WORKBOOK
& DVD COMPANION
VERA MALETIC
2005
2 2 E A S T 1 7 T H AV E | C O L U M B U S , O H 4 3 2 0 1 | ( 6 1 4 ) 2 9 9 - 9 9 9 9 | W W W. G R A D E A N O T E S . C O M
CONTENTS
Preface / iii
About the Author / iv
Acknowledgements / v
I N T R O D U C T I ON
The Significance of Dance Dynamics / 1
Rudolf Labans Contribution to the Field of Movement and Dance / 7
Notes / 8
PA R T A / T H E E F F O R T T H E O RY
/9
I N T R O D U C T I ON
Fig. I. The Effort Graph / 12
E F F O R T S PA C E (SHAPE) AFFINITIES / 37
Fig. 2. The Effort Cube / 38
CONTENTS / i
PA R T B / P H R A S I N G C L A S S I F I C A T I O N
INTRODUCTION / 57
Classification of Phrasing / 59
Notes / 63
E I G H T P H R A S I N G TYPES / 65
(I) Even Phrasing / 65
(II) Increasing-Intensity; Impactive / 66
(III) Decreasing-Intensity; Impulsive / 67
(IV) Increasing-then-Decreasing Intensity / 68
(V) Decreasing-then-Increasing Intensity / 69
(VI) Accented / 71
(VII) Vibratory / 72
(VIII) Resilient / 73
S E Q U E N C I N G O F PHRASING / 76
(A) Consecutive / 76
(B) Concurrent / 77
(C) Overlapping / 78
S E Q U E N C I N G O F PHRASING / 96
(A) Consecutive / 96
(B) Concurrent / 97
(C) Overlapping / 98
S U M M A RY / 100
D V D C O M PA N I O N & V I E W I N G G U I D E / 122
ii / DANCE DYNAMICS
P R E FA C E
Among special features of the Workbook is the fact that the text is informed by
the tradition of Laban's teaching in Europe, as it was originally formulated and
reformulated by his students, as well as the development of Labans theories
in the USA. In addition, based on Labans foundation, the classification and
notation of Phrasing has been developed by the author, Vera Maletic. A brief
review of literature clarifies the distinction between the terms phrase and
phrasing in dance, and the rationale for using phrasing is explained. Eight
types of Phrasing are defined and exemplified by way of description, notation,
and video excerpts.
A DVD viewing guide complements the disc in the back of the book.
PREFACE / iii
ABOUT THE AUTHOR
While in Zagreb, she was the choreographer and artistic director of the Studio
for Contemporary Dance, creating works for stage, film, and television in for-
mer Yugoslavia, Austria, and Sweden.
Currently she divides her time between activities in Columbus and Zagreb,
Croatia. This includes bilingual writing and projects in dance documentation
by means of technology.
iv / DANCE DYNAMICS
ACKNOWLEDGMENTS
Special thanks are due to the following choreographers and performers for per-
mission to include excerpts of their work in the DVD companion:
The following Ohio State University MFA and BFA students gave permission for
the inclusion of their work:
ACKNOWLEDGMENTS / v
mance; Keren Ganin-Pinto: performance; Luke Gutsgell: performance;
Chad Hall: composition and performance; Kristin Hapke: composition
and performance; Jason Hedden: juggling; Kamilah Levens: performance;
Scott Lowe: composition, improvisation, and performance; Christina
Providence: improvisation and performance; Michelle Stortz: performance;
Marc Woten: improvisation and performance.
V. M A L E T I C , December 2004
vi / DANCE DYNAMICS
INTRODUCTION
Questions of terminology
Ana Maletic, for instance, makes the distinction between dynamics and
dynamicity. While dynamics refers to the intensity and weight aspects of
movement, dynamicity refers to the energy as a result of all motion fac-
tors.3
In this text the term dance dynamics is used as an overall designation pertain-
ing to the phrasing of movement energy. Movement qualities, on the other
hand, denote specific colorings or the textures of movement. Both terms refer
INTRODUCTION / 1
to movement intent or expression. Issues of emotional, kinetic, conceptual,
and other motivations are discussed with reference to contemporary theatrical
dance, and various other dance traditions.
In Javanese traditional dance there are three basic principles that address dance
dynamics. The first one is wiraga, described as a way the dancer controls the
movement while traveling smoothly and evenly as a breeze through a palm tree
(for female) or flowing water (for male). The second principle, wirasa, deals
with the dancers capacity to express feeling that would be communicated to
the audience. The third principle, wirama, refers to tempo and rhythm which
are considered indispensable elements of dance.4
The qualities of resiliency, bounciness of the whole body, has been observed in
many forms of a ritual dance performed in the Central Philippines, called sinu-
log. This quality is seen as linked to some healthy patterns of life, and can be
found in both traditional and non-traditional dancing.6
Resilient step patterns, the so-called drmez, in dances of Croatia, have been
among the most characteristic motives in circle danceskolos of plains or flat
ground regions. They are reminiscent of ancient work motives imitating tread-
ing and crushing corn. The vertical emphasis of resilient shifts of weight, alter-
nating with lively vibration, both gives in and resists the pull of gravity.7
2 / DANCE DYNAMICS
The terminology of classical ballet contains some basic forms of dynamic move-
ment, in other words dance vocabulary, such as battu or battement (hit or
thrusting), coup (cut), gliss (glide or slide-like), fouett (slashed
or whipped), and jet (thrown), are named according to the quality of their
performance. This terminology, created by French dancing masters of the 18th
century, inspired Laban to name his basic Effort actions, such as thrusting, glid-
ing, slashing, etc.9
The staccato, hard and fast angularity of urban American street-dance (as seen
in the work of Rennie Harris Puremovement, for example) demonstrates the flu-
idity and multirhythmic ease found in much of West African vernacular dance.10
Moreover, in the culture of hip-hop dance, many terms have dynamic connota-
tions. B-boy or b-girl break dancers take their name from the break; a
percussive interlude found on many funk recordings of the 1960s70s, which
is often broken and remixed by a DJ. Other terms, such as popping and
locking, describe impactive gestures fragmented by stillness. The term hip-
hop itself (perhaps derived from hep, or fashionable) betrays the importance
of pelvic movements which are readily visible in the form.11
INTRODUCTION / 3
The development of technology between the two World Wars, and the emer-
gence of modern dance in Europe, was the background of Rudolf Labans
investigations into the common denominators of the dynamics of movement
expression referred to as Effort. Because of its systematic classification, his
theory is one of the most important for modern dance thought.15
Since the 1940s several American dance educators and choreographers have
also acknowledged the significance of the constituents of dance dynamics. For
instance, Margareth HDoubler states that to execute any movement, we
must make an effort; this effort consists of an expenditure of energy. . . . Since
energy is a determining factor in the character of expressiveness of movement
it is interesting to consider actions with respect to the way energy is released to
produce them.16
Doris Humphrey refers to dynamics as the ingredient that adds spice and inter-
est to living as well as dancing, and argues that dynamics is the lifeblood of
the dance, and is ignored at the peril of your existence as an artist.17 Alma
Hawkins discusses the perceptual dimensions of dance qualities, and maintains
that the aesthetic quality of dance movement is determined by the flow and
control of energy. She further explains that:
4 / DANCE DYNAMICS
Descriptions of Dance Dynamics in various contexts
Within their mode of description, dance critics, historians, theorists, and film-
makers frequently depict movement qualities, for example: (Emphases are the
authors.)
[Sara] Rudner likes to play off opposites against each other. One is the
disparity between an inward, nonspecific focus and an outward, alert
riveting of her attention. We see it in the first dance as she oscillates gen-
tly inside her body, feeling a flow,
flow nothing more, then suddenly straight-
ens and looks to the side as if an alien noise had surprised her. (Marcia
B. Siegel, The Tail of the Dragon, New Dance, 19761982. Durham,
NC: Duke University Press, 1991. 17.)
Slowly the man touches the woman beside him, . . . the restless thrash-
ing body before them suddenly seeming to communicate as anguish
that complements their drowsy affection. (Jennifer Dunning, Images of
Light and Dark Connect East to West. Review of Akram Khans Kaash.
The New York Times, Oct. 18, 2003.)
INTRODUCTION / 5
An admirable and fairly unique quality of Dan Wagoner is his weight. .
. . in the way his movements are weighted. It looks as if he were press-
ing against heavy water rather than air. The effect is quite different from
the kind of dancing that gives the illusion of flitting or floating. The
viewer is involved in seeing the energy that pressed into the floor or lifts
out of it. This is a quality of his that shows consistently, whether he is
moving slowly or quickly, in the air or on all fours. You see this and are
glad that gravity can be a dancers partner. (Paul Taylor, Down with
Choreography. The Modern Dance: Seven Statements of Belief. S. J.
Cohen ed. Middletown, CN: Wesleyan University Press, 1966. 92.)
As the eight performers come and go, thrashing or worming into move-
ment, heads cock, hips and elbows jut, backs sway, shoulders roll and
hike, knees collapse, feet strike out into space . . . either simultaneously
or in rapid succession, as if the dancers were trying to direct their body
parts toward various directions in space. (Deborah Jowitt, How Many
Ways To Twist It? Review of The Room as it Was, performed by
the Ballett Frankfurt, choreographed by William Forsythe. The Village
Voice, October 814, 2003.)
Assignment
6 / DANCE DYNAMICS
RUDOLF LABANS CONTRIBUTIONS TO THE FIELD OF MOVEMENT AND DANCE
INTRODUCTION / 7
Notes for Introduction
8 / DANCE DYNAMICS
PA R T A / THE EFFORT THEORY
INTRODUCTION
The concept of Effort and its theory is presented in several of Labans English
books.1 The first one, Effort, published in 1947, was an outcome of Labans
collaboration with F. C. Lawrence, a management consultant in industry;
Lawrence had invited Laban to record industrial processes and to assist with
work-study. While this first book focuses on Effort in work and industry, the
1948 book Modern Educational Dance proposes a new dance education or a
free dance technique, based on the practice of Effort sequences. The 1950
book The Mastery of Movement on the Stage, and its subsequent editions as
The Mastery of Movement (1960, 1970, 1980), elaborate on Effort expression
in mime, acting, and dance.
Development of theory
*The term Effort qualities is used to denote single or combined Effort element.
Laban further associates four phases of the movers inner participation with the
Motion Factors as follows: Attention is associated with Space, Intention with
Weight, Decision with Time,3 and Progression4 with Flow.
In addition, Laban also associates the emphasis on Space with a persons power
of Thinking, Weight with Sensing, Time with Intuiting, and Flow with Feeling.5
Since these powers loosely correspond to C. G. Jungs theory of function types,
there are frequent references to Jungian influences on Laban [See Appendix II
for further discussion].
10 / DANCE DYNAMICS
How do all these strands relate to the performance and observation of Effort
qualities?
Movement that shows predominance of the Motion Factor of TIME may indi-
cate an Intuitive readiness for Decision making, either suddenly or with sus-
tainment. This may manifest itself in thinking, and/or showing a good sense of
rhythm in performance.
The emphasis on the Motion factor of FLOW is related to feeling that can
bind or free its Progression. This can show as holding back or being outgoing
in communication, and/or as performing great nuances in the progression of
movement or dance.
ACCEPTING
RESISTING
M O T I O N FA C T O R S EFFORT ELEMENTS
INDIRECT
Space OR FLEXIBLE DIRECT
12 / DANCE DYNAMICS
Predominant variations within ONE MOTION FACTOR
In considering Labans Effort theory one has to keep in mind that the dynamic
structure or quality of a particular movement gains its full significance or mean-
ing only when it is related to what precedes and what follows. In other words,
one has to view it within a movement sequence or a context of phrasing. This
also points to the fact that most frequently qualities are present only for a
moment before they transform.
(c) Suggested ways of engaging the body to facilitate and enhance the
performance of Effort qualities
(e) Observations of Effort qualities in self and others (noting that qualities
can be experienced as thought or movement actions)
(f) Examples of instances where one quality changes to its opposite (in
recognition of the momentary value of these)
*In this description terms Effort elements, Effort qualities, and qualities are
used interchangeably.
(a) The emphasis on attitudes toward Space can be associated with the cognitive
capacities of orienting, attending, and organizing. The inner participation or
faculty of Attention can give movement a multi-focused, indirect, or flexible
quality; or channel the focus of movement into a direct, pinpointing quality. Its
mastery can give clarity to dance execution, including the dancers alignment
and his/her relation to the environment.
YOUR DESCRIPTIONS
(b) A distinction from the measurable, quantitative aspects of space, i.e. shape and
size should be kept in mind:
is not the same as wavy, curved, twisted does not mean a straight line, but does
design, but does coincide with a plastic, coincide with linear, one-dimensional
three-dimensional movement movement
INDIRECT or FLEXIBLE D IR E C T
*Body flow refers to sequencing the movement either in a successive, sequential way, where one body
part moves after the other, or in a simultaneous way, where several parts move at the same time.
14 / DANCE DYNAMICS
(d) Affinities with areas in space:
open movements into the unrestricted movements across the body as creating
areas of the sides of the body an obstacle to the three-dimensional use
of space
Y O U R D E S C R I P TI O N S
YOUR EXAMPLES
(f) Examples of instances where one quality of Space changes to its opposite:
INSTRUCTORS EXAMPLES
YOUR EXAMPLES
(a) The predominance of Weight qualities may indicate sensing or sensibility for
assuming light or firm Intention towards an action, ranging from lighthearted
to assertive. By monitoring various muscular tensions, the dancer can display
strength or delicacy in performance.
LIGHT STRONG
YOUR DESCRIPTIONS
(b) The measurable, quantitative aspects like light/weak and heavy, in terms of how
much you weigh, or exert energy, differ from qualities of weight, although the
quantitative aspects influence them:
LIGHT STRONG
is not the same as lighter weight or a is not heavy weight, but deals with
weaker, passive attitude, but is adjusting greater resistance to the pull of gravity
to a lesser pull of gravity
(c) Ways of engaging the body can enhance the performance of opposite qualities:
LIGHT STRONG
shows a tendency toward lesser mus- shows a tendency toward muscular
cular tension, engaging the center of tension, participation of the center of
levity, chest, upper body; movements weight, pelvic area, lower body support;
further extended; inhalation; peripheral movement closer to body, more con-
transitions tracted; exhalation; central transitions
16 / DANCE DYNAMICS
(d) Affinities with areas in space:
YOUR EXAMPLES
(f) Examples of instances where one quality of Weight changes to its opposite:
INSTRUCTOR'S EXAMPLES
YOUR EXAMPLES
(a) A great frequency of Time qualities may indicate an intuitive readiness for
Decision making, either in a sustained manner or suddenly. Its mastery gives
a calm or alert approach to thought or movement actions.
S U S TA I N E D SUDDEN
YOUR DESCRIPTIONS
(b) A distinction from the measurable aspects of time, i.e., fast and slow in relation
to clock or metronome time should be kept in mind:
S U S TA I N E D SUDDEN
does not mean slow, but may coincide does not mean fast, but may coincide
with slow tempo of movement with fast tempo
(c) Ways of engaging the body can enhance the performance of:
S U S TA I N E D SUDDEN
18 / DANCE DYNAMICS
(d) Affinities with areas in space:
S U S TA I N E D SU D D E N
S U S TA I N E D SU D D E N
YOUR EXAMPLES
(f) Examples of instances where one quality of Time changes to its opposite:
INSTRUCTOR'S EXAMPLES
YOUR EXAMPLES
(a) The emphasis on Flow can be associated with the emergence of feelings that,
depending on the interaction with self or others, free or bind the continuity of
movement and give either a controlled and careful or exuberant and outgoing
Progression.
FREE BOUND
YOUR DESCRIPTIONS
(b) A distinction from the quantitative aspects of flow, i.e., continuity or stop
should be kept in mind:
FREE BOUND
is not the same as mechanical continuity does not necessarily stop the movement
but displays a tendency toward it but manifests a tendency for stopping
(c) Ways of engaging the body can enhance the performance of:
FREE BOUND
20 / DANCE DYNAMICS
(d) Affinities with areas in space:
FREE BOUND
FREE BOUND
YOUR EXAMPLES
(f) Examples of instances when one quality of Flow changes to its opposite:
INSTRUCTORS EXAMPLES
YOUR EXAMPLES
After having considered each of the four Motion Factors and their respective
Effort Elements, we will see how the combination of two Motion Factors can
create new qualities. These are observable in transitions between actions in
everyday life and are frequently elaborated in dance. There are six combinations
of two Motion Factors and Laban refers to them as incomplete efforts that
are expressive of a variety of inner attitudes.6 Bartenieff prefers to identify
them as inner states.7 Since the term attitudes is also used to denote atti-
tudes of yielding or resisting the Motion Factors, the term States will be used
in this text.
While the combination of Motion Factors SPACE and TIME (of thinking and
intuiting) and their respective Effort Elements create an alert, awake attitude,
the opposite combinations of WEIGHT and FLOW (of feeling and sensing) are
more dreamlike, unaware. Laban refers to the former combination as giving
information about where (S) and when (T), and the latter about what
(W) and how (F).
Whereas the combinations of SPACE and FLOW Elements (of thinking and
feeling) give a more abstract, remote mood, their opposites, the combinations
of W E I G H T and TIME Elements (of sensing and intuiting) create a rhythmical,
earthy, near attitude. The first combination indicates where (S) and how
(F), and the contrasting one what (W) and when(T).
As the combinations of SPACE and WEIGHT (thinking and sensing) are likely to
produce a stable, steadfast attitude, their opposite combinations of TIME and
F L O W (feeling and intuiting) can create a mobile, adaptable attitude. The first
combination gives information about where (S) and what (W), and the
contrasting one about when (T) and how (F).
Each of the six combinations has a potential for four variations. For example
the combination of WEIGHT and TIME includes:
The four variables resulting from the combinations of Space/Time (of thinking
and intuiting) produce alert, aware, awake attitudes and actions, such as are
seen in Merce Cunninghams work in the 1950s and 60s. Here the information
about where and when is particularly evocative.
M E N TA L A C T I O N MOVEMENT ACTION
DIRECT / SUSTAINED (2) prolonged focusing slow linear path YOUR EXAMPLES
all facets
INDIRECT / SUSTAINED (4) all-round lingering slow turning and twisting YOUR EXAMPLES
consideration
24 / DANCE DYNAMICS
The four S/T variables can be observed in various sequences, such as:
Perform the scene with clear focus and shaping in gesture, turning, locomotion;
in addition small, isolated and large, total body movement may enhance the
time variables.
Read and perform the following sequence that includes the S/T variables:
Notice if your performance brought about any movement actions you described
on the previous page.
The four variables resulting from the combinations of WeightFlow (of sens-
ing and feeling) bring about a less conscious, almost dream-like attitudes and
actions; some Contact Improvisation sequences at times assume such attitudes.
M E N TA L A C T I O N MOVEMENT ACTION
STRONG / BOUND (1) forced restriction supporting a heavy slippery YOUR EXAMPLES
partner
26 / DANCE DYNAMICS
The four W/F variables can be observed in various sequences, such as:
Perform the scene with suspension, falling and rolling, swings, and pulling
inward.
Read and perform the following sequence that includes the W/F variables:
Notice if your performance brought about any movement actions you described
on the previous page.
M E N TA L A C T I O N MOVEMENT ACTION
DIRECTBOUND (1) restricted honing in strict linear shaping YOUR EXAMPLES
28 / DANCE DYNAMICS
The four S/F variables can be observed in various sequences, such as:
Perform the scene using predominantly torso, arm and leg gestures, balancing
and getting off-balance that leads into locomotion.
Read and perform the following sequence that includes the S/F variables:
Notice if your performance brought about any movement actions you described
on the previous page.
Laban approximates this inner attitude as near in which a presence may have
a sudden impact or sustained consideration, or it may express strong attach-
ment or superficial touch.11
M E N TA L A C T I O N MOVEMENT ACTION
STRONG / SUDDEN (1) emphatic assertion stomp YOUR EXAMPLES
30 / DANCE DYNAMICS
The four W/T variables can be observed in various sequences, such as:
OR
Read and perform the following sequence that includes the four combinations
of W/T:
Notice if your performance brought about any movement actions you described
on the previous page.
The four variables resulting from the combinations of SpaceWeight (of think-
ing and sensing) produce persevering, well-defined, more stable attitudes and
activities. Examples may be found in gymnastics, pedestrian activities, and
some court dances from the Renaissance.
M E N TA L A C T I O N MOVEMENT ACTION
DIRECT / STRONG (1) convergent firmness strong clear-cut locomotion YOUR EXAMPLES
DIRECT / LIGHT (2) delicate focusing tracing fine lines YOUR EXAMPLES
scrutinizing
scanning
32 / DANCE DYNAMICS
The four S/W variables can be observed in various sequences, such as:
Advancing with two low steps, then two high transferences of weight
is followed by a retreat consisting of two small steps and closes. This
alternates with shoulder-arm gestures, displaying a splendid pelerine
and showing off the dagger, that are performed without locomotion.
Read and perform the following sequence that includes the four combinations
of S/W:
The four variables resulting from the combinations of TimeFlow (of intuiting
and feeling) create changeable, more mobile, at times agitated attitudes and
activities. They may appear in dramatic movement and dance scenes.
M E N TA L A C T I O N MOVEMENT ACTION
SUDDEN / BOUND (1) startled jerk YOUR EXAMPLES
SUDDEN / FREE (3) pleasant surprise fluttering gesture (when YOUR EXAMPLES
repeated)
34 / DANCE DYNAMICS
The four TF variables can be observed in various sequences, such as:
Perform the scene by alternating movement that pulls inwards with agita-
tion and control, and streams outward with ease and excitement; also include
moments of withholding balance in contrast to nearly falling off-balance.
Read and perform the following sequence that includes the four T/F variables:
Notice if your performance brought about any movement actions you described
on the previous page.
W E I G H T A N D T I ME
Laban, Rudolf. The Mastery of Movement (1980 edition) 7879.
North, Marion. Personality Assessment Through Movement (Macdonald & Evans, 1972)
252.
Preston-Dunlop, Valerie. A Handbook for Dance in Education (London: Macdonald &
Evans, 1980) 1516; 9 b.
Bartenieff, Irmgard. Body Movement: Coping with the Environment (New York:
Gordon & Breach, 1980) 5960.
S PA C E A N D F L O W
Laban 7879.
North 252253.
Preston-Dunlop 3537; 194.
Bartenieff 5960.
W E I G H T A N D F L OW
Laban 7879.
North 249251.
Preston-Dunlop 3536; 194195.
Bartenieff 5960.
S PA C E A N D W E I G HT
Laban 7879.
North 253.
Preston-Dunlop 36; 195.
Bartenieff 5960.
S PA C E A N D T I M E
Laban 7879.
North 251.
Preston-Dunlop 3637; 194.
Bartenieff 5960.
36 / DANCE DYNAMICS
EFFORT / SPACE (SHAPE) Affinities
Laban found close correlation between Effort elements and the six dimensional
directions. These were based on his observation that a light movement has an
upward tendency, and a strong movement aims downward; a straight, direct
movement correlates with movement across the body, while a roundabout,
flexible or indirect movement is correlated with an opening outwards; a sudden
movement tends toward a backward direction, and a slow, sustained one reaches
forward. Elaborating compounds of these, Laban arrived at the eight variables
of the Action Drive or the eight basic Effort actions, which correspond with
the eight Diagonal directions. Accordingly, a light/indirect/sustained movement
is associated with the high-open-forward diagonal, and a strong/direct/sudden
one with the down-across-back diagonal, etc.14
A helpful visualization of the above can be seen in FIG. 2 (p. 38, overleaf) rep-
resenting the Effort cube with directional and Effort symbols.
EFFORT-SPACE AFFINITIES / 37
FIG. 2: THE EFFORT CUBE
38 / DANCE DYNAMICS
The scaffolding of the cube also presents a device for the exploration of transi-
tions among the eight basic Effort actions:
(a) over the edge transitions, indicated by the solid line, create sequences
with changes of one element, such as:
or
(b) across the planes or faces of the cube transitions, indicated by the arrows,
create sequences with changes of two elements, such as:
or
(c) the diagonal transitions through the cube, indicated by arrows, can
embody contrasting transitions, such as:
or
EFFORT-SPACE AFFINITIES / 39
Labans concept of affinities was the point of departure for Warren Lambs elab-
oration of Effort and Shape relationships. Initially Labans student and assis-
tant in developing the Laban-Lawrence Effort assessment test for work study
purposes, Lamb evolved his own methodology. In Posture and Gesture Lamb
presents his scheme for observation and analysis of physical behavior in which
the emphasis is placed on degrees of affinity between Shape and Effort varia-
tions, including his elaboration of shape flow in addition to effort flow.15
The observation of actions such as posture, gesture, and their merging
is also a significant variable.16 In the 1960s Lambs Effort-Shape construct
contributed to the forming of Laban-Lamb-based methodologies in the U.S.A.
promoted by Irmgard Bartenieff and Dr. Judith Kestenberg. While Bartenieff
developed Effort/Shape with reference to research and teaching,17 Kestenberg
expanded some of its concepts in context of Freudian developmental phases and
observations of infants.18
40 / DANCE DYNAMICS
Combinations of THREE MOTION FACTORS
The combinations of three Motion Factors and their respective Effort Elements
bring about a more intense movement expression that Laban refers to as
drives. Taking the Action Drive as the point of departure, Laban identified
three additional drives in which Flow replaces the other three Motion Factors.
He gave them metaphorical names, such as Passion Drive (Flow replac-
ing Space), Vision Drive (Flow replacing Weight), and Spell Drive (Flow
replacing Time),19 and also labeled them as Transformation IIII.20 Marion
North elaborates on them in the context of personality assessment and refers to
the spaceless drive as an emotional stressed drive; timeless as a spell-like drive,
and, weightless as a visionary drive.21 Bartenieff subsequently describes them
as transformation drives and names them simply spaceless, weightless,
and timeless22
The PA S S I O N DRIVE arises when the Flow factor replaces the Space factor
and transforms the Action drive into a more emotionally emphasized drive. It
includes the eight possible combinations of Weight, Time, and Flow qualities
(sensing, intuiting, and feeling) that override the clarity of Spatial placement
and shaping (thinking).
The V I S I O N D RIVE emerges when the Flow factor substitutes the Weight factor
changing the movement into a more weightless drive. It includes eight possible
combinations of Space, Time, and Flow qualities (thinking, intuiting, and feel-
ing) that override the bodily import (the sensing).
The S P E L L D R I VE appears when the Flow factor replaces Time qualities, trans-
forming the movement into a timeless drive. It includes eight possible combina-
tions of Space, Weight, and Flow qualities (thinking, sensing, and feeling) that
override the sense for timing (intuiting).
Each of the four drives has a potential for eight variables, which provides for
thirty-two qualities in addition to twenty-four qualities of inner attitudes or
incomplete Efforts.
Functional actions such as work, gymnastics, and dance training require clear
spatial attending, an intentional use of weight, and a good sense for timing. In
these cases the emotional participation resulting in bound or free Flow is not
needed or even appropriate.
(In this drive Labans question of how associated with Flow is in the back-
ground, while whereS, whenT, and whatW are in the fore-
ground.)
[The Action drive, like the other three drives, can be further analyzed with
regard to the inner attitudes that are embedded in each, such as S/W (stable),
S/T (awake), and W/T (near)25]
42 / DANCE DYNAMICS
BASIC EFFORT ACTIONS
M E N TA L A C T I O N MOVEMENT ACTION
(1) P U N C H ING/THRUSTING
DIRECT / STRONG / SUDDEN making an emphatic statement frapp action
YOUR EXAMPLE
(2) F L O AT I NG
INDIRECT / LIGHT / SUSTAINED eventually releasing gently scattering
YOUR EXAMPLE
(3) P R E S S I NG
DIRECT / STRONG / SUSTAINED strongly persistent slow tendu
YOUR EXAMPLE
(4) F L I C K I NG
INDIRECT / LIGHT / SUDDEN quickly dismissing toss of a hand/foot
YOUR EXAMPLE
(5) GLIDING
DIRECT / LIGHT / SUSTAINED easily pursuing glissade
YOUR EXAMPLE
(6) S L A S H I NG
INDIRECT / STRONG / SUDDEN reckless force whipping gesture
YOUR EXAMPLE
(7) D A B B I NG
DIRECT / LIGHT / SUDDEN pinpointing tap dancing
YOUR EXAMPLE
(8) W R I N G ING
INDIRECT / STRONG / SUSTAINED tortuous scrutiny twisting upper body against the lower
YOUR EXAMPLE
(a2) Create and write down another sequence in which you change one
element.
(b2) Create and write down another sequence in which you change two
elements.
44 / DANCE DYNAMICS
By performing the instructors examples of the S/W/T combinations within an
imaginary Effort cube around you (See Fig. 2), you can create a sequence with
more D A N C E - LIKE ACTIONS:
(a1) First perform the sequence with transitions ALONG THE EDGES of the
cube; see p. 38 Fig. 2 (a).
(b1) Second, perform the eight actions with transitions ACROSS THE
P L A N E S or FACES ; see p. 38 Fig. 2 (b).
(c1) Finally, perform the eight actions by connecting them with transitions
D I A G O NALLY through the cube; see p. 38 Fig. 2 (c).
There are instances in everyday life and dance when the feeling component
overrides thinking. This may happen in various situations, such as emotional
outbursts and in some tribal ritual dances. The passion drive also emerges in
climactic moments of Spanish Flamenco dancing. In such instances clear Spatial
attending becomes undifferentiated and the binding or freeing control of Flow
is coupled with an intentional use of Weight and a sense of Timing.
(In this drive Labans question of where associated with Space is in abeyance,
while whenT, whatW, and howF, are in the foreground.)
In contrast to the Action drive, no set terms have been created for the eight com-
binations of Flow/Weight/Time (feeling, sensing, and intuiting). Following are
attempts to find descriptive words for the performance of these combinations.
To start with the transformations of the basic Effort actions may be helpful.29
M E N TA L A C T I O N MOVEMENT ACTION
(1) ( S PA C E L E S S THRUST)
(2) ( S PA C E L E S S FLOAT)
FREE / LIGHT / SUSTAINED vague daydreaming drifitng
YOUR EXAMPLE
(3) ( S PA C E L E S S WRING)
BOUND / STRONG / SUSTAINED hemmed in slow contraction
YOUR EXAMPLE
(4) ( S PA C E L E S S FLICK)
FREE / LIGHT / SUDDEN quizzical light jerk
YOUR EXAMPLE
46 / DANCE DYNAMICS
(5) ( S PA C E LESS SLASH)
FREE / STRONG / SUDDEN blurting out wild throw
YOUR EXAMPLE
Here is a proposed sequence that may help you explore the Passion Drive:
Take the work-like action sequence (c1) from p. 44 with the change of
all three elements. By introducing repetitions within pairs of opposites,
and gradually replacing Space with Flow elements, transform the entire
sequence into emotionally charged movement in which you lose any
sense of a working-like situation.
Feel free to repeat the entire sequence until you get a sense that you went
through the transformation.
[Here further analysis regarding inner attitudes embedded in the drive will show
that the gist of the Cunningham style has already been identified in the S/T
(awake) combination; the additional S/F (remote), and ballet-like T/F (mobile),
give a more complete account of the dynamic texture of his style.]
(It is also helpful to remember Labans reference to Flow with the question
how, Space where, and Time when.)
M E N TA L A C T I O N MOVEMENT ACTION
48 / DANCE DYNAMICS
(5) ( W E I G HTLESS SLASH)
INDIRECT / SUDDEN / BOUND sudden unease quick, controlled wriggle
YOUR EXAMPLE
The eight S/T/F combinations or selections from them can be performed in vari-
ous sequences, such as:
The scene below may facilitate the exploration of the Vision Drive:
Perform the sequence of work-like actions (b1) from p. 44, with the
change of two elements. By repeating it several times see if you can
gradually replace Weight with Flow elements, and change from a man-
ual worker to a visionary leader who supports her/his ideas with arm
gestures and facial expression.
There are rare instances in everyday life and dance that the feeling component
Flow replaces the sense of Timing, and combines with Space and Weight. When
we watch a horror movie we sometimes get spell bound. In dance, Japanese
Butoh and some of Eiko and Komas work convey predominantly such hypnotic
qualities.
(Here Labans questions show that when associated with Time is in abeyance,
while whereS, whatW, and howF, are in the foreground.)
M E N TA L A C T I O N MOVEMENT ACTION
(1) ( T I M E L E S S THRUST)
DIRECT / STRONG / BOUND steadfast concentration strong, controlled resistance
YOUR EXAMPLE
(2) ( T I M E L E S S FLOAT)
INDIRECT / LIGHT / FREE nebulous yielding like blown by the wind
YOUR EXAMPLE
(3) ( T I M E L E S S PRESS)
DIRECT / STRONG / FREE powerful effusion strong, fluent advancing
YOUR EXAMPLE
(4) ( T I M E L E S S FLICK)
INDIRECT / LIGHT / BOUND restraint wavering delicate, controlled carving
YOUR EXAMPLE
50 / DANCE DYNAMICS
(5) ( T I M E L ESS SLASH)
INDIRECT / STRONG / BOUND overwhelmed but not voicing it contortion
YOUR EXAMPLE
The scene below may help you explore the Spell Drive:
You are working on a conveyor belt using work-like actions from the
sequence (a1) with the change of one element (p. 44). While repeating
it and replacing Time with Flow elements you gradually lose the objec-
tive work-like approach. Repeat the sequence as many times you need
to make a transition from the Action into the Spell drive.
S PA C E , T I M E , F L OW / Vision-like Drive
Laban (1980) 8081.
North 261, 263266.
Preston-Dunlop 197200.
52 / DANCE DYNAMICS
Combinations of FOUR MOTION FACTORS
Each of the eight basic actions can be performed with either free or bound Flow.
There are only two basic actionsfloating and thrustingwhich due to
their predominant indulging and fighting structure, may have a natural
tendency toward free flow (floating) and bound flow (thrusting).
The combination of Space, Weight, Time, and Flow create further sixteen
distinct variations in addition to twenty-four incomplete Effort actions, and
thirty-two drives.
Additional considerations
An example can be a gliding action in which Space and Time may be diminished
while the Weight remains unaltered. In this case a minus sign would be placed
at the end of the symbols.
Another glide can have an exaggerated Time, while the Space and Weight
remain unchanged. A plus sign indicates this grading.
How various aspects of Effort transitions and bodily performances are reflected
in the eight types of Phrasing, will be discussed in Part B of this text.
54 / DANCE DYNAMICS
Notes for Part A: The Effort Theory
NOTES / 55
PA R T B / T H E O RY A N D P R A C T I C E O F P H R A S I N G
INTRODUCTION
Is there a difference between the notions of phrase and phrasing in modern and
post-modern dance? Writings about these concepts are on the whole brief and
incomplete. Several authors, such as Elizabeth Hayes1 and Jacqueline Smith2 use
the term phrase or phrasing without defining it. Could that suggest that
dancers frequently depend on the theory of music to articulate and conceptual-
ize even those phenomena that are so fundamentally linked with movement?
In surveying handbooks for dance and dance composition, one can find only
a few descriptions of the terms, such as Doris Humphreys definition of the
phrase as the organization of movement in time-design, and phrased move-
ment as an expenditure of energy at various rates followed by a rest.3 Yvonne
Rainer, the exponent of post-modern dance points out the distinction between
a phrase and phrasing. While she sees the phrase as having several con-
secutive movements or as a metaphor for a longer duration containing a begin-
ning, middle, and end, she associates phrasing with the manner of execution
or the way in which energy is distributed in the execution of a movement or a
series of movements. Rainers view of the significance of phrasing is also seen
in her argument that what makes one kind of movement different from another
is not so much variations in arrangement of parts of the body as differences in
energy investment.4
58 / DANCE DYNAMICS
In summary, phrasing is an organizing factor underlying the performance
and perception of movement within the Space-Time-Weight-Flow continuum.
Within this framework the term refers predominantly to the qualitative rhythm
of movement, or as Rainer puts it, to the manner of execution of a movement
or a series of movements.15
CLASSIFICATION OF PHRASING
PHRASING / 59
(V) In D E C R E A S I N G - T H E N - I N C R E A S I N G I N T E N S I T Y P H R A S I N G * quality
changes also occur during one breath, and can vary from single movement
qualities or their combinations. For instance, when gradually relaxing from an
intense tension and becoming tense again, there is a decrease from strength and
bound flow and then an increase toward it again.
* This phrasing type was included as a result of Robert Ellis Dunns observation that
decreasing-then-increasing phrasing is also existing as an archetypal shape both in move-
ment and music. (Letter of May 6, 1984.)
PHRASING / 60
Writing of Phrasing and its usage
Phrasing signs can be annotated with two sets of dynamic symbols: signs from
Kinetography/Labanotation, or Effort signs.
(b) Phrasing annotated with Effort signs is used when movement qualities
need to be captured in greater detail. This more complex mode of
Phrasing notation presupposes an understanding of the Effort theory.
Since there are over seventy combinations of Space, Weight, Time, and
Flow factors, and innumerable transitions among them, there is a poten-
tial for a great amount of phrasing variations.
The usage of the classification and notation of Phrasing can be descriptive and
prescriptive:
61 / DANCE DYNAMICS
Explicit and implicit references to Phrasing in dance
PHRASING / 62
Notes for Part B: Theory and Practice of Phrasing
1. Elizabeth R. Hayes, Dance Composition and Production (New York: The Ronald Press
Co., 1955) 31, 32, 70.
2. Jacqueline Smith, Dance CompositionA Practical Guide for Teachers (London: Lepus
Books, 1976) 28.
3. Doris Humphrey, The Art of Making Dances (New York: Grove Press, 1959) 67.
4. Yvonne Rainer, The Mind is a Muscle in Work: 196173. (New York University,
1974) 65.
5. Humphrey, 6870.
6. Rudolf Laban, The Mastery of Movement (London: Macdonald & Evans, 1980) 43.
7. See Vera Maletic, Body-Space-Expression: The Development of Rudolf Labans
Movement and Dance Concepts (Berlin: Mouton de Gruyter, 1987) 9497.
8. Sylvia Bodmer, Studies Based on Crystalloid Dance Forms. (London: Laban Centre for
Movement and Dance, 1979) 5.
9. Marion North, Personality Assessment Through Movement (London: Macdonald &
Evans, 1972) 2128.
10. Rainer, 6465.
11. Anya Peterson Royce, The Anthropology of Dance (Bloomington: Indiana University
Press, 1977) 189.
12. Martha Davis, Towards Understanding the Intrinsic in Body Movement (New York:
Arno Press, 1975) 4142.
13. Cecily Dell, A Primer for Movement Description (New York: Dance Notation Bureau,
1970) 92.
14. Vera Maletic, Dynamics of Dance (International Council of Kinetography Laban:
Proceedings of the Fifteenth Biennial Conference, 1987) 82101.
___________ , Issues in Phrasing and Effort Annotations of a Humphrey Score (ICKL:
Proceedings of the Sixteenth Biennial Conference, 1989) 105126.
___________ , Qualitative Annotations of Labanotation Scores (ICKL: Proceedings of the
Seventeenth Biennial Conference, 1991) 73103.
15. Rainer, 65.
63 / DANCE DYNAMICS
Note about the order of explications for each phrasing type
In sections entitled Eight Phrasing types annotated with signs for dynamics
from Kinetography/Labanotation, and Eight Phrasing types annotated with
Effort signs:
PHRASING / 64
Eight PHRASING TYPES
Annotated with signs for Dynamics from Kinetography/Labanotation
OR
OR
PHRASING TYPES / 65
(II) INCREASING-INTENSITY PHRASING
Energy builds up from a lesser to a greater intensity; it may or may not reach a
climactic accent. The latter is referred to as IMPACTIVE PHRASING or IM PACT
[see EX 4a, b].
OR
OR strong accent =
OR light accent =
66 / DANCE DYNAMICS
(III) DECREASING-INTENSITY PHRASING
OR
OR
OR
PHRASING TYPES / 67
(IV) INCREASING-THEN-DECREASING INTENSITY PHRASING
The increase and decrease is gradual. The length of the increase and decrease
can be the same [EX 7a] or different [EX 7b].
EX 7a The energy builds in intensity in the middle of the phrase and gradually
diminishes towards its end. (When associated with Effort elements of
Weight, Time and Flow it becomes swing-like.)
OR
OR
68 / DANCE DYNAMICS
(V) DECREASING-THEN-INCREASING INTENSITY PHRASING
The decrease and increase can be gradual or be initiated with an impulse and/
or end with an impact. Each phase can have a different length [EX 8b].
OR
OR
PHRASING TYPES / 69
EX 9a Decreasing from a strong Impulse, the energy builds up to a strong
Impact. Each phase has equal length.
OR
OR
OR
OR
70 / DANCE DYNAMICS
Describe your experience of Phrasing with Decreasing-then-Increasing intensity:
OR
OR
PHRASING TYPES / 71
(VII) VIBRATORY PHRASING
OR
OR
72 / DANCE DYNAMICS
(VIII) RESILIENT PHRASING
The signs for the three emphases of Resilient phrasing used here are:
B U O YA NT quality
W E I G H TY quality
OR
EX 13b Four bouncy jumps in which the light aerial phase and that of the
stronger take-off or landing take an equal amount of time.
OR
PHRASING TYPES / 73
EX 14a Four B U O YANT movements which emphasize the upward lightness and
briefly recover into the downward heaviness.
OR
EX 14b Four B U O YANT jumps in which the airborne time of elevation predom-
inates while the stronger take-off and landing are brief.
OR
OR
74 / DANCE DYNAMICS
EX 15b Four W E I G H T Y jumps: longer time is spent sinking downward with
heaviness while the rebounding into the air with lightness is brief.
OR
PHRASING TYPES / 75
SEQUENCING OF PHRASING
OR
EX 16b Three light Accents are followed by three Buoyant movements, and end
with light Vibratory phrasing.
OR
76 / DANCE DYNAMICS
(B) CONCURRENT PHRASING
Occurs when different body parts perform different types of phrasing at the
same time.
EX 17a Accented phrasing performed by the legs occurs at the same time as an
Even phrasing performed by the arms.
OR
EX 17b Even phrasing performed by the legs occurs at the same time as light
Vibratory phrasing performed by the arms.
OR
SEQUENCING OF PHRASING / 77
(C) OVERLAPPING PHRASING
Occurs among movements of various body parts when one action begins
before the phrasing of the previous one has ended.
EX 18a The Impulsive Phrasing performed with the right arm starts before
the Impulsive Phrasing of the left arm has terminated.
OR
EX 18b While the sequence starts with three Accents performed by the right leg,
an Even Phrasing performed with the right arm overlaps with it;
this is followed by an overlapping Vibratory Phrasing of the left arm.
OR
78 / DANCE DYNAMICS
Eight PHRASING TYPES annotated with EFFORT SIGNS
OR
OR
OR
OR
OR
80 / DANCE DYNAMICS
EX 20A F L O W becomingmore controlled is followed by increasingly freeing
(d) the flow of movement.
OR
OR
82 / DANCE DYNAMICS
(IIa) IMPACTIVE PHRASING
OR
OR
OR
The decrease can follow an initial outburst or Impulse. The latter is referred to
as I M P U L S I V E P H RASING in which the initial sudden accent can be combined
with any other Effort element.
OR
EX 23b The Impulsive Phrasing starts with a light/sudden quality which gradu-
ally decreases.
OR
84 / DANCE DYNAMICS
(IV) INCREASING-THEN-DECREASING INTENSITY PHRASING
Can be performed in relation to any Effort quality. The length of the increase
and decrease can be the same [EX 24a, 24b] or different [EX 24c].
OR
Examples: accelerating run for a long jump (ballet grand jet;) and
gradual recuperation.
OR
Examples: front-back leg swings; whole body swings from side to side.
* = The sign for weightiness or a weighty quality uses a variation of the sign for
Weight: the strong symbol changing into lightness which is drawn much shorter.
OR
Example: performing two arm sideway swings; one with short increase
and longer decrease, the second with longer increase and shorter
decrease.
Be prepared to demonstrate your example.
86 / DANCE DYNAMICS
(V) DECREASING-THEN-INCREASING INTENSITY PHRASING
den quality with any other Effort element. Further, the two above Phrasings
can be combined with a gradual Decrease and Increase, and the Phrasing may
vary in length.
OR
EX25b The decrease occurs slower than the increase in relation to a light/
bound quality.
OR
OR
EX 25d Decreasing after the Impulse takes longer than the increase towards the
Impact.
OR
88 / DANCE DYNAMICS
The following two examples combine gradual increase or decrease with
Impactive or Impulsive phrasing.
OR
OR
Is associated with suddenness but can vary in elements of Weight. With regard
to the Elements or Space and Flow it can be performed more efficiently with
directness and bound flow.
OR
OR
Describe your experience of Accented Phrasing with two different Effort quali-
ties of your own choice:
90 / DANCE DYNAMICS
(VII) VIBRATORY PHRASING
* = exaggerated suddenness
+
OR
OR
Describe your experience of Vibratory Phrasing with two different Effort qual-
ities of your own choice:
* The following signs for rebounding use a variation of the Effort graph: Effort elements
which serve as a preparation for rebounding or releasing from it are drawn shorter and ele-
ments which are emphasized maintain their normal lengths.
92 / DANCE DYNAMICS
EX 29a A group of four E L A S T I C , bouncy movements oscillating between
downward and upward.
OR
EX 29b A group of four E L A S T I C springs in which the aerial phases and the
take-off or landing take an equal amount of time.
OR
OR
OR
OR
OR
Examples: four consecutive jumps from one leg to two or ballet assembls;
hopscotch.
94 / DANCE DYNAMICS
Describe your experience of ELASTIC , bouncy Resilient phrasing:
Different types of Phrasing with various Effort qualities can be performed con-
secutively or concurrently or they can overlap.
OR
OR
96 / DANCE DYNAMICS
(B) CONCURRENT PHRASING
Occurs when different body parts perform actions with different types of
phrasing and Effort qualities at the same time.
OR
OR
SEQUENCING OF PHRASING / 97
(C) OVERLAPPING PHRASING
Among movements of various body parts, one action may begin before the
phrasing of the previous one has ended.
EX 36 The light/sudden Impulse performed with the right arm starts before the
light/sudden Impulsive Phrasing of the left arm has terminated.
OR
OR
98 / DANCE DYNAMICS
Make up a sequence with Concurrent Phrasing and describe your experience of
performing it. How successful are you in observing it in performances of oth-
ers?
SEQUENCING OF PHRASING / 99
SUMMARY: Phrasing and Effort interdependencies
selected examples:
EVEN direct
light/sustained
direct/strong/bound
ACCENTED sudden/light
sudden/strong/bound
SUMMARY / 101
APPENDIX I
VERA MALETIC
I first conceived the Workbook in the '90s as the text for my classes in Dance
Dynamics. Due to my professional background the text is informed by the tradi-
tion of Laban's teaching as it was originally formulated and re-formulate by the
master and his students, as well as by the development of Laban's framework in
the USA. I first trained in the former Yugoslavia with my mother Ana Maletic,
who was one of Laban's disciples, and subsequently with Lisa Ullmann, Warren
Lamb, Marion North, and Valerie Preston Dunlop. After visiting and moving
to United States, I interacted with Irmgard Bartenieff, Martha Davis, and Bob
Dunn, and was a member of the Theory Network Coordinating Committee of
LIMS (Laban-Bartenieff Institute of Movement Studies) in New York. At The
Ohio State University Department of Dance I established a close collaboration
with Melanie Bales who assisted with my courses and contributed to the mate-
rial in the Workbook.
APPENDIX I / 103
Motivating students to engage in these processes of active learning and discov-
ery is vital. Linking the material to individual student interests, such as coach-
ing, performance, choreography, teaching, directing from scores, and other
vocational interests may stimulate involvement.
Two approaches can be taken to any complex subject, such as dance dynamics:
either from the general to the particular, or from the detailed to the overall. In
the summary on p. 101, Phrasing was seen as the macro-structure of dynamic
patterns grouping the detailed Effort qualities. On the other hand, the latter can
be seen as the micro-structure identifying individual Effort elements and their
particular combinations.
(2) The most noticeable feature of the Galliarde (dance from the Renaissance)
are groups of accented steps or ACCENTED Phrasing. The distinction
of qualities among the performers, such as sudden/strong or sudden/
bound, may require longer training. Thus where the length of the course
in Dance Dynamics is short, it may be more effective to start with the
Phrasing aspects.
Following are two examples of the inductive method, i.e. from detailed descrip-
tions to the overall dynamic patterns; these approaches that are drawn from
working with combinations of two or three Effort elements.
[In the following text, quotations from student papers in 199899 are inter-
spersed in italics.]
A combination of work in and out of class is effective. It can include the fol-
lowing aspects:
The aspects of class I found most enjoyable and stimulating are the improvisation explo-
rations at the introduction of the new concept, and also the showing of our studies.
To sharpen the aspects of performance and of observations one can use both
videotaping and notating of sequences and studies.
Creating studies and notating sections of them was enjoyable, interesting, and
stimulating.
In general, the process of generating adjectives that describe the bodily experi-
ence of performed sequences brings about the awareness of how particular
combinations of Effort Elements give different moods, expressions or feelings
within particular Phrasing types. Such descriptions are suggested throughout
the Workbook in both, the Effort and the Phrasing sections. In the latter stu-
dents are asked to describe how the performance of a particular phrasing type
makes them feel.
They can create a resource that simultaneously engages the kinesthetic sense as
well as the verbal representation of a particular Phrasing and Effort quality. In
other words, they creates the link between the physical and mental component
of movement qualities. This has been succinctly described by two students:
The colorful imagery used in class is interesting and helpful in defining the
phrasing types.
One of the most useful results of taking this course is a resource of imagery in
words & ideas to help access the various Effort Qualities. This helps not only
my performance when emboding notated movement, but will help in future
when coaching other dances.
I also see a strong link with my interest in dance criticism and anal
analysis.
Observing and understanding choreographic and performance choices in
Dynamics and Phrasing will inform my interpretation of the work and ground
that interpretation in something tangible/quantifiable.
The non-analytical mode can be enhanced with descriptions of the lived expe-
rience of what was seen. Descriptive adjectives can encapsulate the kinesthetic
or emotional feel. On the other hand, reviewing the text in the DVD guide and
the Workbook can support the cognitive mode. Both modes are essential com-
ponents of the perception of movement and dance.
Follow-up reading and discussion serve to complement all the above described
modalities.
Overview and summary papers (such as midterm and particularly finals) are an
important aspect of the learning process.
A quarter system, and even semester system, are a relatively short period for
introducing and assimilating the material. Thus the final assignments give an
opportunity to review and summarize both the experience and knowledge.
APPENDIX I / 107
The synthesis from the final study and paper were extremely helpful. In many
ways this is where it all comes together for me and can therefore be carried forth
into my work beyond this term. Thus, this final discussion may be the most
important modality for me.
M E L A N I E B A L ES
I was first introduced to Laban study at the University of Illinois while work-
ing on my MFA, through the teaching of visiting choreographer Bill Evans.
In 1982, I participated in an Evans summer workshop in Port Townsend,
Washington, taking introductory courses in Space Harmony, Effort and
Bartenieff Fundamentals with CMA Gregg Lizenberry. I immediately found
a place for the ideas in my teaching, especially ballet. While teaching at The
Ohio State University, I organized a Certification Program in Laban Movement
Analysis (LMA) through the Laban/Bartenieff Institute of Movement Studies
(LIMS). I completed the course in 1994, studying with Ed Groff, Peter
Madden, Elizabeth Kagan and Eleanor Weisman. I have taught summer intro-
ductory workshops to students with backgrounds in dance, theatre, and music.
For several years, I assisted in Vera Maletics courses, and I continue to enjoy
learning and exchanging ideas with Professor Maletic. Currently, I teach Dance
Dynamics (Effort) and Foundations of Labananalysis (LMA). I have also writ-
ten through the lens of the Laban framework in articles that bring recent dance
writing into dialogue with issues about dance training.
The theoretical nature of Labans Effort study allows for great variety and
imagination in terms of application. It also necessitates continual and fluid
referencing to human experience in order for it to be understood in context.
Sometimes the reference or illustration can be more general, or abstract; other
times, more concrete or specific. For example, introducing the Phrasing Types
(macro-structure) before delineating the individual Effort Elements (micro-
structure) is effective for dancers who will recognize and easily physicalize pat-
terns like swingy or resilient movement. Later, more discrete units of movement
or individual qualities can be extracted from the larger, more general patterns
of the Phrasing Types. It is also effective to establish links to other content areas
(in dance, for our purposes). A student might create a sequence out of one or
two Phrasing Types that could be used in teaching beginning dancers, or look
at a sequence from a recent technique class in terms of those same patterns.
A composition course developed by Vickie Blaine (at the OSU Department
of Dance) asks the mover to examine and isolate his/her relationship to body
weight and gravity, and is a pre-requisite to Dance Dynamics. Because the
studies for the course center around three themesResiliency (Weight sensing,
Resilient Phrasing), strength (strong Weight, and individual variations in Time,
Space and Flow), and lightness (light Weight and Time, Space, Flow variations,
often the indulging Efforts in contrast to strength)students come to Dance
Dynamics with physical knowledge related to the Weight Factor. A next step
can be the development of descriptive language pertaining to experiences and
observations from the composition class. Descriptive phrases, movement illus-
trations and characterizations can also be ways of evoking or eliciting Effort or
APPENDIX I / 109
dynamic patterns that are less familiar, or outside a dancers habitual qualitative
range. Words or phrases can be useful and provocative for the performer who
wants to expand his/her movement palette, and also for the budding writer,
critic, coach or director.
Example 1
At the beginning of the quarter, we filled in the answers for strong and light
Weight as a group, drawing from experiences in the composition class dealing
with Weight mentioned above. As we learned about the other Motion Factors,
we continued adding to the chart, reflecting on the studies from class. The chart
could then be helpful for accessing a particular quality through its relationship
to body use or spatial content.
This chart shows how a particular Effort quality has a tendency to associate
with certain bodily and spatial configurations.
The following words can be starting points for: developing group or individual
movement sequences that illustrate the quality or inner state; finding which
Effort Elements or qualities are most predominate and which are not active for
each word; developing a character or situation based on the word and having
the class guess the word.
Calm
Controlled
Careful
Agitated
Hesitant
Overbearing
Sloppy
Paranoid
Resilient
Perky
Confident
Stuttering
A D D Y OUR OWN
APPENDIX I / 111
Example 2 (cont.)
Below, the student provides the illustration. The movement issuing from the
directions might be either mimetic as in the illustrations above, or more abstract
as in dance movement.
A direct
direct///bound
bound action changing into indirect
indirect//free
/free (Space and Flow)
A strong
strong///sustained
sustained action becoming light
light//sudden
/sudden (Weight and Time)
A direct
direct///sudden
sudden action transforming into directness/sustainment
/ (Space
and Time)
A bound
bound///light
light action becoming free/strong
/ (Flow and Weight)
Psychologist Carl Gustav Jung started developing his theories during the first
decades of the 20th century in the cultural milieu of his native Switzerland.
Among his early publications is Wandlungen und Symbole der Libido (1912)
that was translated into English in 1916 as Psychology of the unconscious:
a study of the transformations and symbolisms of the libido.1 Besides some
loose references to what would become Jungs theory of introvert and extravert
personalities, the book draws from mythology, religion, ethnology, art, and lit-
erature, and announces Jungs break from Freudian psychoanalysis. Underlying
the concept of personality types, Jung proposed four psychological functions
by which consciousness obtains its orientation. As he writes in his Man and his
Symbols, 1964: 61, Sensation (i.e. sense-perception) tells you that something
exists; thinking tells you what it is; feeling tells you whether it is agreeable or
not; and intuition tells you whence it comes and where it is going.2
During and after WW I, Laban resided in Switzerland, and was aware of some
of Jungs ideas. In Die Welt des Tanzers (The Dancers World, 1926),3 he lists
Jungs Wandlungen und Symbole der Libido among the literature that could
expand dancers insights. Apparently Laban did not take further interest in
Jungs work until the forties.
1. Carl Gustav Jung, Psychology of the Unconscious: a Study of the Transformation and
Symbolisms of the Libido (Princeton, NJ: Princeton University Press, 1991).
2. _______________, Man and his Symbols (London: Aldus Books Ltd., 1964).
3. Rudolf Laban, Die Welt des Tanzers (Stuttgart: Walter Seifert Verlag, 1920).
4. John Hodgson & Valerie Preston-Dunlop, Rudolf Laban: An Introduction to his Work
and Influence (Plymouth: Northcote House Publishers, 1990).
5. Valerie Preston-Dunlop, Rudolf Laban: An Extraordinary Lif
Life (London: Dance Books,
1998).
6. John Hodgson, Mastering Movement: The Life and Work of Rudolf Laban (New York:
Routledge, 2001).
7. Rudolf Laban, The Mastery of Movement (London: Macdonald & Evans, 1960).
APPENDIX II / 115
APPENDIX III
Not unlike music scores, the general purpose of dance scores is the documen-
tation of dance works within their artistic, cultural, and social context. The
analysis of features, such as body movement in space and time, and the progres-
sion through the performance area, provides components for the synthesis in
restaging various choreographies. In this process, the notator and/or the direc-
tor attempt to capture the expression of embodiments, or the corporealization
of choreographic images and ideas.
Although the Labanotation system does not have many signs for dynamic quali-
ties, the scores, however, contain information about dynamics and phrasing, in
an implicit and explicit manner.
Ways in which particular movement motifs and/or sequences are written can
imply their performance qualities. For instance while jumping normally implies
Resilient Phrasing, a slow balancing motif is likely to be performed with Even
Phrasing maintaining the same quality. Furthermore, a tomb-like move-
ment connotes increasing speed and energy, and a swing usually implies an
Increasing-then-Decreasing Phrasing.
A few explicit signs, such as accents and phrasing bows, have been used when
particular qualities or phrasing in the score need to be enhanced. Effort signs
are also used, though not in a consistent way.
I have been interested for some time in elaborating on such explicit signs that
can be used in annotating dance scores. (See annotated bibliography at the end
of this Appendix.) As referred in the introduction to my Phrasing classifica-
tion, discussions with colleagues Odette Blum and Lucy Venable about Phrasing
annotations greatly contributed to my investigations in this area.
The examples selected for this appendix illustrate two resources for qualitative
annotations of scores. These include descriptions from the choreographer of the
notated piece, and descriptions from a notator and performer with an in-depth
knowledge of the works choreographic style.
In measure 28 from Limns A Time to be Silent the dancer flicks her leg
with a sense of urgency, and touches the floor with precision. While urgency
is conveyed with the sudden quality of Time, the associated quality of Space
flexibility or indirectness can be seen from the rotation of hip and pelvis. The
suddenness including the innate quality of indirectness create a short Impulsive
Phrasing. The direct quality of Space that denotes precision is associated with
a slight deceleration resulting in the touchthus an Impactive Phrasing.
In measure eight of Uris Mans Solo the dancer advances over three beats
while building up to an impact in the first half of the fourth beat. The direct/
strong/sudden quality of the Impact is one of the combinations of the Action
drive or eight Basic Effort Actions, referred to as punch-like.
-
5 - ( 4
'
A 5
- TK -
B$ JT K
( & 5" - $B - "4 .' `4 \
(
'
. . K
[ 4
# - #
& . K
Z
i
56 - ` T T
i i =
A 5
W Z - - - [ j
Conclusion
The purpose of the qualitative annotations of a work by Jos Limn and Victoria
Uris is to show the inner motivation for particular movement sequences. The
annotations were based on discussion about motivating imagery and qualities
with choreographer Uris, and on insights into Limns motivation behind the
movement vocabulary from performers Nielson and Venable.
Bartenieff, Irmgard with Dori Lewis. Body Movement: Coping with the
Enviroment. New York: Gordon & Breach, 1980.
Dell, Cecily. A Primer for Movement Description New York. Dance Notation
Bureau, 1970.
Duncan, Isadora. My Life. New York: Garden City Publishing Co., 1927.
BIBLIOGRAPHY / 127
HDoubler, Margaret. Dance: A Creative Art Experience. Madison, WI.:
University of Wisconsin Press, 1966.
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban.
New York: Routledge, 2001.
Humphrey, Doris. The Art of Making Dances. New York: Grove Press, 1959.
Jung, Carl Gustav. Man and his Symbols. London: Aldus Books Ltd., 1964.
Laban, Rudolf. Die Welt des Tanzers. Sttutgart: Walter Seifert Varlag, 1920.
Murgiyanto, Sal. Seeing and Writing about World Dance: An Insiders View.
Dance Critics Association News, Summer 1990.
Myers, Gerald. Do You See What the Critic Sees? Philosophical Essays on
Dance. New York: Dance Horizons, 1981.
Ness, Sally Ann. Body, Movement and Culture: Kinesthetic and Visual
Symbolism in a Phillipine Community. Philadelphia: University of
Pennsylvania Press, 1992.
BIBLIOGRAPHY / 129
Noverre, Jean-Georges. Letters on Dancing and Ballets. Transl., C. W.
Beaumont. London: Beaumont, 1951, first published 1930.
Rainer, Yvonne. The Mind is a Muscle. Work: 196173. New York University,
1974.
Satin, Leslie. Movement and the Body in Maya Derens Meshes of the
Afternoon. Women & Performance: A Journal of Feminist Theory,
Vol. 6, no.2, 1993.
Shawn, Ted. Every Little Movement. Pittsfield, MA: Eagle Printing and Binding
Co., 1927.
Siegel, Marcia B. The Tail of the Dragon New Dance, 19761982. Durham,
NC: Duke University Press, 1991.
Taylor, Paul. Down with Choreography. The Modern Dance: Seven Statements
Belief. S.J. Cohen ed.,1966.
of Belief
_____________.Feet with a Lot to Say and Ways to Say It. The New York
Times, Dec. 18, 2003. B3.
Dunning, Jennifer. A Dancer Shows How Rhythm can Set the Fire to a
Flirtation. The New York Times, 28 Nov. 2003. B3.
Jowitt, Deborah. How Many Ways To Twist It? Review of Ballet Frankfurts
The Room as it Was. The Village Voice, October 814, 2003.
Kiselgoff, Anna. The Syncretism of TaiChi and Bach. The New York Times,
20 Nov. 2003. B1.
BIBLIOGRAPHY / 131
DVD VIEWING GUIDE
The companion DVD provides opportunity for observing short movement and
dance sequences that can be viewed repeatedly without changes in performance,
unlike live performance that may change from time to time. Making distinctions
between various components of dance dynamics, such as Phrasing types and
Effort qualities can facilitate a conscious awareness of these strands of move-
ment. It is as though the elusive medium of dance can be temporarily captured
by means of classification and terminology. Such identification, in turn, leads
to a descriptive language.
The video excerpts on the DVD emphasize the visual modality and enlist kin-
esthetic feedback. Music accompaniment is deliberately left out as it may bring
up unnecessary issues, such as contrapuntal or complementary dynamics, and
interfere with the focus on movement itself.
The DVD examples have been donated courtesy of choreographers and per-
formers that are acknowledged after each excerpt.
In addition to the sequencing and the voice-over provided by the DVD you
also may explore the following approaches:
View examples while turning off the voice-over to find out what you actually
saw.
Before trying to identify various movement dynamics and qualities just
imitate or mimic what you saw.
Jot down a few descriptive adjectives about the feel of the sequence without
using any technical terms.
Stop the DVD to repeat viewing an excerpt that appears complex to you.
Reviewing related aspects of dynamics and movement qualities in the
Workbook, may also be helpful.
The DVD Chapter Menu gives an overview and the opportunity for additional
viewing of any aspect of dance dynamics that you choose.
NOTE: While the voice-over descriptions are reproduced in this guide, a more
extensive analysis is added to some video excerpts.
The DVD provides you with the choice of playing the chapters and sub-chap-
ters in the order they have been recorded or of selecting sections of your own
choice.
PHRASING TYPES
Even
Increasing
Impactive
Decreasing
Impulsive
IncreaseDecrease
DecreaseIncrease
Accented
Vibratory
Resilient
Elastic
Buoyant
Weighty
SEQUENCING OF PHRASING
Consecutive
Concurrent
Overlapping
2 / DANCE DYNAMICS
(3) EFFORT QUALITIES
Variety of dynamics
Variety is one of the general features of dance dynamics that can be seen at
first glance. Three performers interact with percussive, more languid, and some
changing movement qualities.
Repetition
Repetition of the same movement quality is another feature that can be noticed
with ease. While the first example showed a repetitive elastic walk, the second
presented a repetition of jerky movements performed with different arm and
body gestures.
Contrasting dynamics
Contrasting qualities enhance each other. The smooth interaction between the
two dancers contrasts with their more agitated outbursts. The two qualities
clearly stand out from one another.
4 / DANCE DYNAMICS
(2) DYNAMICS OF PHRASING
The following set of excerpts will be observed from the point of view of
Phrasing of movement energy.
PHRASING TYPES
[Also refer to Workbook pp. 5960.]
The author has classified Phrasing into eight main types.
Even
In this Phrasing type the movement energy does not change.
(1) The right arm and subsequently the head of the performer move with an
unchanging, Even intensity from the beginning till the end.
(2) In the next excerpt three Even Phrasings follow one another in the per-
formance of the two dancers.
Increasing
The performance energy increases in its intensity.
(1) During the turning sequence the momentum and the speed of the move-
ment gradually increases until abruptly stopped.
(2) In the second short sequence the momentum of the performer's move-
ment becomes increasingly controlled as though approaching something
dangerous.
Impactive
An Impact occurs when the Increase builds to a climax.
(1) Two leg kicks and the performer's final lunge create three Impacts.
Decreasing
Energy can decrease from a greater to a lesser intensity.
(2) In the second example the tense, taut pull between the two dancers
gradually Decreases.
Impulsive
The Decrease can follow an initial outburst.
(1) Most movement actions in this sequence are initiated with a light
Impulse after which the energy gradually diminishes.
6 / DANCE DYNAMICS
IncreaseDecrease
This Phrasing can occur in a variety of movement qualities and body actions.
(1) In this sequence all the arm swings are performed with IncreaseDecrease in
speed and weightiness. Leaps and turning jumps also are performed with
IncreaseDecrease in speed and lightness.
(2) The second example includes a sequence of exercise-like lateral swings that
precede a dance excerpt. In it a series of fast paced IncreaseDecrease
swings is performed with arms and torso gestures and a roll.
DecreaseIncrease
Decreasing-then-Increasing Phrasing can occur gradually or more abruptly with
an Decreasing Impulse and Increasing Impact.
(1) In this sequence the dancer gradually releases from an arching tension
and returns to it.
(2) In the second example the Impulse in the torso can be seen as a prepara-
tion for an Increasing side fall that is repeated several times.
(3) The third excerpt shows both dancers performing two Decrease
Increase Phrasings as an Impulse into an Impact.
(1) In the first sequence intermittent sudden stomps form several rhythmic
entities of Accented Phrasing.
(2) In the next excerpts several jerky Accents are performed with the right
arm and head; the subsequent Even sinking is punctuated with one more
gentle accent.
Vibratory
An uninterrupted series of sudden repetitions creates Vibratory Phrasing.
(1) In the first example fast, repetitive hand movements shaking an imagi-
nary red cloth in front of a bull, create a series of Vibratory move-
ments.
(2) The second example shows that Vibratory Phrasing also can be per-
formed by the entire body.
8 / DANCE DYNAMICS
RESILIENT
[Also refer to Workbook pp. 7376; 9294.]
Repetitive, rebounding qualities make up Resilient Phrasing. It can have three
emphases.
Elastic
In this Resiliency there is an equal emphasis on strength and lightnessa kind
of oscillation between these qualities.
(2) In the second example Elastic, springy Resiliency can be seen in the
performer's rebounding jumps.
Buoyant
The emphasis in this Resiliency is on lightness.
(1) In the first excerpts performer's hops and leaps have an airborne Buoyant
resiliency.
(2) In the second example the juggler's manipulations also have a Buoyant
resiliency.
(1) The first hip-hop sequence starts with Weighty Resiliency and then
becomes more bouncy, elastic.
SEQUENCING OF PHRASING
[Also refer to Workbook pp. 9698.]
Phrasing of movement actions can be performed in three different ways.
Consecutive
In most of the sequences observed the Phrasing was performed one after the
other, i.e. Consecutively with various body parts or the entire body. The types
of Phrasing can be the same or different.
(1) In the first excerpt two Increasing drops of the right arm and head are
followed by a Weighty Resilient lowering and rising of the entire body
and continuing with a brief DecreaseIncrease, ending with an Impactive
squat.
(2) The second sequence starts with Even movements of the legs rising that
follow each other; a slight Accent precedes an Increasing drop which
reverberates with some elastic Resiliency; a slight Impulse leads into the
Even lowering of one leg.
10 / DANCE DYNAMICS
Concurrent Phrasing
Different parts of the body can perform different phrasing types at the same
time, i.e. Concurrently:
(1) The first excerpt shows fast turning steps that produce Vibratory
phrasing, while at the same time the right arm raises and lowers with
Impulsive phrasing; the sequence ends with an IncreaseDecrease fall of
the whole body.
(2) After three Consecutive moves the performer's head leans backwards
Evenly while Concurrently the foot repeats several short Increase
Decrease rotations and the leg lowers Evenly; finally the entire body
collapses with an Increase.
Overlapping Phrasing
When actions of various body parts begin before the Phrasing of the previous
action has finished, Overlapping Phrasing occurs.
(1) After a fast IncreaseDecrease torso movement, two Even arm ges-
tures Overlap with the torso recovery. Even Bending and stretching of
the foot initiates Overlapping eye, head, arm and finger movements.
All Overlapping movements are Even except for Vibratory fingers, and
a slight Impact of the hand. Consecutive leg rotations continue with
Vibratory movement of both legs that is Concurrent with Increasing
Decreasing arm gestures that end with an Impact of the entire body.
Contrasting Dynamics
Contrasting Phrasing types alternate in this sequence.
(1) The unfolding of the first gestures and the subsequent lowering and ris-
ing of both dancers is performed with Even Phrasing. This is punctuated
with the dancer in the background performing an IncreaseDecrease
scooping turn, while the dancer in the foreground Increases downwards.
Their respective launching onto the floor is performed with Decrease
Increase phrasing, and two faster Impulses followed by Impacts; this is
interspersed with Even turning over and looking around at the end. The
sequencing of Phrasing by each dancer is Consecutive.
Variety of Dynamics
V
This example has four different types of Phrasing.
(1) Three Performers move first one after the other with differing types of
Phrasing: an Impact with Even recovery, two Accents followed by Even
moves, then at the same time with Even Phrasing punctuated with knee
initiated Impulses by two performers that changes the initial grouping.
The third performer then establishes herself with two pelvic Accents and,
gains momentum for two subsequent Impactive Phrasings that again cre-
ate changes in the grouping. The sequencing of Phrasing by each dancer
is Consecutive.
12 / DANCE DYNAMICS
(3) EFFORT QUALITIES
Rudolf Laban developed the Effort theory that considers various movement
qualities and describes specific coloring or texture of the movement.
Strong Weight
(1) The dancer exerts all the actions with strength or firmness while the
strand of bound Flow is also noticeable.
Light Weight
(1) This example shows a predominance of light, fine touch qualities that
are associated with varying Time, Space, and Flow variables.
Sudden Time
(1) Repetitive sudden leg gestures also show some light and direct quality.
For this excerpt, Christina Providence has recalled her performance experience in the
Croatian folk dance Ensemble Zivili in Columbus, Ohio.
Videotaped by Shawn Hove
Bound Flow
(1) In this scene, predominant bound Flow is coupled with sustainment and
some instances of sudden Time.
FROM: Breaking the Current: Ms. Toads Wild Ride Through the Twists and Turns of
the Psychedelic Journey Called Life (1999)
CHOREOGRAP HER / PERFORMER: Jeanine Thompson
Videotaped by Janet Parrott
Free Flow
(1) Free Flow and fast tempo are generated by most of the movement
actions in this example.
14 / DANCE DYNAMICS
Space/FlowRemote & Weight/TimeNear
Remote
(1) This ballet adagio-like sequence displays aspects of Space and Flow.
From a direct/bound to more direct/free reaching, changing into indi-
rect/free and continuing with fluctuations between direct/indirect, and
bound/free qualities.
Near
(1) In contrast here is a tap dance sequence that shows rhythmic variations
in qualities of Weight and Time. Some stronger and lighter taps alternate
with sudden and sustained qualities. At times, though, some Flow quali-
ties appear in the arms.
Stable
(1) In this ritualistic sequence, variations of Space and Weight qualities are
noticeable. The predominant combinations are direct/light, direct/strong
with some sustained Time, and some indirect/sustained. The quality of
bound Flow is also noticeable in direct/strong combinations.
Mobile
(1) The excerpt shows Flow and Time fluctuations that create a Mobile
State. Predominant free Flow coupled with sudden Time, occasion-
ally changes into bound Flow and sustainment. Towards the end some
Spatial directness appears.
Space/Weight/TimeAction Drive
In dance actions and everyday activities as well, emotional participation that
manifests in the Flow factor is not required. Rather, Space/Weight/Time combi-
nations are most appropriate.
(1) In the first excerpt kneading the imaginary dough includes transitions
from Gliding to Pressing actions, interspersed with some Dabbing
actions.
(2) The second example shows some Basic Effort Actions performed with
the entire body, such as Slashing, Pulling, Punching, Wringing, Floating,
Flicking-Dabbing, and Gliding.
Flow/Weight/TimePassion Drive
In emotionally emphasized Drives the Flow factor replaces qualities of Space.
(1) The dancer lashes out wildly as though chasing some nightmares. Free
Flow, strength and sudden Time are prominent while Spatial clarity is in
abeyance.
(2) In the second excerpt frantic tilting of the chair, temporarily loosing one's
bearings, followed by vigorous gesturing and coming full tilt against the
chair, shows an emotional state in which components of Flow, Weight,
and Time are in the foreground.
16 / DANCE DYNAMICS
Space/Flow/TimeVision Drive
In this Drive Space/Flow/Time are emphasized while bodily Sensing associated
with the Weight factor is in the background.
(1) The dancer appears pursuing an imaginary path with a direct/free Flow/
light quality and some additional Time changes in terms of acceleration
and deceleration.
(2) In the second example the performer stares at a situation that causes
direct/sudden/bound arm and torso jerks.
Space/Weight/FlowSpell Drive
A more timeless Spell-like Drive emerges when the Flow factor replaces qualities
of Time.
(1) In the first scene the performer's tentative gestures show bound Flow,
lightness, and predominant directness, as though under the Spell of a
nightmare.
FROM: Breaking the Current: Ms. Toads Wild Ride Through the Twists and Turns of
the Psychedelic Journey Called Life (1999)
CHOREOGRAPHER / PERFORMER: Jeanine Thompson
Videotaped by Janet Parrott
(2) In the second duet the couple is fascinated with each other as though
there is an eternity for their interactions that show predominantly Space,
Weight and Flow variations.
Contrast
(1) Two dancers stand next to each other facing stage right. At the start, the
Even Phrasing sections of both performers are colored with sustained
Time, some Spatial directness, and while turning on the floor with some
bound Flow. Interrupting these sections are an IncreaseDecrease in
weightiness and free Flow in the turning of one dancer, and Increase
in weightiness in the sinking of the other. Follow the performance of
sudden/free DecreasingIncreasing into sudden/bound by both dancers.
When repeated in a faster tempo some strong Weight is added, creating
an ImpulseImpact. The final raising, looking, and lowering of the head
and upper body by the dancer in the foreground is performed with a
direct/sustained/bound quality.
Variety
(1) Three dancers stand in a tight group, linked by arms. Starting with a
downward arm gesture of a sudden/strong Impact that recovers with
Even sustained quality, the first mover triggers two sudden/bound
Accents from the second one, motivating all three performers to change
grouping with Even sustained qualities; in this process the first and sec-
ond performer turn with a light/sudden Impulse initiated by the knee.
The third performer takes her initiative with two sudden/strong/bound
Accents performed by the pelvis and gains momentum to pull both com-
panions with an strong/sudden/free Flow Impact, followed by another
sudden/strong/bound Impact that results in another change of grouping.
18 / DANCE DYNAMICS
NOTE: The observation of the two strands of dance dynamicsPhrasing and
Effort have been the main focus of the Workbook and DVD companion. As it
can be seen in the paragraph below, the descriptions also refer to other impor-
tant movement and dance components, such as BODILY ACTIONS, BODY
PA RT S , GROUP FORMATIONS, INTERACTION/RELATIONSHIPS, and SPATIAL
DIRECTIONS.
(1) P H R A S I N G T Y PES
Even
Increasing
Impactive
Decreasing
IncreaseDecrease
DecreaseIncrease
Accented
Vibratory
Elastic Resilient
Buoyant Resilient
Weighty Resilient
(2) S E Q U E N C I N G O F PHRASING
Consecutive
Concurrent
Overlapping
20 / DANCE DYNAMICS
Write adjectives describing the feel of the video excerpts illustrating:
Strong Weight
Light Weight
Sudden Time
Bound Flow
Free Flow
T W O M O T I O N FACTORSSTATES
Space/Weight/TimeAction Drive
Flow/Weight/TimePassion
Space/Flow/TimeVision
Space/Weight/FlowSpell
22 / DANCE DYNAMICS