Body Variations

BY

ANN HUTCHINSON GUEST

WITH

ANDY ADAMSON

AND

RAYMUNDO RUIZ GONZÁLEZ

DANCE
BOOKS
© 2022 Ann Hutchinson Guest. All rights reserved.

First published in 2022 by Dance Books Ltd.,

Southwold House, Isington Road, Binsted, Hampshire. GU34 4PH

www.dancebooks.co.uk

ISBN 978-185273-185-5

This book was written and produced at the Language of Dance® Centre
17 Holland Park
London W11 3TD
United Kingdom
T: 44(0)207 229 3780
Web: www.lodc.org
e-mail: [email protected]
PHOTOS

Ann Hutchinson Guest

LHD, DHu, MBE

Andy Adamson
B. Mus

Raymundo Ruiz González

MA

v
Contents
Preface xiii
Acknowledgments xv

Chapter 1 Body Parts 2

1 The Limb and its surfaces 2
2 The Arm as a Limb 2
3 Surfaces of the Arm 4
4 Joint Signs for the Arm 6
5 Areas Around the Arm Joints 6
6 Movements of the Shoulder 8
7 Movements of the Shoulder Area 8
8 Limbs (Sections) of the Leg 10
9 Surfaces of the Leg Limbs 10
10 Joint Signs for the Legs 12
11 Areas of the Leg Joints 12
12 The Range of Foot-hooks 14
13 Timing in Use of Foot-hooks 16
14 Visuality of Placement of Hooks 18
15 Timing of a Step in Place 20
16 Resultant touch, Passive Leg 20
17 Exact Tip of Toes 22
18 Hooks for the Top of the Foot 24
19 Areas of the Foot 26
20 Sections of the Foot 28
21 Specific Parts for Tap Dance 30
22 Duration of a Tap Contact 30
23 The Toes 32
24 Torso Surface Signs 34
25 Moveable Parts 36
26 The Neck 38
27 Signs for the Spine 40
28 Pictorial Signs for the Head 42
29 Signs Based on the Symbol C 44
30 Use of Parts of the Head 46

vii
Chapter 2 Rotations 50
1 Arm Rotations 50
2 Rotations and Twists for the Whole Arm and its Parts 54
3 Rotations Within the Arm 58
4 Degree of Arm Rotation, Twist 60
5 Hand Circles with Flexion 66
6 Sequential Finger Folding with Hand Rotation 68
7 The Legs: Rotational State; Understood State 70
8 Specific Statement of Parallel Feet 72
9 Non-VZLYHO7XUQV³%OLQG7XUQV´
10 Rotations Within the Leg 76
11 Rotations of the Foot 78
12 Twists Within the Foot 78
13 Torso Rotations 80
14 Chest Rotations 84
15 Circular Paths of the Chest 86
16 Pelvic Rotations, Axes 88
17 Single Hip Action 90
18 Pelvic Circling 94
19 Pelvic Circles: Lateral; Sagittal 94
20 Rotations and Circular Paths for the Head 96
21 Destination for Head Rotations 98

Chapter 3 Flexion and Extension 100

1 Terminology 100
2 Any Form of Flexion, Extension 102
3 Three-dimensional Flexion 103
4 Neither Bent nor Stretched 104
5 Derivation of the Folding Symbols 106
6 Focus on Actions of the Joints 106
7 Contraction, Extension for the Arms 108
8 Contraction, Extension for the Legs 111
9 Torso Contracting, Extending 116
10 Degrees of Folding the Arm 120
11 Contracting, Unfolding, Folding, Lengthening 124
12 Folding, Unfolding of the Leg Joints 126
13 Torso Folding and Unfolding 128
14 Torso Folding, Cancellations 130
15 Lateral, Sagittal Opening, Closing 132

viii
 16 Torso Spreading 138
17 Grasping Through Lateral Spreading and Closing 140

Chapter 4 Vertical Bows 142

1 The Phrasing Bow 142
2 The Initiation Bow 142
3 Simultaneous Actions 143
4 7KHµ3DVVLQJ6WDWH¶%RZ
5 Deviation, Modification of a Path 144
6 Sequential Movements 146
7 Inclusions: Active; Passive 146
8 Inclusions: Partial Weight 150
9 Exclusions 150
10 Minor Angular Vertical Bows, and Carets 152
11 The Addition Bracket 154
12 First and Second Endings, Beginnings 156
13 The Theme Bracket 156

Chapter 5 Initiations 158

1 Point of Interest 158
2 Part Leading, Guiding 160
3 Guiding withs Surfaces and Edges 164
4 Degree of Leading Action 166
5 Passive, Resultant 168
6 Passive, Accommodation 174
7 Arm Gesture Ending 174

Chapter 6 Choice of Movement Description 176

1 Arm Gestures 176
2 Supports, Footwork 180
3 Développé Variations 184
4 Shape Retention 186
5 Major Deviations 188
6 Direction for Gestures from a Body Part 190
7 Whole Body Sign 196
8 Limb Extremity 198
9 Central and Peripheral Use of Body and Space 202
10 Floor Plans Prevail 206

ix
Chapter 7 Performance Details 208
1 Timing of a Step 208
2 Timing of Palm Facing 214
3 Styles of Walking 216
4 Breathing 220
5 Focus 224

Chapter 8 Path Variations 226

1 Revolving on a Path 226
2 Walking a Circle Without Change of Front 228
3 Relating to the Direction of the Path 230

Chapter 9 Use of Pins Survey 232

1 Relationship Indications 232
2 Degree of Turning 232
3 Statement of Front 232
4 Degree from Unrotated, Untwisted Front 234
5 Shifting 234
6 Indication of Performer 234
7 Minor Directional Indications 234
8 Minor Movements; Distal of Proximal Reference 236
9 Intermediate Directions; Degree of Turns 238
10 Modified Positions, Steps 238
11 Deviations from a Gestural Path 238
12 Direction of Arm Successions. 238
13 Track Pins 240
14 Parts of the Head 240
15 Fixed Points in the Room 240
16 Polar Pins 242
17 Pins for Ballet Arm Positions 244
18 Intermediate track possibilities 246

Chapter 10 Closed Positions of the Feet 250

1 General Considerations 250
2 Closed Positions of the Feet with Symmetrical and
Asymmetrical Rotations 252
Chart I Symmetrical Rotations 252

x
 Chart II Fifth Position, Asymmetrical Rotations 254
Chart III Third Position in Front 256
Chart IV The Side-by-Side Relationship 257
Chart V Third Position Model 258
Chart VI Fifth Position 259
Chart VII Fifth Position, Right Foot in Front 260
Chart VIII Third Position in Front 262
Chart IX The Side-by-Side Relationship 263
Chart X Third Position Behind, LBS 264
Chart XI Fifth Position Behind, LBS 265
3 Foot Positions for Touching Gestures 266
4 Touch, then Lower the Foot 270

Chapter 11 Time Signs 272

1 The Basic Time Signs 272
2 Duration 272
3 Tempo, Speed Variations 274
4 Rhythm 276
5 Beats 276
6 Meter 276
7 Application in the Movement Score 276

Chapter 12 Use of Ad Libitum Signs 280

1 The ANY Meaning for the Ad Lib. Sign 280
2 ³$Q\´0RGLI\LQJ2WKHU6\PEROV
3 Any, Free, Applied to Structure Labanotation 282
4 Specific Modifications 284
5 0HDQLQJµ6RPHWKLQJ¶µDQ$LP¶
6 0HDQLQJµ(LWKHU¶
7 0HDQLQJµ0RUHRI/HVV¶
8 :DY\/LQHVµ&RQWLQXHLQWKH6DPH0DQQHU¶

Chapter 13 Dynamics 290

1 Accented Movements 290
2 7KH&RQFHSWRIµ3DU¶291
3 Relation to Gravity 292
4 Practical, Functional Use 294
5 Use of Gravity in Swings 296

xi
 6 Muscular Relaxation 298
7 Timing of Dynamic Indications 298
8 Cancellation 300
9 Resilient, Rebound Movements 300
10 Resilient Hand Gestures 302

Chapter 14 Minor and Additional Points 304

1 Size, Distance 304
2 Natural 308
3 The Away Cancellation 310
4 As Much as Possible 312
5 Place Middle for Gestures 312
6 Center of Levity 316
7 Stillness 318
8 Looking, Gaze and Focus 322
9 Unit Timing, Exact Timing 324
10 Limb Falling 326

Bibliography 328
Index 331

xii
Body Variations
328 Bibliography

Bibliography
Cook, Ray. “Indications for Freedom of Interpretation.” In
Proceedings of the 22nd International Council for Kinetography Laban
(ICKL) Biennial Conference, Ohio State University, Columbus, OH,
July 26-August 2, 2001, 45-53. https://ickl.org/wp-
content/uploads/2016/04/Proceedings_2001_TXT.pdf
Hackney, Peggy. Making Connections: Total Body Integration
through Bartenieff Fundamentals. New York: Gordon and Breach,
1998.

Hutchinson, Ann. Labanotation or Kinetographie Laban: the System

of Analyzing and Recording Movement. 2nd ed. London: Oxford
University Press, 1970.

Hutchinson, Ann. Labanotation or Kinetographie Laban: the System

of Analyzing and Recording Movement. 3rd ed., rev. New York:
Theatre Arts Books, London: Dance Books, 1977.

Hutchinson Guest, Ann, and Claudia Jeschke. Nijinsky’s “Faune”

Restored. The Netherlands: Gordon and Breach, 1991.

Hutchinson Guest, Ann, and Rob van Haarst. Canon Forms.

Advanced Labanotation, vol 1, part 1. London: Harwood Academic
Publishers, 1991.

Hutchinson Guest, Ann, and Rob van Haarst. Shape, Design, Trace
Patterns. Advanced Labanotation, vol. 1, part 2. London: Harwood
Academic Publishers, 1991.

Hutchinson Guest, Ann, and Rob van Haarst. Kneeling, Sitting, Lying.
Advanced Labanotation, vol. 1, part 3. London: Harwood Academic
Publishers, London, 1991.
 Bibliography 329

Hutchinson Guest, Ann, and Joukje Kolff. Sequential Movements.

Advanced Labanotation, issue 4. London: Dance Books, 2003.

Hutchinson Guest, Ann, and Joukje Kolff. Hands, Fingers. Advanced

Labanotation, issue 5. London: Dance Books, 2002.

Hutchinson Guest, Ann, and Joukje Kolff. Floorwork, Basic

Acrobatics. Advanced Labanotation, issue 6. London: Dance Books,
2003.

Hutchinson Guest, Ann, and Kolff, Joukje. Center of Weight.

Advanced Labanotation, issue 7. London: Dance Books, 2003.

Hutchinson Guest, Ann, and Joukje Kolff. Handling of Objects,

Props. Advanced Labanotation, issue 8. London: Dance Books, 2002.

Hutchinson Guest, Ann, and Joukje Kolff. Spatial Variations.

Advanced Labanotation, issue 9. London: Dance Books, 2002.

Hutchinson Guest, Ann. Labanotation: the System of Analyzing and

Recording Movement. 4th ed. London: Routledge, 2005.

Hutchinson Guest, Ann. Movement Alphabet. London: Language of

Dance Centre, 2006.
https://www.lodc.org/uploads/pdfs/MovementAlphabet.pdf

Hutchinson Guest, Ann, and Tina Curran. Your Move. 2nd ed.
London: Routledge, 2007.
Knust, Albrecht. Abriss der Kinetographie Laban. Hamburg: Verlag
Tanzarchiv, 1956.
Knust, Albrecht. A Dictionary of Kinetography Laban
(Labanotation). 2 vols. Plymouth: Macdonald and Evans, 1979.

Laban, Rudolf. Schrifttanz: Methodik, Orthographie, Erläuterungen.

Vienna: Universal Edition, 1928 (English and French editions 1930).
330 Bibliography

Laban, Rudolf, with F. C. Lawrence, Effort. London: Macdonald and

Evans, 1947.

Marion, Sheila. “Pins/closed positions of the feet.” Paper,

International Council for Kinetography Laban (ICKL) Biennial
Conference, Chantilly, France, August 13-20, 1979.
Wile, Charlotte. Moving About: Capturing Movement Highlights
using Motif Notation. New York: Charlotte Wile, 2010.
 Index 331

Index
Abduction, 132 - central path, 314
Accelerando, 274 - circling, palm facing, 64
Acceleration, amount of, 274 - contract, extend, 108, 110
Accent signs, drawing of, 300 - crossing body, 178
- Accent, slight or marked, 290 - edges, 4
Accommodating, 170, 174 - folding, degrees, 120
Action, appropriate, 282 - ‘free end’, 101
- an, vertical line, 282 - gestures, place middle, 312
- any, 282 - held out, above, below Par, 294
- leading to new support, 281 - holding, 174
- unimportant, 292 - hyperextension, 122
Ad Libitum Signs, 102, 280 - joint signs for touching, grasping, 6
- any area, 102 - lower, twist, 54
- any, 280 - lower, vibrating, 236
- approximately, 280 - movement open to performer, 282
- drawing of, 280 - natural state, 52, 104
- either, 280 - relationship description for gesture, 176
- free, 280 - ripple, 146
- in starting position, 282 - rotation, twist, degree, 60
- large sign, 282, 284 - rotation, twist, direction of, 52
- more or less, 280 - rotations, whole arm and parts, 54, 58
- pattern may vary freely, 282 - soft elbows, wrists, 309
- sign elongated, 284 - succession, 146, 162, 188
- similar, 280 - surfaces, 4, 6
- unspecified, 280 - swing, analysis, 296
Addition bracket, 154, 186, 225, 282 - swing, level left open, 283
Adduction, 132 - swing, over-curve, 296
African dance, chest circles, 86 - variation in path, 178
After-flow, 168, 174 - whole, twist, 54
Alert, aware, 292 Arrival steps, 212
An action, 204 Arrow, use of an, 158
Anatomical description, arm gesture, 176 As much as possible, 312
Anger, expression, 318 Asian dance, focus, 224
Angular release sign, 74 Aspects of Time Chart, 272, 278-279
Ankle, area, 12 Automatic cancellation, 214
- contracting, 114 Awareness, 158
- folding, 126 Away cancellation, 186, 210, 225, 236, 310
- joint, focus on, 106
Any, area, 284
Back-to-normal, 225, 272, 310
- body area, 2
Balance, keep line of, 317
- body limb, 2, 284
- loss of, 317
- body part, 284
Balanchine arms, 248
- distance, 304
- form of extension, flexion, 102
- forward high inclination, 280 Balinese Dance, foot twists, 78
- joint, 284 - leg rotation, 76
- spring, 281 - hands folding backward, 123
Apology expressed, 148 Ball, bouncing a, 302
Arabesque line, DBP, 190 Ballet, arm positions, 244
Areas around joints, 6 - port de bras, pause, 318
Arm, as a limb, 2 - walk, 216
- body inclusion, 146 - use of DBP, 190
- carriage of the, 309 Ballroom dance, 74
332 Index

Base of the limb, 100 - outside the body, 316

Basic symbols used freely, 102 - point of balance, 316
Beamer, Nona Kapua, 92 - shift, 150
Beard, pictorial sign, 42 - slight lowering, 301
- grasping, 48 Center tracks, relationship to, 200
Beat, count division of, 324 Central sequential movement, 162
- subdivision of, 208 Central use of the body, 202
- Time Sign for, 272 Charleston, leg rotations, 76
Beginning, 1st and 2nd, 156 Chest, arching backwards, 130
Bending, 100 - circular path for, 86
Black pin means change of Front, 228 - expanding when breathing, 36
‘Blind Turns’, 74, 226 - lateral spreading, 138
Body, awareness, 166 - rotations, 84
- center line, relation to, 198 - shifting, 86, 234
- extremity touching, 198 Cigarette smoking, 48
- halves, 196 - holding, 140
- midline, 132 Circle, shape not exact, 288
- moveable parts, 36 - walking, no change of Front, 228
Body-as-a-whole, 196, 281 Circling either way, 286
Body hold, 320 Circling, degree, not exact, 288
Bolshoi Ballet, 212 Circular movement, phrasing, 142
Bournonville School, 190 Clap, understood but not written, 148
Bow, initiation, 142 Conclusion, sudden ending, 320
- passing state, 144 Connectivity, forms of, 196
- phrasing, 142 Contact bow, arm to body, 198
- vertical, 142, 146 Contact lens, placing, 48
Bracket, angular, physical use, 298 Contact sign U, nonspecific 306
- curved, feeling, emotion, 298 Contracting/unfolding, 124
Breath, LMA, 196 - over surfaces, 116
Breathing, 220 Contra-lateral, arms, 212
- lateral expansion, 220 Contraction, 100, 102
- region of breathing, 220, 222 Cook, Ray, 280
- timing of, 222 Coppélia, doll dancing, 318
- use of mouth, nose, 222 Core-distal (naval radiation), LMA, 196
- vertical expansion, 220 Count numbers, 208
Bulging (part leading), 160, 164 Cowboy walk, 218
- wrist, 236 Cross lateral body half, LMA, 196
Crossed out time sign, 272
Cambodian Dance, use of foot, 78
Canon for fingers, 68 Dance mood, focus important, 322
Capulet ball, 212 DBP, 178, 190
Carets, ‘the same’, 152 - statement of distance, 192
- Zed caret, 152 Design description for arm gesture, 176
Cartwheel path either way, 286 Design Drawing description, 66, 154
- rotation right or left, 286 Despair, expression, 318
Cavalier doffing hat, 144 Destinational statement, 174, 234
Cecchetti ballet method, 244 Développé variations, 184
Center line, relationship to, 134 - standard balletic, 184
- steps on, 216 Deviation on path, 144
Center of Gravity, 316 Deviations, major, 188
- hold, 286 Direction, any, 280
- Laban’s definition, 316 - any high, low level, 280
- leading, 326 - any middle level, 280
- levels, 180, 218 - awareness of, 310
- lowering, 306 - exact performance, 286
- new sign adopted, 316 - more or less, 286
 Index 333

- of progression, 230 Exclusion of body part, 150

- of the path, 230 Exhaling, 220
- symbols, blank, 188 Expanding, Extension, 100
Directions from Body Part, DBP, 190, 308 Extension, any form, 282
- intermediate, point to, 238 Extremity of limb, 100
Displacement, slight, 178 Eyebrow raised, 46
Distal reference, 236 Eyebrow, pictorial sign, 42
Distance, any, 304 Eyes, blinking, 46
- between, 306 - almost sightless state, 322
- relative, 304 - focused, 224
- signs, 224 - glance, 322
- specific (Knust), 306 - pictorial sign, 42
Dittman, Veronica, 310 - using letter C, 44
Dot, use of, intermediate points, 12 - wink, 46
Draughtman’s distance sign, 304
Drifting (into ending), 174
Face, whole, 42
Duration lines, 212
- actions of, 46
Duration, Time Sign for, 272
Facing a direction, 224
- brief, equal, long, 272
Fall, slight, 316
- freedom in duration, 273
Falling in place, 326
- unequal durations, 273
Far, 100
- variations in, 274
Feet, Closed Positions, 250
Dynamics, 290
- 3rd Position behind, Chart V, 258
- cancellation, 300
- 3rd Position relationship, Chart III, 256
- duration of, 299
- 5th Position behind, Chart VI, 259
- timing for, 298
- 5th Position, Chart II, 255
- Asymmetrical Rotations, 254
Effort (Laban), elements not included, 290 - black pins, use of, 252
Either foot, hand, 284 - feet touching, 250
- wrist, elbow, shoulder, 284 - Side-by-side relationship, Chart IV, 257
Elbow ‘dropped’, 62 - Symmetrical Rotations, 250, 252, 253
- contraction, 108 - more or less parallel, 288
- facing, 52, 62 - mixed surfaces, 266
- folding, 122 - rotations of, 78
- ‘lifted’, in ballet, 62 Finger, fan, 56
Elbow rotation, 58 - little, leading, 68
Elongating, 100 - tips sagittal circling, 66
Elongation, any amount, 282 - touching, rounded arm, 198
Emphasis, 292 - distance between, 248
- on knee action, 300 Fingers contracting, 110
Ending position, 174 - folding, 68
Ending, 1st and 2nd, 156 - grasping, 140
Energy, drop, causes for, 291 - ‘rotation’, 56
- degrees in rise or drop, 291 ‘Fixed end’, 101
- drop in, sign for, 291 Flat footed walk, 216
- drop, relaxed, weak, 292 Flexion, 100
- ebb and flow, 290 - any form, 102
- loss of, limb falling, 326 - any form, degree, 282
- rise in, sign for, 291 Floor plan, see the, 288
- slight increase, 158, 323 Floor plans prevail, 206
- strong, forceful, 292 - mini, 206
- use of, 318 Flow, signs for free, bound 297
English School of Ballet, 244 Focal point, 158, 322
Equal sign, 234 Focus, 224
Equal, more or less, not equal, 288 - duration of, 224
European Folk Dances, 302 - inner, outer, 224, 322
334 Index

- trance-like state, 322 Gravity, give in to, fight, 292, 294, 296
Folding, 100, 102, 106 - natural affinity, 294
- degrees of, 120 - reasons for use of, 293
- destination for, 120 - use in swings, 296
- the chest, 130 - vertical line of, 292
- with lengthening, 124, 130 - wrestler’s use of, 294
Foot, articulation, 182 Groin, stretching the, 92
- arch raised, 78 Guidance, duration of, 162
- areas of the, 26 Guiding, 160
- contracting, 114 - with surfaces, edges, 164
- edges of the, 26, 78 Gymnastic exercise, place middle, 314
- heel touch, 268
- hooks, range of, 14
Hackney, Peggy, 196
- hooks, top of foot, 24
Hair (letter C signs), 44
- isolated touch, 270
- pictorial signs, 42
- path lead by, 184
Hand, approaching head, 176
- rotations of, 78
- circles, 66
- sections of, 28
- clap, Hungarian, 148
- size, 250
- claw-like, 110
- sole of, 28
- continuous waving, 288
- timing for steps, 16
- contraction, 108, 110
- touching gestures, 266
- cupped, 110
- twists within, 78
- cupped near ear, 48
- visuality of placement, 18, 226
- folding, 123
Footwork, emphasis on detail, 180
- gestures, resilient, 302
- open to performer, 282
- passive, 56
Forehead, pictorial sign, 42
- patting movement, 288
Forward split, distance of, 306
- rotations, 68
Freedom, in all aspects, 284
- scratch head, 48
- in duration, 284
- twist within, 56
- in meter, 284
- waves, 236
- in rhythmic pattern, 284
Hands, addressing each other, 304
- in speed, 284
- clap, exact timing, 324
French School of Ballet, 244
- degree of nearness, 304
Front sign pins, 232, 233
- rebound actions, 302
- destination, 232
Haney, Carol, jazz walk, 218
- any, 288
Hawaiian Dance, hip sway, 92
- for Direction of Path, 230
Head, carried along, 116
- no change, walking a circle, 228
- circular paths, 96, 236
- some freedom allowed, 288
- leading, 164, 166
Fügedi, János, 250
- nodding, 288
- parts inside, outside,44
Gap following arm gesture, 174 - pictorial signs, 42
Gather or scatter, choice, 285 - rotations, 96
Gaze, 322 - rotations, destination, 98
Gazing, 224 - shifting, 234
Gesture, any, 281 - signs, based on letter C, 44
- appropriate, 281 - upright sagittal circles, 98
- in an area, 286 Head to pelvis unit, 116
- indicating “stop”, 320 Head-tail (spinal), LMA, 196
Glass held by fingers, 140 Heavy Point, 316
Glissade, description, 182 Hip, area, 12
Glossary, statements, 70 - initiation, 92
Graham technique, 106, 110 - joint, contracting, 112
- torso folding, 130 - single hip action, 90
Grasping by lateral spreading, 140 - single hip sign, vs. sideward tack, 12
 Index 335

Hold sign “Do not move”, 320 - little toe edge, 10

Holding, sides of skirt, 190 - ‘on the walk’, 106
- trousers with arms, 140 - positions, changing, 172
- vase with wrists, 140 - sections of, 10
Horizontal DBP reference, 190 - sliding on barre, 306
Hourglass Sign for Time, 272 - succession, outward, 184
Humility expressed, 148 - surfaces of leg, 10
Hungarian Dance, example, 148, 302 - use of place middle, 314
Leg rotation, degree, 308
- lower, twist in, 76
Improvisation, 158
- natural for each individual, 309
Inclining, motif, 280
- outward, Classical Ballet, 309
Inclusion, of body in arm gesture, 148
- parallel state, 286, 308
- partial weight, 150
- preparatory rotation, 74
- passive, 148
- resultant twist, 74
Infinity sign, use of, 312
- rotational state, 70
Inhaling, 220
- rotations within, 76
Initiation, 158, 166
- untwisting, 74
Instep, taking weight, 24
- while supporting, 172
Intermediate parts indicated by pins, 34
Italian School of Ballet, 244
Jazz walk, 218 Legato, sustained, 325
Joints, focus on actions of, 106 Level, stay at same, 286
Jooss-Leeder Dance School, 316 Levity, Center of, 316
Light Point, 316, 317
Lips, 44
Kinesphere, 202
Limb, a, 2
Kinetography Laban, 280
- extremity, 198
Kiss, blowing a, 48
- falling, 326
Knee, bend, degrees, 180
- relationship to body, 134
- contracting, 112
- rotating as a unit, 280
- folding, 126
- sign, use of, 54
- leading, 184
- surfaces, edges, 2, 164
Knust, Albrecht, C symbol for head, 44
- weight of, 293
- distance signs, 306
Limb/body relationship, 134, 136
- specific timing for foot hooks, 16
Limping step, 182
Listening, 46
L’Après-midi d’un Faune, Little finger edge guiding, 164
- torso contraction, in, 116 Local Body System of Reference, 170, 260
- wrist fold, in, 123 - 5th Position front, Chart VII, 261
Laban Movement Analysis (LMA), 196 - 3rd Position front, Chart VIII, 262
Laban’s Effort, different aim, 290 - 3rd Position behind, Chart X, 264
Labanotation, need for ‘any action’, 282 - 5th Position behind, Chart XI, 265
- structured, use of ‘any’, ‘free’, 282 - black pins, use of, 260
Leap, distance of, 306 - side by side relationship, Chart IX, 263
Lateral grasping, 140 - white pins, use of, 260, 270
- opening, closing, 132 ‘Lollipop” symbols, 212
Leading, degree, 166, 170 Looking, 322
Leeder, Sigurd, foot exercise, 124 - addressing sign, use of, 322
Leg - close focus, 46
- big toe edge, 10 - far distance, 46, 224
- contraction, 112 - side to side, 46
- folding, unfolding, 126 Lungs, sign for, 220
- joint areas, 12
- joint signs, 12
Marion, Sheila, 250
- lateral closing, 100, 134
Meeting line, 116
- limbs, surfaces, 10
336 Index

Metronome mark, 274 - passive result, 60

Minor movements, distal reference, 236 - standard convention, 52, 309
- proximal reference, 236 Pantomime, “Getting bigger and bigger”, 194
Misi, Gábor, 250 Par, concept of, 291
Moment of contact, 208 - indication for, 291
More or less, 288 - symbol, for cancellation, 300
Motif Notation, use of Ad lib., 280 Parallel feet, 72
- use of symbols, 102 Part Leading, 160
Motion away, toward, 284 - into a step, 216
Motion, absence of, 320 - timing of, 161
Moustache, pictorial sign, 42 Pas élevé, 22
Mouth, pictorial sign, 42 Passing State, in vertical bows, 144, 146
- “Oh God!” expression, 192 Passive, accommodation, 174
- use of in breathing, 222 - inclusion, 170
Movement, Alphabet, 320 - indication, 146
- becoming faster, 274 - leg bend after step, 20
- getting slower, 274 - movement, duration, 168
- impact, 290 - travelling, 170
- quality, 290 - resultant, 168
Moving away, 178 Path, variations for arm gesture, 178
Muscles letting go, 290 Pathway, any, 282
- increase in force, 290 Pause, a, 318
Muscular energy drops, in arm, 294 Pelvic circles, 94
- relaxation, reason for, 298 - rotations, Axes, 88, 90
- tension, 296 - shift, 94, 316
Music as the cue, 272 Pelvis leading, 316
- spreading, 138
- shifting, 234
Narrowing, 100
Perform in a similar way, 288
Natural, 308
Peripheral use of the body, 202, 203,204
Natural state arm rotation, 52
Persons, distance between, 306
Near, 100
Phrasing, meaning of, 142
Neck used in head shift, 38
Physically central, peripheral, 202
- surfaces, 38
Piggy-back, carrying, 170
Neither bent nor stretched, 104
Pins, appropriate choice for 5th position, 182
Nijinsky, torso contraction, 116
- choice for rotations, 60
- wrist fold, 123
- degree of turning, 232
Non-swivel turns, 74, 227
- destination of turn, 234
Normal, standard, 308
- deviations from a gestural path, 238
‘Normal’, leg rotation, 70
- direction of arm successions, 238
Nose, (letter C signs), 44
- fixed points in room, 240
- pictorial sign, 42
- indicating performer, 234
- use of in breathing, 222
- intermediate degree of turn, 238
- wrinkling, 46
- minor directional indications, 234
Nostrils, flaring, 46
- parts of head, 240
Number, any, 282
- pins, white, 234
Nun Better score, 310
- Polar Pins, 242
- positions, steps modified, 238
Opening, closing, lateral, sagittal, 132 - relationship, 232
Overcurve gesture, 184 - statement of Front, 232
- step, 22 - Track Pins, 240
Place, directional reference, 192
Place middle for gestures, 312
Pace, passage through space, 274
Point of balance, 210
Palm facing, 52, 60, 62, 64
Point of Elevation, 316
- ‘alert’ expression, 60
Point of Interest, 158, 224, 322
Palm leading, 164
 Index 337

Pointe, delayed rising to, 74 Single hip action, 90

Promenade turn, 74 - sign, versus sideward tack, 12
Pulse, tempo of, 274 Size of a movement, 194
Size, positions of feet, 304
Skirt, holding sides, 190
Rebound movement, 300
Slapping boot, 148
- quality, signs, 302
Somersault, forward or backward, 286
Red dot, (Bindi, Hindu), 48
- path either way, 286
Refer forward caret, 270, 271
Space hold, related to path, 230
Relationship, retreating, 178
Space measurement signs, 100, 194
‘Release’ cancellation sign, 310
Space, freedom in use of, 284
Repeat sign, in similar way, 288
Spatial, aspect, use of diamond, 322
- any number of, 282
- awareness, 166
- number left open, 282
- description, arm gesture, 176
Resilient, movements, 300
- distance, 194
- steps, accent down, accent up, 300
- far outward focus, 322
Resultant touch (after a step), 20
- neutral, normal state, 322
Resulting, destination, 170
Spatially central, peripheral, 202, 204
- travelling by leg rotations, 172
Speed, Tempo, 272
Retreating, moving away, 178
- slow, quick, 274
Revolving on a path, 226
- Time Sign for, 272, 274
Rhythm, Time Sign for, 276
Spinal sections, identifying, 40
Rib cage, folding, 130
Spine, as a whole, signs for, 40
Rising onto pointe, 16
- folding the, 128
Ritardando, 274
Spot Hold, 152
Robbins, Jerome, 320
Spreading, 134, 136
Romeo and Juliet, 212
- closing, one sided, 132
Rotating, choice of right or left, 280
Spring Points, timing, 324
Rotation, destination, 60
Springing onto pointe, 16
Run forward freely, 288
Staff, indication outside, 74, 80
Run through the music, 288
Stamping, reason for, 291
Russian Dance, leg rotations, 172
- use of energy, 291
Russian School of Ballet, 244
Stamps, silent, 294
Standing, focus on particular aspects, 180
Sagittal opening, closing, 132 - in place, meaning, 308
Scapulae, 136 - Labanotation meaning, legs touching, 308
Scatter either side, 285 - supports displaced sideward, 308
Science Museum, London, 316 State, moving toward, arriving at a, 296
Scooping contraction, torso, 118 Statues, freezing into, 320
Secret turn, 82 Step, in place, timing, 20
Separation, limbs from body, 134 - lengths, number of, 306
Sequential movement, 146 - symbol, meaning, 208
Shape, any, 281 Steps, arrival, 212
Shape description, arm gesture, 176 - natural resiliency, 286
Shift, any forward, 280 - modified steps, 174
Shifting, 234, 280 Stillness, 318, 320, 321
Shortening, distance, flexion, 100 - expression, 174
Shoulder, area, 8 - pregnant pause, 320
- blades, 136 - aliveness, energy present, 320
- directional movements, 8 - examples of use, 321
- initiation, 166 - previous movement ‘sings on’, 320
- line, 116 Straight path gesture, 144, 178
- narrowing, 136 Stress, in a movement, 292
- section, folding, 130 Stretching, 100, 111
- widening, 136 Style of walking, 90
Sideward center line, 178 Surfaces, of areas, 12
338 Index

- intermediate, 34 - whole swing, 186

Swaying steps, 194, 210 - wheeling, axis for, 80
Swivel or non-swivel steps, 226 - wheeling in segments, 82
Swivel turn, 74, 172, 227 Track Pins, 178, 240
Swivelling on foot, 218 - intermediate, 246
Szentpál, Mária, 250, 272 Travelling, away from something, 284
- any form, 282
- slight break in, 318
T’ai Chi Ch’uan, 74, 190
- to a destination, 284
Tap contact, duration, 30
Trousers held by arms, 140
Tap dance, metal plate, 30
Trudging steps, 302
- soft shoe, 320
Turn, either right or left, 286
- specific parts of foot, 30
- any amount, 282, 283
Teeth, 42, 44
- intermediate degrees, 238
Tempo, 274
- promenade, 74
- Time Sign for, 272, 274
- ‘with friction’, 227
Termination of gesture, 174
Twist of a body part, 280
Tension, relaxation interplay, 290
Terre á terre, near floor, 182
The Age of Anxiety, 320 Unfolding, 124
Theme bracket, 156 - derivation of symbol, 106
Thumb edge facing, 60, 62, 64, 164, 214 - the leg joints, 126
- in mouth, 48 - the torso, 128
Tight rope walking, 232 Unit Timing, 324
Tilting, inclining, 280 - example arms, leg, 324
Time available, 272, 274 Uplift, buoyant, 292
Time Dot indication, 272 - strong, against gravity, 294, 296
Time Sign for Duration, 325 Upper Body in arm swings, 146
Time Signs, Basic, 272 - inclusion, 148
Time unit, 208 Upper-lower body half, LMA, 196
Time, symbol for, 68
Timing, of a step, 208 Vase held by wrists, 140
- exact, 324, 325 Ventral, ‘front’, outer, leg surface, 10
- freedom in, 284 Vertebra, individual, 40
- general, 272 Vertebrae, lifted, 118, 130
- hesitation, 318 Vertical bows, deviation of a path, 144
- Labanotation (2005), 324 - exclusion, 150
- of palm facing, 214 - inclusion, 146, 150
- overlap in, 144 - initiation, 142
- staccato, sudden movements, 325 - minor angular, 152
- Unit, 324, 325 - passing state, 144
Toe, exact tip of, 22 - phrasing, 142
- knuckles, joints, 32 - sequential movements, 143
- ‘limbs’, 32 - simultaneous actions, 143
Toes, 32 Vertical brackets, addition, 154
- spread, 78 - theme, 156
- folding, 126 - use with dynamics, 298
- surfaces, segments, 32 Vertical dimension, any level, 280
Torso, contracting, extending, 116, 118 Volar, ‘back’, inner leg surface, 10
- folding, cancellations, 130
- contract over front, 118
Waist bulging, 116
- folding, unfolding, degree, 128
Walking, sequence, arm swings, 146
Torso, inclusion, 148
- arm coordination, 212
- rotations, 80
- fluently, 318
- spreading, 138
- style of, 90, 216
- surface signs, 34
Wavy line, 242
- weight, use of, 293, 296
 Index 339

- Classical Ballet, 288 - sense of, 292

- continue in same manner, 288 Whole body signs, 196
- relative speed, 288 Wrist ‘bulge’, contraction, 110
Wedge, taken from Time Sign, 274 - facing, 62, 188
Weight, placement, 301 - folding, 120, 123
- shared, 150 - rotations, 58
- center of, shifting, 307
- centering the, 210 Zed caret, 172, 210, 270, 311
- partial, included, 150, 182