ULLET-l

77 T 77" 77" TT^T^irv 77

TEACHING IDEAS FROM

THE LANGUAGE OF DANCE ASSOCIATION

Issue No. 5 January 1996

1. HOW DO WE INTERPRET: [] ?
1.1 Of course it is a forward movement of some kind, and the level is left open, free, But what
body part moves? The whole body (body-as-a-whole)? A gesture of one part? A displa-
cement forward (like a shift perhaps)? Travelling forward?
1.2 Travelling, la is one of the basic movement possibilities; the forward
symbol adds the specific direction to be used, Ib. Can the forward dir-
ection symbol by itself mean travelling? Could it mean falling forward?
Falling, Ic, (the state of not being in balance) can be designated as la Ib
occurring in the forward direction, Id.
1.3 Let us look at other specifications that can be given in connection with
this direction, le shows an action which is a gesture. If specifies that
the gesture is to be forward.
Ic Id
1.4 A transference of weight (an action ending in a new support) is given in
Ig. In Ih it is a forward movement which ends in a new support. A
motion toward something is shown in li, while in Ij that 'something' is
the direction forward. Similarly Ik and 11 show a motion away, 11
being away from forward.
le If
1.5 A spring could also incorporate the forward direction; it might be a for-
ward action during a spring, 1m, or we can stipulate that both take-off
and landing are forward, as in In.
1.6 How then to state that any of these choices is possible, is to be allowed?
Ann Rodiger in New York, who uses both Motif and Structured Descrip- j ^
tion, came up
with lo, adding
the any sign: ^ at
the base allowing
that freedom in
choice of any
0
kind of move- n V
ment, i.e. travel-
Ij V Ik / ( \ / U \m I U In U lo IP
ling, a gesture, a spring, etc. This usage is taken from Ip, the indication for 'any kind of
movement'. In lo the direction for this 'any movement' has been specified. When wan-
ting to allow such freedom, this special indication 'is very helpful.
1.7 Let us conclude this exploration with a quick look at
how the sign: ( or '•^ is used in connection with direc-
tion signs. Iq is the sign for any direction. Leaving the
level open is shown as Ir or Is, these have the same TP or
meaning but some people prefer Is to be aware that the
level has not been forgotten. For It the direction and lq U Ir U is U It U lu
level are stated. In lu the ad lib. sign provides the
meaning 'more or less' forward middle, it is not to be exact.
2 BULLET-IN-STEAD! No. 5, January 1996
2. TOWARD, AWAY FROM THE TORSO
2.1 Because we are concerned here with the different
ways of experiencing movement, we explore here
awareness of moving the limbs away or toward
the torso. But first, for contrast, we take an ordi-
nary movement. I I
2a IT 2c
2.2 In 2a the arm (we'll do all this exploration with
the right arm) starts down and moves to the point
side middle, ending in a definite direction - side
horizontal in relation to the shoulder. The aim
of the movement is for the extremity of the arm
(the hand) to arrive at that point, illustrated in 2b.
2.3 But a somewhat similar gesture might be one of a
lateral opening out, separating (abducting), a
movement away from the body, 2c. In perform-
ing 2c the awareness is of making space between
the arms and the body, as though the dressmaker
is pinning the bodice and you have to get your
arm out of the way. Or it might be the need to
open the armpit to apply talcum powder. In such
a gesture the separating is important, 2d, not an
end arrival position.
2.4 The sense of the movement may be to increase
the space between the arm and body, 2e. Note
that the basic sign of 2f is modified, one side 2j
being thickened to show the active side, 2g.
2.5 In a way similar to 2a, 2h shows directional destination for the arm, it arrives down, below
the shoulder. In contrast, a lateral closing in, an adducting movement, 2i, could be the
description to use here. The general sign for adduction, 2j, is modified to 2k to show that
the right side is active.
2.6 In 2i, the intention of the movement may be to occupy less space by closing in the limb.
Note that the movement description of 2c and 2i are body-based; even if one is lying on
the floor, the arms will move away from or toward the torso in a similar way, as illustrated
in 21.
2.7 An abduction relates to a 'home base', in this case, the torso. Movement away from the
torso can be expressed as in 2m, the 'going away' from the torso could be into any direc-
tion. This is a very open statement. The sense of 2m may also be that
it is hot and you need to take the arm away from the body.
2.8 Another very open statement is 2n. The arm, from being in whatever
direction you choose, moves toward the body; it will end on that side
of the body from where it came, e.g. if it starts forward, it will
approach the front of the torso, if it starts to the side, as in 2o, it will I -B-
lead toward that side of the body. This idea is more specifically stated 2m 2n
in 2p. How far the arm moves is not stated.
2.9 If a motion is made toward a directional point in space, as in 2q, where
the arm starts down, then approaches the side middle point, that point
will not be reached. How far short it ends we do not know, but the
manner of performance of the movement should make us aware of the
difference between such a general movement 'thought', ('intention'),
and the planned arrival at side low, as in 2r. In the latter there should
be no hesitation. When no destination is to be achieved, the movement
If
 BULLET-IN-STEAD! No. 5, January 1996
has more of a 'drifting' quality, it peters out, almost as though the
momentum, the energy has dissipated. A scries of 'away' and 'toward'
could be likened to playing an accordion, the separating and coming
together, a little of that tension will make the expression of toward and

2.10
away more evident to the viewer.
We see we have a choice of describing the destination of a limb as in 2a, N
i [s
2h and 2r, where a clear-cut point of arrival is stated, or as motion, ^ " ^
motion away from a point in space, or away from the body (or part of
, the body), as in 2c, 2i and 2m-q.
2.10 In 2a the arm displaces the 'channel' of air at the right side of the body
as it rises to side middle. This may be performed with greater awareness
if there is the sense of guidance by the outer arm surface, as in 2s.
IK
2.12 Moving the arms toward the trunk may result from the need to occupy 2s 2t
less space. If pressure against the air is wanted the sign for pressing can be added, 2t.
3. SAGITTAL SEPARATING, JOINING

3.1 Less usual, but possible and worthy for the awareness it brings is sagittal separation of the
limbs from the centre line, or the torso. Sagittal separation
is shown by the sign of 3a, usually used for the right arm . \
and leg, and 3b for the left side. f or 1 |
3a N 3b> 3c k 3d
3.2 The 'active' direction is shown by thickening the
appropriate end. 3c is in the forward direction, 3d in the K /] N^ r\. Similarly, s
shown and the active direction indicated as in 3g and 3h. 3e I/ 3f N 3g I/ 3h I/*
3.3 Following a similar exploration as before but into the for-
ward and backward directions, 3i shows the arm arriving at I
the point forward horizontal in line with the shoulder. In 3j In r
the arm moves on this same line, but with the intention of U \g from the body, the torso
tion not being stated; the expression is 'away*. | |
3.4 In contrast, while 3k produces a similar movement, it has a 3l 3J "
toward' focus, an outside point which, in fact, is not reached.
31, 3m and 3n show the same kind of movements in the back- .
ward sagittal direction. n I
3.5 In 3o, the arm arrives at its normal place of straight down
*.»- ^U, V*1V Mill! I A 1 1 1 T %XO V»lr 1VO X1XSI 11* til jyiUV\ \Jt OH til £^111 \1\J W 11 M • M

from forward middle. In 3p the arm closes in on the sagittal I I I

line from the same starling point; 3q shows closing in from IK N if
the backward direction. 31 IT 3m IT 3n IT
3.6 These same sagittal separating and closing (joining) actions • rt, rl
can occur for the legs. During jumps the legs may simultan-
eously ai-|jdicuc
^uusiy separate <mu
and jum,
join, cunci
either in the
me air
an or
ur in landing,
lanumg, in n n r-i
open or closed positions. U N lr
3.7 When more exactness is needed in movement description, the 3o ll 3p IT 3q II
exact directions and levels will be indicated; the signs for
separating and closing have greatest value in movement exploration, in becoming aware of
these spatial relationships, of limbs to trunk or to each other since, so often, such gestures
are described in terms of destinational points.
4 BULLET-1N-STEAD! No. 5, January 1996
4. DIAGONAL SEPARATING AND CLOSING
4.1 Similar actions of separating and closing can be
indicated for the diagonal directions. 4a shows 4a
opening on the right-forward/left-backward dia-
4b 4c ^ \-
gonal line; 4b opening on the left-forward/ right-
backward diagonal line. Similarly 4c and 4d
show closing in on these same diagonal lines.
0 I
4.2 In 4c the arm moves lo the righl-forward diago-
nal middle direction; in 4f il separales from the 4e ||" 4f |f
\f Ih
4g 4h Ih
body on Ihe same diagonal line. Using Ihe starl-
ing point of right-forward diagonal middle, 4g stales movemcnl lo place low, while 4h
indicales ihe motion of closing in on this same line. In both 4f and 4h no specific degree
of motion is staled.
5. CONSECUTIVE CIRCULAR PATHS
5.1 When one circular path follows another, no break need
occur between them. In 5a circling clockwise is followed
immediately by circling anti-clockwise; this can be seen
clearly in the notation. In contrast 5b shows a break
between such travelling. But when the circular paths are
r f r
in the same direction but of different amounts of circling,
as in 5c, the visual break between the signs on the page
appear to indicate a slight gap, a pause before continuing. r f •f
T T
5.2 In fact, there is no gap. If a horizontal line is drawn
across the end of the first circular path sign and the bot- 5a x 5b 5c
torn of the second, as in 5d, it can be seen that there is no
gap and therefore no pause occurs.
5.3 To avoid this visual impression the two signs can be joined, as in 5e, the
moment of the start of the second path being in the centre of the slanting
line, as pointed out here by the arrow. The full circle can be seen to f
blend into the quarter circle without a break.
5.4 What then is the difference between 5e and 51? Both examples show that
three-quarters circling is to be performed. However, 5e shows that half
of the circular path must be performed in the first half of the lime
allowed and only a quarter of the circular path will be performed in the
second half of the lime allowed. In contrast, in 5f the whole time is taken 5c 5f
lo compclc the three-quarter circular path and the amount of pathway
covered is evenly spread.
6. STILLNESS DURING CONTINUOUS CIRCLING
6.1 While performing a circular path there may be pauses, moments of stillness,
which interrupt the flow of travelling but the sense of conlinuing on ihe
same path remains.
6.2 In 6a, iwo clockwise circular pathways arc performed. The second pathway,
although in the same direction, occurs after the stillness. This difference
may be indicated through a change in size of circle (degree of circling) or
by a change in step direclion.
6.3 In 6b the circling after Ihe stillness has a caret wrillen al Ihe slart, showing
that it is 'the same', thus linked lo the previous circling. This means thai
the intention is to continue the sense of the first pathway.
6a / 6b
 BULLET-IN-STEAD! No. 5, January 1996

6.4 If the amount of circular path needs to be staled, the amount is

written in the first indication for circling and a 'refer forward'
caret written at the end of the first circular path. This links with
the 'refer back' ('the same') caret written at the start of the next
circling sign, as in 6c which indicates a half-circle to be per-
formed in two parts with a stillness break in between.
6.5 A pathway of long duration is shown as 6d. If the intention is to
punctuate this pathway with a scries of stillnesses yet retain the
sense of one pathway, it would be written as 6c.

7. SPIRAL IN OR OUT 6c 6d

7.1 What if you wish to indicate that spiralling in or out

is open to choice? 7a shows spiralling in while
circling clockwise. In 7b the spiralling is outward. f f f
By combining these two signs, the 'either' state-
ment is made, 7c, that is, you can choose whether to
spiral in or out.
7aJ' 7d 7c
7.2 The choice of direction of circling (clockwise or
anticlockwise) is given in 7d; 7e gives this choice as well as choice of spiralling in or out.
Note that the greater choice produces, in this case, the more complex notation statement.

8. ZIG-ZAG PATH

r TT
8.1 A zig-zag path is made up of several
straight paths, usually of short dura-
lion, 8a. If there is a slight pause I
between each section of the zig-zag, it
may be shown as in 8b.
I
8.2 The notation of 8c gives a betler
impression of a conlinuous series of
slraight path travel. But such short I
straight paths need not produce zig-
zagging.
8a __ 8b-L 8c _ - 8d ^ 8cJL 8f
8.3 How to give this message directly?
Can the device used lo show ihe shape of a design, as in design drawing, be applied to
designs across the floor?
8.4 8d shows a zig-zag gestural palh in design drawing. By combining ihis design with the
slraighl path sign, as in 8c, the message is immediately conveyed. By adding ihc ad lib.
sign, as in 8f, freedom in inierprclalion of the design can be shown; not each part need be
the same length and these may be more or less lhan five zig-zags.
6 BULLET-IN-STEAD! No. 5, January 1996
9. A WENDING PATH
9.1 Can a curving, wending path, as in the
design drawing of 9a be indicated for curv-
ing floor patterns in a way similar to 8e for
zig-zagging (straight paths)?
9.2 Would 9b convey the message with 9c
allowing freedom in performance? Exact
performance of what is stated would be
shown as 9d.
9a ^ 9b ^ 9c
9.3 The indication of 9c states use of curving
(without a sense of circling as such) and performance is quite free. What advantage docs
9b or 9c have over 9c? The answer is the visual impact.
10. ELLIPTICAL CIRCLES
10.1 When floor plans arc used the shape of a circular path is easily seen, lOa. The notation of
this may be as lOb, the fact that it is not a true circle being shown by the 'see the floor
plan' indication added to the circular path sign.

f
lOa lOb I lOd
0 1
C
lOc >

10.2 To indicate the shape of lOc without referring to a floor plan, the lateral widening of the
circle (judged from the starting point) is shown by the sign for lateral spreading, lOc.
10.3 In a similar way the shape of lOd can be indicated by sagittal extending, as notated in lOe.

11. COMMENT ON ISSUE NO. 4 - TILTING, 'TAKING A DIRECTION'

11.1 II was pointed out that the use of the 'backward' slash al the start of
13a and 13c (in Issue No. 4, repeated here) was not explained suffici-
ently. We apologise for this oversight! Here is the missing explana-
tion.
11.2 Use of direction symbols provides a general statement of movement in y
that direction. In lla there is a general movement into the right side H-
high direction. This may be intcrprcled as body-as-a-whole move- 13a » 13b
mcnt.
11.3 In lib, the right arm is specified. The
movement may be illustrated as in lie,
which shows a molion into that direction.
Such motion can express that direction
quite fully, but it is not the same as the
arm terminating in the side high dircc- '^ lib
lion, as in lid.
Merc il can be seen that Ihc arm becomes that direction, it physically 'takes that direction',
so to speak. This idea of the limb itself indicating the direction is oflen used and we need
a way of siiowing lhal exactly thai is lo result.
 BULLET-IN-STEAD! No. 5, January 1996

11.5 For the torso and its parts and the head, the usual term used is
'tilting', the torso 'becomes' that direction. In lie the whole
torso tilts sideward high, illustrated in llf. The whole line of
the spine indicates that direction.
11.6 We do not speak of an arm or leg 'tilting', but if you com- llf
pare the torso action of llg with llh, an identi-
cal movement for the arm, you can see that each
is 'tilting' or 'taking' that direction. The body
part has 'become' that direction from its base to
its extremity, Hi as has the arm in llj. In a
similar way, the leg in I l k has 'become' for-
ward high.
11.7 Because such achievement of I
direction is not automatically /"V
produced in Motif Description, •
a way had to be found to stipu-
late that tilling, 'taking a direc-
tion' was intended. Valerie
Preston-Dunlop and Ann Hul- u j iij
chinson Guesl slumbled on Ihis
need many years ago.
11.8 From Ihe idea of a tilled chair, 111,
Ihe slanting line was derived. But / \m
this slanted stroke, llm, is often j j j lln llo lip
used to mean 'not', to cross out
and hence negate the given stalemcnl. For this reason the decision was made to slant the
line the other way, as in 1 In.
11.9 1 lo shows a tilling aclion, no part of the body being stated here. In Structured Description
there is no need for this additional indication, 11 p shows the right leg forward high, produ-
cing the position of 1 Ik.

SEND US YOUR COMMENTS

The majority of Ihe items printed here have come up in discussion during many of the
Foundation Course and Stage II Course workshops. If you have any Language of Dance
theoretical discussions or teaching ideas that you would like to share or comments on the
topics discussed here, please write to: BULLET-IN-STEAD!, The Language of Dance
Centre, 17 Holland Park, London Wll 3TD, England.

STOP PRESS:
It is anticipated that the Language of Dance Centre will once again be running workshops
and courses in the United Stales during Ihe Summer. Here are proposed evenls:
Music and Ihe Language of Dance, Hartl Summcrterm, The Hartl School, 200 Bloomfield
Avenue, West Hartford, CT 06117-1599, USA.
Language of Dance and the Vaganova Syllabus, Nutmeg Conservatory for the Arts, 21
Water Streel, Torringlon, CT 06790, USA.