in the notation; it is the re-
sult of the combined action of the turn and the space hold.

* See Appendix B, note 4 See page 306.

 .

Chapter 9 Arm Gestures 139

EB- / E3-

m
r

178c -0 I d -0

In (c) the arm

being raised while the space hold is in effect
is
Compare which the raising of the arm is co mplet-
this with (d), in
ed before the turn starts. During the turn no gesture occu rs. so
only the space hold is needed.

As an aid to the reader, the physical

&)
destination of a limb can be given as in (e),

though this is not normally necessary.

Figs (f) and (g) show how the space hold
.

sign is drawn within low and high symbols. 178e \l

CONTINUATION BOW
When a symbol must be carried over from the end of one staff to
*
the beginning of another, a small angular vertical bow, the caret,
is used to indicate the continuity of the movement.

CONTINUATION OF A DIRECTION SYMBOL

When a movement starts at
the top of one staff and contin- I \ I
ues over to the next staff, a
full direction symbol is written I
at the top of the first staff and
repeated again at the beginning
of the next staff. To show that L
these two symbols are in fact
1
one, the caret is placed both at
the top of the previous staff and
at the bottom of the new staff
as shown in Fig. 179. Here the
179
lowering of the arms starts at the
end of measure 1 and continues into measure 2. The turn which
starts at the end of measure 1 also continues into measure 2.

* See Appendix B, note 5.

CHAPTER 10

Leg Gestures

The focus of a movement may be on a gesturing leg.This may be

a functional action such as kicking a ball, or an expressive one.
Leg gestures embellish steps, jumps, and turns, thereby changing
their character and style. A leg gesture may touch or slide on the
floor without taking weight. For purposes of notation, movements
of the whole leg can be compared with movements of the whole arm,
though the range of movement for the leg is more limited. Direc-
tion and level for leg gestures are determined by the line between
the extremity of the limb, the foot, and the base, the hip.

CARRIAGE OF THE GESTURING LEG

In Labanotation the normal carriage of a gesturing leg is consid-
ered to be straight with a relaxed knee and foot. This natural
carriage of the leg occurs in many folk dances. In several styled
forms of dance, such as classical ballet, the leg is extended with
the knee taut and the foot pointed (stretched). When any consistent
use of the leg is basic to the style of movement it is indicated by a
key at the start of the score (see page 484).

Rotated State of the Legs

Natural variations among individuals preclude consideration of

any one particular form of rotation (inward, outward, or parallel)
as being considered "normal." Direction and degree of rotation
are stated at the beginning of the score in a key which applies to
both steps and gestures. In the context of the movement, a slight
inward or outward rotation may occur naturally as a physical need
resulting from the leg's spatial pattern. Such slight rotations are
often not observed by the untrained eye and in any case disappear
Chapter 10 Leg Gestures 141

automatically once the action is completed. Special changes in

rotation should be written at the moment they occur.

If no rotation is stated the reader is expected to perform the

movements in a natural manner. (For leg rotations see Chapter 17.)

PATH IN SPACE
Description of Motion or Destination

In the standard movement description

of Labanotation, direction
symbols state the destination be reached, not the relative path
to
of the movement. Place for a step is next to the previous support
(usually the other foot). Place low for a leg gesture is straight
down below the hip, next to the other leg. Thus a movement to the
center line of the body is a movement to place. A gesture past the
center line or away from it must be written with some other direc-
tion symbol. The following examples illustrate these differences.

180a m m
Step forward, Step in place, Gesture for- Gesture in place,
past the left next to the ward, in front the leg ending next
foot. left foot. of the body. to the left leg.

Judged from the starting point, backward low, the movement in

each of these examples is a forward directed one. But it is not
written with a forward symbol unless the destination is forward of
place, past the plumb line of the body.

Direct Path Leg Gestures

As with arm gestures, leg gestures move on a direct path from

one point in space to the next. When these points lie close together,
the leg will move in an arc. When the points are far apart, the leg
will probably pass through another direction, often through place
low. When moving between distant points, the leg will bend at the
knee so that the extremity, the foot, can follow a direct path.**

See Appendix B, note 6. See pages 118-120.

142 Leg Gestures

( <
m
o _ o.J
i O.J

1 i

181a

Low leg lifts High leg lifts

Straight Path Extensions of the Legs

The place middle direction can be used to show the foot passing
as close to the hip as possible. When the foot has been drawn into
place, it can then extend on a straight path into different directions.

o ,_ °. J
[L

" "
E L I
o o 0_

182a

Developing Enveloping A straight path Extension for-

forward from forward from forward to ward then
backward sideward

Depending upon the degree of inward or outward rotation, the knee

will bemore to the front or more to the side in these patterns.
Circular Leg Gestures

A low outward N A low inward

leg circle leg circle

183a ^ A
Chapter 10 Leg Gestures 143

J-
o
A large out- A large in-
ward leg circle ward leg circle
("grand rond de ("grand rond de
\>
jambe en dehors' jambe en dedans" I \

in ballet) in ballet)
1 o

183c r-

Leg Swings
swing the leg makes use of the force of gravity, so that
In a true
the downward motion is faster than the upward. Note how this is
indicated in the notation. A slight pause occurs before the leg
changes direction. The leg swings clear of the floor unless contact
with the floor is indicated (see Chapter 13 for touches and slides).

P
o
1

184a
Low
I
sagittal
1
J

Higher sagittal Lateral Leg swings

swings with swings swings with rising
demi-plie on support

Carriage of Free Leg in Open Steps

simple walking patterns carriage of the free leg is not empha-
In
sized; the transition between supports is accomplished in a natural,
appropriate manner. When walking forward, the free leg passes
close to the supporting leg on its way to begin the next step. When
there- is a change of direction in open steps, this coming through
place is not considered necessary; if it is desired, it must be spe-
cifically written as illustrated in the following examples.
144 Leg Gestures

\ W-/
185a

The dotted line represents the path of the free leg prior to the sec-
ond step. Fig. 185 (a) illustrates the normal direct path. In (b)
the use of place low is shown.

PLACE LOW LEG GESTURES

When the leg is brought to place low underneath the hip without
actually touching the floor, the exact manner in which it is held
will depend on the level of the accompanying support. If the sup-
port is high, the free leg can be straight with the foot almost as
extended as the supporting foot. With a middle level support, the
knee of the free leg is normally straight but relaxed, with the ankle
flexed so that the foot is just off the floor. With a low level sup-
port the knee of the free leg must be bent. The degree of this bend
will depend on the degree of bend in the supporting leg. When it is
of importance, the exact degree of bending for the gesture can be
shown (see Chapter 11).

/
/
/
186a SI
L_L

^n (
n
IT
I II
186d f
g
1
With a high With a high With a middle With a low
support support level support support
Chapter 10 Leg Gestures 145

THE TIMING OF LEG GESTURES

LEGATO AND STACCATO
J o_
A
break between the leg ges-
ture symbols signifies a break
I {
in the continuity ofmovement. o
/
Legato movement results when- /
u
ever one symbol follows another
without any break. In Fig. 187 i
(a) the left leg gesture is per-
formed in a legato manner. In 4
(b) the same space pattern is
o 1 o
performed with staccato gestures
187a

STEPS WITH LEG GESTURES

A simple walking pattern can be embellished by use of accom-
panying leg gestures. Such gestures may serve as a preparation
for the step, or may follow it. When the gesture is slow and the
step itself quick, the gesture gains in importance and may become
the main feature of the movement. When the step is slow and the
gesture quick, it is usually the step which is featured.

o
u
i
L X

188a

Quick step, Slow step, A gesture pre A gesture fol-

slow gesture quick gesture ceding a step lowing a step

Blending of Steps and Leg Gestures

The following examples range from complete separation of step

and leg gesture to the most fluent overlap of these two actions.
146 Leg Gestures

o
o 1 1
t :

A
189a
I
o

staccato perform-
i

The weight comes

t
to A
N
slight overlap in-
ance; each action is rest before the leg dicates the start of
separated in time gesture starts. The the gesture before
from the next. performance is not the center of weight
staccato, however. has come to rest.

In each of the above examples the action of

walking is interrupted, that is, the center \
of weight comes to rest over the supporting
leg. It is possible to walk continuously with
the center of weight in constant motion and
at the same time to perform leg gestures.
n
This action is shown in Fig. 189 (d). The
leg gesture can overlap the last half of the
step symbol. More overlap than this is not
physically possible. 189d

THE STEP-GESTURE RULE

A leg gesture cannot occur at the same time as a transference
of weight, that is, a step. It may appear
eye that a step
to the
and a leg gesture are simultaneous, particularly if the action is
quick, but in fact the leg gesture starts a fraction of a beat later.
A truly simultaneous gesture and step can occur only when the
weight is lifted from the ground by means of a slight spring. Un-
til the weight of the body is released from the foot, it cannot begin

to lift into the air and gesture. A simultaneous new support and
gesture occur in the darting movement called an "elance."

Swift step and Darting step-

gesture (call- !1 gesture (call-
ed "pique" in ed "elance" in
ballet) ballet)
190a 11
Chapter 10 Leg Gestures 147

The same kind of action occurs in a cutting step (called a

"coupe") in which one foot replaces the other as the support. In a
coupe the weight usually stays in place; during the moment of lift

off the ground one leg replaces the other. The degree of rise from
the ground can vary from merely lifting the weight without lifting
the feet from the floor to a full-fledged spring. When there is no
lift from the ground, a stepping action must occur with the gesture

following immediately.

n
m
e
< o
< ii
1
190c i i i i
Separated The same, Lifting the weight A springing
step -gesture more flow- enough to make change
(legato) ing the change

Because of the difference in expression, it is important to be

able to see clearly whether the movement is basically a stepping
or a springing action, or only lifting the weight, as in (e).

Change of Level of the Support During a Gesture

Because a change of level in the supporting

leg is not a step (a transference of weight),
ispossible to change level while gesturing si-
multaneously with the other leg.
it

191 m
AERIAL STEPS WITH LEG GESTURES
All simple forms of aerial steps, the five basic forms, can be em-
bellished by leg gestures. These may include flexions and also
beats, steps in which the legs contact each other while in the air.
The simplest form of springs with leg gestures is that in which a
specific direction for the free leg is stated at the time of landing.

SIMPLE SPRINGS WITH LEG GESTURES

Astatement of the destination of the free leg at its moment of
landing is sufficient for notating simple forms; movement of the
leg in the air need not be written.
148 Leg Gestures

o o
13 El
E.IP E> lb Lb
13 E.I E3 d>
F 1 k F> J.i 1J
192a ! b 1 d

Leap s Hops Combined forms Combined forms

SPATIAL VARIATIONS IN THE USE OF LEG GESTURES

The cha tracter of th( ? ba sic aerial forms changes according to
the di: recti on and timin g of leg gestures. Variations in direction
will be dea It with first.

Jumps with Leg Gestures

Because jumps take off from both feet and land on both feet,
leg gestures can only occur while the body is in the air. As a
rule these are simultaneous leg gestures. Note the difference in
movement among the following:

OB I
ITI &
I_
193a

No special gestures: The legs remain down, The legs separate

the legs move out separating just in time immediately in the
naturally to land in to produce an open air and so are ready
2nd position. position. for the open position.

In Fig. 193 (c) both legs gesture farther to the side than they
normally would just to land in second position.
 Chapter 10 Leg Gestures 149

The following are variations in a jump from closed feet:

n i
ft II ft
193d BI..JB
The legs The legs
, i i a
Both legs
g
Both legs One leg goes
spread spread for go to the pull up as to the side,
sidewards ward and right. close as the other
in the air. backward. possible. pulls up.

Step -Hop with Leg Gestures

Note the differences in the following sequences:

194a k
No gestures
indicated
A
One important
gesture stated
. UG
Both gestures
stated
- Ul
The supporting
leg darts back-
ward in the air,
Sissonnes with Leg Gestures

a
i

195a
The legs move
ID
The legs re-
c

The
I
BE
left leg
. OB
Both legs shoot
comfortably to main down un- gestures diag- out at once,
produce the fin- til the moment onally back at
ishing position, of landing. once.

In Fig. 195 (d) the right leg shoots farther forward than is re-
quired, landing diagonally forward. The extra energy needed to
perform these gestures produces more brilliant jumps. Note that
the direction of traveling is indicated by the landing support and
not by the leg gesture.
150 Leg Gestures

Assembles with Leg Gestures

196a
Q 1
A simple as- Bringing the Lifting the Opening both
semble start- legs immedi- right leg legs while in
ing with the leg ately together higher to the the air
out to the side in the air side in the air

Contact of the Legs During Jumps

In jumping the legs often touch while in the air. A horizontal

bow ^^ ^^ indicates this contact between the two legs.

3V

197a
1
or I
The legs come The legs touch Example (b) The legs remain
in during the when they come written more together in the
jump but do in during the simply air and open on
not touch. jump. landing.

Inwriting simple forms we need only show the contact bow as in

Figs. 197 (c) and (d). It can be assumed that the legs will meet

underneath the body and not in any other direction.

Beating the Legs During Jumps

In jumps the legs may beat, i.e. strike one an-

other with sufficient energy to produce sound, the
sound being affected by the kind of clothing worn.
A strong accent sign \ or > placed next to the ac-
m
K-^i
tive leg at the moment of contact signifies a beat.
Position signs (pins) indicate the relationship of the
legs
in
when they touch. Fig. 198 (a) shows a jump
fourth position with the legs beating in the air.
i198a
Chapter 10 Leg Gestures 151

m m m
198b

A
I
beat while chang-
\E
Changing the feet with
\m
A double change
ing 5th positions (an a beat but returning with beats ("en-
"entrechat royale" to the same 5th trechat six")
in ballet) ("entrechat quatre")

In recording fully the correct technical performance

of these balletic steps, a slight opening of the legs be-
tween each beat ought also to be indicated. (For very
as
small movements see Chapter 26.) In writing a brief
version of the pattern as a memory aid for those who
are already familiar with their correct performance
we need only indicate an entrechat six, as in Fig. 198(e) m
198e
Cabrioles

The cabriole is basically a step -hop in which one leg beats

against the other in the air. One leg rises into the air before the
other and usually it is the second leg which does the beating.

A simple
sideward
i
A forward
cabriole,
the left
T A double
cabriole
as done
cabriole leg beat- by a man
form ing the
right
199a 5:
Note the pin j for "below" which indicates that the active leg con-
tacts the other from below.

THE TIMING OF LEG GESTURES DURING AERIAL STEPS

The previous examples illustrating leg gestures during aerial
steps have been simple in timing. In leaps, hops, and assembles
where one leg gesture the overlap in the
starts after the other,
timing of the gestures is important. How quickly one leg follows
the other into the air can change the whole impetus and expression
152 Leg Gestures

of the action. In addition to the interrelation of the actions of the

two legs, the relationship with the music or other accompaniment,
if any, must be stated. The use of the time available is important.
Most jumps land on the beat. Most preparations for jumps are
fast. A slow preparation produces a heavy movement. When a
step is used as the preparation for a take-off, it will be a fast, re-
bound step. When the landing is also the preparation for the next
spring, it will be a fast rebound land-take-off. When the landing
concludes the phrase, more time will be taken to allow for a con-
trolled cushioning effect. By performing the reverse of the above
statements a grotesque or comic effect may be achieved. These
variations can easily be shown in Labanotation.

VARIATIONS IN PERFORMING A STEP-LEAP

In a step -leap pattern, there is usually an overlap in the action
of the leg gestures. As the preparatory step is finishing, the free
leg begins to lift. While it is still rising, the supporting leg lifts
and the body rises off the ground. The beginning of the second
gesture indicates the moment the body is in the air. If there is
no overlap at all in the performance of the leg gestures and a
step comes between as in Fig. 200 (d), an ordinary step -gesture
will result.

BJ
^ si

200a i

A
UN
step -leap with
fluent overlap-
i
No overlap in
the movement
A slow pre-
paratory step
w
Step-gesture
with no overlap
ping gestures of the gestures and simultan- of leg gestures
(the standard (a less fluent eous gestures (no rising into
comfortable leap) producing a the air)
performance) stilted leap

In all the above examples, the arrow shows the moment that the
body rises into the air. This is at the point when the support ends
or the second gesture starts.
 .

Chapter 10 Leg Gestures 153

Fig. 200 (e) shows a brilliant step-leap. The

preparatory step is fast; there is an overlap of
the first gesture with the step, and an overlap
t i
of the second gesture with the first. Though
3
fast, these actions are fluent and harmonious.
Both legs reach their destinations quickly, then
hold This allows the body to shoot through
still. X J] ,

<r~
the air unencumbered by movement, and produce
the impression of suspension 200e 1 i
PERFORMING AN ASSEMBLE
VARIATIONS

stilted through
IN

Performances of an assemble can range from

comfortable to brilliant, as the
following examples illustrate. In Fig. 201 (a)
m
the left leg bends quickly on count 2 so that the
i <-
body leaves the ground on the & of count 2, as
indicated by the arrow. On count 3 the height i I
of the jump is reached and by the following & the
201a
body is returning to the ground to land on count 1

m T
i
201b
In Fig. 201 (b) the
d
bending preparation on the slower and
left leg is
the rising into the air does not occur until count 3. This is a more
earthbound performance. In (c) the left leg is already bent so that
the preparation for the spring is static. The right gesture is faster
but no rising occurs until the last moment when the left leg leaves
the ground. The brevity of this moment in the air before landing
produces a very stilted, earthbound assemble. In contrast, (d)
indicates a fast bending on the left leg and a fast right leg gesture
for a quick take-off. The right leg then rapidly comes to place low
to join the other leg and both legs remain motionless until the mo-
ment of landing. This lack of activity while in the air helps to pro-
duce a suspension in mid-air which results in an exciting and dy-
namic jump.
154 Leg Gestures

TURNS WITH LEG GESTURES

In pivot turns on one foot, the free leg can perform a variety of
gestures during the turning action. The effect of the turn on these
gestures is comparable to the effect of turning on arm gestures.

PIVOT TURNS WITH LEG GESTURES

Carried Leg Gesture

A previously established leg gesture is carried along during a

turn, retaining its relation to the body. The body hold sign o may
be used as a reminder that the leg must be kept particularly still.
In Fig. 202 (a) the step -turn is accom-
panied by a backward leg gesture (a
"pique arabesque" turn in ballet). The
leg reaches its destination quickly so 7 / i
that it is not moving during most of the
turn. Two full turns are performed. i*
1
The preparation for (b) is from a second
o
position (feet apart), from which a double
turn ("pirouette") with the leg held to the
side is performed. This ends by lower-
ing the heel of the supporting leg; the ges-
K L
H i !

turing leg remains out to the side.

2 no

Simple and Augmented Horizontal Curves

Fig. 203 (a) shows a step followed by

a half -circular leg gesture. In (b) this
ture is augmented by a pivot turn into the
ges-
< i
same
gesture
direction.
is given.
The impression

Diminished Horizontal Curve

of a larger

203a
I m
When the accompanying turn is in the
opposite direction to a circular gesture, TK
the effect is that of diminishing the ges-
ture. Fig. 204 (a) shows the same ges- i
ture as in Fig. 203 (a) above perfor-
med with a quarter turn in the opposite "J

direction. If a half turn occurs, as in

(b), the result is the same as that of a
space hold for the left leg. 204a
Chapter 10 Leg Gestures 155

RETENTION IN SPACE - SPACE HOLD

€1 -0
When the leg is to retain its relation \

to a room direction, the space hold sign

I
is used. Fig. 205 (a) shows a low step
forward followed by a forward gesture \i
V
toward the right side of the room. Dur-
ing the turn the right leg has a space hold;
o
therefore it remains pointing toward that
room direction. All during the pivot turn
the leg changes its relation to the body,
finishing backward. This rotation of the
H-
205a
& m
leg in the hip socket is known in ballet
" "
as "rotation, "degage, " or "detourne.
In (b) the right leg which starts as a back-
ward gesture toward the left side of the
room, ends as a forward gesture from the 205c
hip. No change of level in the supporting Fouette releve
leg occurs in these two examples. Fig. (c) shows a swift rising
turn in which the leg gesture produces a whiplike action. This
movement is known as a "fouette releve" in ballet.

Simple Vertical Curve

Asimple vertical curve is shown in Fig. 206
(a). The limb rises
in a two-dimensional curve,
in this case in the sagittal plane. A simple lift- o

ing or lowering of the limb directly into any di-

rection produces a vertical plane curve.
206a k
Deviating or Skew Curve

When a simple rising or lowering leg gesture

is accompanied by a turn, it produces a three-
dimensional arc, that is, a deviating or skew
curve, as illustrated in Fig. 206 (b). 206b
Undeviating Vertical Plane Curve

To indicate a two-dimensional curve while turning, we must

state the relation of the gesture to the unchanging room directions.
The gesture is written as though no turn occurs, and the direction
stated is the one toward which the limb moves at the start of the ac-
tion. The space hold sign within the leg gesture symbol states that
the normal effect of the turn is counteracted.
156 Leg Gestures

Fig. 206 (c) shows a turn starting as the leg

&
begins to move toward stage left. The space
III.?
retention occurs all during the raising of the
leg and ends only when the leg arrives at
middle level. By then the action has become
206c -0
a backward gesture from the hip. The final
result is the same as one in which the ges-
ture is completed before the turn starts, and
B o
A
a space hold is in effect during the turn, as
i

in (d). The important difference is that in .

/
(c)the leg rises gradually all during the turn, 3
whereas in (d) it remains at the same level. 206d €1 \

LEG GESTURES WITH AERIAL TURNS

Each form of aerial step can combine
turning with leg gestures. The action
strokes used for simple aerial turns are T
readily converted into specific leg ges- \p\
tures. Fig. 207 (a) shows a half-turn
207a
jump without any specific leg gestures
in (b) the legs are shown to extend to the side. Steps which leave
the ground from one support usually use a blended form of turn
in which the turn starts on the support and then becomes aerial,

is
207c

Hop turning
k
Leap turning Assemble
>

Sissonne
turning turning

Hop Turn with a Space Hold

The basic pattern of Fig. 206 (c) can
also be performed as a hop turn in which
the gesturing leg has a space hold, as in
11
Fig. 208 (a). Because of the whiplike ac-
tion of the leg, in ballet this step is cal-
led "grand fouette saute en tournant," or
"fouette saute." Fig. 208 (b) shows a
208a t
more brilliant execution of this step. Fouette saute
Chapter 10 Leg Gestures 157

VARIATIONS ON A TURNING LEAP

The performance of a turning leap can be considerably varied
according to the timing and the spatial pattern of the leg gestures.

Fig. 209 shows the basic form: a

(a)
leap turn. shown to
In (b) the left leg is
gesture forward and the right leg back- 1 /
I /'
ward. The final position will be a support
on the left leg with the right leg backward.
.i
£h
As written here, this leap turn produces / : /
a fanlike effect, the legs performing arcs L L
as they are lifted. When the legs pass 209a I)

each other closely, rising on undeviating curves, as though con-

fined to a narrow space between two walls (a plane curve), (b)
would be incorrect. Below are some variations on this basic form.

& on I I I
'TO
T
Ok
/ it 1\
EP
f
209c
1 I k
g
One variation of this leap uses a space hold, as in Fig. 209 (c).
Here the quick preparatory step is followed at once by a fast ges-
ture forward for the left leg. When the turn starts and the body
leaves the ground, the left leg retains its direction in space, end-
ing backward from the hip, while the right leg gestures backward.
This backward gesture for the right leg is a fanning movement.
When this is not wanted, it should be written as an undeviating
curve as in (d). Fig. (e) shows the turn starting on the support-
ing foot while the left leg has an undeviating curve toward what
started as a forward action. The turn continues in the air with the
right leg down. When the turn is completed, the right leg whips
backward while the left leg comes down; the legs change places in
a scissorlike kick just before landing. The classical ballet ver-
sion of this turning leap, called a "grand jete en tournant en de-
hors, " or "tour jete" for short, is commonly written as (c), though
(d) and (e) are more correct when performances of those specific
forms are required. Fig. (f) shows the legs beating in the air; (g)
is a more brilliant rendition, the turn occurring later.
 ,

CHAPTER 11

Distance -Space Measurement

An unqualified direction symbol indicates an ordinary -sized step or

a normally extended gesture into the stated direction. The length
of these symbols indicates the timing of the actions, a longer or
shorter time spent in performing the given movement. The size of
the movement in terms of the distance covered, that is, the space
measurement, is stated with an additional indication. For supports,
thisgreater or less use of space results in longer or shorter steps.
For gestures, greater use of space results in the extension of the
limbs and lesser use of space results in the contraction of the limbs
bending them to draw the extremity closer to the center. For both
usages the concept of distance from center is the same.

THE SYMBOLS WHICH INDICATE DISTANCE

The principal signs used in space measurement are:

210a X
Short, narrow Very short,
i/r
Long, wide,
.h
Very long,
small, close very narrow, big, far very wide,
to center very small, etc. from center very far, etc

The symbols are commonly called the "narrow" and "wide"

signs, depending on the context, they
though in actual application,
may have any of the above meanings Though different words are
.

used, e.g. for x "a short step," "a narrow position of the feet,"
:

"a small distance from the center" (from place), "a slight bend"
(contraction), the basic idea is the same.
* See Appendix B, note 7.
Chapter 11 Distance - Space Measurement 159

GENERAL INDICATIONS
Space measurement signs can be used by themselves, as in Mo-
tif Writing, to give a general statement of an action or to describe
the idea of a movement.

T
211a
M l
A starting position show- General extension Traveling a
ing a general contraction for the right side long distance
of the whole body (very of the body (reach on a straight
small, closed in) out, stretch)* path

Such general statements allow for much freedom of interpreta-

tion;no exact degree of extension, contraction, or travel is given
and no specific shape or spatial result is prescribed. All these
may be notated in detail when required.

LENGTH OF STEPS
An ordinary step is the natural stride of the performer; there-
fore modifications of its length are based on the build of the per-
former rather than on any standard length in terms
of inches or
centimeters. Obviously four steps for a tall,long-legged person
will cover more ground than will the same number for a short per-
son. Exactness in measurement or in reaching a precise point on
stage can be indicated but is seldom required for general purposes.

Natural Modifications in Length

Certain modifications in the length of steps occur naturally.
High steps tend to be shorter than middle level steps, and in per-
forming low steps there is a natural tendency to reach out and co-
ver more ground. Forward steps are usually longer than sideward
or backward steps and open steps are, of course, longer than
crossing steps.

Indication of Length of Step

To modify the normal walking stride, the appropriate space

measurement sign is placed before the direction symbol indicating
a step. When used thus as a pre -sign, the space measurement
sign and the direction symbol are considered a unit in indicating

* See Appendix A, note 6.

160 Distance - Space Measurement

the timing of the action. Therefore the direction symbol is short-

ened by the length of the pre -sign (usually one square of graph
paper) so that the over -all length indicating the timing is not
changed. In the examples below each set of symbols indicates the
same time value. Those in Fig. 212 (a) are half notes; in (b)
quarter notes; in (c) eighth notes. The modified symbol occupies
the same length of time as the plain symbol.

L I

212 L b
i
U H b I b
The two degrees of narrow ( X and ^ ) and the two degrees of
wide (l/l and \A ) which suffice for the general description of length

of step are illustrated below.

213a

cvH <J>-6 <J?-6 ^6 v?-&

Very small Small Normal Long Extra long
step step step step step

Finer degrees are shown by using the six degree scale given on
page 162. Specific degrees for lengthening a step are on page 163.

Determining Length of Step

While great precision in notation is 214

possible when it is needed, for general
purposes the key to the size of steps
should not lie in the distance between
footprints, but rather in the movement
used to take the step - the action of the
legs and the traveling of the center of weight. One must observe
Chapter 11 Distance - Space Measurement 161

whether there is a drive to cover more ground than in a normal

comfortable step, or whether the performer is holding back, thus
producing smaller steps. Expending energy produces longer steps,
and containing or lacking energy produces shorter steps.

) >
OR
X
y

<
A

i
215a O

Folk dance step

i i
M.

Note that Fig. 215 (a) can also be

written as in (b). Since all these c
steps have the same modification
in size, the double narrow sign can
6
be placed outside in a path sign.
Fig. (c) could be similarly handled by using

NARROW AND WIDE POSITIONS OF THE FEET

The open positions of the feet may be
narrow or wide in the same way that steps
can be short or long. The appropriate pre-
sign is placed under each direction symbol
as in Fig. 216(a) or centered under the two
216a
symbols as in (b). The width of a position
of the feet is judged on the basis of the distance between the two
feet, not on the distance of each foot from center (place).

216c *: f \M

Feet A small A normal A wide A very wide

slightly second second second second
apart position position position position
162 Distance - Space Measurement

The distance of the separation of the feet

is the same whether the position is reached <>
through a jump, as in (h), or through step-
ping, as in (i). Because the pre-sign is con-
oM
sidered part of the support indication, the
moment of landing (the contact of the foot
with the floor) is understood to occur at the „.,,
, , ^ ,
2l6h ,
1
start of the pre -sign. Below are examples
of stepping or jumping into wider or narrower positions of the feet.

> < >

>
t
>
o.y\ it
i
<>
o)
> <>
<
o

1 it

217a
Stepping out with Stepping out alter- Jumping into increas-
the right foot nately right and left ingly wider positions

THE SIX -DEGREE SCALE OF NARROW AND WIDE

As a rule in Motif Writing only the two degrees of narrowing
and widening are used. In the structural description of movement,
finer degrees are needed for writing length of step and contraction
of the limbs. These are provided by adding dots to the basic signs,
thereby producing a scale of six degrees.

Degrees of Narrowing

The General Scale:

The Six Scale:

218

"Ord." represents the ordinary step length, or the normally

extended limb. In stepping, the sixth degree is totally closed, i.e.
it is equivalent to place.
Chapter 11 Distance - Space Measurement 163

Degrees ofWidening

The minimum degree of width for a step is of course place, the

maximum, "a split" or "stride" (the length of both legs). When the
precise length of step must be observed, the distance of one step in
the forward direction is stated as being two foot lengths from heel
to heel when the whole foot is on the ground. The longest step is
generally considered to be three and a half step lengths (seven times
the foot length). More degrees exist for long steps than for short.

Scale for Long Steps. This scale for degrees of length applies
only to steps. The limbs can only lengthen two degrees.

The general scale: Ord. \A H M

The specific scale: Ord. V\ 1/1 IH Y\ M « H A
Step length: 1 2 3
219

Fig. 220 illustrates the progression in degrees of widening an open

position of the feet until a split is reached. The numbers given
here refer to step lengths.

General
statement

Specific
statement

220

Observe between place and a normal forward step there are

that
six subdivisions; between one step length and two there are four;
and between two step lengths and three there are only three. While
this may not seem mathematically correct, it is physically prac-
tical, in that the dancer needs to make more distinctions between
small steps than large.

Statement of Scale Used - General or Specific

Where no specific indication is given, the general usage is un-

derstood to apply. To indicate the specific scale for steps, the fol-
lowing statements should be made:
X -I H - li
164 Distance - Space Measurement

These indications are usually placed at the start of a score but

can appear outside the staff next to a statement which needs clari-
ig. In actual practice such indication of scale is only required
incidentally for the single symbols X and \A. since any addition of
dots immediately denotes the ise : the specific scale, and the
doubled signs * and M are the same in both scales. Below are
. which the sc -rated. Fig. 221 (c) shows the state-
ment o: see page 449 for the distance sign).

Use of the c [D- iv

the 6 specific _ _ 1 Use of the
- c
k - ale for distance
i
for / 1c: -:ni, each
X -,
^hort —— V*1 lunge step is 1ft
steps forward) 6 ins long

221a b
The performance' s:zr. * can al: ~ed to indicate pre -

d in interpretation. (See page 356.)

E GESTURES OF THE LIMBS

The narrow and wide signs are used to describe flexion (contrac-
tion)and extension of the limbs (arms, legs, hands) and to some
ent the whole torso (spine). In using less space, the limbs dr.
in closer to the be. ard the point of attachment. In using
more space, the from the body.
-

Analys - Movement
ension is the lengthening of a part of the body into the dir
tion already established or into a stated new direction. The ex-
of the limb, the free end. keeps its line of direction with
the base, the point of attachment.

. :hod of W rating
~ra.ee me. signs H 2nd M indicate extension.
Ove sion (reaching out in space), which involves the part of
the body to which the limb is attached, is indicated by an extension
plus an inclusion sign (see Chapter 15). When used as a pre
before a direction symbol, the space measurement sign modi-
fies performance of a gesture in the given direction.
Chapter 11 Distance - Space Measurement 165

EXTENSION OF THE LEGS

Inan ordinary leg gesture it is understood that the knee, ankle,
and foot are relaxed. To indicate a straight leg, the symbol H is
placed in front of the direction symbol in the leg gesture column.
Two degrees of extension are possible.
Knee, ankle Fully ex-
and foot tended leg;
extended in
one line.
lengthened
to the utmost.
mi
222a

The difference between kl and 1/1 in extending the leg is not easily
seen in a drawing but the muscular effect is quite noticeable. The
leg takes on a different appearance; there is a muscular lengthening
in both directions, i.e. the muscles are "pulled up" and at the same
time kinetic energy "projects" out through the foot. The limb is taut,
but not tense: the energy is expended in the act of extension, caus-
ing neither stiffening nor cramp. Correct use of muscular relaxa-
tion will result in greater extension.

Only the two degrees of extension given above are possible with-
in the limb itself. To extend further, to make greater use of space,
the leg must pull out from the body so that the hip joint is involved."

EXTENSION OF THE ARMS

The arm also has only two degrees of extension. It is normally
held with a very slightly curved elbow and wrist. The hand is also
curved, the degree of this curve being individual. In the first de-
gree of extension, the elbow, wrist and hand straighten so that the
whole arm becomes one straight line. In the second degree of ex-
tension, the limb lengthens further through the use of the muscles.
This additional lengthening is only a small change spatially but it
affects the expression of the movement considerably. The energy
used for this extra extension causes neither stiffening nor cramp.

The arm is K
=
^^ The arm is
straight '/ 'MEZ=^Ss *
extended
one line M 223a and taut -
* b
The difference between Figs. 223 (a) and (b) can be seen and
felt muscularly but it is not easily drawn.

* See Appendix B, note 8.

166 Distance - Space Measurement

FLEXION: CONTRACTION*
Contraction, also called "shortening" or "drawing in, " is one
form of flexion. The term "contraction" is used in its anatomical
sense and not, as in certain contemporary dance techniques, spe-
cifically applied to a stylized movement of the torso.

Typical examples of contraction and extension which occur in

everyday life are:

For the legs: pedaling a bicycle, braking a car, rowing a scull.

For the arms: boxing, archery, rowing, pushing furniture,
opening an umbrella, planing wood.

In these actions we can see that the drawing in of the limb close
to the center to make functional use of the force within the body is
more important than any exact placement in space of the parts of
the limbs. In dance, though such gestures as these are performed
for expressive rather than functional reasons and an increase in
energy may or may not be present, the basic actions of drawing in
and of reaching out are physically the same.

Analysis of Movement

Contraction is the drawing in of the extremity of the limb (the

free end) toward its base (the point of attachment or the fixed end).
A contraction of the arm or leg involves a simultaneous flexion of
two joints - the center joint of the limb and that at the point of at-
tachment. For the arms these are the elbow and shoulder; for the
leg, the knee and hip. In an extended limb, the extremity, the cen-
ter joint, and the base are all in one line. In Fig. 224 (a) this line
is represented by x-y, with z as the
center joint. As the extremity y ap-
proaches the base x the angle at z
,

will decrease and the point z will be

displaced in space. The greater the
diminution of this angle, the greater z.o

the displacement. Thus in contracting

the leg, the knee is displaced from its
point on the line x-y while the foot
and hip keep the original line of direc-
tion. It is important to note in (b) that 224a
neither section of the limb lies in the
original line of direction, though the extremity and base do.
* See page 319 for bending (folding), the other form of flexion
Chapter 11 Distance - Space Measurement 167

Method of Writing

The symbol X and its variants are used for gestures of the limbs
to indicate contractions. The required pre -sign X, X, etc., is
placed in front of the direction symbol in the appropriate column
for the arm, leg, or torso.

CONTRACTION OF THE LEG

In a contraction of the leg, flexion is understood to occur in the
hip joint and in the knee, but not in the ankle joint. Any contraction
in the ankle joint must be specifically stated.

Degrees of Contraction in the Place Low Direction

In these illustrations the leg is shown to be turned out and the
foot to extend as is customary in ballet. The direction shown for
the leg as a whole is place low, that is, straight down. Although
the leg bends more and more, the foot retains the same relation-
ship to the hip, remaining directly below it. As the bending in-
creases the knee becomes more and more displaced to the side. It
is important to recognize that the direction of the knee is not the
direction of the leg as a whole.

I
225a

I I I
#
225d

The direction of the knee's displace-

ment will depend on the inward or out-
ward rotation of the limb. Fig. 225 (c)
above shows the effect of an outward
rotation; (g) illustrates the same de-
gree of contraction with the legs paral-
lel. The notation here does not include
225g
A
1 90 contraction in
the rotation (see Chapter 17). the parallel state
168 Distance - Space Measurement

Degrees of Contraction in the Side Low Direction

226d
4 degrees 5 degrees 6 degrees, totally bent

Note that the last degree of contraction for the leg cannot be
performed by the limb alone; some outside assistance is required
to pull the foot in that close to the hip.

Degrees of Contraction in the Forward Middle Direction

ID I

x M
227a
1 degree 2 degrees 3 degrees

ID IE ID

or

Jfl

227d f

4 degrees 5 degrees 6 degrees, totally bent

The above examples are illustrated with parallel legs in a sitting

position on the floor where such positions commonly occur. The
actions can also be performed with outward rotation.
Chapter 11 Distance - Space Measurement 169

CONTRACTION OF THE ARMS

The general direction for the whole arm, as stated by the direc-
tion symbol, is the line from the shoulder to the hand. In contrac-
tions of the whole arm, flexion occurs in the shoulder joint and in
the elbow. Any flexion in the wrist or fingers must be written se-
parately. A flexion of the elbow joint alone causes only the lower
arm change its direction
to in space and is therefore not an action
of the whole limb.

When the arm contracts, neither its upper nor lower part re-
mains As the degree of bending
in the originally stated direction.
increases, the elbow becomes progressively more displaced in
space. Regardless of this displacement, the extremities of the
limb, the hand and shoulder, retain the same spatial relationship.
The exact direction of the elbow will depend on the degree of rota-
tion, outward or inward, given for the limb as a whole.

Degrees of Contractions in the Forward Middle Direction

The following examples show the degrees of bending the arm in
the forward middle direction. The illustrations are drawn as seen
from above. Depending on the individual proportions of the parts
of the limbs, it may be the center of the hand or the wrist which
ends in front of the shoulder when total contraction occurs.

[L

1 degree 2 degrees 3 degrees

normal
. (rounded) (bent) (90° angle)
d

&•> ) &
6 degrees
4 degrees 5 degrees
(totally flexed)
g
Fig. 228

As the arm contracts and the hand draws in to the shoulder, the
elbow moves more and more to the side, ending side middle.
170 Distance - Space Measurement

If this forward arm gesture is performed with the palm facing

up (with outward rotation), the degree of bending will be the same,

but the spatial result will be different because of the rotation. In-
stead of ending out to the side as in the previous examples, the el-
bow lowers gradually until it is straight down in a complete con-
traction, as shown below. The indication for the rotation of the
arms is not given here (see Chapter 17).

I
\-^ degree
&
1 2 degrees
Normal
229a (rounded) (bent)

& & &-

*
3 degrees 6 degrees
4 degrees 5 degrees
(90° angle) (fully flexed)
g

An exact description of the final position reached can be given

by stating the precise degree of rotation, the degree of contraction,
and the direction of the limb as a whole. But if the final position
to be reached, i.e. placement of the limb in space, is important
it should be indicated by direction symbols for the parts of the

limb. A description in terms of contraction using narrow signs

should be employed whenever the action of drawing in the limb to-
ward the center is of prime importance.
Contraction in the Place High Direction

The following example of a 90 contraction with the arm place

high is illustrated with a normally held arm and with outward rota-
tion of the limb.
r
Regardless of /
the rotation /
used the hand /
[/
finishes above
X
the shoulder.
Arm with nor- Arm with out-
230 ) mal rotation ward rotation
 )

Chapter 11 Distance - Space Measurement 171

Contractions in the Place Low Direction

The following examples show the result of a 90 contraction of
the arm in the place low direction using different states of rotation,

Regardless of
the rotation
used the hand
finishes below
IX
the shoulder. Palm facing in Palm facing for
231 ti toward the body ward (outward
(normal rotation) rotation)

DURATION OF NARROW AND WIDE SIGNS FOR GESTURES

Space measurement signs are not elongated to indicate an in-
crease in the duration of the action.

Without Change of Direction - Sudden

Once the direction for the limb has been stated, we need only
towrite the isolated signs for sudden contractions or extensions
which remain in the same basic direction.

I/I v\

*p x>
i
o X As i\
232
a I I
The arms contract The contractions are not only quick but
quickly, then are accented, i.e. sharp, staccato.
extend quickly. (See page 478 for accent signs .

Without Change of Direction - Sustained

When the limbs remain in the same spatial direction, the tim-
ing of sustained contractions and extensions can be shown by a
duration line." Repetition of the direction symbol is unnecessary.
In Structural Description the action stroke means "perform this
action in the simplest, most suitable way." Freedom in choice of
action is shown by using the ad libitum sign 1 (See pages 354-5.)
.

* See Appendix A, note 6.

172 Distance - Space Measurement

While contract- The same leg ac-

ing and extend- aware-
tion but
ing the arm and ness of the for- Pi1 M
leg remain in ward direction is
the forward mid- emphasized; spe-
dle direction.
- t L cific directions
given for the arm.
233a

With Change of Direction

When a narrow or wide sign is placed before

a direction symbol it is considered as a unit with
that direction symbol with regard to timing. The
action of contracting or stretching is understood

to be spread over the amount of time indicated

by the direction symbol as well. Thus in Fig.
234 (a) the right leg takes two counts to contract
two degrees while it lifts into the forward middle
direction, and one count to extend while moving
to side middle. Though the symbol appears at
the beginning as a pre -sign, the action is spread
throughout the time available.
1234a

When the same state -of contraction or of extension is to be held,

the same pre -sign new direction symbol. Without
is stated for the
this repeated pre-sign, the limb will return to its normal state.

Move the right leg Move the right arm

forward contract- to side right exten-
)
ing it two degrees, * ding two degrees,
it H
then move it side then forward keep-
low, keeping the ing the same degree
same contraction. 234b o X| of extension. o l>1

Motion or Destination

By themselves degrees of contrac-

tion state established destinations. In
going from a greater degree of contrac-
tion to a lesser, the action is one of ex-
tension. This may be written as in Fig.
235a b *
235 (a) which states the motion of ex-
tending, but in Structural Description usually destination is written
as in (b). (See pages 184 and 341 for \J f\
representing motion.)
,
 .

Chapter 11 Distance - Space Measurement 173

TOTAL CONTRACTION VERSUS THE DIRECTION PLACE

Theoretically a fully con-
tracted arm is at place (hand
close to shoulder); therefore
Figs. 236 (a) and (b) mean ED
generally the same thing. In
practice the choice of descrip- <> <>
tion depends on the expression i ) 4
of the movement, for (a) em- E3
phasizes the spatial direction
(place) and (b) the action of il <>
drawing in the limb. The a-
wareness of the action is dif-
ferent for the performer and
the resulting change of expres-
sion is observable to an onlooke r 236a

READING MATERIAL: LEG AND ARM GESTURES

No statement of rotation is given for the following examples;
their performance is left open to interpretation. The effect of leg
rotation changes neither the basic direction nor degree of bending.

I *

i <

n ? J
Vt

* .
3

S E
h
n

1 F

237a

Run with bent back- Do two skips and Kick the leg out from
ward gestures, then a gallop with the underneath on each hop.
a forward hitch kick legs pulled up Pull it in on sideward
with bent legs. underneath. springs.
174 Distance - Space Measurement

READING MATERIAL

238a

BENDING AND STRETCHING THE LEGS WHILE SUPPORTING

The signs X and \A when placed in the leg gesture column next
,

to a support symbol, indicate the state of contraction or extension

of the leg during that support.

Degrees of Knee Bends

The general indication of a low support, that is, of a support
with a bent leg, shown by a shaded direction symbol, can be expres-
sed more specifically by the use of the appropriate contraction sym-
bol. The six degrees of contracting the legs can be shown solely
through the use of the contraction signs; however, the convention
of using middle level symbols when the leg is almost straight and
low level symbols when the legs are definitely bent is applied, be-
cause these indications facilitate reading. The appropriate contrac-
tion sign is added to the appropriate level of support.

The following examples describing the six degrees of knee bends

are illustrated with the legs both out -turned and parallel. The
basic support and degree of leg contraction are the same regard-
less of leg rotations. The half knee bend (demi-plie) varies with
different performers, generally falling between Figs. 239 (c) and
(d); (f) is a full knee bend (grand plie) and (g) produces a squat.
Chapter 11 Distance - Space Measurement 175

239
g *lHi
or or
H (a squat)

The exact degree knee bend equivalent to an ordinary low

of
level support is also left open. For some it is lower than for
others. The commonly used degree probably lies between Fig. 239
(c) and (d). Once low level has been reached, from (d) on, the
support is written as a low support with the additional information
of the degree of knee bend. As the leg bending increases, it is
common for the heels to leave the ground. The moment this must
occur varies with the individual build of the performer. The exact
use of the foot can be stated by adding the appropriate hooks to the
support symbols (see Chapter 13).

Modified Steps
**
The sign X or M placed next to a step modifies the whole step.

A normal walk A high level

with slightly walk with
bent legs

240a
I bent legs
\ /
/

Note the difference between Figs. 240 (a) and (b) where the con-
traction sign modifies the step and (c) and (d) where it describes
the free leg as it prepares to take the step which follows.

*See also page 401, Fig. 611. **See Appendix B, note 9.

 .

176 Distance - Space Measurement

X
Picking up the The same as
free foot while (c) but in low
X
stepping in level
place
240c

Length of Step with Contraction or Extension o f Supporting Leg

Space measurement signs for length of step and degree of con-

tracting or stretching the leg can be written side by side. Note
the following combinations:

t
MX
t
kin
1
241
!i
a XX XM MX_

Short steps, Short steps, Long steps, Long steps

bent knees stretched knees stretched knees bent knees

DURATION OF NARROW AND WIDE SIGNS FOR SUPPORTS

The sign X or H placed next to a sup-
port symbol modifies the whole symbol.
In quick steps as in Fig. 242 (a), there d.
isno time for differentiation in the mo-
ment when the contraction starts and o
when it is completed. 242a

slow steps changes in leg contraction and extension can take

In
place during the transference of weight. Bending can occur at the
beginning, in the middle, or at the end of a step. Timing of the
bending is shown by the addition of the action stroke (duration line).

X
I

X X
-
242 • •

1
'l
. X C X d e f

Bending at The same Bending in The same Bending at

the start but slower the middle but slower the end
 .

Chapter 11 Distance - Space Measurement 177

Note that in Figs. 242 (b), (c), and (d) the degree of contraction
achieved is kept for the rest of the transference of weight. When
the expanded staff is used, the x or H indication is placed in the
space adjacent to the support column (the "a" column).

Change in Carriage of the Legs during Supports

When consecutive identical indications occur, the limb retains

its state of contraction or extension. Only on the first indication
will there be an actual change to that state of contraction or exten-
sion. Note the difference between Figs. 243 (a) and (b).

On the first step On the first two

the right knee steps the degree
bends two degrees of knee bend is
This is cancelled achieved; on the
when the left leg next two steps it

takes a normal is maintained.

middle level step. 243a

DISTANCE OF LEG GESTURE FROM SUPPORT

A low leg gesture should be at a 45 angle from the vertical line.
Often the leg should be lower, nearer the other leg and hence also
closer to the ground. Intermediate directions can indicate the pre-
cise directional point to which the leg moves, but a practical
method of showing nearness to the support is to place the appropri-
ate narrow sign in the support column of the gesturing leg. This
follows the logic of distance from center applied to length of step.

Distance of Leg Gestures While Standing

The angle of a low leg gesture is modified the moment contact

with the floor is indicated by the addition of hooks to the direction
symbol (see Chapter 13). Before the leg actually touches the floor,
itmay be lowered two degrees from the normal 45 angle.

p p p
244a on
Ordinary
, lb
Near
m the
»
Very near
low level floor the floor
178 Distance - Space Measurement

Distance of Leg Gestures during Jumps

The following examples illustrate variations in the distance of

low leg gestures from the ground.

245a
ffl
The normal 45 angle for low
side leg gestures
S
The legs closer together,
nearer to center

<!
245c
The legs only slightly apart A leap with the legs slightly
forward and backward
CANCE LLATIONS
The rules for canceling space measurement signs which are used
for length of step and for canceling contractions and extensions
will be considered separately.

LENGTH OF STEP
A space measurement sign placed before a direction symbol
lasts as long as thatsymbol is in effect. The particular pre -sign
must be repeated if it is to apply to subsequent direction symbols.

I 5

ffl ffl 11

246a
The step on count The step on The position on The position on
3 is a normal- count 3 is a count 2 is of count 2 is a
sized step. small step. normal size. wide position.
Chapter 11 Distance - Space Measurement 179

When the size of step is shown by

placing the space measurement sign in a
path sign outside the staff on the right,
the size of all directional steps that oc-
cur during the length of the path sign is
affected. At the conclusion of the path
sign this modification ends. Therefore
in Fig. 247 the last step is of normal size.
247

STATE OF LEG DURING STEP

The indication for the
the leg during a step,
state of
bent or ex-
I I
tended, lasts only for the step
next to which it is placed; there- i I
fore in Fig. 248 (a) the right leg
steps in the normal manner on the
third beat. In (b) it is again bent.
248a
In a slow step, a particular state
of contraction or extension can be
shown to return to normal during
the course of the transference of © o
,.

weight. In (c) the slight bending of

the leg during the first half of the
step disappears during the second
half. This return to normal is indi-
-=
cated by the back to normal sign 248c .

In (d) both these actions are sudden.

Retention of Bent or Stretched State for Steps

OO O
To show a series of steps to be performed
with bent or stretched knees, a retention sign
is placed over the space measurement sign.
This indication is cancelled by a return to
normal sign 0, * as in Fig. 249.
o •
o
249 X X
GESTURES OF THE LIMBS
The space measurement pre-sign is valid only as long as the
symbol before which it is placed is valid. To retain the same
state of contraction or extension, the pre-sign must be repeated.

See Appendix A, note 5.

180 Distance - Space Measurement

o ,» o
n
x *
L

T
/
• •
/
A
250a \ x b ! x c ( ) ft d t > pi

A normally ex- A bent arm A normally A very extended

tended arm and and leg on held arm arm on count 2
leg on count 2 count 2 on count 2

When the limb retains the same spatial

direction but returns to the normal state t

after a contraction or extension, we can

©
use the unqualified direction symbol or I
the back -to -normal indication. The first.
Fig. 250 (e), emphasizes an awareness o o *
of the direction; the latter, (f), the nor-
mal state.
250e

Retention of Bent or Stretched State for Gestures

To keep a state of contraction or extension during a series of

gestures without having to repeat the pre -sign for each direction
symbol, a retention sign can be used when the pre -sign first ap-
pears, or the indication may be placed within an addition bracket.

In Fig. 251 (a) thetwo-degree con-

traction for the arm
is cancelled on

count 4. The back -to -normal sign

is used here as a pre -sign to indicate
\ I
1 1
the normal carriage of the arm. In
(b) thenarrow sign is written in the q q
adjacent column and tied to the arm h H
column by a small horizontal bow ^^.
The cancellation on count 4 also ap-
pears in this column. Note that be- o
X
cause the starting position has no
timing the indication can be written
1 1
as in either (a) or (b). 251a

For use of the addition bracket to eliminate repetition of the

same pre-sign, see page 483.
 .

CHAPTER 12

Floor Pattern, Paths

FLOOR PATTERN
A floor pattern is the design made by a dancer or several dancers
performing steps which travel across and around the stage area.
In a dance score indication of the path, direction, distance, degree
of circling, etc. is part of the movement instruction. At the same
time floor plans illustrating starting and finishing positions as
well as paths are usually given alongside the movement staff to
provide a visual aid. (For details of floor plans see Chapter 22.)

THE STAGE AREA*

The room or stage in which the per-
former moves is represented by an open Front
rectangle, the open side being the front
of the room, the audience. Rooms and
stages vary considerably in size and
shape. Fig. 252 represents one of gen- cd

eral proportions, greater in width than

in depth. For individual needs the area
Back
can be scaled to an appropriate, relative
size and shape 252

INDICATION OF THE PERFORMER

In the following floor plans which illustrate the performer's
change of situation a white pin ^ which indicates a girl, is used
,

to show the starting position, and a wedge A to indicate her finish-

ing position. The point of the pin or wedge indicates the direction
in which she faces. (See page 365.)

See Appendix B, note 10.

 ,

182 Floor Pattern. Paths

INDICATION OF PATH
A path across the floor is indicated on the floor plan by the use
of an arrow which shows the progression from the starting point.

253a

The performer makes a half The same path with the finishing
circle path to the right, end- position shown: the performer
ing center stage. ends facing the back of the room

THE SPECIFIC AREAS IN THE ROOM

The specific parts of the room or stage are identified by repre
sentative signs.

m - center of the
room or stage

L_J
- front (downstage) c m
^j - back (upstage)
254
1 - left side (stage left)

- right side (stage right)

J
w~-\ - front left corner (down- front right corner
—
1

' stage left) (downstage right)

back left corner back right corner

(upstage left) (upstage right)

Additional area signs are given in the glossary, page 505

GENERAL INDICATION OF PATHS

Notation of a specific choreographic work involves precise record-
ing of paths; in many folk dances, for example, the paths are detail
ed and exact. But a general statement only is sufficient for many
notation purposes; details may be added as desired.
 )

Chapter 12 Floor Pattern, Paths 183

BASIC SIGNS FOR PATH

Straight Path

The straight path sign, Fig. 255 (a), is the gen-

eral indication for traveling on a straight line.
When placed next to a description of specific steps
itprovides additional information regarding the
performance of those steps. (See page 84.
255a
Circular Path

The signs for circular path are

\
derived from the signs for turning. \ \ /
The slanting parallel lines are con-
nected by a central vertical line to
denote a path sign. Fig. 255 (b) is
the parallelogram indicating a turn
\ \
/ /
to the left; (c) is the sign for a cir- 255b c d e
cular path to the left (counterclock-
wise); (e) is the turn sign for a cir-
cular path to the right (clockwise). r~\ /
The length of the path sign indi-
cates its duration. By following the
top slanted line, one can see clearly
the indication for circling left or
right as illustrated by the dotted
lines in (f) and (g). 255f

GENERAL DESCRIPTION OF PATH

When freedom of interpretation is allowed, the following indi-
cations suggest the path desired, providing a progression from the
greatest possible freedom to more and more specific instructions.
In Motif Writing, where details are not stated, interpretation is
open to the performer.

X T V /

256a X x y
Any path Horizontal A straight A circular A circular
circular path path path to the path to the
right or left left right
 . .

184 Floor Pattern, Paths

Size of path, direction of step, and amount of change of front during

circular paths are left open to the performer. The sign for "any
path" is derived from the ad libitum sign ) or ^ .

PATH APPROACHING
The aim of a path may be for the performer to move toward a
person, object, or part of the room. This aim is stated as a focal
point which may later be identified (see page 111). The action of
approaching, of motion toward a focal point or state of being, is
indicated by an elongated V sign. This sign was formerly called
the increase sign and in some contexts is still used in that sense.
The length of the sign indicates timing.

Sign for a Sign for Approaching

focal point approaching, the focal
motion toward point
257a

The concept of approaching can be

combined with various indications for
paths. Fig. 257 (d) shows a straight
T
path approaching the focal point. In (e)
approaching on a circular path produces
an inward spiral path (see page 203).*
257d
1
PATH WITHDRAWING
Motion away from a focal point or state
of being is represented by an elongated in-
verted V , as in Fig. 258 (a). Fig. (b) 258a
shows withdrawing from a focal point.
This indication combined with a path sign
may show withdrawing on any path, as in
(c), or withdrawing on a circular path

(spiraling out) as in (d). *

A part of the room can be designated

258c I A
instead of a focal point. Fig. (e) shows
any path moving away from the back of T T
the room, while (f) shows a straight path
approaching the front of the room
A v
* See Appendix B, note 1 1
258e 1 ,1
Chapter 12 Floor Pattern, Paths 185

STARTING POINT AND DESTINATION OF PATH

The appropriate stage area sign is placed to the left of the start-
where the performer is situated when he be-
ing position to indicate
gins to move. This placement is used for Motif Writing as well as
for structured scores.
Y
Start in the center Start in the left
of the room in a upstage corner
low position, then area facing the
perform a clock- 259 downstage right \
wise circular path direction.
I
When a path arrives at the focal point,
or reaches a person, object, or part of •) s
9
the room, the indication for this aim is
placed at the end of the path sign and is
tied to with a small vertical bow. Fig.
it

259 (c) shows a straight path arriving at

the focal point; (d) shows reaching the
focal point on a circular path, and (e)
arriving at the center area on any path. 259c

GENERAL STATEMENT OF SIZE

Space measurement signs are used
general size of a path,
to indicate the
the distance covered. Fig. 260 (a)
* \A
shows any short path; (b) shows a very
small clockwise circle, and (c) a very
large counterclockwise circle. 260a b /
SPECIFIC INDICATIONS OF CIRCULAR PATHS
A circular floor pattern can be achieved by a constant change in
directional steps without any change of front, or by steps with a
slight pivot between each step.

CIRCULAR FLOOR PATTERN

A circular floor pattern without a change of front can be descri-
bed by a constant sequential change in the direction of each step.
The circular floor pattern thus produced, however, is not true cir-
cling (a circular path), which must include a change of front as well.
186 Floor Pattern, Paths

/
t
\
1

I
In thisdiagram the line of
the path is broken to show
where each individual step
261a lies.

The step sequence shown (a) produces a circular

in Fig. 261
pattern as illustrated in (b). There
no change of front. In (c)
is
the step sequence produces the same pattern by an \ pivot turn
after each forward step. Though in both (a) and (b) a circular
shape results, the feeling is not the same as walking on a circular
path. The placement of the feet required in walking in a circle
and the gradual change of front are described on page 193.

AMOUNT OF CIRCLING
To show how much performed, the vertical
of a circle is to be
line of the path sign is broken and the appropriate black pin is
placed inside to show the degree of turn, of change of front. This
usage of black pins follows that for turn signs (see Chapter 8).

X v V X

262a y c X d /
One full circle A half circle Two circles A quarter
clockwise counterclock- to the left circle to
wise the right

Interrelation of Segment of Circle and Degree of Turning

The segment of the circle, a quarter, a half, three quarters,

etc., and the degree of turning, the change of front, must agree.
In a whole circle the performer will end facing the direction in
 _ .

Chapter 12 Floor Pattern, Paths 187

which he started, in a half circle he will face the opposite direc-

tion, and so on. The following examples include front signs (stage
directions) to show this interrelationship. Note the placement of
*
the path signs on the right of the staff.

6 Ef \

263
a -a bm
Start facing left, Start facing left front, Start facing right
walk | circle walk | circle counter- walk | circle
clockwise, end clockwise, end facing clockwise, end
facing front. right front. facing front.

Determining Segments of Circling

Many curved paths can be divided

into segments of a circle. Fig. 264(a)
illustrates a path walked with forward
steps which can be broken into por-
tions of circling: \ circle clockwise,
5 circle counterclockwise, straight
for a few steps, \ circle counterclock- 264a
wise and finally J circle clockwise. This path is notated below

El _,!

264

b Ef — Front signs are placed after circling ends

when space allows
See Appendix A, note 7.
188 Floor Pattern, Paths

SIZE OF CIRCULAR PATH

The actual size of a circle is determined by:

1. The number of steps taken, and

2. The length of the steps.

The fewer the steps, the smaller the circle performed. The smal-
ler the steps, the smaller the circle performed. Conversely, more
steps or larger steps will increase the size of the circle. The in-
dications for size of steps, short or long, are given in Chapter 11.
If all steps are in place, the circling will occur around oneself.

O 1 £

265a X
Few steps: small circle Many steps: large circle

i /
n
*
i ( s

1 i 1 A'

> "a
t \ y

265c \ 1 /
Small steps: small circle Longer steps: larger circle

SITUATION OF THE CIRCLE

From any given point it is possible to walk eight different circles
by using the eight main step directions: forward, backward, right
left, and the four diagonal directions that lie between. Where the
circle will lie in relation to the starting point will depend on the di-
rection of the steps and whether circling is clockwise or counter-
clockwise. In every case the performer is situated at the circum-
ference of the circle and travels around the circumference.
Chapter 12 Floor Pattern. Paths 18

The performer does not start at the

center of the circle. The center of
the circle lies at a certain distance
from the performer and is the point
around which the performer moves.
This point lies at right angles to the
direction of the steps. The relation
of the center of the circle to the per-
former remains constant throughout
the path traveled.
266a
In Fig. 266 (a) the white pin re-
Eight possible circles
presents the performer. From
that can be performed
this starting position he can de-
from a given point
scribe any of the eight circles.

Fig. 266 (b) illustrates the following combinations of direction

of steps with direction of circling:

Circle "a" =
61 « PI
Circle "b" = [jj or
[]J

Circle "c" = or
|)J <J J

Circle "d'

266b

Fig. 266 (c) illustrates the following combinations of diagonal

steps and the direction of circling:

Circle "e
hi « qi
Circle "f
ul - PI
Circle "g" = or
(jl Pi
Circle "h" = hT or Hi
266c
90 Floor Pattern. Paths

Forward Steps
When we take forward steps, the center of the circle lies to our
right when traveling clockwise and to our left when traveling
counterclockwise. Note the dot marking the center of the circle.

Circle lies Circle lies

267a to the right, to the left.

Backward Steps
With backward steps, the center of the circle lies to our left when
traveling clockwise, to our right when traveling counterclockwise.

/ V

Circle lies Circle lies

267c to the left. to the right

Sideward Steps

When we take sideward steps to the right, the center of the cir
cle lies behind us when we travel clockwise and in front of us
when we travel counterclockwise.

.0
> >
ifl

>
m tfc>

>
it> Circle lies
Circle lies
267e > behind. fc. \ in front.
 .

Chapter 12 Floor Pattern. Paths 191

If steps are taken to the left, the center of the circle will lie in
front of us when we travel clockwise and behind us when we travel
counterclockwise. In (g) and though the choice of crossing in
(h),

front or behind is left free, the line of the circular path must be kept

ft
<

<

i <
Center lies « Center lies
267g [J y in front. 4 behind

Diagonal Steps

There are eight possible ways of walking circles using diagonal

steps, of which four are illustrated here. In Fig. 268 (a) diagon-
ally right forward steps moving clockwise produce a circle whose
center lies diagonally backward right of the performer. In (b) the
same steps moving counterclockwise produce a circle which lies
diagonally forward left of the performer.

1 1 \ x
3 1
t C

I
268a I Center lies ^. b
i
Center lies [^

^
3
<T
S
K <T
3 3
<;'
<;

Center lies FJ. Center lies

268c a. y ,

EL £|
192 Floor Pattern. Paths

PERFORMANCE OF DEGREE OF CIRCULAR PATH

A circular path should be as true a
full circle or portion there-
of as possible. walking a whole circle the performer should re-
In
turn to his starting point. If the number and direction of steps and
the degree of arc are given, there is a definite point in relation to
the starting point at which the performer should finish. We shall
explore quarter, half, and three-quarter circles here. In large
circles or portions thereof, the performer is at a greater distance
from the center than he is in small ones. Spirals, diminishing,
and augmenting shapes are discussed on pages 202-204.

A Quarter Circle

Whatever its size, the actual

shape of a quarter circle should re-
main a true arc. Fig. 269 (a) illus-
trates quarter circles of different
sizes. The extent of the path will
depend on the number and size of
steps taken. In each case the per-
former experiences a change of
front which is the same as that for
a quarter pivot turn to the right [•)-

A Half Circle /
/

The performer describing a

half circle will end exactly op-
posite where he started and will
be facing the opposite direction.
In terms of change of front, the
result of (b) will be the equi-
valent of a half pivot turn
fy
,
X 269b
regardless of the size of the
half circle. /
/

A Three -Quarter Circle

The change of front in walk-

ing a three-quarter circle as
in (c) is the same as that of a
three-quarter pivot turn -$ .

/ 269c
Chapter 12 Floor Pattern. Paths 193

Freedom in Interpreting Shape of Circular Path

The ad libitum sign 1 placed next to the degree of

circling, as in Fig. 270 (a), allows leeway in the amount
of change of front and the circling in general. When the
change of front is specific but 270a
0 /
the shape of the curved path is
not a true segment of a circle,
the ad lib. sign placed at
is

the start of the turn sign, as in CJ

(b). Instead of calculating the
exact degree of spiraling we One interpreta-
draw the desired path in an ac- A tion illustrated
companying floor plan as in (c).
270 b
on a floor plan

PERFORMANCE OF STEPS ON A CIRCULAR PATH

The continuous action of turning while circling should be spread
evenly over all directional steps. The starting step in walking on
a circular path should be into the stated direction (forward in the
examples below), but modified by the degree of curve which is to
follow. In a large circle the first step hardly curves; in a very
small circle the first step must curve sharply. When stepping and
turning overlap completely, the turning action occurs in the body
from the ankle up. Part of the turning occurs in the standing leg
while the free leg prepares for the next step. Circling involves
the automatic use of non-swivel turns; for this reason the steps
are taken with the feet placed on the curved
line of the path. Note the difference in the P
placement of the feet between two steps with
a I pivot turn, as in Fig. 271 (a), and two
1
steps on a circular path as in (b) and (c). A
parallel stance is used for the foot diagrams k
which illustrate the placement of the feet. 271a
/
.c^3

fi L
.cSS
I

271b x

The rotation of the legs to the right necessary for placing the feet
on a circular path to the right is not usually written.
194 Floor Pattern, Paths

Simultaneous Step and Turn

A
B
single step can be taken as though walk- r
ing on a circular path. Fig. 271 (d) shows a
forward step occurring on a one quarter clock
wise circle. This should be performed as
/
though it were the start of a whole circle of
four steps. In this way the step will be given
correct placement, degree of curvature, and &
leg rotation. Note that the foot will be placed
on a diagonal line from the starting front,
part of the turning process being assumed by
the left leg as the right prepares to step. 27ld

Directional Steps and Steps in Place

When a sequence consists of directional steps and steps in place,

it is only the former that produce the actual path and therefore any
modification of the path refers only to these. In Fig. 272 (a) only
the forward steps will be long; the steps in place remain on the
spot. When steps are modified by a circular path sign, only those
steps which progress contribute to the curve and involve a change
of front. There is no change of front on the steps in place.

272a
In Fig. 272 (b) there will be no turning during the high steps in
place; the circular path action could have been written as in (c).
This separation is, however, unnecessary because of the above
rule regarding progression on a path.

Circling in Place /
A special case occurswhen all steps are
in place: thesmallest possible circle is per-
formed. Non -swivel turning occurs on each
step, and the turning action is spread evenly
over the stated number of steps. 272d /
Chapter 12 Floor Pattern, Paths 195

Circling during Slow and Quick Steps

A slow step does not include more turn-

- >
ing (change of front) than a quick step.
Thus in Fig. 272 (e) the degree of circling
is spread evenly over the five steps, though -A
the first alone is as long in duration as the
following four. The path traveled will be
the same as that produced by five steps all
y
of equal time value.
272e

REVOLVING ON A STRAIGHT PATH

Folk, ballroom, and other more complex forms of dance involve
the action of turning around one's own axis while stepping along a
straight path. In some cases this action can be analyzed so that
the direction and degree of turning for each step can be stated; in
other instances the number of steps or the total degree of revolv-
ing make an exact breakdown impossible. The following indications
illustrate how this form of movement is analyzed and written.

T f f T
OR (
a
h
273a 1 > d 1
A straight path A full circular A full revolution on a
forward path clockwise straight path forward

By combining Figs. 273 (a) and (b), the circular path of (b) is
straightened and made to fall on the path of (a). The straight path
encloses the circular path, and is dominant. When the revolving
is a pivoting action, it can be simplified to the version shown in(d).

The notation of Fig. 273 (c) does not pro-

i?
vide information with respect to the number,
level, and timing
of the steps taken. These
details can be shown as in (e). Five forward
steps travel toward the back of the room.
The direction of the steps is described accord-
ing to the path to be followed as it appears at
(? /
the moment of starting. In relation to the per-
former, the direction of the step constantly 273e
196 Floor Pattern, Paths

changes as the body revolves. Because the direction of the path is

given in the support column, need not be indicated in the path
it

sign. To perform a pattern such as Fig. 273 (e), the reader should
first walk the straight path without any turning and then practice the
given degree of turning spread evenly over the stated number of
steps. These two actions can then be combined. To make this
space pattern quite clear, three similar examples will be compared.

a a i ffi i
t
> >
St i> ! 4 i
273f a a h m
Fig. 273 shows three steps combined with pivot turns. The di-
(f)

rections of the steps and the degrees of turning are such that a
straight path toward the right side of the room results. There is
swiveling on each step; the rate of turning is not constant. In (g) a
fullrevolution is spread evenly over three steps which travel to-
ward the right side of the room. There is no swiveling, each step
is placed as though it were on a circular path. Fig. (h) is similar
to (g) in all respects except that the turn sign within the straight
path sign states that swiveling may be expected on each step.

Where there is no need to analyze the exact degree of turn for

each step or where a large number or an unknown number of steps
occurs, the indication for revolving on a straight path is suitable.

Jumps Revolving on a Straight Path

Traveling jumps, which must be written with a path sign, may

travel on a circular path and may also combine revolving on a
straight path.

Fig. 274 (a) shows four jumps

[p
with the feet apart circling a half
to the right; there is no traveling.
f
<> <>
The dancer starts facing the front
of the room and ends facing the
back. Fig. (b) shows the same
jumps traveling forward, produc-
ing a path. (See page 85.) 274a (±) w b& 3E
Chapter 12 Floor Pattern. Paths 197

Fig. (c) combines these two actions to produce the same path as if
forward steps had occurred. In (d) the jumps travel toward the front
of the room and the dancer turns constantly to end facing upstage.

® / I?
<>
Y
<> <>
<>
r\ <>

274 y
c £] o d ft w.
Traveling forward on a Revolving a half circle clockwise
half circle clockwise on a straight path forward

PIVOT TURNS ON A CIRCULAR PATH

Both pivot turns and jump turns can occur on a circular path.
The usual progression on a straight path resulting from the step
pattern and degree of turning is modified by the circular path. To
determine the final facing direction, we add the amount of turning
and circling when these are both in the same direction (e.g. turn-
ing right and circling clockwise), and subtract them when they are
in opposition directions (e.g. turning left and circling clockwise).

B El *-

275
a i / b la

In Fig. 275 (a) the side steps followed by half turns to the right
produce a straight path toward the right side of the room. This
path is curved to become a quarter circle; thus the performer ends
facing the right side of the room. In (b) the step turns also travel
to the side. Here the performer starts facing left front and travels
a half circle to the right to end facing back right.
198 Floor Pattern. Paths

-0

Fig. 275 (c) shows hops

turning to the right on a cir-
cular path to the left (counter-
clockwise). The performer
will end facing the left side
of the room, as though he had
walked an ordinary quarter
circle to the left.

275c £)

REVOLVING ON A CIRCULAR PATH

The action of turning around one's own axis while traveling on a

straight path can occur on a circular path. The revolving sign
(turning) is placed within the circular path sign. To determine the
final facing direction when both actions are turning in the same di-
rection, we combine the degree of turning. When the turning direc-
tions are opposite, we subtract the degrees.

5 /

276a |±) b &

Fig. 276 (a) shows a half circle to the right with forward steps
during which there is one full turn around the dancer's own axis.
The resulting total of one and a half turns causes the performer to
end facing upstage. In (b) there is also a half circle to the right,
but the performer revolves only a half turn around his axis. The
sum of the two half turns is one full turn, which results in the per-
former ending as he started facing the audience.
 .

Chapter 12 Floor Pattern, Paths 199

Fig. 276 (c) shows a full re-

volution to the right on a half
circular path to the left. Be-
cause the turning directions
are in opposition, the amounts
will be subtracted so that in
i
this case the performer will
only achieve a half turn around
his own axis while walking on \
a half circular path. 276c

Circular Path without Change of Front

If revolving on a circular path involves a certain degree of turn

ing in one direction and an equal degree of circling in the other
we can see that these degrees cancel each other so that a circular
path results with no change of front.
In Fig. 277 (a) the half revolution (±J Y
right will cancel the half circling left;
the six steps are walked without any
change of front. (Fig. 261 (a) on page
186 showed a circular pattern produc-
ed by a change of directional steps.
t
Such a description of a circular pat-
tern without change of front has ob-
vious limitations, the most immediate Q \
being that the idea of a circular path 277a
is not directly stated.)

Abbreviated Form for Circular Path without Change of Front

To simplify writing and reading a circu-

lar path without change of front, the con-
vention is used of placing a space hold sign
within the circular path sign to indicate that
the front of the performer retains the same
space direction as at the start. The shape
of the circle, a whole, half, quarter, etc.
is indicated with a numeral or fraction, {,

2, 5, etc. instead of by a black pin, as there

is no change of front to be shown which a
black pin would indicate. Fig. 277 (b) shows 277b
(a) written in this abbreviated form
200 Floor Pattern. Paths

FOCAL POINT FOR CIRCLE DANCES

In circle dances, the focal point for the group is automatically
understood to be the center of the circle. The dancer relates to
this center and is aware of facing it (facing in), having his back to
it (facing out), having his right or left side to it, or having a dia-

gonal relationship to it. In such dances the degrees of turning,

an eighth, a quarter, etc. are usually replaced by the description
of the new relationship of the performer to the focal point.

Indication of Front in Relation to the Circle

The room are not ap-

front signs based on the directions in the
plicable to circle dances. The • (seepages 111, 112)
focal point
is placed within the composite turn sign to describe the facing di-
rection at the start of the score.

278

Focal point is in Focal point is to the Focal point is to

front (face the left (left side is in the left front diag-
center of the cir to the center). For- onal . Diagonal
cle). Side steps ward or backward steps d or P are
are required to steps are required required to keep
keep on the line to keep on the line on the line of the
of the circle. of the circle. circle.

When pivoting takes place on a circular

path, the degree of turn is stated in terms
of the projected new relationship to the
focal point. In Fig. 278 (d) the performer
starts with his left side in toward the cen-
ter of the circle. After two steps forward,
he pivots left until his right side is in to-
ward the center of the circle. After two
more steps he pivots right to face the cen-
ter of the circle, and then after two more
steps pivots right till his left side is again 278d X
in toward the center of the circle. All
these steps are on a counterclockwise path
 )

Chapter 12 Floor Pattern, Paths 201

CIRCLING RIGHT OR LEFT

When used in Motif Writing, the composite circling ¥
sign, Fig. 279 (a), means that the choice of a clock-
wise or counterclockwise path is left open. When used
in the context of a full score, it means that steps
should be taken in a clockwise or counterclockwise
direction on the established circular path.Circular
paths are understood to lie around a focal point; if 279a
this point is not obvious, it must be stated.

In (b) the group in the circle X X

facing counterclockwise will circle
counterclockwise with the forward
steps and clockwise with the back-
ward steps. The situation of the
focal point has been stated. Use V
of the composite circling sign, as
in (c) eliminates the need to break
down the indication for circling.
It understood that the path re-
is \
lates to the previously established
focal point situated to the left of
the dancers. (See page 371 for
group indications .

Maintaining Circular Path with Mixed Direction Steps

dance patterns using mixed

In
Y
directional steps, curving and
change of front may take place on
only some, not all of the steps.
A good example is a pas de basque
step in which the forward steps fol-
1
low a circular path (or two parallel
circular paths, to be exact), and
the sideward steps are radial steps %i
moving toward the focal point of the
circle or away from it. To show
that only forward or backward steps
circle, the appropriate focal point
indication is placed next to the start
i Y
of the circular path sign, as in (d). 279d
202 Floor Pattern. Paths

In Fig. 279 (e) the focal point

is indicated at the start of the
composite circling sign to indi-
*c*
cate which steps are to follow
the circular path. Here the \-^
sideward steps will circle while
the forward and backward steps
will be radial, moving toward or
away from the focal point.
279e i
PRE -SCORE INDICATION FOR BALLROOM DANCES
In ballroom dancing, the line of direction into which the couple
progress is counterclockwise around the edges of the room. The
steps and turning patterns are adjusted to follow this line of pro-
gression. Where need be, the exact performance of the required
adjustments can be described, but a general statement for follow-
ing this line of direction is enough for most purposes. The state-
ment for the line of direction, shown
in Fig. 280, is placed at the start of
a score. The center of the room ffl
is shown to be on the left of the per-
former (see page 381 for the meeting
line) and the edges of the room, the
walls on the right, with the cir-
cular path going counterclockwise.
(See also page 431.) 280 m

SPIRAL PATHS
The shape of a circular path diminishes as the focal point is ap-
proached, and conversely becomes larger as the distance from the
focal point increases. Such shapes become spirals when several
circles are performed. Spiral paths are often used in dances
where a certain location is to be reached on a circular path and a
certain direction is to be faced at the conclusion.

281a
A perfect full A diminishing An augmenting
circle circular path circular path

.-
Chapter 12 Floor Pattern, Paths 203

General Indication of Spiraling

Spiral paths can be precisely measured and recorded with ac-

curacy. For movement it is seldom necessary
go into such de-
to
tail; a general indication is sufficient. is expressed as
Spiraling in
approaching the focal point (center of the circle) on a circular path
and spiraling out as withdrawing from the focal point on a circular
path (see page 184). Degree of circling showing change of front is
shown as usual. For repeat signs used below see pages 350, 351.
T/

\%
i fi
y
281d e
Start facing front; with 24 steps Start facing stage right; with 24
walk two inward spirals. steps walk two outward spirals.

Equidistant (Constant) Spirals

Two distinguishable forms of spirals exist: those in which

there an even rate of diminishing or augmenting the circular
is
shape and those in which the process increases.

Spirals in which the rate of increase or decrease is constant

are called equidistant or Archimedean spirals. These are shown
with a plain increase sign, and the degree of reduction or augmen-
tation is shown by narrow and wide signs.

VZ

\
282a
Two equidistant inward spirals Two equidistant inward spirals
to the left with a slight reduction to the left with a great reduction
204 Floor Pattern. Paths

Increasing Spirals

When moving away from the focal

the rate of approaching or
point increases this fact is shown by doubling the increase sign.
The resulting pattern can be compared to the shell of a snail, which,
starting from a center, becomes increasingly bigger as it grows.

TY

v\3
y
283a b
Two outward spirals to the left Two outward spirals to the right
becoming increasingly large becoming increasingly very large
In dance scores it is seldom necessary to analyze exactly the
spiral path covered. The shape of the path written on the floor plan
sufficiently amplifies the movement description and gives the read-
er an immediate impression of the path to follow. The whole range
of precise descriptions for spiral paths will be given in Book II.

Continuation of Path Signs •l_ o

When a straight or circular path /

sign must be broken and continued
on the following staff, a caret is
used both at the top of the first and
at the bottom of the next staff to in-
dicate this continuation.
284a
In Fig.
284 (a) the half circular path con- %> / S>

tinues from measure 34 to 35. If c >

a path sign must be extended over 1 £- 1 1

three staves,
1

it is best handled as
1 1

in (b). Indication of the direction

1 1

traveled or the amount of circling 1

should be stated on the first staff "7 *- -7 ^-

i

so the reader has this information 1

f
at the start. 284b I

>
CHAPTER 13

Touch and Slide for the Legs

RELATIONSHIP BETWEEN TWO PARTS

A movement may be designed specifically to relate the performer,
in some way, person or to an object. Its specific pur-
to another
pose (i.e., the projected relationship) is more important than the
movement itself, and hence it is the aim rather than the action
which is recorded. Such relationships may encompass degrees of
contact ranging from glancing at, addressing, or gesturing toward
the person or object from a distance to touching, grasping, and
finally supporting the weight, either partially or fully. These pos-
sibilities are discussed in detail in Chapter 20. We shall first con-
sider the common contact of the legs.

TOUCH
Touch, or contact between parts of the body or objects, is indi-
cated by the use of a horizontal connecting bow.

or
285

The connecting bow can be swung upward or downward, whichever

the notator finds is more suitable in each context. The ends of
the bow show the moment when a touch occurs.

Contact of the Legs

During jumps the legs may contact each other, beat together in
the air, or be held together. The contact bow connects the two
leg gesture symbols or is swung between the leg gesture columns
when direction symbols for the leg gestures are not written.
206 Touch and Slide for the Legs

286a

Legs touch Legs touch be- Entrechat Cabriole

in the air fore opening quatre

Contact of the Foot on the Ground

V. J
Small upward or downward hooks r ^ derived from the ex-
,

tremities of these bows, are used specifically to indicate the parts

of the foot contacting the floor.

SPECIFIC PARTS OF THE FOOT

The following diagram illustrates the specific parts of the foot
that contact theground when gesturing or supporting the body. Ter-
minology for these different parts varies considerably. Labanota-
tionusage is given first, with familiar variations in parenthesis.

287a
Full heel
,^L iheel
C ^A
Whole foot
*^ ball (

foot)
toe.

287e
Full ball Full toe
(| toe, (full pointe)
forced arch)
The actual part of the toe contacting the ground usually depends
on the direction of the limb.

TToe , u *for a 287i

touch Toe touch for a
forward gesture backward gesture
Key to Parts of the Foot

Different types of hooks show the different parts of the foot

which contact the floor. These are combinations or modifications
of the two basic hooks: the forward swinging hook v^ or J which ,
Chapter 13 Touch and Slide for the
1 Legs 207

represents the front part of the foot, the toe, and the backward
swinging hook r or > which represents the back part of the foot,
,

the heel.
? (j) Nail of toe
^ ft) Full toe ft) Vs

y (h) Pad of toe (h)*

Kg) Full ball (g)i
-*(f) ^ball (f) ^
Me) \ ball (e)i
(d) i ball

The combin-
< (c) Whole foot (c) >
ed toe and
heel hooks
produce the \ (b) \ heel (b) 7
hook for the
> (a) Full heel (a) ,
whole foot

Hooks for the right Hooks for the left

support, left leg support, right leg
288 gesture symbols gesture symbols

The two basic hooks, toe and heel, are modified by the addition of
a straight line which represents the ball of the foot. Contact on
the ball of the foot has four variations (four distinct angles of the
foot in relation to the floor) occasioned by the raising of the heels
(Figs. 287 and 288, d-g). These differences are the result of
continuous extension in the ankle joint and the consequent bending
of themetatarsophalangeal joints. The straight line also modifies
the heel sign. The basic hooks are varied to provide a practical
abbreviation for each position; they are attached to the direction
symbol and modify the fundamental action being described. The
whole range of hooks is used for both gestures and supports.
Placement of Hook

For Leg Gestures. The hook connects the

leg gesture symbol with the support column
representing the floor; therefore for leg ges-
tures the hook is placed on the inside toward
the center line.
1 289a

The hook modifies a low gesture, making it lower so that con

tact with the ground can result.
208 Touch and Slide for the Legs

A low leg A side gesture

gesture to
the side 289c
touching the
floor d i
For Supports. The hook is attached on the
outer side of the support symbol, extending in-
to the leg gesture column to indicate the manner
m w\
of supporting on the ground. (See page 215.) 1

28 9e
Absence of Weight on a Touching Gesture

A clear distinction must be made between a true gesture, which

carries no weight of the body and yet touches the ground, and a sup-
port, which is weight bearing. As long as a limb can be lifted with
out any shift of weight, its action is written as a gesture. Partial
supports are given on page 448.
290a

Weight on left, Weight Weight on left

i Weight on
right foot placed right foot both feet,
touching to equally on touching to but more
the side both feet the side on the left

TIMING OF TOUCHING LEG GESTURES-

The length of the symbol for a free leg gesture indicates the
length of time taken to reach the stated direction. By placing a hook
on the leg gesture symbol we show contact with the ground taking
place during this gesture. This may occur at the start of the ges-
ture, at the end, or at any point in-between. Thus placement of a
hook on the direction symbol has time significance. Care should be
taken in the placement of hooks when an exact description is requir-
ed. Whereas it is the end of the connecting bow v J or ( >
*

that indicates the moment of contact (limb with limb, etc.), it is

the hook as a whole (regarded as a unit) that indicates the moment
of contact of foot with floor. For starting positions such as those
in Figs. 289 (a), (b), and (d) placement of the hook does not mat-
ter, since starting positions are not movement and have no time
significance. Standard usage is to place the hook at the end.

See Appendix B, note 12,

Chapter 13 Touch and Slide for the Legs 209

Terminating (Concluding) Touch

For an active touch, that is, a gesture which concludes as a

touch, the hook is placed at the end of the direction symbol.

A slow legato A fast staccato

movement con- touch on the toe
cluding with a on count 1
g=£
touch on count 3
291a to
Transient Touch

A touch can occur while the leg is en route from one direction
to another.

On count 1 the foot low- Halfway to for-

ers to touch the floor at ward low, on
the start of the gesture, count 2, the foot
then progresses on its
way
gesture.
as in a normal free
292a EH
j lowers to touch
the floor,
lifts,
then
ending free, b JO
ffl
Consecutive Touches

Where touching gestures appear one after the other, it is under-

stood that the foot releases in order to touch again. Timing is not
emphasized, since the release serves merely as a preparation for
the next touch. For repeated touches in the same direction it is
not necessary to restate the direction symbol; only the hooks need
be drawn. If the rhythm should pose any problem, however, direc-
tion symbols can be used for clarification.

k
^
OR
o L o

293a
•

* c
•

*
In different directions In the same direction

When the hooks are not attached to a direction symbol they are
moved closer to the outer staff line for easier reading. They
should not actually touch the staff line.
210 Touch and Slide for the Legs

Timing for Terminating Touches

The hook as a unit states the moment
of contact. Thus the action of extending
the leg to reach its destinationmust oc-
cur before the moment of touch. For
the touch to occur exactly on the musi- 1
cal beat the symbols should be written
as in Fig. 294 (a). For a general des-
cription of quick actions the convention 294a b
Exact General
is to write (b) which is clear and satis-
timing timing
factory for most cases. (See page 491.)

If a literal performance of (b) is

desired, the exact performance sign*
Exact
should be added.* In (c) the left
timing o
foot lands on count 1 and the right
foot touches on the follow "&" count.
F \
(See also page 356, Fig. 533.)
294c
Retained Contact

A retained contact touch that has resulted from the move-

is a

ment of another part. A example may occur at the end of

typical
a simple step. Normally the free leg is raised clear of the floor
after a step, but in a retained touch contact with the floor is kept.
As the weight is transferred completely to one foot, the other is
left touching the floor. Such touches are considered passive in
that they happen as a result of an action elsewhere.

J >

295a
1

I r-

Step forward; Step backward; Step left; the Perform an

the left toe re- the right heel right whole foot active touch
mains touching remains touch- remains touch- after the step
in back. ing in front. ing at the side, has finished.

In Figs. 295 (a-c) no direction symbol is needed in the leg gesture

column, since no independent movement occurs. Fig. (d), being
an action, requires a movement symbol.

See Appendix B, note 13.

 .

Chapter 13 Touch and Slide for the Legs 211

Bent or Stretched Retained Contact

When it is important to indicate the state

of the leg in a retained touch, the appropriate
notation X or H is placed in the leg gesture
^
296a
column. If the action is slow, the duration
line* can be used. Fig. 296 (a) shows a quick
step ending with the left leg bent and touching
(b) shows a slower step
on the ball of the foot;
forward end of which the right leg is
at the
stretched with the toe touching the ground.
296b
Fluent Transition between Parts of the Foot

When one touch has occurred and a fluent

change to another part of the foot is to take
place, the timing of this change is shown by a
duration line." In Fig. 297 the forward toe
touch changes fluently to a heel touch, passing
through the different parts of the foot on the
way. The action is concluded on count 3. 297 o
o

CANCELLATION OF A TOUCH
A
gesture which terminates in a touch remains touching until it
is cancelled by another gesture, a step, or a release sign. The
sign for a release is a broken hold sign or § ^
The action of re,

leasing, letting go, is a small one; the foot should lift about an
inch off the ground, not as high as in a normal low gesture . Note
the differences in the movements described below.

The leg touches, The leg touches

then gestures and releases on
side low at a 45 count 2, barely
o
angle lifting from the
298a ground. b

The leg touches A step cancels a

and releases previous touch (the ¥
immediately. foot is automati-
cally released
298c before stepping). d

See Appendix A, note

212 Touch and Slide for the Legs

SLIDING

SLIDING LEG GESTURES

A sliding gesture involves continued contact with the floor. To
indicate sliding two hooks are used, showing a progression either
on the same part of the foot or from one part to another.

299a
_oJ
ffli „
JJ
fflO c
_oJ
m J
Sliding on Sliding on Sliding on the Sliding from whole
the toe the heel whole foot foot to toe (brush)

Duration of Sliding Action

The contact can be sustained only momentarily or retained for

a longer period. Placement of the hooks on a leg gesture symbol
indicates the beginning and end of a sliding movement. *

300a do
Sliding at the start
of the movement; the
b ho
Sliding in the
middle; the
m
Sliding at the
conclusion of
leg lifts to a normal gesture starts the gesture;
forward low gesture. and ends free. end touching.

The interval between two different hooks indicates the timing

of the transition from one part of the foot to the other.

300d
Sliding with a continu- Sliding on the whole Immediate tran-
ous transition from foot until near the end; sition to sliding
whole foot to toe then transfer to toe on the toe

* See Appendix B, note 12 (ii), (iii), and (iv).

Chapter 13 Touch and Slide for the Legs 213

Detailed Description of Sliding

Acomplete breakdown showing the use

made for de-
of each part of the foot can be
tailed study of technique or research into
different styles. Fig. 301 (a) illustrates
in detail the transition from a toe touch to
sliding on each part of the foot in turn until
the action terminates in sliding on the whole
foot (in the last third of the movement).
In (b) sliding is on the ball of the foot until
the very end of the movement when contact
on the whole foot occurs. For general pur-
poses such detail is not necessary, and des-
cription is best kept simple. In the careful
m
301a
analysis of fast footwork a longer basic unit
for each beat should be used.

Note that the signs Xor H, which appear before a direction sym-
bol, are counted in the timing of the gesture; hence when sliding oc
curs at the start of the movement, as in Fig. 301 (b), the hook must
appear alongside the Xor H sign.

Consecutive Transient Touches

Repeated touches which occur while the leg

ismoving must be written with release signs
between each hook to distinguish them from

m
continuous contact with the ground (sliding).

Resultant (Passive) Slide 302

Sliding may occur as a passive result

of another action. No direction symbol 7*
is written, but instead a dotted line is
used to indicate a passive reaction (see
page 482). This line is comparable to r ^
-

an action stroke, but it shows passivity ;

rather than activity. Without this line,

the two hooks would appear to indicate
two touching actions. In Fig. 303 (a) the
right leg slides in and out as a result of
a change in level on the left support. In
i)
(b) a resultant slide is produced by a turn. 303a
214 Touch and Slide for the Legs

READING MATERIAL: EXAMPLES FROM BALLET TECHNIQUE

I
Jl ..
I
» J<
i
304a 3
Assemble Jete en avant Glissade
(with brush)

•4
>
1
o

•1
304d f

Battement Pas de basque Battement cloche

degage (glisse) (one version in (balancoire)
4 counts)

2
T { )
^l

4 1 \ J
304g
•T
1 El
Pas de bourree des Rond de jambe Rond de jambe
sous (with brush) a terre en dehors a terre en dedans
Chapter 13 Touch and Slide for the Legs 215

SUPPORTS QUALIFIED BY HOOKS

STEPS
The hooks that indicate parts of the foot touching are also used
to qualify manner of a support. The hook extends from the sup-
port symbol into the gesture column on its own side of the staff.
A single hook on the symbol for a step (a complete transference of
weight, not a change of level) modifies the whole symbol. The
hook is usually placed at the beginning of the symbol where the con-
tact with the floor occurs. Note the following styles in walking:

/
^
u
L
305a \
Half toe (demi- Full pointe: Normal, pli- Flat-footed walk
pointe): high lev- stepping on able walk using ing: immediate
el steps on the the tip of the flexibility contact with the
ball of the foot the toe of the foot whole foot

305e
Walking on
the heels
/

3 f

I ball:
ing with the
walk-
ffl
Half toe: steps
in low level on
J
g
Full pointe:
walking on the
heels just off the ball of the tip of the toes
the ground foot in low level

Level of the Support

To describe a qualified support, we must determine the basic

level to which it belongs - high, middle or low - and then add the
necessary modifications. Results are often rather similar in ap-
pearance. The feeling of a step should determine whether it is
written as high level with flexed knees for example, or as low level
with raised heels A deep knee bend is a low support even though
.

the heels are raised. The full range of use of parts of the foot may
be combined with the degrees of bending and stretching the legs.
Not all combinations are physically possible in all directions.
216 Touch and Slide for the Legs

Transition in the Use of Parts of the Foot

If a change in the use of the foot is to be shown in one support

symbol and two hooks are to be used, the placement of these hooks
has time significance.

A continuous tran- i The rolling action

sitionwhich rolls ends sooner, I
from heel to whole transference of
foot during a trans weight continues
ference of weight 306a with no change.

The interval between hooks indicates the duration of a transition

from one part of the foot to the other. If this is not a continuous
change, a hold sign shows retention of the first indication, as in (c),

Keep the support An accent indicates

on the ball of the a more sudden
foot until the last change; transition
moment. 306c i is not fluent. d

If weight is already on a foot, the manner of support is under-

stood from the support sign; thus any subsequent change from that
support will also have time significance.

In the forward step in (e) a whole foot

contact is understood; hence transition
to the ball of the foot as the knee bends
has time significance. The whole foot
hook could be stated as a reminder,
as in (f) but this is not necessary.
306e I J
Note that for contact of the whole foot with the floor it is the fi-
nal result which is written, and not a heel sign to show lowering of
the heel. Use of the heel sign means that weight is on the heel only
with the rest of the foot off the ground. Compare Figs. 307 (a) and
(c). To provide a direct description of a heel or toe drop, the ap-
propriate hook for the active part is attached to a hold sign which
indicates retention of the part already on the floor, making the com-
bined sign /^or^ for a heel drop and ko or &> for a toe drop. Fig.
307 (b) illustrates a heel drop. (See also Spanish steps, page 222.)

Step on the Start on the

ball, then end with
ball,
lower heel. weight only
307a on the heel, c
Chapter 13 Touch and Slide for the Legs 217

SLIDING STEPS
A sliding transference of weight is indicated by two of the same
hooks attached to a step symbol. During such a step, the sliding
action is part gesture and part support. Contact with the ground
should start as soon as possible without being given undue emphasis

A Sliding Step from Place

When a sliding step starts from a closed position, the foot con-
tacts the floor at once and the sliding transference begins.

A sliding step A sliding step to the

forward on the side on the heel: the $
whole foot: the heel contacts the floor
whole foot never at once and continues I
leaves the ground. 308a to slide out.

A familiar form of sliding step "chasse,

frequently used
is the "

in combination with a "coupe" (cut) step. Usually the knees bend

before or during the sliding transference of weight.

JL
309a
Chasse step Chasse step lowering, Chasse step lowering,
rising ending on one foot ending in 2nd position

In Figs. 309 (b) and (c) the left leg bends with the weight still on
it as the right foot slides out. In (b) all the weight istransferred to
the right leg; in (c) the weight ends on both feet (a second position).

Fig. 309 (d) shows a combined

chasse-coupe-chasse step in
which the left foot cuts behind
the right. The first chasse* in ffl
(e) ispreceded by a hop. This
pattern, a temps leve chasse,
is a skip in which the low slid-
ing step is emphasized.
309d
Touch and Slide for the Legs

A Sliding Step from an Open Position

If the free leg starts from an open position, preparation for a
sliding step will be partly free gesture and partly sliding step.

The
310a m
right foot contacts the floor
as soon as possible on its way
El
The leg will make a curve to
reach the forward direction.
to place. Actual sliding on the Some free gesture will pre-
whole foot does not start until cede the sliding gesture and
place has been reached. sliding support.

In the illustration for Fig. 310 (b), the dotted

line shows the probable path of the free ges-
ture. The leg will not move to place unless
i
I M
it is specifically instructed to do so, as in (c).

Here the sliding step to the side will start

next to the right foot (see page 144, Fig. 185).
310c
Sliding into Place

In an ordinary step into place follow-

<
ing an open leg gesture, as in Fig. 311
(a), the free foot moves at once to place
and the weight is transferred throughout
the time indicated. A sliding support o J o _k
into place is actually a sliding gesture
terminating in a support. The sliding
starts at once, but weight is not trans-
Eitn
311a
ferred until the end of the symbol.

SLIDING SUPPORTS
Sliding, such as happens in skidding or skating on a slippery sur^
face, is one of the basic modes of progression. The term "sliding
support" refers to a sliding action which occurs when the weight is
already placed on the foot. There is no transference of weight and
no transition from gesture to support as occurs in a sliding step.
Chapter 13 Touch and Slide for the Legs

Sliding into Open or Closed Positions of the Feet

In the echappe (escaping) action, page 82, Fig. 91, positions of

the feet are changed through a slight spring which may include
more or less actual sliding. In sliding supports there is no lifting
of the weight; it rests fully on the floor, which must be sufficiently
slippery for the performance to be possible.

7V
n<

312a <F
The right foot slides Both feet slide Both feet slide
from a regular 4th into 2nd into 1st from
into a much wider 4th. position. 2nd position.

Each foot in o
><< Each foot in
turn slides turn slides
farther apart. closer to-
1
312d
•
•1
gether.
^
>:

Sliding on One Foot

In sliding on one foot, as in skating, the weight is placed on the
new support before it starts to slide. The impetus for the move-
ment is derived from the back foot which pushes away. Full details
of recording skating will be given in Book II. For first notes,
skating can be shown as in Fig. 313. The duration and direction of
the sliding can be shown by a path sign outside the staff. *

-1

<

£*-
• • •

313a X X X X

The weight is shown The left foot re- During the path forward
to be entirely on the leases from the sliding on the whole
right foot before the floor as the slid- foot occurs weight is;

sliding action starts, ing action starts, only on the right foot.

See Appendix A, note 9.

220 Touch and Slide for the Legs

READING MATERIAL: TAP DANCING

Time Steps and Breaks

Contributed by Billie Mahoney

Note: Specific details of style not given.

~1
n'
i

J *
i

J <iflu

O-
l

o 4
1 ± s 4 S<© 4i

7 o m 7 4 da.
* A.
J
4 J:
a. *
I (4)
1

^>
4 .*t1 F
: o
u. if
6 i. 5
i
<,
5
d4^
g|_
1
^
o

4
4 1
4
o 1 4
4 1
m£ £
*r «*•
•E 4
L
: t o t o
2, 1 2. 1 JL
^J
o 4 o
o
1 _J!
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i

£ \
1I ;
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R.
:
4
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z i 2 A 2. i.
* OJ

xli
4-
7
J ii
'
»i
4"
1
j v. fc *
4
1
O
IP

% 8 8

1
314a 1
Single Buck
b
Double Buck
i C
'

Triple Buck

ID-ID. EMD,
*See page 242. **See page 448. ***See page 350. * **See page 479,
Chapter 13 Touch and Slide for the Legs 221

13 V* i O READING STUDY:
TAP DANCING
\: "The Old Soft Shoe"
A and Waltz Clog
4.
Contributed by Billie Mahoney
B i o
I

X
{
o
See page 353
Ef i (14)
10, I o

S o I
8 1

i do. J
\)
/
1

X
<X
1 o
>L 9
.(s
4 1

z - 4 t o

a dU. (* I
)
(4)

Ef J a
C<
16*
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\J 13 IT U. 1
o
J
j4
o.
h1
3 _£ &
4
fc o a- 'J £
>

\
2.

o o J>5 o

0. 1 * =1

4l
X
-7 ?
-

(8)
1'
6
o
•

6 Ef Ik
b 1
Waltz

315a id -in. EMDJ Clog

222 Touch and Slide for the Legs

READING EXAMPLES: SPANISH DANCE

Regional Steps and "Zapateado" (footwork)
Contributed by Felisa Victoria

Note: Specific details of style not given.

i

jf, * o

E
m/\ p
>
l
X4
<> <>
;k^
o
o
T
o
1 X h
b 4 «%,
^
4 1
A
5 V
•*-.
,3 >U
*>
>
i

i: L-
o.x
Nf .— *'

I \:
a <>

n -i

h <>

^
2
j o
1
i
k.
o

Fig. 316 r
c >x 12
Starting posi Contains an under-
tion for all stood heel lift as in:
examples
CHAPTER 14

Parts of the Limbs

In Chapters 9 and 10 movements of the whole arm and whole leg

were explored. When we deal with the parts of the arms and legs,
individual joints as well as segments must be considered.

SPECIFIC PARTS OF THE LIMBS

Fig. 317 shows the signs for specific parts of the limbs. Used as
pre -signs, they are placed before direction symbols to show move-
ment of specific parts. With the exception of shoulder and hip
signs, each symbol represents a segment of the limb for direction-
al movement and the distal joint of that segment for touching, con-
traction, and extension.

+ single hip

s
4 knee (thigh)

£ ankle (lower leg)

I foot

1 r shoulder

3 £ elbow (upper arm)*

3 £ wrist (lower arm)*

I £ hand* 317

See Appendix B, note 14.

 .

224 Parts of the L

The parts of the arm have different symbols for right and left sires
Only one set of signs Is generally used for the parts of the leg;
ight and left are in placing ..::'. :r_ the right or
left side of the center line of the staff. Where e, right or
left is indicated by drawing the sirrr.s thus:

H h

Right Left Left Left Right

hip I nee ankle rrr^le foot

Signs for the Whole Arm and Whole Leg

In a full movement . provides col-

:— cription, the three line staff
umns for therefore no
nole arm and whole leg:
pre -sign is needed for these limbs. But out of context and in]
Ing a pre -sign is reeded. The arm is represented as the limb
below the shoulder, and the leg as the limb below the hip.
' N "
319 1 r t
Sign for Left Right Both Left Right Both
rib arm ar: leg legs

e::eral statz:.:z::t : f action for parts of the limbs

.ring a sign for a part of a limb folic an action
: an action for that part. This
need not be an isolated action, but may be the main feature of a
ement to which other contribute.

320a JL b i. ^ rt a is.
An action of An action An action Simultaneous actions
the right of the of both of the right knee and
julder left hand -
right elbow

Replacing the action str 1th a direction symbol makes the

statement more specific. F c Motil Writing the following mean:

:
3C
J20e :
B
The main action The main action is a The main acti::
forward movement backward movement an upward movement
of the left ar of both elbo of both hands
 .

Chapter 14 Parts of the Limbs 225

CONTACT BETWEEN PARTS OF THE LIMBS

When parts of the limbs are brought into contact with each
other, it is enough in many instances to write this result, the con-
tact, without stating how it was achieved, that is, the action which
produced it.

The horizontal connecting bow is used to indicate this contact be-

tween various joints. Note that the hand is included here, though it
is not a "joint" in the sense that the shoulder, elbow, and wrist are.

321a 1^_J
Both hands Left hand and right Right hand and
touch. elbow touch. left wrist touch

321d
Hands touch Right hand touches Left hand touches
elbows left knee. left ankle.

The contact bow can be swung upwards or downwards. Below

are two versions of the hands touching the shoulder.

321g
U f 6 gi r i

Fig. 321 (i) shows the general in-

dication of hands on hips (break
t +
at top of leg). Exact placement
on the hips is given on page 458.

Timing of Action Which Produces a Touch

For Motif Writing the timing of an
action which produces a touch is indi-
cated by an action stroke of the appro-
priate length, the contact bow being
placed at the end as in Fig. 322 (a).
In (b) a faster action produces contact
between the right hand and left elbow. 322a
226 Parts of the Limbs

INTERRELATION BETWEEN PARTS OF LIMBS

The following chart shows: (I) signs for the parts of the limbs;
(II)their significance when combined with a contact bow; (III) their
significance when combined with direction symbols; (IV) the minor
segment which is excluded in the directional movement of its neigh-
boring major part, being "left behind" or passively "carried along"
and (V) the minor segment which takes the same direction as, and
acts as an extension of, the major segment.

I II III IV V
Sign Part Part Moved into Part Displaced Part Included
Touched a Direction but not Included in Direction
in the Direction

Outer edge
1 h Shoulder Whole arm --
of shoulder

Lower arm
3 c Elbow Upper arm --
and hand

n Wrist
Lower arm
(forearm)
-- Hand

Hand
M general
in Metacarpus
(base of hand)
-- Fingers

Fingers
Fingers -- --
II in general

Break at top One side of

--
+ of thigh pelvic girdle
Whole leg

Lower leg
--
* Knee Thigh
and foot

--
Foot
* Ankle Lower leg
(more or less)

Foot in Metatarsus -- Toes

* general (base of foot)

Toes in
-- --
Toes
$ general
Chapter 14 Parts of the Limbs 227

MOVEMENTS OF THE PARTS OF THE LIMBS

When we write movements of the parts of the limbs, two things
must be considered - the segment that takes a new direction in
space and the joint in which the action (flexion or extension) occurs.
The same action could be described in two different ways: (1) spa-
tial change, that is, movement of the part of the limb in a new di-
rection; (2) anatomical change, the degree of flexion or extension
of a joint. This latter description is given in Chapter 19.

Isolated movements of the parts of the limb follow the same

principle established for the whole limb. Direction and level for
the whole arm are determined by the relation of the extremity
(hand) to the base or point of attachment (shoulder). The point of
attachment (the base) is the joint in which articulation occurs.

Segment Point of Attachment (Base) Free End

Upper arm Shoulder Elbow
Lower arm Elbow Wrist and hand

Hand Wrist Fingertips

Upper leg Hip Knee

Lower leg Knee Ankle and foot

Foot Ankle Tips of the toes

To take a common example such as

waving to say good-by, it can be seen
that, once the arm is raised, it is the
hand as a whole v/hich moves in space,
lowering and lifting. The action is
made possible through flexibility in
the wrist joint, but it is described as a
hand movement in terms of direction
and not as a movement of the wrist.

The best image to bear in mind in experiencing movement of iso-

lated parts of the limbs is that of a puppet with strings attached to
each joint and limb extremity. Puppets follow instructions (the
strings that are pulled) since they are relaxed and allow for the na-
tural pull of gravity. Although human beings do not move limply
as puppets, but introduce dynamics and flow of movement, their
use of direction and level is identical.
228 Parts of the Limbs

Knee (thigh) is Elbow (upper arm)

lifted forward. is lifted to the side.

Ankle (lower leg) is Wrist (lower arm) is

lifted backward high raised forward high.

Foot is lifted Hand is raised

side high. place high.
 . .

Chapter 14 Parts of the Limbs 229

LOCAL SYSTEMS OF REFERENCE

In writing a movement such as hand waving, the hand sign is follow-
ed by the sign for the direction in which the hand moves. To des-
cribe direction we must know to what the symbols "forward," "up,"
etc. refer, that is, the system of reference being used. Of the
three directional systems of reference presented briefly in the In-
troduction (see page 17), the system commonly used and hence auto-
matically understood to be in effect is that in which the vertical line
of the cross of directions centered in the body is identical with the
constant line of gravity and the direction forward is that direction
in the room in which the performer is facing. This system of re-
ference is called the Standard Cross of Axes. (See Chapter 25.)

Fig. 324 (a) shows the main cross

of directions centered in the body.
In an upright situation the verti-
cal line in the body coincides with
the line of gravity. The lateral
and sagittal (forward
(side to side)
and backward) directions are at
right angles to the vertical line

The main cross of directions is

duplicated exactly in the many
local crosses of direction situ-
ated one at each joint. All local 324a
directions are parallel to the
main directions of the Standard
Cross of Axes. Fig. (b) shows
the cross of directions situated
at the shoulder which
is used
whole arm and also for
for the
movements of the upper arm.
The center point, place, is at
the shoulder joint and all direc- 324b
tions are determined from there

Parallel crosses exist also at the

elbow for movements of the lower
arm, and at the wrist for move-
ments of the hand, Fig. (c). The
same principle holds true for local
systems at the hip, knee, and ankle. 324c
 .

230 Parts of the Limbs

PARTS OF THE LEG

HIP

analyzing movements of the hips it must be clear whether (1)

In
one hip is the initiator or being emphasized; (2) both hips are in-
volved; or (3) the whole area, the pelvic girdle, is acting as a unit.
The body is so structured that one hip of necessity affects the
other. The inactive hip may move in the opposite direction to the
active or emphasized hip, except in the lateral direction, where
itmust move in the same direction. Or the inactive hip may serve
as a pivot for actions of the other. The normal position for the
hip is place middle, since it can be vertically raised or lowered.

H u
c
; X
n I

325a
Sway from side to Move the hip Jazz step: lift the
side with parallel forward with hip on the side of
hip action. each step. the free leg.

UPPER LEG (THIGH)

Movements of the thigh are guided by the
knee. A familiar action is lifting the knee
while marching or skipping. Direction and
level for the knee, as for the whole leg, are
taken from the hip. When the knee is raised
the lower leg hangs down
o

I
I

i
3 s
326a k
Prances Skips A high knee lift
Chapter 14 Parts of the Limbs 231

LOWER LEG
The ankle guides movements
of the lower leg. An isolated
use of the lower leg appears in
the can-can. In this step, the
upper leg is held out while the
lower leg beats rapidly in and
out or describes circles. Physio-
logically the lower leg is limited
in its range, but its directional
movements are varied by the placement of the upper leg and by al-
lowing the thigh to rotate in the hip joint. The lower leg moves
from the knee joint; therefore direction and level in space are de-
termined by the relation of ankle to knee.

In movements of the lower leg, the foot is understood to be car-

ried along as an extension of the lower leg. If the foot moves into
another direction, it must be written separately.

o
i :

jj
327a
E
The lower leg is raised straight The thigh remains out to the
back on each change. side; only the lower leg moves

n i
J
327c
The thigh remains for- Here the lower leg movements
ward low; only the lower cause rotations of the thigh: first
leg moves back. it is in-turned, then out -turned.
 '

arts of the Limbs

FOOT
The foot used to describe directional movements of
symbol is
the foot in space. To establish
the right idea one must think of the
tip of the foot guiding the action. As with the lower leg, the foot is
limited in its range of movement, direction and level being deter-
mined by placement or movement of the rest of the leg. The foot
moves from the ankle joint and so takes its direction and level
from there.

As with the lower leg, spatial indications for the foot can a
a passive rotation of the leg in the hip joint. The leg and foot are
normally kept in line: that is. there is a straight line from the cen-
ter of the knee through the center of the foot. Twisting or curling
movements of the foot, such as are used in therapeutic exercises,
involve rotations and flexions of the foot and ankle. These are
discussed in Chapter 17. page _- ;

—
J28a

A peasant dance, with the foot

n
Impatience: lifting and
turned up on each gest. tapping the foot

Note that the foot can be written in the third column out from the
center when that column is not otherwise being used.

3?
i :

Cossack jump: the feet point upward during the jump,

e the indication of contact between foot and hand.
Chapter 14 Parts of the Limbs 233

P El _. Li

329a

Fig. 329 (a) shows a gesture touching the floor on the heel; the
a
ankle is flexed, the foot up. The instruction that only the tip of the
heel is to contact the floor results automatically in ankle flexion.
In (b) a similar movement occurs, but since the right foot is free
must be written. In (a) no leg rotation is
of the floor its direction
indicated, the performer being left to do what feels comfortable or
suitable. Fig. (c) shows the same general pattern but with paral-
lel rotation on the first gesture and a turnout on the second, dic-
tated by the position stated for the foot. In (d) the relation of the
foot to the lower leg is the same on the second count as in the
starting position, but as the leg is higher at the end, the foot direc-
tion must be shown be place high instead of forward high. Note
to
that the foot positions in Figs, (b), (c), and (d) would be written
as ankle folding if the action of bending were more important than
the direction in which the foot should point. (See pages 323, 327.)

USE OF COLUMNS FOR PARTS OF THE LEGS

Standardization in placement of indications on the staff facili-
tates reading; therefore the following usages have been established.
Hip indications are usually written in the leg gesture column or in
the body column, wherever there is room. The knee is written in
the leg gesture column. Lower leg and foot indications are written
in the leg gesture column, in the expanded staff additional "a" col-
umn, or, if need be, in the body column. As long as a pre -sign is
used the indication is quite clear. A
pre -sign can only appear in the support
it* %%%
column when that part is taking weight.

Fig. 330 illustrates this range of place- %% ***

ment on the expanded staff. Leg indica-
tions should always be placed in or near
the leg gesture column. (See chart on
page 491.) 330 3 2Q.110.Z3
234 Parts of the Limbs

PARTS OF THE ARM

Movements of the parts of the arm are similar to those of the leg.
The chief difference lies in the greater range resulting from the
greater flexibility in the arm joints.

SHOULDER
The shoulder, though limited in range, has certain distinct
movements. In this chapter simple movements of a single shoul-
der will be discussed; the shoulder area and shoulder section are
given on page 250. The clavicle and shoulder blade form a girdle
which in moving carries the top of the humerus with it. The nor-
mal position of the shoulder is place middle since the shoulder
can be lowered as well as raised. Movements of the shoulders
are those which can be performed without displacement in the
rest of the chest. Common actions are lifting the shoulders in
shrugging and pulling them back to achieve "good army posture."

7-
•
/
/
i r
331a 1 -i c 1

"Mmmm, lovely! Old-fashioned Slouch

military bearing

UPPER ARM
Upper arm movements are guided
by the elbow. Direction and level
are determined from the shoulder,
as for movements of the whole arm.
The lower arm is carried along.
Note the everyday action depicted
here, a nudging with the elbow.
 .

Chapter 14 Parts of the Limbs 235

When the upper arm moves in a definite direction, the lower

arm may either take a specific direction or simply be carried
along. The former case requires written instruction; the latter
does not. When it is merely carried along, the lower arm may
react slightly differently depending upon the starting point, the des-
tination of the upper arm, and the speed with which the upper arm
moves. Rule: when no instructionis written for the lower arm
the simplest, least noticeable reaction should take place; anything
specific must be stated. In the following illustrations the probable
destination of the lower arm has been shown with dotted lines

7\
/
/
332a / h
Start with the arm up. Move Start with the arm forward.
the elbow to forward middle. Drop the elbow suddenly to
The lower arm being carried place low. The lower arm
along remains upward. remains forward.

332c I
Start with the arm down. Pull arm down.
Start with the
the elbow back quickly. The Raise the elbow to the side
lower arm is illustrated as be- The lower arm being car-
ing not quite straight down, a ried along remains down-
result that can be expected from ward.
this sudden backward action.

In (e) start with the arms

up. Move the elbows to (
side middle. As in (a) the *3

lower arms will follow •

maintaining the general /

/
upward direction. 332e
236 Parts of the Limbs

LOWER ARM
The wrist guides movements of the lower arm. The hand does
not follow limply, but is used as an extension of the lower arm.
The structure of the elbow limits the range of action of the lower
arm, but spatially this range is augmented by changes in place-
ment of the upper arm and by allowing the upper arm to rotate.
These rotations are unstressed and need not be written since they
occur only to accommodate lower arm actions Direction and .

level for the lower arm are determined by the relation of wrist to
elbow; therefore upper arm placement needs to be known

An everyday example of a lower arm \

movement is this military salute. While

the performer is aware of the hand ap-
proaching the forehead, the actual motion
is one of the arm from the elbow down. 333a

333b I
Lift the lower arm until it Start with the whole arm to the
is straight above the elbow side. Move the lower arm up
from which it moves . It and to the other side, ending
has performed a half circle, with the hand near the shoulder,

HAND
The hand moves from the wrist, so its direction and level are
determined by the relation of the extremity (fingertips) to the wrist.
The range of spatial patterns which the hand can perform is aug-
mented by the placement in space of the rest of the arm and by al-
lowing rotation of the upper and lower arm to occur. Because exact
direction and level for the hand will depend on the placement of the
arm, the latter should be written first.
Simple directional movements of the hand follow the same gene-
ral pattern as those of the foot but, with the greater flexibility of
the arm, the hand can perform many more movements which re-
 .

Chapter 14 Parts of the Limbs 237

quire specific analysis. For many hand gestures it is important to

state where palm faces (see page 129). When the hand takes a
the
new direction and nothing specific is stated, the palm faces the di-
rection requiring the least arm rotation. In Fig. 334 (b) the palm
faces down when the arm is down and up when the arm is up.

p
1
'Stop!"

334a
i I
it I
Egyptian style

Many hand movements are best described as flexions (bending)

of the wrist. Details of such flexions are given in Chapter 19.
Movements of the fingers are given in Chapter 27.

USE OF THE COLUMNS FOR PARTS OF THE ARMS

Fig. 335 illustrates the columns used for correct placement of
notation for the parts of the arms.
Part of the Arm Usual Placement of Acceptable Placement
Notation if Necessary

Shoulder Body column Arm column

Subsidiary "b" column
of expanded staff

Upper arm Arm column Outer adjacent, 5th

column
Lower arm Arm column 5th or 6th column
Hand 5th column, adjacent 6th or 7th column
toarm column (when
movement is simple)
Since pre -signs are used there
2 1 % i] tjtjt
is no problem of identification. i

The pre -sign for a part of the arm

should appear in the support col- 1
A \

umn only when that part is support- !

1j1H :
i
h h N I :

ing, i.e. carrying weight 335 7 6 S4 C- Z Z cut I £^Z3 I 4 5 6 7

238 Parts of the Limbs

USE OF THE CARET

To avoid constant repetition of a pre -sign, an angular bow < or
> is used. This bow, called the caret, means "the same" and is
used to indicate movements of the same part of the body. The read-
er refers to the previously stated pre -sign. The caret must be
used in all cases where parts of the limb are written in the column
for the whole limb. Without a caret or repetition of the pre -sign, a
direction symbol in the leg gesture column refers to the whole limb.

* 1
f OR or
> >,

336a J . I * t 1

In Figs. 336 (a), each gesture is a knee gesture.

(b), and (c),

The caret can be placed on either side of a symbol, wherever there

is more room, as illustrated in (b) and (c). In (d) the absence of
the caret means that only the first movement is done by the knee;
the subsequent ones are gestures of the whole leg.

READING MATERIAL USE OF THE JOINT SIGNS

f :.3 )

\ 1 \i

337a
Pose in ara-
1
Releve
i
Jete in atti De'veloppe grand
besque, fondu passe tude front rond de jam be,
with retire devant and back to attitude

To eliminate the need for pre -signs see page 242.

 ;

Chapter 14 Parts of the Limbs 239

Kt
Jl

fc> .! !

V :
i

j:

<?
Jl
/

113 ^
1

i
\
Jl >

338a I
• •

III I
Note that forward movement of a single hip causes a small rotation
in the pelvic girdle. Both hips moving in opposite sagittal direc-
tions cause a distinct turn of the pelvis. When the emphasis is not
on the initiation of the movement by a single hip, such actions are
written as pelvic rotations (see page 301).

P I I
,4

1
I I
>
o
! 4 _J!_
II
339a i() I I
Elbow swings, ending Complete circles Pendular movements
with the whole arm back of the lower arm of the lower arms

In Fig. 339 (a), after the starting position, nothing is stated for
the lower arm; it is not important. In (b) and (c) rotations will oc-
cur in the upper arm; these are understood and so are not written.
240 Parts of the Limbs

In thehand movements in Fig. 339 (d)

the simplest transitionfrom one direction ) (
to the next is understood to occur. Here
« >
the hands will move to the opposite side
t r
via down. A transition over forward or
backward would have to be written.
339d 1 T 1
INDICATION OF TIMING
As with all pre -signs placed before direction symbols, indications
for the parts of the limbs are included in the timing of an action;
therefore motion starts at the beginning of the pre -sign.

A thigh move-
I Hand move-
ment starting ments on counts
on count 1 and 1 and 2, each
o__*
taking two taking only half $
full beats a beat
340a
.
h
Note that in Fig. 340 (c) both the downward move-
ment and the subsequent raising of the hand take
a whole beat, though the latter appears to be
slower because the direction symbol is longer. i
Eliminating repetition of the hand sign through i\

the use of the caret allows more room for direc-

340c [>
tion symbols.

EXCLUSION OF THE PRE -SIGN IN TIMING

Where space is limited and it is desirable to omit the pre -sign
from timing indication, short double horizontal lines can be used
to signify the start of action. These are the same double lines
used at the start of a score to indicate where
movement begins. In Fig. 341 the pre -sign
for lower leg written before the double start-
ing line is not counted in the timing of the
lower leg movement. For count 2 the small
double line shows that the lower arm pre-
sign is not included in the timing of the action.
Thus the lower leg moves backward sharply
on count 1, and the lower arm moves forward
sharply on count 2. 341 I
 .

Chapter 14 Parts of the Limbs 241

SIMULTANEOUS ACTIONS
When compound actions occur in which two or more parts of the
limbs move simultaneously in different directions, the indications
are placed side by side whenever possible.

Simultaneous Action Bow

When signs which are written one after the other should occur
at the same time, they are tied with acurved vertical bow. This
bow has time significance and finish of the bow in-
in that the start
dicate the start and finish of the overlap of the two actions.

o 1
OR
o I
•
4
F
342a I U > i. > >
First move the Perform both actions at once The two ac-
leg forward, as indicated by the bow, which tions partially
then lift the foot. can be written on either side overlap.

Originally the simultaneous action bow had no time significance,

and was always drawn small. Now the length of the bow shows the
degree of overlap of two actions, i.e. the bow has time significance
as in Fig. (b), (c), and (d) above. When, however, there is not
sufficient room for a large bow a very
small bow is used to signify complete
overlap. Thus, while in (e) the length
of the
(f)
bow indicates some overlap, in
bow is understood to
the very small
be an abbreviation of the largest bow
o o 1
possible and signifies complete overlap. > LB
Hence (f) has the same meaning as (b). 342e

DEVICES FOR ABBREVIATION

Most devices for abbreviation in writing belong to the shorthand
version of the system used by notators, devices which are not
given in this book. However, Division of the Column, and Attach-
ed Symbols have been so long in use that they have become part of
the standard system and appear in finished scores and publications
242 Parts of the Limbs

DIVISION OF THE COLUMN

Division of the column for the whole arm or whole leg makes it
possible to write actions of the major parts (upper and lower limb)
side by side without pre -signs. A direction symbol the full width
of a column describes the whole limb; half width symbols indicate
upper and lower segments.

For the Legs

We write the upper leg on the inner side, lower leg on the outer.

<_
lower leg

upper leg
instead
of
c
m or ,*
fe
*
4

<
1 instead
!

or

343a
whole leg
i of
f g
o t
Figs. 343 (b), (c), and (d) show the passe (retire), and (e), (f), and
(g) the attitude positions for the right leg as used in classical ballet.

For the Arms

The upper arm iswritten on the inside (near the body column)
and the lower arm on the outside.

lower arm y 7

ins
r nU c
i
upper arm

instead
whole arm of
344a e 3?

ATTACHED SYMBOLS
A small symbol attached to a normal width symbol is under-
stood to mean the next segment of that limb, judged from the cen-
ter of the body out. The smaller symbol is like a parasite in that
it clings to the main symbol and takes the timing of the main sym-

bol. For this usage, the expanded staff is preferred since it pro-
vides room for these additional indications.
Chapter 14 Parts of the Limbs 243

For the Legs

The main symbol appears in the leg gesture column. The attach-
ed symbol representing the lower leg is placed beside the main sym
bol closer to the center line.

* <r foot added

m
lower leg instead of
added

ft *- whole leg
345a t>

The above notation has the advan-

tage of placing foot indications
close to the support column; thus
hooks indicating floor contact will
relate directly to the foot symbol.
345c

For the Arms

The main symbol appears in the arm column and the attached
symbols are added on the outside.

^|0 <r- hand added

Ml
N« lower arm i^^t^^A ^f
m «-
added instead of
K
\\ <r- whole arm
346a V b >

CANCE LLATIONS
A directional indication for the whole limb cancels any previous
directional indication for its parts. Thus a whole arm indication
will cancel an indication for the upper arm, lower arm, and hand,
as these are part of the whole arm and hence instructions for them
are contained within the instruction for the whole arm. The same
is true of the whole leg and its parts. A movement of the whole
arm does not cancel a previously established position for the shoul-
der, however, nor does a whole leg movement cancel a previously
established position for the hip. In the examples below indications
of the first count are cancelled on the third count.
244 Parts of the Limbs

mo
U u

347a
MM ill IN
A bent gesture of the whole limb will cancel
a previous indication for a part of the limb. In
Fig. 347 (d) the bent backward low gesture can-
cels the previous forward knee position. The
T
bent sideward gestures of the arms cancel the
IB
previous forward lower arm positions.

BACK TO NORMAL 347d I

A return of a part of the body to its normal state or situation can
be indicated either by an appropriate direction symbol or by a back
to normal sign. The back to normal sign cancels a special state or
Under the Standard
situation such as twisting, flexing, or shifting.
System ofReference it is common for arm and leg gestures return-
ing to place low to be written with direction symbols. Aback to
normal sign used for an arm gesture means in the normal body
alignment (an understood reference to the Cross of the Body axis).

Timing of a Return to Normal

The symbol © is followed by a duration line to show the timing
used in returning to the normal state. As with other pre -signs, the
symbol O itself is not elongated to show extension in time.

r
1

i
+

348a >
A return to normal A quick return A slow return
taking one beat to normal to normal
Chapter 14 Parts of the Limbs 245

RETENTION IN THE BODY (BODY HOLD)

The relation of a minor part of the body to a neighboring more
major part may be retained while the limb as a whole is moved in
space. For example, the hand may achieve a certain angle in rela-
tion to the lower arm, and this angle may be retained (no move-
ment occurring in the wrist) while the arm as a whole moves into
another direction.

Fig. 349 shows a starting

position with arm up and hand
forward. The hand has a re- i
tention in the body (body hold)
while the arm moves forward
and down; flexion in the wrist
is maintained. The hand is
carried through space by the
whole arm; as a result of the
body hold its spatial direction
changes until it ends back-
ward middle.
o

349
I
Cancellation of a Body Hold

To cancel the body hold sign either a new direction must be

written for the hand or the back to normal sign o must be used. :|!

On count 4
the body hold
On count
the body hold
4
e lo>

is cancelled is cancelled
by the new di- by the return
h
rection indi- to normal
cated for the sign. 4
hand.
to

350a K
* See Appendix A, note 5
246 Parts of the Limbs

RETENTION IN SPACE (SPACE HOLD)

in space (space hold) was introduced in Chapter
The retention
8 in connection with turning. It can also be used to show that one
part of a limb retains its relation to space, that is, its previously
established direction in the Standard System of Reference, in spite
of a change in direction of an adjacent major part. Since in retain-
ing a spatial direction, the action in the joint is always the result
of another movement, the rule is that the space hold symbol is val-
lid only for the same time as the movement which causes it. Thus
the space hold sign must be repeated with each new movement in-
dication unless a retention is indicated as in Fig. 354 (a).*

Compare Fig. 351 (a) with Fig. 349.

The arm starts straight up

with the hand gesturing for-
ward. While the arm is
lowered through forward to
place low, the hand main-
tains its space relation, i.e.
its forward horizontal di-
rection from the wrist. At
the end of count 2 the arm
and hand will both be for-
ward middle, i.e. momen-
tarily in line. At the end
of count 4 when the arm is
down, the hand will still be
forward middle. oei
351a

Compare the next two examples,

which start with the same position
for the arm. Note the different re-
sult produced by the use of a body
hold or a space hold for the lower arm
I
In (b), as a result of the body hold,
the lower arm will end exactly for-
ward middle, the angle at the elbow o o
remaining the same.

See Appendix B, note 4. 351b f

Chapter 14 Parts of the Limbs 247

In (c) because the lower arm

has been given a space hold,
it remains in the vertical
I
direction. The elbow bend CO
necessary to achieve this is
understood and not written.
o

351c
i
Stated Destination Resulting from a Space Hold
\ k
For the reader's convenience a direction sym-
bol may be used to show the final destination of a
limb as the result of a space hold. That such a
symbol signifies not a new action but the result
of the previous action is indicated by placement
of a small round bow by the base of the sign.
352
Modified Destination Resulting from a Space Hold
m
Where a change of level or slight direction-
al adjustment occurs during the retention of a
KK h
spatial direction, the destination of the action
is written at the end, and the moment where
the change of level or other adjustment begins
to occur is indicated by an action stroke which
is tied to the indication of the destination. In
Fig. 353 the change of level starts halfway \

through the movement; the right arm and left

353
leg end in middle level. Without the action
stroke and bow the adjustment would be sudden.

Cancellation of a Space Hold

As a rule the need for a space hold disappears once the

action which caused this need is over. Therefore a new o
space hold sign is written for each new action. But where 354a
space holds may occur continuously, the writer may wish
to warn his reader of this fact. In such cases the basic
retention sign o is used at the start, as in Fig. 354 (a),
remaining in effect until cancelled by the space release
sign, Fig. (b). 354b
CHAPTER 15

Parts of the Torso,

Inclusions

Movements of the torso and its parts can be described in a general

way or in specific terms. The first general statement is the in-
clusion of the body in movements of the arms, legs, and head and
in steps. The next general statement, developed from the basic
idea of inclusions, is the special convention found suitable for their
work by certain European colleagues; this convention in the use of
direction symbols in the third columns for movements Upper
of the
Body (Upper Body Movements) is considered separately in Appendix
D because of its special analysis of movement and use of direction
and level. A further development in the progression toward being
specific is the indication of the particular part of the body to be in-
volved in an inclusion. Finally, actions of the torso and its parts
can be described according to the specific part involved, and the
kind of motion taking place. The specific parts of the body are pre-
sented first, and the specific actions are explored in detail in sub-
sequent chapters.

SPECIFIC PARTS OF THE TORSO

The chief parts of the torso used in movement description are:

B • X ir

Head Chest, Pelvis w ho le W'ai St She >ul der

rib cage tc >rs se Ctl on

Although the head is not technically a part of the whole torso, it is

included here since its involvement in movements of the torso,
chest, and shoulder section must be considered. Because of flex-
Chapter 15 Parts of the Torso 249

ibility in theneck the head can perform each of the basic types of
movement way, and so provides a good exam-
in a clearly defined
ple for investigating the various movement possibilities.

HEAD
The head, indicated by the letter C (caput - Latin for head)
moves through flexibility in the neck (cervical vertebrae). It is nor-
mally held straight up (place high) as an extension of the spine. It
is carried along in most actions of the shoulder section, the chest
and whole torso. The head, working through the neck, can per-
form the following actions: tilting, shifting, rotating on the longitu-
dinal axis, and bending (curving). The head alone can rotate on a
lateral axis (comparable to a somersaulting action) and on a sagit-
tal axis (comparable to a cartwheeling action). The neck alone can
contract and extend. Note that tilting, shifting and rotating which
are basically neck movements are not usually written as such.

CHEST
The chest (thorax, or rib cage) moves through flexibility in the
waist area (upper lumbar vertebrae). It is normally held in an up-
right position (place high). Movements written with the chest sym-
bol are those in which this area of the body, which includes the dor-
sal vertebrae, moves as much as possible as a unit. The chest can
perform the following actions:tilting, shifting, contracting, extend-
ing, bending (curving), rotating and twisting on the longitudinal
axis and also a rotary movement on both sagittal and lateral axes.

PELVIS
The pelvic girdle, situated between hip joints and waist and
moving through the flexibility of these joints, is somewhat restrict-
ed in movement
but is capable of: tilting, shifting, curving (limited
chiefly to a with muscular differences), and rotating on its longi-
tilt

tudinal, lateral and sagittal axes. Its normal position is place high.

WHOLE TORSO
The whole torso (rib cage and pelvic girdle moving as a unit) is
normally held vertically (place high) over the hip joints, the base
(point of attachment) from which direction is judged. The whole
torso is capable of the following actions: tilting, shifting, contract-
ing, extending, bending (curving), rotating, and twisting.
250 Parts of the Torso, Inclusions

WAIST
The waist area, comprising the lumbar vertebrae, is situated
between the chest and pelvic girdle and acts principally as a "joint"
for these parts. It is very limited in actual movement, being cap-
able only of shifting, contracting and extending the vertebrae in its
area. The waist sign is more often used in connection with touch-
ing or grasping than for movement indication.

SHOULDER SECTION (Upper Chest)

The shoulder section is that part of the spine from the bottom
rim of the scapula up, the area of the upper chest which carries
the shoulder girdle. In movement
similar to the chest in that
it is

it performs limited versions which the chest is

of all the actions of
capable: tilting, shifting, twisting, contracting, extending and bend-
ing (curving). Many people lack sufficient flexibility in the upper
spine to perform these actions clearly; nevertheless such move-
ments of the shoulder section are possible.

SHOULDER GIRDLE
Isolated movements shoulder are discussed on page 234.
of the
The signs 1 and representing the left and right shoulder
h ,

respectively, specify the outer edge of the shoulder (the acromion

process) for touching, but the shoulder girdle (clavicle and scapula)
for movement. The use of both signs together indicates that ^
both shoulders simultaneously perform the movement instruction.

Extended Shoulder Girdle Movements

The range of movement for a shoulder girdle working in isola-

tion is limited. To increase this range the performer must in-
volve part of the rib cage.Thus the addition of degrees of M to a
shoulder movement means involvement of part of the rib cage on
that side of the body. Similarly an inclusion of the body in a
shoulder movement will affect the upper ribs on that side.

SHOULDER AREA
The area cage around a shoulder is indicated by the
of the rib
signs (T) and This area rarely initiates actions. It may be
[F| .

included in actions of the arm or of the shoulder on that side of the

body; therefore the symbol is used mainly within an inclusion bow
to specify the exact part to be included in a main action.
Chapter 15 Parts of the Torso 251

Note the distinction between the following:

E
»5a '
A I A b l\ A
Shoulder girdle Shoulder area Shoulder section

K _ Shoulder girdle, which can move without affecting the spine

•
or rib cage.

Shoulder area, which includes upper ribs on that side of the

nn = torso; the spine will be affected and a lopsided displaced
state of the rib cage is expected.

Shoulder section of upper torso (spine included): in move-

1h
ment this section moves as a unit.

Only general movements of these parts are dealt with in this

book; specific details and combined forms will be given in Book II.

AUGMENTED TORSO SECTIONS

The main subdivisions of the whole torso - chest and pelvis -
can be augmented by including the waist area, thus enlarging the
movement performed.
Augmented Augmented
chest area: pelvic area:

Augmented Chest Area

Rib cage and waist area moving as much as possible as a unit
comprise the augmented chest area, also called "chest-plus -waist"
as the symbol indicates. Inclusion of more of the spine results in
an enlarged thoracic movement, but no noticeable action occurs in
the hip joints.

Augmented Pelvic Area

moving as much as possible as a
Pelvic girdle and waist area
unit comprise the augmented pelvic area, also called "pelvis -plus -
waist" as the symbol indicates. Such pelvic movement includes
the spine in the waist area, below the rib cage, but no noticeable
action occurs in the upper spine.

Each of the aforementioned parts of the torso performing each

of the listed actions will be discussed.
252 Parts of the Torso, Inclusions

These are the main activities; finer subtleties such as tensions

in body areas, movement description in terms of paths of the parts
of the body will be given in Book II.

AUGMENTED BODY SECTIONS

Tilts of the torso may include more than just the torso itself;
an adjacent part may move with the torso as a unit. A familiar ex-
ample is the backward tilt which hinges at the knees, torso and
thighs moving as a unit. Other examples can include the arms or
a gesturing leg. To indicate this unit in movement, the extremities
of the unit are written within a box.

i
356a
Knee to chest Foot to chest Left foot to right
as a unit as a unit hand as a unit.

USE OF THE COLUMNS FOR THE SPECIFIC PARTS

To facilitate reading, there is a preferred
use of the right and left third columns for
parts of the torso. As illustrated here chest
and shoulder girdle are placed on the right, 5
whole torso and pelvis on the left. As long
as the pre -sign is used, however, the indica-
tions could be placed on the other side or in 357 !•! f5) I

other gesture columns. The support column

can only be used when weight is placed on that part of the body.

SPECIFIC ACTIONS FOR THE PARTS OF THE TORSO

The general description of body actions, those which result
from inclusions in arm and leg gestures and steps, will be discus-
sed first. For a specific description the three main actions which
can be performed by the parts of the torso are:

TILTING, ROTATING (twisting), SHIFTING

A fourth, Facing, is the result of the three basic actions.

These actions will be explored in this and subsequent chapters.

Chapter 15 Inclusions 253

INCLUSIONS, RESULTANT MOVEMENT

In movement involving two related parts, such as the arm and the
upper body, one part may initiate themovement while the other
follows, or both may act simultaneously. The movement of one
part may therefore be described as leading, accompanying, or
following the other.

358a Leading b Accompanying c Following

Now let usconsider the analogous case of a limb. The hand may
lead the arm, Fig. 359 (a), may travel in unison with the arm, (b),
or may be led by it, (c).

359a Leading b Accompanying c Following

The notation for part leading is given on page 463. Accompanying

takes place when similarly directed movements occur for both body
and limb simultaneously. The most familiar form of following, re-
sultant movement, is inclusion of the body in an arm gesture. Other
passive and resultant movements will be fully discussed in Book II.

INCLUSION OF THE BODY IN ARM GESTURES

A direction symbol in the arm column indicates a gesture of
the arm alone. The body should not participate in such move-
ments except for the few instances where some flexibility in the
shoulder area may be needed to facilitate performance, as in a
backward arm gesture. The inclusion of the body in an arm move-
ment means that the upper section of the torso participates in the
254 Parts of the Torso, Inclusions

direction of the arm movement. All resulting inclinations and

twists of the upper body should be performed in such a way that
they are the natural accompaniment to and augmentation of a simi-
larly directedarm movement. In certain directions the range of
arm gesture and swing is increased when the body is included in
the action. Below are some simple everyday examples of arm
gestures in which the upper body is included.

In reaching for an object that

is arm need
close at hand, the
only extend to pick it up. But
if the object is further away the
body will have to be included to
reach the object comfortably.
360a

Ifno body movement is in-

cluded in a handshake, the
person seems cold, stand-
offish. Warmheartedness
is shown by inclining to-
ward the person being
greeted, that is by includ-
ing the upper body in the 360b
arm gesture as in (c).

Fig. (d) shows a student surrep- Fig. (f) is a person using both
titiously passing a note in class. hands to fix a light bulb which
The movement is one of the arm is forward high but within easy
alone. Fig. (e) shows how she reach. In (g) he is unable to
does it when she has permission get near the light, and so must
Where freedom of motion is al- include his body in the action.
lowed, she will automatically
include the body.
Chapter 15 Inclusions 255

In dance such inclusions of the upper body in arm movements

occur for expressive and choreographic reasons. While in func-
tional movements the arms are used as much as possible in front
of the body, in dance all directions are used. The description of
body movement in terms of an inclusion purposely allows a cer-
tain leeway in performance. Where precision is necessary, the
resultant body movement can be analyzed and recorded in detail.

THE INCLUSION BOW

To show that a part of the body is included in
another movement, a vertical bow is used. This
bow is curved at the ends and straight in the mid-
dle so that it can be drawn in the column of the
part of the body to be included. This bow differs
from the simultaneous action bow already discus- V J
sed in that the latter is curved throughout its length. 361a

361b I
Arm alone Upper body Arm alone Upper body
included included

arm gesture symbol to

Note that the inclusion bow connects the
the body column, being drawn from the arm gesture symbol into
the third column. The following examples show generally the ef-
fect of a body inclusion in an arm gesture. These illustrations
provide the idea; the interpretation need not be precise.

Inclusions in a Lateral Direction

The upper body inclines into the direction of the arm gesture.
The lower the arm gesture, the lower the inclination.

362a
Arm alone Upper body included
256 Parts of the Torso. Inclusions

362c
£- rr
Arm alone Upper body included

362e
Arm alone Upper body included
The head is carried along when the upper body tilts. Degrees of
tiltare approximate; it is expected that there will be variation ac-
cording to movement context. These examples can be taken as a
general guide. The arm need not be extended, since inclusions
can occur with a bent arm.

Inclusions in a Sagittal Direction

When both arms move in the

same sagittal direction, as in Fig.
360 (g), an inclusion of the upper
body produces a tilt in that direc-
tion. Fig. 363 (a) illustrates such
363a
a forward inclusion in low level.

When
only one arm moves in a sagittal direction, an inclusion
of the upper body produces a twist as well as a tilt. The one arm
causes that side of the body to be brought forward (or backward in
a backward gesture), producing a rotation in the upper body as
well as an inclination.

/
/
363b
Arm alone Upper body included
Chapter 15 Inclusions 257

363d U
Arm alone
V
Upper body included

363f
Arm alone Upper body included

It important to note that the twist in the upper body does not
is
affect the head. The head inclines with a tilt, being carried along
as an extension of the upper spine, but does not turn as a result of
body inclusion in an arm gesture. The pelvis should not be affect-
ed at all in any upper body inclusions.

Arm gestures in diagonal directions also produce a twist as

well as an inclination, but this twist is less than in a forward or
backward direction.
balanced inclusions in the sagittal direction (that is, when
In
one arm is forward to the equal degree that the other is backward)
the tilt will be negated but the twist will remain.

\h

363h , VI
The degree of twist is less for (i) than for (h). In both (h) and
(i) no tilt occurs and the head is not affected, but remains facing
the original direction.

Inclusions in Gestures Crossing the Body

When the right arm gestures to the left side of the body, or
vice versa, the resultant upper body movement may vary accord-
ing to the path of the arm gesture.
258 Parts of the Torso, Inclusions

An inclusion in the crossed

side high direction results
in an inclination in that di-
rection. Without the inclu-
sion the arm would be
364a
across the face.

In Fig. 364 (b) the forward low arm gesture produces a tilted
and twisted accompaniment in the body. Therefore, in reaching
the crossed side low direction, a tilt to the right could result. In
(c) the arm moves via side high which produces no twist, so an
inclination of the body to the left will result. It will be found that
in certain patterns inclusions may be open to interpretation. How
the body should react can be stated by writing an indication for the
Upper Body (see Appendix D) or by specific means given in Chap-
ters 16, 18 and 19.

364b

TIMING OF INCLUSIONS
The inclusion bow has time significance: inclusion of an indica-
ted part of the body begins where the bow begins, and ends where
the bow ends. If the bow lasts the length of a direction symbol it
is valid for as long as that symbol is valid. No specific cancella-
tion is necessary.

365a
Inclusion starts Inclusion occurs Inclusion starts
with the arm ges- allduring the only halfway
ture but finishes arm gesture through the ges-
halfway through. ture.
 .

Chapter 15 Inclusions 259

SPECIFYING PART TO BE INCLUDED

The specific part of the body to be included may be stated with-
in the inclusion bow. While this allows for a more specific state-
ment, there will still be some leeway in interpretation. In sagit-
tal,diagonal and crossed side directions a one sided inclusion pro-
duces a twist. In Figs. 366 (a-d) a twist occurs. Inclusion of one
side of the torso in a sagittal direction as in (d) produces a twist.

u
366a ...
The shoulder The hip is in- Specific hip Hip and shoul-
only is in- cluded in the inclusion in der inclusion
cluded in the leg gesture, crossing in the forward
arm gesture. (pelvis turns) step step

case of upper body inclusions in movements of the head,

In the
the bow not drawn into the body column, but is drawn on the left
is
side of the head indication toward the staff.

The upper body Head twists be- {/

is included in yond the normal ?
the head tilt. range, involving
the upper spine, *
V
366e vc
Inclusion of a body area produces a tilt but no twist. This is be-
cause the whole area is involved, not just one side as in (d) above.

Whole torso in- Whole torso in-

clusion in the arm clusion in the for'
gesture, produces ward leg gesture
a slight forward produces a slight
tilt. 366g backward tilt 01
(counterbalance)
DEGREE OF INCLUSION
By using the signs \A and a greater or X
lesser degree of inclusion can be shown.
The amount of upper body involved and the 1 1
V\ x
spatial range of the gesture will be increas-
ed for Fig. 367 (a) and decreased for (b).

See Appendix B, note Id.

367a J J
CHAPTER 16

Tilting (Inclining

ANALYSIS OF TILTING
Tilting, also called inclining or "taking a direction," means move-
ment body away from its normal position into an-
of a part of the
other direction in space. The free end describes a portion of an
arc, but in the standard description this curved path in space is
not recorded. Instead direction symbols are used to state a new
destination for the free end of the part of the body concerned.
This part moves as a unit from its base, or point of attachment,
the point of reference from which directions and levels are judged.

To understand tilting the parts

of the torso, imagine a chair be-
ing tilted. In Fig. 368 (a) a chair
is in its normal upright position.
In (b) the chair has been tilted to 368a
the right and is now at an angle,
the free end slanting in its right
side high direction. The point of
attachment (joint) from which it
368c
moves is the base of its right leg.
When the chair slants upward it is
in high level. In (c) it is side middle, level with the point from
which it is moving. Fig. (d) shows it slanting downward, side low,
below the point of reference which is the base of the leg where it
is being held. Although the term tilting is not used for arms, ges-
tures of the whole arm in one piece which take a new direction
could be called tilts in that they employ the same basic kind of ac-
tion. To clarify analysis of level for the head and torso, we will
make a comparison with arm gestures in the high area.
 )

Chapter 16 Tilting (Inclining) 261

Because the head, chest , and whole

torso have place high as their normal
situation, tilting these parts is com-
parable to tilting the whole arm when
368e
it starts place high. Fig. (e) illus-
trates the head and right arm starting
place high. In (f) they have tilted
right side high, and in (g) forward high.
The arm does not reach middle level 368f
until it is horizontal, parallel with the
floor. This is true also of head, chest,
and whole torso tilts; they do not reach
middle level until the longitudinal axis
of that part of the body is horizontal. 368g

METHOD OF WRITING TILTS

Tilting is written with a direction
symbol following the pre -sign for that
particular part of the body. Fig. 369
(a) shows a sideward high tilt of the
whole torso. Fig. (b) shows a forward
high tilt of the pelvis; and (c) a back- 369a
*
ward tilt of the chest.

When consecutive tilts occur a

caret is used to avoid repetition
of the pre-sign. Careful use of
the caret is particularly important
for indications placed in the third
column, as a direction symbol 369d An Upper
without a pre-sign in the third col- A circular pat- Body move-
umn" means an Upper Body move- tern of consecu- ment after
ment. (See Appendix D tive torso tilts
.
a chest tilt

TIMING OF TILTS
The pre-sign is included in the timing of an ac-
tion; therefore the direction symbol which follows \
is shortened accordingly. In Fig. 370 the forward /

tilt of the whole torso takes the same amount of T

time - one beat - as the return to place high.
* See Appendix B, note 16. 370 i
262 Tilting (Inclining)

DEGREE OF TILTING
The stated direction and level indicate how far the part of the
body tilts. For general purposes the cardinal directions are used;
when necessary intermediate directions can be given. The latter,
as well as very slight tilts, are explained in Chapter 26.

CANCELLATION OF SIMPLE TILTS

** A tilt is cancelled by a subsequent tilt

into another direction or by a return to the

normal situation. This normal situation
or
can be indicated by the direction place high
for the upright standing position, or by the
return to normal sign © followed by a c c
duration line to show timing.* Because the 371a
return to normal sign will also cancel any
accompanying twist, it may not always be
suitable. If a place high symbol is written,
the emphasis is on a return to that direc-
tion; if a back to normal sign is written, or ©
the emphasis is on a resumption of the nor-
mal position within the body. The former
description stresses direction, the latter 371b
body alignment.

TILTING SPECIFIC PARTS OF THE TORSO

In discussions of tilting it is understood that the starting posi-
tion is with the whole body in the normal upright position.
Tilting the Head
The free end of the head is the crown, its point of attachment
is the base of the neck. In tilts of the head it is understood that
head and neck incline as a unit. From the normal upright position
as an extension of the spine the head can tilt in various directions
in high level. A middle level head tilt occurs when the crown is
on a horizontal line with the base of the neck. For most people
this requires a slight giving way in the thoracic spine, that is, an
inclusion of the upper spine. To tilt the head into low level while
in an upright standing position, we must either include more of the
spine or tilt the chest or torso in the same direction.

* See Appendix A, note 5

Chapter 16 Tilting (Inclining) 263

Movements of the head,are written on the right side of the staff

outside any indications for arm and hand. The pre -sign C is used
for actions of tilting and rotating; facing and shifting require spe-
cial pre -signs. Once the head pre -sign has been stated, it is un-
derstood that all subsequent direction symbols in the column re-
fer to that pre -sign. If there is a considerable gap, the head pre-
sign can be repeated to reassure the reader. Because the head is
written apart from other indications, carets are only used where
clarification is needed, as when changing from the actions of tilting
or twisting to those of facing or shifting.

i a*]

372a > A Xl
b 11X L
<
x c c <1
In Fig. 372 (a) it is understood that all are of the head.
tilts
Where a gap occurs as in (b) the pre -sign can be repeated. Only a
small gap is illustrated here. In (c) the head tilts forward on the
first side step, then resumes the backward tilt when the feet close.

A circular pattern can be made by tilting

consecutively in the directions forward,
right, backward, and left as in (d). This
"circling" of the head is not a rotation,
for no rotary action or twisting occurs.
Such patterns are frequently performed Ba
with the addition of rotations to augment
and facilitate the circular action.

Tilting the Whole Torso 372d LLiiJ

The whole torso moves as a unit in one piece from the hips.
The hip joints ,are considered the point of attachment (point oT re-
ference), and the base of the neck the "free end." Though the
head is not included in the analysis of direction and level, it is car-
ried along and follows the line of the spine established by a whole
torso tilt. The normal position for the whole torso is straight up
264 Tilting (Inclining)

above the hips, i.e. place high. When the torso tilts, there may-
be a slight natural curvature in the direction of the tilt; the pre-
sign \A must be added in order to specify a completely straight
torso. If, however, a slight curvature is specifically desired, the
pre -sign X must be added.

Movements of the whole torso are generally written with the

whole torso pre -sign in the left third column, but since the identi-
fying pre -sign is always used, they may be written in the right
third column or in any free column. The whole torso indication
should be placed in the support column only when the weight of the
body rests on that part, i.e. when the body is lying down.

i
/

373 U

373d

Tilting forward can occur with the weight on both feet or on one
foot. If the performer tilts to the side while supported by both feet,
hemay find it impossible to get a true whole torso tilt, that is, to
move his chest and pelvis as a unit; one leg must be free. He can
strive to tiltfrom the hip joint, but as there is little play in the
hip joint, usually the action is better described as a chest-plus -
waist tilt. (See page 267.)

Natural Pelvic Shift During Whole Torso Tilts. When the w hole
torso tilts forward, it is natural for the pelvis to shift slightly back-
f:
ward in order to maintain the line of balance, i.e. so that the cen-
ter of gravity can remain vertically over the center of the support.
This adjustment is not written. If, however, the weight is to be
kept forward or specifically shifted backward, special instruction
must be written. Similar adjustments to maintain balance occur
in torso tilts in other directions. Shifting the center of weight is
given in Chapter 24.
Chapter 16 Tilting (Inclining) 265

Tilting the Chest

The chest (rib cage) uses the vertebrae at the waist as its axis
of movement. Thus the waist is its point of reference and the
shoulders its "free end." The head is carried along and follows
the line oi the spine established by a chest tilt.

Normal position for the chest is place high, straight up above

the waist. A performer in an upright standing position cannot tilt
his chest to horizontal level (waist level) without involving his
lower spine. When the lower spine is involved the action is des-
cribed as an augmented chest tilt. If the action involves the hip
joint it becomes a tilt of the whole torso. In true chest tilts, the
pelvic girdle should not be displaced at all.

Tilts of the chest are written with the chest pre -sign in the
right third column.* Because the pre-signis always used, however,
the indications may
be written on the left side if need be or in any
free column. The chest sign must not be placed in the support col-
umn unless the body rests on that part, as in lying down.

L
/
/
i
374a 5)

When the chest is tilted the area is displaced as a unit. There

may be a slight rounding in the spine, but any narrowing or collap-
sing in the direction of the tilt must be written with contraction or
bending (curving) signs.

Tilting the Pelvis

Thet pelvic girdle, situated between the hip joints and waist, x

tiltsthrough flexion in the hip joint or joints and the lumbar verte-
brae. Normally the pelvis is held directly above the hips, i.e.
place high. As with the whole torso, the "point of attachment" is
the hip joint, while the upper rim of the pelvis is considered the
"free end" though its freedom is limited by the upper spine. Be-
cause the chest is displaced (carried along) in pelvic tilts, how-
ever, the effect of a free end can reasonably be achieved. Tilts of
the pelvis are, in fact, tilts of the whole torso in which the chest
does not join. Whereas in a whole torso tilt the line of the whole

See Appendix B, note 16.

266 Tilting (Inclining)
/
spine is in the stated direction, in pelvic tilts only the lower spine
takes this direction, the upper spine remaining upright. It is as
though the chest has an unwritten space hold.

Tilts of the pelvis are written with the pely^s_j2Xfe_-sign in the

left third column. Because the pre -sign
is always used, however,
the indications maybe written on the right side or elsewhere. The
pelvis sign appears in the support column only when the weight of
the body is on that part, as in lying down.

/
J
/
/
/
/
\r
A
/

'i
9

375a
f fi

In pelvic tilts the upper rim is displaced, moving in the stated

direction so that the line from the base of the spine to the waist
slants in that direction. The chest remains vertical but is carried
along, i.e. displaced in space, by the tilting pelvis.
T
/
From forward mid-
the /
dle position of the whole c
torso, the chest lifts to J
place high. The pelvis
o
remains horizontal. 375d • r

Automatic Pelvic Tilts. When a backward middle leg gesture is

written it is understood that, because of the structure of the hip
joint, in order for the leg to reach this level the pelvis must tilt
forward. Only a small degree of backward leg gesture can be per-
formed without affecting the pelvis. This understood adjustment
in the pelvis need not be written; it is not a pelvic movement to be
described as such. The degree of pelvic tilt will depend on the
build of the individual performer. The same is true of a place high
leg gesture, some pelvic inclusion must occur.
Fig. 376 (a) shows a
backward middle leg o
gesture as in an ara-
besque; (b) shows a
lJl
high kick via side.
3/oa b ^
Chapter 16 Tilting (Inclining) 267

Tilting the Shoulder Section

f
The' shoulder section' (upper chest, upper spine) can tilt in the
same way as the chest, but its movement smaller and more
is
limited in range. There is no definite point providing an axis for
such as the waist does for the chest; therefore it is usual for
tilts,
movements forward and backward to be flexions, i.e. that section
of the spine arches or curves over rather than tilts as a unit. If
the movement is a true tilt, however, it should be written as such.

Tilts of the shoulder section are generally written with the pre-
sign BB in the right third column. The indication may also be
written in the left third column or where space permits. The
shoulder section sign will appear in the support column only when
the weight of the body is on that part.

377a ±_1
Tilts of the shoulder section are usually rather slight; for the
notation to be quite accurate, use should be made of intermediate
directions given in Chapter 26.

Tilts of Augmented Torso Sections

Augmented Chest : of the augmented chest (chest-
|||
In tilts
plus -waist) the movement based lower in the spine than in tilts
is
of the chest alone; the hip joints are not affected, however, as they
are in whole torso tilts. Much of the difference between chest and
chest -plus -waist tilts may be observed and felt as muscular rather
than as significantly spatial. Compare the following examples.

378a

A chest tilt: the An augmented A stretched whole

rib cage moves chest tilt: the torso tilt: the hip
from the waist. waist is involved, joints are affected,
268 Tilting (Inclining)

The position in Fig. 378 (c) - feet

apart and knees bent - allows some
action in the hip joints, but the line
of the spine is not as straight as in
ill
(d), where the weight on one foot
allows for a true straight torso tilt. 378d

Tilts of the Augmented Pelvis [•!. A pelvic tilt can include the
spine higher up into the waist area. The rib cage should not be af-
fected. Some people may be able to keep only the shoulder section
and head unaffected; this depends on the individual build. Usually
the break comes in the mid-dorsal vertebrae.

/
|5 < )
•_JI

379a
Only the pelvis tilts; Pelvis plus waist tilts;
the chest remains only the shoulder section
upright. remains upright.

Augmented Whole Torso . The whole torso can be augmented by

including the head in its actions so that the spine from pelvis to
head moves as a unit. In movements of the ordinary whole torso
(the more commonly used description) the head accompanies the ac-
tion, but there is no special feeling of keeping in one piece and
some play may be expected. When the sign [|]
is used there will
be no such play.

Pelvis to head moving as a J

unit: the line of the spine
must be quite straight from V
"

base of pelvis to top of head.

380 I

Progression in Tilting the Segments of the Spine from the Top

381
a b d [xj e
Head Shoulder Chest Augmented Whole
section chest torso
 .

Chapter 16 Tilting (Inclining) 269

Progression in Tilting the Segments of the Spine from the Bottom

•?
Augmented Whole torso tilt, Whole torso tilt
pelvis space hold for with normal
tilt the head head inclusion
Tilts of Augmented Body Sections
When a limb or part of a limb moves as a unit with the whole
torso or part of the torso, the signs for the extremities of this
unit are placed within one area sign. (See page 252.)

Direction and level of

the tilt are judged from

the indication at the bottom

of the augmented body sec-
tion sign. In Fig. 383 (a)
the girl tilts sideward from
the whole foot (tip of toes)
to her head. 383a

In (b) the line of inclin-

ation to the right is from
the left foot to the left hand
Details on the inverting of
these body sections are
given on page 273.
383b I
LIMBS CARRIED DURING TORSO TILTS
Rule: a major part of the body carries along a minor or de-
pendent part. This rule is applicable to the action of turning the
whole body, to tilting, * and to rotating (twisting).

When no directional change is written for the limbs (arms, leg,

or head) and a torso tilt occurs, the torso carries the limbs with
it. A body hold sign is not needed theoretically, but is added as a
reminder. If a limb is to remain in the previously established dir-
ection, a space hold (retention in space) must be written.
See Appendix A, note 10.
270 Tilting (Inclining)

Retention in the Body. The arms are carried along.

r
o
oil il o
IT o
9
384a II E
Retention in Space. The arms retain the spatial direction.

-?*&
V v
r** V

384c s 6 E
Note the results when gestures of the limbs occur at the same
time as or follow a torso tilt.

384e I

In Fig. 384 (g) a body hold and in (h) a space hold follow nat-
urally from the physical need or from physical habit.

The arms cannot J The arms tend /

easily perform a to return to the /
space hold here; side of the body, /
/
o
a body hold is so a space hold
o •
7
> ok
logical and ex- /
results.
P ected -

384g i I
Chapter 16 Tilting (Inclining) 271

CANCELLATION OF INTERRELATED TILTS

Rule: a movement of a major part of the torso cancels the re-
sult of a previous movement of a minor part.
Cancellation of Head Tilts "^

It isunderstood that the head normally follows the line of the

spine in tilts of the shoulder section, chest and whole torso; there-

fore since the head is carried along, a tilt of one of these parts
cancels the result of a previous head tilt.

i
.
p3 • I

385a c b

In Figs. 385 (a), (b), and (c) the head tilt on count 1 is cancelled
on count 2. In (d) the head tilt is not cancelled by the pelvic tilt.

i
si o

Final Final
385e position f c position

If the direction of a previous head tilt is to be retained when a

whole torso, chest, or shoulder section tilt occurs, a retention in

space must be shown, as in Fig. 385 (e). If the angle of the head
in relation to the shoulders is to be kept, a retention in the body
must be used, as in (f).

Cancellation of Shoulder Section and Chest Tilts

A chest or whole torso tilt

will cancel a previous shoul-

der section tilt, as in Figs. M
s
i
$
386 (a) and (b). A whole torso T 7]
i
/
tilt cancels a previous chest 1 \
tilt since the whole torso indi- i
iF|

cation includes the chest: (c). 386a

272 Tilting (Inclining)

To maintain the result of a previous chest tilt, a retention

either in space or in the body must be used; the latter is more
likely to occur. Figs, (a), (b), and (c) below illustrate such a body
hold and its subsequent cancellation.

©> i

(2
I
a. o

A
387a _H 51

In Fig. 387 (a) the chest tilt is shown to return to normal on

count 3 while the torso is tilting to the left. In (b) the stretch sign
for the whole torso on count 3 signifies alignment of the chest into
a straight line with the pelvis; thus the previous bend in the spine
must be cancelled. In (c) the back to normal sign is used as a pre-
sign to describe a normal whole torso tilt to the left. Regaining
the normal alignment will cancel the previous chest tilt.

Cancellation of Pelvic Tilts

A whole torso tilt cancels a previous pelvic

tilt since the whole tor^o indication includes
the pelvis. In Fig. 388 the sideward pelvic tilt
is cancelled by the forward whole torso tilt.
388
Cancellation of Augmented Chest Tilts

Augmented chest tilts; are cancelled in the same way as are tilts
for the chest. Thus an ordinary chest tilt will cancel a previous
augmented chest tilt. Involvement of the spine in the waist area is
treated as an inclusion; thus if it does not appear in the following

indication, it is understood to have returned to normal.

An augmented An augmented
chest tilt is chest tilt is
cancelled by cancelled by
a tilt of the a plain chest la
whole torso. tilt.

389a
Chapter 16 Tilting (Inclining) 273

Cancellation of Augmented Pelvic Tilts

An augmented pelvic tilt is cancelled in the same way as are

plain pelvic tilts, by a tilt either of the whole torso or of the pel-
vis. Involvement of the spine in the waist area is treated as an in-
clusion; thus if it does not appear in the following indication it is

understood to have returned to normal.

An augmented An augmented
pelvic tilt is pelvic tilt is
cancelled by cancelled by
a plain pelvic

I
a tilt of the
whole torso. tilt.

390a

INVERTED BODY SECTIONS

For each of the symbols g] ,
(oj
f
and ® it is the base of that
part of the body which provides the point of reference from which
direction and level are judged. It is possible to describe direction
and level from the reverse point of view, e.g. shoulder to hips
for the whole torso, when this best suits the expression or idea of
the movement. For such description the symbol is inverted. The
whole torso becomes jj] The waist indication is added to Jo] and
.

® to show what part is considered the base. §1 describes the line

from waist to hips; [§ describes the line from shoulders to waist.

391a tt
The feeling is of the lower From chest to knee the
part moving away, back- whole torso slants for-
ward, not of the upper part ward low, the downward
moving forward. slant being stressed.
CHAPTER 17

Rotation of the Limbs

GENERAL INDICATION OF ROTATION

The basic meaning of the signs (^ and Q is rotation of an entity,
i.e. a turn of the whole unit. In Motif Writing where freedom of
interpretation is desired, the signs (] and 6 mean turns of the
body as a whole. To indicate rotation within the body, such as a
rotation of an area or a twist of a limb, the hold sign o is placed
within the turn symbol. Such use of a hold sign signifies a reten-
tion within the body (usually at the point of attachment), as a result
of which the specific part indicated cannot rotate freely as a unit.

392a

Turns of the body A twist within A twist either way

as a whole, right. the body, right, followed by a turn
then left then left either way

ROTATION OF A LIMB
The sign for a limb (see page 453) is
||

employed in Motif Writing to designate use

of an individual limb rather than of the body
(torso and limbs) in general. Fig. 393 (a)
shows a twist to the right for a limb. Signs
for the specific limbs (see page 224) are 393a
used for rotations or twists of those parts.
Chapter 17 Rotation of the Limbs 275

K /

f °)
7
393b f c t e H
Twist Twist Twist the Twist the
both legs. both arms. right arm left leg.

SPECIFIC INDICATION OF ROTATION, TWIST

In Structured Description the three -line staff is used,
and rotations
of torso and limbs are shown by turn signs in the appropriate col-
umns. For arms and legs pre -signs are not needed; for other spe-
cific parts of the body they are. Once the turn sign is placed in
the column or is preceded by a specific pre -sign, the physical
limitation of the turning action is automatically understood; it is
not generally necessary (as it is in Motif Writing) to add the hold
sign within the turn sign.

t
\ /
1 7 h (
/ V \l y /
/ /
/
/
D
394a / / c !
>
d c
Rotate both Twist both Twist the Rotate the
legs left, arms right, whole torso head left,
then right. then left. to the right. then right,

ANALYSIS OF ROTATION, TWIST

A rotation or twist of a part of the body is understood to be a-
round the longitudinal axis of that part. In the normal standing
position this is the vertical axis.

Distinction between "Rotation" and "Twist"

A part of the body, such as the head, rotates in one piece.

There is no twist in the part itself, the twist occuring in the joint
or segment at the point of attachment. For this action the specific
term "rotation" has been chosen. Where the free end is able to
rotate farther than the base, a twist within the limb itself is bound
to occur. For this the specific term "twist" is used. A few parts
of the body are capable of both actions. For example there may be
a twist in the torso or a rotation of the whole torso.
276 Rotation of the Limbs

Analysis of Rotating. Fig. 395 (a) il-

lustrates an object which can move as a
unit through a flexible joint or segment
at its base. The free end is marked x-y
and the base z. In (b) the object has ro-
tated \ to the right producing a twist in
the base. This action could be described 395a
as a twist in the base which carried the
attached object along with it. The choice
depend on whether
of description will
emphasis should be on the displacement
of the object or on the action in the base.
In the case of the head, the description is
usually of the head rotating rather than of
the neck twisting, though head rotation 395c
can only be achieved through flexibility in
the neck vertebrae.

Analysis of Twisting. Fig. 395 (d) il-

lustrates an object with a free end at the
top, x-y, and a point of attachment at the
base, z. In (e) the free end has been
twisted to the right. Only the extremity
395d
reaches the degree of half a twist. The
resulting twist within the object can clear-
ly be seen. Such an action happens fre-
quently within the arm and spine. Fig. (f)
illustrates such a twist in the lower arm. 395f

Method of Writing Rotation or Twist

In Structural Description the unqualified turn signs (j and P

represent for each part of the body the form which is suited to it or
commonly used by that part. These are:
Rotation as a Unit Twist within the Limb

Head, hand, pelvis, Whole torso, whole arm, low-

whole leg, foot er arm, whole leg, lower leg

The chest and shoulder section can rotate as a unit only when
slight degrees are used but with the greater degrees the action be-
comes a twist; therefore twisting is taken as the basic action for
this part. Interpretation of turning for the whole leg varies con-
siderably, therefore neither form is taken for granted as the ex-

,i
 .

Chapter 17 Rotation of the Limbs

pected action. When desired, rotation as a unit (each part turning

equally) is indicated by placing the sign for equal = either in the
turn sign, or within a vertical bow adjacent to the turn sign.

Usual per- K Specified \ Specified [^

formance for twist rotation or

that part M as a unit ^

Outward A. twist within

rotation the whole leg,
of the leg the foot twist-
as a unit

396a m
Unwritten Rotations
ing farther
than the thigh m
Some rotation usually occurs when the limbs are moved in dif-
ferent directions. Minor changes as a rule are not recorded, be-
ing the natural result of anatomical structure and not themselves
intentional. If, as in the medical field, a record should be re-
quired of such minor changes, subtle details must be indicated.
See also page 231.

Meaning of the Composite Turn Sign

When placed in a support column the composite turn sign signi-

fies a choice of either a right or left turn. In a gesture column it
signifies neither right nor left, but the untwisted state.

Arms and legs /

Turn either way,
are in the un-
right or left.
39?a twisted state, b i< ^

DEGREE OF ROTATION
There are four possible ways to describe the amount of rotation
or twist of a part of the body. Two are based on two of the three
systems of reference (the Constant and Body Crosses of Axes).
Not all of these four methods are suitable for all parts of the body,
the first and third being more suitable to describe rotations of the
limbs All are given here for future reference
.

1. The qualitative (sensed or felt) description in terms of little

or much twist away from the normal state.
2. The amount of rotation judged from the previous front.
 .

278 Rotation of the Limbs

The specific (qualitative) degree of twist from the normal

untwisted state.
4. The destination of the front of that part of the body in
relation to the room (stage) directions.

An empty turn sign indicates freedom /

of choice, the amount of turn being left
open to the interpreter. When very quick
turns occur one after the other as in (b)
the signs are often left empty, as at this
speed only a small amount of rotation
is usually accomplished. 398a V b

1 Qualitative Description of Degree

When the amount of rotation or twist away from

normal is to be described more by feeling than by
actual measurement, narrow and wide signs are
used. Fig. 398 (c) states a very small amount of
twist to the left followed by an equally small amount
past normal to the right and finally, a good deal of
twist to the left.
398c
2. Amount of Rotation

The black pin placed within a turn sign states

the amount of rotation judged from the previous \
front. This description was applied to pivot and
jump turns of the whole body (see Chapter 8).
Fig. (d) states \ rotation to the right from the A
4
previously established position, followed by \ to
the left. Black pins describe motion; white pins 398d /
and straight pins describe destination.

3. Degree of Twist or Rotation from Normal

A white pin placed in a turn sign states the

degree of twist away from the normal untwist-
ed state for that part of the body. In Fig. (e)
there is a twist to the right \ away from nor-
mal, followed by a twist to the left \ away from
normal. If the starting position is the untwist-
ed state, (f) shows the amount of rotation need-
ed to achieve the actions in (e). The white pin
is derived from the sign for the Cross of Axes 398e A f

in the Body "<{>- (see pages 417, 425).

 *

Chapter 17 Rotation of the Limbs 279

4. Destination of the Front

Indication of theroom or stage direction in which a part faces

at the end of a turn can be applied to parts of the body in the same
way as it can to the whole body (see page 109). This method of des
cription applies mainly to the head. The straight pin (tack) indicat
ing stage direction is taken from the Constant Cross
of Directions in the Room. Thus J_= [±) ^ ~ Ef etc. ,

Fig. 398 (g) describes first a rotation to the right

which ends facing downstage right, followed by a ro-
tation to the left which ends facing stage left. The
degree of rotation the first action will cause depends
on where in the room the performer is facing at the
start of the action. 398g

ROTATION OF THE LEGS

Leg rotation may happen as an isolated movement, or it may oc-
cur in conjunction with other basic actions, thereby giving these
actions a particular style or expression. Leg rotation is in effect
only an addition to the basic movement pattern, and hence does not
change any of the rules regarding supports, leg gestures, jumps,
touches, slides, etc.

The whole leg rotates in the hip socket, the point of attachment
to the torso. In general the leg rotates as a unit when only slight
degrees of rotation occur; in exaggerated degrees the foot (extrem-
ity) will twistfurther than the thigh. A general interpretation is

expected unless either a twist or rotation as a unit is specified.

INWARD AND OUTWARD ROTATION

Direction for rotations of the legs is usually described verbally
as inward or outward. For the right leg an inward rotation is a
turn to the left, an outward rotation a turn to the right; the reverse
is No one state of rotation is called "normal"
true for the left leg.
in Labanotation, but the common situation in which the feet are
parallel is indicated by the composite turn sign.

Inward \ Outward \ y y
Parallel,
rotation rotation untwisted
state
399a ) s / 4
* See Appendix B, note 17
280 Rotation of the Limbs

The not quite parallel position with the

heels together and toes slightly apart is
shown by placing the sign for "freely" (ad
lib.) inside the composite turn sign. 399d
w
Degree of Rotation

Description of degree of rotation for the legs is usually in terms

of the amount of rotation away from the untwisted state. This may
be qualitative (No. 1, page 278) or quantative (No. 3, page 278),
the latter being more precise.

Starting parallel, Similar to (a), but

rotate the right i described by de-
leg inward slight- gree from the un-
ly, then outward twisted state:
a good deal. 400a s i £ left, \ right. b fcLO I

SIMULTANEOUS GESTURE AND ROTATION

The turn sign is usually placed within the leg gesture column for
rotations of the whole leg. When a change of direction occurs at
the same time as a rotation, the turn sign is placed in an adjacent
column (the expanded staff provides room for such adjacent place-
ment), or may be written after the direction symbol with the two
indications tied to show that they occur simultaneously. In general
it is preferable to write simultaneous indications side by side.

OR OR

401a J
Leg rotation
Jl
Gesture and rota
c lpU/
Alternate possibilities for
following a tion occurring writing simultaneous 'ges-
gesture simultaneously ture and rotation

Fig. 401 shows the preferred way of writing simultaneous ges-

(b)
ture and rotation. Other possibilities for placement are illustrat-
ed in (c), where the rotation symbol, placed in the body column,
is tied to the leg gesture by a small round horizontal bow, and (d),
where rotation and leg gesture, both in the leg gesture column,
are shown to occur simultaneously by a round vertical bow. (See
page 96 for details on the use of the simultaneous action bow.)
Chapter 17 Rotation of the Limbs 281

With an augmented staff there is the further possi-

bility of using an attached indication, as in (e). Here
rotation is indicated by a small turn sign attached to
a normal -sized leg gesture symbol, the former taking
the same timing as the latter. 401e J
CANCELLATION OF ROTATIONS
A specifically stated rotation remains in effect until cancelled by
another rotation or by a back to normal sign when the "normal"
state has been established at the outset of the score (see page 291).

OR 5 1 « rr
402a A) 1 1 Jn d ol Nil

An inturned gesture followed An inturned gesture followed

by an inturned support (step) by an outwardly rotated step

7
\ .JK OR

402e

If
A
"normal"
\ m I
designated as the parallel state, then cancella-
is
I

by the composite turn sign

tion of a rotation can be indicated either
as in Fig. 402 (e), or by a back to normal sign within the appropri-
ate turn sign, as in (f) and (g). In (h) and (i) the leg which was
turned inward on the gesture is untwisted on the following step.
Fig. (j) shows the use of the sign above the rotation symbol when
the column is free and the meaning is clear.

Cancellation of Attached Rotation

The attached symbol by its very nature indi-

cates dependence on the major symbol to which J
it belongs; thus when this major indication is no
longer in effect, the rotation attached to it is al-
so no longer in effect. Such automatic cancella-
1
403
tion provides an advantage in the quick writing of
momentary rotations. Attached rotations also momentarily cancel
a previously stated rotation. In Fig. 403 the step following the in-
turned leg will be in the previously prevailing state of rotation.
 .

282 Rotation of the Limbs

Retention of a Rotation

Certain directional movements for parts of a limb cause rota-

tions in that limb (see pages 231 and 236). Such resultant rota-
tions do not cancel a previously stated rotation.

404 the previously stated outward rota-

In Fig.
tion of the legs is not cancelled by the right lower E
leg gesture, which causes the thigh to turn in. On
the following step the leg is again outwardly rotated.

Reminder of Retention of a Rotation

404 m
Although a rotation is held until cancelled, the context of the
movement may induce the reader to forget the rule and to negate
the rotation automatically. A hold sign may be used as a reminder
to retain a rotation. 405 an in-
In Fig.

u
o
ward rotation for the right leg is held un-
til measure 3; all steps and gestures of

the right leg are turned in up to that point o

The state of rotation in effect can be (

indicated at the start of each new page or,
2. i >
if

The
need be, on each staff as a reminder.
state of rotation for the legs in effect
J
o |^o
at the end of measure 3 is carried over to
the next staff where it is written before a i b
double bar line. a--fc a
405
ROTATIONS OF LEG GESTURES
Rotations which occur during leg gestures may occur at the
start of a gesture, suddenly during a gesture, or be spread over
the whole gesture.

<$

406a
^1

Sudden rota-
tions at start
Rotation fin-
ishing ahead
m
Continuous
rotation, in
\-
Rotation with
contraction
of gesture of gesture then out and extension
Chapter 17 Rotation of the Limbs 283

Rotations of Touching Leg Gestures

A rotation does not cause a release of a previous touch. When

a hook attached to a rotation sign, the leg remains in the same
is

direction, but performs a fresh touch in addition to the rotation.

407a HI »
The toe remains The toe repeats Rotation occurs during
touching the floor the touch, as the specific release be-
during rotations. the leg rotates. tween touches.

A leg rotation has a greater visual effect when the leg is bent.

I
JJ t

407d
Note that in
tion as it
iti.
M
(g) the leg bends and stretches in the forward direc-
rotates in and out, sliding on the toes.
g IIS

Placement of X and 1/1 in Relation to Rotations

Note the difference in meaning between a space measurement

sign written within a turn sign (where it describes the degree of

rotation), and a space measurement sign in front of a turn sign in

the gesture column (where it describes the state of the limb, bent
or stretched). Fig. 408 (a) shows a
\
small inward rotation, (b) a bending
X
which occurs during the rotation. Fig.
(c) states a good deal of outward rota- 408a \ X

tion, (d) stretching which occurs during

outward rotation. The X or l/l symbol
isincluded in the timing of the action as w
I
when used with a direction symbol. 408c /
284 Rotation of the Limbs

LEG ROTATIONS DURING JUMPS

Many examples of leg rotation occur during leaps, hops, jumps,
etc. Though the change of rotation usually occurs while in the air,
for a simple statement the rotation sign is written next to the land
ing symbol. The following are some well known patterns.

Erd?

3fe 21

409a

In (e) and (f) the rotation

distinctly occurs while in the
air and must therefore be ffl
written as such.

Read the following ex-

409e Km
amples at tempo.

u>K
. rS >

<
o
3
r
o C* J* . 3
^ J<
w Itf 3
L-x"

o
n
61
ct 3

E
i a<
*y. 3 E .
Hi
'Wx< d<P
^
E V
1£9<
B
I ^k F ^
410a
3
4
Oriental
3
4
.

Folk
.

V •t Folk

( / = strong accent, see p. 478.) * See page 350 for repeat signs,
Chapter 17 Rotation of the Limbs 285

A familiar example
of rotated supports p
#
^ ffl c

)ml w
is the Charleston. ) 1 *
Note the difference
in the description
of leg gestures in
these two examples.
n • •
s T""T

411a h hi Charleston

ROTATION OF THE KNEE

Strictly speaking, the knee cannot rotate; it

can, however, activate a rotary movement in the

center of the leg. In a knee rotation the hip and
footremain as immobile as possible, rotary ac- i
tion occurring through flexibility in hip and an- * o *
kle joints. Outward knee rotations are often
used as an exercise to counteract knock-knees. 412 Id

ROTATION OF THE LOWER LEG

A rotation of the lower leg is a twist of
the leg in one piece from the knee down.
Its range of movement is limited by the
flexibility in theknee joint. To under-
stand the action, sit on a chair with the <(

heel of the foot resting on the floor. Ro-

tate the lower leg in and out. There
should be no action in the thigh; movement
occurs only from the knee down. Rotation IRI
of the lower leg will cause the foot to \\
move from side to side; such movement, 413
X
however, is not an action of the foot itself.

ROTATION OF THE FOOT

A foot can be rotated either while supporting or while gesturing
A familiar form of supporting foot rotation is "rolling the ankle."
Because weight is on the foot rotation visibly affects the ankle,
which is slightly displaced in space. Ankle displacement, however,
is only the result of the rolling over (rotation) of the foot. When
such foot rotations are performed as gestures there is no displace-
ment of the ankle, as the foot itself is free to move.
286 Rotation of the Limbs

As an example, stand with feet paral-

lel and slightly apart. On the first count
the feet rotate out (foot inversion), caus-
ing the weight to shift to the outside of
the feet,
the ankles.
the procedure.
thus stretching the outside of
On the second count reverse
The inward
feet rotate
\ ^\
(foot eversion), throwing the weight onto
the inside of the feet (as in flatfootedness),
thus stretching the inside of the ankles. 414

Do not confuse foot rotations with rotations of the whole leg

while supporting. The latter is discussed below.

ROTATED SUPPORTS
Rotations can occur both during transferences of weight (steps)
and also while the weight is fully supported on the foot or feet.

During Transference of Weight

In a quick step the actual

change in the state of rotation
occurs before the weight is K
transferred, that is, while
the foot extends to start the X
o o
step. Because the action is
quick, it is sufficient to
write the rotation as occur-
ring with the step. In Figs.
415a i i
415 (a) and (b) there will be Quick steps alternating out-
no doubt as to how it should ward and inward rotation
be performed.

slow steps there is time

In
to rotate during the transfer-
ence of weight. Thus, if the
state of rotation to be used is
established in the preparation,
I
the rotation sign is written at
the very start of the step and
does not continue during the 415c
process of transferring the
Slower steps: the rotated state
weight, as in (c) and (d).
is established at the start.
Chapter 17 Rotation of the Limbs 287

When a rotation occurs throughout the process of stepping, the

rotation symbol extends to cover the entire step symbol.

Starting paral - The legs start

lei, the legs ro- bent and paral-
tateoutward all lel, feet to- i
during the trans- gether. The
ference of weight
to the right foot.
(
slow step for-
ward starts in-
%
In the second turned on the
measure the heel and gradu- I
legs rotate in ally turns out
slowly during as weight is
the step to
the left.
))(
i Li '
taken over and
the toe lowered. TUT
* 77
416a h 11 b J 1<

Weight Remaining on the Support

On Two Feet. When the weight is on both feet, the legs can ro-
tate in or out, either one at a time or both together, the latter in a
parallel or a symmetrical manner.

/ /
/ /
\ [\

c > \ > \
y

417a )< U
Right leg rotating Parallel rotations
H
Symmetrical
in and out on on the balls of rotations on
pointe the feet the heels

A leg rotation with the weight on the whole foot causes con-
siderable friction; usually either the heels lift slightly so that the
swivel occurs on the ball of the foot, or the ball lifts slightly so
that the swivel is on the heel. Appropriate hooks are used to in-
dicate placement of the weight on the ball or heel. When nothing
is stated interpretation is left open, but the common practice is
When weight must be kept
for weight to be on the ball of the foot.
on the whole foot, whole foot hooks must be written. *

See Appendix B, note 1

288 Rotation of the Limbs

In Figs. 418 (a) and (b) the swivel

is understood to be on the ball of
the foot, though it is not specifi-
cally stated.
418a

In (c) weight is on the whole foot during

the inward and outward rotations . The }>
center of the foot will remain where it
is, toes and heels will be displaced L i
equally during the rotation.
418c KM
On One Foot: A rotation may coincide with a change in level on
the supporting leg.

The high forward The low forward

step is turned out. step is inturned;
An inward rotation the leg turns out
occurs during the as it straightens,
change of level in swiveling on the
place. The swivel ball of the foot,
will be on the ball the heel just off
of the foot while the ground.
the heel lowers. 419a

Adjustment of Position through Leg Rotations

If the foot is rotated on its heel, the ball will be displaced in
space, and vice versa; therefore rotations can change foot positions.
By rotating one or both legs and alternating use of ball and heel, we
can change from closed to open positions, and from open to closed.
The specific part of the foot to be used is in-
dicated by adding the appropriate hook to the
support while rotation occurs.

Fig. 420 (a) shows opening both feet to

a wider second position, ending with the
weight on the whole foot. Hooks are attach-
ed to the support symbols, needed here be- ffl
cause a change of level takes place.
420a
Chapter 17 Rotation of the Limbs 289

When support symbols are absent, as in (b) and (c), hooks are
written as though attached to supports but are placed closer to the
center line without touching it.

The right The left

foot opens foot closes

from 1st :c from 2nd >
position to 1st.
to 2nd.

420b I
a-

i
Traveling by Means of Leg Rotations
w zsi

By using parallel or symmetrical rotations for both legs and al-

ternating in the use of ball and heel, the performer can move to
one side or the other. Such progressions are well known from
Russian folk dances and also from Oriental and jazz dancing.

421a
Travel to
the right.
Travel to
the left.
u i
V if
Travel to
the right.
m
LI
Travel to
the left.

When traveling is really the aim of such rotations, a path sign

can be written outside to indicate at once to the reader the direc-
tion into which he is to travel. If the traveling direction is stated,
it is not necessary to repeat hooks for the parts of the foot. The
distance traveled can show the degree
of rotation: the greater the rotation
the more distance covered, the smaller
the rotation the less distance covered.
Such traveling can also occur on one
foot, particularly if momentum is used.
I I <

Fig. (e) is the same as (d) but with the

path sign added to facilitate reading.
LI1

421e
290 Rotation of the Limbs

1
era
Travel a long dis- Travel a short dis Travel on one foot
tance to the right. tance to the left. to the right.

In Fig. (f) hooks have been given on the two rotations as a

first
lead-in: since the path has been indicated it is assumed
the reader
will understand the action is to continue. In (g) use has been made
of repeat signs (see page 347). In (h) the quick long step provides
momentum for traveling on one foot. Note in this example the gra-
dual rising to middle level after the initial step.

Sliding of Part of the Foot

The free part of the sole of the foot can be shown to slide along
the floor. Note the difference between the following examples:

With the weight The same, but

on the heel, the \ the ball of the
legs rotate in foot slides a-
and out. The long the floor A-r&^A
ball is just clear
of the floor.
422a i M during the
rotation
3
KEY SIGNATURES FOR LEG ROTATION'
At the start of a dance score, whether it is an exercise or a
composition, a statement is usually made with respect to leg rota-
tion, i.e. whether legs should be turned out, parallel, or (possibly)
turned in. In ballroom dancing as a rule legs are parallel: classi-
cal ballet demands extreme outward rotation; many folk dances call
for the legs to be almost parallel, toes slightly apart. The state-
ment used throughout a piece is given as a key
of leg rotation to be
signature, a separate pre -graph indication at the start of the score,
and is thereafter considered the standard state for that score.
 .

Chapter 17 Rotation of the Limbs 291

m
~W

423a b \A 4 1 Id d v 1 N
Ballet Ballroom Folk Grotesque

STATEMENT OF NORMAL
The symbol for normal © can be used in a score to indicate a
return to the rotated state given in the key signature (which estab-
lishes the "normal" at the beginning of the score).

\ 7
r
'
© = d
1 :

424a
tt'.ii >
Key for statement A return on count 2 to the
of "normal" leg defined normal state

Fig. 424 (a) is an example of a pre -graph statement appearing

at the start of a score. Subsequently a change in rotation can be
cancelled by writing the normal sign as in (b) where the cancella-
tion of the rotation can be understood, or as in (c), where it is spe-
cifically stated that an outward rotation occurs until the defined
normal state is reached.

ROTATION OF THE ARM

An arm rotation occurs around the longitudinal axis of the limb.
Flexibility of the arm joint allows a range of possibilities for ro-
tations and twists, but the movement is usually a twist in the arm
rather than a rotation of the arm as a whole. In this respect arm
rotations differ from leg rotations; in the latter it is common for
the leg as a whole to rotate
292 Rotation of the Limbs

TWIST IN THE WHOLE ARM

An unqualified turn symbol indicates a twist
\j V
in the arm. The hand (extremity) will rotate
further than the upperarm (base). The degree
of twist is judgedaccording to the amount a- n
chieved by the extremity. Fig. 425 shows
sts in the arms .
- _ ;
1 i

ROTATION OF THE WHOLE ARM IN ONE PIECE

An equal sign placed within a turn sign in
the arm column signifies equal rotation of all •'

parts, i.e. rotation of the limb as a unit. Such

rotations (involving no twist within the arm it-
are rare and usually require action in the
)

shoulder joint. (If the emphasis of the move- V I

ment is in the shoulder, notation for a shoulder

movement should be used.) Fig. 426 illus- f
trates rotations of the whole arm as a unit. 426

Direction of Tv ri -

outward twist is written with a turn to the right for the right
arm and to the left for the left arm (away from the center line).
An inward twist is written with a turn to the left for the right arm
and to the right for the left arm (toward the center line).
'
\ A
Outward Inward
twists
427a N , / ,

arms are down or forward, it is easy to see and feel

en the
which an outward twist and which an inward. When the arm is
is
held high overhead, however, a seeming contradiction takes place.
What was an outward twist now appears to be an inward twist, and
-a. The arm must be lowered in order to determine the
direction of the twist. A solution for the average right-handed per-
son is to remember that, thanks to standardization, such activities
as sere ing on jar lids, light bulbs, radiator caps, and the like,
are twists to the right (outward for the right arm, inward for the
left) and those of unscrewing are twists to the left (inward for the
right arm, outward for the left).
Chapter 17 Rotation of the Limbs 293

Degree of Twist

The methods degree of twist listed on page 277 are

of indicating
applicable to twists of the arm. Because of the nature of arm ges-
tures and the fact that the normal, untwisted state is not always
readily felt or observed, description is often either in terms of
little or much (No. 1, page 278) or in terms of destination of the
front of the extremity, that is, where the palm ends facing. The
latter description refers to the Standard directions, as explained
on page 130. Destination in terms of room directions (as in No. 4,
page 279) is rarely used for the arms. If only palm facing is indi-
cated, the action is usually one of a twist in the lower arm. For
a twist of the whole arm, the palm facing indication is placed at
the end of the turn sign to give the destination. Fig. 428 shows
similar actions written in four different ways. Each version
stresses a different aspect of the movement; therefore the choice
of notation rests on what best describes the action.

/o
}
428a ) l>

Description Degree of twist Degree of twist Destination

in terms of from previous from untwisted interms of
feeling situation state palm facing

In Fig. 428 (a) the right arm starts out to the side in an untwist-
ed state, palm facing forward. On count 1 a slight outward twist
occurs; on count 2 a great deal of inward twist occurs. The des-
criptions of (b), (c), and (d) are more precise. In (b) from the
starting position the degree of twist is first outward \ right, then
inward J left, resulting in the palm ending facing backward. In (c)
the outward twist is \ right from the untwisted state; on count 2
the inward twist is \ left from the untwisted state, resulting in the
same final position as in (b). In (d) the degree of outward twist is
described in terms of the final facing direction for the palm,
straight up; the inward twist ends with the palm facing back. Be-
cause of the clear destination for the palm this last description is
often easiest to read.
294 Rotation of the Limbs

PLACEMENT OF ROTATION SYMBOL

When there is no change in the previously established position
for the arm, turn signs can be placed within the arm column as
in the above examples. When the arm changes direction during a
twist, the turn sign is placed beside the arm gesture.

Because the turn sign is placed

adjacent to the arm direction sym-
bol on the outer side it is under-
stood to refer to the arm. If there
should be any doubt, the turn sign
can be tied to the arm gesture with
1
a small curved horizontal bow as
429a
in Fig. 429 (b).

The turn sign can also be attached to the

direction symbol, in which case written
considerably smaller. same
it

Fig. (c) is the

is
i
L
movement as (a) and (b). The attached sym-
bol takes the timing of the main symbol. 429c

CANCELLATION OF ROTATIONS, TWISTS

The rules for cancellation are exactly the same as for the legs
(see page 281). A rotation or twist remains until it is cancelled,
unless it is written as an attached sign as in Fig. 429 (c), in which

case automatic cancellation occurs as soon as the indication to

which the turn sign is attached is no longer in effect.

ROTATION OF THE ELBOW

The elbow cannot truly rotate; it can, however, activate a rotary
movement in the center of the arm. This limited rotation takes
place through the upper and lower part of the arm while the extre-
mities, shoulder and hand, remain quiet. This movement appears
in Oriental dance and in a less exaggerated form in other styles.
The "lifting" or"dropping" of the elbow is actually a slight rotation
of this kind. The easiest way to perform the movement fully is to
grasp a stationary object, such as a barre. Concentration can then
be focused on the independent movement of the elbow. The effect
of such elbow rotation is more readily seen when the arm is bent
for then the action produces a marked spatial displacement.
Chapter 17 Rotation of the Limbs 295

1
X r<^7
430a

Grasping a A simple bal-

chair and let arm posi-
rotating the tion with the
elbow in arms rounded
and out and elbows
"lifted"
430c *1~a
TWIST IN THE LOWER ARM
The lower arm can twist but it cannot rotate. In the untwisted
state the inside of the elbow and wrist are in line.Twists of the
forearm are written with the wrist symbol. The forearm twists in-
ward (pronation) and outward (supination)
from the elbow down; no change need oc-
cur above the elbow. The hand reacts as
an extension of the lower arm, having no
movement or importance of its own. If
the hand is at an angle to the lower arm, 431a
lower arm twists will cause it to move in Pronation of
space as in Fig. 431 (d). lower arm

£
(v ^
§
6
l/l ^ So
6 &
431b * i ffi

ROTATION OF THE HAND

Rotations of the hand are comparable to those of the head: the
hand is able to turn as a result of a twist in the lower arm, the
head as a result of a twist in the neck. When emphasis is on the
hand rather than lower arm action, a hand movement is written.
 j

296 Rotation of the Limbs

The plain rotation sign is used to signify a turn of the hand in one
piece. A different expression will result if the movement is des-
cribed in terms of the lower arm.

Quick rotations The degree

of the hand of rotation
overhead: the can be indi-
amount of ro- cated where
tation is not need be.
important.
432a — fi

TWIST IN THE HAND

To someextent a twist can occur
in the hand from wrist to fingertip,
A slight twist can be observed in the
metatarsus but it will be more pro-
nounced in the line of the phalanges.
Such twists (usually accompanied by
spread fingers) can be seen in East
Ei 4
Indian dancing. The hold sign placed X R

within the turn sign indicates a twist 433

within the hand, as shown in Fig. 433.

CIRCLES OF THE HAND

Circles of the hand are usually a combination of circular space
pattern and rotation. The rotation permits a greater range of
movement.

Limited & Circle

circle, augmen-
with no / ted by
rotation u rotations
(body hold
h
given as a
reminder)
434a 3 hi
The choice of several methods of description in the analysis of
complex hand movements allows for proper placing of the desired
emphasis. Further details on hand movements appear in Chapter
27; still greater refinements will be given in Book II.
 .

CHAPTER 1

Rotation of the Torso and Head

ROTATIONS OF SPECIFIC PARTS OF THE TORSO

Discussion of rotations of specific parts of the torso - head,
shoulder section, chest, pelvis, and whole torso (see Chapter 15) -

will be concerned first with the body in the normal vertical posi-
tion and second during or after a tilt of the body.

A rotation of a part of the body as a unit and a twist occurring with-

in a part of thebody (both explored on pages 275 and 276) are appli-
cable to the specific parts of the torso, as are the indications for
degree of rotation given on page 278.

ROTATIONS OF THE HEAD

The head has a range of \ to 1 from normal in rotating in either
direction. Rotations of the head are written with the pre -sign C in
the head column outside the staff on the right.

9-
1L_ __Q u

435a ft b 13 S
The head ro- The head rotates The head rotates right
tates \ right \ right from nor- till it faces downstage
then h left mal, then left right, then left till it

from normal. faces upstage left.

The physical movement and final position for each of the preced-
298 Rotation of the Torso and Head

ing examples are the same. The intention (expression, emphasis)

of the action dictates the choice of description.

Very slight
\ Large head $
rotation from rotation from
right to left left to right,
. *
saying "no" \ saying "no"
gently. vehemently
436a c> c G C

TWISTS IN THE WHOLE TORSO

An unqualified turn sign represents
a twist in the whole torso. * In such a
twist the chest and shoulder section
rotate farther than the pelvis. Thus
from ankle to shoulder line there is a
continuous spiral. Degree of twist is
determined by the free end. The head 437a
and arms are carried along in a torso
twist. Such a twist produces a divided front. The original front
for the body as a whole is maintained by the support, usually the
feet. Direction for arm gestures and tilts of the head, chest, and
whole torso are judged from the front of the shoulder section (line
of shoulders). Direction for steps relate to the untwisted part, the
previously established "Stance." Details on divided front, Stance,
and use of other systems of reference are given on pages 307-310.

1
1

> •
© >

437 g < ) i >

b 13 I () c 13 1 () 1 d la II I
The whole torso twists The same as (b) The same as (b), but
left \ from normal, but written as the written by stating the
then right \ from nor- amount of twist room direction to be
mal, finally returning leftand right from faced at the end of
to the u ntw is :ed state, the pr evi ou s front each twist.

*See Appendix B, note 19.

Chapter 18 Rotation of the Torso and Head 299

A very slight whole torso twist i

to the right, the same to the
left, then a great deal of twist
to the right

437e JJ
ROTATIONS OF THE WHOLE TORSO AS A UNIT
In rotations of the whole torso (chest
and pelvis moving as a unit) there is no
twist in the spine; torsion is in the legs,
or
i.e. in the hip, knee and ankle joints.
To specify an equal rotation of all the
parts rather than a twist/ the sign = is
j

written in or beside the turn sign. It is

easier to perform such rotations of the
whole torso as a unit when supporting on
only one foot. The figure here is shown
standing on two feet to illustrate that
there is no change in the situation of the
feet; rotation occurs from the ankle up. 438a

When such whole -torso rotations are followed by a change of

front, the action is best described as a non-swivel turn (fixed-base
or "blind" turn - see page 113).

The body returns The performer

?
to its original abandons the old
front; there is front; hence the
no intention of action is basi-
-E3
change of front, cally one of turn-
but just a rota- ing and thus is
tion of the whole written as a non-
torso as a unit. swivel turn. c 4
In theabove examples the legs are indicated as starting in the
untwisted, parallel state. This given state of rotation should be
retained; if it is momentarily changed through rotation of the torso
or through a non-swivel turn, it must be regained. Use of inward
or outward rotation for the supporting leg augments or diminishes
torso rotations and non -swivel turns; therefore it is important to
know what leg rotation is in effect at the start.
300 Rotation of the Torso and Head

TWISTS AND ROTATIONS OF THE CHEST

Twists of the chest are written with the chest pre-sign IsD fol-
lowed by Q or y When rotation as a unit is specifically to be
.

produced, the sign = is placed within the turn symbol. The chest
can rotate as a unit between § and \ (depending upon the individual
body structure) before a marked twist appears. The greater the
degree of rotation, the more the shoulders will twist away from the
front established by the base of the waist area. The head is carried
along in a chest rotation or twist.

f
\
1
\

L T
7
LLo]J
U
•

.
\

/
S|
439
a

Ef I b Ef I : Ef 1 1
Chest twists Chest twists Chest twists right
i right, then first i right to face stage right,
J left. then J left then left to face
from normal. stage front.

The physical movements in the above examples are the same,

but each description provides a different intention, awareness, or
expression, particularly (c). Note use of a caret to avoid repeat-
ing the chest pre-sign, necessary in this column since a direction
or turn sign without any pre-sign placed in the third column refers
to Upper Body Movements (see Appendix D). The caret may be writ-
ten on either side of the symbols, wherever there is more room.

TWISTS OF THE SHOULDER SECTION

Twists of the shoulder section (upper chest), written with the
pre-sign 63 are similar to twists of the chest, but more limited
,

In itself the upper chest cannot twist

more than ^ from normal; thus it
is common for description to be in
terms of little or very little twist.
Fig. 440 shows a slight twist of the
shoulder section to the left, then to
the right. Such usage is called
"epaulement" in classical ballet. 440
Chapter 11 Rotation of the Torso and Head 301

ROTATIONS OF THE PELVIS

The pelvic girdle by
itself rotates in one piece through flexibil-
ity in thewaist area and in the joints of the supporting leg or legs.
The chest should not be visibly affected. Pelvic rotations are writ-
ten with the pre -sign ® .

c;

t
k
C

iJL UL Q
C\ o

441a fc r l> \
Pelvis rotating J right, The same, written "Shaking" the hips,
\ left, then returning as the degree of fast rotations from
to normal. twist from normal side to side

In (c) the pre -sign ® is placed before the double starting line
and so is not included in the timing of the rotation. Thus the first
rotation sign can be written the same length as the others. Com-
pare this with (b).

A rotation of the pelvic girdle is caused by bringing one hip for-

ward and the other backward at the same time. The action may be
written with single hip signs, but the degree of rotation achieved
will be more clearly indicated if it is described as a pelvic rota-
tion. The former description emphasizes hip joints and direction,
the latter the pelvic area and rotation.

Bringing the right hip diagonally

/
forward and the left hip diagonally
backward as in (d) produces ap-
proximately an eighth rotation of /
the pelvic girdle to the left as in (e) 44 Id + + e

CANCELLATION OF SIMPLE ROTATIONS

A rotation or twist in one direction is valid until cancelled. A
return to the normal untwisted state is shown by the composite
sign P or by the back to normal sign © Because the back to
.

normal sign will also cancel any accompanying tilt or shift, when
302 Rotation of the Torso and Head

only the rotation is to be cancelled and the tilt or shift is to re-

main, the back to normal sign must be placed within a turn sign.

The four possible descriptions for degrees of rotations shown in

Fig. 442 (a) are cancelled by any of the indications in (b). Those
in Fig. (c) are cancelled by the indications in (d). In each case the
normal untwisted state is produced.

These rotations: t> ^ t| |\ are cancelled by: Y A

442a cccc bccc
These rotations
442c
:

f $ H are cancelled by:

Q i ^

The examples above are for the head, but the same rules apply
also to all parts of the torso.

The following example also results

in the untwisted state . In (e) the head
starts in the untwisted state; it rotates
\ left and then \ right which brings it

back to its starting position.

442e r > c

The head ro- The head ro

/
tates \ right tates left to
from normal, face the audi /
\
then returns ence, then
to face front. right to face
\
442f stage right. g Q- <? c

Because the performer is facing stage right in (g), the turning of

the head to face that direction produces the untwisted state.

INTERRELATION OF PARTS OF THE TORSO IN ROTATIONS

A rotation for one part of the body may affect a previous rota-
tion of another part. Two parts of the torso may rotate at the
same time in opposite directions or in the same direction but to
different degrees.

Rule: when a major part rotates it carries with it the attached

minor (dependent) part.
 .

Chapter 18 Rotation of the Torso and Head 303

Spatially Augmented Rotations

e^A major part augments spatially a rotation in the
rotation of a
same For instance, a rotation of the
direction of a minor part.
head to the right appears to be augmented by a twist of the whole
torso to the right. Within the body the head rotation has not in-
creased, but when judged from the outside directions, its spatial
result has been increased. The following examples illustrate
accumulative rotations.

/
A /
or

/
443a BT b ET ( > 51 c Sf

The rotated head is The chest twist While the whole

carried around far- (which automatically torso twists \
ther in space through includes the head) is right, the head
the twist in the whole followed by an addi- rotates an addi-
torso. tional head rotation. tional \ right.

In each of the above examples the head ends facing upstage. Note
the following results of accumulative rotations:

/f A \
\

/ \
g is

4
7
V
7
443d c) 3 ( 0]

I rotation of the chest fol- The pelvic rotation in the

lowed by an J rotation of the opposite direction does not
pelvis in the same direction cancel the previous chest
gives the same result as J rotation; the result is as
rotation of the whole torso though both had rotated at
moving in one piece. the same time

Spatially Diminished Rotations

Rotation or twist of a major part such as chest or torso spatial-

ly diminishes a rotation in the opposite direction of a minor part
such as the head. Within the body one rotation does not cancel
304 Rotation of the Torso and Head

another, but the spatial effect may be cancelled. For example

the effect of a head rotation in one direction is changed by a whole
torso rotation in the opposite direction.

K \

o
444 A /
o
or
/
& j& b |±| 5> a a Li d

The head is carried The head is carried The head rotates to

along in its rotated along with the chest the right simultan-
state with the whole rotation, and then eously with a whole
torso rotation. rotates on its own. torso twist to the left,

In each of t^eabove examples the head ends looking toward Jie

starting front, in this case the front of the room. Fig. (c) could
be described in terms of the face remaining toward the audience,
i.e. having a space hold, as in (d). (See page 342 for Facing.)

CANCELLATION OF INTERRELATED ROTATIONS

As a rule the greater part cancels the lesser. A rotation or
twist of the whole torso in one direction cancels any previous rota-
tion of the pelvis, chest, or shoulder section in the other direction

Whole torso Whole torso

twist cancels twist cancels
previous previous pel-
chest twist. vic rotation.

445a

Shoulder sec- Retention sign

tion twist is $ must be used
cancelled by if shoulder sec-

whole torso tion twist is to

twist. remain.
<t> m < h M
Because degree of chest twist is judged from where the shoul
der line finishes, a shoulder section twist is understood to be can-
celled by a chest twist in the opposite direction.
Chapter 18 Rotation of the Torso and Head 305

>
\
The shoulder b The chest twist
N \
section twist is not totally
IB
is cancelled A cancelled by
by the chest # the shoulder
twist. section twist.
445e S2 lE _J£L_

Unless a retention is specified, the tendency in movement is for

one part that is closely connected to another to relinquish its pre-
vious state of rotation in order to take part in the following rotation
of an immediately adjacent part. If, as in (f), it is hard to retain
an uncancelled rotation the hold sign may be used as a reminder.

GESTURES COMBINED WITH TORSO ROTATION

When a gap in a gesture column indicates no movement for that
limb, no change occurs, that is, no action by that part of the body.

CARRIED LIMBS AND DEPENDENT PARTS

Rule: when a major part of the body
rotates or twists it carries with it the
attached minor parts. The head and
arms are carried during torso, chest,
and shoulder section twists, as in Fig.
446 (a); the leg is carried during pelvic
rotations, as in (b). Pelvic rotations do
not affect the chest, arms, or head. In
each case it is as though the limb had an 446a
understood body hold.* To retain spa-
tial directions a space hold must be used.

Figs. 446 (c-f) illustrate the application of the above ru le to

arm and leg gestures.

The arms / The arms \

are carried o-
are carried o

M
along, re- along, re- \
maining in / maining to 5

front of the
_ Si oj
the side of
I
i

shoulders.
446c
the shoulders.
lit)
()
* See Appendix A, note 10.
306 Rotation of the Torso and Head

\
The leg is \ The leg is
carried along carried along,
remaining in \ remaining be-
front of the hind the hip.
3:
hip.
446e El
Ineach of the above examples the relationship of limbs to body is
maintained as though the body hold o had been written.

Space Retention for Gestures During Twists

When a limb is not to be carried along in a twist of a major

part, a space hold is written for it. (See usage of space hold with
pivot turns, as explained on pages 136-139 and 154-157.)

Ab
0!
j
$
/
447 IL "T IL
a
6 b fi c 6
Arms remain to- Arms remain to Arms retain their
ward audience ward audience room direction dur-
while torso twists. while chest twists ing upper chest twists

To eliminate the need for repetition of a space hold sign, the

notator may use a duration 1 ine, as in Fig. 447 (d), the addition
bracket (see page 483), as in (e), or the retention sign as in (f)
(see page 247, Fig. 354).

J
_J i L J L

447d - 1 1 f

Note the following examples for the head illustrating the range
from a specific body hold to a space hold. The same range can be
applied to the whole torso, limbs and parts of the limbs.
 .

Chapter 18 Rotation of the Torso and Head 307

* 1

3
9
g\ o 9 oro

448a
The head is kept The head is carried The head retains
motionless as along with the chest its spatial direc-
though it were a but there is some tion while the
solid part of the flexibility; some chest rotates.
shoulders "play" is expected.

DIVIDED FRONT: DETERMINING DIRECTION

When the body as a whole is in the normal upright untwisted situ-
ation, front is taken to be that wall or corner of the room which
the body is facing. This front establishes the direction forward and
hence the whole cross of directions. Rotations of the torso or of its
parts produce a divided front, that is, the coexistence of two or
more "fronts." The physical front of a part of the torso may no
longer coincide with the front established by the body as a whole.
The question then arises as to how directional indications are to be
interpreted. To what does a forward symbol refer - the main front
or the physical front of the individual part which has twisted?

Meaning of the Term "Stance"

The main front established by the body as a whole is called

"Stance. "
Stance is retained by that part of the body which does not
twist away from the established front. When upper parts of the body
twist, Stance is the base, the support. In cases where twists occur
in the lower part of the body, an upper part such as the head, arms
or shoulders may retain the established front and hence be termed
the Stance. The following discussions will deal with twists of the
upper parts of the body, the feet retaining Stance.

Stance

Stance

449a Lb -> . fc=D —> Stance c ^ J,

Unified front Divided front Divided front

 -

308 Rotation of the Torso and Head

The Idea of 'Ease" and "Free End" for Parts of Body

Each part of the body which can twist

has a "base" (point of attachment) and a
"free end" (extremity), as discussed on
page 32. The base is that part not inclu- free end
449d
ded in the twist, beyond which the twist
takes place. The free end of a twisting free end
section is its own extremity, or upper of head
base of
"rim, " the opposite end to the base.
head
In an arm twist, as in Fig. 449 (d), free end
of torso
the base is the shoulder section (line of
the shoulder), the free end is the hand.

whole torso twist, Fig. (e), the

In a 449e
base end the line of
is the feet, the free
free end
the shoulders. For the head the base is
of chest
the shoulders, the free end the crown.
base of
For the chest, Fig. (f), the base is chest
the pelvis, the free end the shoulders. free end
of pelvis
For the pelvis the base is the feet, the
free end the upper rim of the pelvis.
44 9f ^^ base of
pelvis
Choice of Description for Direction

When a divided front occurs there are two or three choices in

describing direction:

1) Stance - directions related to the front established by Stance.

2) Part -Twisted - directions in relation to the front of the free end
of the part twisting or twisted.
3) Base -of -Twisted -Part - directions in relation to the front of the
base of the part twisting or twisted. This possibility is not re-
quired when the base of part twisting and Stance are the same.

Rule: when twists occur

1) Gestures (tilts) of a twisted body section (torso, pelvis, chest,
shoulder section or head) relate to the front of the free end of
that section (a Part -Twisted description).
2) Gestures of a limb (arm or leg), whether twisted or not, always
relate to the front of the base (shoulder or pelvis) of that limb.
This Base -of -Twisted-Part description is the natural one and
therefore was applied in Chapter 17 without explicit discussion.
3) Steps take direction from Stance regardless of other twists.
 .

Chapter 18 Rotations of the Torso and Head 309

The arms The knee ges- i

take direc-
tion from
. a) tures forward
from the hip;
[
the line the step takes
I
of the
shoulders V >
its direction
from Stance,
i.e. toward I
the audience,
450a i ) b i
Use of Two Fronts
The steps travel to-
ward stage left (the o-
riginal front); arms
move forward from
Hi
m
the shoulders. Two dif-
ferent forward direc-
tions are being used
at the same time. 450c -0

USE OF KEYS FOR DESCRIPTION OF DIRECTION

When it is more suitable to describe direction for tilts and ges-
tures by a system of reference other than the established rule, the
appropriate key is given.

Key of Stance *

The Standard System of Reference Key -f- is combined with

the space hold sign O t0 make the Stance Key -&- (key for the
Standard Directions according to the Untwisted Part).

The Stance key, placed outside

the staff on the left, is in ef-
fect until cancelled by another
key. Fig. 451 shows the result
of using this key. The direction
forward is the same spatial di-
rection for all parts of the body.
Such unity in directional des-
cription is often desirable. 451

See Appendix B, note 20 (ii).

310 Rotations of the Torso and Head

"
Key for Twisted -Part

The Standard Key -f- is combined with the body hold sign O to
produce the Twisted -Part Key -^- (Standard Directions according
to the Front of the Free End of the Individual Twisted Part).^ Be-
cause of the rule stated on page 308, this key is the understood ref-
erence for twists of the parts of the torso and the head and is there-
fore needed only to cancel other keys.

In Fig. 452 (a) the Stance key is

used for the knee lift when the pel-
vis rotates and the chest, head and <Q L°
foot retain Stance. For the subse-
quent whole torso twist direction for H* .0
the knee is more suitably judged from
the pelvis, therefore the Standard
j

n
<©
key is used to cancel the Stance key.
When the key is placed as a pre -sign
before a direction symbol, as in (b),
go*
it refers only to that symbol and is

therefore automatically cancelled. 452a a „

Key for Base -of -Twisted -Part

The key for Stance -^- is combined with a body hold sign O to
produce the Base -of -Twisted -Part Key gfcs. (Standard Directions
according to the Base of the Individual ^^ Twisted Part). The
addition of the body hold sign expresses the idea of a Base (Stance)
within the body. For orthographical purposes the sign is simpli-
fied by placing the body hold sign at the base of the cross -&- .

In Fig. 453 torso and head start twisted:

no degree of twist is stated. The chest
automatically takes direction from its
free end (the shoulders) tilting left, then
right. The Base -of -Twisted-Part Key
placed next to the head indication and
tied to it with a small bow instructs the
reader to interpret head directions ac-
cording to the line of the shoulders.
Thus the head tilts left and right in line
with the chest tilts. The key is in effect
until cancelled by either -A- or -<&- . 453

"See Appendix B, note 20 (iii).

Chapter 18 Rotations of the Torso and Head 311

PATHS OF GESTURES DURING A TWIST

Armand leg gestures which occur during a torso twist normal-
ly produce skew curves (three dimensional curves). Undeviating
curves (two dimensional, plane curves) require use of a space hold
or of the Stance key. Note: these different curves were discussed
on pages 138 and 155 in connection with pivot turns.

R 3
J ,
1
J

< >

454

a -a 1 1 b -a I
Without a turn a plane The arms make a skew curve as
curve results. they rise to forward middle.

To produce undeviating plane curves during rotations and twists,

a space hold sign must be placed within the gesture symbol, as in
(c), or direction must be described according to Stance, as in (d).

A Hf\
/

^
0-
OR
/

• < > ?
r
.1 -a
454c
The arms move undeviatingly By using the Stance key the
toward what was the side dir- arms will move on a direct
ection at the moment of start- linetoward the audience, pro
ing the movement. ducing the same result as (c).

COMBINED TWIST AND TILT

The following examples illustrate combinations of tilting and twist
ing for the whole torso and for the head. The chest is not illustra-
ted separately as it follows the same rules and patterns as those
for the whole torso.
312 Rotations of the Torso and Head

THE WHOLE TORSO

Although the whole torso as a unit tilts from the hip joints, the
direction of such tilts is usually described in relation to the front
of the shoulder section, the shoulder line.

Separate Twist and Tilt

When a tilt follows a twist an undeviating plane curve (a two dim-

ensional curve) is produced. In Fig. 455 (a) the whole torso twists
4 to the right and then tilts forward, toward stage right. In (b) this
same action is described from Stance by adding the Stance key.

i-

3 ( A
455a

Combined Twist and Tilt

When a twist and a tilt are combined for one part of the body
the resulting path in space is a skew
curve (three dimensional curve). t

In Fig. 455 (c) the \ twist

to the right is combined with
a forward tilt (judged from the
free end of the torso) so that
a skew curve results.

455c

To produce an undeviat-
ing curve, a space hold must
be placed in the sign for tilt-
c
ing, which is then judged from or
the starting point of view, as 7 Ah
in (d). The same result would
Js ,

be achieved if the direction of

the tilt were described
from Stance as in (e). 455d
) i
 . ,

Chapter 18 Rotation of the Torso and Head 313

THE HEAD
Rotation (Twist) of Base of Head
>
When a torso, chest or shoulder \J\
section twist occurs the head is car-
ried along. Unless the head has an
additional rotation of its own or a
space hold its front is the same as 456 6
that of its base, the shoulder section. The head tilts over
the right shoulder.
Separate Rotation and Tilt

Following a rotation, the head takes direction from its own front
(the nose) unless a key is stated. The examples below illustrate a
head tilt written from the understood key -($)- and from Stance

\ rotation to the j\
a

right followed
by a
left
forward
tilt to

from -^-
the
or
V -

from -&-
457a

Combined Rotation and Tilt

Because the head takes its

/
direction from its own front
Fig. 457 (c) produces a skew
o
curve. The head follows a
three dimensional path as it
rotates and tilts toward the Ur
( > G
nose, ending with the face
over the right shoulder. 457c

To produce a two dimen-

sional plane curve, either a
space hold must be placed i
U
within the direction symbol,
or
as in (d), or direction must
be described from Stance, as
in (e). Here the head tilts in V
c c
what is the forward direction
at the start. 457d
 .

314 Rotation of the Torso and Head

OFF -VERTICAL ROTATIONS: TWISTING, WHEELING

Two forms of rotation are possible when the torso is off the
vertical line: (1) twisting around the longitudinal axis of that part
of the body, (2) wheeling, a rotation around the unchanged vertical
axis (the line of gravity of the Standard Cross of Axes) which
passes through the point of attachment. In a wheeling movement
of a part of the body the extremity describes a circular path.

x,y
Fig. 458 (a) illustrates the upright position
of the body in which the vertical line of gravity
ismarked "x" and the longitudinal axis in the
body is marked "y". In the upright standing
position these two axes coincide.
458a
Twisting - Rotation around the Body Axis *
x,y
Rotation around the longitudinal
axis of the part of the body is the
understood and unwritten rule for
the signs and £l
1^] When the .

whole body is on the ground as in

(b), the action produced is called v--

Log Rolling. When it is the torso

and not the whole body which is ro-
tating, a twist similar to but more
458b
limited than log rolling occurs.

In (c) the torso has tilted forward

horizontal. The vertical line of gra-
vity, x-x, remains unchanged, while
the body axis, y-y, has moved with
the torso as it tilted.

458c
In (d) the whole torso in the
tilted situation twists \ to the
right around its
axis.
own longitudinal
The result is that the top y —
<Y
of the head remains where it is,
but the face and the shoulder sec- h
tion now face the side fi

* See Appendix B, note 21. 458d

Chapter 18 Rotation of the Torso and Head 315

When this kind of rotation is

applied to the head, the follow-
ing movement results: starting
from a forward
tilted position
high, the head twists around its
own axis \ to the right, to end
facing the right; (f) shows the 458e
final position.

Wheeling - Rotation around the Constant Vertical Axis *

When a tilted part of the body rotates

around the constant vertical axis the ex-
tremity of the limb, the free end, des-
cribes a path in space. This action is
similar to that of a wheel, and is often
459a
called wheeling to differentiate it from
the previously described twisting.

Fig. 459 (a) shows a wheel, the front

of which is marked by a bow. Fig. (b)
shows a person tilted forward with a
corresponding bow on her head.
459b
ff
As the wheel revolves around the verti-
cal axis, the bow describes a circular path
to the right. In this illustration \ circle is
described. 459c

In a similar wheeling action of the whole

torso, the top of the head, like the bow,
makes a circular path in space, as illus-
trated in (d).
4 59 d

In (e) the head is shown in a wheeling

action. Starting with the nose over the
leftshoulder, it wheels to the right over
forward and ends up over the right shoul-
der. A total of a half circle is described
by the top of the head. 459e

See Appendix B, note 21

 .

316 Rotation of the Torso and Head

Such rotations are usually written as circular paths. The signs

J and \ have an understood vertical line axis. Degree of change
from the previous situation is shown by a black pin, and degree of
rotation from the untwisted state by a white pin.

Starting from the tilted position forward high, the head wheels
around the vertical axis which y
passes through the base of the
neck. The result of \ wheel- " or
ing to the right is a position
with the nose over the right
shoulder. Fig. (g) shows this
ending position. 459f

From a position The whole torso des-

i
twisted to the cribes a circular path
T
right, the whole without change of front
>
torso tilts for- Compare this with Fig.
>
ward, wheels \ 277 (b) on page 199.
r
circle to the left, This could be written
then \ circle to ) - as a series of tilts as
f
the right. A ver- in Fig. 369 (d), but the
tical axis is E , <
)
circular path best indi-
understood. cates the intention and
459h 1 K> over -all pattern.

USE OF KEYS FOR ROTATIONS, TWISTS *

In any rotation the axis used can be specifically stated by
placing the appropriate key within the turn sign.

+ + +
460a b c
A turn, rotation A turn, rotation around A turn, rotation
around the longi- the vertical line of gra- around the vertical
tudinal axis in vity (Standard Cross of axis in the room
the body Axes) (Constant Cross)

Figs, (b) and (c) are equivalent as long as the room does not
tilt. For ordinary turns or rotations the key in (a) above is not
needed, this being the understood axis. Wheeling may be writ-

See Appendix B, note 21.

 . y

Chapter 18 Rotation of the Torso and Head 317

ten as in (b) instead of

with a circular path sign, f

Fig. describes the

(e)
\ or V
J
same action as (d).
o
•
460d ( )

Body Axis for Head Wheeling

When the torso is tilted it may not be possible to describe head

wheeling around the constant vertical axis; a body reference is usu-
ally more suitable

The action of head wheeling can be described as occurring

around the longitudinal axis in the torso by placing the key for the
Body Cross of Axes within the path sign.

In
tilted
the whole torso is
(f)

forward and the head

y— —
is (hanging) down. The
body axis is the extension
460f
of the spine as illustrated
by the line y-y.

Fig. (g) shows the +

notation of this starting /
position,and the sub- >
sequent head wheeling
i

\ to the left followed by ( 1 ,

\
to the right.

i( ) Ic
460g

CANCELLATION OF KEYS
When placed outside the staff on the left a key is in effect until
cancelled by the Standard Key or another key. When placed under
a direction symbol or within an addition bracket the key is in effect
only for the duration of that action or that addition bracket. If the
need for a key results from a rotation or tilt in the body and such
rotation or tilt is cancelled, the key is no longer needed and so is
"cancelled" until a later rotation or tilt when it is again in effect.
CHAPTER 19

Specific Contraction and Extension;

Bending; Gestures on a Straight Path,
Shifting

ANALYSIS OF FORMS OF FLEXION IN THE BODY

Flexion in the body can occur in different ways, and movements
which appear similar may in fact be based on different principles
or concepts. "Flexion" is used here as a general term to cover
the different possible forms. In everyday parlance the terms
"flexing" and "bending" are often interchangeable, as are "flexing"
and "contracting." In Labanotation, however, "contracting" and
"bending" have specific meanings, substantiated by the dictionary
definition of the words. (Note: only examples that are generally
met will be presented here; greater detail will be given in Book II.)

ANALYSIS OF CONTRACTING
Contraction, according to the dictionary, * means: "to draw to-
gether or nearer, to shorten, narrow." The analysis on page 166
of contraction with reference to the arm and leg is applicable to
other parts of the body. If a part has several joints rather than
one central joint, a contraction results in the part becoming curved
rather than angular.

ANALYSIS OF BENDING (FOLDING, CURVING)

Bending, according to the dictionary, * means: "to be moved out
of a straight line oraway from a given line, to crook, to be cur-
ved." When a limb is bent at a joint, its free end moves on a cur-
ved path away from the original line of direction and toward the
base of the limb which retains its original direction. When there is
one central joint, an angle is produced in the limb. For this form

* Webster's New International Dictionary, second edition, 1950.

Chapter 19 Specific Contraction and Extension 319

of bending the term "folding" is used. When there are several

joints, as in the spine, bending produces a curve in that part of the
body. This action is termed "curving" or sometimes "curling".

Contraction Bending
y

461a
One central joint Multi -jointed One central joint Multi -jointed

Path: Straight. The extremity "y" Path: Curved. The extremity

draws in toward the base "x" on "y" approaches the base "x"
a straight path. on a curved path.

Line of Direction: The extremity Line of Direction: The base

maintains the same directional which does not move maintains
relation with the base. the original line of direction.

Displacement: The central joint Displacement: The free end is

"z" is displaced out of the origi- displaced from the line of di-
nal line of direction. rection as it moves toward the
base.

Involvement of Other Joints: The Involvement of Other Joints: No

joint at "x" must also articulate. other joint is involved.

SPECIFIC CONTRACTION AND EXTENSION

The symbols X and %. indicate contraction in general. The term
"contraction" given its anatomical meaning (see page 166). Spe-
is
cific statement may involve modification of the symbol to indicate
three-dimensional rather than the usual two-dimensional contrac-
tion (see page 460), or modification to show the physical direction
of the contraction (toward which surface of a limb contraction
occurs, i.e. which surface becomes concave).

PHYSICAL DIRECTION OF CONTRACTION

When no directional change is indicated a contraction occurs to-
ward the natural anatomical "inner" (or "front") surface of the part
 . . .

320 Specific Contraction and Extension

of the body concerned. For the legs the "inner" surface is the back
Interpretation of "front" surface is as follows:

hand - palm foot - sole

arm - inside of elbow & wrist ankle - instep (upper) side
neck - throat side knee - knee cap side

When combined with a tilt (directional change) a contraction nor-

mally occurs toward the same surface as the physical direction of
the tilt. (Note that, depending on the situation of the body, this body
direction may or may not coincide with a spatial directional des-
cription.) For exceptions to this rule and where specific contrac-
tions need to be stated, a meeting line representing the performer
(
— , ) is used in conjunction with the contraction sign to indicate
|

toward which body surface the action occurs Note the following: .

462a X_ b A lx xl

Contract Contract Contract Contract Contract

over the over the over the over the over the
front. back. left side. right front left back
diagonal diagonal

Note that the diagonal direction is indicated by a combination of

forward and side, or backward and side meeting lines.

The degree of contraction is shown as

usual (see page 167). Fig. (f) shows a
4 -degree contraction over the left side,
and (g) a 2 -degree contraction over the
462f
right back diagonal side

Specific Contraction of the Elbow

When a joint is contracted the parts of the limb on either side

move toward one another. The greater the contraction of the joint
the closer these parts become. A contraction of the elbow has the
same effect as a contraction of the whole arm. In the final degree
the lower arm and upper arm will meet.

The elbow
contracts or
toward its X -
front (inner) s7 X
7
A /
surface. / /
463a '
b A
Chapter 19 Specific Contraction and Extension 321

Specific Contraction of the Wrist

In a contraction of the wrist the lower arm and hand move to-
ward one another. This action can be seen clearly if the arm is

placed palm down on a table. As the wrist contracts, it is dis-

placed upward and the extremity of the hand approaches the elbow,
the base of the "limb" of which the wrist is the central joint.
Some flexion in the elbow joint must also occur.

A 3 -degree con-
traction of the
wrist toward the
front surface. Starting
464
position

Specific Contraction of the Knee

Acontraction of the knee produces the same result as a contrac
tion of thewhole leg while gesturing. The thigh and lower leg ap-
proach one another and the knee itself is displaced in space.

or

o *

465a El
Specific Contraction of the Ankle

A familiar example of ankle contraction occurs in kneeling when

the lower leg rests on the floor with the foot extended. When the
front of the ankle is contracted the ankle is displaced upward while
the foot draws closer to the lower leg. Some bending of the knee
joint will occur.

A 3 -degree
traction of the
ankle toward the
front surface.
con-

}&_
Ml
Starting
466
position
322 Specific Contraction and Extension

General Contraction of the Whole Torso

When nothing specific is stated, the symbol X used for the

whole torso means a contraction over the front surface. (Such a
contraction could be written as concaving the front surface * the ;

meaning is unchanged.) The torso is normally capable of three de-

grees of contraction, though some people can achieve more. Figs.
467 (a-d) illustrate contractions of the whole torso in the upright
direction. As the contraction increases, the center part (waist) is
displaced backward while the base of the neck (extremity of the
whole torso retains its line of direction over the hips (the base).
The pelvis gradually slants more and more backward. The head
continues the curved line established by the spine.

7\
/
/
or
Q
467a
L /
J.

Specific Contractions of the Whole Torso

For contractions toward other surfaces whole torso the
of the
must be used. It
specific contraction signs important to observe
is
that in each case the free end, the base of the neck, remains over
the pelvis regardless of the physical direction of the contraction.

468a
X®
Contraction toward A 3 -degree contrac- A 2 -degree contrac-
the right side tion to the left tion over the back

In all such contractions the result will include a tilting of the

pelvis. the contraction is over the left, as in Fig. 468 (b), the
If

pelvis will tilt to the right; if over the back, as in (c), the pelvis
will tilt forward. These actions contrast strongly with that of bend-
ing (folding) in which the base of the spine does not move. Specific
contractions are applicable to the chest, and to some extent to the
foot and hand (see Chapter 27). Full details will appear in Book II.
 -

Chapter 19 Specific Contraction; Bending (Folding) 323

SPECIFIC EXTENSION
While extension of a part of the body produces a straight line,
extension (stretching) of one side produces a convex surface on
that side. The combination of the appropriate meeting line and the
extension symbol indicates such extension of a particular surface
The curve produced is not to be confused with the form of hyper
extension which is in fact an action either of folding or of contract-
ing "backward" i.e. in the opposite physical direction to normal.

469a M b |H c TT d Mj
The front The right side The back The left front
becomes becomes becomes side becomes
convex. convex. convex. convex.

Extend J
V.

L After curving
the front the torso back-
surface of ward (see be-
the chest, low for curving),
then extend extend the right
\
the back 4 !

1 side of the torso

surface. as it tilts left.
d I-
•|
h

BENDING (FOLDING, CURVING)

While "bending" is the general term for this action, the term "fold
ing" is suitable for a single joint, the action being the same as in
folding a piece of paper. A
multi -jointed part of the body resem-
bles the frond of a fern when performing
this action and so the
term "curving" or "curling" is usually more appropriate.

METHOD OF WRITING FOLDING

The basic sign for folding, ^. is derived from a combination
,

of the concepts of contracting and approaching (see Fig. 257 (b),

page 184); the meeting line again represents the performer.

Contraction Approaching Meeting

sign: ^ sign: V Line: , /, etc

Specific Folding

Since certain joints can fold in more than one direction (the
spine, for example), important to indicate toward which sur-
it is
face the folding takes place; therefore the meeting line is used as
324 Specific Contraction: Bending (Folding)

the base of the folding symbol in a way comparable to its use for
specific contractions and extensions.

470a \Z b 7\ > d K
Folding over Folding over Folding over Folding over
the front the back the left the right

The diagonal directions can also be shown:

470e ^ f Hr g ^ h +
Over the left Over the right Over the left Over the right
front diagonal front diagonal back diagonal back diagonal

The above symbol group takes the name "K signs" from the
shape of Fig. 470 (d).

Degree of Folding

The method of indicating the six degrees of folding is derived

from that used for contraction signs. All six degrees exist though
many parts of the body cannot achieve the extreme degrees.

471 V ^ \Z %£ \£ W
1st 2nd 3rd 4th 5th 6th

Regardless of how the sign is turned, the first dot appears with-
in the V. Note that only the V, and not the base line, is doubled.
A third degree always produces a right angle at the joint that bends.

472 K 7^ 4
1st 2nd 3rd 4th 5th 6th

Comparison Between Folding a Single or Multi -jointed Part

The following illustrations, applicable to any direction, show

the six degrees of folding a single joint and a multi -jointed part.
Note that for the latter the extremity ends curved in snail fashion

Folding (Single Joint):

^ \4 si

473a
1st 2nd 3rd 4th 5th 6th
 .

Chapter 19 Specific Contraction; Bending (Folding) 325

Curving (Multi -jointed Part):

473g
2nd
7\ 3rd
ri r\4th 5th
M 6th

The degrees illustrated above give the theoretically desired curva-

ture. each part of the body capable of this action varies
In practice
in the degree can achieve, the hand coming closest to the ideal.
it

For movement one should consider the idea, a curving in slightly

or as much as possible, rather than measuring exact angles.

INDICATION OF TIMING
The indication of timing for the action of folding follows the
same usage established for narrow and wide signs when these are
applied to gestures. * (See pages 171, 172.)

Without Change of Direction

Folding the Folding the

elbow takes elbow takes
1 count. 3 counts
_ *

474a

With Change of Direction

The elbow The elbow

folds 4 de- folds as
I 4
grees as it it moves
lowers. to side
7
middle. A
475a b <
\A

The precise moment when a fold occurs can

be shown by placing the indication for elbow
folding beside the direction symbol. In such a
description exact placement of the lower arm is
not important. In Fig. (c) the elbow folds in the
middle of the gesture.
475c
* See Appendix A, note 6.
326 Specific Contraction; Bending (Folding)

FOLDING A JOINT
When a joint folds the distal limb (that farther from the center
of the body) moves and approaches the proximal limb (that nearer
the center).In folding the elbow the lower arm moves toward the
upper arm; in folding the wrist the hand moves toward the lower
arm, and so on.
Folding the Elbow

The elbow normally folds only toward the inner surface which is
considered the front. Hyperextension is folding backward.

476a
Elbow bent to a right angle Total folding of the elbow

Hyperextension -

of the elbow

476c
>
In most instances the above results could have been described
in terms of a spatial change for the free end, but emphasis would
then have been on space pattern, rather than on what is happening
in that particular joint. The action within the joint will be the
same whether there is a slight rotation of the upper arm one way
or the other, whereas the spatial result will be changed by any
variation in rotation.

Specific Folding of the Wrist

The following examples illustrate use of the K signs in different

degrees and directions for the wrist. The starting position with
the wrist in its normal alignment is shown in Figs. 477 (a) and (d)
so that subsequent changes are more clearly seen.

^ 7S

477a b ^
Starting position

Compare (b) with Fig. 464.

Chapter 19 Specific Contraction; Bending (Folding) 327

477d

The indication ^/ always refers to the front surface of that part

of the body (see on page 320). When a general folding action
list
is required, i.e. no particular surface is to be indicated, the sign
for unspecified folding >£ is used. In this sign the ad lib. sign
replaces the meeting line.

Specific Folding of the Hip

The hip joint can fold in all of the eight possible directions. A
hip fold may produce a lifting of the leg or a tilt of the whole torso,
depending on which part of the body takes the role of "base. " When
the weight is indicated as being on the legs, the torso will be con-
sidered the "free end" and therefore be the part to move in space
toward the legs, the "base." The hip indication is placed in the
appropriate column.

The hip fold The hip fold

brings the . . raises the
whole torso + {i + right leg. o +
forward. ~T~T
478a ITl 1

Folding the Knee

Except in the case of hyperextension (folding into the opposite

direction from normal), the knee can fold in only one direction, to-
ward the back surface. This physical direction remains the same
whether the leg is rotated in or out. Usually an isolated knee fold
produces a gesture of the lower leg. Placement of the lower leg is
not important and depends on the leg rotation used.

The knee The knee fold

77*
fold brings o moves the low-
the lower er leg backward
leg down.
479a \ )
and upward.
I y
Specific Folding of the Ankle

When the -ankle folds only the foot moves; there is no action or
displacement in the lower leg.
328 Specific Contraction; Bending (Curving)

Compare this example of

folding the ankle while
kneeling on a chair to the NZ
contraction of the ankle
I
while kneeling on the
floor in Fig. 466. 480

A Demi-plie Described in Terms of Folding the Joints

To illustrate application of these signs Fig. 481 (a) shows a

demi-plie (lowering into a half knee bend) written in the standard
way and (b) shows the same action described in anatomical terms,
i.e. the specific folding and stretching of the appropriate joints.
Outward rotation is specified.

OR

M
7*
>**
s
481a
o
\ .
•1
Note the sideward folding in the hip joint which results from the
turn-out. The advantage of the Labanotation convention used in
Fig. 481 (a) is obvious. The description in terms of folding is
needed for detailed study and research.

CURVING A MULTI-JOINTED SECTION

Curving (Folding) the Arm
Fig. 482 (a) illustrates the arm curving (folding) in from the
forward direction. Having too few joints, the arm cannot achieve
a true curve, but the idea of the movement is that of folding in like
the frond of a fern. Fig. (b) shows a contraction in the same direc-
tion to illustrate the difference between these two forms of flexion.

482a h J
Chapter 19 Specific Contraction; Bending (Curving) 329

Bending (Curving) the Whole Torso

The whole torso rarely can achieve more than four degrees of
curving. The action of curving can be performed sequentially or
can be led by the head, but these indications must be added (see
Chapter 27). The torso can curve in any of the eight directions.
The familiar instruction "bend backward" for the whole torso is
usually a curving action. Curving is often combined with lengthen-
ing (i/|)
to produce an arch (an extended curve) as in (c). Curving
may be combined with a change of basic direction.

7H
483a

It important that, even for the first degree, curving be a move

is
ment whole spine which from the base up leaves the original
of the
line of direction and not a displacement of the upper spine.

Curving Curving
the whole only the
section upper part
o
483d e !•

CANCELLATION (UNFOLDING)
Unbending or unfolding is the reverse of bending or folding. To
produce the action of unfolding, a part of the body must already be
bent or contracted. If the aim of unfolding is to return to the nor-
mal state, a back to normal indication is written. When motion is
more important than destination (see page 172), the action of un-
folding may need to be stated for its own sake.

Method of Writing Unfolding

The basic sign for unfolding A is derived from the signs for ex-
tension, withdrawing (see page 184), and the meeting line. A "for-
ward" unfolding means unfolding from some degree of or V X . A
"right" unfolding occurs after some degree of « or |X ,
and so on.
330 Specific Contraction; Gestures on a Straight Path

The basic sign is turned as needed to show the eight directions.

484a A b V c <t d ^
From the From the From the From the left
front back left front diagonal

The above symbol group takes the name "A signs" from the
shape of Fig. 484 (a).

Degrees of Unfolding

When a specific destination (state or situation) is required, it

is usually written in terms of the desired degree of folding or

curving. A is usually in terms of motion,
description of unfolding
rather than destination. For
reason the degrees _/^. ./-v. ~$^
this , , ,

etc. are not commonly used unless such destination is required.

The completely unfolded state would be the last degree _^. When .

the destination is the normal state, the symbol o may be added to

the unfolding sign A .

CANCELLATION
The rules forms of exten-
for cancelling indications for specific
sion, contraction, and bending follow those established for narrow
and wide signs applied to gestures (see page 179). In some cases a
specific contraction or bending may be cancelled by an unfolding.

Further details on use of X and « signs will appear in Book II.

GESTURES ON A STRAIGHT PATH, SHIFTING

Shifting is the to displacement of a part of the body on
term given
a straight line. Because of the structure of the body a perfectly
straight path for each part may not be possible, but the aim of a
shift is to move on a straight line.

GENERAL INDICATION OF STRAIGHT PATH GESTURES

In Motif Writing the basic action of the whole
body moving on a straight path in the room is
written with the straight path sign, Fig. 485 (a).
This same sign is used in Structural Description
to show any modification of the path produced by
the indications in the support column. See page
85, Fig. 95(b), illustrating traveling jumps.
Chapter 19 Specific Contraction; Shifting 331

The straight path sign modified as in (b)

is
to indicate either a gesture in which the extre-
mity of a limb follows a straight path or a dis-
placement of an area of the body on a straight
path. The addition of the body hold sign o in-
dicates restriction of the action within the body. 485b Jb_
Note the following differences:

A turn of the whole A twist within

body followed by the body fol-
traveling on a lowed by a ges-
straight path for / ture on a
the whole body straight path
485c d _n

General Statement for Limb or Area of Body

may be made more speci-

Indication for a straight path gesture
ficby addition of the signs (limb) and D (area). Because of the
||

structure of the limbs only an extremity can follow a straight path.

The extremity of An area moves on

a limb describes a straight path.
a straight path This action is
486a called "shifting." b

General Statement for Specific Part of the Body

A general indication of movement on a straight path can be

given for specific parts of the body. By stating the part of the
body, the physical limitation of the action is clear, therefore it is
not necessary to add the body hold sign within the path sign.

The hand (extremity The chest moves

of the arm) describes on a straight
a straight path. path (shifts).

486c

SPECIFIC INDICATION OF SHIFTING

As specific gestures of the arms and legs on a straight path are
usually described by other means (e.g. use of place for gestures
of the arms, page 120), the following discussions concentrate on
shifting body areas. In Structured Description the part of the body,
timing, direction, and degree of shift are shown.
332 Specific Contraction; Shifting

ANALYSIS OF SHIFTING
Shifting, movement on a straight line, can be a major action, a
movement as big as the physical limitations of that part of the body
will allow, or it can be a minor action, a very slight displacement
in space. Minor displacements are indicated through the use of
pins, see Chapter 26. Shifting a body area
is made possible through mobility in the
neighboring part or parts of the body. Fig.
487 (a) illustrates a shifting action for a
part of the body, such as the head, which
is free at one end. The action in the neck
487a
makes it possible for the head to move on
an approximately straight line.

Fig. 487 (b) illustrates a shifting action

for a part which is confined between two
other parts, such as the pelvis. The pelvis
can shift because of mobility in hip and an-
kle joints and in the vertebrae in the waist
area. The normal situation for a part
487b
}
which shifts is [•] ,
i.e. center.

METHOD OF WRITING SHIFTS'

A shift for a specific area of the body may be written with the
sign for that area followed by the appropriate direction symbol
placed in a straight path sign. Fig. 488 (a) shows a forward shift
of the chest. The path sign may be shorten-
ed to become the pre -sign I which can be,

placed directly after the indication for the

part of the body, as in (b), which shows a
left -right chest shift. The practical abbre-
h
viation commonly preferred is to combine
the part of the body sign with the small path
sign as in (c), which shows a left -right head
488a ©
shift with a pause in the normal position in
"
between. Fig. (c) could also be written with
an addition bracket (see page 483) as in (d).
In (b), to be precise, double carets should
be used to make clear that the next direction
symbol refers to both pre -signs.

See Appendix A, note 11. 488c 9

Chapter 19 Specific Contraction; Shifting 333

DEGREE OF SHIFTING
The degree or distance of a shift can be shown by placing the
appropriate space measurement sign, narrow or wide, before the
direction symbol. A normal -sized shift is that which is comfort-
able for the performer. Less than this distance would be a small
or very small shift. In a large shift the part of the body moves as
far as possible without involving other neighboring parts, while in
a very wide shift the neighboring part or parts are involved to
make this greater distance possible.

IL

489a
A small for- Very small A wide for- Very wide
ward shift of sideward ward shift of sideward
the head head shifts the head head shifts

SHIFTING SPECIFIC AREAS OF THE BODY

Shifting the Head
The head shifts through flexibility in the neck vertebrae, the
chief axis of the head remaining vertical. The boxed pre -sign is
customarily used to stress the idea of its being the movement of an
area. The pre -sign £ would not be wrong.

1
ft
490a I
Shifting the head right and left Shifting the head forward
and backward.

Shifting the Chest

The chest shifts through flexibility of the vertebrae in the waist

area. The pelvis should not be affected in a small or normal -sized
shift of the chest. The head is carried along in its normal place-
ment on the shoulders.
 .

334 Specific Contraction; Shifting

r,

2
491a

Shifting the Pelvis

The pelvis shifts through flexibility in the waist vertebrae and

the legs. The chest should be affected as little as possible. In a
large shift some accompanying pelvic tilt will occur.

492a

A movement similar to a pelvic shift can be written with the

single hip signs. When both hips move forward, the result is a
bulge similar to a forward pelvic shift, but the motivation is an
action of the hips rather than a displacement of the pelvic girdle
as a whole. In the case of movement of the single hip there is
more articulation in the groin, the hip joint.

1 r
L

492c

Shifting the Whole Torso

The whole torso, moving in one piece, can shift slightly in the
different directions. whole torso shift the head is carried a-
In a
long. With respect to displacement of weight a whole torso shift,
when the feet are supporting, can be compared to a center of gra-
vity shift (see pages 402, 403), but the emphasis of the movement
is different. In a whole torso shift the emphasis is on displace-
ment of the chest and pelvic areas moving as a unit. In a center of
gravity shift awareness centers on placement of weight.
Chapter 19 Specific Contraction; Shifting 335

493a
Whole torso shifts forward.
e
Whole torso shifts to the right

LEVELS OF SHIFT
When the body is in an upright standing position, its areas (head,
chest, pelvis, and whole torso) usually shift on the horizontal plane.
The chest and head, with some limitations, can also shift into high
and low levels. Such actions usually include a slight tilt which is
not emphasized and which disappears as soon as the action is over.

The head shifts

The chest shifts
right side high
forward high then
backward low.
then
low.
left side
i
494a

When the whole torso is tilted, direc-

tion and level of a shift of a body area
adjust accordingly. Fig. 494 (c) shows
the chest shifting toward the floor and
then toward the ceiling while the whole
torso is tilted forward horizontal.
494c 1
CANCELLATION OF SHIFTS
The result of a shift will be cancelled by a shift in another direc
tion, by a return to place, or by the back to normal sign.

495a i_
A backward head shift After a shift to the After shifting dia-
cancels the previous left the pelvis re- gonally, the chest
forward shift. turns to place. returns to normal
CHAPTER _

Relationship

[CATIONS OF RELATIONSHIP
The aim of certain basic mc ro establish a parti-
cular relationship or contact betv reen 7 of the body, be-
parts
one part of the body and the floor, or between a part of the
body and an object or another person. The range of such possible
tionships is given in the order of increasing involvement.
Such a relationship, or "'contact," ma sual, as in looking at a
person from a distance, or may be physical, as in touching.

aii?.ess:ng
The basic sign for establishing a relationship is the sign for
addressing. This may be drawn ^> or ^ or inverted
r^ or rs The horizontal line of this sign extends from
.

the staff or column of the active person, the one initiating the
relationship. Within the cup is placed an indication of the person,
object, or part of the room being addres .Jtual addressir.^
ritten ^ \±j or r> rv
General Description

In Motif Writing when the purpose of an action is to adc

someone or something, the choice of action may be left to the per-
former, or a specific form of movement may be indicated.

An action which While turning left

- relating to make a forward ;
the ge motion directed
at the start to-
ward your partner. -c
496a
Chapter 20 Relationship 337

v£r .M,

497a

The left arm per- The head turns to The right and left
forms an action address a person hands mutually ad-
which addresses P. identified as M. dress one another,

Specific Indication

Description an indication of addressing may modi-

In Structural
symbol depending on the loca-
fy the interpretation of the direction
tion of the person, object, or part of the room being addressed
The direction symbol given may therefore be an approximation of
the direction used. In the following examples the staff is written
for performer A who relates to performer B.

h
m
498a A b A c A
A's head speci-
tilt A points at B A turns and steps
fically relates to B. (see page 455) toward B.

NEARNESS, CLOSENESS
When a part of the body is near another part, an object, or an-
other person, this closeness is indicated by the dotted horizontal
N
bow -^ -'or^" ~~~^s .

*
J
J i*

499a c A
An action which results The hands finish A reaches out until
in the right hand being near each other. his hand is near B's
near the left shoulder. shoulder.

.
338 Relationship

CONTACT, TOUCH
The horizontal bow indicating touch (contact bow) was presented
on page 205.

500a % 1 * I

An action resulting in Right hand touching the Hands touch-

the right hand touch- waist, left hand touch- ing opposite
ing the left elbow ing the left shoulder elbows

Indication of Active Side

In most contexts it is obvious which part is active in producing

a touch (e.g. the hands in Fig. 500). When the active side must
be specified the horizontal bow is thickened on the appropriate side

Right side \ Left side

is active.
501 a ^ is active.

Right hand The left elbow

moves to be % moves to touch
near the left. the right knee.
501c

SUPPORT, CARRY
When one part of the body takes weight, or supports an object
or another person, the relationship bow becomes angular. The
sign for supporting is > / or / \ . It is usually drawn
N
or ,
\ ' which part is supported and which
to indicate
is supporting. At the lower end is placed the object, person, or
part which is supporting (when nothing is stated the floor is under-
stood) and at the upper end the person or part being supported.

502a = i
In Motif Writing: an In Motif Writing: an Supporting on
action resulting in a action resulting in the right knee
support on the floor sitting on a chair on a bench
Chapter 20 Relationship 339

ENCLOSING. SURROUNDING
An enclosing relationship can be shown by adding the contrac-
tion sign x. When contact occurs such enclosing produces grasp-
ing. The x within the bow is placed nearer the active part. The
active part enfolds the passive part; degree of contraction is in-
fluenced by the shape of the passive part. The thumb is generally
used in opposition to the fingers in a grasp. Grasping the hands
with penetration, shown by ^ , means the fingers intertwine.

503a \
x^
Left hand sur-
\
-'
b
L J
Right hand
***
X
Either hand
-^ dl X. X^
Both hands
| e3
Fingers
|

rounds right grasps left grasps grasp penetrate

503f g
m i

Right arm Right hand grasps Right hand carries

surrounds the right lower the umbrella (by a
B's head. edge of the skirt. grasping support).

PASSING. TRANSIENT RELATIONSHIP

Each nearness, touching, etc.,
of the relationships, addressing,
may occur may be established,
in passing, that is, the relationship
momentarily sustained, and then relinquished. This momentary
sustainment is indicated by doubling the relationship indication.

504a
a amf
Right arm gesture re- Right hand passes Right hand brushes
lates in passing to B. near the left hand, the left.

RETENTION OF A RELATIONSHIP
A single contact bow (relationship indication) shows a momen-
tary relationship. Whether this is retained for more than the mo-
ment usually depends on what comes next. When no obvious can-
340 Relationship

cellation occurs in Structural Description the contact is expected

to remain. For retention to be specifically stated despite other ac-
tivities, the sign o is placed after the relationship indication.

A &
505a &
Keep looking at B, Keep the hands The box is to be kept
gaze follows if B moves, near each other in the right hand.

Continuous sliding for arm gestures is expressed as the reten-

tion, i.e. continuation, of the sliding relationship; hence the use
of the hold sign to produce this result.

n
The hand / The hand
/
keeps on continues
/
sliding up / to slide
the post. / along the
m bar re.

505d i
CANCELLATION OF A RELATIONSHIP
A relationship may be cancelled by another action which ob-
viously invalidates the previous relationship, or it may be speci-
fically cancelled by the release sign. When a retention sign has
been used, and a release must be given, it is placed over the part
of the body actively releasing.

506a m <*_

The clasped hands

release automati-
cally when the arms
r>r
The hand immedi
ately releases
from the table.
The umbrella
released (dropped)
on the third step.
is

open to the side.

Chapter 20 Relationship 341

TOWARD AND AWAY

A performer may gesture toward or away from a part of his
body, another person, an object, or a part of the room.

General Description

To show a movement toward a direction, person, object, or

part of the room, the appropriate sign for that direction, person,
etc. is placed within the approaching sign (see page 184).

507a

Approach Right arm Right hand Left hand moves

partner. moves toward approaches toward B's
forward high. left elbow. left shoulder.

The appropriate symbol is placed within the sign for retreating

to indicatemovement away from a person, object, etc.

507e 'P 1
f W
Move away Torso moves Right hand Hand be-
from your away from moves away comes less
partner. the audience. from B's left, contracted.

Structural Description

Indications for motions toward or away can be placed within the

columns on the staff.

508a
The arms rise The right hand moves The right arm moves
during the steps away from the chair. away from B.
342 Relationship

CANCELLATION OF TOWARD AND AWAY

Because the actions of approaching or withdrawing are motions
rather than destinations, their results do not need to be specifical-
ly cancelled. Any subsequent action will cancel the resulting state
or position which has been achieved.

FACING
The action of facing is that of directing any surface of the body,
such as the palm, toward a direction, object, or person. The
question "Where are you facing?" or "Where is your front?" refers
to the body as a whole and is answered by a direction in the room
indicated by the front signs £) Ef etc. (Seepages 104-107). The
, ,

questions "Where do you look?" "Where is your head facing?"

"Where is your chest facing?" "Where are your palms facing?"
refer to the performer's directions, his Standard Cross of Axes,
and are written with direction symbols following the appropriate
pre -sign for that surface.

Analysis of Facing

Facing is the result of other basic actions such as tilting, rota-

ting, singly or combined. The importance of this result requires
that facing be given a specific description.

surface in question is aimed

In facing, the
in a stated directionmuch as one would focus
a camera, turning and tilting it as required.
The physical movement which produces facing
includes an outwardly directed focus or pro-
jection which the actions of turning and tilting
do not contain.

General Indication of Facing

The sign for "a surface" in connection with the addressing sign
is used to state the basic fact of facing.

509a rh b h c

A surface Facing Facing an Facing a

(any surface) object person

For indications in (c) and (d) see page 365.

Chapter 20 Relationship 343

Specific Indication of Facing

The sign for a surface of a part of the body must be used to

write facing for that part.* A surface is described as one or other
of the outer sides of an area.

An area Front
surface d Back
surface Q
Right front
surface a
A pin placed on an area sign indicates which surface is being de
signated. Within the box is placed the part of the body in question
The chest, pelvis, and whole torso are already box signs.
Front surface Back sur- Front sur-
of the head,
the face
& face of the
chest g face of the
whole torso

The appropriate direction symbol is placed after the indication

of a particular surface to state facing that direction. The length
of the direction symbol gives the timing of the action. The address-
ing sign used for a general statement of facing is no longer needed.

FACING FOR SPECIFIC PARTS OF THE BODY

Head Facing
The symbol for face IsD is followed by the appropriate direc-
tion symbol.* The head normally faces forward middle; to face in
different directions it will tilt, turn, or tilt and turn at the same
time. In the following illustrations each example of head facing is
accompanied by a description of the
same action in terms of tilting and
rotating. These are only approxi-
mate, as the head does not make
quite the same use of the neck in
the action of facing as in tilting.
The sign for similar I (see page
510a
354) placed next to the tilting in-
dications denotes this inexactness.

Facing 1 / Facing
forward / m /
forward
high H low I
f
510b \& c &
* See Appendix B, note 22.
344 Relationship

These are the most common directions in which the face looks. If
a performer faces a direction which requires both tilting and turn-
ing, he can best determine the destination to be reached by first
looking in the direction stated and then adjusting to the level. The
action is then performed as one movement with the same end result

When timing need not be indicated, note the following abbrevi-

ations giving the destination of the movement.

h for
B for
B
510d & c 6 &
Chest Facing

The chest does not have as wide a range of movement as the

head and so is more limited in its ability to face different direc-
tions. There are times, however, when such a description is de-
sirable. The chest normally faces forward middle.

The chest faces diagonally; The chest faces diagonally low

a rotation must occur. a rotation plus the tilt occurs

Shoulder Section (Upper Chest) Facing

A facing movement of the chest

in forward or diagonal high direc- L
tions is often actually a facing of /
the front of the shoulder section /
/
(upper chest). For the whole chest
L
to face in these directions a greater
adjustment in the spine is required.
512
Facing for Other Parts of the Body

If need be, any part of the body can be shown to face

a direction by combining a pin with the boxed indication
for that part of the body. Fig. 513 shows the front of
the knee facing left forward diagonal. 513
Chapter 20 Relationship 345

CANCELLATION OF FACING
Examples of cancellations for facing given here for the head
are applicable to other parts. A previous facing indication for the
head will be cancelled by another facing indication, or by the re-
turn to normal sign. A facing indication will usually be affected
and hence cancelled by a rotation of the head, and in certain in-
stances by a tilt of the head. In certain contexts a tilt will not
cancel a facing direction.

/
/
k /

r
a n c

I
514a &
The diagonal The diagonal Looking down
facing is can facing is can- iscancelled by
celled on celled on the backward
count 2. count 2. head tilt.

i\ £i

514d f

Looking diagon- The head tilt A normal side

ally is not can does not com- tilt for the head
celled by the pletely cancel follows the pre-
head tilt. the previous vious looking
facing position. forward high.

The front of the The head

face changes di- ends up-
rection, but the right and V
n
slight tilt is not rotated to
cancelled. the right.
514g & &
CHAPTER 21

Repeat and Analogy Signs

REPEAT SIGNS
A variety of repeat signs facilitates writing, particularly for the
notator working at speed. Repeated material should be written out
fully in the final draft of a score as a rule; however, repeat signs
which refer directly to material on the same page are acceptable.

REPEAT SIGNS PLACED WITHIN THE STAFF

The sign for a simple identical repeat is taken from music no-
tation* /. . The slanting show a repeat "to the
line is doubled to
other side," i.e. alternating sides, a laterally symmetrical repeat

Repeat the same Repeat to the other side

(an identical repeat) (lateral symmetry).

Lateral symmetry means the exchange of right and left in the use
of thebody and in direction:

means:

Such an exchange
B H H H
is illustrated in Fig. 515 below, (b) being later'
ally symmetrical to the pattern in (a).

L J

515a

See Appendix A, note

h 12,
Chapter 21 Repeat and Analogy Signs 347

Repeat signs always refer to the last notated measure unless

another measure is indicated. The repeat sign is centered in the
space on the staff to which it refers.

The same as
An exact repeat
/ • measure 1 A
The same start-
An exact repeat • / ing with the /
other foot

Step pattern to A "running

be repeated waltz" step
515c

Size of the Repeat Sign

As a visual aid the size of a repeat sign

reflects the length of the section (area) on
paper in which the sign is centered. Repeat
of a count is written quite small, repeat of -? £-
a whole measure larger, and repeat of
several measures larger still. In these ex-
amples a small unit has been taken to con-
serve space. Fig.
516 shows repeats
for: (a) one count; '/ /
(b) one measure;
•/.
two measures;
(c)
(d) four measures. 516a i d

Repeats Bridging Two Staves

When a repeat sign falls in an area !() ft

of two staves, the repeat sign is placed
5?
at the top of the first and again at the
bottom of the following staff. A caret >/

is added to each repeat sign to signify

that the second is simply the conclu-
sion of the first.In Fig. 517 measures E3
1 and are repeated on alternate sides
2
>
three times (a total of four performan-
ces of the material) before a two-
<
measure conclusion. 517 >
*T
I
348 Repeat and Analogy Signs

Defining the Area to be Repeated

160
an area to be repeated does not
If

coincide with established bar lines,

dotted horizontal lines are used as a
visual aid to indicate the repeated area. '/.

In Fig. 518 (a) a movement which takes

three counts is repeated within four
count measures. Even if this were
written out fully, as in (b), the dotted
lines would still be used to assist in
reading and understanding the phrasing.

Repeat Signs Within a Column

518a ffl
When a small movement is repeat-
ed several times, it is easier tc state A /•

the movement once and then to indicate

with tiny repeat signs its subsequent '/.

repetition, rather than to write it out

fully. Fig. 519 (a) shows the hand wav-
ing repeatedly, while (b) shows a re- /. A
peated nod of the head, with a pause be-
tween. Dotted lines can be used as a
visual aid.
\
519a I b I

Specific Measure to be Repeated

To refer to a particular measure in describing a repeat, the

notator replaces the dot at the bottom of the repeat sign with the
number of the measure in question.

An identical repeat / A laterally symmetrical

of measure 1 1 repeat of measure 4

The simple sequence in Fig. 520

includes as many repeats as possible ffl Hi
for the purpose of illustration only.
Fully written out notation would ob- K >;
viously be easier to read.
3 shows an identical repeat of mea-
Measure
U
sure 1; measure 5 is measure 1 done
with the other foot; measure 7 shows
»s
a repeat of measure 2. 520
Chapter 21 Repeat and Analogy Signs 349

Modification of Repeated Material

When repeated material

includes slight variations
which are easy to read, the
repeat signs can be used
yi
with the changes indicated.
If such changes are complex

it is better to write out the

whole sequence. In Fig. 521
the first two measures are
repeated to the other side,
but at the very end of the
fourth measure a quarter
turn occurs as a preparation
for the next pattern. Mea-
1
i
sures 7 and 8 are an exact
repeat of 5 and 6 but arm
gestures have been added. 521 Ef

Reminder of Repeated Material

When a complex movement phrase which

has already been described in detail appears
again, it is permissible to give an outline of ft
the movement and to indicate outside the
staff on the left in parentheses the measure
numbers where it is written fully. Fig. 522 a,
states that measures 65 and 66 are the same as
measures 15 and 16. Even if the material is
completely written out, such an indication will
help the reader who would otherwise have to
study the symbols with care to see if the move-
&
ment is actually the same in every detail.

REPEAT SIGNS OUTSIDE THE STAFF 522 a

For exercises or short studies designed to be repeated several
times, there is no need to draft out each repeat as in a regular
dance score. The exercise is written once and the repeats are in-
dicated outside the staff. The slanting signs y. and y. are modi-
fied to -r and = and are placed at the beginning on the left and at
the end on the right of the section to be repeated. Extended hori-
zontal lines enclose the section. If a sequence is to be performed
350 Repeat and Analogy Signs

more than twice, the number of times is written in place of the

inner dot of the repeat sign. Thus the number four states the se-
quence is to be performed once and then repeated three times (a
total of four times). The repeat in Fig. 523d starts on the upbeat.

Short Sectional Repeats*

1% 4-
F±
ll

523
w
iXt
iE

4
c. • |;
Identical Symmetrical Total of 4 times Total of 8 times
repeat repeat the same side alternating sides

Longer Sectional Repeats

For longer sections

containing shorter re-
peats, the extended lines
are bent to enclose the
whole section, and the
repeat sign is incorpor-
ated in this slanting ex-
tension. Fig. 524 (a)
shows two measures
which are repeated twice
524a
(a total of three perfor-
mances of this material) %
3
followed by two unrepeat- <8>

ed measures, making a 4-
J L 1*>

total of eight measures.

3
£
These eight measures are 73 15
then performed again. In
(b) the eight measures are
repeated to the other side. 14-
2,
u jr
t

Note the indication of mea- ~s

1
sure numbers. Fig. (c) 5(13) C
y
X i • 9

* See Appendix B, note 23. 524c

Chapter 21 Repeat and Analogy Signs 351

shows such longer sectional repeats used for a sequence which in-
volves more than one staff. The device of enclosing the repeated
section helps the eye to see the beginning and end of what is to be
repeated. In this example theme "w" is performed, then theme
"x" is performed three times, alternating sides; theme "y" is per-
formed a total of five times followed by "z." All sixteen measures
are then repeated to the other side.

Repeats Used with Path Signs

In sectional repeats in which a circular path occurs, care must

be taken to indicate clearly whether the circling is included in the
repeat, or whether the step pattern is repeated during one circular
path. Note placement of the repeat signs in the examples below.

525

b Z.
Take 12 steps to walk Take 6 steps to walk Walk a circle to the
a complete circle. a circle; 2 circles right in 7 steps; re-
are walked in all. peat to the left.

En Croix Repeats
A pattern derived from exercises at the barre is that in which a
theme is performed to the front, to the open side, and to the back.
The side direction may be employed again in returning. Ballet ter-
minology calls this pattern "en croix, " from the French for cross.
The repeat sign — has been modified to show en croix repetition.

A
N- means
m
return to the side direction is
-H means

shown by doubling the side

m line.

N= means
\±m
En croix signs are placed outside
-h ™-
the staff, in the
mm
same manner as
sectional repeat signs.
352 Repeat and Analogy Signs

H- »T*
O.J

526a !L 1 £ 1 K-

Perform this to Perform this to Perform this front,

the front, side, the front, side, side, back, then all
and back. back, and side. to the other side.

Note the addition of a number to indicate the total number of times

an exercise is to be performed:

••I
** It i
11
>
526d If* 1 i It
Perform 4 times for- Perform this Perform this ex-
ward, 4 times side, exercise en ercise en croix a
4 times backward. croix twice. total of 8 times.

Labeling a Section - Reprise Signs

A reprise is the repetition of a phrase

of movement which appeared earlier in a
dance, other material having appeared in
between. The section so to be repeat-
ed is identified by being enclosed be-
tween extended horizontal repeat lines,
one at the beginning, one at the end, to
each of which is attached a box in which
is placed an identifying mark, usually a
letter. Fig. 527 (a) shows a phrase la-
belled as a reprise with the letter A.
Later on, when this material is to be
repeated, the reprise sign (identifying
box) is used with the extended repeat
lines enclosing a short section of staff,
as in Fig. (b). The nature of the re-
peat, identical or symmetrical, is in-
dicated by the use of the appropriate
527a
repeat sign placed within the staff.
Chapter 21 Repeat and Analogy Signs 353

Figs, (c) and (e) illustrate alternate ways of writing (b) and (d)
respectively; the boxed letter identifying the reprise replaces the
lower dot of the repeat sign.

13 a

'/ OR OR •
>'*
a 'A
527
b EL c L d a.

Identical repeat of Symmetrical repeat of

the reprise material the reprise material

First and Second Ending

It is common in sectional repeats

for a modification to occur on the
last repeat, as a bridge into the next
sequence. The device to differenti-
ate a secondfrom a first ending is
W &
borrowed from music notation. An
angular vertical bracket is placed
/
alongside each of the two endings on /
the left of the staff. Inside each
bracket is the number of the ending. -i ax)
\
The first ending may be placed with-
in thickened lines to draw attention
to the material to be omitted on the
last reading. In Fig. 528 a move-
ment sequence of four measures is
performed three times. For the i?

first two times the phrase ending on

measure 20 (measure 24 on the re-
peat) contains circling in place. On
the last repeat (third ending, mea-
sure 28) the circling is omitted and
18
instead the legs merely straighten.

Note that numbers of repeated

measures are written in paren-
theses. Where measures repeat
several times usually only the last (*)
17
set of numbers is given. 528

.
354 Repeat and Analogy Signs

First and Second Beginning ^ 4-

[7
\
The same device can be used to
I
(8)
indicate that the beginning of a
sequence be altered on the re-
is to
(4)
_%
peat. In Fig. 529 the turn required
at the start to face the corner of the
room becomes \ turn on the subse-
? *'? i_
quent repeats so that each corner is
faced in turn. Note the numbering Ef O

of the measures and use of paren-

theses to help the reader J
n
i i
follow the sequence. •

529 6
ANALOGY SIGNS
Analogy signs are used to abbreviate the score. Their greatest
value is as an aid to quick writing, though they may appear in the
finished score. The analogy signs are:*

Similar: or Exact:
* Equal:

or or %
Lateral symmetry Sagittal symmetry Oppositional
(exchange of right (exchange of for- symmetry (as
and left) ward and back) in ballroom
dancing)
SIMILAR
The similar sign is also known as the ad libitum sign since it
appears where freedom in performance is allowed. The sign may
be used for the whole staff generally, or in specific columns.

530a b
General ad lib., Ad lib
lib. for the feet, The arms to im
free improvisation with arms held provise freely

See Appendix A, note 12, and Appendix B, note 24

Chapter 21 Repeat and Analogy Signs 355

In Structural Description an ad lib. sign

is added to a duration line to indicate timing
M
of actions such as flexing and extending,
\
thereby allowing freedom in choice of spatial
pattern and manner of performance. Com-
pare (d) with Fig. 233 (a) on page 172. 530d Tl
When placed next to movement indications, the similar sign
means "on the order of," "similar to," "along the lines of."
Freedom is allowed in performance of the written material.

The right arm The shape 1

is more or less of the path
side low, the is more
left arm more or less a
or less down. I circle.
530e

<J <

530g 1
An ad lib. run Continuous arm Freedom to improvise
(run freely movements of in this same general
forward) this kind vein of movement

Ad Lib, for Repeats

When a phrase or section of move-

ment may be repeated as often as de-
sired, that is, when the number of
times is not known or is up to the per- 53]^
former, the ad lib. sign is used in
place of a number in the repeat sign.

When the number of repeats is left

open to the reader, the first ending is
marked "1- ~
" (ad lib. sign) and the

final ending is marked "fine." 531b

356 Repeat and Analogy Signs

EXACT PERFORMANCE
When a detailed description is written the reader is aware that
exactness in performance is needed. But exactness in interpreta-
tion may also be required for movement recorded in what appears
to be simple, general terms. The use of the asterisk £|£ * placed
next to particular symbols alerts the reader that these are to be
given their precise, literal meaning, being performed without any
leewav at all.

The exact performance sign may be written

as a key at the start of a score as in Fig. 532.
or it may be placed next to a particular symbol,
as in Fig. 533 (c). or placed within a vertical
bow or bracket
Fig. 534

Exact Timing
(c).
to modify several symbols as in
53: m
The convention established to indicate timing for steps and ges-
tures" suffices for general purposes: only in particular cases
does a simple indication require precise interpretation. At such
times the exact sign is placed next to the indication in question.

>
o i)
533a i
Toe touches occur The notation specifies Precise performance
on counts 1 and 2 that the touches occur of the touches a frac-
(general timing). precisely at the start tion before count
of counts 1 and 2. and 3 (on the "u" sub-
division).
- xception to Stated Key

Particular details of style which are to be used throughout are

stated as a key signature at the start of a dance score. When such
a key signature must be cancelled at some point in the score, the
notator may use either the back to normal sign (signifying the nor-
mal state for that part of the body) or the exact sign (signifying
that the symbols are to be read with their exact meaning).

"See Appendix B. note 13, See Appendix C, note 4

Chapter 21 Repeat and Analogy Signs 357

In Fig. 534 (a) the key states

that middle level supports
^
mean steps with slightly bent or
legs. On counts 3 and 4 of )o
(b) the normal middle level
support is to be used, as
shown by the use of the back
to normal signs; (c) is the
•

equivalent of with the

(b) but
534b
exact sign placed within a
vertical bow.

534a X X

EQUAL
The equal sign has certain obvious uses:

Indication of . Identification oi

an object 4 - sword a focal point • = M

When used below or at the

side of the staff, the equal f
sign shows that one person per- >
forms the same movement as
another. Fig. 535 (a) shows
ir
>
= A
at the start of a score that A
and B are to be alike. Fig. (b)
shows B joining A on the third
|
measure, and states that B is
i j_ J
A=B s \
now to do the same as A. This
statement facilitates reading. 53 5a b i ?

SYMMETRICAL
There are two possibilities in the use of symmetry: lateral
symmetry and sagittal symmetry.

Lateral Symmetry
In lateral symmetry right becomes left in the use of the sides
of the body, in direction, and also in turning.

OR means
Nd-tiH
i
358 Repeat and Analogy Signs

A symmetry is used under the

sign for lateral
staff to show one person constantly moving sym-
metrically to another. In Fig. 536 B is to produce
movement laterally symmetrical to A's; (i.e. "the
same to the other side"). The sign can be drawn
with the dots above or below; in this context above
I
is preferable.** Note the use here of a comma.
h
536 A,B =
Sagittal Symmetry
In sagittal symmetry the pattern balances in respect of the for-
ward and backward directions. The same side of the body is used,
and the sideward directions remain the same, but the direction of
turning is reversed.

or means
h-P HHH
Figs. 537 (a) and (b) show a move-
ment sequence illustrating the change
that takes place as a result of the use
symmetry.

4
of sagittal

537a

The sign for sagittal symmetry can be

used below the staff to indicate that one
person constantly moves in this form of
symmetry to another. In (c) B performs
steps that are sagittally symmetrical to
moves backward where A
A's, that is, he
moves forward and vice versa. The sign
is drawn with the dots facing the indica- 537c
tion of the person.

Fig. 537 (d) shows the sign used within

It;;
the staff as a repeat sign to mean that the
preceding measure should be reversed in
respect to sagittal symmetry. Such usage
is practical in writing exercises.

537d Is
See Appendix B, note 25. ** See Appendix A, note 13.
Chapter 21 Repeat and Analogy Signs 359

4lil
In (e) the sign is used outside the
staff attached to the extended horizontal
line. Note that the dots face in, toward
one another. Here the movement pattern
is repeated four times alternating for-
ward and backward.
537e ILL1.

OPPOSITION *
The combination of lateral and sagittal symmetry, called "op-
position, " ismost commonly met in ballroom dancing. In this
form right and left are exchanged, as are forward and backward.
The opposite side of the body is used, but the turning direction re-
mains the same, as the result of a double change in turning direc-
tion - once for lateral and once for sagittal symmetry. The sign
for opposition is a combination of the other two signs.

* means
HH
The opposition sign can be placed below the
staff toshow that one person constantly moves
in opposition to another. Here the woman (W)
performs "the ballroom of" the man (M).
538a M,W*
The use of opposition as a V7\
repeat sign should only be for
rough notes, as this form is
not easily interpreted.
sign is used in the
The
same way
% (
9-
as the symmetry signs, both •#.

within or outside the staff.

538b

* See Appendix B, note 24.

CHAPTER 22

Scoring

DRAFTING THE DANCE SCORE

A sequence of written movement is referred to as a dance score
when it is a dance composition, that is, a piece of choreography,

comparable to the score of a musical composition. The term

"kinetogram" is used for any written sequence. This may be an
isolated movement pattern, an exercise, or a complete movement
sequence. In a full dance score the action and the musical accom-
paniment, if any, must be related.

COORDINATION WITH THE MUSIC SCORE

As a rule has been found more practical to have in one book
it

the dance score which is to be used in rehearsal by the ballet mas-

ter and dancers, while the accompanying music is in a separate
book for the pianist. Because in Labanotation timing of each step
and its composite parts is indicated by the relative lengths of the
movement symbols, music notation is not needed to indicate the
timing or rhythm of individual actions. Thus a dance score can
exist independently from a music score. In special cases it is de-
sirable to place an outline of the accompanying music alongside
the dance score, but as a rule the existing music score is used for
rehearsals, coordination between dance and music being achieved
through numbered measures.

By numbering the measures of the music score so that they

tally with thedance score, dancers and musicians can readily co-
ordinate at any given moment. The number of a desired measure
need only be called out to locate at once the place in the score.
Chapter 22 Scoring 361

Music measures are numbered above the treble stave, under it,
or below the bass stave, according to where there is most room.
Once placement has been established, it should be followed consis-
tently. Fig. 539 (a) shows place-
ment below the treble stave.
When sections in the music are
repeated, a second set of numbers i
written in parentheses appears 1(9) 2(10)
after the first. In the illustration
here measure 1 becomes measure m
9 on the repeat; measure 2 be-
comes measure 10 and so on. 539a

Measure numbers for a dance score

are written on the left of the staff outside
any stage direction signs, as in Fig. 539
(b). Any section numbers or letters in
the musical score which may be referred
n
to by the musicians should also appear on
the dance score. These indications are
usually boxed or encircled letters or num-
bers. This example shows a number 1.

Each new section or complete dance CD ite 4

\
begins with new numbering, starting
again from 1. An upbeat measure is •

numbered (zero).
539b A
Indication of Musical Cuts in the Dance Score
Not all the music in a printed score
may be used for a dance; to facilitate
coordination between dance and music
scores it is important that note be w
made of which edition of the music is
CUT
being used and of the measures which meas.
have been cut. It has been found prac- 33-64
tical to number the music measures
throughout disregarding cuts; the num-
bers are there for future reference
should the cuts be restored. Note of a
cut must be made in the dance score,
31 EE
as in Fig. 540, either (a) or (b). 540a
362 Scoring

SCORING FOR SEVERAL PERFORMERS

A dance score is comparable to a music score in that all parts
are joined together by a line at the start of each page. A separate
staff is needed for each individual dancer; only one staff is needed
for a group moving in unison. In the illustrations below holes for
a ring binder are shown on the inside margin of each page.

>7 2P

it

iS IS

AQC
541a
Each dancer is given Unison movement allows
a separate staff. condensation of the score,

SCORING OF ENTRANCES AND EXITS

An entrance is usually shown on the
1

score by attaching the appropriate stage 1

area sign to a horizontal line extended to u

1

the left of the staff. This is understood I

to be the moment when the performer 1

enters. The horizontal line extends to 1

i

the right to show an exit and has attach-

1

n
i

ed to it the appropriate stage area sign. 1

1

In Fig. 542 A is shown to enter from 1 1

o A B
the downstage left wing, while B shortly
after exits into the upstage right wing. 542

Complete information on scoring, layout of staves, handling of

musical introduction, etc. will be given in Book II.

FLOOR PLANS
In recording dances for a group important to be able to see at
it is
a glance the dancers' positions on stage and how one formation
changes into another. These floor plans or stage plans are also
useful for a solo figure. Examples of the use of floor plans were
 . .

Chapter 22 Scoring 363

given in Chapter 12, pages 181 and 182. In the dance score the
floor plans are written from the dancer's point of view. (Direc-
tor's plans are given on pages 378 and 379.)

PLACEMENT OF THE FLOOR PLANS

In the movement score floor plans should be placed as close as
possible to the notation to which they refer. Practical use should
be made of available space

o
Under the Score Line
When all the staves on a page
are in use floor plans are placed
at the bottom, side by side if
there is more than one, in two 3?
rows if there are many. ]5 E 1

543a o 1

At the Side of the Score Line

When an empty staff leaves

space at the side of a page floor
plans are placed there, thus al-
lowing room for an extra mea-
sure of dance. Such placement
makes it possible to relate a
plan directly to the movement
itdescribes When a plan shows
.

the floor pattern for several

measures, the appropriate mea-
sure numbers are placed adja- 543b
cent to it

Within the Score Line

general interruption of the score

In
line is avoided, but at theend of a sec-
tion of the dance it may be broken to
leave room for a floor plan. This has
the advantage of focusing attention on
the arrangement of the dancers on
stage at an exact point in the score.

543c
 .

364 Scoring

FLOOR PLANS FOR FOLK DANCES

In many dances the action is set in relation to
folk or country
the "top" of the room, where
the musicians are seated. As there
is no proscenium and no sense of having an audience it is custom-
ary in drawing floor plans of such dances for the notator to use a
square or rectangle in which the top of the room is placed toward
the top of the page
If- H
Floor plan Floor plan II- -1
for square for a long- Ih H
dances ways set H H
*- H
II- H
544a b

COORDINATION OF FLOOR PLANS WITH MUSIC SCORE

To coordinate floor plans with the music score, the notator
places the appropriate music measure number at the left of or be-
low the floor plan. Fig. 545 (a) shows measure 6 to 8.

6-8
13 6-8 Meas. 9, ct. 1,2.
545 b c

Fig. 545 (b) shows Section D, measures 6-8; (c) states the
counts as well, using the abbreviations "ct." for count and "meas.'
for measure. ("Bar" may also be used.) Counts may also be indi-
cated by enlarging the measure number and making the count num
ber small, e.g. 9 1,2 or 9 12 .

Indication of Sequence of Action

Several paths can be written on one 1*

A
floor plan even though they are not per-
formed simultaneously. The sequence
-
3*
of action is indicated by labeling the E>o-
paths 1st, 2nd, 3rd. The exact spac-
ing musically between the actions will
Co ar* s
be given in the movement score. 546
 .

Chapter 22 Scoring 365

INDICATION OF THE PERFORMER

Pins or wedges are used to indicate individual performers on a
stage plan.

Starting Position Pins

Two standard sets of pins indicate starting positions: straight

pins (tacks) and round pins.

Girl
Ill Boy Person
1
Girl Boy
1 I
Person

The sign for a "person" may be used to indicate either male or

female, when differentiation is not important.

The point of a pin or tack indicates the direction faced. The

dancer understood to be standing on the head of the pin or at the
is
point of the tack where the two lines meet Jj<. Placement of the pin
on a stage plan indicates where on stage the performer is located.

Finishing Position Wedges

In special cases when both starting and finishing positions must
be shown on the same plan, a wedge is used to indicate the latter.
The point of the wedge indicates where the performer is facing.

Girl A Boy k Person 4

547a
Start facing one another Start side by side, end
end side by side. facing one another.

Various Shaped Pins

Other kinds of pins may be used, such as A

a to identify, ,

people or objects. These should be identified in a glossary given

at the start of the score. A chosen set of pins must be used con-
sistently throughout the score
 ..

366 Scoring

RELATIONSHIP OF THE PERFORMERS

Juxtaposition of pins representing the performers illustrates the
latter' s relationship. A few possibilities are given here.
548 1
J- or A or 1 or 6
b T ? 1 a i i

Side by side Back to back Side by side One in front

facing the (dos a dos) facing oppo- of the other
same way site directions

Distance between Performers

The space between pins can give some indication of the prox
imity of the performers

548
ill or 444
f
111 or AAA I
11 or a A A

Shoulder to A comfortable The width of one

shoulder space between person between

548
or or or
II 1 IH

Facing (vis a vis) Facing, close Facing, very

slightly apart together close

Size of Pins in Relation to Size of Floor Plan

Pins used on floor plans can give an indication of the size of the
stage area used in relation to the performer. Although stages vary
considerably in size, the impression can easily be given of a dan-
cer on a very large or a very small stage. Care should be taken
to indicate the right general relationship. Performance in a small
area calls for a smaller plan or a larger pin in relation to the size
of the stage area drawn

549a c/ \> </ \>

Two dancers on a large stage Three dancers on a small stage
 .

Chapter 22 Scoring 367

Pins should illustrate as correctly as possible the relationship

of the dancers to one another as well as to the stage area. Of the
two floor plans given below, the first is correctly drawn, the sec-
ond a poor copy which suggests a different arrangement

T
I- H
< V V
* v Y
Y V
* v
549c
1111 V 1 111
Original Poorly copied version

Comparing (c) and (d) above note the difference between: (1) the
slanting lines of four girls each, (2) the relationship of trio mem-
bers to one another, (3) the relationship of trios to stage left line,
and (4) the relationship of the line of boys at the back to the two
lines of girls. Choreography must be represented as faithfully as
possible; therefore care should be taken in copying scores.

USE OF ARROWS
Arrows are used on floor plans in an obvious way to indicate
movement. The arrow head should indicate the point on stage at
which the path finishes. Note that pin and movement arrow are
separated by a small space

550a •
Circling right to finish A straight path to finish in
center stage the right downstage corner

Continuity of Plans

For continuity it is important that one floor plan pick up spati-

ally where the previous one left off. A change in facing direction
may have occurred, but the position on stage should tally. Note
the following examples:
368 Scoring

TT

551
<\
33-36 37-40 41-44

Choice of Starting or Finishing Description

usage pins on a floor plan show where the dancers

In standard
start and arrows the path which is followed, as in Fig. 552 (a).
When occasionally statement of an ending position is more practi-
cal, the arrow begins where the dancer starts and ends at a pin
showing the destination of the path, as in (b).

Pins indi- Pins indi

cate start- cate des-
ing posi- tinations
tions .

552a

Suggestion of Step Direction

The direction of steps producing a path on stage may in most in

stances be indicated by the relationship between the pin and the
point at which the arrow starts. Note the following.

553a 1 b 6 > c

Forward To the right Backward Diagonally left

backward
When turning occurs on a path
these indications no longer hold
true, but they can give a good
firstimpression of the movement
they illustrate. In Fig. 553 (e)
the finishing position is shown on
the stage plan. A turn must oc-
553e
cur, but how, when, and to which
side can only be known from the A girl ends upstage right
movement description. facing that corner.
Chapter 22 Scoring 369

Entrance and Exit

To indicate an entrance a pin is placed offstage (outside the

stage area) in the appropriate wing, its facing direction signifying
that direction faced by the dancer when actually entering. To indi-
cate an exit the arrow must extend beyond the stage area outline
through the appropriate wing.

554a T
A boy enters from the upstage A girl exits into the first
left corner, facing upstage. downstage right wing.
Crossing Paths

When the paths of two dancers or

of two groups cross, a solid line is
drawn for the person passing in front
(i.e. who has the "right of way") and
a broken line for the person passing
behind. In Fig. 555 the boy passes
behind the girl.
555
Retracing Paths

When a performer retraces his steps

on a path, the arrow showing this return-
ing path is drawn slightly shorter and 11 «-

starts within the head of the first arrow.

In some cases a double-headed arrow is
OR
suitable. When many such paths occur If-* —>
one after the other, it is unnecessary to
draw each one, but it is a help to show
556
where the last one finishes.
Single or Multiple Paths

When possible a single arrow is used to signify progression of a

couple or a group. Arrows representing more than one person are
either double or wedge-shaped with a number inside the wedge Z°^ .

Fig. 557 (d) below could be written with the sign ^

instead of ^.
370 Scoring

1 1 1 111 11 1
557a
Only the girl The girl and one Same as (b)
moves forward. boy move.

When ~n arrow centered between

is
two perfo ners it understood to re-
is
fer to both, as in (b). In (d) the double
headed arrow signifies unison path.
111
557d
All three move.

Unison Movement for Ranks and Files

A number of individual pins representing dancers may be either

joined by a line or included in a bracket to indicate that a rank or
file moves as a unit.

Four girls in
\
a straight line /" OR
move forward
as a unit.
558a
v
GENERAL GROUP INDICATIONS
Two special cases require a method of indicating group shapes
or arrangements in a general way (without a pin for each perfor-
mer): (1) when a group has been established and remains static for
some time, and (2) when a detailed composition of a group may not
at first be known (as when the notator is making his first quick
notes). In both cases the following abbreviations may be used:

General Indication of Formation

Showing the general

shape of the group
559a

A solid group is shaded, a linear formation left empty. Figs.

559 (a) (b) are solid shapes; (c) is a linear triangular forma-
and
tion. The following are abbreviations of common formations:
Chapter 22 Scoring 371

560a
A rank facing A file facing stage A line facing A diagonal
the audience right (one behind downstage line facing
(side by side) the other) right front

560e
A circle A circle A circle facing A circle facing
facing in facing out stage right clockwise

Two pins are needed as in (g) to show that all

face the same way. If pins face different direc-
tions, as in (i), it means people are facing in
different directions; either exactness does not
matter or the detail has been shown elsewhere. 560i

In the previous examples the linear indication does not specify

whether the performers are men or women. This is indicated by
use of a white or black pin.

560j

A circle of girls
facing in
A
o
circle of boys
facing counter-
. O
People in an "open
circle" facing
clockwise clockwise

Indication of Number of Performers

A number placed in a circle indicates the number of performers,
A single person not facing in any particular direction can be shown
on a stage plan by O , • , or o .

© ©
561a c (• (

Twenty people in Twelve people Six people Sixteen people

a circular group ob-
in a linear in a file in a circle
formation long shape facing in
372 Scoring

General Indication of Group Action

The overall pattern of group shape and group movement on

stage can be shown.
(D
The general stage action indicated in
Fig. 562 shows a group of ten people
who enter upstage left and move across
to the upstage right corner, and a line
of three people who enter downstage
left and face the group in the corner. 562

Indication of Couples in Group Formations

A formation can be shown by the use of black and white pins to
consist of couples arranged with the boy on one side of the girl.

A file of 6 A rank of 8
people arran- people arranged
© >Z©
ged in couples, in couples, each
each boy be- girl on the boy's
hind a girl 563a left b

Sixteen people, Twelve people

in a square, in a circle,
arranged in facing in, each
couples, each girl on the
boy on the left boy's right
of his girl 563c

ENLARGEMENT OF FLOOR PLAN

A particular change in formation on
stage may need to be shown in detail.
It is not necessary to enlarge the en-
tire stage area, but just to show the
performers in question. The enlarge-
<&>
ment is usually a square, "lifted," so
to speak, from the stage plan. 564a meas. 6-8
The action which
should occur in the
upstage left corner
in Fig. 564 (a) is
enlarged for clarity
in (b) and (c). 564b meas. 6 c meas. 7-8
Chapter 22 Scoring 373

QUANTITY OF FLOOR PLANS

The number of floor plans needed depends on the frequency and
complexity of paths and changes in formations. When a dancer or
group stays virtually on the spot, or travels only slightly away and
returns, it is not necessary to draw new floor plans. When com-
plex interweavings occur it may be necessary to give a separate
plan for each performer, showing the path and the people between
whom he passes at each point. Although in group dances there
may be no change of formation for some time, it is helpful to have
the positions on stage reiterated frequently. There may be a need
in rehearsal to start reading in the middle of a score, and so all
devices which help the reader pick up the thread of the action quick-
ly are desirable. The reader must always be borne in mind in the
writing of any score.

IDENTIFICATION OF THE PERFORMER: PRE -STAFF SIGNS

Performers require identification, both for the score and for
floor plans. Letters of the alphabet are usually selected, and the
following usages have been found practical - though no hard and fast
rules are established, since each piece provides its own particular
needs. The identification chosen must be kept throughout the score.

Solos

In most cases a solo requires no special identification. The

title of thepiece usually establishes whether it is a solo for a man
or a girl. If need be, the appropriate pin can be placed under the
movement staff at the start as a pre -staff sign, enclosed in a cir-
cle to distinguish it from a movement indication pin. This encir-
cling is not needed in the floor plans.

Starting graph L=LJ Starting graph ==

for a girl
j for a bov
uu
565a (A) b (1)
Duets

For a simple duet, it is often enough to use the appropriate pin

as in Fig. 566 (a). One can also state B, G (boy, girl), as in (b),
or M, W (man, woman), or M, F (male, female). The lettering
may be in capitals or in lower case (m,w; m,f). The appropriate
letter is placed beneath each staff. On floor plans, when there is
only one couple, the pins suffice to identify the dancers.
374 Scoring

OR

*
566a <*> *
Partners, Couple Dances

Many group dances involve couples which need not be specifi-

cally identified. It is enough
to indicate the relation of the two dan-
cers and the number of couples involved. A circle surrounding
two pins signifies "a couple," and a stated number refers to the
number of couples, not to individuals.

567a (Ai) Ciii) <w> ©

A couple A trio Four trios

567d © # f <gg)
Each person Each man Each couple
A double circle means "each; thus each man, each woman, each
couple, etc. may be shown.
Established partners, that is, couples whose members are iden-
tified witheach other throughout a dance, may be represented by
particular choice of letters or numbers. In folk dances it is com-
mon for couples to be given numbers: first couple, second couple,
and so on. Thus identification can be: Ml, Wl, M2, W2, M3, W3,
etc. On floor plans only the number need be added to the pin.

568a AM Wi M2. W2.

Chapter 22 Scoring 375

When couples have a distinct identity, that is, play a particular

character in a ballet, such individuality may be shown in the choice
of letters. Each girl is given an identifying letter to which M is
added for her partner. On the stage plan only the letter need be
used; pins distinguish boy from girl as in Fig. 568 (b)

A - girl in red MA - her partner

B - girl in blue MB - her partner
C - girl in pink MC - her partner

-LJ_
A 6
568b
Large Group or Crowd

When a group consists of members without specific individual-

ity, it may suffice to name the group and to indicate the number

of people involved. It is not expected that at any point one parti-

cular performer will be singled out. Statement can be made as to
the number of men and women in the group.

A group called X A group called Y

with 6 people in it with 12 people in
it: 8 men and 4
women
569a © © ©<§>'
(i)®(i)©

Smaller Groups and Corps de Ballet

In some group situations the dancers work as a unit and have

no individual significance, but at certain points one may need to
keep track of each individual in the group. For such situations it
is practical to give a letter to the group and to number the dan-
cers in it. Generally the group letter need be stated only once
on each floor plan, but if the group breaks up the individual mem-
bers may be identified by letter and number.

Group A: Al - Mary
A2 - Ruth a Ai
A3 - Jean
a a Ai D
Group B: Bl - Penny
B2 - Helen a A3
B3 - Barbara 570a
376 Scoring

When the dancers are in their

own group, identification can be a Ai
kept simple, as in Fig. 570 (a) A o
i A
or (b). Should the dancers mix,
each individual will require full A A
identification as in (c). 570b

In certain ballets the corps keeps

its position on stage for the greater 81
T
part of the time . The stage
group left
B2.9
usually balances the stage right group Al.o

and those dancers who are in the front Gsf

f\Xi>
remain in front or return to the front A3 6
after an all-over change of formation.
Groups on stage left may be given low-
er letters, while those on stage right
are given higher letters. In (d) each S v «

dancer in group G has a counterpart >

in Group H.

When groups stay for the greater

d ••V
part of a dance on one side of the stage
or the other, the lettering can reflect
this by being L for stage and R for
left ii Ai
stage right. Members
such groups
would then be LI, L2, L3, etc. and
of
U A*
Rl, R2, R3, etc. as in (e). S A A,
e
R
Large Corps de Ballet and Ensembles

Use odd and even numbers is helpful to identify individuals in

of
large groups which move in an orderly and symmetrical way.
Some large ballets and ensembles, such as the Rockettes at Radio
City Music Hall, use formations which require this means of iden-
tification. Stage left dancers are given odd numbers and their
counterparts on stage right even numbers. Dancers in front are
given low numbers and those in the back higher numbers. When
groups mix together and later separate, it is then easy to see
where individuals belong. In this type of ballet the actual steps
are usually simple, the dancer's problem being to find where she
belongs and where she must go at each change in formation. Such
a system of numbering helps her keep track of her place.
 apter 22 Scoring 377

1 JL
5 V
4^
3 1 ±4
J 1 1 6 11 IX 11

7 1 J. 8
5 6 TT
9 1 1 10
A
la ii 1 1 12 b ^
A two -line formation C ouples form a circle,
facing clockwise
Dance Dramas
Individual letters should be given in a dramatic dance work in
which each dancer has an individual character to portray. These
letters may be based on the characters, e.g. H - hermit, Y -
youth, M - mother, but as this is not always satisfactory, it may
be found better to start at the beginning of the alphabet. The de-
vice of giving lower letters to girls and higher letters to boys aids
quick identification.

A - the young girl If there are more than 26 characters

B - her mother in the dance, may be
single letters
J
- her father used for girls and double letters for
K - her suitor (etc.) boys.

y -y,

E£
572a

PLACEMENT OF IDENTIFICATION BY THE STAGE PINS

In an identification of performers on a stage plan, it is impor-

tant that letters be easy to read and also that their presence on the
plan does not destroy the visual impact of group formations. Let-
ters should be placed upright and near the base of the pin.

Letters are Letters are too

well propor- HI K large and should Hl^
tioned and not be placed
HI T
correctly sideways or
placed. 573a upside down. b
378 Scoring

Dramatis Personae

At the start of a dance score the list of characters (dramatis

personae) should be given. This list provides the identifying letter
used for each character portrayed. For library purposes the list
can state who performed the roles in the original production or at
the time the work was notated.

A - young girl (Margot Fonteyn)

B - her lover (Rudolf Nureyev)

Current Cast List

At the time a score is being used for a particular group or com-

pany, the list of those dancers presently performing the roles can
be inserted. A practical method of doing so is to attach the list to
the back cover so that it can be
folded inside the score when
not in use, and folded out to be
in sight no matter which page
is being turned. The list may
be updated if changes occur.
574

STAGE DIRECTOR'S PLANS

Heretofore we have discussed and illustrated stage plans, writ-
ten from the performer's point of view, which appear throughout a
score next to the movement notation they illustrate A complete
.

set of plans drawn from the point of view of the audience, however,
is most valuable to a director, who must visualize the staging of
an entire work. In the director's plans the rectangle representing
the stage is drawn upside down.

St.L St.R St.R St.L

575a

In the performer's score In the director's score

Group arrangements on a director's plans are the same as in

the full score, but upside down, as illustrated below.
 . .

Chapter 22 Scoring 379

± ±

&
575c v,
J\
x
a d
C
T T
D

Floor plan as it appears in Floor plan as drawn in the

the dance score director's set of plans

The director's plans are usually I 1 I 1

placed in the back of a dance score,

i. z.
attached so that they can be removed
and used separately when needed.
O
The standard sequence in which
3. +.
these plans are arranged is the ordin-
ary reading direction, starting at the
top and reading from left to right
575e

REPEAT SIGNS FOR SCORING

The repeat signs given on pages 346-349 can be freely used in the
process of notating a work, but in a finished manuscript care
should be taken to use only indications which can be followed easi-
ly. As a rule reference should be made only to material on the
same page as the repeat signs

REFERENCE TO ANOTHER PERFORMER

In the repeat signs '/. and 'S. the upper dot can be replaced by
a letter to refer to a specific person.

Perform the same Perform the opposite side /\

as A is doing now: of what A is doing now: y.

In the following examples B performs the same as A, while C
performs the "other side" (the laterally symmetrical version) of
what A is doing. It is presumed that B is only temporarily the
same as A; therefore the two staves are not combined for such a
short time. Repeats can be centered in each measure, as in Fig.
576 (a), or one large sign can be centered on the staff to cover a
whole page, as in (b).
380 Scoring

576a

Fig. (b) is preferable to (a).

For shorthand notes reference can be made to another perfor-

mer and to another measure; in the final score such indications
usually should be written out for the reader's benefit.

Do the same as Do the "other side'

A did in meas. 4 % of B in meas. 9

REPEAT SIGNS WITHIN FLOOR PLANS

For simplicity both in reading and
in writing, repeat signs may be used
within the floor plan, particularly @C\$
where identical actions occur. There
may be four groups on the stage, as
which
illustrated in Fig. 577, each of
performs the same change in forma-
tion. Pins and arrows are shown for
one group; repeat signs indicate that
all groups are to do the same. It is 511
presumed that the other groups have
been described in recent plans so that All four groups
no doubt exists as to their identity. are alike

RELATIONSHIP INDICATIONS IN THE SCORE

While floor plans indicate relationships of the dancers and are cor-
related to the movement score, it is advantageous to pinpoint within
the movement score the exact moment at which a relationship oc-
curs or changes. For such indications either a meeting line is
used or stage plan pins are inserted within the movement score.
 . .

Chapter 22 Scoring 381

THE MEETING LINE

The meeting line is a stroke placed on the right side of the staff
to indicate that a specific performer meets or passes another per-
son at that moment. The angle of the meeting line and placement
of an indication for the other person is read from the point of view
of the performer beside whose staff the symbol is placed. Identi-
fication of the other person may range from a general statement
signifying "someone" to indication of a specific individual.

578a CO) or €)
b @ c @k d 4)
Each has a person A person is A girl is in A man is
in front, i.e. face behind you front of you behind you
each other.

578e / g yJ h "*T
A is diagon- J is diagon- Y is above Z is below
ally left in ally right in you. and behind
front of you front of you you.

The addition of a pin to the most suitable meeting line is needed

to show a vertical relationship or any three-dimensional situation.

The meeting line may signify either the moment of passing (to
show the relation of two dancers at that point) or the aim of a path
(establishment of a certain position in relation to another perfor-
mer at the destination).

J f
3 ( :b 9 ::

t i i

-A 10
X- L
i <r I - .

3 {
i
k. A
4
w S
\ y <>
r
ft A JS Q 13 A Ef B
578i J

B passes on the right side The aim of A's path is to

of A; A passes in front of B. end with B in front of her
382 Scoring

FLOOR PLAN PINS WRITTEN IN THE SCORE

Straight back pins (tacks) used for stage plans can also be
placed alongside the movement score to facilitate reading sequences
in which there is partnering.

In Fig. 579 (a) A and B start

back back. B turns toward
to
A who walks around and takes
an arabesque placing her left
hand on his right shoulder and
her right hand on his right
wrist. A and B then face each
other and B lifts A (carries
with grasping, hands on waist).
Placement of stage pins within
the score makes it easier to
relate movement instructions
directly to stage placement.
These extracted from
pins,
the floor plan, are easy to
read when performers face any
forward or sideward direction,
but become more difficult to
read when they face backward
on stage. In such cases the
meeting line may prove more
practical. In the following ex-
amples first the relationship
of the dancers one to another 579a
is shown, then two possible placements of this relationship on stage

could
or 6
be:
Bl

13 a g
579b

The diagonal relationship of A and B is the same whether they are

facing downstage or upstage. Fig. (b) is the same regardless of
how this relationship is placed on stage; (c) is easy to read, where-
as (d) may not be so easy.
CHAPTER 23

Supporting on Various Parts of the Body

KNEELING, SITTING, LYING

In lowering the body to the ground, the performer usually follows
the sequence of passing through kneeling, sitting, and lying in the
forward or side direction. In the backward or diagonally backward
direction, the progression may omit kneeling. In rising the re-
verse process usually takes place. Many variations exist in trans-
itions from standing on the feet to supporting on the floor on other
parts of the body. Changes of support can occur while the body is
on the floor. Only the simplest and most commonly used will be
dealt with in this book; complex floor work and acrobatics will be
presented in Book II.

GENERAL STATEMENT
Motif Writing the broad statement of an action which results
In
in a support ismade more specific by indicating which part of the
body takes the weight. (See page 338 for the support sign N \.) —
+

580a
An action which An action which re- An action which re-
results in a sults in a support sults in a support
support on the right hip on the whole torso

SPECIFIC STATEMENT, ABBREVIATED DESCRIPTION

When the full staff is used a description of supporting on differ
ent parts of the body can still be kept simple, in a way compar-
384 Supporting on Various Parts of the Body

able to Motif Writing. Placement of signs for specific parts of the

body in the supportcolumns indicates that those parts are carry-
ing the body's weight. Direction symbols placed in the support
columns normally signify standing on the feet. Signs for the feet
are used to write a broad statement of weight on the feet without
specifying direction. A head sign in either right or left support
column indicates supporting on the head.

581a $ i b % \ c c d 1 h e J^

Supporting Supporting Supporting Supporting Supporting

on the feet on the hands on the head on the on the
shoulders elbows

KNEELING
For the weight to be placed on the knee the body must be lowered
until the knee touches the floor. Such lowering is understood in
brief statements and need not be written, but when timing or other
detail must be shown, lowering should be specifically indicated.

Weight is placed on
the right knee (bend
ing the left leg is
understood),
si
<>
The left leg bends
and weight is then
also placed on the
right knee.
E
582a

SPECIFIC DESCRIPTION OF KNEELING

Kneeling is comparable to standing in the use of direction and
levels, and in shifting the weight. The use of the lower leg to help
keep balance is comparable to use of the foot in standing.

Levels of Kneeling

A convention is used to indicate the three main levels of kneel-

ing comparable to the three main levels established for standing
on the feet.

583a

A high kneel
*
/

J b

A middle kneel
** sii
A
i
low kneel
Chapter 23 Supporting on Various Parts of the Body 385

In a high kneel the body is as high as possible on that support,

the hips being directly over the knees. The thigh is vertical and
the weight is on the knee itself with the lower leg resting on the
floor. In a low kneel the body is as low as it can be on the knees,
which are totally bent; weight is centered over the ankles, hips
resting on heels. In a progression from a high to a low kneel the
weight is first centered over the knees, then over the lower leg,
and finally over the ankles. Middle level is the point between a
high and a low kneel Although the weight is no longer on the knee
.

itself in a low or middle level kneel, because of common usage the

position is written as a kneel and not as a support on the lower leg.

Direction of Kneeling

Direction of kneeling and walking on the knees is comparable to

that for stepping. Place is beneath the center of weight and direc-
tions are judged from center or from the previous knee support.
The ground in the pro-
foot of the kneeling leg usually contacts the
cess of kneeling as a help in lowering the weight, but as a rule this
contact is not written. The direction of the kneel is judged by
where the knee and not the rest of the leg is placed.

584a

The right knee supports in

I
The right knee "steps" backward
place next to the left foot. from the previous support.
A low forward step often leads into a kneel. In an ordinary
sized step the knee will support approximately next to the other
foot. A long step must be taken to produce an open forward-back-
ward (fourth position) kneel.

i I
KlO
or [fl

584c
Kneeling after an Kneeling at the end of a long
ordinary step step (fourth position kneel)
Supporting on Various Parts of the Body

Fig. (e) states the motion (direction and level) of lowering into
a kneel. From the starting position the left foot takes a long step
forward (three degrees) while at the same time the body lowers to
a forward support on the right knee. Each support is judged from
the starting point where the feet were together.
When all the weight is on the knee
_o

K
o
in a starting position, the notation
may be as in Fig. 584 (f)

which uses the attached symbol. Par-

tial weight is discussed on page 448.
or as in (g),
ED 584f
In performing the position of (f)
people often have the impression
that foot and knee share the
weight equally. Fig. (h) shows
the weight equally divided.

Placement of the Lower Leg

*JuL m I
The lower leg rests on the ground to help maintain balance in
kneeling. Any definite placement of the lower leg must be written.
This may be a lift off the ground as in Fig. 585 (b) below, or a
placement on the floor resulting from thigh rotation, as in (c).

o
585 it
a i*El
Ordinary kneel Lower legs lifted Lower legs apart

The standing position prior to a kneel may dictate placement

of the lower legs The following examples show movement into a
.

kneeling position, and the destination stated as a position.

VA
I1
Written as a position Written as a position
585d f

For Fig. 585 (d) start with the feet together, kneel forward into
a second position kneel (direction is judged from place). Fig. (e)
shows the result of this action written as a starting position.
Chapter 23 Supporting on Various Parts of the Body 387

Use of the Ball of the Foot

When the lower leg rests on the ground, the question arises as
to whether the ankle and foot are extended with the instep touching
the ground, or whether the ball of the foot is on the ground with
the ankle flexed. When nothing is stated, the choice is left open to
the performer. The movement context may suggest one or the
other usage. If this detail is important it must be written. For
an extended foot the ankle may be shown to be stretched, or the
top of the foot to contact the ground. The sign [°| placed in a leg
column refers to the foot. The white circle in the sign indicates
the top of the foot, the upper side. Contact with the floor is indi-
cated by using the neutral contact hook *
^ .

The toes are Instep touching the

tucked under in floor. This could
preparation for be written as ankle
taking weight extended:
^
586a

WALKING ON THE KNEES

Walking on the knees is comparable to walking on the feet with
respect to direction of steps, shift of weight, etc. The knee pre-
sign must be used to show that each direction symbol in the sup-
port column refers to the knees. Once the pre -sign has been
stated, however, a caret < or > may be employed to indicate
reference to the part of the body previously stated.

>

td
587a
Fig. 587 (b) is the same as (a) but written with carets instead of
repeated knee pre-signs. Fig. (c) shows low steps on the knees.

See Appendix B, note 26.

388 Supporting on Various Parts of the Body

Size of Steps on the Knees

An ordinary step on the knee is the size that is naturally com-

fortable for the performer. This size is automatically reduced as
the kneeling level is lowered; only relatively small steps can be
taken in low level. Reduction in size is understood and generally
need not be indicated. With effort
larger knee steps can be taken.
Pre -signs for length are used as
with ordinary steps. When dis-
tance covered is important the
number of ordinary walking step
lengths traveled can be indicated
in a path sign placed alongside
the notation. (See page 449.)
588a I
Short steps Long steps
it

Change of Level on the Knees

Change of level on the knees can occur in place or during trans-
ference of weight. Observe that though there is a backward dis-
placement of the center of gravity in sinking to a low from a high
kneel, the description is still one of lowering in place.

From standing, Step into a high

lower to the 4th position on >]

knees. Follow the knees, then

< >
thisby sinking sink, closing the
and rising on knees together.
[< >
the knees. (Note use of a

589a
I staple for pos-
ition writing.)

*T*

Combination of Support on Knee and Foot

A direction symbol in the support t

column without any pre -sign or caret
1
always means supporting on the foot.
The transition from supporting on ) \
the foot to supporting on the knee
may alternate sides, as in Fig. 590
(a), or the weight may be taken onto

the knee of the same leg, as in (b)

1 \
which shows a knee crawl. 590a b
Chapter 23 Supporting on Various Parts of the Body 389

When weight is placed at the same time on one knee and the
other foot, the level of the kneel automatically modifies the level
of the foot support. Therefore the exact level of the foot support
need not be stated.

m 1
590c
A high support on the knee A low kneel dictates that the
automatically dictates the low support on the left leg
level of the right support. will be extremely bent.

The sideward step on the

left foot automatically ad-
justs the level of the right
leg to ordinary low level.
7A
VA
590e
L
Transition from Kneeling to Standing

Because a direction symbol in the sup-

LB
port column without any pre -sign means
* *
supporting on the foot at the stated ordin-
591a
ary step level, Fig. 591 (a) shows an or-
dinary forward low step and (b) an ordin-
ary forward middle level step following
a high kneel. Fig. (c) shows the transition
from low to middle level which will occur
in (b) but which generally need not be writ-
ten. Fig. (d) shows standing up in place
after kneeling. In (e) a high step follows E
a low kneel. The unstated but understood
591c
transition is: rising to a high kneel, place
the right foot forward to take the weight,
and rise while the weight is being trans-
ferred. In such a simple description no
part of this transition is important or in
any way to be stressed. In this example
it happens too quickly for the performer

to be concerned with details.

I
591e
390 Supporting on Various Parts of the Body

SITTING
Sitting, i.e. supporting on the hip bones (the tuberosities of the
ischia), is written by placing the hip sign in the support column,
When the weight is on one hip, the other is slightly off the floor,

Sitting on Sitting on Sitting on

both hips right hip left hip
++ + +
592a b
The general sign for hip + has two interpretations: (1) for
touching - the break at the top of the leg, and (2) for supporting -
that part of the lower pelvis which normally takes the weight in a
sitting position, either on both hips or on one hip. Specific signs
for parts of the single hip area are seldom needed; they will be
presented in Book II.

SPECIFIC DESCRIPTION OF SITTING

Levels of Sitting

The level of sitting is determined by the previous point of sup-

port. If the performer starts standing on the floor, a middle level
sit will be on the floor; a high level sit will be on an object above
floor level. Sitting on the floor in low level can occur only when
the floor slants downward.

¥ ¥ T ++

593a

A high level sit: A middle level sit: A low level sit:

above the previous horizontal with the below the previous
point of support previous point of point of support
support

Legs Resting on the Floor

When sitting on the floor, though the hips are

supporting, it is understood that the legs will
TTI
normally be resting on the floor. All such leg
gestures are in middle level. It is not possible
594 J-H+L
to perform low gestures unless one is sitting a-
bove floor level, as on a table, etc.
 |
Chapter 23 Supporting on Various Parts of the Body 391

Legs just off the Floor

The legs may be lifted slightly from the floor, either in a start -
ing position, or as a release from touching.

Starting posi- Releasing the legs

J I L
tion with the J from the floor af- b i
•
^> or
legs just above
the floor
* ter an understood
contact
TT
595a j±i±_

In Fig. 595 (a) the pin for above i modifies the main direction
symbol. (See Chapter 26 for the use of pins and deviations.)

Specific Contact of the Legs with the Floor

A definite sliding action may occur

changing positions of the
in
legs resting on the floor. Where they are
applicable hooks for the
various parts of the foot are used to indicate touching or sliding on
the floor. When contact is of the whole leg or of an unspecified
part, the neutral contact indication ^ is used.*

J L
r 1

596a
I
J

+
1
L

.
U—
i
+ 1+
\<

*<
J

+ +
>

No specific perfor Sliding the legs As the legs bend, slide

mance is stated; is indicated. the whole foot on the
sliding may occur floor; when they stretch,
slide whole foot to heel,

Distance of Sitting^

A support on the hips may be either close to or far away from a

previous support on the feet. For practical purposes the length of
the leg has been taken as the measurement of distance, providing
a six-degree scale identical with that for contraction of the legs.
When no distance is indicated the hips support at the full length of
the legs. The shorter the distance, the more the legs will be bent.
The following examples show no details of transition from standing
to sitting, but only a broad statement of the result to be achieved.

* See Appendix B, note 26, See Appendix B, note 27

 .

392 Supporting on Various Parts of the Body

(
i
m ?
+
f
++ +
it
1- t +
^

597a c d

Description of Starting Position

The starting position for sitting may be described in two ways.

Fig. 598 (a) shows weight on the hip with direction and degree of
contraction for the legs; (b) shows direction and distance of sitting
from an unwritten but understood standing position. The latter
method will produce the desired direction and degree of contraction
for the legs. If leg rotation is important it should be added.

OR

598a
\
I* l+*1

Sitting with the legs

fl
Sitting to the right a
Jj
Result with
very bent to the side 4th degree distance parallel legs

WAYS OF SITTING DOWN ON THE FLOOR

The following examples show some typical transitions from
standing to sitting. Specific details are not given. When sitting
follows a support on the knee the distance of the support on the hips
will automatically be the length of the thigh; no space measurement
need be added.

End sit-
End sit- End sit-

I
ting be-
ting on ting on
tween
both hips, left hip,
feet,
legs bent legs
legs
crossed
crossed.
599a
Chapter 23 Supporting on Various Parts of the Body 393

X. 1 *

599d

End sitting with End sitting between End on right hip and
both legs forward legs, knees on floor, hand, leaning to right.

LYING, SUPPORTING ON THE WHOLE TORSO

For starting positions the most direct description of lying is to
write the whole torso sign indicating with a pin which side is taking
the weight. The signs for the main whole torso surfaces are:

Front Back Right Left

side side

Symbols for lying prone or supine may be placed in either the

right or left support column; to indicate lying on the side, however,
the symbol should be placed in the appropriate column so that the
center line will not obstruct the pin.

I 1-
600a ?

Lying on the Lying on the Lying on the Lying on the

front,prone* back, supine" right side left side

SPECIFIC DESCRIPTION OF LYING

Placement of the Limbs

When no indication is given for placement of arms and legs, a

simple or comfortable position may be assumed.

All gestures of the arms and legs can only be in middle or high
level while lying on the floor. The examples below show possible
placement of the limbs for the main starting positions.
* See Appendix B, note 28.
394 Supporting on Various Parts of the Body

dulUIJP JIMJI
4-
J
«
601a

In Figs. 601 (a) and (b) arms and

legs are in their normal anatom-
ical position with the legs extended and the arms by the side of the
body. In (c) the right arm is out to the side, resting on the floor,
the left arm is along the body. In (d) the limbs are drawn in. For
analysis of direction and level for the limbs while lying on the
floor see pages 418 to 420.

Level of Lying

When performer is lying on the floor the level of support is

the
middle. High level lying occurs if the floor slopes upward, i.e. if
the new point is higher than the previous support, low level if
downward, i.e. lower than the previous support.

t 1
J J
602a + +

Lying back on an up- Lying backward on a

hill slope (higher downhill slope (lower
than level of hips) than level of hips)

WAYS OF LYING DOWN

603a
Lying supine Lying supine be Lying on right side
after sitting tween the legs after dropping on to
backward after kneeling right knee and hip
Chapter 23 Supporting on Various Parts of the Body 395

CANCELLATIONS
SPECIFIC RULES FOR SITTING AND LYING
As soon as supports occur on parts of the body other than feet
and knees, the following departures from the previously establish-
ed rules take effect:

1. A space in the support column no longer means absence of sup-

port. Springing into the air, jumping up from sitting or lying is
a specialized action which must be specifically written.

2. Limbs at floor level are understood to rest on the floor unless

written as being above floor level.

3. The addition of a new support such as a hand does not automati-

cally mean that all the weight is taken on that part of the body;
it will be an addition to the existing supports.

4. From the context of the movement or from release signs it can

be seen when certain supports are released. For example,
when a dancer is sitting and supporting on one hand a subsequent
upward gesture for the appropriate arm will automatically re-
lease weight from that hand. Details on mixed supports, walk-
ing on all fours, acrobatics, etc. will be given in Book II.

UNDERSTOOD CHANGE FOR CENTER OF GRAVITY

changes of level while supporting on the feet or on the knees
In
there is in fact a change in the situation of the center of gravity.
This change is understood even though it is not specifically stated
with a center of gravity indication. Similarly, when a dancer
lowers through kneeling or sitting to lying or rises through sitting
or kneeling to standing, there is an unwritten but understood change
in the center of gravity (see Chapter 24).

Note the following rule:

Changes in level of the center of gravity which are indicated by

change of supports can be cancelled by a subsequent change of sup-
port. An unqualified direction symbol in the support column is un-
derstood to mean an ordinary support on the foot in the stated level.

The following examples give only an outline of the action. The

process of shifting the weight to one knee and other necessary ad-
justments are not stated.
 -

396 Supporting on Various Parts of the Body

"E3
J
604a
Rising from the Rising from sitting Rising from lying by
knees by step- by stepping onto stepping forward
ping forward the right foot on the left foot

CANCELLATION OF LYING
Raising any part of the torso from a lying position will release
weight from that part. Note the following examples:

605a 1 \
By being moved back- The whole torso Shifting the pelvis
ward high, the chest lifts backward high, upward places the
no longer is weight leaving the weight weight on the shoul
bearing. on the hips. ders and feet.

CANCELLATION FOR MIXED SUPPORTS

Specific gestures for a limb which is supporting, for instance,
when on all fours, will automatically release weight from that limb.
When no specific direction is stated the release sign is used.

I
15 IS

606a
Gestures for left leg Because both legs As (a), but only a
and right arm release gesture the weight is slight lifting of
weight from left foot momentarily placed hand and foot shown
and right hand. on both hands. by release signs.
Chapter 23 Supporting on Various Parts of the Body 397

READING MATERIAL: KNEEL. SIT. LIE

Three Delsarte Falls from "Fundamental Training Exercises'

1970 by Ted Shawn

Spiral Fall Back Fall Forward Fall

Fig. 607 * See page 468 See page 478
CHAPTER 24

Equilibrium, Loss of Balance

THE CENTER OF GRAVITY

The center of gravity, or center of weight, is that point in the body
from which or on which the body can be suspended or poised in equi
librium. For the purposes at hand the terms "center of gravity"
and "center of weight" are interchangeable. The center of gravity
has no fixed location in the body, its exact position depending on
the build of the individual and on the position taken. When the
arms are raised the center of gravity rises; when the trunk bends
it lowers. At certain moments it can even lie outside the body it-
self, as will be explained in Book II. For general purposes, how-
ever, in a normal erect standing position the center of gravity is
understood to be located in the upper sacral region, or, in broader
terms, in the upper area of the pelvic girdle.

THE LINE OF GRAVITY

The line of gravity is an imaginary vertical line
passing through the center of gravity. No matter
what the position or angle of the body, the line of
gravity remains vertical. The center of gravity is
directly above the feet in a normal standing position.
As seen in profile, the line of gravity passes through
the ear and hip and just in front of the ankle bone. 608

UNSPECIFIED CHANGES FOR THE CENTER OF GRAVITY

The following actions include a major change for the center of
gravity without such a statement being made:

1. Progressions of the body as a whole through transference of

 -

Chapter 24 Equilibrium, Loss of Balance

weight, e.g. walking, as in Fig. 609 (a).

2. Progressions across the floor through springing, traveling

leaps or jumps, etc. as in (b).

3. Changes in level of supports; rising and sinking as in (c).

4. Vertical rising into the air as in (d), where an extra high

spring is indicated by the path sign outside.

5. Supporting on different parts of the body, changes from stand-

ing to kneeling, sitting, etc. as in (e).

I I fl 7
/

'
1

A L
609a
Step Jump,
•1

Rise and low- Jump

m
Kneel
(transfer travel er to deep extra then
weight). ing. knee bend. high. sit.

SPECIFIED CHANGES FOR THE CENTER OF GRAVITY

Action of the center of gravity is specifically described for:

a) Shift in balance, variation in placement of weight over the sup-

porting surface

b) Loss of balance, falling

c) Special situations of the center of gravity in relation to the point

of support as are needed in acrobatics, gymnastics, etc.

METHOD OF WRITING CENTER OF GRAVITY

The symbol for the center of gravity is • *. (Note that this
sign is also used for a focal point when placed outside the staff or
when placed on the edge or corner of a turn sign to indicate turn-
ing to a focal point; see page 111.) Defined changes in the situation
of the center of gravity are indicated by the center of gravity sign
with a direction symbol or a position sign (pin). Indications for
center of gravity movements are usually placed in the left third
column. The right third column or either of the leg gesture col-
* See Appendix B, note 29,
400 Equilibrium, Loss of Balance

umns may be used when these are free. The indications may be
placed outside the staff when the usual columns are full.

GENERAL SITUATION OF THE CENTER OF GRAVITY

Direction and level for movements of the center of gravity are

judged from the point of support. This point of support may be a
chair, table, another person, etc., but is usually the floor. In
the normal upright position, the point of support (the feet on the
floor) is place middle: Q and the situation of the center of gravity
,

is place high: being directly above the point of support.

,

The Main Levels for the Center of Gravity

When the body is in balance the center of gravity is in place,

that is, on the line of gravity. The three main levels on this line
of gravity are:

610a ^1«-

Place High Place Middle Place Low

Above the point At the point of support Below the point
of support (or as close to it of support
as possible) (hanging)

Distance for the Center of Gravity in Standing

To provide a scale of measurement for general purposes of

movement notation (where scientific exactness is not necessary),
we adopt a convention of measuring distances in terms of body
lengths, these being easily observed.

The distance of the center of gravity in a normal standing posi-

tion is considered to be the length of the legs from the point of sup-
port. The center of gravity is lowered toward the point of support
by bending the legs. A scale of six degrees of lowering coincides
with the six degrees of contracting when the legs are in place.
Both scales indicate destination: the exact degree of contraction to
be reached or the degree of distance from the point of support.
 I
Chapter 24 Equilibrium, Loss of Balance 401

The Six-Degree Scale on the Vertical Line :

a b c d e f g

>>

> / ' / / / /
fi ' ' / / / /

° / ' £I
U J [2 /
u- u' Ui
£ L x x * * & L
ri • • • • • • »
0)
U

7 '"]
1
u __ 1 1 II
xHx A A ^Bi mm.
611
Deep Knee Bends
The emphasis of a movement
in which the knees bend and there-
by lower the body to the floor may
be on either the leg contraction or
the descent of the center of gra-
vity. This difference in emphasis
may be shown by the choice of
1
612a b 14
description. Even a slight lower-
Deep knee The same,
ing may be described as an action
bend with showing the
of the center of gravity. The fol-
feet paral- low support
lowing examples illustrate use of
lel (squat) as well
the center of gravity description.
See page 175 for knee bends written in terms of leg contractions.

612
(a) no change of level has been written in the support
In Fig.
column; understood that the usual way to lower the center of
it is

gravity while supporting on the feet is to bend the legs. The low

* See Appendix B, note 30.

 .

402 Equilibrium, Loss of Balance

support need not be indicated, but common practice includes it as

a reading aid, as illustrated in (b), (c), and (d).

<E

ez

<*

<*

2
I X
•
o

612c KILL1I/ i e
Full knee Deep knee Staccato Lowering,
bend (grand bend (grand lowering rising, in-
plie in plie) in 2nd and return creasing depth
ballet) position to normal each time

A return to normal for the center of gravity may be written

with the back to normal sign as in Fig. 612 (c), or, when the rising
is to be stressed, with the place high symbol as illustrated in (d),
(e), and (f). Fig. (d) illustrates correct level for the knee bend in
second position in classical ballet.

STABILITY, BALANCE, EQUILIBRIUM

As long as the line of gravity falls within the area of the base of
the support, the body does not fall. The line of gravity in support-
ing on the feet must within the area of the foot or, when the
fall
weight is on both, the area bounded by the two feet. In general the
larger the area, the greater the stability. Thus it can be seen that
standing with the feet apart is a more stable position than standing
on one foot on half toe

Shift of Weight

When nothing specific is written it is assumed that the body is

in balance. The precise centering of any shift of the line of gra-
vity over the area of the supporting base is indicated by middle
level pins (tacks). The whole range of these pins is applicable to
Chapter 24 Equilibrium, Loss of Balance 403

Center (in
shifting the center of gravity.
balance) shown by the center pin which
is
may be drawn =!= or HI—. A center of gra- H HI- H
vity shift is not to be confused with a pel-
vic shift in which the pelvis is displaced
T
from its normal position in the body. 613a

^ T T =

613b

The weight is The weight is shift- The weight is

centered. ed forward over the shifted backward
metatarsal joint. over the heels.

Certain actions require an automatic adjustment of weight in

order to maintain balance. Such adjustments need not be written;
only exceptions are indicated. A typical example is the tilting for-
ward of the whole torso. For the performer to maintain centered
balance the pelvis must travel slightly backward. It is possible to
keep the weight forward by muscular control. It is also possible
to shift the weight much farther back than is necessary, as illus-
trated in (g).

n j r

6l3e
r

o -r K-r
r

I
*

o
I
•

I
•

i-;Vo
• #

Normal placement Weight shifted Weight shifted

of weight forward backward
f

tT
Shifting the Shifting the
>
center of center of
<
gravity on gravity in a
a circular figure 8
path n pattern

6l3h
404 Equilibrium, Loss of Balance

For consecutive shifting movements as in Fig. (i) the vertical bow

helps to show phrasing (continuity of action). A passing state is
expressed by placing the pins within a similar round vertical bow,
as in Fig. 614 (c); at the end of this bow an automatic return to
normal is understood. (See deviations, page 443.)

Timing of Center of Gravity Shifts

Duration of a shift for the center of gravity may be shown by a

duration line following the pin (destination) or the pin within an in-
crease sign (motion). If the result of a shift is not to be kept, the
shift may be indicated within a vertical "passing state" bow.

rnt

i
• o L

614a

In each of the above the weight is taken forward while the leg is
raised. The forward shift of the center of gravity takes two counts.
In Fig. 614 (a) the center of gravity ends forward; in (b) it ends
forward of its previous situation and in (c) it has returned to nor-
mal at the conclusion of the passing state bow.

Retention of Center of Gravity Shift

The weight can be kept shifted in a specific direction during sub-

sequent steps, etc. This placement of weight may be important
for technical or expressive reasons. The hold sign o used as a re-
minder to retain placement of weight must later be cancelled by a
return to normal indication.

Ul
615a

The weight is The weight is The weight is kept

kept shifted kept shifted shifted to the right
forward. backward. until the feet close,
 .

Chapter 24 Equilibrium, Loss of Balance 405

Elimination of Natural Resilience

In a normal walk a natural resilience results in a slight up and

down movement of the center of gravity. This resilience is great-
er in running, and occurs during slight springs in middle level.
Such natural pliancy of the legs is not specifically written. When
it should not occur and the center of gravity should be kept at a

precise level, the hold sign o is used after the center of gravity
sign. The following examples indicate a walk and a run without any
rise and fall and a jump in which the legs leave the ground but the
body does not rise, as occurs in terre a terre steps in ballet. Fig.
616 (d) states that the level established when kneeling is to be re-
tained in the steps which follow; there will be no raising of the cen-
ter of gravity and no pliancy. If pliancy is to be permitted the ad
lib. sign ^ is placed next to the retention sign, as in (e).

rpi

616

b •
i & V.A
jE I e I
V.A
*l*

Walk Run Shoot the Walk in a Walk in a

smoothly smoothly legs out half crouch half crouch
witnout (no rise but do (no rise using
pliancy and fall). not rise. and fall). pliancy.

Spot Hold for Center of Gravity

When the center of gravity holds its situation during a direction-

al step, the sign for a retention on the spot <$> (spot hold) is used
to counteract the normal displacement in the direction of the step.

During fast side Center of gra-

to side steps,
< vity does not
the center of move with the
gravity remains step, it re-
on the same spot > mains where
(no right and was.
left shift). 617a o it

In Fig. 617 center of gravity does not move to the side on

(b) the
the step producing a momentary off-balance situation. The above
actions can only happen at a reasonably quick tempo.
406 Equilibrium, Loss of Balance

The center of gravity can remain cen-

tered, traveling on an undeviating path,
even though the steps zig-zag. Fig. (c)
illustrates a typical example. Normally
diagonal steps take the center of gravity
from side to side, but as the steps are '4
at a reasonable speed the center of gra-
vity can be held centered, at the same
I
time traveling on a straight line forward.
The path sign outside shows the undeviat- 1
ing aim to be straight forward (see page
451 for undeviating aim).
617c

MOBILITY, CENTER OF GRAVITY LEADING

In an ordinary walk the center of gravity is understood to be set
in motion at the start of each step. Normally the center of gravity
moves forward as the free leg extends and contacts the floor in pre-
paration for taking over the weight of the body. In both Figs. 618
(a) and (b) the center of gravity starts
to move in anticipation of the new step
I Ey
approximately at the moment indicated
by the arrow. Until that point the
y
weight is understood to be centered.
Whether the leg gestures forward prior
to the step as in (b) or not, the center
of gravity will start moving forward at
this point. 6 18a

To indicate that the center of gravity

is set in motion sooner and to show the "5
timing of the motion, the symbol for the
center of gravity displacement is placed
within a vertical bow which slightly over-
laps the following step. Fig. (c) shows
this occurring without any preliminary I
O •
gesture and (d) with a preceding forward
leg gesture. 618c

one direction, the center of gravity keeps

In continuous steps in
moving When a step in place occurs the center
in that direction.
of gravity may or may not come to rest, depending on what follows
and on the speed of progression. Note the following examples:
Chapter 24 Equilibrium, Loss of Balance 407

in
<>

I
i L
619a

In slow steps, as in Fig. 619 (a), it is natural for the center of

weight to come to rest on the step in place and difficult to keep it
moving at a slow speed. Conversely, it is difficult to keep the cen-
ter of gravity from continuing to move forward when such a pattern
is performed quickly, as in (b). When continuation of movement
of the center of gravity is important, it is indicated as in (c); when
the center of gravity must remain centered for the step in place, a
spot hold is written as in (d) and cancelled on the following step.

Momentary Loss of Balance

A slight falling movement (a tombe in ballet)

results when the center of gravity passes beyond
the base support and hence is momentarily un-
supported before weight is taken over by a new
support. This is expressed as center of gravity
"leading, " and written with the center of gravity
sign by itself within a vertical bow. (See part
leading, page 463.) Fig. 620 shows a typical ex-
ample in which a tombe occurs before a long step.
By the end of the bow the falling action has ceased. 620

FALLING, PRECIPITATION, LOSS OF BALANCE

When the center of gravity moves away from the base of the sup-
port, loss of balance occurs and the body is falling. Once balance
is lostthe body will continue to fall until a new point of support is
provided.

Note that in a jump there is no point of support. The center of

gravity is carried along in the body and hence there is no balance
or imbalance. Loss of balance could occur on landing, i.e. on the
establishment of a new point of support.
408 Equilibrium, Loss of Balance

Direction of Cent er of Gravity Movement

Falling is written with the center of gravity sign followed by the
appropriate direction symbol. Direction and level for center of
gravity movements are judged in relation to the point of support.

Backward middle is backward of and

on the same level as the point of sup-
port. Backward high is backward of
and higher than the point of support.
Forward high is forward of and high-
er than the point of support. Forward
middle is forward of and on the same
level as the point of support. The six
degrees of distance used on the verti-
cal line (see page 401) are also appli-
cable to distances on the horizontal
and slanting lines. Full details of
these will be given in Book II. 621

Incomplete Fall

In an incomplete weight is usually caught while the cen-

fall the
before the body reaches
ter of gravity is still in the high area,
the ground. Loss of balance can be sudden or can occur gradually
Regaining balance may be gradual, though most often it is rapid.

m
/ 1
/
u

622a
Balance is lost over Balance is lost Balance is gradually
counts 1 and 2, and on count 1, and lost during the first
regained on count 3. not regained un- 3 steps and is re-
til count 4. gained on the 4th.

A imbalance cannot physically be held. Fig. (b) is pos-

state of
sible because the body is in motion. The physical sensation on
counts 2 and 3 is that of running down hill.
 "

Chapter 24 Equilibrium, Loss of Balance

Falling to the Floor

When the body falls to the floor, the level of the center of gra-
vity changes to middle, horizontal. Below are two common falls
written without any specific performance details.

V /
-L

623a ___

The fall is caught by a lunge on A backward falling, known

the right foot. The center of as a "prat fall.
gravity is then centered above
the new support.
When the new support after a fall is on a part of the torso such as
the hips, as in Fig. 623 (b), the fall is concluded. The center of
gravity has reached floor level and is supported on a part which
has no "limb" to provide distance from the point of support, so no
cancellation of the center of gravity in motion is needed.

Falls Written without Specifying Center of Gravity Motion

By using the signs for body sections (see page 252) the notator
can show movements which include the action of falling. When em-
phasis is on the center of gravity motion, it should be included in
the description.

o
* < >

-1 <
624a *

Falling backward: the chest to Falling forward: the chest to

ankles moving backward middle knees moving forward middle
in one piece. in one piece.
410 Equilibrium, Loss of Balance

CANCELLATIONS

Changes of Level

1. A change of level written with a contraction sign is automati-

cally cancelled by the next indication unless a hold sign is used

Jl*
625a
An ordinary low Degree of bend The degree of knee
level step forward remains, bend held until
is
follows the deep cancelled when the
knee bend. feet close.

2. A change stated in terms of the center of gravity must be can-

celled by: (a) another center of gravity indication,
(b) a return to normal for the center of gravity, or
(c) a support on a part of the body other than the feet.

626a ac
The center of gra- The center of Kneeling cancels the
vityremains down gravity returns previous center of
until the step for- to normal, i.e. gravity level. The
ward when it normal level final step is a nor-
comes part way up, for a low step. mal level support.

Miscellaneous Cancellation Rules

Cancellation of center of gravity displacement (shifting) is

shown as in Fig. 615 (c) or by using the sign -th Center of gra-
.

vity leading has automatic cancellation as with all passing state in-
dications (see Fig. 620). Elimination of natural resilience is can-
celled by Falling is cancelled as indicated
. in Figs. 622 (a-c)
and Figs. 623 (a) and (b).
Chapter 24 Equilibrium, Loss of Balance 411

SPECIFIC SITUATION OF THE CENTER OF GRAVITY

Distance for the center of gravity when supporting on the feet
was given on pages 400 and 401. The distance may be greater or
less if the support is on other parts of the body. Description of
such distances, sufficient for the recording of all movement other
than the most scientifically detailed, is based on the convention of
using body lengths to determine distance for the center of gravity
from the point of support.

The Three Lengths

in the Body:

627a
Indication for more than one length:

|/| = 1 \ body lengths M = 2 bod y lengths

In an upright position the center of gravity is one body length -

the length of the legs from the point of support. In a hand stand
there is a greater distance - the distance of the arms plus the tor-
so - two body lengths. When the center of gravity is above the
point of support, the distance is always described in terms of de-
grees of place high; when it is below the point of support the dis-
tance is in terms of degrees of place low; when it is at the point of
support, or as close as is physically possible to the point of sup-
port, it is at place middle.

Fig. 627 (b) illustrates a hand

stand. When the dancer is up
as high as possible while sup- 'A
porting on the hands, the cen-
ter of gravity will be two body kv
lengths from the point of support. 627b

The following tables illustrate a progression from the greatest

distance above the point of support to examples at the point of sup-
port, and also a progression from the greatest distance below the
point of support up to the point of support. Use of these possibili-
ties in acrobatics, gymnastics, etc. will be given in Book II.
 Balance
412 Equilibrium, Loss of

ES-x-i ESS3x«

ESS** xj K3*t

bO ]•

o 1
-a
Pi
cd >> x:
o
o o bo
<~ ES3*» X) £
CU
-h|C3 l 1

CO
<u
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CHAPTER 25

Systems of Reference

ANALYSIS OF DIRECTION
When actions are described in terms of direction, be it spatial des
motion toward a direction, the reader must know what
tination or
system of reference is in effect. How will a command such as
"Hands up!" be interpreted?

Here are two distinctly different reactions to the command "Hands

up!" The two barbers who are standing automatically raise their
arms overhead toward the ceiling. There is no question as to
where "up" is for them. But the two clients lying down have chosen
different "up" directions. One has taken his arms "over his head,"
Chapter 25 Systems of Reference 415

while the other is reaching for the ceiling. This difference lies in
the system of reference each has used. The client with his arms
raised toward the ceiling has in mind the constant line of gravity
in which up is always toward the ceiling and down toward the floor.
The client with his arms over his head is thinking of his own physi-
cal directions, in which up is headward and down is footward.

How should the instruction "point forward" be interpreted? Is the

direction forward to be toward the front of the room, toward the
direction in which the body as a whole is facing, or the direction in
which the front of the chest is facing? When one is standing upright
facing the front of the room these three possible interpretations
are all the same, but in other situations they may differ.

In this cartoon A is point

ing to the audience, the
front of the room; B is
pointing to where his whole
body is facing; C is point-
ing to the direction forward
from his chest, while D,
who is standing upright and
facing the audience, is do-
ing all three of these things

Each of these three possibilities is based on a directional system

of reference, a cross of axes. Of these three, one is considered
the standard and is automatically understood to be in effect; the
other two require keys.

Reference has already been made in preceding chapters to one or

other of these crosses of axes. In this chapter we bring together
for comparison information on all three.

THE THREE CROSSES OF AXES

A cross of axes is comprised
of three lines intersecting at
right angles. From the point of
intersection each line goes out in
two opposite directions into infin-
ity. It is from this central point,
called "place," that all directions
are judged. (See page 24, Fig. 7.) 627
 . .

416 Systems of Reference

The three crosses of axes used in describing direction are:*

1. 1 The Standard Cross of Axes: The direction forward is de-

termined by where the performer is facing (his personal
front): up and down remain constant.

2. -A- The Cross of the Body Axes: Direction is established by

the build of the body, up being "headward," down being
"footward," forward being "chestward, " etc.

The Constant Cross of Axes: The established directions in

the room

Note: all three crosses of axes are centered in the performer and
all three coincide when the body is in the upright position and fac-
ing the front of the room

THE STANDARD CROSS OF AXES

The name Standard has been given to the system of reference
most commonly in use. In the Standard Cross of Axes, the verti-
cal line (line of gravity) remains constant. When the performer
tilts away from a normal vertical standing situation, the Standard
Cross of Axes does not tilt. The performer relates his move-
ments to this "vertical constant" frame of reference. Therefore
up is always toward the ceiling or sky and down toward the floor
or ground. The other dimensional directions, forward, backward,
right and left, lie at right angles to the vertical line of gravity.
(See page 24, Fig. 7, and page 229, Fig. 324.) The direction for-
ward, established by the personal front of the performer, is that
wall or corner of the room which he is facing when in the normal
upright, untwisted position. Once this direction is known the side-
ward and diagonal directions fall into place. After each turn a new
front is established and this becomes the new forward direction.

The symbol Cross -f- (a cross superimposed on

for the Standard
the center of gravity sign • represents a cross of axes based on
)

the line of gravity. (For this reason the system is sometimes call-
ed the Line of Gravity Cross of Axes.) Reference to directions
based on the Standard Cross of Axes may be abbreviated to "Stan-
dard directions," "Standard side middle," etc. Specific examples
of its use will be presented on a chart for comparison with the
Cross of Axes in the Body, following an investigation of the latter.
::

See Appendix B, note 20.

Chapter 25 Systems of Reference 417

THE CROSS OF THE BODY AXES Down

The cross of directions based Backward
on the build of the body has its
"up -down" dimension in the body's
longitudinal axis (line of the spine).
"Chestward" and "backward" re-
present forward and backward body Forward
directions, while the right and left
628
sides of the body provide right and
left directions. Fig. 628 shows the directions when diving. When
the performer turns and changes front this cross of directions
turns with him; when he tilts away from the line of gravity it tilts
with him. It is the system of reference most applicable when
either the force of gravity does not exist as in the weightless state
or when there is no defined area, no floor or ground to which the
performer can relate.

The key for the Cross of Body Axes -f- is a cross centered on
a circle. (Throughout the Laban system indications which are
based on or appear in a circle refer to physical aspects.) The
Cross of the Body Axes may be called the Body Cross, and direc-
tions referred to as "Body -forward, " "Body-side middle, " etc.

A floor must of course exist for steps (transference of weight),

This at once establishes a "down, " a gravitational direction in re-
lation to which the situation of the main axis of the body (whole tor-
so) must be made clear. In the weightless state (to be presented
fully in Book II) movements of the body as a whole are usually des-
cribed as revolutions, and paths of one form or another, while
movements within the body are described as flexions of the joints
or as directional gestures relating to the torso. In normal circum-
stances the Body key does not apply to steps or to tilts of the whole
torso, but affects directional descriptions of the limbs, and of in-
dividual movements of the head, chest, shoulder area, and pelvis.

COMPARISON BETWEEN STANDARD AND BODY DIRECTIONS

The following examples illustrate various situations of the body
and placements of the limbs notated for purposes of comparison
from both the Standard and Body systems of reference. The words
"up," "down," etc. placed by the figures refer to the unchanging
Standard directions. The Standard key is placed in parentheses as
it is not normally written, being automatically understood.
418 Systems of Reference

Directions when Standing or Supporting on the Hips

<+>ffll
Up
win Up
M HI
Up
For- Back- For- ^^X Back- For- Back-
\va rd ward ward j^ w ward ward ward

Down Down Down

J Mb
629a
+ \ + ffiffl&

wfflffl
Up
wffll
Up
«!HU Up

For- Back- For- Back- Back- For-

ward ward ward ward ward ward

Down Down Down

629d ^^ o
•
'

+ + + ffll&
Directions when Lying on the Back
Chapter 25 Systems of Reference 419

winmH Up

FOT- ms^=Z
ward
y
7^
n\
v Back-
sV ward

Down

+ a
Directions when Lying on the Front

(+>HSP wdffHfi
Up
Back- For- Back- Up For .
wa rd wa rd ward ward
Back
ward I For-
ward
Down
Down

Down

631a
Iffll + 0Q
<+>»& wffifl (+)|ffll
Up Up
Back- For-

Down
ward

Down
^
ward
Back-
ward
For-
ward

Down

+
631d
8 HI I + K3P HOI
420 Systems of Reference

Directions when Lying on the Side

Up
(+)
Up
> (+) mi
Left Right
Up
Left Right
Left Right

Down
Down
Down

+ 1011 + I LI
632a

(+)flHBfi «HHI
For-
ward
Left

Right Left Right

™
Back-
Down ward

+ elfl
R/
J.
+
632d

The directions and levels which have been illustrated with the
body supported hold true when it is in an unsupported state.

When we lie on the ground our limbs can gesture only in middle
or high level. For the limbs to move in low level, we must be sup-
ported on a table, chair, or other object allowing them to hang
down. Such a situation is depicted in the last example in each of
these sets of illustrations.

If the direction forward does not immediately seem clear when

the Standard system is in use, up and
the sudden command "Get
run forward!" will produce the right result. Without having time
to think the individual automatically goes in the correct direction.
This test works whether one is lying on the front, side, or back.
Chapter 25 Systems of Reference 421

THE CONSTANT CROSS OF AXES

The cross based on directions in a defined area, called
of axes
the Constant Cross Axes, was discussed on pages 106-107. For
of
abbreviation, directions based on this system are called "constant -

backward high," "stage -backward high," or "room -backward high,

etc. according to the circumstances.

APPLICATION OF THE THREE CROSSES OF AXES

Because the Standard Cross of Axes is the one generally in effect
when no key is use of this key will be given last. The
stated,
Constant Cross of Axes was explored in Chapter 8, page 106. A
brief resume of the use of this system of reference is given here

USE OF THE CONSTANT CROSS OF AXES KEY

As Front Signs"
The key for the Constant Cross of Axes
provides front signs which indicate where
in the room the performer is facing. These i-
are placed outside the staff on the left at the
start of a score and whenever a change of
front has occurred, as in Fig. 633 (a). 633a 13

As Destination Turning

m
of

When the destination of a turn is best des- I

cribed according to where the person or part /
of the body ends facing, a pin (tack) from the
front sign is placed within the turn sign as in
(b). Here a tack is used for the destination
of a pivot turn and of a turn of the head. 633b Ef

As a Key for Direction of Steps and Gestures

When the direction of movement is to be judged from the room

rather than from the Standard system, the Constant Cross key is
used (a) within the score as a pre -sign where it modifies a particu-
lar step or gesture, or (b) outside where it modifies all directional
indications until it is cancelled. In all cases level of steps and
gestures is judged in the usual way.

* See Appendix B, note 3

422 Systems of Reference

Within the Columns; The key -^- may be used within a column
as an accidental in a way comparable to the use of an accidental in
music, where it shows a momentary departure from the establish-
ed key. In such usage either the key sign must be repeated for
each symbol or a caret used to avoid key sign repetition. The fol-
lowing examples provide a comparison between instructions given
in terms of the Constant Cross and those with a standard descrip-
tion (Standard system of reference).*

Constant Directions Standard Directions

The arm and The same as v\ n

head move to- (a) written
ward the audi- in the usual
ence, then to- way: the key
ward the back -+- is under- If
of the stage. stood.
A caret in- 6
stead of a [i

repeated key
has been used gf Ef
for the head. 634a

When a gesture occurs in a room direction while the body is

turning, the effect is the same as if a space hold were written
within a direction symbol. (See Fig. 178 (c), page 139.)

Constant Directions Standard Directions

The arm and The arm moves

steps move to- Q- toward that di- C3- )
ward the back
t,
rection which is
of the room.
* side left at the
The arm is
r
start of the ac-
rising constant- tion and ends up
ly during the as a side right
-0 -0
steps and turn. gesture.
634c

Outside the Staff. When a system of reference key is placed

outside the staff on the left it is understood to refer to all direc-
tional indications until cancelled. Level for steps and gestures is
taken from the Standard system as usual.
:

See Appendix B, note 31.

 . ,

Chapter 25 Systems of Reference 423

< £2

634e p) J
g & 1
In Fig. 634 performer is lying on his back, facing stage
(e) the
right. Fig. describes the direction of his limbs from the Con-
(f)

stant Cross of Axes, while (g) is the Standard description.

For Performers with Different Fronts

When several dancers have different fronts, uniformity in the
direction of their paths or gestures may best be described in
terms of stage direction.

PC i
y-

* *
ta El
635a A B
In Fig. 635 (a) A
and B travel toward the right side
both dancers
of the room on parallel paths, and gesture an arm in this same di-
rection. For A the Standard direction would be right back diagonal
for B left forward diagonal

Four dancers / s. \

on stage each
facing a diffe- T
c
rent direction
repeatedly per-
form a stamping
\ h
$ JL
/\
'l>

and hopping pat-

tern while tra-
veling toward
the audience. I
4 Ef [p 13
A B C D
635b ABCD
424 Systems of Reference

For Paths Involving Turning

The direction of a path may best be
described according to the room direc-
tion inwhich the performer is traveling.
This true of turning on a straight path,
is
or of deviating toward a room direction
during repeated turning patterns. Fig.
636 (a) shows a waltz step in place which
changes facing direction at the end of
each measure and also gradually travels
toward the side right room direction. 636a

When a performer is revolving on a straight path the direction

of the path may best be described in terms of room direction. The
usual description for such paths was given on page 195. Figs. 636
(b) and (c) illustrate a walking pattern written both ways.

Constant Directions Standard Directions

Q- m
During the The same as i
steps which (b) but writ-
>
travel toward ten in the
^>
the front of standard way
i $
theroom, the as revolving
performer on a path into
revolves ^ a- what was the
round himself -m side direction -a
to the right. 636b at the start.

For the Axes of Revolutions, Rotations and Circular Paths

Revolutions of the whole body such as occur in acrobatics are

only briefly presented in this book. To describe actions according
to a Constant Cross axis instead of the understood Body axis (-(J)-),
the Constant Key is placed within the revolution sign. Circular
paths of the whole body or of a limb may also have a Constant axis.

\ /I AM < >
f
A >

637a \ b V\ > < d y A < etc.

Pivot turns (a), somersaults (b), and Paths in space, related to the
cartwheels (c) around the vertical, three types of revolutions oc-
lateral and sagittal room directions curing around Constant axes
Chapter 25 Systems of Reference 425

USES OF THE STANDARD CROSS OF AXES KEY

The key for the Standard Cross of Axes needs to be stated only
for cancellation of other keys and in modified form when a divided
front occurs. Such divided front was described on pages 307-8, and
use of keys for a departure from the established rule for describ-
ing direction was given on pages 309 and 310. Two additional ex-
amples of use of the Stance key are given here.

For Divided Front: Stance Key "^"

Judged from the estab-
lished front, the leg ges-
tures and the head looks
to the right while the arms
gesture left. Degree of ro-
tation for the pelvis and
chest is not stated, being
left open to the performer.
638
Achieving the spatial direc-
tions is obviously more important than relation of arm to shoulder
or leg to hip. Below a comparison is made between emphasizing
spatial or body relationship in describing direction for gestures.

^=^ I
1
(Count 1)
b i 4 >
Because of the established rule of an unwritten but understood
Twisted -Part key $)- in Fig. 639 (a) emphasis is on the relation
,

of limb to body On count 1 the leg gestures backward from the hip
.

as the pelvis rotates right. On count 3 the leg gestures forward

from the hip as the pelvis rotates left.

Because perform torso rotations varies with each per-

ability to
son, spatial accuracy, particularly for unison movement, is best
achieved by a spatial description, i.e. use of the Stance key -^- ,

as in (b). A change of key within one phrase is not unusual.

* See Appendix B, note 20 (ii) and (iii).

426 Systems of Reference

For Axes of Revolutions, Rotations and Circular Paths of Limbs

Revolutions of the whole body or rotations within the body can
be specified as being around the vertical line of gravity by placing
the Standard Cross of Axes key within the turn sign. Horizontal
circular paths of the body as a whole are always understood to be
around the Standard vertical axis. The Standard Key is the rule
for all circular paths described by limbs. Paths for limbs, intro-
duced on page 331, Fig. 485 (b), will be dealt with fully in Book II
Note that for the body as a whole it is not practical to describe
somersault or cartwheel revolutions or somersault or cartwheel
paths according to a Standard system of reference axis.

K A / V <
(.=+) (• = +)
640a \ V y V , 5 etc
Revolutions (ro The Standard Cross of Axes is the understood
tations) around axis ("focal point" for rotations or circling) of
the Standard horizontal circular paths of the whole body, as
vertical axis in (b), and all gestural paths, as in (c).

Fig. 640 (d) is the same action as Fig. 459 (h) on page 316 but
with the wheeling written as a turn around the Standard vertical
axis. In (e) the right arm rapidly performs four backward somer-
sault circles, the understood lateral axis <$-$> passing through the
shoulder. In (f) the arm performs three cartwheel circles to the
right, the sagittal axis [3 _ [? being understood. This same kind of
circle occurs farther from the body in (g) as a result of the more
forward starting position. Fig. (h) shows a circular path without
change of front (without rotation) for the head, the vertical axis be-
ing understood to pass through the base of the neck.

V > >
T

! X
o

i
m 640d
<> o <>

g
i I
h
¥
Chapter 25 Systems of Reference 427

USE OF THE CROSS OF THE BODY AXES KEY

As Destination for Rotations and Twists of the Limbs

As explained on page 278, the white pin,
derived from the key -§- for the Cross of
the Body Axes, states the destination of a
\
rotation or twist of a limb judged from the
normal untwisted state. In Fig. 641 the
legs start turned out. The right leg rota-
tes in and out while the head rotates from
right to left. (See Fig. 435 (b), page 297.)

As a Key for Gestures

641 h I
When gestures of the arms, head, etc. accompany a tilt of the
whole torso, a description in terms of the build of the body (Body
directions) is often desirable.

Within the Columns*

642a
(end position)

The arms are above the

shoulders while the torso
is tilted to the left.
» L +
(end position)

The angular positions of the arms

are described from the build of the
body. (Note use of attached symbols.)

Outside the Staff. When the key is placed outside the staff it

refers to all gestures but not to whole torso tilts and supports.
Arm and head directions
are described from the
Body system of reference. o

The line of the spine is di- j /

rected forward high. The i t

head tilts backward from
this line; the arms are
forward from the chest.
n».
See Appendix B, note 20 (i). 642c
428 Systems of Reference

BODY CROSS OF AXES KEY: DIVIDED FRONT

When the body as a whole is not in the upright situation, it may
be desirable to describe direction according to -§- the Body Cross,

of Axes (Body directions). In such situations the parts of the torso

may all have the same front, establishing a Body "Stance", as in
Fig. 643 (a) below in which the Body -Stance forward direction is to-
ward the ceiling. When parts of the torso twist a divided front re-
sults. The choice of directional description and use of keys for
-cj>- are similar to those discussed on pages 307-310 in connection
with use of -f- Compare Figs. 643 (a -c) with Figs. 449 (a -c).
.

Body Stance Body Stance Body Stance

t T T t t t t

643a 60D=J $©&=

The three keys "^", "($)", "v", have their counterparts based on
-§- The abbreviated names for these are: Body -Stance key -&-
. ;

Body -Twisted -Part key -($)- and Body -Base -of -Twisted -Part key "^\
;

Addition of the term "Body" stipulates that direction and level are
taken from the cross of axes in the body. Details on application of
these keys will be given in Book II. They are not commonly needed.

It common, however, for the key {§)• to be used when -^- is

is
in effect, particularly for movements of the hand when the arm is
in motion. The cross of axes is centered in
the wrist; thepalm is considered the front
and the hand in line with the forearm is
place high. In a forward hand tilt the palm
approaches the forearm; in a backward tilt
the back of the hand approaches the fore-
»
arm, and so on. In Fig. 643 (d) the hand
/
bends toward its own front and back while /
the arm moves. Because the arm is con-
stantly changing direction and rotating, I
these hand directions are difficult to des-
i
cribe by other systems of reference.
643d
Use of Divided Front Keys Based on -§-

In the following examples head tilts illustrate use of keys for

divided front based on -ty- Other descriptions are possible but
.

those given are the ones commonly used in such situations.

Chapter 25 Systems of Reference 429

^^r-^m 4-
e or e
>
or £
g h i

644 (a) the body starts supine. The head is then raised
In Fig.
Standard backward high, (c). The performer may prefer to des-
cribe this action as a Body -forward -high tilt, (d), judging the di-
rection from -§- In (e) the head starts rotated to the right and
.

therefore has a different front from the rest of the body. The
head is then raised to Stance backward high, (g), the same Stan-
dard direction as in (c). This action can also be described from
Body-Stance as in (h), the same direction as (d) or from Body- J

^^
Twisted -Part, as in (i).

In (j) the chest has twisted

\ right and the head has an b )
additional \ rotation. The
head then lowers toward
the right shoulder. Though 644j m
a Standard Stance descrip-
tion could be used, it is more likely that the performer will think
of the action as a forward tiltfrom -©- as in (1) or in relation to the
chest, i.e. a side high tilt from the base of the head, as in (m).
Axes of Rotations and Circular Paths for Whole Body and Limbs
A Body Cross of Axes is the understood key for the axes of rev-
olutions of the whole body, for rotations and twists within the body,
and for vertical circular paths of the body as a whole; therefore
normally no key is written. Horizontal circular paths of the whole
body or circular gestures of limbs may be described according to
the Body Cross of Axes by placing the key -<}>- in the path sign.

\ M < A V < > < * >

for etc. etc.

\ ++ + + +
645a N, V,
\K > < b A k x, t
For revolutions and somersault and The key must be stated for
cartwheel paths of the whole body, a horizontal paths and all ges-
Body key is automatically understood, tural paths based on -<b- .
430 Systems of Reference

THE FIXED POINTS IN THE ROOM

The fourth system of reference to which movement may relate is
based not on a cross of axes but on a system of fixed points on the
surface of a defined area such as a room. Whatever the size or
shape of the room or stage, it is to the existing corners or walls
that the symbols refer. Thus
reference to the right front cor-
ner will be to that actual corner
and not to where it would be if
the room were a perfectly shaped
cube. Fig. 646 depicts an aver-
age shaped room indicating some
of the main points. The other
points fall into place accordingly.
646

INDICATION OF FIXED POINTS

The key for the Fixed Points combines a defined area LJ with a
spot hold (see page 449), producing the indication
<•> ^
which ,
::

signifies a spot in a defined area. The spot in question is shown

either by a direction symbol or by adding a pin to the key sign.

647a g)
h K
m d®- e m f^Er
etc

Fig. 648 compares use of the key followed by a direction sym-

bol with use of the modified key sign.

648a
A ED AGC
&
AQC
Performers A, B, and C, who are spread across a room but all
facing front, gesture toward the center of the room's ceiling.
Each then gestures to the low edge of the right front corner and
finally to the high center point of the right wall.

* See Appendix B, note 32.

Chapter 25 Systems of Reference 431

When placed outside the staff on the left the Fixed Points key
states that all directions are judged by the fixed points in the room,
Level for gestures is according to the level of these fixed points;
steps take their level from the usual supporting level of the body,

A, B, and C, each facing PI

stage left but spread

f\ v> c
across the stage, all
walk toward fixed point
center back, while the
arms gesture first to- ® f •

ward the low center back Iffl

-B
point, then toward the ABC
high center back point.
648c

DIRECTIONAL KEY FOR BALLROOM DANCING

In ballroom dancing the convention is to progress around the
room in a counterclockwise direction, moving usually near the
outer edge of the floor. (See page 202.) This path is called the
"Line of Direction" (L.O.D.). In many ballroom dances there is
no need to relate to the walls or corners of the room or to the Con
stant room directions. Instead performers are aware of their re-
lationship to the Line of Direction, whether they are facing the di-
rection of this line, or have their backs to it, and so on.

Indication of the Line of Direction

A black pin, taken from the pins which describe

degrees of turn, placed within an oblong provides
the sign for Line of Direction, as in Fig. 649 (a).
This sign is placed at the start of a score to indi-
cate how the performer is to relate to his environment 649a

Front Signs for Line of Direction. Front signs relating to the

Line of Direction are similar to those derived from the Constant
directions in the room, but a black pin is used instead of a tack.

649b ft ? B- e -H
Face the Your back is Face wall, (L Face center, (R
L.O.D. to the L.O.D. side to L.OD .) side to L.OJD.)

Full details on usages in ballroom dancing will be given in Book II

 -

432 Systems of Reference

TABLE OF SYSTEMS OF REFERENCE

NAME SIGN DIRECTION LEVEL APPLICATION

(forward etc.) (up and of main key
relates to: down)

Front of body as a whole

STANDARD (that side or corner of Degree of turn

CROSS OF
AXES + the room which the per-
son faces when in the
normal upright untwist-
Indication of
Line of Direc-
ed position) tion (as in ball-
room dancing)
Special Keys for Divided Front
Front signs for
For twisting: the front
Line of Direction l*J &
Twisted'
Part ^ of the free end.
For rotating: the front
of the individual part. Understood reference for:

Front of the untwisted Horizontal cir-

Stance part (the part which re- cular paths of
the whole body
tains the original front) /
Base -of- Front of Base (section at
Gestural A >
circular
Twisted point of attachment) of paths
part twisting or rotating
Part A, < etc,

BODY
CROSS OF
AXES + Physical front of
body as a whole
Degree of twist
from untwisted
state

Gestures in rela-
^
tion to the torso
Special Keys for Divided Front +
Movements of ex-

Body-
For twisting: the front tremities during
of the free end. actions of major
Twisted- For rotating: the front
|2£ parts
Part of the individual part.
Weightless state
(to be given in Book II)

Front of the untwisted m Understood reference for:

Body -Stance part (the part which re-
tains the original front) u o 3 Revolutions, M
rotations and
twists SI, v,
Body-Base- Front of Base (section at gsf
of -Twisted- point of attachment) of
Circular paths in A
vertical planes
part twisting or rotating
Part
sli for whole body I

CONSTANT Front signs 1*1 Ef

CROSS OF
AXES * Constant direc-
tions in the room
-JO
Destination
of the turn

Addressing
THE FIXED The physical walls, edges and Radial paths for a group
POINTS corners of the room or stage
Focal point for group
gestures
Chapter 25 Systems of Reference 433

CANCELLATION OF KEYS
All keys follow the same cancellation rules.

PLACEMENT OUTSIDE THE STAFF

A key placed outside the staff on the left
modifies all directional indication within the
staff until it is cancelled by another key. A
return to the standard description of direc-
tional movement is indicated by the Standard
key. In Fig. 651 the Constant key stated at
the start of the first measure is cancelled
on the third measure The steps which had
.

related to the room directions revert in the

third measure to being judged from the front
of the performer.
651a
PLACEMENT WITHIN THE STAFF
A key placed within a column before a direction symbol modi-
fies only that symbol. Automatic cancellation is understood. For
it to apply to subsequent direction symbols the key must be repeat-

ed; carets may be used where their meaning is quite clear. In

many cases use of the addition bracket (see page 483) may prove
more practical.

Pi 1

I
1
IL

(7
/
/
r
/
\
L
2
h

)
/
+ IS o \

a d IS lj1 ** i
Repetition of the key: Adjacent placement: Use of the addition
the arm circle is the key, placed next bracket: the right
described according to the symbol it qual- arm circle is des-
to Stance (the un- ifies and tied to it by cribed according to
twisted front). a small bow, is in ef- the room directions
fect until cancelled.
 . ,

CHAPTER 26

Variations in Positions, Paths, and Steps

VARIATIONS IN POSITIONS
POSITION SIGNS (RELATIONSHIP PINS)
Pins are used in many connections
but always with the same
basic idea. They represent
miniature the full range of princi-
in
pal directions. Black pins represent low level, straight pins
(tacks) middle level, and white pins high level directions.

;
1 4
>. • V < >. „
-• -•- •— H HH h- -o -o- o—

652a
' T
Downward, low
^ b T
Ho rizontal,
\
^ 1
Upward, high
^

level middle level level

The signs for below can be written i or -•-, above 6 or -o-, and
center (within, inside) ^ or -]\-

These pins, used for small movements, can be thought of as

miniature direction symbols, with the following equations:

o- =
•~l> — i-fe i-b l = h

These pins are used to modify or describe:

1 Positions of the feet
2. Relationship to the center line of the body
3. Relationship of one part of the body to another, to an object, etc.
 .

Chapter 26 Variations in Positions, Paths & Steps 435

4. Directions and intermediate directions

5. Degrees of turning, rotating and twisting
6. Deviations: (a) from a standard direction or position, (b) from
the previous situation, (c) from the path of the movement.

RELATIONSHIP TO CENTER LINES OF THE BODY

For positions of the feet (page 63) pins placed next to support
symbols describe the relation of one foot to the other; they also
state the relation of a step or support to the center lines of the
body. Use of the center lines of the body in walking (specific
"tracks") was introduced with the familiar "tightrope" walking on
page 68, Fig. 68. Application of other center line "tracks" will
be given in Book II.

In arm positions, such as occur in classical ballet, a pin next

to a direction symbol states the relation of the extremity of the
arm to the center lines, or, to be more exact, to the center areas
of the body

The Three Center Lines in the Body

The three dimensional directions in the body which form a

cross of axes provide three center lines: the vertical (line of gra-
vity), the sagittal (forward -backward), and the lateral (side to
side). Reference to the center line for gestures and steps usually
denotes the sagittal center line. Occasional reference is made to
the lateral center line for steps, though rarely for arm gestures.

Areas Resulting from the Center Lines

For positionsof the arms, the extremity of the limb does not
fall precisely on the center line itself, but within the area estab-
lished around each center line. Diagonal center lines are also in-
cluded, providing diagonal areas.
i
a - center front area \ \ a , ,
b - right front diagonal area h \ ' b
c - right side area
d - right back diagonal area _
e - center back area
f - left back diagonal area

g - left side area

h - left front diagonal area
653a
436 Variations in Positions, Paths & Steps

For all positions of the arms, regardless of level, black pins

are used following the convention established for positions of the
feet. These pins are used similarly to those applicable when the
arms are in low level and are separated from one another by the
body. The normal situation of the arms in the side areas could be
shown with sideward pins, as in Fig. 653 (c) in which the arms
are down and rounded, but these are not ordinarily needed.

I I
653b
General statement Stated relationship

Many arm positions are modified by a specific relationship to

the center line of the body; a few examples are given below.

'/
/
/
/

653d
imi- /
la
X
'A

The arms (their extremities) are The above sign is used for
in the center front area of the body. arms exactly overhead.

653f x
(
g

The left arm is forward low of The same as (a) but with
the shoulder, the right arm the extremities in the
forward high of the shoulder. center front area.

Correct carriage of the arms (port de bras)

in the forward direction in classical balLet:
arms are forward, slightly below shoulder J I
level and slightly rounded; elbows are "lift-
ed, " (i.e. rotated slightly inward); the ex-
tremities of the arms (fingertips) are in
the center area (i.e. close to one another)*. 653h
Chapter 26 Variations in Positions, Paths & Steps 437

DIRECTION OF RELATIONSHIP OR CONTACT

A relationship indication can be made more precise by placing
the appropriate pin next to the active part to state from which di-
rection a contact or relationship occurs.

A o

654a U £ c c
The right arm is The hand touches The right foot touches
left
above the left. the head from above, behind the left knee.

A pin placed in conjunction with an addressing sign is written

from the point of view of the active person.

•&

654d A
1 B-
PW

A
I & -a
<d
B
6f A
hH

A jumps over B. A's right arm gestures inside

the circle formed by B's arms.
Note how in Fig. 654 (e) the floor plan gives a direct visual image
of the placement and relationship of the two dancers, even though
this relationship has been stated in the movement score. (See
Chapter 22, pages 381 and 382.)

INTERMEDIATE DIRECTIONS
For many purposes the principal directions suffice. In any
movement, however,
fully detailed description of slight variations
in the use of direction are needed. In dance, variations in style
may rest upon such slight spatial differences.

Two methods of writing intermediate directions are used.

Halfway Point

A dot between two direction symbols signifies a point lying be-

tween those two directions; the two symbols are tied together with
a small round vertical bow to show that they are one unit in terms
of timing and movement.
438 Variations in Positions, Paths & Steps

655a

655b b'

The arm moves to a point The arm moves to a point

between forward middle between place low
and forward high. and side low.

If a part of the body has already moved in one of the directions it

is not necessary to repeat that direction symbol; only the dot and
the next direction symbol need be shown.

Both arms ;tart The chest

side horizontal,
The right lifts
halfway to side
high; the left
i ) starts place
high, moves
halfway to
side high,
lowers halfway then returns
to side low. 655d to place high. s
If the connecting bow is not used, two movements are indicated:
the first into the first direction stated and the second halfway to
the following direction.

One move- The arm is

ment taking I raised diag- p
2 counts go- onally mid-
ing directly dle then
to the point moves half-
between side way to side
and diagonal. 655f I middle. or I
An intermediate direction may lie
i
between three main directions. i
Here the arm gestures to a point <
midway between three points.
655h H , P
Chapter 26 Variations in Positions, Paths & Steps 439

Third Way Point

A point one -third of the way toward a neighboring principal di-

rection may be shown by placing the appropriate pin within the
direction symbol.

s =
-y »=y v -\-
I toward \ toward \ toward \ toward
side high place high side middle side high
from place from side from side from side
high high high middle
656a

W L x =h- y = -L z = fl-

\ toward \ toward I toward

side low side middle place low side low
from side from side from side from place
middle low low low
656b

Note that in high and low level direction symbols a space must be
left in the center to allow room for a pin. In middle level symbols
a pin replaces the dot. Figs. 656 (c-i) below show variations which
occur in classical ballet in positions of the arms.

In (c) the left arm is down and rounded with

the extremity in the front center area. The
right arm is similarly situated but slightly
656c
I
x
&
more forward ( 3 toward forward low).
In (d) the left arm
is in a strict side hori-
zontal direction, while the right arm is
slightly forward and slightly lower ( 3 to- 656d i
ward the forward low diagonal direction).
In (e) the leftarm is forward horizontal J
rounded with the extremity in the front
area, whereas the right arm, though simi-
656e X
larly placed, is lower (3 to forward low).

In (f) both arms are up and rounded with the

extremity in the front center area, but the 1>
right arm is lower (3 toward forward high). 656f
i a
X X
440 Variations in Positions, Paths & Steps

In (g) the right arm is raised 3 above shoul-

der level while the left arm is lowered J :

a slanting line used in a balletic arabesque. 656g

Fig. (h) shows a side high-side low slanting
line, the left arm slightly higher, the right
arm slightly lower, making a steeper slant-
ing line than the normal side high-side low line. 656h X

In (i) the arms are in a forward diagonal open \

position but slightly closer together and slight-
1
ly lowered.
656i

INTERMEDIATE DEGREES OF TURN

Finer distinctions may be needed for the amount of turn perfor-
med or the direction faced on stage. To describe less than J of a
turn, the following methods are used:

i^
657a
degree from
J
13 from the End facing between
previous situation untwisted state 6 and Bl

The degree or destination to be indicated lies directly between the

two pins written. In turning to the right:

J- ^ 16 ^" - ^, " 16
etc.

Intermediate Front Signs

The same method is used to show in-between directions on stage:

658 [*J 3 H etc.

INTERMEDIATE POSITIONS OF THE FEET

A double pin is used for positions of the feet to show an in-be-
tween relationship. Compare the following with Fig. 60 on page 62.

659a

Between 1st Between 3rd and 5th Between 5th and a

and 3rd (heel to toe joint) crossed 3rd
 .

Chapter 26 Variations in Positions, Paths & Steps 441

DEVIATIONS
Deviations can be of three kinds:

(1) From the standard direction or position

(2) From the previous situation

(3) From the path of a movement

DEVIATIONS FROM A POSITION

A displacement from an established position is shown by
slight
a pin. Roughly the displacement can be said to be the distance of
an inch to an inch and a half, or three centimeters.

For the Feet

Placement of a foot in a step or a position of the feet may be

modified by using a straight pin. It is important to note that a
black pin refers to the relation of a foot to the center line of the
body (how one foot is placed in relation to the other foot) while a
tack indicates a displacement from the stated position. Many sub-
tle variations in positions of the feet which occur in different
forms of dance can be shown when the above indications are com-
bined with rotations of the legs

£>
660a
c^
The feet are The feet are The feet are apart in a 2nd posi
together. slightly apart tion with the right foot slightly
ahead and the left foot slightly be
hind the normal side to side line

il /
k
I J

660d f

The right foot almost The left foot almost The right foot touches
closes in front of the closes to the right the floor near the left
left (a slight forward (a slight left back (a slight right forward
separation). diagonal separation), diagonal separation).
 .

442 Variations in Positions, Paths & Steps

For the Arms - Satellite Center of the Extremity

Small displacements may occur while the extremity of the limb

remains in all other respects in the same main location. In devi-
ations from the normal arm positions, a satellite center is based
on the point at which the extremity of the limb is situated.
A

Satellite centers at the extrem-

ity of the head and of the hand

661a

The direction of the displacement is described in relation to

this point.

661b I
The arm is slightly below The arm is slightly to the
the normal side middle point. right of the normal low point

DEVIATIONS FROM THE PREVIOUS SITUATION

Single Deviational Movement

The arm is raised The arm is momen-

slightlyabove side tarily raised slightly,
I)
middle, and stays returning to the side
there middle direction.
662a

Displacement can be shown to be temporary by using the pass-

ing state bow, as in Fig. 662 (b).

Double Deviations

In a vibration or shaking action the movement is between two

displacements. The pins may be repeated as many times as neces
sary, or small repeat signs used. When the action is very fast the
vibration sign j (shaking) should be used. In such cases two pins
are enough to show the direction in which the shaking occurs.
 )

Chapter 26 Variations in Positions, Paths & Steps 443

'•

663a »
Waving the hand up
El
The same written
1

The same as
Pf
often and
and down 3 times with repeat signs as fast as possible

In (a) and (b) the hand will end slightly below the normal point,
whereas in (c) the bow produces an automatic cancellation.
Compound Deviations
A typical compound deviation from a given point is a circular
pattern requiring at least four pins.

A circle of the right index finger: the

bow indicates both the continuity of the
individual displacements and the fact
that it is a passing deviation. At the
end of the bow the finger will return
to its normal position. (See page 455
for finger indications. 664a »
A very small A very small
circle of the leg, circle of the
ending normal lower arm
o ^
ii

664b U
DEVIATIONS FROM THE PATH OF A GESTURE
Deviations from a direct path are in the nature of detours, in-
direct way s^ of arriving at a stated destination. Through the use of
pins many subtle curving paths can easily be described. Each de-
viation can be likened to an outside influence, which like a magnet
pulls the limb off its direct path but is not strong enough to prevent
it from continuing on and reaching its destination. Shape Writing,
the notating of visual linear patterns (trace forms), will be given in
Book n.
444 Variations in Positions, Paths & Steps

Satellite Center for the Line of the Path

A deviation from the path of a gesture is described in relation to

the path itself and not to the point of origin or the destination of that
path. Each movement path has its own system of directions, much
like a satellite center.

The following is a simple example of a direct path which lies in

front of the body and hence is easy to view.

The path in space notated to

I
the left could be drawn thus:

Start Finish
h &
665a \ (Horizontal view seen from the back)

3
fo-«>
&
<»—£ ^
Spheroid of possible
665b deviations

case of a simple deviation affecting the whole path, the

In the
middle
satellite center for the direction of the deviation lies in the
of the path as illustrated in Fig. 665 (b). From this center a de-
viation may occur into any direction or level. The directions
are local replicas of the Standard system of reference centered in
the performer. As the limb approaches the center of the path the
influence of the deviation increases, and as it passes the center
the influence diminishes; thus a curved line is produced. In cer-
tain directions flexion or extension may be necessary for the limb
to perform these curved lines.

Simple Deviations

To write a deviation place the appropriate pin (representing the

direction of the detour) within a vertical passing state bow. * This
bow has time significance and shows when the deviation starts and
when it finishes. Note the following variations in timing.
* See Appendix B, note 33.
 .

Chapter 26 Variations in Positions, Paths & Steps 445

When one deviation is

/ a
spread throughout a
movement, the zenith
of the deviation occurs
in the center of the
path in question. Thus
666a
the zenith occurs in the
middle of the time in-
The dotted line repre-
sents the direct path
dicated for the deviation.

§ h<r^>_^il h=^^rt>d
^1
666b
The rising curve occurs dur- The rising curve occurs dur-
ing the first half of the path. ing the second half of the path.

(I

path traced o
path traced

666d n by foot

The lower leg deviates over

II by foot

The lower leg deviates over

forward on the way out: a forward on the way in: a rond
rond de jambe en l'air en de jambe en l'air en dedans
dehors in classical ballet. in classical ballet.

Compound Deviations
Two or more deviations occurring on a single path may easily
be indicated by appropriate pins

667a
446 Variations in Positions, Paths & Steps

VARIATIONS IN PATHS
STRAIGHT PATHS FOR GESTURES
The direct path described by limbs normally produces a slight
curve because of the structure of the joints (see page 118). When
a straight path for an extremity is required it is indicated by the
addition of a small version of the straight path sign I .

,—>
668a
The arm remains normally The arm must flex slightly
extended, the extremity for the extremity to follow
following a curve. a straight path.

DEVIATION FROM STATED PATH FOR STEPS

A path stated by steps in the support column
may deviate toward another direction. To avoid
writing in between directions for each step, we
show the deviation in a straight path sign placed
alongside the steps to be modified. In Fig. 669 6
(a) thesideward steps veer slightly forward.
Such deviation may be described in terms of
stage direction (Fig. 635(b), p. 423), as move- ^
ment toward a stage area (Fig. 258 (f), p. 184) or
669a
as arriving at a stage area (Fig. 259 (e), p. 185).

Modification of path in
terms of stage area
means radial paths when H
performed by a group.
Compare Fig. 669 (b) in
which the performers ar-
arive at the center front
area on stage with Fig.
635 (b) in which they
veer toward a stage di-
£) Ef I? 13
rection (parallel paths). A O C J> A BCD 669b
Chapter 26 Variations in Positions, Paths & Steps 447

MODIFICATION OF STEPS
GRADUAL CHANGE IN PERFORMANCE OF STEPS
When steps should gradually become shorter, longer, lower, or
higher, etc. this change is shown within a path sign placed outside
the staff. Placement within a path sign stipulates that the indica-
tion refers only to steps.

< 4 The steps

The steps
* gradually
gradually
become become
*
longer.
i
V lower,
then higher
X.

>
670a Z X 1
STEPPING ON THE SAME SPOT
When a touching gesture is followed by a step, it may be de-
sired that the foot should not move before the step, or that if it

does lift, the step should be on exactly the same spot. Note the
difference between the use of a caret and a staple in this context.

The foot may The foot may

liftand step lift but will
beyond where step on the
it is touching. same spot.
671a
In (b) the staple follows the usage established in Fig. 97 (b),
page 86, where it means "on the same spot." The use of the caret
in (c) is based on its usage for shift of weight in Fig. 81 (c),
page 75, where it has the meaning of "the same, " i.e. continuation
of the same action.

"-*> J]

671c
The foot does not The foot lifts be- The step occurs on the
lift and so steps on fore stepping on place above which the
the same place. the same place. foot had been extended.
448 Variations in Positions, Paths & Steps

OVERCROSSED STEP IN PLACE

When the foot should step in place
but on the other side of the previously
supporting foot, two pins are needed. J
f
The first pin directs a cross in front
672
or behind and the second pin indicates
the sideward relationship to the other foot. In
Fig. 672 the right foot steps in front and to the left of the left foot,

RIGID KNEES
Inflexibility (lack of natural pliancy) in a joint is indi
cated by the hold sign o following the appropriate joint
sign. Fig. 673 shows a stiff -kneed walk.
x or i/i may
A state of
be added where appropriate.
673
I
o • • o

PARTIAL SUPPORT
A touching leg gesture may take some weight but not be a true
support, or a foot may in stepping become only a partial support.
Such partial support can be shown in three ways: equal division
between support and gesture, a j or f division between sup-
port and gesture, and an unstated degree of weight -bearing for a
gesture.

Half Support, Half Gesture

By writing indications in both support and ges-

ture columns of the same
division between these two activities.
674 (a)
leg, we show an equal

half the weight is held back on the forward

In Fig. \I
step. This is shown by the presence of a similar-
ly directed gesture for the same leg. Because in 674a
a half support a symbol appears in the support column, it is con-
sidered in the category of a step, not a gesture, and so the step
on the left foot which follows is written as being backward of the
half support. (Compare with (b) and (c) below.)

Two -Thirds Support

When the division is mostly support and only

partially gesture, the inclusion bow extends
\
from the support symbol into the gesture col-
umn, indicating the inclusion of gesture quality. 674b
 r - ,

Chapter 26 Variations in Positions, Paths & Steps 449

One -Thi d Support

If only one third of the weight is taken, the leg action is main-
ly a gesture; therefore the direction symbol appears in the gesture
column. An inclusion bow drawn from the leg gesture symbol into
the support column shows inclusion of weight. In Fig. 674 (c) the
forward gesture is partially weight
bearing, the inclusion
addition of support quality.
bow indicating
This action
the
T
is
foot,
followed in
and in (d)
(c) by a sinking on the left
by a step in place.
]j. a
674c
Some Degree of Weight -bearing
n i 1

/
The angular horizontal bow for support, /
carry (see page 338) is used for gestures to
indicate leaning, (some degree of weight -bear-
ing). The bow is swung from the appropriate —
limb to the support column or away from the ft- /

674e I
staff, the floor being understood. If need be,

the floor can be specified by the letter T (for terra) placed in a box,

DISTANCE SIGN
Distance to be traveled can be specified in terms of step lengths
by placing the appropriate number in a box. A step length is under-
stood to be that of the performer unless otherwise specified. Dis-
tance between performers can be stated in terms of step lengths.

c (T) = 1 m (one meter)

=
d CO 2 foot lengths

675a B is 3 step Statement of in-

Travel the equi- lengths in terpretation of
valent of 2 steps front of you 1 step length.

RETENTION ON A SPOT
A spatial retention (space hold) can be pinned down to a parti-
cular spot, either actual or imaginary. The symbol for such a re-
tention, <•> , called a "spot hold, " is a combination of the space
hold sign O and the indication for a focal point • * A spot hold .

See Appendix B, note 34.

450 Variations in Positions, Paths & Steps

is stronger than a space hold: when using a space hold, a perfor-

mer can travel around while one part of the body maintains a rela-
tion to a room direction, whereas with a spot hold he is tied down
to a particular spot. A body hold requires that a bodily aspect
(contraction, extension, etc. of a joint or section) be maintained.
A space hold requires that a room direction be retained, for which
bodily adjustment is necessary and taken for granted. A spot hold
also demands bodily adjustment which, in the case of touching,
grasping, etc. may include sliding friction.

Retention of an Imaginary Spot

An extremity of the body may be given the instruction to remain

where it is (a spot hold) while the rest of the body turns, lowers,
rises or moves slightly away. Adjustments in the body that must
occur to fulfil the spot hold instruction are the natural result of
this effort and are not written.

During The same as (a),

side -to - I showing approxi- I

^ IX
side steps mately the change *
each hand
* of arm direction
* <
remains that must take I
on the 1 place.
same spot. 676a !
The need to retain an imaginary spot often oc-
curs during pantomimic sequences. In (c) the
top of the head has a spot hold as though someone
has hold of it and will not let go. During the cir-
cular walk the body must bend to maintain the
spot hold. For use of a spot hold with the center
of gravity see page 405, Fig. 617.

* *..
676c
Spotting for Turns
A swift whipping action of the head is usually used in rapid
turning such as pirouettes. The technique of this head action can
be written in detail. Its central activity is to look as long as pos-
sible toward a chosen spot, usually the front of the room, keeping
the face to that direction while the rest of the body is turning, and
then at the last minute whipping the head around so that it again
looks at that spot, arriving there before the rest of the body has
completed one revolution. This head action, called "spotting," is
indicated briefly with a face sign followed by the spot hold symbol.
Chapter 26 Variations in Positions, Paths & Steps 451

A double pirouette performed with

head "spotting." As nothing specific hi)
7
&
is stated regarding the direction to be
spotted, it is taken to be where the
body is facing. A room direction, per-
son or object can be stated as the point
to be spotted; e.g. 677a 4 if

Spot stage Spot the

right chair K etc,
677b
Undeviating Aim
A gesture may move toward a stated destination (terminal point)
despite other actions in the body which ordinarily would detract it

from course. To show this retention of the aim of a gesture,

its
we place a spot hold sign within the direction symbol.

V /
The arm ges- The same idea /
tures toward a o as (a) perform- \ /
point which at ed with a turn. n /
/
the start is dia-
gonally for-
( The arm aims
what started
Jj %
i
left at r '
L, /
ward low. At as the right back '
-i
the conclusion high diagonal
of the side steps, point while the ? \
the point is di- body both turns ..
|.

agonally right and travels. The

forward low. 678a arm ends A .

Retention of a Tangible Spot

When an object or the floor is contacted, the point of contact is

the spot to be held.

The left foot The feet keep

has a spot on the same
hold during
the hops on
the right
foot.
spot while the
hips slide
backward. !
% ++ *

679a b j +1+ *
452 Variations in Positions, Paths & Steps

Spot Hold at Point of Relationship

The spot to be held (point of contact) may move in space. Such

a spot hold occurs when two dancers holding hands move around,
twist, turn, move closer one another or farther apart without
to
letting go hands. In such instances the spot hold is placed
over
the contact indication rather than over the sign for the part of the
body. A body hold sign o placed above such a relationship indica-
tion would mean the state of the hands in grasping must be retain-
ed. The spot hold allows sliding friction and adjustment to occur.

I
I _*L-
C
680a —X— b -B
A|6

A's right hand and B'sleft hand The palms remain near
keep their point of contact in one another during the
spite of subsequent movement. arm movements.

CANCELLATION OF A SPOT HOLD

A spot hold remains in effect for the duration of the action or
series of actions in conjunction with which it is used. Where there

may be doubt as to how long

should be in effect, the hold sign o
it

can be used immediately after the spot hold sign. The conclusion
of this retention is indicated by an angular release sign >?- or <>

The forward The spot

step on count hold for
4 obviously the right /
cancels the ffl hand is \ *
previous spot cancel-
hold for the t led on - f
right foot. count 3. (•
o
<E>

681a ! b 1 Ft
CHAPTER 27

Specific Parts of Limbs;

Movements of Hands;

Manner of Performing Gestures

DETAILS OF THE LIMBS

For Motif Writing as well as for Structural Description designation
of alimb or a specific part of a limb may be necessary. The smal-
ler the part of the body and the more specific the particular area or
point, the more complex A few of the possible spe-
the indication.
cific indicationsare given here. The basic logic of the method of
indicating limbs, areas, and surfaces is applicable to all parts.

SURFACES OF A LIMB

682a
L. R. L. R.
A limb Arm: outer Arm: inner Thumb Little finger
Leg: front Leg: back or big or little toe
surface surface toe side side

Use of a stroke for thumb or big toe side and of a

dot for little finger or little toe side provides a clear
distinction between these two sides. An in-between
surface shown by combining two signs, as in (f)
is
which shows the part between the upper (outer) and 682f
the little finger (or little toe) side.

Specific Limb
The sign for a limb can be combined with the various joint signs,
either by being placed above the joint sign (limb above that joint) or
by being combined with the joint sign.
454 Specific Parts of Limbs

"I
or |£ or $\ or ||=
'
or i\
683a C b 3 d e r
F f g =1 h
Right upper Left lower Right thigh Left lower
arm (limb arm (limb (limb above leg (limb
above elbow) above wrist) knee) above ankle)

A few limbs are described as the "limb below a part of the body."

683i ,1 t r
Neck (limb Whole arm (limb Whole leg (limb
below head) below shoulder) below hip)

Specific Surface of a Specific Limb

C
ft H=
684a II b H d e

Back of Throat Thumb side Top (front) Little finger

neck (front of of left lower of right side of right

m
neck) arm thigh upper arm

£He
684f a_*
Thumb side of Right hand touches Right elbow touches
lower arm touches outer side of left inner side of left
under side of thigh. upper arm. lower arm.

SURFACES OF AN AREA
An area of any part of the body is indicated by enclosing the
sign for that part within a box.

685a b tl c
P L. R. e L. R.
An area "Front" "Back" Thumb Little finger
surface surface side side

Interpretation of "front" or "back" for

an area will depend on the build of that
part of the body (see page 320).
685f an
Diagonal
surfaces
 1

Chapter 27 Specific Parts of Limbs 455

Surfaces of Area around a Joint

The sign for a particular joint is placed within an area sign to

indicate the area around that joint. To this sign is added the indi-
cation of front, back, right, left (thumb, little finger side, etc.)
as is appropriate.

686a S a EL s- etc.

Area Knee cap Right back di- Thumb side

around (front agonal surface surface of
knee surface) of right knee left elbow

PARTS OF THE HANDS

Specific signs for the hands and feet fall into two categories: those
based on Figs. 687 (a) and (b), and those based on the symbol for
the area of the hand or foot, shown in (c).

687a 1 n
The signs of (a) and (b) are used more for movement indications
and for touching, while symbols based on (c) function mainly to in-
dicate guidances and directions faced.

FINGERS
The general signs for the fingers and are modified by
dots to indicate the specific fingers."

688a 11
Thumb Index Middle 'Ring' Little

These signs are placed before a direction symbol to indicate a

movement of the specified finger as a whole. Where touching is
concerned the signs also express the finger in general, no part be-
ing specified; the tip is commonly used, however.

Joints of the Fingers

Additional dots on a finger sign indicate specific joints of that

finger. The example given here is of the index finger; the same
usage applies to the thumb and other fingers. The base "knuckle"

See Appendix B, note 35.

456 Specific Parts of Limbs

of the is where it is attached close to the wrist.

thumb Thus the
thumb has the same number of joints as the fingers, though it ap-

pears to have one less. Finger joints can be likened to the leg
joints; such a comparison is made for clarification.

689a
Base knuckle
^ b I
2nd knuckle
J
3rd knuckle
("hip" joint) ("knee") ("ankle")

1F^
or
! 1

689e
b
a ^
For a touch these signs represent the joint or tip itself; in
movement the segment above that joint is displaced. For example
a movement- of the "knee" joint, ("b" in Fig. 689e) will displace
the "thigh" (a-b) in space, as illustrated in
(f). This action could
be described as 90 bending movements of first and second joints,
In (h) moving the last segment of the index finger forward could
also be described as bending the last joint forward 90 as in (i).

Specific Surfaces of a Finger

The signs in Fig. 682 are combined with those of Figs. 688 and
689 to indicate any surface of any part.

690a / byf c n d V'

Left thumb; Left index fin- Right middle Left ring
whole "limb" ger; inner (un- finger; outer finger; thumb
der) surface (top) surface side surface

Diagonal surfaces are shown by combining the

appropriate indications. Fig. (e) states the upper
and outer surfaces of the right index finger. 690e

Specific segments ("limbs") and

surfaces of these segments are
shown by combining the signs in 690f
Fig. 690 with those for a limb and Outer (nail) side of last
surfaces of a limb. segment of little finger
Chapter 27 Specific Parts of Limbs 457

AREA SIGNS FOR THE HAND

For hand indications which are needed
frequently, the sign for an area is n-
modified as in Fig. 691 (a) to indicate the
area of the whole hand. 691a

691b H C R «, n-n •n [> f fi

Palm side Back of Thumb Little fin Finger-

(inner hand (outer side ger side tip edge
surface) surface) edge edge

In StructuralDescription placement of a
symbol on the right or left side of the center
line indicates right or left hand. When these fin
area signs are used out of context or in Motif 691g
Writing the hand indication is added as in (g).

Base of the Hand

The area sign is inverted as in Fig. 692 (a)

to show the base of the hand. The "heel" of the
hand may be used for touching, pressing, sup-
porting, leading, etc. This sign is not synony-
mous with the wrist sign, though in certain respects
they are close. To
area sign are added the in-
this 692b
dications for surfaces and edges. The "edge" of the
base of the hand shown in (f) strictly speaking cannot
be touched being within the limb, but it can be point- 692d
ed into a direction and has been used as a convention
for touching and part leading instead of £ .

692f U
PARTS OF THE FEET
The same specific indications used to show joints and surfaces of
the hands are applied to the feet.

693a - b c §
Left fc ig toe Limb of ri ght Right big toe: top
little toe surface o f 2nd joint

693d 41" .* .'*

Left litt Le toe, Sole of Inst< sp of
inner ed ge of tip left foot righ t foot
458 Specific Parts of Limbs

DETAILS OF BODY AREAS

Specific subdivisions of parts of the body areas can be shown by
combining the symbol for that part with the range of pins A few .

examples are given here.

SURFACES OF BODY AREAS

surfaces of a body area.

Chest
general
6
in

An intermediate
tions. Fig.
r^n

,^
694a
A

and right diagonal back

(e)
Front
surface

point can be
bed
The chest sign is given as an example of detailed indication of

[q]
,
Upper front
surface
Tq\

shown by combining indica-

states the surface between center back
in the low area of the chest.
Lower
surface
front

^
(qj

694e
,

HANDS ON HIPS OR WAIST

The term "hands on hips" can be given more than one interpre-
tation. In Labanotation the hip sign -f used with a contact sign
means touching the break at the top of the leg, the location of
which obvious in sitting. (See Fig. 321 (i), page 225.)
is quite
The instruction "hands on hips" may mean hands on the upper rims
of the pelvis (iliac crest), or even at the waist. The following ex-
amples illustrate these differences in Labanotation. The hip sign
is modified by the addition of a dot to indicate a point slightly above

the hip "joint" or slightly below.

+. + for@^ ®- B- &
a b c d e f

695

The specific meaning

of (a) is just below the break at the top of the
leg; (b) is thebreak itself; (d) is the center side part of the pelvis;
(e) is the upper rim of the pelvis and (f) is the waist. In general
usage the hip sign replaces the specific pelvis sign. When exact-
ness is required the appropriate pelvis sign is used or a key is
written at the start of the score, e.g. + = (•}- or \x}- = (•)>- .
Chapter 27 Specific Parts of Limbs; Hand Movements 459

MOVEMENTS OF THE HAND

The symbol ^ represents the hand as a whole and is used when-
ever a general description is required. For a more specific ana-
lysis the hand is divided into its component parts: metacarpus and
fingers (phalanges).

MOVEMENTS OF THE HAND AS A WHOLE

The hand is normally held with a slight curve through the palm
and fingers. The degree of curve varies with the individual; the
indication refers to what is normal for the reader.

Two -Dimensional Extension and Contraction

Two-dimensional extension and contraction may occur along the

longitudinal line or in the lateral plane of the hand.

Extension - Longitudinal. The hand has two degrees of length-

ening or stretching along its longitudinal line.

—=»
l/l fl

696a ^ b ^
Straight (flat) Extra stretched (as
long as possible)

It is difficult to show the difference between (a) and (b) in an illus-

tration though in movement the added degree is quite obvious.
Extension - Spreading (separating, abducting) is ex-
Lateral.
tension on the lateral plane. Two main degrees are used, though
the specific six-degree scale is applicable. In spreading most of
the action occurs in the fingers, though the palm also contributes
to the movement. The fingers need not be extended when spread-
ing, but may be naturally curved.

Slightly spread K \ VJ Very spread

697a

697c W \U \Ly \=/ \cS=/

The 6 degrees (not usually needed)

* See Appendix B, note 36.
460 Specific Parts of Limbs; Hand Movements

Contraction - Longitudinal. The hand contracts in a way simi-

lar to the whole arm, the knuckles providing a center joint; the dif-
ference lies in the presence of ad-
ditional joints in the fingers which
produce a rounded effect. In a ?F ..

complete contraction the pads of d ^ —& »

—
the fingers rest on the base of the
thumb and palm The thumb will .
% 1^

be outside the fingers, resting | > (l^s~~~

against the index finger. The
fingertips and base of the wrist £ ^
retain the original line of direc- , fc

tion; there is no movement in the

lower arm itself. To get a clear
picture, rest the hand palm down
a
on the table and then contract the
hand. The table will help keep (starting position)

the line of direction.

Contraction Closing in (joining, adducting) is con-

- Lateral .

traction on the lateral plane. Two main degrees are used, though
the specific six-degree scale can be used when needed. Complete
lateral contraction can only be performed with outside help.

<-> ***
Closed IS
ftH Overlapping (crossed) |S

699a ' '

b

699c ^A /±± Z^ £± £k 4^*

The 6 degrees (not usually needed)

Three -Dimensional Extension and Contraction

The hand often extends (opens out, expands) and flexes (closes
in, contracts) three -dimensionally, i.e. as though filling or en-
closing a sphere rather than moving on a plane or striving for a
linear use of space. Such three-dimensional actions, applicable
also to the chest and body as a whole, can be defined precisely
through the use of the signs l/l V_/ or X ^ Z_A When only a
, A , , , .

general description is required a general symbol is provided.

The straight line — (a shortened version of \_/ and Z_A) repre-
senting the third dimension is added to the basic signs |/| and X
producing 44 -W-, and *- *f-
, , .

* See Appendix B, note 36.

Chapter 27 Specific Parts of Limbs; Hand Movements 461

Three -Dimensional Contraction. An ordinary-

fist is the result of a three-dimensional contrac- *
tion. The performer should be aware of closing
in "from all sides." The six degrees of contrac-
700
tion apply, the sixth degree producing a tight fist.

Three -Dimensional Extension The hand com-

.
M-
monly extends three -dimensionally in that it com-
bines straightening (stretching) with spreading.
The physical use of three perform-
dimensions in
-ft
ing this action is best felt when starting from a
T
contracted state. The double sign 44 is used for ^
a general statement; specific degrees may be ^
given when needed. 701

Curving the Hand

The base of the hand remains where it is while the finger joints
form a curve. The most common direction is forward, toward
the palm. Hyperextension, curving toward the back of the hand,
can be performed to a high degree by some individuals.

702a
A 3rd degree curving in Total curving in Seen from
of the hand (thumb and (a form of fist) the front
fingers meeting)

The six degrees of curving (curling) the hand are:

$ (9 (?
^^ $^
702d i A
702j

First degree of curving Third degree of

backward (hyperextension) curving backward
462 Specific Parts of Limbs; Hand Movements

MOVEMENTS OF THE FINGERS

of all the actions which can be perfor-
The fingers are capable
med by the hand as a whole. The palm should not be affected by-
such finger actions. The following examples illustrate some of
these possibilities.

*
<Sfe=
703a

Total curving in Lateral closing in Contraction of

of the fingers of the fingers the fingers

MOVEMENTS OF THE PALM

Palm facing was given on page 130. We are con-
cerned here with the various forms of contraction
and extension of the center of the hand, the knuckles
at the base of the fingers. The palm sign is usually
used instead of the sign for these specific knuckles 704a
in writing movements of this part.

704b
*
R ^
Contraction of the palm Folding of the palm
(joint in the palm)

COMBINED ACTIONS
Every hand and finger action can be written by combining parts
of the hand and possibilities in movement. For fields in which
movement concentrates specifically on the hands, a special staff
is used incorporating columns for the parts of the hand. In gen-
eral practice when simultaneous actions happen for one part of the
hand, the indications are placed side by side, as in Fig. 705 (c), or
one after the other and tied together with a bow, as in (b).

W£
705a (claw)
Chapter 27 Manner of Performing Gestures 463

MANNER OF PERFORMING GESTURES

On pages 253-259 we discussed movements which follow a main
action and those which accompany a main action. We now explore
use of parts of the body to lead or guide a movement. The term
"leading" implies initiation of movement by a part of the body,
usually a joint, which moves ahead into the stated direction, the
rest of the limb following. In part leading there is a temporary
break in the normal line of a limb. In a guidance a surface of the
limb faces the direction of the movement, pushing the air, so to
speak, away from the limb's path. Guidances do not usually in-
volve displacement of a part of the limb.

PART LEADING
The sign for a specific part of the body which leads (usually a
joint or part of the hand) is placed within a round vertical bow.

I) *) l*
706a / b / c \ d /
Led by the hand. Led by the elbow Led by the knee Led by the hip

This bow is placed adjacent to the action to be modified.

Fig. (e) shows the right arm being led up-

ward by the wrist: the wrist will be the first
part to move in that direction. Because the in-
dication within this bow is a passing state, at
the end of the movement the arm is back to its
normal state: wrist not flexed, hand merely an
extension of the whole arm. Note that no par-
ticular surface of the wrist is specified. 706e

The difference in notation between an inclusion and a part lead-

ing must be clearly observed. In a part leading the indication for
the part of the body is surrounded by the round vertical bow. In
an inclusion the vertical bow, rounded only at the ends, is broken
and the specified part of the body placed within the break.

Led by the hip: Hip is included:

the hip motivates it accompanies

the movement. the movement.

706f
464 Specific Parts of Limbs; Manner of Performing Gestures

TIMING OF PART LEADING

An indication written within a round vertical bow is considered
a passing state: its influence lasts only as long as the bow. In Fig.
706 (e) the leading action lasted until the end of the arm gesture
Variations in timing can be indicated by the length and placement
of the bow.

The arm gesture Wrist leading l<0

starts with wrist h occurs only
leading but soon near the
continues as a end of
normal arm 1) the arm
movement. 707a i gesture. b

RETENTION OF A LEADING STATE

A particular body position resulting from a l\
part leading may
be retained even though the
leading action has concluded. The hold sign o
placed at the end of the bow shows such a reten-
tion which must subsequently be cancelled by 0.
See Fig. 746 (c) and (d).
708

GUIDANCES
In a guidance there is no displacement within the limb. The
adjustment is usually one of rotation so that the stated surface
faces in the direction of the movement. A guidance makes the per-
former aware of that surface of the body and its importance in the
performance of a given action.

The left arm The left arm

is guided by is guided by
its outer sur- its thumb
face, the side, the
right arm by right arm by
its little its inner
finger side. 709a surface.

When a guidance symbol is placed within a vertical bow, auto-

matic cancellation follows. To retain the state produced either a
hold sign must be added or an addition bracket used (see page 483),
Chapter 27 Manner of Performing Gestures 465

SUCCESSIONS, SEQUENTIAL MOVEMENT

A sequential movement is one in which movement flows from one
part of the body to another in succession, passing from joint to
joint, or from vertebra to vertebra in the case of successions in
the spine. Movement of this kind passing through the whole body is
called a body wave. When a change of direction occurs, a sequen-
tial flow alters the manner of performance. When there is no
change of direction for a limb or spine, a sequential flow is often
called a ripple. Such ripples and successions are familiar to Ori-
ental dance. Two forms of succession exist: inward and outward.

ANALYSIS OF SEQUENTIAL MOVEMENT

A sequential movement could be written as a
series of parts leading, as in Fig. 710. Although
this produces the right result, it is a cumber-
some way Because a succes-
to write the action.
sion is a basic performing a move-
manner of
ment, special symbols V and A are provided. 710

Outward Sequence
The sign V states an outward sequence moving from the center
or base of the limb, as the case may be, to the extremity.

With Change of Direction. One part

of the limb after another
moves in the new direction This action can be compar-
indicated.
ed to that of laying a scarf on the floor. The part nearest the
floor (base) will reach the horizontal first and each succeeding
part in turn will assume a horizontal direction.

(Note: the "base" of the scarf has been pinned to

the floor to make clear which is the "free end".)

711a

An outward sequence occurs when a performer lies down from a

sitting position, the sequence taking place in the spine.

Qf^=K
712a
466 Specific Parts of Limbs; Manner of Performing Gestures

Without Change of Direction. The limb

e ^txT^DOTOT
as a whole retains its previous direction.
A slight displacement must occur to allow ^
the ripple to form and progress. If the
limb is extended, there must be a slight c

drawing in to provide "slack, " just as a ^

SHE
caterpillar will drawn in its rear end in
order to progress forward. A caterpillar a^nrnLHTiOT^
is able to progress through a succession Outward Succession
(ripple) in the body. 713 (tail to head)

Inward Sequence

The sign A represents an inward sequence in which movement

commences at the extremity and flows toward the center or base.

With Change of Direction. The extremity is the first part to

take the new direction and each neighboring part follows until
finally the base of the limb takes the new direction. The following
illustration shows a scarf being sequentially lifted off the ground.

a <±— ,| T 1-i^S J
An inward sequence occurs when a performer sits up from a
lying position, the sequence taking place in the spine.

715a
Without Change of Direction. The
limb as a whole retains its previous
s*?TTmmmm$f'
direction, the ripple starts at the ex-
tremity and moves inward. For the ^
means starting at the
caterpillar this
head. Note: when there is no other c -
^m^^f
indication of change, the limb finish- ^
es in the position and state in which
it started, e.g. if bent at the start, a _

it will finish bent; if extended it will Inward Succession

finish extended. 716 (head to tail)
 —
Chapter 27 Manner of Performing Gestures 467

METHOD OF WRITING SEQUENTIAL MOVEMENT

The sign V or A is placed as a pre-
sign before a direction symbol when
the timing of the sequence and change
of direction are the same, as in Fig.
717 (a). When
placed within a round
l
vertical "passing state" bow, the tim- ff"

ing of the action can be shown by the

length of the bow to be the same as a 717a
change of direction, as in (b), or mo- , — .

mentary as in (c) where the sequen-

tial action occurs only during the or
first half of the movement. When
V
there is no change of direction the
succession sign is followed by a dura- > *
tion line to indicate timing as in (d). 71 7d

SPECIFIC PERFORMANCE OF A SUCCESSION

The manner of performance of a ripple can be varied by the di-
rection in which the slight displacement occurs or by the surface
or change of surfaces of the limb guiding a succession. The fol-
lowing examples are understood to be "for the right arm. The
method of writing may use a pin followed by a duration line to show
timing, or the pin may be placed within a passing state bow.

or or

v V

718a
A
ht>
succession A
JJ
succession An upward succes- A
.fr
succession
over forward over downward sion with the arm led by the
rotated outward thumb side
In (e) there is an unstated inner surface guidance of the arm.

OVERLAPPING SUCCESSIONS
Each of the symbols V and A represents one complete succes-
sion. It is quite common for a new succession to start before the
previous one is finished.
 .

468 Specific Parts of Limbs; Manner of Performing Gestures

i I
1

i
719a 1
The whole arm The arm moves side A downward sequence
moves side, sequentially, then starts before the side-
then down down sequentially ward sequence ends.

Overlapping successions may occur without change or

of direction. Fig. (d) shows a second ripple start-
ing before the first is concluded. This could also
be written with the vertical bow as in (e).

BODY WAVES 719d F J

A body wave is a movement through the whole body,
sequential
usually an outward sequence, though inward sequences can also
occur. To indicate a body wave, we draw a double V sign across
the entire staff. Displacement in space during such a wave may
be slight or considerable. The appropriate direction symbols are
written within the V across the center line. The following exam-
ples illustrate first a general indication then more specific state-
ments. If a succession is only in the torso, it should be written
as such, either with a pin followed by a duration line to show the
timing or with a pin placed in a bow. A body wave performed with
a sudden accented start is called an "impulse."

or

720a
An outward body A body wave on An impulse A succession
wave; general the right side over forward over forward
description of the body and upward through the
torso only
CHAPTER 28

Types of Revolutions;
Dynamics; Miscellaneous

THE THREE BASIC FORMS OF REVOLUTIONS

The body can revolve in three basically different ways. Each form
of revolution is around one of the three-dimensional axes in the
body. In the commonly used terminology they are:

Name : 1. Turning (pivoting) Axis : Vertical (up -down)

2. Somersaulting Lateral (side to side)

3. Cartwheeling Sagittal (forward -backward)

SYMBOLS FOR THE THREE FORMS

Each of the three revolutions has two possible directions.

\ / A V
721
a \ b c A d V e ? f <v
Left Right Forward Backward Left Right
Turn Somersault Cartwheel*

Each is based on the Cross of the Body Axes key -<j>- .

These actions are analysed on page 470. Since any revolution is

comparable to a wheel around an axis, a wheel is used in the dia-
grams for clarification.

A brief survey is given here for the immediate needs. Deriva-

tion of the signs and their application and revolutions around dia-
gonal axes will be given in Book II.

* See Appendix B, note 37.

470 Types of Revolutions

Pivot Turn 722a Pivot Turn

Right Left

^J

Vertical Vertical
Axis Axis

A Somersault
V Somersault
Forward Backward

A V

Lateral Lateral
Horizontal <•]-£> Horizontal - [>>
<J
Axis Axis

Sagittal ^ \^
Horizontal Horizontal i

Axis ^ Axis u
Chapter 28 Types of Revolutions

DEGREES OF REVOLUTION
Because a cartwheel includes within its action a change of front
degrees of cartwheeling are usually shown with black pins.

A full cartwheel Half a cartwheel

to the right to the left T

723a < b y
In the case of somersaulting there is no change of front; there-
fore black pins, which express change of front, are not applicable
and fractions are used instead.

A half somer- A full somer- v M

sault forward £ sault backward i
or
\
723c lA dV V
Because the number 1 may look like a pin, it may be written 1/1.

REVOLUTIONS WHILE LYING ON THE GROUND

One of the basic modes of traveling is through rolling, that is,
revolving while lying on the ground. In Motif Writing rolling is
first indicated as any revolution which is constantly supporting.
For this the composite sign for any kind of revolution is used.

Any kind of M Any kind of M

revolution rolling
724a lAl b'W
In Structural Description the specific form of revolution is
stated and placement of the sign in the support column of the staff
indicates constant support. A path automatically results. A rota-
tionwhich does not travel is a specialized movement requiring
rubbing against the floor and written briefly with a spot hold sign.

Log Rolling
When the performer is lying down, ordinary pivot turning t^|

and produces log rolling, the rotation being around the longitu-
dinal axis in the body.

If the path traveled is important the direction and distance can

be indicated outside the staff in a path sign. Though most rolling

produces straight paths, curved paths can also be achieved.
472 Types of Revolutions

In Fig. 725 (a) the performer - _

5

starts lying on his back. The

one -and -a -half turn to the right
produces log rolling, which re-
sults in the body traveling to-
ward the right side of the stage
and ending lying on the front.

In (b) the performer starts \ ..

lying on his right side facing

upstage. He then
rolls over
three times, producing a path &
toward the audience (forward Si 5
room direction). 725a

Wheeling

In wheeling, an extremity of the body describes a horizontal cir-

cular path around a vertical axis. Where no progression is indi-
cated wheeling is around the center of the body, i.e. on the spot,
comparable to circling with steps in place. If the axis is at the
head, the feet will describe the circular path, and vice versa. Such
an action may be written with a circular path sign or described as a
revolution around the vertical line of gravity by placing the key -^-
within a turn sign. An exercise called "Around the Clock" provides
a good example of wheeling the whole body on the spot.

tf Ef
Ef
Ml <2
flp©
Hi,

n
L*°l
i
c *oi c y
j I J]
?
726a S L bi
In Fig. 726 (a) the performer starts lying on his back, limbs ex-
tended, facing the front of the room. On count 1, as the knees draw
up to the chest and chest and head lift off the ground, g turn is per-
formed. Chest and legs then return to the ground. This is repeat-
ed eight times to "go around the clock." In (b) a less analysed,
overall description of the wheeling is given.
 .

Chapter 28 Types of Revolutions 473

Somersaulting
In a somersault on the ground the body pro-
gresses forward (or backward, as the case may
7\
be) rolling along the ground. In Fig. 727 which
gives a very general description, the body a
starts lying on the back, contracted, facing the
audience. The two forward somersaults that fol-
low produce a path traveling toward the audience in
REVOLUTIONS IN THE AIR
Simple revolutions in the air - that is, without special leg ges-
tures - are written in the same way as simple turning jumps. Two
straight lines are drawn in the leg gesture column to show that the
body is no longer supported on the feet.

7K 35

728a a i!
When leg gestures occur during revolutions on the ground, a
hold sign is placed within the revolution sign to indicate that the
weight remains on the ground.

A
728d
7K

* l"lN* *W*
M
w
In the air On the ground On the ground

Somersaulting (Aerial)

In the acrobatic
ples given here no detail
exam- a
as to exact performance
shown; knowledge of the
is A
form taken for granted.
is
A
I
Many such forms make use H i

of revolving on a straight
path. In a book of instruc-
tions, however, notations <ilH
on the correct use of timing,
weight and other factors
must be given. 729a
On the ground
I
In the air
474 Types of Revolutions

Cartwheeling (Aerial)

Note that indications for )

r"i n
supports may make it more
i

I> . . /
practical to place revolution 3

signs outside the staff on > vv •

the right as in Fig. 730 (a). 1

Parts of the body signs

placed within a rotation sign OOs X K
indicate the axis for that re- <H^1
volution, e.g. the head, feet
or hands. These will be 730a )

dealt with in Book II. On the ground In the air

REVOLUTIONS FOR PARTS OF THE BODY

A somersault or a cartwheel type of revolution can occur in certain
parts of the body to a limited degree.The body areas which can
perform portions of somersault or cartwheel are the head, chest,
pelvis and shoulder girdle. Some possibilities are explored here
to make such usage clear.

ANALYSIS OF SOMERSAULTING FOR BODY AREAS

In the following illustrations a black dot represents the axis of
the movement.
For the Head
The head, pivoting on the Atlas
vertebra, can rotate in a somersault
manner forward and backward, the
731a
axis being an imaginary line passing
through points near the ears . The head as a whole should remain
vertical; no change in basic direction should occur unless written.
The neck is not involved. A tilt is illustrated for comparison.

4 *

731b
%
A backward
axis

-[>

tilt Forward somer-

d
M

yC ?=C
'

Backward somer
x
x
>

(involving the neck) sault rotation sault rotation

Chapter 28 Types of Revolutions 475

For the Pelvis

Though the pelvis is "captured" between

the hip joints and the vertebrae in the waist
area, by using each of these joints at once it
can rotate around an imaginary lateral axis
which passes through the center of the pelvic
area. When such rotations are performed 732a
there should be no displacement of the upper Axis
body; head and chest remain where they are.

732b
Forward rotation Backward rotation
Displacement of the rib cage which has the feeling or intention of
being a somersault can be so described though the action is not so
clearly defined as somersaulting of the pelvis. Such rib cage ac-
tions can be seen in certain forms of African dance.

ANALYSIS OF CARTWHEELING FOR BODY AREAS

For the Head

Pivoting on the Atlas vertebra, the ^
head can cartwheel around a sagittal
axis located roughly at the nose. In
a cartwheel the top of the head is dis-
placed as much one direction as
in 733a
9:
the chin is in the opposite direction. Axis for Cartwheel
The head as a whole remains upright,
no change of basic direction occurring unless written as an addi-
tion. The neck is not involved. A tilt is illustrated for comparison

733b ~
^
Tilt to the right
(involving neck)
476 Types of Revolutions

For the Pelvis

The pelvis cartwheels around an imaginary sagittal axis. Many
pelvic actions are tilts rather than cartwheels. one hip
In a tilt
joint is the pivotal point and the upper body is displaced in space.
In a cartwheel one hip must be lowered as much as the other is
raised; there should be no displacement in the upper body.

\f <
>
734a ^7 T\ b H c H
Axis for Cartwheeling Tilt to the left Cartwheel to left

For the Chest

An imaginary sagittal axis passes through the center of the

chest. In acartwheel the chest as a whole and the head remain
vertical, no change of basic direction occurring unless written.
The rib cage should move as much as possible as a unit. In con-
trast, in a tilt the upper body and head are displaced in space.

735a
£f
j?'{\ CDI

Axis for Cartwheeling Tilt to the left Cartwheel to left

DEGREE OF REVOLUTION FOR PARTS OF THE BODY

Because of structural limitations, body areas can perform only
fragments of cartwheel and somersault rotations; therefore degrees
are expressed in terms of little or much, rather than I, \, etc.

A
A 9
736a C b C c a
A very slight for- A great deal of A slight backward
ward somersault cartwheel of the somersault of the
of the head head to the right pelvis
Chapter 28 Types of Revolutions; Dynamics

DYNAMICS
The study of dynamics is concerned with the action of forces in
producing or changing the motion of a body. Aspects of dynamics
which may be used for practical or expressive purposes can be
described in fine detail in Labanotation. In dance dynamics is the
area of study that concentrates on how a movement is performed,
the quality or texture. Dynamic description includes use of energy,
of the weight of the body, resistance to or giving in to the force of
gravity, control or lack of control in movement, difference be-
tween muscular or emotional intensity, and so on. For many pur-
poses only a general statement need be made and only a few basic
symbols employed to modify the structured time -body -space des-
cription. Full details on dynamics will be explored in Book II.

INNATE DYNAMICS
Many patterns of movement contain
innate dynamics which are
usually performed unconsciously. For example, high steps tend
to be lighter, lower steps heavier. The timing of a movement may
influence the dynamics. In a movement where the body must cover
a great distance in a short time, there will be an inevitable in-
crease in the use of energy. A visible change in dynamics can be
seen in jumps performed at too slow or too rapid a tempo. In a
swinging motion the body makes use of the force of gravity: the
motion speeds up as the path descends and slows down as the path
rises. These examples show such changes in timing.

<

737a
Swing in which the pull of This timing requires a con-
gravity is utilized: there trolled lowering of the arm
is a natural slowing up and additional energy to
as the arm rises. speed up at the end.
478 Types of Revolutions; Dynamics

In terms of dynamics the accompaniment on

effect of musical
movement must The same movement sequence
not be overlooked.
will be performed with different dynamic qualities when danced to
different pieces of music. This will be so in spite of the fact that
the same tempi and metric structures may be present in each piece

ACCENTS
An accent is the result of a sudden momentary increase in the
use of energy. The additional energy disappears immediately. A
distinction is made between a strong and a slight accent. When
there is contact between two parts of the body or with an object, a
strong accent produces sound, as in a stamp, clap, etc. A slight
accent requires a slight use of energy, more than the normal level
but not much; it is also a momentary happening which disappears
immediately. Only a very slight sound, if any, is heard when a
slight accent occurs with contact.

Accent Signs

< T /
Strong accents Slight accents Degrees of intensity

These signs are doubled or even trebled for a greater effect of

the same dynamic quality. Placement of the accent sign beside an
action indicates when in the timing of that action the accent occurs.

A strong accent A strong accent A strong accent

at the start of in the middle of at the end of a
a movement: a movement: movement:
impulse often a swing , impact
73ga

An accent sign is placed so that its point slants toward the move-
ment symbol or part of the body sign to which it applies. A large
accent sign placed outside the whole staff on the right indicates
that the whole body is affected. A vertical accent sign in the sup-
port column during a spring indicates accenting the motion of rising.

Arm gestures Leg gestures

are strongly lb'
are slightly 1
accented. accented
t
£ o

738d I I \I
Chapter 28 Types of Revolutions; Dynamics 479

The whole move- Upward

«0 <>
ment is strongly Mir-"] spring is
accented. accented

738f d 13 6 g
Stamps

An accented contact with the floor produces a stamp. This may

be strong or slight and may occur on a support or on a gesture.

<^_
i

O X

739a >, 1 I I

Strong stamp- Slight A stamping ges - A slight

ing steps stamps ture in place heel stamp

By using an addition bracket (see page 483) constant repetition

of the accent signs can be eliminated. Within this bracket, which
is placed alongside the movement symbols it qualifies, is written
the indication to be added to the movement pattern. In (e) both
steps and touching gestures are qualified. If only steps are to be
qualified, the appropriate indication is placed within a path sign,
as in (f). (See pages 161, 179 for such use of a path sign.)

All steps and Only the steps

gestures pro-
duce sound.
are accented
(produce
sound).
7
Claps
739e s i i
v

Contact of the hands with a strong accent produces clapping. A

general description may be written with the hand sign or with the
palm sign. Specific use of the parts of the palm as in Spanish
dancing will be given in Book II.

Both hands
clapping 740a
^ s> or
480 Types of Revolutions; Dynamics

The bow may be swung downward or upward; its ends state the mo-
ment of contact. One hand can be shown to be active by using only
one accent sign.

The right hand 4 The left hand

N
claps the left. 740d claps the right.

When the bow is swung out into the appro-

priate column, use of the hand can be under-
stood, the hand symbol need not be written
each time.
740f

Contact or Release of Hands after a Clap

If nothing specific is stated, exact performance is left open.

The hands may remain together after a clap or may release.

When the hands are to remain together, a hold sign is used; when
they are to be released, a release sign is used.

o. >

4 a! ^
741a
Hands remain to- Hands separate Hands hold
gether until just slightly just then release
before the next clap. after each clap. on count 2.

Claps may also involve contacts with other parts of the body,
Figs. 741 (d-f) may produce sound depending on the clothing worn,

** t b:3
3
¥
Em,
74 Id

Slapping (hitting) Legs beating to- A jump

f I
with strong leg
foot as in a gether (clapping) beats (in ballet an entre
Schuhplattler in the air chat six, written fully)
Chapter 28 Types of Revolutions; Dynamics 481

Bouncing

Indication of elasticity (resiliency >?) gives a general statement

of a bouncing action. To be specific we can state whether a bounce
results from a foot action or flexion in the legs. Pins can be used
to show the direction of bouncing.

§
@; a x L

»
\9
742a h b
\
1% x __ x L.,J
A double bounce Bounce based Bouncing Bounce with
on each step (gen- on leg flexion with accent accent up-
eral indication) downward ward

VIBRATING
A small wavy line is used to indicate vibrating, trembling, or
shaking. This is the same indication used in music for tremolo,
trill. Such shaking actions can be described in greater detail by
adding dynamic signs. An example specifying the space pattern
is given on page 443, Fig. 663 (c).

Vibration Side to side vibration as

with ten- often and as fast as poss-
sion ible, increasing in energy
743a ( 5 - strong) b

USE OF ENERGY
A full discussion of the ebb and flow of energy in movement, its
use in relation to the force of gravity and other dynamic aspects
will be presented fully in Book II following the present intensive
international research discussions on this subject. (See Glossary
for trial symbols which may be found in experimental scores.)

PASSIVE
A passive movement is one which occurs as the result of an-
other movement. An outer force, such as a partner, may be the
initiator, or one part of the body may initiate a movement causing
resultant motion in another part; in each case the part of the body
which moves passively must allow the movement to occur. This
482 Types of Revolutions; Dynamics

involves an adjustment in the use of energy (dynamics) for that

part. Such adjustment can be described in full detail, but the pas-
sive indication usually suffices to produce the desired performance

The solid line representing an action is changed to a dotted line

to indicate passivity.

An action (move- Passive, resul-

ment is initiated) tant movement
744a

The dotted line may be (1) used on its V

0-
own, (2) placed in connection with a direc-
tion symbol when a specific destination is or or
required as in (c-e), or (3) applied to path
signs when a path results from some out-
\
side action as when a partner causes a
744c
performer to travel, turn, etc. as in (f).

1 i

:&>

3
744g
The hands are clasped. The same as (g), The same as (g),
The right arm performs but a specific di- but a specific di-
an action which causes rection is stated rection has been
a movement of the left for the active arm stated for the pas-
arm. The roles are sive arm as well
then reversed.

The dotted line may also suggest pas-

sivity in movement where there is no ac-
tual contact. In the hands do not touch
iX
(j)
but the relationship of active part to pas-
sive part is the same as that in (g). The
limb marked as being passive must make X
its own movement but a different expres-
sion results from the suggested influence
of the active arm. 744j

«t
 .

Chapter 28 Types of Revolutions; Miscellaneous 483

MISCELLANEOUS
ACCELERANDO AND RITARDANDO
It is possible to speed up or slow down a single directional

movement. Such change in timing is shown by writing the same

symbol twice in different lengths, and binding the two together
with a small round vertical bow to show unity of action. The re-
lative proportions of the symbols indicate the relative degree of
accelerando or ritardando.

745a
The gesture starts slowly The gesture starts quickly and
and becomes more rapid. then gradually peters out.

THE ADDITION BRACKET

Details to be added to stated movement may more conveniently
be written alongside rather than within the columns. For this pur-
pose an angular vertical bracket is used." The indications within
it are valid as long as the bracket lasts or as long as the final in-

dication next to which it is placed is valid. For this reason it is

sometimes preferable to the vertical passing state bow.

I ti
instead instead
of of

a
+
746

b \ )

All four directions are to be

passed through with the arm
h
The right arm gesture is to be
read from the Body System of
» 6

2 degrees flexed. Reference

* See Appendix B, note 38

 .

484 Types of Revolutions; Miscellaneous

In (a) the bracket makes repetition of X unnecessary. In (c)

the addition bracket obviates the need for subsequent cancellation
required in (d). See also Figs. 447 e, 488 d, 651 d, 738 f, 739 e.

KEY SIGNATURES
The term "key signature," taken from music, is given to all sym-
bols appearing before the start of a dance score or kinetogram to
indicate how subsequent movements are to be interpreted. These
keys may refer to the system of reference to be used, a particular
way of holding a part of the body or a specific manner of moving.
A key may also be an abbreviation stated in the form of an equa-
tion: a simple symbol or group of symbols represents a more com
plex action.

The key signature is placed below the starting position as a sepa-

rate indication written between double horizontal lines.

m i I
L

E3-
747a >D h

The system of re- All leg move- The arms and Movements
ference for all di- ments (steps legs are to be are all to be
rections is the and gestures) held straight done with a
Constant cross of are to be per- all the time. light boun-
directions in the formed with cing quality
room. turnout.

= (

747e x x f U
Ordinary middle level supports The forward middle direction
will mean that the heel is always for the arms will be the point
off the floor and the knees are halfway between forward mid-
slightly bent. dle and forward low.

For additional examples see page 202, Fig. 280 and pages 290-1,
Figs. 423 and 424.
Appendix A

Alternate Versions

'KIN" represents usage of the Laban system as established by Albrecht Knust.

(pp. When horizontal ticks would not show and

39, 44).
the beat must be made clear, ticks can be drawn slanted
as in Fig. 748 (a). Many European notators do not use
tick marks in general practice; others draw faint lines
across the three -line staff to contrast with the stronger
bar lines, as in Fig. 748 (b).
7 4ga b

2. (p. 45). Measure numbers may be placed within a diamond below

each staff, the number identifying the first measure of that staff. 749
<^

3. (p. 107). Front signs (±) are placed at the right of the staff in KIN.

(p. 131). A palm -facing indication is not automatically cancelled according to

KIN; a return to normal must be stated in each case.

(pp. 131, Back to normal is sometimes indicated by the sign A instead

179, 245).
of ©. The decrease sign expresses a diminution of the previous state.

(pp. 159, To achieve a state of X or H the

171, 325).
notator may
place the indication after a duration line,
tying the two signs together with a small bow, as in Fig.
750 (a) which has the same meaning as (b). Until 1969
(c) was interpreted as destination; it now indicates motion, 750a

7. (p. 187). Circular paths to the left are placed on the left of the staff in KIN, all
other paths being placed on the right.

(p. 211). Indication of timing in achieving a change of touch has W for

been written in KIN with an increase sign, as in Fig. 751 (a). 751a

(p. 219). A sliding support in which weight is held on the

ground throughout is written in KIN by placing a hold sign
within the support symbol, as in Fig. 752. 752

10. (pp. 269, 305). An understood space hold, i.e. retention of the previously stated
Standard direction, is considered in KIN to be the basic rule. Because the appro-
priate hold sign is always used when needed, in practice this difference in basic
understanding causes no problems.

11. (p. 332). Shifting is analyzed in KIN as a small displacement

while the part of the body remains in the previously establish-
ed direction. Appropriate pins are placed next to the appro-
n
priate direction symbol. Figs. 753 (a) and (b) are the same. 753a d±

12. (pp. 346, 354). The analogy signs

= and ^ are used for repeats in
KIN scores instead of -5- and = for for
Thus Fig. 754 (a) is used instead
of (b), and (c) instead of (d). 754a =- bi-

13. (p. 358). Such indication may also be stated as ._

 )

Appendix B

Old Versions

Widespread use of the system since the 1954 edition of Labanotation has indicated
where for practical purposes simplification and modification were needed. This list of
changes also includes pre -1954 items which may be met in old scores.

"KIN" represents usage of the Laban system as established by Albrecht Knust.

1. (p. 21). The Vertical Staff. The advantage of the vertical staff is sometimes
questioned. Its historical development best illustrates why a vertical rather than
a horizontal staff was finally chosen as being the more practical. Following his
first shorthand device based on his known movement patterns, Laban sought to
develop a more comprehensive and universally applicable system. His first at-
tempt was based on a series of crosses read horizontally from left to right. Each
cross represented the performer as seen
from the back, the vertical center line di-
viding right and left (Fig. 755 (a). On these
crosses were placed symbols for movement 755a
of the torso and limbs. Supports (steps) Reading direction
were placed at the base, either side of the
center line, at S in Fig. (b). Next to these
were written gestures of the legs in the air,
at G. The line x-x divided the upper part of
A Bl
the body from the lower. At B were written
movements of the body, and at A movements
G SS G
of the arms. Only a small amount of move- AB GS 5G BA
ment could be shown on each cross with the 755b c x x
result that indications provided more a re-
cord of positions with no possibility of showing continuity in motion from one cross
to the next. The movement of a left leg gesture on one cross, for example, could
not be connected with movement shown on the next cross. The important aspect of
the basic flow of movement could not be shown.

Laban credited Kurt Jooss with the inspiration to x-x to a vertical

change the line
line on either side of the center line as in Fig. (c), thus providing
spaces for in-
dications of body and arm movements on either side of the support and leg gesture
columns. A change in reading direction from horizontal to vertical made it pos-
sible to show continuous movement indications for a part of the body without any
break in the flow of reading.

Laban also credited Feuillet with the idea of a center line of continuity which is
incorporated in the Laban system.

The original staff comprising five lines, which made use of music paper, was re-
duced to the present-day three -line staff because the extra lines visually detracted
from the movement indications.

(p. 82). Lifting the weight in an echappe action was

formerly analyzed as a minute spring and written with
a very small space between support symbols. In KIN
W\ W
no space was left at all, as in Fig. 756 (b). Old KIN New
756a b c

(pp. 107, 421). Front signs were orig-

6, /, etc. [t, H', etc. &. Ef,
inally white pins, as in Fig. 757 (a). Old Old Kin New
(In KIN they were as in (b). 757a b
 . . .

Appendix B Old Versions 487

4. (pp. 138, 246). A duration line was used after a space hold
sign to indicate how long
it lasted. This line is no longer
considered necessary though sometimes used in special cases. 758

5. (p. 139). A round bow was formerly used instead of I

a caret to indicate continuation of a symbol from the
end of one staff to the beginning of the next

6. (p. 141). A hold symbol in the support column was not 759a
Old New
needed formerly when one leg gesture was stated, the
rule having been that one leg gesture presupposed sup-
o
porting on the other leg. A jump required two leg ges-
i i L°
tures or none, i.e. a space between support symbols.
760a h b
When a support and a gesture ended simultaneously, a Old New
spring into the air was expected to follow.

7. (p. 158). The sign for long (stretched) was formerly drawn r-*

8. (p. 165). Double stretched ^ for an arm or leg gesture used

to mean from the body into the stated direction.
pulling out
Such body participation is now analyzed as an inclusion. 761a

9. (p. 175). When the symbols X or M were placed next to

quick or slow steps to modify the whole step, a duration Old
1,1
a New 3-
line was used. Fig. 762 (a) is now written as (b). 762a It b J-

10. (p. 181). The standard shape for stage

plans used to have slanting sides Old New
763a b
11 (p. 184). Spiraling in and out were formerly written by
placing the symbols X and M respectively, near the end
,
f f f
of a circular path sign, as in Figs. 764 (a) and (c). V A
12. (Chapter 13). The former rules for placement 764a b\ c y d>
ofhooks on leg gesture symbols were: Old New Old New

i) (p. 208). The hook modified the whole symbol. Its

placement did not have time significance, and there-
fore it was usually centered to show one single
touching action; Fig. 765 (a) is now written as (b).
765a am Old New

ii) (p. 212). Two different hooks on a symbol did not

produce a slide but rather a change from one part of
765c I II d l J>t
the foot touching to another; (c) is now written as (d).
Old New
iii) (p. 212). A sliding leg gesture in which a change
from one part of the foot to another occurred requir-
ed two of the same hooks; (e) is now written as (f). 765e [!,!Old New
iv) (p. Placement of the two hooks for sliding
212).
did not have time significance; raising the leg
from the floor after a touch or slide required a
separate symbol; (g) is now written as (h). 765g _ll noli
Old New
Rules for hooks qualifying supports have not changed.

13. (pp. 210, 356).

formerly encircled.
The specific performance sign was 766a ®
Old
b*
New

14. (p. 223). Elbow, wrist, and hand signs * \ %

767a
were formerly drawn with a longer stem, Old New
 .

488 Old Versions

15. (p. 259). Degree of inclusion

was formerly shown by: for slight, and for definite

16. (pp. 261, 265, 493). The right third column was
formerly understood reserved for the chest;
to be
no chest pre-signwas needed. When the pre-sign 768a 1
Io| was used it meant chest facing. Old New

17. (p. 279). Parallel stance for the legs,

/ [\ V /
I or I i
formerly written as Fig. 769 (a) or p
now preferably written as
769a /
\L \ b ^ /
(b) is (c). Old Old New

18. (p. 287). For rotations of the legs while supporting on

y~7 V /
/x
/
the feet hooks were formerly attached to the rotation >:< sJ
\
sign instead of to the support column. 770a 1/4 N v
Old New
19. (p. 298). Formerly the whole torso always rotated in
one piece; no distinction between "rotation" and "twist" P„J
existed. The pre-sign [| ( B plus @ ), has also
,
77i a
been used for the whole torso rotating in one piece. Old New
20. (pp. 309, 310, 416). Keys for Systems of Reference were formerly written:

i) (p. 427). The Cross of the 772a W

111 (when Qj was placed b"f"
Body Axes (read from Body): Old within the column) New

ii) (pp. 309, 425). Front from 772c + (placed outside staff) d
Stance, the untwisted part: Old New
(when W was placed "$"
iii) (pp. 310, 425). Front from 77 2e 111 f

the Individual Twisted Part: Old outside the staff) New

21. (pp. 314-316). Keys for turns and

revolutions were formerly written: 773a i b.0 .0
Old New Old New
22. (p. The symbol for the face was formerly just (H without
343). the added pin \&
The action of facing was written with the pre-sign IU and .

23. (p. 350). In early scores (pre-1954), for sectional

repeats the sign =
was placed on the same side
of the staff foran identical repeat, and on opposite
sides for a repeat to the other side.

(p. 350). For the number of repeats, in early times

(pre-1954) the number 3 was used to indicate three 774 Old Old
repeats (a total of four performances of the material). Identical Lateral
Symmetry

775
24. (pp. 354, 359). The analogy
signs were formerly rounded a uuorm 3or8 e or
Old New Old New Old New
as in Figs. 775 (a), (c) and
(e). These signs were doub- Lateral Sagittal Oppositional
led to serve as repeat signs. Symmetry Symmetry Symmetry

25. (p. 358). The repeat sign <# or the analogy sign u; used to be written to state
that one dancer performed with lateral symmetry to another.

A.D 3* or A,B uj A,B = b A,B3 Aj3:n c A,B J AJB%

Old Old New Old New Old New
 .

Appendix B Old Versions 489

26. (pp. 387,391).

sliding
Unspecified touching and
were formerly shown by use
—
of a
777a
C
b
U
:+ + :
short stroke Old New

27. (p. 391). For distance in supporting on the hips

symbol used to
(sitting) the unqualified direction
1 w
mean a comfortable distance from the previous jjg a
point of support. Old New
28. (p. 393). Lying used to be written as supporting on the hips and shoulders, Lying
on the front or back was indicated by the appropriate direction symbols.

779a ++ 1 I +
Old Old Old New Old New Old New
29. (p. 399). The center of gravity sign was formerly written B.
30. (p. 401). Formerly only the degrees of X and * existed for distance of the center
of gravity; now all six degrees are used.
Level of center of gravity in a high kneel used
/
to be described as high; it is now considered to
be halfway down on the normal scale toward the 780a *

point of support. Changing from a high kneel

Old New
to a low kneel used to be described as center of
gravity moving backward middle. Because the
center of weight is supported all the time, it is
now described as change of level in place.
(Backward would be a falling action).
780c
ts
Old
% New
A high jump was formerly written as the cen- T
ter of gravity traveling a long way up; this is
n
now written with a path sign. <7*
780e B f 1
Old New
In very early scores (pre -1954) the center of
gravity at floor level was described as low
level, and the point halfway between the floor
I e
78 og a
and normal standing was middle level. Old New
31. (p. 422). Direction judged according to the
Constant Room directions was formerly in-
dicated by a small box (i.e. the present key 781;
without the cross superimposed). Old New
32. (p. 430). The sign for the Fixed Points in the Room was formerly
33. (p. 444). Deviations were formerly indicated by L
tiny direction symbols placed as pre -signs before
standard -sized direction symbols indicating the <
=
V
main movement. As a pre -sign, the deviation /
782a 3 „ : . 1
was included in the time value of the symbol. Old New
(p. 449). The spot hold sign was formerly drawn $. or
(p. 455). Fingers were formerly
783 fj ^ etc,
indicated by dots placed between Old New Old New Old New
the strokes of the hand sign ^ . Fingers Thumb Little Finger
 .

490 Orthography

36. (pp. 459, 460). The double lateral extension 784a A^ %=# b ^A \=^
and contraction signs were formerly drawn: Old New

37. (p. 469). The cartwheel sign

was formerly drawn: 785a }
Old
ANew
A Old
A New

38. (p. 483). Some indications which are now placed in an

angular addition bracket were formerly placed in a
curved vertical bow 786a / b
Old New

Appendix C

Orthography and Autography

In Labanotation the symbols have been devised so that differences between them are ob-
vious and their meanings remain clear even when drawn hastily or by a child. Standard-
ization in orthography is based on what is visually practical to facilitate reading. Full
details on orthography for finished scores for publication can be obtained from any cen-
ter using Labanoianon, such as the Dance Notation Bureau in New York City.

1. DIRECTION SYMBOLS
i) The length of the "indicator" on direction symbols
is one third to one quarter that of the whole symbol. I N
In using a notation typewriter flexibility in propor-
tionate length is limited. Side symbols are usually
drawn to a point, but when much elongated are flat- DU
tened as in (d) so that the symbol fits into a column. 787a

ii) Symbols meeting with slanted sides, as in (e) should

not overlap as in are used be-
In (g) dotted lines
(f).
ffl
tween the side symbols to show clearly the space
which indicates the amount of time spent in the air. 787e .a g ffl
Right Wrong A hop
2. PLACEMENT OF HOOKS
On symbols with slanted edges hooks are placed as
in (a), asthough attached to straight edged symbols.
When a hook appears at the end of the symbol
terminate where the symbol terminates as in (c).
it should

On slender indicators the hook is placed on a line with

788a
Right
b
Wrong Right
lb d
Wrong
the other hook, as in (e). Fig. (f) is not considered
correct; (g) is acceptable but not preferred.
788e I I gl
Right Wrong
USE OF THE COLUMNS
The following chart illustrates standard placement of symbols on the vertical three -line
staff. Alternate placements are described in the various chapters dealing with specific
parts. When hand and finger indications do not exist, head indications and path signs
are placed closer to the staff. The same is true of measure and count numbers and
front signs.
Appendix C Orthography 491

o 6 J
! "J ! o 2,2
0) 0) oj I
a;

I
Repeat
2! ! t
sign
3,+'

'2!

ill' *'G E
1 3
o 1

&i 11
°lh
giSi 111
E a),

z'ei
I.G
31 ^
Igi-
Repeat £1 3. >>i o E -

789 sign SiUi^lfe .oi,

Only the three basic lines of the staff are used in actual practice.

4. EXACT TIMING
A general statement of timing for a movement presupposes a general interpretation.
Precision is indicated by the size and placement of the movement symbol, or by the
specific performance sign # The following examples illustrate how the timing of one
.

beat is generally interpreted and how it is made more specific. (See also page 356,
Fig. 533.)

?.
P 2 2

1 1 \ , s o l I 1 1 ol I 1 I ol I 1

t g

790 h 0.

In Figs. 790 (a), (b), occurring right at the start of beat 1 would come at
and (c) a clap
the moment Any preparatory movement
the foot contacts the ground (start of step).
prior to this contact is taken for granted. The timing of such a preparatory movement
is in proportion to the timing of the following step. In (a) the step on count 1 comfort-
ably takes the duration of the whole of this beat. By count 2 the step is over; there is no
more movement. In (b) a swifter step takes only the first half of count 1 so that by the
second half of the beat, "&", there is no more movement. Fig. (c) shows an extremely
staccato step occurring right on the beat with a minimum of preparation. In (d) a step
of the same duration as (a) finishes exactly on count 1, having started comfortably be-
fore the beat. If in this example a clap occurred on count 1 ("on the dot") i.e. exactly
at the start of the beat, it would coincide with the final centering of weight at the con-
clusion of the step. Fig. (e) shows a leg gesture occurring on count 1 (i.e. count 1 in
general). By count 2 all movement has ceased. In (f) the gesture takes all of count 1
and arrives at its destination only at the very beginning of count 2. In (g) a quicker ges-
ture starts on count 1 and is finished by "&". In (h) the gesture starts ahead of count 1
so that it can finish right on the dot of 1 If the foot hit a drum at the conclusion of the
.

gesture, the sound would come right on 1 (the start of the beat).
 .

Appendix D

Upper Body Movement

A method of analysing and writing torso movements, known as Upper Body Movements,
has been in use among Kinetographers since the early days. This usage, explained
in this appendix, has its particular advantages, but in general has not been used by
Labanotators whose concern has been more with exactness of detail. The analysis and
method of writing are given here for all who need it.

A general description of body (torso, trunk) movements is suitable for the type of ac-
tions inwhich the spine, the thorax, and shoulder areas participate in movements of
the arms. Such actions can be seen in work activities as well as everyday actions.
Many folk and national dances use the torso in this manner, it being a natural and un-
studied usage. The term "Upper Body Movements"* has been given to such actions
which may also occur without arm movements.

DESCRIPTION OF UPPER BODY MOVEMENT

When caused by an arm movement, resultant participation of the upper body is indi-
cated by an inclusion bow (see pages 253-258). When the same form of upper body
movement is required but without an accompanying arm gesture, it is described by the
arm had the arm caused it. To
direction symbol which would have been written for the
understand such usage, the reader must comprehend the special analysis of Upper Body
Movements

ANALYSIS OF UPPER BODY MOVEMENT

The term "Upper Body Movements"* refers to movements which range from involv-
ing only the shoulder section of the spine (the upper dorsal vertebrae) to involving the
whole of the movable spine including the lumbar region. In all these movements the
hip joint is not involved. How much of the spine is used is indicated by the level of the
movement symbols and may also depend on the movement context. It is purposely not
exactly defined since other means exist for exact description of torso movements.
In the analysis of Upper Body Movements the upper torso
may be likened to the letter T in which the stem (spinal col-
umn) base; the crossbar at the top
is flexible but fixed at its
of the T
represents the shoulder section (upper thorax area
of the spine). This crossbar can tilt or twist or do both at
once. One side of the crossbar may initiate the movement
causing a resultant movement of the other side, or both may
move in unison or in opposition to one another.

A special convention keepsmovement description simple in the analysis of Upper

Body Movements. Direction and level are not described in the usual terms of destin-
ation, the point reached, but in terms of motion toward a direction. High level means
a slight movement in the stated direction, involving only the upper spine. Middle level
indicates a biggermovement, involving the dorsal spine. Low level indicates a still
larger movement involving the lumbar vertebrae. It is important that this convention
of describing Upper Body Movements from the point of view of motion instead of destin-
ation be clearly understood from the start. In writing a starting position, the direc-
tion signs in the third column indicate the result of such a motion.

Upper Body Movements may feature one side (of the T) or both at once. For this
reason columns on each side of the staff are needed.

Formerly called "upper part of body" movement.

Appendix D Upper Body Movements 493

METHOD OF WRITING c
V)
a

Upper body actions are written with direction symbols placed on o

either side of the staff in columns just outside the outer staff lines S S
>. >.
(the third column). Generally no pre -sign is used. * Although one T1 T,
n s
side of the upper body cannot move in isolation without affecting CQ CQ
u u
the other side, actions are described as being one-sided when one
K &
side is predominant. A feeling of one-sided body actions is a par- a ft

ticular feature of this description of torso movement.

D D
792 3 21 1 2 3

SINGLE -SIDED UPPER BODY INDICATIONS

Movements led or initiated by one side of the upper body are written in either the
right or left third column on the staff, according to which is applicable.

In the Lateral Direction

Inclinations to the right side are written in the right third column, as they are usual-
ly initiated by the right side of the upper body. The degree of tilt and increase in in-
volvement of the spine are shown by the level.

793a w ft E)
In the Sagittal Directions

Movements forward or backward with one side produce a twist in addition to a tilt,

When a diagonal direction is used this twist is proportionally less.

ssf
794a
Levels in the forward direction

794d

Involvement of the Head.

Levels in the backward direction
The head does not actively join in
D y
Upper Body Movements,
but reacts passively, i.e. is carried along so that there is no stiffness. When a twist
occurs the head does not turn.

DOUBLE -SIDED UPPER BODY INDICATIONS

In the Same Direction
When both sides of the upper body move in the same direction
no twist occurs. In the sideward direction double -sided indica-
tions produce a more definite tilt, both sides being active.

795b
See Appendix B, note 16.
494 Upper Body Movements

In Opposition

When each side is shown to move into an \

equal and opposite sagittal direction, as in
Fig. 796 (a), only a twist occurs, a tilt is
cancelled out. A lesser twist is indicated
796a \
by use of diagonal directions as in (b).

ARM MOVEMENTS WITH UPPER BODY INDICATIONS

The arms may move in the same direction as the upper body, or they may move else-
where. In the former case the Upper Body Movement can be written as an inclusion if
the upper body change is a result of the arm movement and not an action on its own.
Compare Fig. 797 (b) and (c)
Unison in On count 2 the right
arm and side is predominant,
right -sided the left arm balancing
Upper Body in the opposite direc-
Movement tion.
797a

The same Upper The arms are up when the

Body Movement upper spine is twisted, then
as above, with the move diagonally backward
arm moving into when the right side of the up-
other directions per body moves forward low

SYMBOLS FOR UPPER BODY MOVEMENTS

Because a direction symbol in the third column describes Upper Body Movement, no
pre -sign is needed. When Upper Body Movements are described out of context, as in
Motif Writing, the pre -sign ft is required. This sign suggests the idea of Upper Body
Movements - a free use of the chest with some involvement below the chest. When a
one-sided indication is needed, a small stroke is added to identify right or left. Note
the following equivalents:
i

[ /
2 \\
u
\ - /
1
\
U /
/
w
/
798a X \/ / \
CANCELLATIONS
An Upper Body Movement indication is valid until cancelled by:

(a) another Upper Body indication, or (b) a return to normal, or

(c) specificmovements of the shoulder girdle, chest, or whole torso.
In Figs. 799 all Upper Body Movements occurring on count 1 are cancelled on count 2,

/ /
/
/
2
\
/
/
J f
799a j ) lU
Figs. 799 show a return to normal. Fig. (d) shows a left side low tilt can-
(a) to (c)
celled by a right-sided forward high tilt plus twist. In (e) the double -sided forward
tilt is changed to a left -sided forward low tilt plus twist. In (f) an Upper Body Move-
ment is cancelled by a chest tilt.
 ) . . ) .

APPENDIX E

Terminology

a - the name for the second part of a beat of music divided into three (a triplet)
"a" column - additional (subsidiary) column for the legs.
Adequate Curve - equal to the curve stated and expected, sufficient.

Aerial Step - one in which the performer rises into the air, i.e. some form of jumping,
"and" or "&" - the name for the second half of a beat of music.
Attached Symbol - a smaller symbol (representing a minor segment of a limb) attached,
i.e. placed immediately adjacent to a standard -sized symbol representing the main
segment of that limb. Also called a "parasite" symbol
Augmented Curve - greater than that stated or expected
Autography - the drawing of symbols, conventions, and standardization pertaining to
how symbols are drawn.
Axis - the principal line along which extension or around which a rotation occurs.
"b" column - additional (subsidiary) column for the body and arms
Bar - a commonly used term for measure in music.
Binary - consisting of two parts. In skips and gallops, the rhythmical arrangement of
the three part action into a time division of two equal parts.
Bending - the folding in of a limb toward the center in which the extremity approaches
base on a curved line (see analysis on page 318). (See also Folding, Curving.)
Blind Turns - see Non-swivel Turns.
Body Directions - directions described according to the Cross of the Body Axes.
Bound Flow - movement in which the factor of motion itself is restrained, constrained,
confined, controlled, held back.
Butterfly - a nickname for the symbols ^ and ^ or M .

Center of Gravity - the point about which a body is in equilibrium, balanced.

Central - pertaining to parts of the body at or near the center. For the body as a whole
it is the parts of the torso, shoulders, hips. For the hand the wrist is the central
part. Movement which is spatially central occurs near the center of the body and
may be performed by peripheral parts of the body.
Constant Directions - directions described according to the Constant Cross of Axes.
Contraction - a form of flexion; specifically the drawing in of a limb toward the center
in which extremity approaches base on a straight line. (See analysis on page 318.)
The term contraction is given its anatomical sense and not, as in certain contem-
porary dance techniques, specifically applied to a stylized movement of the torso.
Cross of Axes - three lines intersecting at right angles. From the point of intersec-
tion each line goes out in two opposite directions into infinity. It is from this cen-
tral point, called "place, " that all directions are judged.
Curling - see Curving.
Curving - the action of bending (folding) in which a multi -segmented part of the body
produces a curve (see analysis on page 318). (See also Bending, Folding,
"da" - the name for the third part of a beat of music divided into three (a triplet).
Dependent Part - a segment of the body attached to a larger or more centrally situated
part. (See also Major & Minor Parts.
Destination a state or position which is reached by some action.
-

Deviating Curve - a curve normally lying on a plane (two-dimensional) but which is

caused by a turn of the body to pass through a third dimension and become conical.
Deviation - a departure from the main line of a movement or from a standard position.
Diminished Curve - less than that stated or expected.
Distal - that end of a segment of the body which is farthest from the center, or from
the point of attachment to the body.
 )

496 Terminology

Dynamic - pertaining to power, to physical forces or energy, to forces producing

motion.
Dynamics - the action of forces which produce or change motion of a body. In dance
dynamics refers to factors which affect the expression, texture or quality of motion.
Effort -Shape - see definition on page 12.

Expansion -three-dimensional extension, enlargement.

Facing - the action of directing a surface of a part of the body toward a person, an
object, or a particular spatial point.
Fine - end, last time for a repeat.

Fixed -base Turns - see Non -swivel Turns.

Flexion - the general term for the group of actions to which contracting and bending
(folding) belong.
Folding bending a single joint in which the free end approaches the base on a curved
-

line (see analysis onpage 318). (See also Bending, Curving.)

Free End - that end of a limb which is not attached to the body.
Free Flow - movement in which the factor of motion itself is free to follow its natural
course, unrestrained, unfettered, uninhibited, uncontrolled, unrestricted.
Friction - the resistance to relative motion between two parts in contact. If the parts
are in sliding contact, e.g. the foot and floor in pivot turns, the resistance is called
sliding friction. ("Frictionless" turns was a former misnomer for non-swivel.
Front Signs - signs for the Constant Directions in the room, used to indicate in which
room direction (or stage direction) the performer is facing.
Horizontal Curve - a curve lying in a horizontal plane.
Inclusion - participation of one part of the body in an action of a neighboring part.
Jump - term "a jump" refers to the specific form
specific meaning: the in which the
performer leaves the ground from two feet and lands on two feet.
Jumps - general meaning: aerial steps.
Key - an indication used in dance scores comparable in use to the keys in music nota-
tion. The key stated at the start of a score modifies subsequent movement indica-
tions. Usually the term "key" refers to a system of reference for directional
description.
Key Signature - a statement at the start of a score concerning certain specific usages

be applied throughout the score. These may be abbreviations expressed as an

to
equation. Such statements are also termed pre-score indications.
Kinetography - the transcribing of movement (translation into signs on paper).
Kinetology - the science and study of movement.
Kinetogram - a sequence of movement written in Labanotation (Kinetography Laban).
Labanalysis (Labananalysis) - the analysis of movement based on Laban's investigation
and further developed by contributions of specialists in many fields.
Labanotator - one who records movement using the Laban system.
Lateral - lying in or pertaining to the side-to-side plane or directions.
Legato - bound together, a smooth and connected manner of performance.
Major Parts - the central or main parts of the body, e.g. upper arm in relation to
lower arm, lower arm in relation to hand. (See also Dependent & Minor Parts.)
Measure - a group of beats in music enclosed by bar lines, e.g. a measure of 3/4
(3 beats of quarter note value grouped together), a measure of 4/4 (4 beats of quar-
ter note value grouped together).
Meter - the time signature of a piece of music or dance, i.e. the division of a composi-
tion into measures consisting of a uniform number of regularly recurring beats or
time units.
Minor Parts - the extremities of the body, parts farther away from the center, e.g.

the hand in relation to the lower arm, the lower arm in relation to the upper arm.
(See also Major & Dependent Parts.)
Motif - the idea behind a movement, the concept, the intention of an action, the moti-
vation which causes an action. Also the "germ" or "theme" comparable to a Leit-
 . .

Appendix E Terminology 497

motif in music.
Motif Writing - see definition on page 11.
Motion - a movement or action, the tendency, intention, or character of which is
stated (e.g. rising, advancing, contracting, relaxing, etc.) but for which the ter-
minal state (destination) is left open.
Non-swivel Turns - a turn of the body in which there is no sliding friction of the sup-
porting surface (also known as Fixed -base and Blind turn).
Orthography - art of writing words with the proper letters, according to standard
usage, correct spelling.
Parasite - the nickname for a device to simplify writing in which the direction for a
minor part of a limb is written as a smaller symbol and attached to a standard
sized symbol indicating direction for the major part.
Passive Movement - a change in a part of the body or of the body as a whole produced
by an action in another part or by another person, the affected part "allowing" the
change to take place
Peripheral - pertaining to the external boundary or surface of any body. Peripheral
parts of the body are the extremities: hands, feet, and head. Spatially peripheral
movement is that which occurs far from the center and in which the limbs usually
must be extended.
Place (Place Middle) - the zero point, the center from which all directions emanate and
from which they are judged and accordingly named. In supporting, place is beneath,
at, or above the center of weight.
Point of Attachment - the base of a limb where it is attached to the body, or where a

minor part is attached to a major part.

Position - an established and recognized destination.
Pre -score Indication - a statement at the start of a movement score of specific usages
which are to be in effect throughout the score. Often these are key signatures.
Pre-sign - a sign placed before the main symbol, e.g. a space measurement sign or a
sign for a part of the body placed before a direction symbol.
Pre -staff Indication - any indication placed below a staff, e.g. identification of a per-
son, specific use of columns, or reminder of a previously established position.
Proximal - that end of a segment of the body which is closest to the center of the body.
Resultant Movement - a change for a part of the body or the body as a whole which is
caused by an action in another part or by another person. This outside action may
be resisted (in contrast to passive where it is "allowed" to happen).
Retention Sign - a sign stating that some aspect of an acquired state is to be retained.
While the word "hold" is often used (e.g. hold sign, space hold, spot hold), the
term "retention" is more suitable for all uses to which retention signs are put.
Revolution - a progressive motion of a body around a center or axis, a turn or rotation
of the body as a whole
Rolling - traveling by means of revolving (turning over and over) while supporting (ly-
ing, etc.) on a surface.
Rotating - the turning as a unit of a segment of the body by means of flexibility in an
adjoining segment, e.g. the head rotating through flexibility in the neck. (Compare
with Twisting.)
Sagittal - in movement, reference to the forward -backward plane and any plane paral-
lel thereto. Anatomically this term refers to the suture between the parietal bones
of the skull, hence the plane of the body in which the above suture lies.
Satellite Center - the center point of a system of directions (cross of axes) centered at
an extremity of the body or at the center point of the path of a gesture.
Shifting - displacement (as far as is physically possible) of a part of the body on a
straight path. In a shift both upper and lower ends of the area in question move
same direction.
equally in the
Skew Curve a space curve (three-dimensional curve) as opposed to a plane curve
-

(two-dimensional curve).
 ) .

498 Terminology

Sliding - traveling by means of moving smoothly across a slippery surface as in

skating or skiing.
Spring - term used for jumps when the specific form of aerial step need not or cannot
be stated. A spring is the action of rising from the ground, the subsequent landing
being taken for granted. (See Jumps, Aerial Steps.
Stability - the state of being when the body is in balance.
Staccato - separated, disconnected, cut short or apart in performing.
Stance - the support of the body (usually the feet or one foot) which retains the pre -
viously established front when a twist occurs in the rest of the body.
Standard Directions - directions described according to the Standard Cross of Axes.
Structural - description of a movement or the notation of a movement in which the ele-
ments of timing, space, and the part of the body used are clearly defined.
Style - distinctive or characteristic mode of presentation, construction, or execution
of patterns of movement.
Systems of Reference - established distinctions in determining to what a direction sym-
bol refers, i.e. how a stated direction is to be interpreted.
Ternary - consisting of three parts. In skips and gallops, the rhythmical arrangement
of the three part action into a time division of three equal parts
Three-dimensional - the use of more than two directions in movement, movement fill-
ing or enclosing an imaginary sphere.
Two-dimensional - movement using two directions at the same time or movement on a
plane (describing a two-dimensional surface).
Twisting - a turning of a part of the body in which the free end turns (rotates) farther
than the base (the point of attachment to the body, to the floor, or to a person or
object). The resulting movement produces a spiral within the part specified.
(Compare with Rotating.)
"u" - the name of the fourth part of a beat of music divided into four.

Undeviating Aim - a movement which continues on a beeline toward a specified point

regardless of other simultaneous and influencing actions.
Upper Body - term referring not to a specific part of the body but to a use of the upper
torso which may involve only a shoulder section (upper dorsal vertebrae), the chest,
or the whole of the movable spine down to the lumbar region.
"y" - the name of the second part of a beat of music divided into four.
 1

Glossary of Symbols

DIRECTION LEVEL
The three levels are
distinguished by the
different shading of
the symbols.

<
p
Up, high
i a iqb. m
Middle
Direction is indicated by p qp q
the shape of the symbol
Down, low

RELATIONSHIP PINS (position signs; minor movements)

V
etc.
i hi- ^ —O —O— O— ;?

T Intermediate positions, di-

Low Middle High rections; minor movements

Intermediate Directions
A point 5 way from forward
A point half-
Move half- middle toward forward low
\ way between
way to this
two stated A point 3 way from forward
direction
directions high to right forward high

ABBREVIATIONS
Attached
Elimination of Limb Signs Additional Information

! >k
Full version Divided column Attached symbols Attached rotation symbols

THE BODY THE STAFF

The represents the body. Placement of movement indications on the staff
staff
shows which part of the body executes the movement.
1
1 l I

1 '
1
3^
! ! ! ! i

1
1 i

J 1 CD
a
a>
1

I
l

<D
;
| ;

#
1
1

U i

^
|3 £
, , i

U '
-M
i

3
1 1 1
1
i
i
i
1
Q\ 1
3
CO j_> W ' '
°* Si ,i_> 1

SI
i
4-> i
.
I
I
i |
<8 i

bo o O !
bO bol . o
1

"Hand Head Isle ao Is!?! <u

Hand
Arm Body" Body Arm 3 1
'« i
1

J ICO CO 1 •— a. ,co CO i
i
J CQ i

" "
1 i

,
.eft Rig 3" Left Right

Standard Staff Expanded Staff

500 Glossary of Symbols

THE BODY SIGNS The Joint Signs

For the Arm 3 For the Legs

1 r Shoulder + A f- Hip

5 t Elbow * A N Knee

3 5 Wrist * 1 E Ankle

Hand Foot
1 1 % i ¥

Fingers Toes
Body Areas left right general left right

J Basic sign for an area

Area
Earnof Shoulder Chest Waist
M B
Pelvis Whole Unit of knee
\9\
\i\

Unit of foot
etc *

head section (rib cage) torso to head to chest

Surfaces of Body Areas ("S A surface, any surface

£\ p m- HI
Face Back of Right side Left side Right front Upper front Lower left side
chest of waist of pelvis side of knee of chest of pelvis

Moveable Parts within Body Areas (details on these will be given in Book II)

Q
Breastbone
@
Upper dorsal
> Q
Abdomen
ft e

Right side Diaphragm Lower dorsal

spine of rib cage spine

Limbs

t I i 1 r
A limb Both arms Left arm Right arm Both legs Left leg Right leg Neck

* or ||= oi A\
1 *. t= \ \
Right upper Left lower Thigh Right Lower Left low-
a arm arm thigh leg er leg

Surfaces of Limbs

\\ II-
*
Under or Outer Thumb or big Little finger or
back or top toe side little toe side
 Glossary of Symbols 501

Area, Surfaces and Edges of Hands and Feet

. n r r L -n-
ar - L
-n n-
R -
n
Area of Palm, sole Back of hand, Thumb or big Little finger or Tip of fingers,
hand or foot of foot top of foot toe edge little toe edge tip of toes

L.|> -JR. L.-U 1>R.

|j

Area of base Under side, Upper side, Thumb or Little finger or Tip of heel
of hand or foot sole of heel instep big toe edge little toe edge

ci n i\ m i\ i> i\ L,
Specifying area of Specifying area of Specifying area of Specifying area of
foot, left or right hand, left or right base of foot base of hand

Specific Fingers

1! I!
Thumbs Index fingers Middle fingers Ring fingers Little fingers

Parts of the Fingers

Right middle Base of knuckle of Middle knuckle Last knuckle of Tip of right
finger right middle finger of middle finger middle finger middle finger

Limb of right Base segment Under side of

n n
Top, nail side
middle finger middle segment of last segment
Specific Toes and Parts Thereof Parts Above and Below Joints

k- 4- b~ etc. ^J
H« etc. * I
Above Below Above R ankle
Big toes 2nd toes Pad of big toe Nail of little toe R elbow L knee (cou de pied)
. — _- — __________ ___ __j_ __ ___ ___ __
Parts of the Head (Pictorial signs have been used in scores when detailed signs
were not known.)
Simple
Pictorial signs Detailed Signs (the whole range will be given in Book II)

\C\ Nose -(§- Top of head Qr Right ear -^hJ Left ear

[C] Mouth (6* Forehead l£ Left cheek (X^ Tongue

|c] Tongue (X* Nose ^g' Mouth ICY Teeth

-fc}- Ears (fr Chin Tg?' Eyes Beard

(fc

(C\ Eyes -£1 Throat ff~*x Right eye-

ball
^
(iH,
Right eye-
brow

SIGN FOR UPPER BODY MOVEMENT

Both sides Right side Left side
& a" (\
502 Glossary of Symbols

REVOLUTION, TURN, ROTATION SIGNS

§ 9
Turn, rotate Turn, rotate Somersault Somersault Cartwheel Cartwheel
counterclockwise clockwise forward backward to left to right

Any
revolution
M
H
turn, Turn
n
right or left (for ges-
tures: the untwisted state)
o
Any somer-
sault
y y
Twist within a
part of the body
Rotate as
a unit

Degrees of Rotation (also used for circling) Pins for amount of rotation
are placed within the symbol.
A
M
\

/ f \ V V
Full turn % turn 2 turns More
counter- clock- clock- or less
Clockwise Counterclockwise clockwise wise wise parallel

&
Very little A great deal Turn to face 5 right from un- End facing Turn as much
turn of turn focal point twisted state audience as possible

PATH SIGNS For Body as a Whole

L X
Any Straight Straight Straight Revolving on Circular Circular Circular
path path path to path, short a straight path path path left
left side distance path left right or right

T f f f i f i
i
M
1
V V ^ A v V
\ \. \,\
5 circle Travel for- A very A large Circling, Spiral path Spiral patii
left ward while small circle no change approaching going away
circling circle of front center from center

Paths for Limbs or Body Areas

(old)
I >
N /
f \ V < > i (axis: for-
Abbre- ward high/
I
viated
back low)
i- version >s
i :
\ y it I

s traight path Ho] "izor ital Some Cartwheel Specific axis

ges ture (shifting) circu lar iaths paths
pi paths stated
 f

Glossary of Symbols 503

RELATIONSHIP SIGNS. HORIZONTAL BOWS

Duration Address Near ,Near/Sur- Touch Grasp i
Support Grasping
I
rounding support
- -t
Momentary v^ x
Passing,
brief duration,
momentary- ^ ^< ^=?
x ^=X:
sliding

Retention
of state
2.-' i
^e^ i
Retention
(continuation)
of passing
relationship,
o ,'/
Vs^,^^ w
sliding

Penetrating —
Each bow may be swung
S~\ "\ (also and
upward, if preferred.

Meeting Line

A M A-*- orAt |£_

Al
A is in front A is on read- A isbeneath A is to the right forward A is
of reader er's left reader and above reader low of reader

CONTACT HOOKS Modification of the contact bow to indicate part of foot which
touches the floor. Unspecified touch: \J or C\ .

- < y ^r
Nail of Tip of Pad of Full ball \ ball \ ball ball Whole Full
toe toe toe (i toe) foot heel
(| toe)

Abbreviations for Hooks

TO to
Heel - q. Toe .

drop drop ^ . -J

ffl-ffl _ V

VERTICAL BOWS, BRACKETS

1 1
+ E
J
<> C ] J
e f
Simul- Caret: Staple:
taneous continu- retain (a) Phrasing bow (d) Inclusion bow (g) Addition bow
action ation; same (b) Passing state: (e) Hip included (h) All actions
bow same place deviation (f) Shoulder area are accented
part of (c) Passing state: included (i) All gestures
body part leading are bent
504 Glossary of Symbols

SPACE MEASUREMENT SIGNS Contraction and Extension

Small Distance, Shortened, Contracted Large Distance, Stretched, Extended

X - 1 degree, small (rounded) |/| - 1 degree, long (limb straight)

)k^ - 2 degrees |/|-2 degrees (limb extra stretched)

X * 3 degrees (right angle) 1/1-3 degrees

^ - 4 degrees, very small (bent) (^j - 4 degrees, very long

^ - 5 degrees ^j - 5 degrees

M" - 6 degrees (totally flexed) p7\ - 6 degrees ^ - 7 degrees

Specific Contractions X. 121 V\ ^1 etc,

and Extensions Contract over Contract over Extend over Extend over
the front the right front the back the left side

Folding (Bending)
^- ^c K -f "*" etc '

V ^ ^ ^£ &£ &L X, F. RFD. R. RBD. B.

1. 2. 3. 4. 5. 6. Unspecified The different physical directions
The 6 degrees of folding (bending) folding into which folding can occur.

Unfolding
-A- * * * ¥ etc.

A A AA
1.
AA A F. RFD. R. RBD. B.

2. 3. 4. 5. 6. Unspecified The different physical directions

The 6 degrees of unfolding unfolding into which unfolding can occur.

Three-Dimensional Contraction and Extension

"^\ , ^C , 7T , v\ All degrees are possible: -/"£ ^6 etc,

Two -Dimensional Contraction and Extension

Along longitudinal axis: X , ^C etc -

\AM etc.

Along
lateral
axis:
L± Li\ U$ ^± m± 4± \-/ \U W \=/ \U \=/
Joining, closing, adducting Spreading, separating, abducting

Reference to Body Reference to Space

Placed in a circle, signs
sigi /~\ /tn Placed in a diamond, signs A A
^
i

refer to body aspects ^-^ refer to spatial aspects V V

Space Measurement - Specific Distance

\3j = 3 step lengths [&] = 6 step lengths

SUCCESSIONS, SEQUENTIAL DEVELOPMENTS

An outward sequence,
V A
An inward sequence,
V
Outward
A
Inward
succession succession body wave body wave
 . J

Glossary of Symbols 50'

FLOOR PLANS Audience

(downstage) Indication of Performers
Indication of on Floor Plan
L.
floor plan of
room or stage:
St. St. R,
Al A 114 UA
Girl Boy Person
Back (upstage)

AREA SIGNS

—
—
I

'
I Basic sign for an area (also
used for parts of the body)
Front of an area
Center of an area
& & ti

&
'

|^1 An area, any area

Specific parts of an area:
-s
The Main Defined Areas (Stage Areas)

arm Periphery of
ja 9 Bl
the room
Center area of mrm Near the edges
D m m the room of the room
_
Exact center Beyond the edges
of the room E of the stage

Halfway Situations and Offstage Areas Subdivisions of an Area The Floor

mnmn
h a a
Pins added
to an area
n d tf
B
El c e a a ffi
sign indi-
cate sub-
divisions
D D-
B e a a
mum a
of that
area. p Q \n
(offstage) a (offstage) Subdivisions of area:[|

FIXED POINTS IN A ROOM

Lower left front corner
rjri Key for a Fixed Point
•^ in a room or on a stage Upper left front corner

Level is shown by use of

Center of ceiling
the pins 6, -L,
between points are shown
I . In-
ja up ^ X^s] Between lower and
by using two pins middle left front corner

FRONT Audience/Front of Room

SIGNS, STAGE DIRECTION PINS
Key
* for System of Reference based on
the Constant directions in the room
13 dD Ef

For Ballroom Dancing

-s &
Key for Line Facing L.O.D. \t\
ja 5 q
of Direction:
Back to L.O.D. [7] Intermediate rfr Kj-|
directions I —I T_
506 Glossary of Symbols

ANALOGY SIGNS
%
Equal Similar, Exact Parallel Lateral Sagittal Oppositional
ad libitum symmetry symmetry (ballroom)

REPEAT SIGNS
•
/4
/
^ •4
/m
% or -£-
^ or ==

Identical Lateral symmetry Repeat Do what A Do what A

(the same) (to the other side) bar 4 is doing now did in bar 4

The analogy signs for lateral, sagittal and oppositional symmetry are also used
for indications of repeats.

En Croix Repeats

-H *
Forward, side- The same on the Forward, sideward The same on Four times
ward, backward left side of the backward and side- left side of en croix
on right side body ward again the body

O utside the Staff: Sectional Repeats

For shorter sections For longer sections

N
*

Repeat / &
the same
Later repeat
v.
of identified

•^
reprise
Repeat
to other
side
.
sv

V
Total 4
of four
Labeling
£ I
.v4 a reprise

First and Second Endings

A different [* A different A different

2nd ending: T 4th ending: last time:

HORIZONTAL LINES
(a) Count marks (ticks)
f ,
(b) Bar lines

(c) Double starting line b^ —

(start of action)

(d)

(e)
Ending line

Lines enclosing repeats.

V
c— L= i I I
f-+

(f) Artificial bar lines

 Glossary of Symbols 5(

GROUP NOTATION (Note: some indications given here may be met in scores but are
not explained in this book. They will be dealt with in Book II.)
Formations: General Group Shapes

^>
Pictorial indication of solid group shapes Linear formations

Formations, Arrangements
= l*J

© 0- ip \y
1 tt^-=Q Any number of people one behind
Side by One in Circle (pictorial the other, left side to the center,
side front of facing indication) the front person facing the audience,
the other in the back person facing upstage, i.e.
a semi-circle.

Pre -Staff Signs

it & 4i> ® <^>

A girl A boy A couple Each one Each girl Each couple

Use of Numbers
* a ft q
© w
-Ah-
s
2nd girl 4 men 8 trios Each 3 girls 6 people side by side 5 men in a file
facing front 4 step one behind the
Plain number = number of person lengths from the other, each 3
front of the stage step lengths
Encircled number = number of people,
apart
couples, etc.
Double encircled number = each set of stated number of performers

Identification of M embers of a Group Indication of Person Leading

ODD r*-|
'— '
Person in front,
front of group

OHO H Center person,

center of group

D LH Q Person on right

Types of Circling for a Group

Individual
^ Wheeling /( Shifting the "f Whirling: wheel- ^
circling group (cir- '
ing in which each
(each on cling as a
^ member covers
own path) unit around the same distance
y the center) ' on his own track r
Canon Staff (placed to the right of the movement staff)

exit
_ Reverting Synchro- Simultan-
canon nized canon eous canon
 . '

08 Glossary of Symbols

TIMING (vertical length of symbols)

m
The relative length of the
movement symbol deter-
mines its time value.
I V b
Quick, sudden
I ,

For symbols which show timing, length indicates the

duration of the action
Slow, sustained

n Accelerando Ritardando

Vertical Lines

i etc.

Action stroke, Resultant movement, Resultant direc- Resultant

duration line passive reaction tional movement path

HOLD SIGNS (Retention Signs) CANCELLATION SIGNS

Back to Previous state
O Hold weight (body hold)
© normal
or
A

f\ disappears
O Space hold r ~j
-J
Staple:
the
retain
same place GJ or ^j
w Release >
let S°
(relinquish contact)
<^> Spot hold
Version for sup-
r or ~L P ort t0 Sesture ^ or ^v Release of a retained
or vice versa > space or spot hold

KEYS FOR SYSTEMS OF REFERENCE (Crosses of Axes)

* +
Constant Standard Base -of- Twisted- Body
Stance Body-
4 +
Body- Body-
Cross Cross of (Untwist- Twisted- Part Cross Stance Base-of- Twisted
ofAxes Axes ed Part) Part of Axes Twisted- Part
Part
FOCAL POINT, CENTER OF GRAVITY
• = K Focal point is the chair • Center of Gravity

MOTIF WRITING INDICATIONS The following signs are used specifically in Motif
Writing. Those marked are also used in S.D.
Any
action
of the
body
Any
ges-
ture
A jump
of
kind
some
a j v
Left Right Either
Gathering*
1 IT
Left Right Either
Scattering*

Motion: Destination: ) T) ?)
etc.
1>\ /I

Toward Away
 Glossary of Symbols 5C

DYNAMIC SIGNS
Resultant, Shaking,
<\ V P \ 1 > passive vibrato,
Slight accent Strong accent tremolo

EFFORT SIGNS (those in parentheses are Laban's abbreviated version)

The Eight Basic Efforts
(~ (-/) Strong, direct, slow (press) \r {/ ) Light, direct, slow (glide)

(T (^) Strong, direct, fast (punch) \r (^) Light, direct, fast (dab)

y (%) Strong, flexible, slow (wring) \) (\) Light, flexible, slow (float)

(_ (%) Strong, flexible, fast (slash) \)

(V) Light, flexible, fast (flick)

Element of Control The Complete Effort Graph

a }
b
Bound flow, guided, a - weight (force)
controlled, restrained b - space
c - time
Free flow,
unrestrained
d - flow c —
Because the extensive research work undertaken in recent years on the full use of
dynamics, particularly in theatrical dance, is not yet completed, the new "working"
signs are given here so that they can be identified when met in current working scores,

Previous Signs New Working Signs

Strong Weak Strong Gentle Relaxed Uplift, buoyant

;
Emphasized Unemphasized
; )
Emphasized
J
Unemphasized
Weighty, heavy
V
& 9) (reaction to pull
Resilient (elastic) Resilient (elastic) of gravity)

OLD SIGNS (the new equivalent is indicated in parentheses)

Wide, stretched Front Signs, Stage Pins

1
J o- etc. = (ffi, 13, B- etc.)

Spot Hold Fixed Point in the Room Cartwheel Signs

(«>) ««) »
Keys for Systems of Reference Analogy Signs

= (4), Ul- (^,+,or< 0- 3 -(a), J-W)

(see Chapter 25)
Deviations

I Pins are now used

T t
instead of the very
lb
small direction
4 a s </
symbols.
 Index
NOTES
The page number for the main entry for an item is underlined.
Alphabetization ignores minor words such as "of, for, use, with, " etc.
Apart from a general listing, actions (verbs) are listed under the part of the body
(noun), e.g. tilting is given under "Tilting," but tilting the head under "Head tilt."
Special listings are given for cancellations and timing. Degree of an action is
listed under the specific action.
Numbers in parentheses refer to figures.

ABBREVIATIONS
anal -analysis destin-destination indie -indication ref-reference
aug-augmented deviat -deviation meas -measure revolut -revolution
C of A -Cross(es) dimens -dimensional mvt- movement sig- signature
of Axes dir -direction MW -Motif Writing simult -simultaneous
C of G - Center of dur -during perf -performance symb-symbol
Gravity ge st -gesture pos -position syst of ref - systems
contr -contraction horiz -horizontal prep -preparation of reference
desc -description ident -identification pt -point w - with

"a" & "b" columns 23 arm gest 171,354-5 Anthropology 8

"a" column, uses of 233 circular path 193 Anti -clockwise 92,183
Abbreviation, devices degree of turn 114 Any path 183-4,502
(see also analogy & as duration line 355 Any turn, revolution 502
repeat signs) 241-3 for repeats 355 Apparatuses focal pt 111
Abdomen 500 run 355 Apart, feet slightly 441
Abducting hand(fingers)459 "Adverbs" (movement) 18-9 Approaching 184,341
Above 434 Aerial mvts, see Jumps on circular path 203
use for arms 436-7 Aerial revolutions 473-4 Approximately, see ad lib.
for legs 391 Aerial steps 77-91 147-53 . Arabesque, pose w 238
for relationships 437, 503 Aerial turns 103-4 1 10, 156
. pelvis tilt in an 266
Above a joint 501 Aim of mvt 205 Arbeau,Thoinot 2
Absence of mvt, hold of a path 185,381 Arc of gest 118
sign for 49,136,154 undeviating - 451 Arc, \ circle (of path) 192
Accelerando 125-6,483 Air, in the, see Aerial Arch of foot, see Instep
Accents Alignment, normal 244 Arch, forced (contact) 206
150-1.171. 478-9 .481 "All fours", on 396 Arching the spine 329
Accompaniment, see Music Alphabet des Mouvements Archimedean spirals 203
Accompanying, anal 253 du Corps Humain 3 Area(s), a defined 105
Acrobatics, C of G mvt Alternate versions 485 around a joint 455
399, 411-3 Amalgamated step turn of body, details of 458
Action, an 20-1 24 , 112-3 center - of body 435
of limb 224 Amount, see degree signs for hand 457
producing a touch 225 Analogy signs 354-9,506 specific - in room
resulting in a support 383 Analysis of dir 414-33 182,505
start of 44,240 (see also Syst. Ref. & spot in a defined 430, 505
Action Strokes 20-1 24, 38
, Cross of Axes) stage - (room ) 181,505
for jumps 90,103-4,473 Anal of mvt, see Mvt anal surfaces of an - 343, 454
for writing rhythm 60 Anatomical desc 15 work - 105
in structural desc 171-3 for joints 227. 318-30 Arm(s), Arm Gestures
w supporting sign 383 Angular bows, see Bows, action strokes for 24
Actions, blended 96 Brackets behind the body 133-4
sequential, and Angular path of C of G bending 169-74,328
simultaneous 38-9 in steps 56-7 unwritten 134
Active part 336, 338, 482 Ankle 223-4 black pins for 117,134,436
Active touch (leg) 210
'

contraction of 321 Body C of A Key for 427

Addition Bracket dir mvt of 231 body hold for 136,269-70
306,332,433,479,483 displacement 285 both -, sign for 224
Addressing 336-7 ,437 extended 387 both -, twist in 275
Adducting 460*462 flexion (resultant) 233 carriage of the - 116
Adequate curve 136
'

folding of 327-8 (re palm facing) 129

Ad lib. (similar) 354 rolling of 285 (re rotation) 132-3
 1

Index 511

port de bras 436 windmill mvts 121 for C of G 402

carried: during tilts 269 whole arm, see listbelow for contractions 179-80
during turns 136 Arm: Lower Arm 223,454 for hips, shoulders 244
torso twist 305 anal of mvt 236 for leg rotations 281
use of center, see Place carried along 235 for state of leg
circular path 121,126,128 circles 236,239,443 during steps 179
perfof 133-4 dir & level for 228-9 236 . for tilts 262
Constant C of A Key pronation of 295 in turn sign 301 -2
for - - 421-3 reaction to upper arm Balance 16
continuity of mvt for 122 mvts 234-5 equilibrium 398-413
contraction 169-74 supination 295 stability 402-6
crossing - - 117 surface of 454 loss of - (see also
perfof 130,134 twists 93,295 falling) 407-9
curved path, see Curves Arm: Upper Arm 454 maintaining - for
curving 328 dir & level for torso tilts 264
deviations from path 228-9 .234.239 shift of C of G in - 399
or a position 422-5 rotations, caused by Balance 67
dir mvt 116 lower arm 236,239 Balanchine, George xi
direct path 118-9 surfaces of 454 Ballet (see also individual
dir & level 32,115-6 swings of (elbow) 239 entries for steps)
dir of ,w torso Arm: Whole Arm arm posit 436,439-40
twist 298,308-11,425 rotating as a unit 292 elbow "lifted" 295
distance between dir- signs for 224,454 key signature for - 291
ectional points 118-9 twist in the 292 technique, examples of
extension, stretchl65,174 "Around the clock" 472 touch & slide 214
flexions 169-74,328 Arranging score 362-3 Ball of foot, contact of 206
unwritten 134 Arrive at, see Destination used in kneeling 387
folding 328 Arrow: (floor plans) 367 walking on 215
gestures 23,115-139 w broken line 369 Ballroom Dance
including body 255-8 double headed 369-70 key signature for 291
inclusion (unwritten) for unison paths 369-70 Line of Dir (L.O.D.) 202
of shoulder area 134 wedge-shaped head 369 key & front signs
intermediate dir 438-40 As many as possiblell4, 502
legato
lower arm, see
122
list below
Assemble", basic form
w leggest 150,153,156
79
for L.O.D.
"opposition" in
pre -staff indication
— 431
359
202
natural opposit'n 117, 127 w sliding 214 steps 50
parallel 121,117 w turning 104, 156 Bar lines 39,41,44
parts of -,mvts 234-7 - soutenu en tournant 102 Bar numbers 45
parts of -, signs 224-5 Asterisk sign 164, 354, 356 Bars, marking off 39,41-4
passive 482 Atlas vertebra 474-5 Barbershop cartoon 414
path in space (see also Attached symb 242-3 ,427 Barre,as focal point 111
Paths) 29.30. 118-21 Attached rotation 281, 294 hand sliding along 340
during torso twist 311 Attachment, point of 227 Base of part of body 32, 308
pause between 122 Attitude (ballet) 242,238 (see also Point of Attach'nt)
place for 32, 120, 173,229 Audience (stage dir) 107 Base -of -Twisted -Part
positions, pins for 436 Augmented: chest tilts 267 keys 310.428.432
position signs for 117 curve, see Curve Basic unit statement 42-3
reading study in 123 body sections 252 Basque, see Pas de basque
rotation 291-5 tilts of 269 Battement balancoire 214
unwritten 131-3 torso sections 251 Battement cloche 214
separated mvts 122 tilts of 267-8 Battement degage 214
sequential mvt 465, 467-8 staff,see Expanded staff Battement glisse 214
space hold Autography 490-1 Batterie,battu 150-1
137,270,306,311 Away 34 Beard 501
destination stated 139 Axes of circular paths 424 Beat 39
staccato, sudden 122 revolutions, rotations indication of - mark 44
straight path for 426,429 on beat, off beat jumps 88
120.330.446 Axes, cross of, see Cross strong musical -,use 59
surfaces 453 subdivision of
sustained (legato) 122 Back 393,500 weak musical -, use 58-9
three-dimens 138 Back fall 397 Beating legs in air
turning, effect on 136-9 Back surface of limb 454 Beats per minute 43
twists in the 291-3 Backtonormal 131. 179.244 Beauchamps xiii.2
upper arm, see list below body alignment 244 Beginning, see Starting
512 Index

somersaults of 474-5 Bulge, of hip joint 334

Beginning, 1st & 2nd 354
Behind for arms 117 straight path for 331 Buoyant 509
62 surfaces of 343,458,500 Butterfly (symbol) 242
for positions of feet
for steps 48 Body Hold 245
Below, sign for 151. 434 for arms 136,270 C, sign for head 249,263
Below a joint 501 for chest 272 Cabriole 151,206
Beneath (a person) 503 for head 271 Can-Can (leg mvt) 231
Bending 323-9 compared w space Cancellation of: (signs) 508
(see also Folding, & spot hold 450 addressing 340
Curving, Contraction; for relationship 339-40 attached rotation 281
for bending body, head, understood use of 305-6 Body C of A key 433
trunk, see Tilting) Body: Parts of Body 22, 500-1 body hold 245
anal of - 318-9 as axis for revolut 474 C of G leading; level;
backward, see Curving 1
facing of 343-5 shifting 410
Bent limbs, retention of 180 inclusion of 259 contact 340
Bent retained touch(leg)211 rotating of 474-6 contraction 330,410
Benesh,Joan & Rudolf 4 supporting on 383-97 C of A keys 309 -10,433
Between dir, see Intermed- Body Sections 252 extension 172.179-80.330
iate dir inverted 273 facing 345
Big (length of step) 158 used for falling 409 falling 408-9
Big toe 457 tilts of augmented 269 folding (K signs) 329-30
Big toe side of limb 453 Body as a Whole, Whole Body grasping 340
Binary division (timing) 89 contraction of 473 guidances 464
Blended actions 96 C of A for revolutions hold weight sign 53,90
"Blind" turn 114,299 of 424,426,429,469 joint signs 243-4
Body, (signs) 500 progression of 22,47 keys, CofA 310, 317,433
alignment, normal revolution of 471-3 kneeling 389
(for limbs) 244 rotation (turn) of 274 length of step 178
- and -arm, see Inclusions Bound flow of mvt 509 limbs (parts of) 243-4
- Base-of-Twisted Part- Bouncing 481 limbs, bent,
key 428,432 Bows (see also Bracket) 503 stretched 179-80
center lines & areas 435 for addressing 336.503 loss of balance 408-10
column 22-3 for carry 338.449.503 lying 396
contact of parts of - for contact, touch 150 palm facing 131
225,338,479-80 205,208,225,338,503 part leading 463-4
contraction (general for deviations 443-5 passing state 404
statement) 473 for guidances 464 pre-signs (joints. 243-4
- C of A, see C of A, for inclusions 255,503 relationship 340
Body 416-7 for near 337,503 retention of part
cross of dir in - 229 for part leading 463, 503 leading 464
- directions 416-20 for passing state 404, 503 rotations
inclusions of 248,253-8 for phrasing 126,503 281,294.301-2.304
- lengths (for distance for relationship 503 shifts 335
ofCofG) 400,411-3 for same part 280,294 sitting 395
relationship, retained 245 for sequential mvt 467 space hold 138,247
revolutions of 469-74 for shift of C of G 404 spot hold 452
right & left sides 26 for simultaneous ac- state of leg dur step 179
ripple 465-8 tions 96.241.280,503 step length 178
rotation (twist) 274 for support 338.449.503 supports, mixed 396
- Stance key 428,432 Box, holding a 340 syst of ref keys 433
-'
resulting from
tilt lying on a 420 tilts 262,:
inclusion 255-9 Boy (on floor plan) 365 touch (leg gest) 211,391
- Twisted -Part key 428, 432 Bracket (vertical) 503 toward and away 342
twist, resulting from - addition - 483 twists, see Rotation
inclusion 256-8 for 1st & 2nd ending 353 Upper Body Mvts 494
upper -, see Upper Body 1st & 2nd beginning 354 Canon staff 507
Movements Bracket, curved - on Caret 74, 238 -40,503
vertical line in - 229 stage plans 370 for chest 300
wave 465,468 Breaks, Time Step (Tap) 220 for continuation of
wheeling 315-7 Breastbone 500 symbol 139,204
Body Areas, (signs) 500 Breath pause 52 for kneeling 387
cartwheeling of 475-6 Brush (leg ge st) 212,214 for shift of weight 75
details of 458 Brushing (hand) 339 for stepping on same
shifting 333-5 Buck (Tap step) 220 spot 447
 Index 513

Carriage of limbs, see Charts: Directions when Clothing, see Props

Arm, Leg standing, lying 418 -20 Columns(on 22-3,491
staff)
Carry 338 Interrelation between "a" & "b" 23,233
Carrying umbrella 339 Parts of Limbs 226 division of 242
Cartwheeling 469-71 Levels of C of G 412-3 use of - for legs 233
in air 473-4 Mvt Family Tree 19 - for torso 252
degrees of 471,476 Systems of Ref 432 specific use of 490-1
room axis for 424 Types of Revolutions 470 Comic jump (409 e, f) 284
Cast identification 373-8 "Chasse", w coupe 217 Comma, use of a 358
Cast list, current 378 Chest 248,500 Common time 41
"Catch" step 50 anal of mvt 249 Compass directions 106
Center (place) 24, 33 augmented - 251 Composite circling
distance from 158 augmented - tilts 267 sign 183,201.502
for gest 120, 142, 173, 229 body hold for - 272 Composite turn sign 92, 502
Center of Gravity 398-413 cartwheeling 476 for focal point 112
cancellation of 410 convex surface of 323 for limbs 277
distance of 400-1,412-3 facing 344 Compound meters 42
in jumps 407 -plus -waist 251 Compound time 42
in kneeling 388 rotation 300 Concave surface 322
leading 406-7 shift 332-4 Connecting bow 225
levels of 400,41 somersaulting 475 Consecutive touch 209,213
level, in steps 55-6 surfaces of 458 Constant C of A, see Cross
unwritten in lying, tilts, analysis of 2b5 of Axes, Constant
sitting 395 compared with Constant Directions 105-6
specified 399 cartwheel 476 compared w Standard 422
unspecified 398 w torso twist 298,308 Constant spirals 203
lowering 402 twist 300 Contact (bow) 150.338.503
momentum of 51 upper chest, see continuous (leg gest) 212
motion of 30,31 Shoulder Section degrees of 205,336-41
on a direct line 55 Children pointing 415 hooks 207.387.503
in falling 408 Chin 501 of hand & foot 232
in a step 34,52 "Chimney" (of symbol) 25 of legs 150, 205
in walking 51, 406-7 Choregraphie, ou l'art de neutral contact 387
path of in steps 55 -6 decrire la danse 2 of parts of body 480
at point of support 413 Choreography, means of parts of limbs 225-6
progressions of 398-9 of preserving 7 retained - (leg gest) 210
rising 402 Choreology 4 Continuation 139, 204
six degree scale on Choreometrics 10 Continuity of mvt
vertical line 401 Choreutics 4 96,116,122
shifts 403-4 Circle, focal pt for front Continuous turning 102
situation of 411-3 in relation to - 200 Contraction 166-75,318-22
spot hold for 405 group in a - 371 degrees of 167-70
in step in place 51 part of - (for gest) 118 destination of 485
traveling (in jumps) 83-4 Circling, Circular gest & everyday instances 166
undeviating path 406 paths, see Paths, Circular examples of 173-4
Center of Levity, see Chest Circular pattern: general indication 159

walking on —
Center line, vertical 21
68
of C of G shifts
on floor
403
185-6
lateral 320.322.460
meaning of word 166
Center lines and areas of head tilts 263 motion of 485
of body 435 of whole torso tilts 261 specific 319-22
Center 229
pt of dir 24, 120, Clapping 479-80 staccato, sudden 171
Center, at, sign for 403,434 use of energy in 478 sustained 171-2
Center stage (room) 182 Clasped hands 340 three dimensional 460
Center of weight, see Classical dance, see Ballet total 173
Center of Gravity Clavicle (shoulder two dimensional 459
Central path (gesture ) 120 girdle) 234 Controlled, sign for 509
Chair, as focal point 111 Claw (of hand) 462 Conventions in Writing 14
grasping a 295 Clockwise 92, 183 black pins for arm &
illustrating tilting 260 Clog, Waltz (Tap) 221 feet positions 436
sitting on a 338 Close to center 158 jumps 78
Chain of turns 100 Closeness 337 levels of kneeling 384
Characters, Closing, active foot in 66 levels of supports 174
identification of 377 Closing fingers, hand Convex surface 323
Charleston steps 285 laterally 460,462 Corner areas of stage 182
 ,

514 Index

Corps de ballet, vertical: simple, deviat- Diminished curve, see

identification of 375-6 ing (skew),undevi- Curve
Cossack jump 232 ating 138 .155-6. 311-3 Direct (Effort) 509
Cou de pied 501 Curved bows, see Bows Direct path (for gest)
Count (see also Beat) 40 Curved path, see Circular 118, 141,446
abbreviation for 364 path Directing a surface, see
dancer's 45 Curved path of C of G Facing
- numbers 45 in steps 56 Direction(s) 24,26,499
subdivision of 40-1 Curved "direct" path anal of 27,414-5
Counterclockwise 92 183 for gest 118 center point of 24,120
Country dances, see Curving, deviation from a 441-6
Folk dances anal of 318-9 .323-5 determining - for
Coupe 147,217 - a multi -jointed arm gests 116
Couples, a -, each - 507 part 325-9,461-2 established points 15
ident of in score 374 Cut in music stated in distance between 118-9
group formations 372 dance score 361 for gests 32-3. 115-6
Crochet 39-40 Cutting steps 147 intermediate 437-40
Crook (to bend) a limb 318 key signature for 484
Cross(es) of Axes 432,508 Dab (Effort) 509 keys for 309-10 423
.

anal of a 17,415 Dance drama, cast ident 377 for limbs during torso
key as "accidental" 422 Dance Notation Bureau twists 298,308-10
keys for rotation, xv,xvi, 5,490 Line of Dir (L.O.D.) 202
twist 316 Dance score, co-ordination Line of Dir, key for 431
The Three 415-6 w music score 360-1 local cross of 229
uses of 421-9,432 (see also Score) when lying 418-20
C of A: Body C of A Dancers, see Performers of relationship 437
427,432 Dancer's counts 45 room (stage) 104-7 421 -4
.

for head wheeling 317 Darting step 146 of turn 93

keys, use of 427-9 Deboule turns 100 of twist (arms) 292
for revolutions, Degage (for leg) 155 Dir: Body Directions 427-9
rotations paths
,
429 Degage, battement 214 emphasis on 425
C of A: Constant C of A Degree of, see Space lateral 48,229
106-7 .416.421.432 Measurement & Inter- sagittal 229
as front signs 107,421 mediate Directions Dir: Constant Directions
key, uses of 107-9,421-4 Degree of turn 94,440,502 105-6
key signature 484 Delsarte Falls, Three 397 compared w Standard 422
for paths involving Demi-legato 122 for steps & gests 421
turning 424 Demi-plie 31. 174-5 for performers w
for performers w anatomical descr 328 different fronts 423
different fronts 423 Demi-pointe 31.206.215 Dir: Standard Directions
for revolutions, rota- Dependent parts 416,425
tions & paths 424,472 carriage of 305 compared w Body 417-20
C of A: Line of Gravity
see Constant C of A
— Design, visual
Destination
16. 19
508
when standing
for steps
418
47
C of A: Standard C of A indication of 27-9 for steps during
416.418-20.432 change of front as 107 torso twists 309
keys, use of 309-13, 425-6 directional 15 supporting on hips 418
for rotations & paths 426 for contr & extens 172 Direction symbol(s) 26,499
Cross of Directions of path 185.381.44b correct drawing of 490
centered in body 229 of path on floor plan 368 pins inside 439-40
Crossed fingers 460 of space hold 139.247 placement on staff 27
Crossing arm gests Detourne" (for leg) 155 space hold in a
117,133-4 Detours, see Deviations 139,156-7,311-3
body inclusion 257-8 Developing leg gest 142 spot hold in a 406, 451
Crossing steps, perf of 53 Developpe 238 in support column 47-52
Crouch, walk in half 405 Deviating curve, see Curve Directional destination
Crowd, identification 375 Deviations 441 -b of part of limb 227-8
Curling 319,323 from paths 443 -b Displacement 330
(see also Curving) from positions 441-2 (see also shifting)
Curve(s) (paths of gest) Diagonal dir, perf of 48 of part of limb 226
adequate 136 Diamond 137,246-7 use of pins for 441
horizontal: simple, number in a - 485 temporary 442
augmented, sign in a - 449-52,504 Distal joint of segment
diminished 136-7.154 Diaphragm 500 of limb. use of 223
 Index 515

Distal limb 326 hyperextension of 326 Face, the 343

Distance 158-64 led by the 463 signs for parts of 501
between performers: "lifting" the 294-5 space hold for 304
stated in score 449 rotation of 320 Facing for parts of
on floor plan 366 - stand 384 body 129. 342-5
between directional swings of 239 Facing pins, see Front
points for gests 118-9 surfaces of 455 Signs 106-7
ofCofG 412-3 Elevation, steps of 77 Falling 407.409
in handstand 411 Emphasized 509 C of G mvt in 407-9
in standing 401 Enchalne turns 100 incomplete 408
covered on path 185 Enclosing 339 reading material 397
covered when walking En croix (meaning of) 351 Family Tree, Mvt 19
on knees 388 En dedans, en dehors: Fanning kick (during
of leg gests from rond de jambe turning leap) 157
support 177-8 143.214,445 Far, see Distance
measurement signs 504 turn 99 Fast as possible 443. 481
of shifting 333 Ending lines 44 Feet (see also Foot)
sign, specific 449 Ending positions, stage parallel 51.279
of sitting 391 -2 pins for 181, 365 placement of - on
of step: general 159-64 Endings, 1st & 2nd 353, 506 circular path 193
specific 449 Energy, flow of 59 retention of weight on 49
traveled: in steps 159 use of kinetic - 165 sliding - apart, tog 219
in log rolling 471-2 release of 15 slightly apart 441
Divided column 242 use of 477-8.481-2.509 supporting on 31,384
Divided front 298,307,428 Entrance, on floor plan 369 turning on both 94
use of keys for scoring of 362 Feet, Positions of the 61-4
309-10,425,428-9 Entrechat quatre 151, 206 changing level in
Diving, dir when 417 - six 151.480 65-6,69-70
Dorsal spine 500 Enveloping leg gest 142 changing - - 68-72
Dos a dos 366 Epaulement 300 by jumping 80
Dot, use of 162-3,438 Equal 354,357 by leg rotation 288-9
Drama, dance- 377 - turn for each part 299 by sliding 219
Dramatis Personae 378 Equidistant spirals 203 by stepping 70-2
Draw in (contract) 166,318 Equilibrium 398-413 closed 61-2
"Dropping" of elbow 294-5 Eshkol, Noa 4 "false" 1st 61
Dropping umbrella 340 Established points of intermediate 440
Duets, pre-staff ident 373 direction 18-9 narrow, wide 161
Duple time 41 Ethnokinetologist 10 open 1st, 3rd & 5th 441
Duration of actions 38-43 Eukinetics 4 parallel 62,279-80
(see also Timing) Exact, performance 356 place in open 63
Duration line 171, 176 repeat 346-7 size of 161-2
211,306,404,467-8 sign to negate stated transition between
Dynamics 12,16,477-82,509 key 356-7 open & closed 68-72
effect of music on 478 timing 356,491 variations in 441
innate 477-8 Exit, on floor plan 369 Female, pins for 365
key signature, use of 484 scoring of 362 Feuillet R. xiii, xiv, 2, 61, 486
Expanded staff, use of 233 File, on floor plan 370-1
Each person, couple 374 Expanding (hand) 460 Films 7-8
Ear 501 Express'n of mvt 12,16,300 Fine (end, last time) 355
Earth bound springs 78 Extended curve 329 Finger(s) 455 501
Echappe 82 Extension 164-5 174
.
abduction of 459
Edges of body area 454, 501 387,459,461-2 adduction of 460
Effort 4,509 everyday instances 166 circle 443
Effort -Shape 4,12 general 159 contraction of 462
Effort signs 509 lateral 459 crossed 460
Egyptian arm mvts 237 motion or destination 172 curving 462
Eighth note 40-2 specific 319.323 & hands, combined
Elance 146 sudden, sustained 171-2 actions 462
three dimens 460-1 intertwined 339
Elasticity 481.509
joints, knuckles 455-6
Elbow, (sign for) 223 two dimens 459
contraction of 320 Extremity: path of 446 "limb" (segment) of 456
little - side (surface)
453
dirmvt of 228-9, 235, 239 satellite center for 442
455-6.
"dropped" - 235 Eversion of foot 286 parts of
penetrating 339
folding the 326 Eye, eyeball, eyebrow 501
 :

516 Index

Finishing line 44, 506 areas of 457 501

, divided -, see Divided
Finishing position on ball of 207,503 fall (forward fall) 397
floor plans 365, 368 used in kneeling 387 in relation to center
Fist, a 461 base of 226,501 of circle 200
First, in a line 507 dir, level for 231 of parts of body 454
First & second beginning, dirmvt 228.232 for limbs during torso
ending 353-4 eversion 286 twists 298,308
Fixed base turns 113-4 flexibility of - in for parts of torso during
Fixed Points 430-1 505 ,
walking 215 torso twists 298,308
Flat-footed walk 215 & hand contact 232,480 for steps during torso
Flexible (Effort) 509 instep 501 twists 298,308
Flexing, see Contr, Folding inversion 286 surface of limbs,
Flexion 164,166,318 & knee support 388-9 for bending 320
Flick (Effort) 509 level of support when Front sign(s) 104-9 421 440
r
,

Float (Effort) 509 using parts of - 215 for ballroom dance 431
Floor, indie, of 449 505 .
parts of - hooks as destination of:
Floor pattern 181-204 206-7 .503 action 107
circular (no change parts of, specific 457, 501 turn 109,421
of front) 185-6,199 picking up - while focal point as
Floor Plan(s) 181-2,362-70 stepping 176 111-2 .200-2
372,378-9,505 placement of - for Line of Direction 431
arrows on 367 non-swivel turns 114 placement of 107,485
367-8 retain weight on
continuity of
coordination of
w mvt score
— rolling from one part
to another
49 Full knee bends

Gallop
174-5

363 216 89,173

w music score 364 rotation of 285-6 forms of 90
crossing paths on 369 sign for 223-4 & skips, study 91
director's 378-9 slapping Gap in column 77, 116
enlargement of 372 (Schuhplattler) 480 General statement, see
exit & entrance on 369 sliding on one 219 Motif Writing (MW)
for folk dances 364 sliding of part of - Gentle 509
identification of 377 during leg rotation 290 Gesture(s), anal of 116
placement of 363 sliding into place 218 arm, see Arm Gest
quantity of 373 space hold for 114 bending 164, 166
repeat signs in 380 surfaces, edges 457,501 center, place for 120, 229
sequence of action in 364 — to chest as a unit 252 contraction 164
size of pins in 366 top of - on floor 387 definition of 22
square, rectangular 364 transitions in use of directions 32-3 .115
Flow of energy 59, 509 parts of 211-2,216 extended 164
Fluent mvt, see Legato Footwork, examples 220-2 including body 248
Focal point 111-2 184 . Forced arch 206 head -, see Head
approaching 184 Forearm, see Arm, Lower keys for 308-11,421,425
for circle dances 200 Forehead 501 427-8
identification of 111 Former rules, signs 486-90 leg -, see Leg Gest
w turn sign 111-2 Fouette relev£ 155 local C of A for 229
as Front sign 111-2 200 . Fouette saute 156 manner of perf 463-4
by circular Fours, on all - 396 mvt desc for 27, 29
path sign 201-2 Forw'd-backw'd, see Sagittal narrow (bent) 164
starting indie 112 Fraction: for circular paths see Paths (gest)
of,
Folding 319,323-30 path sign 199.316.426 - quality (partial supp) 448
degree of 324 for degrees of step -, simultaneous 146
description of 323 somersaulting 471 stretched 164
a joint 324.326 Freedom in perf 354-5 w torso rotation
unspecified 327 "Free end" of parts 304-6,309-11
Folk dances of limbs 227,308 Getting up 396
floor plans for 364 Free flow 509 Girl 181.365.507
ident of couples in 374 Free timing 39 Glide (Effort) 509
key signature 291 Friction, sliding 103,450-2 Gliding, see Sliding
steps in 284 "Frictionless" turn, see Glissade 214
Following, see Inclusion 253 Non-swivel turns Glossary for a score 365
Fondu 238 Front area of stage 182 (see also Key Signature,
Foot (see also Feet) change of - 107-8 Pre-staff indie)
active in closing 66 destination of the - "Good -by" (waving) 227
anal of mvt of 232 (for rotation) 279 Grammatik derTanzkunst 2
 Index 517

Grand fouette saute led by 463 Heels, walking on 215

en tournant 156 local C of A for428 Hesitation 52,122
Grand jete en tournant 157 mvts of parts of 459-62 High level supports 31
Grand pile 174-5,402 near 337.339.340 Hindu head mvt (489c) 333
Grand rond de jambe normal curve of 461 Hip(s) 223-4
143,238 palm side of 457 as base of torso 263,322
Grapevine step 50 parts of 455-7,501 bulge in hip joint 334
Graph paper, use of 39, 60 reaction to lower arm folding hip joint 327
Grasping an object 295.339 mvts 236 hands on 458
Gravity, Center of, see release after claps 480 inclusion 259,463
Center of Gravity rotations of 295-6 led by the 463
constant line of 229, 398 sliding on object 339-40 mvts 230.239.301
use of - in swings spreading 459 mvt in crossing steps 53
126,143,477 straight (flat) 459 normal pos of 230
Groin, articulation in 334 stretching 459 "shaking" the 301
Grotesque, key for 291 supporting on sliding on floor 451
Ground (floor) 449, 505 384,393,396,411 supporting on 418
Group, center of, as surfaces edges 457,501
, (see also Sitting)
focal point 111-2 touching 232,338 Hitch kick w bent legs 173
circling, types of 507 twist in the 296 Hitting 480
formations 370-2,507 "Hands up!" cartoon 414 Hold (retention) 508
ident of 375,507 waving 229,348,443 in body, see Body Hold
leader 507 weight on 394 for contact (relat-
number of people 371 Handstand 411 ionship) 339-40,503
parts of 507 Head 248,500 reminder of - 305
Guidances 18-9. 463-4 anal of mvt 249 in space, see Space Hold
retention of 464 body hold for 271,307 on a spot, see Spot Hold
Guided (Effort) 509 carriage of - in torso - weight sign 38, 49, 68
Gymnastics, C of G contraction 322 Holding, see Carrying 338
mvt in 399. 411-3 carried along in body: Hooks (contact for parts
tilts 256. 262-3 .269 of foot) 206-7,503
Half circle, correct perf 192 twists 298,305,313 neutral hook 387,391
group in a 507 cartwheeling 475 placement of hooks:
Half knee bend 174-5 "circling" of 263 for leg gest 207
Half note 40 circling - without for supports 208
Half support 448 change of front 426 on symbol 490
Half toe, a step on 215 column 22-3 .491 qualifying supports 215
touch on 206 dir from Body C of A 427 Hop, basic form 79
Halfway point (dir) 437-8 facing 343 w leg gest 148,173
Hand(s) 223.455,501 nod, repeated 348 turns 104. 156.198
addressing 337 parts of the 501 Horizontal
active in clapping 480 rotations 93, 275, 297.313 bow 205,336-7,503
anal of - mvts 236-7 shift 332-3 curve 136-7,154
area sign for 457, 501 skew curve for 313 level 25
back of 457 somersaulting 474 lines, see Line Horiz'nt'l
brushing 339 space hold for 271 307 path of C of G in steps 55
circles of the 296 Stance key for 311 Hungarian break (409b) 284
clap 479 supporting on 384 Hyperextension, anal 323
clasped 340 tilt, 262,309 10,313 of arm (elbow) 326
closing in (joining) 460 from Body C of A 429 of hand 461
column 22-3 .237.491 comparison w
contact 232.338.479 cartwheeling 475 I.C.K.L. xvi,5
contraction 460-1 undeviating curve 313 Identical repeat 346-7
curving (curling) 461 wheeling, Body axis 317 Iliac crest 458
dir & level 236 wheeling, Constant Imaginary spot, holding 450
dir mvt of 228,240 vertical axis 315 Impact 478
extension 459,461 whipping action of 450 Impatience (foot tapping)232
expanding 461 Heavy 509 Impulse 478
&fingers, combined Heavy point, see Pelvis body wave 468
actions 462 Heaviness in low steps 477 swing 127-8
flexing 460 Heel, contact of 206 Inbetween, see Intermediate
grasping 339 Heel drop 216,222 Inclining, see Tilting
on hips 458 "Heel" of hand 457 Included in dir, part
hyperextension of 461 Heel, tip of 501 of limb 226
518 Index

Inclusion(s), anal 253-4 Jump(s)(see also springs) 77 led by - 463

body tilt, twist, result- a - (basic form) 79 rigid - 448
ing from - 255-8 accenting rising 478-9 rotation of 285
bow 255.448-9.503 anal of jumping 88 size of steps on 388
compared w part C of G traveling in 83-4 state during steps 175-6
leading 463 Cossack - 232 surface of 455
everyday examples 254 five basic forms 79 walking on 387
for gest crossing following a held Kneel(ing) 383-9
the body 257 support 90 on a bench 388
specifying part 259 height of 77-8,81-2,399 C of G displacement 388
of upper body in w leg gest 148-9 dir of 385-6
arm
gest 255-8 landing on same spot 86 fourth pos - 385-6
Increase in depth, levels of 81 levels of 384-5,388
height, size 447 major, minor 78 placem't of lower leg 386
Increase of energy 481 on beat, off beat 88 shift of weight in 388
Increasing spirals 204 over a person 437 transit to sit, lie 392-4
Indirect way, see Deviation pliancy in legs in 81 to standing 389
Individual circling 507 in pos of feet 80 weight placement 385-6
Infinity sign 114 reading material 80 Knock-kneed 285
Inflexibility in joints 448 resilience eliminated 405 Knuckles, of fingers 456
"In front" pin 117 revolving on a straight of hand, contracting 462
for steps, arms 48,117 path 196-7 Knust, Albrecht xv, xvi, 485
for pos of feet 62 w rotated leg gest 284
Initiation of mvt 463, 481 traveling 83-5,87 Laban, Rudolf xiii, 3,4.6,486
"Inner" side of parts 320 turn 103 Labanotation
Inside within
, 434,437 writing convention 78 early development 486
"Inside" turn 99 introduction to 6-10
Instep (of foot) 457 K signs 323-4 Labanotator 10
touching floor 387 Keep, see Retention Landing on same spot 86
Intention of mvt 12, 300 Key(s), cancellat'n 317,433 Language of mvt 17-8
(see also Motivation) for basic unit used Large 158
Intermediate, dir 437-40 in score 43 Lateral body dir 48, 229
degree of turn, front signs, for dir, use of 309-11 Lateral contraction,
pos of feet, stage dir 440' for exact perf 356 extension 459-60 504 .

Interwoven turns 102,104 exception to stated 356-7 Lateral symmetry

Intertwined fingers 339 for focal point 111 346,354,357-8
Inversion of foot 286 in path signs Lawrence, F.C. 4
Inverted body sections 273 317,424,426,429 Leader (for path) 507
Inward sequential mvt 466 placement of 311,422 Leading 463
- succession 465 for rotations & twists 316 analysis of 253
Inward rotation of leg 279 signatures 202, 291 484 , C of G - 406-7
Inward turn 99 for step length 449 Learning 394,449
Inward twist for arm 292 for syst of ref 432,508 Leap, basic form 79
Ischia, supporting on 390 (see also Crosses - hop 90
of Axes) on beat, off beat 88
Jazz steps (409a, c), 284 Kinetic energy, use of165 w leg gests 148, 156
(418a,b)(419a,b), 288 Kinetic sense 59 -turn 104,156-7
Jete, in attitude 238 Kinetogram 360 Leeder, Sigurd xv,xvi
en avant 214 Kinetography Laban 5-6 Left & right sides 21,224
grand- en tournant 157 Kinetographer 10,492 Leg(s), Leg Gestures (see
Joining of fingers 460 Kinetologist 10 also Gestures) 140-57
Joint (s) of body 223-4, 500 Knee(s) 223-4,500 action strokes for 24
local cross of dir area around 455 active touch 210
at each -
distal -,use of
229 bending 31. 174-5 .401-2 aerial steps w —
223 cap (front surface) 455 147-53,156-7
of the fingers 455-6 change of level on 388 anal mvt 230-3
folding a 326 - to chest as a unit 252 assemble w 150,156
inflexibility in 448 contraction 321 beating 150-1,480
part above, below- 501 crawl 388 bending 31,33,167,171-80
parts touched 226 dir mvt 288,230 bent, Key signature 484
reading material 238 facing 344 during jumps 173
surfaces of an area folding the 327 during steps 175-6, 179
around a - 455 & foot support 388-9 both -, rotation of 275
Jooss,Kurt xv, 4 86 gestures 228,230 sign for both - 224
 Index 519

break at top of - 458 split 163 Lengthening limb 164-5

brushing (sliding) 212 staccato 145-6 Letter,in a box 352, 449, 505
carriage of legs: stamping - - 479 on floor plans 375-7
during gest 140 steps w 145-7 w meeting line 381
during supports 175-7 w
in open steps 143
step-hop
straight path for — 149
142
for performers
Levels, anal of
373
25-7
carried during: tilts 269 stretched -, key for arm gest 32-3, 116
turns 154 signature for 484 change of level:
torso twist 305 stretched while in pivot turns 98-9, 102
circular 142-3,145,154 supporting 174 in pos of feet 65,69-70
column 22-3,491 surfaces of - 453 in a step 37,56,447
for parts of leg 233 - swings 143 in a symbol 124
consecutive touches touching (contact) w of C of G 55,400-1,412-3
209,213 rotations 205-11,283 of jumps 81
contact: 205 -6 terminating touch 209 of kneeling 384
in jumps 150,206 transient touch 209, 213 for leg gestures 33
w floor 207-14,391 turns with 154-7 of pivot turns 98
contractions 167-8 untwisted state for 279 of shift 335
degree of 174-5 unwritten rotations 140 in sitting 390
reading material 173-4 whiplike action of 155-6 of standing 31
when sitting 391-2 whole -, sign for 224,454 for supports 46, 174, 389
developing 142 Leg: Lower Leg 454,500 "Lifting" of elbow 294-5
direct path for 141 anal of mvt 231 Lifting a partner 382
dir & level for 33 directional mvt 228,231 Light, see Uplift
dir for - w torso twists use of in kneeling 384 Light point, see Chest
298,308-11,425,427 mvts of - - & thigh 230 Lightness in high steps 477
distance of : rotations of 285 Limb, a 224,453,500
from support 177 Leg: Upper Leg 454,500 bent limbs 179-80
during jump 178 anal of mvt 230 carriage of - 305
enveloping 142 directional mvt 228,238 carried during
extensions 165 resultant rotation 231 torso mvts 269,305
hopsw 148,156 surfaces of 454 details of - 453-7
including body 259 Leg Rotations 275, 279-91 directional mvt for 227-8
jumps w changing pos of direction during
147-53,156-7,173 feet by - - 288-9 Divided Front 307-11
legato 145 effect of on: dir& levels of -
levels for 33 non -swivel turns 299 when lying 418-20
lifting 142 steps 51 "limb" of finger 456
motion or destin 141 torso rotations 299 narrow & wide for 164
near floor 144 inward, outward 279 normal body
parallel - 279 neither in nor out 92, 279 alignment of 244
parallel, nearly 280 jumps w 284 Limbs, Parts of
w partial weight 448-9 key signature for 223-4,453,500
parts of 224 290-1,484 action for 224
passive slide 213 normal state 51.140.279 interrelation of 226,234
passive touch 210 resultant 232-3 contact between 225
path of (sliding step) 208 retention of 282 "free end" for 227
path in space, see Paths while supporting 287 isolated mvts of 227-8
place for gest (see also statement of normal 291 point of attachment 227
Place) 32-3,149,229 when touching 283 simult actions 241
place low, perf of 144 during transference Limb(s), passive 482
as prep for step 145 of weight 286 placement of - in
resultant leg rotation 233 traveling by 289 sitting, lying 391 , 393-5
resultant leg slide 213 unrotated state 92,279 "point of attachment"
retained contact 210-2 unwritten 140, 277 for - 227
retention of state of leg Legato 52 retention of bent &
during steps 179 gestures 122,145 stretched 179-80
revolutions w 473 steps 52, 54 rotation of 274-96
rotations, see list below Length of steps 159-61 segment(s) of
simultaneous actions 280 gradual change in 447 straight
when sitting 390-1 395
, on knees 388 surfaces of 453-4
sliding 212-4 normal 47 touched, part of - 226
small circle of specific step length 449 twist of
275-7
443
space hold for 255 Length of symbol 40 untwisted state of 277
520 Index

Limping "catch" step 50 Manner of performing Movement

Line(s);bar- 39,41,44,506 gestures 463-4 absence of 49
in body, vertical - 229 Marking time (steps) 46 aim of 205
center - 21 Measure, abbreviation 364 concepts 8
center Time Line 38 Measure(s), marking 39,41 continuity of 96
of Direction 202.431 Measure numbers 45 education 8-9
of Gravity, Constant 398 in dance score 360-1 Family Tree 19
of Gravity C of A 416 in music score 361 language of 17-8
Meeting line 381 in parentheses 353 long line of 59
Line: Horizontal Line(s) 506 meas to be repeated 348 motivation 15-6
connecting staves 362 Measured timing 39 nature of 15
dotted 348 Measurement, space - 158 notation of 28
double 20-1,33,44,240 Meeting line 381.503 observation 9
extended 350-2,362,506 Memorizing, aids to 58-9 pattern, relation of
short (tick marks) 39 Memory aid scores 13 music to 59
short double 240 Metacarpus 226,459 "phrases" 58
thickened 353 Metatarsus 226 sense 59
Lines: Vertical Line (s) 508 Meter(s), change of 43 "words" 17,58-9
action strokes 20-1 compound 42 Movement analysis
canon staff 507 simple 41 bending 318-9
dotted 213.482.508-9 steps in different - 50 cartwheeling 470
duration line 171 -4, 179 suitable for swings 127 body areas 475-6
imaginary 21 Metric time 39 categories of 15-6
path signs 84-5, 183 Metronome indication 43 chest 249,
wavy 114. 354-5 .509 Middle, see Center contraction 318-9
Linear patterns (gest) 443 Middle level 31-2 directional mvt
shapes of group 370-1 Military bearing 27-37, 414-33
Little finger side (surface) (shoulders) 234 gestures 116
of an area, limb 453-4 Military salute head 249
Little toe, limb of 457 (lower arm mvt) 236 hip 230
Local C of A, see Local Minor segments of limb inclusions 253-4
Syst of Ref 229 affected by major 226 jumping 88
Local Individual Body Di- Minute mvts 434 leading 253
rections (Twisted - Mobility (C of G levels 25-7
Part key) 310,428 leading) 406-7 parts of arms 234-7
Locomotor patterns 90 Morris, Margaret 3 parts of legs 230-3
Logrolling 314. 471-2 Motif description 11 parts of limbs 227
Long (scale of length) 158 Motif Writing(MW) 8,11,13 pelvic girdle 230
step, scale for 163 an (any) action 20-1,508 position 28
Looking 343 contraction, extensionl59 principles of 14
(see also Facing) directional mvts 26 revolutions 470
Low (level) 25 front signs 107 rotation 275-6
supports 31,174-5 gathering 508 sequential mvt 465
Lower arm, see Arm gesture, any 508 shoulder 234
Lower leg, see Leg jumping 508 somersaulting 470
Lunge 164 motion, destination body areas 474-5
falling - 409 172,508 stepping 34,51
Lying 394 parts of body mvt 27 tilting 260-1
on a box 420 paths 183-5 twisting 275 -6,314
general statement 383 relationship 336-8 walking 13 46,51
levels of 394 rotation, twist 274-5 Mudra (hand position) 462
prone (on front) 393 scattering 508 Multi -jointed section
revolutions while - 471 -3 stage area sign 185 curving a 324,328
on side 393-4 straight path gest 330 Muscles "pulled up" 165
specific desc 393 supporting 338,383 Muscular relaxation,
starting pos for 394 toward, away 341 use in extending 165
supine (on back) 393 turns 92-3,274 Music, effect on mvt
on a table 419 Motion 508 dynamics 478
transitions to 394 away, toward 18,19,184 notation 6-8
for contr & extension 172 numbering meas 361
Maintaining, see Retention desc in terms of 30,404 relation of mvt
Major segment of limb, writing of 28 pattern to - 59
effect on minor 226 Motivation of mvt 15 - score co-ordination w:
Male, man (floorplan) 365 Mouth 501 dance score 45 360-1
 Index 521

floor plans 364 Off-vertical rotations, of limb 453,500

-score indentification of see Rotations of torso, see Torso
edition used 361 Often as possible, as Partial support 448-9
Musical: beat, use of 59 443,481 Part twisted, see Twisted-
cuts, indication of in Old signs, rules 486-90 509.
Part
dance score 361 On all fours 396 Pas de basque 67.201.214
phrasing, dance equi- Open out, three dimens Pas de bourree 214
valent to 59 extension 460 Passe 242
"Opening" the shoulder 134 Passing, on floor plan 369
Nail; finger 501, toe 503 Oppositional arms, in score 381
Narrow 158 walkw 117,126-7 Passing relationships 339
to - (contract) 318-9 Oppositional Passing state 404,463,503
signs, duration of 171 symmetry 354,359 for deviations 444
six degree scale of 162 Ad
Optional, see lib. for displacement 442
Natural dynamics 477 Orch6sographie 2 Passive 481-2
Natural resilience, Oriental steps 284.289 reaction of minor
elimination of 405 Orthography 490-2 segment of limb 226
Nature of mvt 15 Other side, repeat to 346 slide (leg gest) 213
Near 337-40 503 . "Outside" turn 99 touch (leg gest) 210
to floor (leg gest) 177-8 Outward succession 465 Path(s) (see also next page)
to other leg 177-8 Outward turn 99 aim of - 185
Nearly, see Ad lib. Outward twist, for arm 292 any - 183,502
Neck 454,500 Over-crossed step in approaching focal
base of - as extremity place 448 point 184, 203
of whole torso 322 Over -extension 164 for arms 118-21
mvts of - 249 Overhead, arms exactly 436 for body areas 502
use of in head mvts 249 Overlapping: actions 96 central - for arms 120
Neither in nor out (rota- fingers (crossing) 460 central - for legs 142
tion of limb) 92-3.279 leg gestures 152 of C of G in steps 55-6
"No", saying 298 crossing (floor plan) 369
Nod, of head 348 Pad of toe 503 curved -, see Curves
Non-swivel turnsll3-4, 299 Pairs, see couples destination of 185
for circular path 193 Palm(s) 130,501 deviation from for:
revolving on straight clapping 479 steps 446
path 196 contr of 462 gest 443
Normal; back to, see Back facing 129-30 direct - for arms 118
to Normal as destination of direct - for legs 141
body alignment 244 arm rotation 293 dir of - 84-5
degree of twist from 278 reading study in 135 distance covered on 185
standing position 61 retention of 131 on floor plans 182. 365-70
state of rotation for understood dir single or multiple 369
legs 279 for - - 129, 237 of gest in sliding step 218
statement of - (for side of hand 457 of gest during torso
leg rotation) 291 Parallel, arm mvts 117,121 twist 311-3
step length 159-60 feet 279 for leg (gest) 141-4
Nose 501 legs, use of 299 for limbs 502
Notation, memorizing 58 legs not quite - 280 of mvt 28-30
history of — 1-5 paths for groups 423 parallel - for group 423
Notation of Movement 3 Parasite symbol 242 passive - 482
Notes, music - 39-40 Parentheses 349, 353 361
,
peripheral 118-9.121
"Nouns" (mvt -) 18-19 Participation, see Inclusion produced by log
Numbers Part leading 463-4 rolling 471-2
inabox 164,361,449,504 comparedw inclusion 463 radial - for group 446
in a diamond 485 during succession 467 resulting from leg
inparenth 349,353-4,361 retention of 464 rotation 289-90
of people 371 507 , Partner, as focal pt 111 resultant (passive) 482
in arrow head 369 ident of in score 374 retracing (floor plan) 369
Numbering the Partnering clarified by satellite center for
performers 375-7,507 pins in score 382 line of - (gest) 444
Numerals, use of 45 Parts of body, see Body size of
Parts of: foot 206,457,501 spiral 184, 202-4 .502
Objects, see Props groups 507 using Standard C of A 426
Objects (floor plan) 365 hand 455,501 starting point of 185
Off-stage areas 505 head 501 stated destination of 446
 :

522 Index

Path(s) continued placement of 85 in direction symbol 439

transversal (gest) 119 turn sign in 195-7 for displacement 441
undeviating - for Pause for gest 122 encircled 373-4
C of G 406 Pause sign, see Hold on floor plans 365-6
variations in 446 Peasant dance step 232 floor plan pins in
withdrawing on a 184 Pecourt, Louis 2 mvt score 380-2
Path: Circular Path Pelvis, Pelvic Girdle 248 for intermediate dir 439
183-204 .503 anal of mvt 230,249 for intermediate pos
ad lib. shape, degree 193 augmented - 251 of feet 440
amount of circling 186 augmented - tilts 268 use w meeting line 381
approaching focal pt 203 cartwheeling 476 for an object, people 365
for arms (gest) 121. 136 curving 249 for pos of feet 62-9
Body C of A for 317,429 involvtlintorsocontr 322 use of -, reading
composite sign 183. 201 - plus waist 251 material 67
Constant C of for A
424 rotation of 301 relationship - 434,437
degree in fractions 199 rotation, caused by for relationship to center
for groups 507 hip mvt 239 lines of body 68,435
for head 316-7 shift 334 Pins: Black Pins 434
for limbs 424,426,429 shift,during whole for arm gest 117
maintaining w mixed torso tilts 264 for arm pos 436
dir steps 201-2 somersaulting of 475 for below 151
maintaining front 199 tilts 265-6 for boy, male 365
perfofi,i| 192 tilts,automatic 266,322 for crossing 48
perf of steps on 193-5 upper rim of 458 for degree of turn 94
pivot turns on 197 Pendular mvt of in an oblong 431
in place 194 lower arm 239 for pos of feet
repeats w 351 Pendulous swing 126 61-4,440,448
resultant 482 Penetrating 339.503 in a square 431
right or left 183,201-2 People, pins for 365 in a turn sign 94-5 278
.

segments of - -. Performance, exact 356 296-8,300,302

determining 187 manner of - 477 Pins: Straight Pins (tacks)
situation of 188-91 Performer(s) (see also 109,434
size of 188 Scoring) 365 for C of G shift 402-3
spiral 184.202-4.502 current cast list 378 in mvt score 382
Standard C of A for 426 dir related to the - 47-8 for performer 365
step dir on 190-1 distance between - 449 for pos of feet 441
for torso 316-7 on floor plans 366 in turn sign 109.279
withdrawing from focal identification of - 373-8 297-8,300,302
point on 184, 203 each one, couple, Pins: White Pins 105,434
without change of front trio, partner 374 for girl, female 181.365
for body as a wholel99 number of - 371 in turn sign 278.280.293
for head 426 pre -staff ident 373 297-8,300,302
for torso 316 ref to another - 379-80 Pique 146
Path: Straight Path 183 relationship of - : - arabesque turn 154
central (gest) 120,142 on floor plans 366 - turns 100
combined w circular in score 381-2,437 Pirouette 99
path 195-6 Peripheral path 118-9,121 w leg in 2nd 154
for limb (gest) Person, above another 437 w spotting 450-1
120.142. 330-1 .446 a - on floor plan 365 Pivot turns, see Turn, Pivot
for body area 331 - leading Place (center) 24,35-7,415
507
in MW 183,185 Petits tours 100 for arms & legs
in MW (gest) 330-1 Phalanges (see also 32-3,120,173,229
revolving on 195-7 Fingers) 459 circling in - 194
shift (gest) 330 dir - versus total
Phrase, dance, musical 45
Path signs 84.183.502 Phrases, mvt - 58 contraction 173
accent signs within 479 Phrasing bow 126,404.503 at end of step 30
continuation of 204 Phrasing, dance equivalent for hip 230
C of A in of musical 59 in open pos of feet 63
317,424,426.429 Pins (Position signs, for shoulder 234
dotted 482 Relationship pins) 434 sliding into - 218
for limbs,body areas 502 for bouncing 481 steps in - 46, 51
to modify steps, jumps for cartwheeling 471 on circular path 194
446-7,449,479 for contact 437 for supports 62
narrow sign in a 101, 179 for deviations 441-5. 468 Where is Place? 35-7
 Index 523

Plane, see Curve , Surface a chair 338 between two parts 205
Plans, see Floor Plans a post 340 bows 337-40,503
Pliancy, in walking 53 a skirt 339 to center lines of body 435
lack of - for joints 448 a table 419 direction of 437
of legs in jumps 81 an umbrella 339-40 of legs in crossing 48
natural - eliminated 405 Pull out (from body), momentary 339
natural - in steps 46 see Inclusion of performers:
Plie, demi 31,174-5 "Pulled up" muscles 165 on floor plans 366
grand 402 Pulling up legs during in score 380-2
Point (s) a jump 149 pins 62-9. 434-5 .437.499
of attachment (base) Punch (Effort) 509 (see also Position Signs)
for parts 32, 227, 308 Puppets (for mvt anal) 227-8 retention of a 339-40 480 .

distance between - spot hold at point of 452

(forgest) 118-9 Qualitative desc, amount of supports 62-9,76
established - in space 29 of rotation 278 Relaxed 509
Fixed - in Room 430-1 Qualities of mvt, see Release, of legs after
"point forward" 415 Dynamics 16 touching floor 391
of relationship, spot Quantity signs. of relationship, (con-
hold at 452 space measurement 504 tact, touch, etc. ) 340
at - of support 400,413 degree of turn 502 sign (let go) 211
Pointe,full (toe contact) 206 Quarter circle (correct sign for clapping 480
step on full - 215 path of) 192 of support 395
Pointing 337 Quarter note 39-40 Releve passe devant 238
Port de bras 436 Quaver 40-2 Releve, sprung 82
Pose, in arabesque 238 Quick mvt 38-40 Remaining, see Hold,
- turn 100 Quick steps 52, 54 Retention
Position, anal of 28 Quicker, getting 125-6,483 Repeat(s), signs 346 -51 506 ,

of the feet, see Feet Quick as possible 443,481 ad lib. number of 355
for gestures 32, 116 alternating sides 346
reached 49 Rank (on floor plan) 370-1 area to be -ed 348
- signs, see Pins Reaching, see Destination bridging two staves 347
starting - 33-42 Reaching for an object in a column 348
variations in - 434-7 (inclusion) 254 en croix 351-2
-writing 28,69 Reaching out 159 exact 347
Post, hand sliding up 340 Reading aids 46-8.50. 58-9 identical 346,350
Prances 230 Reading direction 20,41 labeling a section 352-3
"Prat" fall 409 Reading material on: lateral 346
Precipitation, see Falling, contr & extension 173-4 meas to be -ed 348
Loss of Balance joint signs 238 modification of -ed
Pre -graph statement jumps 80 material 349
202.291.373 kneel, sit, lie 397 number of times 350
Preparatory mvt "words" 59 pins 67 opposite side 346
Pre -score indie 356-7 rhythms in steps 54 oppositional 359
(see also Key Sig) Spanish steps 222 outside the staff 349-51
Pre-sign(s) steps 57 path signs included 351
exclusion from Tap 220-1 ref to another perf 379-80
timing 240,301 touch & slide 214 reminder of -ed
use of key as - 311 Reading, notes on material 349
placement of - 223 46-8.50. 58-9 sagittal 354, 358-9
Press (Effort) 509 Reading Study on: sectional repeats
Pre-staff indications 357-9 aerial steps w turns 110 350-2,506
Pre-staff identification arm mvts 123 signs in floor plans 380
of performers 373 gallops & skips 91 size of 347
Prima volta, see 1st & palm facing 135 within the staff 346-9
2nd endings steps w pivot turns 97 Reprise 352-3
Promenade turn 101 traveling jumps 87 Research
Pronation of lower arm 295 Rebound springs 78 Resilience, natural 405
Prone, lying 393 Rebound steps (prepara- Resiliency, sign 481,509
Proximal limb 326 tion for jumps) 152 Restrained 509
Prop, column for 23 Recueils des Danses 2 Resultant, mvt 481-2
Props, use of: Reference, Systems of inclusions 2 *^~!?

a barre 340 17. 414-33 rotations 131-3 231 233

. ,

a bench 338 Relationship 16, 336-42, 503 236,239,256-7

of arms to body 117 slide (leg gest) 213
a box 340.420
524 Index

Retained contact (leg) 210-1 Room, (see also Stage) 181 Scale of Distance
Retention, of bent or areas 182,505 statement of 163
stretched state 180 Fixed Points in - 430-2 for lowering C of G 401
in the body see Body Hold Room Direction, 104-7
of C of G
,

shift 404 Constant — signs

(see C of A)
for
for
narrowing
sitting 391-2
162

of contact
of a guidance
339-40
464 diagonal —
desc in terms of 421-4
48
for widening
Scarf on the floor,
163

of imaginary spot 450 retention of, see laying a 465

of palm facing 131 Space Hold Schrifttanz 3
of part leading 464 Rotated supports 286 Schuhplattler 480
of a relationship "Rotation" (ballet term) 155 Scissorlike kick 157
339-40,503 Rotation(s) Score, Scoring (see also
of rotation for leg 282 (see also Turns, Twists) Performer) 360-82
signs (hold signs) 508 anal of 275-6 amalgamation of
of space hold 247 attached - symbol 281 staves 357
in space, see Space Hold use of Body C of A 427-9 exits and entrances 362
on a spot, see Spot Hold degree of 277-9 502
.
for folk dances, see Folk
of state of leg during destination of front 279 lines used in drafting 44
steps 179 in hip socket 155 relationship indications
of support, weight 49, 53 interrelated - for in the - 380-2
Retire 238,242 parts of torso 302-4 repeat signs for 379-80
Retracing paths 369 use of keys for 316-7,426 Section, labeling a 352
Retreating, mvt away 341 of limbs 274-96 Sectional repeat 350-1 506 ,

Return to normal, see in MW 274-5 Semiquaver 40

Back to Normal neither -in -nor -out 93 Sense, kinetic 59
Reverse, see Repeats & off -vertical - (twisting, "Sentences", mvt 17,58
Analogy signs wheeling) 314-6 Separated mvts 122
Revolution(s) (see also Piv- qualitative desc of Sequence, recording
Turn, Cartwheel,
ot amount 278 mvt - first 59
Somersault, Wheeling) resultant -,see Resultant Sequential actions 18. 38-9
in the air 473-4 spatially augmented, Sequential mvt 465-8
anal of 470 diminished 303-4 Shading dir symbol 25,499
any -, sign for 471 - or twist, diffbetwh 275-7 Shaking 442-3 .481
axis for 469-70 unwritten - 277 Sharp (see also Staccato,
body signs in - sign 474 Rule(s), (see also Cancel- Accented) 171
Constant C of A for 424 lations) Shape of a group 370
degrees of 471 aerial steps, jumps 77 Shape Writing 443
on the ground 472-3 carriage of minor body Shawn, Ted 397
types of 469-76 parts 269,301,305,308 Shift(ing) 330-5
Revolving (turning) 92 dirw divided front 308 the group 507
on circular path 198 dirsymb, validity of levels of - 335
on a straight path 195-7 116,269 the body areas 333-5
Rhythm (s), action strokes lower arm reaction 235 of weight 74,402-4,448-9
for recording 60 reading direction 20 Short 159,161
contrasts in use of 54 specific - for sitting, Shorten, see Contract
steps in different 50 lying, 395 Shorthand 13
Rhythmic patterns 16 step -gesture - 146 Shorthand, repeats used 380
Rib cage, see Chest Run 77,81,173 Shoulder(s) 223,239,251
Right, left, indie of 21, 224 Running, resilience in 405 anal of mvt 234
"Right of way" indicated Running waltz a, 347 area 250
on floor plans 369 Russian folk step, area, double, see
Rigid carriage (knees) 448 (traveling by leg Shoulder section
Ripple in limb, torso 465-7 rotations 421c,d)289 area, inclusion
Rising from floor 396 (unwritten) 1 34

Rising, motion of 341 Sagittal, body dir 48,229 blade 234. 250-1
Ritardando 125-6,483 symmetry 354. 358 dir centered in - 229
Rolling, log rolling 471-2 Saint -Leon, Arthur 2 girdle 234,250-1
any kind of - 471 Same, the; also same part inclusion 259
from one part of foot of body (caret) 238 involvement in whole
to another 216 Same time, at the, see arm rotations 292
- the ankle 285 Simultaneous "opening" the 134
Rond de jambe.a terre 214 Satellite Center of: shrugging 234
en l'air 445 the extremity 442 supporting on the 384
grand 238 the line of the path 444 touching the 226
 1 ,

Index 525

Shoulder section 248.250 destination modified 247 Stage, (see also Room) 181
facing 344 destination stated 247 specific area 182 505
.

tilt 267 duration of 138 - direction signs

twists of 300 for head 269,307,313 (Front Signs) 104-7
Shuffle (Tap) 220-1 for leg gest 155-7 - plans, see Floor Plans
Similar 354 retention of 247.306 - director's plans 378-9
Simple meters 41 in stepping 113 Stamp 478-9
Simultaneous actions for torso tilts 312 Stance (standing pos) 46-7
20.38-9.241.280,503 Space measurement 504 "Stance", definition of 307
Sissonne, basic form 79 (see also Distance Contr
,
- key 310
w leg gest 149, 156 Extension) 158-80 Standard Cross of Axes
turning 104, 156 general indie (MW) 159 229. 416-7
Sitting 390-3 .395 reference to body - Directions 416
on a chair 338 or space 504 keys, uses of
distance of 391-2 Space relationship, 310,312,425-6,432
in MW 383 maintaining 246 Standing, dir when 418
starting pos for 392 Spanish steps 222 distance of C of G 400-1
ways of - down 392-3 Spatial dir emphasized 425 position, normal 61
Sixteenth note 40 - Spatial pattern, notes on still 38
Size, see Distance, Length reading 58 up after kneeling, sit-
Skating 218-9 Speed, indie of 43 ting, lying 389,396
Skew curves 138, 155, 312-3 - up (accelerate) 25-6. 483 Staple 69,74,76,86,503
Skidding 218 Specific contr, extension, use of 388,447
Skips 89,91,104 folding 318-30 Start of action 240
173,217,230 Spine, dorsal 500 Start, see Pre -graph
Skirt, grasping 339 Spiral, paths 184 202-4 .502
.
Statement
Slash 509 - fall 397 Starting, graph 373
Sliding, continuous 340 - in torso 298 line, double 20,240
feet apart, together 219 Split (legs apart) 163 point on stage 185
leg gest 212-3 Spot in a defined area 430 position 33,42,60
- friction 113 Spot hold 405- 449-52 focal pt for - 112
dur spot hold 450,452 for C of G 405-6 - pins on plans 181. 365
dur a turn 103 in a dir symbol 451 Stenochoregraphie 2
- transfer of weight 217 for imaginary spot 450 Step(s), Stepping (see
- steps, see Steps in path sign 406 also Walking) 34, 46jo7
- support, see Support performance of 450 action strokes for 24
specified part 212,391 at pt of relationship 452 anal of a 34, 51
unspecified part 391 release of 452 angular 56-7
Slip step 89 sliding friction C of G during 51
Slouch (shoulders) 234 caused by 450,452 change of level in 34
Slow 38-40 .50.54.508 Spot, landing on same 86 circling during slow
Slow down (rit) 125-6.483 retention on a 449-52 & quick - 195
Small,see Distance 158,161 stepping on the same 447 on circular path, perf of
Small mvts 434 "Spotting" for turns 450-1 193-4 .201-2
Smooth walk, run 405 Spreading fingers 461 - close 48-9
"Snatching" (feet) 82 Spring(s) (see also Jumps) - close turns 100
SoftShoe (Tap) 221 into the air 77-8,147 - close, uneven 89
Sole of foot 457,501 height of 77-8. 81-2 .399 crossing - 48. 53
hook for sole 207 natural resilience in 405 cutting - (coupe) 147
Solo performer, pre -staff Squares on graph paper 39 deviation from stated
identification of 373 Squat 174-5,401 path for - 446
Somersault(ing) 469-70 Stability 402-6 dir for - 47-8
in the air 473-5 Staccatissimo 122 dir w divided front
any - 502 Staccato 52.54.122 298,308
Constant axis for 424 145-6,171,402 gradual change in
degrees of 471-6 Staff, the (Staves) 21-3 .491 perf of 447
Sound, contact w 150,479 center line of 38 -hop 89,149
Soutenu turn 102 expanded -, use of 233 w knees bent 175-6
Space, established pts 29 floor plan pins w knees stretched 176
Space hold 113. 137 246-7. adjacent to 382 on knees 387
for arm gest joining one to another 357 - leap, variations 152-3
139,156,270,306,311 reading dir for w leg gest 145-7
41
compared w body & terminating a - 357 leg rotation, effect on 51
spot hold 449-50 vertical -, origin of 486 legato - 52.54
 ,

526 Index

Step(s), Stepping continued action resulting in a 383 Symmetry (Symmetrical)

length of 47, 159-64 absence of 77 lateral 354. 357-8
length of - on knees 388 action strokes for 24 oppositional 354 359 ,

- lengths, see Distance 449 on all fours 396 sagittal 354. 358-9
use of levels in - 46 anal of dir for 27, 34 Systems of Reference
marking time 46 use of angular horiz 17. 414-33
middle level, perf of 53 bow for 449 (see also Cross of Axes)
modified - 447 w bend & stretch 174-7 chart of syst ref 432
motion, desc of - - column 22-3 Fixed Points in Room 430
in terms of 27,30,69 dir symbol in
meaning of
—
47-53
keys, use of 421-9
natural pliancy in 46, 53
notes on reading - 46-8 gap in —
when
local syst ref 229

T
perf of
w pivot turns
51,491
97 hold sign in —
sitting, lying

distance of leg gest

395
49
(terra), use of
Table, lying on a
449
419
in place, overcrossed 448 "Tack", see Pins, Straight
position desc 69 from - 177-8 Taking a dir, see Tilting
- into pos of the feet 70-2 on the floor 338 Tap, reading material 220-1
preparation for 51,491 on hips, see Sitting Taut limbs 165
qualified by hooks 215 hooks qualifying - 215-9 Teeth 501
quick - 52 on knee & foot 388-9 Tempo, specific 43
reading material 57 levels of- (standing) 31 Tempo, effect on mvt 477
rhythms in 50 level of - w parts Temps leve chasse 217
rotations w - 281.286-7 of foot 215-6 Tension, see Dynamics
on same spot 447 low - degrees of 174-5
, Ternary (timing) 89, 127
size of -, see Length partial - 82,448-9 Terminating touch 209-10
sliding - 217-8 on parts of body 383-97 Terra (ground) 449, 505
slow - 52 in place 62 Terre a terre 405
staccato - 52, 54 in MW 338,383 Thigh, see Upper Leg
state of legs retained - a partner 382 Third Column, see Upper
during - 179 - quality (partial - ) 449 Body Mvts 492
sustained - 52, 54 retention of previous 53 Thorax, see Chest
swaying- 47,54,57 rotation of - 286-7 Three dimensional curve
- & turn, amalgamated 112 sliding- 218-9 .485 (for gest) 138,155
- & turn combined 95-6, 99 springing change of 147 Throat 454,501
- & turn, simultaneous stamping - 479 Thumb 455,501
102.112-3.194 Surface (s), a, any - 342, 500 Thumb side of area 453-4
w turns 97 of an area 343, 454-5, 501 Tick marks 39,42
undulating 56-7 of body, "front", "back", Tightrope walking 67-8
waltz - 57 etc. 320,454,458 Tilt(s), Tilting
Stepanov, Vladimir 3 of a finger 456 anal of 260-1
Stiff-kneed 448 of limbs 453-4,501 degree of 262
Straight path, see Path Surrounding 339 segments of spine
Straight pins, see Pins Suspension in air 153 used in - 268-9
Strength measurement Sustained, contr & - & twist combined 311-3
signs, see Dynamics extension 171-3 Time, (see also Timing)
Stretching 159. 164-5 .174 -gest 122.145 binary, ternary divis'n 89
323,387,459,461-2 - steps 52, 54 finite (specific) 43
retention of 180 Swaying steps 47,54,57 - Line 38
Strong 481.509 Swing(ing) 126 metered - 41-2
Strong accent 150.478 development of a 128 - & motion study 8
Strong musical beat, dynamics in a 477-8 - step & breaks (Tap) 220
use of 59 impulse - 127-8 Timing 38-43 508 .

Structural desc 12, 27 leg - 143 of accents 478

Style of walking 215-6 meters for - 127 of action producing
Subdivision of a beat 40-1 pendulous - 126 a touch 225
Successions 465-8 Swivel (foot) 287-8 of arm mvts 122,124-5
Sudden contraction & -turns 94,101 of back to normal 244
extension 171 - turns when revolving of bending 325
Sudden gest 122,145,153 on straight path 196 of body in air(jumps) 77 -8
Sudden steps 52, 54 Symbol(s), attached 242-3 of C of G shifts 404
Supination, lower arm 295 change of level in a 124 change of speed 43.483
Supine, lying 393-4 continuation of a 139 of circular paths 183
Support(s), (carrying length of 40 of contact 205.225.339-40
weight) 338,503 separation between 125 of contact bow 225
 Index 527

of contraction 171-2 Tombe" 407 aerial 103.156-7

exact - 356. 491-2 Tongue 501 amalgamated step - 112
exclusion of pre- Top, of foot 387.501 anticlockwise 92
sign from - 240,301 - of head 501 any - (revolution) 501
of extension 171-2 "Top" of the room 364 as fast as possible 114
of folding 325 Torso (whole) 248-9 as much as possible 114
free - 39 augmented - sections 251 as much as you like 114
general indication 38 bending (curving) 329 assemble - 104
of horiz curved bow 225 circular pattern for 316 "blind" - 113-4
of inclusions 258 concave surface of 322 chains of - 100
of intermediate dir 437-8 contraction of 322 composite - sign 92, 277
in use of joint signs 240 convex surface of 323 continuous - 102
of jumps 77-8 .82. 88-9 extending 267,329 deT>oule' - 100
effect on jumps 152-3, 477 inclusions 259 degree of
legato 52 log rolling 314 94-5,109,114,440
ofleggest 145. 151.491 parts of 248-51 destination of - :

of loss of balance 408 rotations 297-317 focal point 111-2

measured 39 Body C of A 314 room dir 108-9,114
of narrow & wide signs Constant C of A 315 either way (R or L) 92
next to supports 176 gest combined w 305 enchaine - 100
notes on reading - 58 interrelation of fixed base - 113-4
overlap of actions 241 parts in - 302 hop - 104,198
for part of foot: shifting 334-5 "inside" (inward) - 99
supporting 216 skew curve for 312 interwoven - 102 104
.

touching floor 24 specific actions for 252 jump - 103,114

of passing through spiral in 298 leap - 104,157
dir points 125 succession in 468 w leg gest 154
of part leading 464 supporting on 393-4 levels of 98-9,102
quick(steps, arms) 52,122 tilts 263 when lying 471 -3
of return to normal 244 of augmented in MW 92
of rotating leg sections 267-8 non-swivel - 113-4
282-3,286-7 circular pattern 261 - out legs, see Leg
of sequential mvt 467 curved paths 312 Rotation 233
of shifts 331 -2 twist 298-9 .311-2 "outside" (outward) - 99
of shift of weight 74-5 off-vertical 314 petits tours 100
of sliding leg gest 212-3 wheeling 315, 426 pique' - 100
slowing down 125-6 Touch(es), Touching 338 pirouette 99
of space measurement active side in 338 pivot - 92
signs (for limbs) 171-2 for legs (feet) 205-11 pivot - on circular
staccato 52,54,122 floor 206-8,390-1,449 path 197
145-6,171,402 parts of limbs - 225-6 pivot -on one foot 99, 154
of a step 51-2 .406.491 passive - (leg) 210 pivot -on two feet 101
of step & gest 145-6 w rotations (leg) 283 pivot -w steps 95-7
of step & turn 96, 100 Tour en l'air 114 pose - 100
of steps on circ path 195 Tourjete' 157 preparatory - 95
of stretching 171-2 Toward 184. 341-2 promenade - 101
sudden (see staccato) Trace forms 16,443 relative degree of 94-5
of supports qualified Transference see
of weight, - right or left 114
by hooks 215-7 Weight, Steps, Support - & step combined 95-6
of a swing 126-7.477 Transient relationship 339 - & step, simultaneous 112
sustained steps 52 Transient touch (leg) 209 sissonne -ing 104
of tilts 261 Transversal path (gest) 119 skip - 104
of touching for Traveling by means of "spotting" for - 450-1
leg gest 208-1 leg rotations 289 step close - 100
of transference Traveling jumps 83-5, 87 swivel - 94, 101
of weight 52 ,491
;
Tree, Mvt Family 19 unobtrusive 108
variations for gest 124-5 Trembling (tremolo) 481 unstressed 95
Tip of finger, toe 456-7.,501 Trio, a (performers) 374 Turn Sign
Toe, contact of 206 Triple time; triplet 41 attached 281,294
- drop 216 Trunk, see Torso back to normal in a 301-2
parts of 457 ,501 ,503 Tuberosities of the ischia, composite 92, 112, 277
Toes 457 ,501 supporting on 390 empty, for MW 93,274
slightly apart 280 Tum(s), Turning .92,470 empty, re degree
tucked under 387 (see also Rotation, Twist) 103.278,301,306
528 Index

Turn sign continued Vertical bow 1 26 255 404

, , , shift of - in kneeling 388
key in a 316.424,426 - bracket, see Bracket shift of -, unwritten 73
infinity sign in 114 center line 21 transference of - 34
in path signs 195-8 columns 21-2 (see also Steps, Support)
placement on staff 93 - curves, see Curves sliding -(step) 217
unqualified (for gest, - line, see Line w change of level 55-6
torso) 276.298 Vibrating 442-3,481 in a step 46-7
Twist (see also Rotation) Vis a vis 366 rotations during 286
anal of 275-6 .314 Visual aids 8 Weightless state 417
degree of 277-80,293 Visual design 16, 19 Weighty 509
specific indie 277 Visuality of system 14 Wheeling, whole body 472
use of keys for 316-7 Volta, prima, see 1st & for group 507
& tilt combined 311-3 2nd Endings 353 torso, head 315-7
Twisted -Part key 310.432 without change of
Base of - - key 310 Wachmann, Abraham 4 front 316
from Body C of A 428 Waist 248.250 White pin, see Pin
Twisting, off -vertical 314-6 as center of torso 322 Whiplike leg action 155-6
Two dimens path (gest) 138 hands on 458 Whirling, of group 507
Two -thirds support 448 Walk, Walking Whole arm, see Arm
anal of 13,46,51 Whole body, turn of 94
Ullmann, Lisa xv,xvi w arm opposit'n 117, 127 (see also Body)
Umbrella, use of 339-40 on ball of foot 215 Whole leg, see Leg
Unbending 329-30 on center line 67 Whole note 40
Undeviating, aim 451 continuous 146 Whole torso, see Torso
curves, see Curves w feet parallel 51 Wide, widening 158. 163
path, see Path flatfooted - 215 Windmill arm mvts 121
steps 112-3 on heels 215 Withdrawing
Undulating step 57 interrupted - 146 (mvt away) 184.341
Unemphasized 509 on knees 387-9 from focal point on a
Unfolding 329-30 motion of C of G in 406 circular path 203
Unison mvt, simult 38 "natural" - 51,406 Within 403.434.437
on floor plans 369-70 pliancy in 53, 215 Woman (floor plans) 365
in scoring 357. 362 resilience in 405 "Word", mvt - 17. 58-9
Unit, basic 42 smooth 405 Work area 105
choice of 39-40 stiff-kneed 448 Wring (Effort) 509
statement of 43 stylized 13,51 Wrist (joint) 223,500
Units within body 248-50 tightrope - 67-8 cross of dir cent-
(body sections) 251-2 Waltz, basis of 46 ered in 229
Unrestrained 509 - Clog (Tap) 221 contraction in 321
Unsupported state 77 running - 221 dir mvt of 277-8
Untwisted -Part key step pattern 57 folding 326
see "Stance" 310 turning box - 103 leading 463 •

Untwisted state 277,279 Wave, body - 465.468 Writing (also reading)

Upbeat 44,50,54 "Waving good -by" 227 direction 20
- meas, numbering of 361 Waving hand 348.443 notes on 59-60
space allowed for - 60 Way sign, see Path Sign quick aids to 380
use of turn as - 95 Weak 509
Uplift 509 - musical beat, use of 59 X symbol 159
Upper arm, see Arm Wedges (floor plan) 181, 365
Upper Body Mvt 22. 492-4 Weight, absence of — Zapateado 222
symbol for 494 for touching gest 208 Zenith of deviation 445
'

Upper chest, see Shoulder - bearing, degree of 449 Zig-Zag steps, path of
Section - centered 403 C of G during 406
Upper leg, see Leg
center of - see
, Zorn. Albert 2
Upstage area 182 Center of Gravity
Upstage direction 107 on both feet 46
on hand 394.449
V for Victory, hand
lifting -from feet 82, 147
gesture 462 partial - see
,
Validity of hold sign
Partial Support
in support column 53 placement of - in
Validity of dir symbol kneeling 385-6,389
for gest 116,269 retention of 49
"Verbs", movement - 18-9 shift of 74,402-4
 '

Labanotation
The System of Analyzing and Recording Movement'

by Ann Hutchinson \

Third Edition, Revised

In the sixteen years since the
work appealed,
first edition of this

Miss Hutchinson, now Honorary

Dance Nota-
President of the

tion Bureau in New York, her colleagues

there and V ers s
JP
hurrfm
throughout the world concerned with the recording of
movement, have been working together to bring about this

revised edition, which, it is believed, will become

the "bible

of the subject. Almost twice the length of

the original work,
printings, attempts to answer
which has gone through six it

questions which have arisen both from teachers of

Labano-
all

tation and those working alone to master this first

wholly suc-
cessful system of movement notation.

As presented here, the text is the result of international

it is

conferences, standardizing terms and symbols. With

this edi-

tion's publication it is believed that

Labanotation, named for
genius who first devised it, Rudolf Laban, can
that movement
forge ahead to important as music notation has
become as
So
been since the 17th century when it was standardized.
comprehensive that it can indicate facial expression
where
enough that a child can
necessary, Labanotation is also simple
pick it as a part of his athletic or dance training.
up Preface by
glossaries, ap-
George Balanchine; hundreds of illustrations;

pendices, index, etc.

AB Paperbook No. 27
7830-527-0

wet iph by Paul Himmel

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