the Labanotatot

Issue No.48 October 1987

CONTENTS
'Passive' , 'Following' , 'Resultant' 1
Travelling Turn in the Air 4
Di amonds IGalore! 4
Repeats 5
Advantage of Round Pins for Floor Plans 5
Relationship between Support and Leg Gesture Movements 6
More Comments on Labanotator No.45 7

'PASSIVE', 'FOLLOWING', 'RESULTANT'

A discussion of the exact difference between 'passive1, 'following' and "resultant
seems necessary. What do these words mean in terms of movement? How do they relate?
How are they indicated? Where do the differences lie? Can > be used for all three
needs? To what extent is it truly applicable? '
1. 'Passive'
1.1 For a passive movement to occur there must be an active movement, a 'stronger'
movement which causes the passive movement to happen.
1.2 In addition, the limb or body part passively involved must be sufficiently
relaxed to allow itself to be affected.
1.3 Degree and resultant displacement (direction reached) in passive movements
may be unstated, as in Exs.la, b) and c).

la
d) g)
b) c)
1.4 In la the head passively reacts to the forward and backward chest tilts. In
addition to being carried along as an extension of the spine, the head (being
relaxed) will move forward and backward beyond normal alignment. The natural
timing for the part moving passively (here the head) is to have a slight delay,
and there may be a slight 'after flow' since no specific destination is stated
or desired.
1.5 In Ib the arms are carried along in the torso twists, and are allowed to be
affected by the twist in that they will be moved beyond side in the direction
of the twist.
1.6 In Ic the arms in being affected by the sideward torso tilts, may 'swing1
slightly to the right and then left, or the left arm may hang against the
side of the body as the torso leans to the right and vice versa as the torso
leans to the left. In the above examples since no specific performance is
indicated there is leeway for individual interpretation, particularly in the
degree of passive movement.
1.7 A general statement of degree of spatial displacement can be added by using
the signs of Id - g) .
 (2) The L a b a n o t a t o r N o . 4 8 , 1987

1. 'Passive' (continued)
1.8 Passive manner of performance can be indicated for gestures which have a
specified directional destination indicated.

Ih

j) k)
1.9 In Ex.Ih a specific destination for the head tilt is given, but the manner of
performance is stated as passive.
1.10 Ex.Ih uses an understandable abbreviation for the intermediate head direction.
The carrying along of the head with the chest tilt will take it to forward
high thus only the additional amount needs to be stated. In i) the full des-
cription of the half-way point is given.
1.11 In I j the arms are shown to move passively around the body, across to the dia-
gonal directions.
1.12 Ex. Ik states that the passive arm movement should come to rest, i . e . arrive at,
the side low direction.
1.13 In the above, the degree of relaxation for head and arms is slightly diminish-
ed by the need to control the destination.
1.14 The terms 'following 1 and 'resultant' could also be applied to Exs.lh, j) and
k ) . The head is set in motion by the chest tilt and, being relaxed, 'follows 1
the chest's path in space. As mentioned before, there is a slight delay in
timing for the head involvement, for which the term 'following* is appropriate.
The term ' r e s u l t a n t ' , however, can be used in other contexts and the d i f f e r -
ences need to be clear. This will be discussed later.
2. 'Following'
2.1 In a 'led by' situation one body part leads and an adjacent part 'follows'.
Such 'following' is not specifically written but is understood to take place.
The part which leads goes ahead into the
stated direction.
2.2 In Ex.2a the downward movement on
counts 1 and 2 is led by the heel (base)
of the hand. This results in the hand
'following' the movement; it is, in fact,
left behind. On counts 3 and 4 the back
of the base of the hand leads the upward
path, the hand being left behind so that
it 'follows' after. Note that each of
these 'led by' actions end before the
arm movement. Thus the hand will have
returned to its normal alignment with the
rest of the arm. 2a b)
2.3 In 2b the right arm movement is led by the shoulder, thus the arm will begin by
'following' but will end as a normal gesture. Such 'following' is the result of
an adjacent part leading, and is not written with a special 'following' sign.
No need has been felt for a sign for 'following'.
 The Labanotator N o . 4 8 , 1987 (3)

3. 'Resultant'
3.1 'Resultant' means a change which comes about in one part of the body as a result
of movement of one or more other body parts.
3.2 Indication of the result in interrelated movements is becoming more and more
popular with notators. When two simultaneous actions occur and one has an effect
on the other, this result often needs to be stated.

o
\
'*•
o
\ ,, o
s-
OR

' 0 O <?
e)

3a b) \) o 1 d) I
3.3 A familiar example is given in 3a. A spatial retention requires a passive re-
action in the appropriate joint, (in 3a the right hip). This 'passivity' is
understood and not written.
3.4 As an aid to the reader, in 3a the writer has stated the destination for the
right leg, the placement which results from the space hold. Technically, this
reminder is not needed, but it is often welcome.
3.5 Such statement of result is needed when the effect of the space hold is somewhat
altered. In 3b there is a change in level from low to middle, this modification
needs to be indicated.
3.6 In 3c no change in level takes place but for the final destination the leg moves
to backward low, which is beyond the result of the 3/8 turn-plus-space hold
action.
3.7 When there is some adjustment during a space hold action, the timing for this
adjustment can be shown by the length of the resulting direction symbol. In
3d adjustment in both direction and level begins to occur on count 3. Ex.Se
shows an alternate way of writing the same thing.
3.8 Ex.Sf shows another type of 'resultant 1
statement. From the inward rotational
state at the start, the right arm turns
outward as it opens to the side. The
degree of rotation is not stated, in-
stead destination for the palm facing
is given. The description purposely
features the turning movement for the
arm; the importance is not placed on
aiming immediately for palm facing. „,.
g;. ,.
Jt n;
3.9 In 3g the action is a slow turn
of the head with the destination
of looking at B.
3.10 Ex.3h makes a similar statement but looking is not specified, though probably
implied. What is described is that the slow head turn ends addressing B.
 (4) The Labanotator No.48, 1987

4. TRAVELLING TURN IN THE AIR

4.1 We come across the notation of Ex.4a. If we take it
literally, as 'spelled', is it correct? Can the turn-
ing action be indicated when one is already in the air? -ffl
4.2 Leaping forward is initiated by the appropriate 'push
off from the ground. A spring straight up requires
a push directly downward. To travel forward the push
must be into the reverse direction, i.e. backward and ^a Q
downward. (Heaven help you if the floor is too slipp-
ery!) It is the 'push off, the static friction, of foot against floor that
produces the impetus to rise and travel into the desired direction.
4.3 In order to turn on a travelling leap, the pressure on the floor must already
contain the torsion necessary to project the body into the new direction.
Therefore, 4b is more likely in that the turning action starts with the rise
into the air.

-ffl -ED

t
t
4b d) e) £)
4.4 While 4b is quite possible, it should be noted that many such turns are
blended, as in c), the start of the turn taking place on the stepping leg
before rising into the air occurs. This is particularly true of greater
degrees of turning.
4.5 In all the above examples the direction of travel has changed from (ij to
-Q , the result of the turn being a 'turning of the corner1, so to speak,
the space pattern of 4d.
4.6 A delayed turn in the air can occur when the protectory of the body is in the
same spatial direction despite the turn. In 4e the body changes its facing
direction but continues to travel toward the audience.
4.7 Once the body is in the air it can twist itself to face another direction but
cannot change the line of travel that has been established on the take-off.
Therefore 4e is possible, the line of travel being illustrated in f).

5. DIAMONDS GALORE!
5.1 Did you realize that the use of the space
hold (diamond) while moving in Ex.Sa has
the same effect as if a Stance Key had
been stated, shown in b)? You have the
choice of using the diamonds within the
signs or using the Stance Key. The main
difference is that the key will affect all
such gestures and will remain in effect
for subsequent movements, whereas diamonds 5a
within the signs as in a) are for that
movement only.
5.2 BUT! Black diamonds (Isn't that what they used to call coal?)
do not have the same effect. In 5c the Standard rule for
judging direction is in effect - sideward is sideward of the
shoulder line. The black diamond serves only to specify that
the path of the movement should be an undeviating curve.
 The Labanotator No.48, 1987 (5)

5. Diamonds Galore! (continued)

5.3 The equation of 5d states the case; use
of the Stance Key means that any direct-
ional change for the limbs and torso will
be performed as though there were space
holds (white diamonds) within the signs.
But this is not true of the black diamond. d)
5.4 When should the Stance Key be cancelled? In 5e it is needed
because a twist in the torso has occurred and reference to
the original front is desired. The torso twist is cancelled
on count 3. Should the Stance Key be cancelled there too?
It need not be. Lack of any twist in the torso (or its parts)
means that one is back to the Standard Key (unless the Body
Key has been given).
5.5 If the Stance Key is not cancelled as soon as it is no longer
needed, one must watch out that it is still wanted when a
twist occurs later in the score.
5.6 The same is true of the Body Key. When the body returns to
its normal, upright, standing position, without any tilt of the torso (or its
parts), then Body and Standard Keys are the same. There is no need to cancel
use of the Body Key when the body returns to upright. However, one must be
careful that the Body Key is appropriate when another tilt of some kind occurs
in the torso (or any of its parts).

6. REPEATS
6. 1 Every second saved in reading a score is a help.
If a doubt enters the reader's mind it slows
down the process of getting to the movement or
getting the whole picture of what is happening.
6.2 Recently Ex06a was met in going through a score.
In a long passage taking the whole page, the
repeat for B had been written small and centred
in the 8 measures. The reader, tackling the
piece by reading laterally, thought at first
6a
that B had no movement, or perhaps that the
movement had not been copied in - there is B
always the possibility of that error.
6.3 In Ex.Ga the repeat indication needs to be made f\ /
•
large enough to be eye catching, as in 6b, or
more repeats should be used as in c). The A /
writer naturally looks for labour-saving devices / *

but it is always the reader who must be kept in

mind. We do not suggest that all scores must A /
/ *
use the devices of 6b and c) but they have cer-
tain advantages. f\ /

6.4 "Autography for Labanotation" gives specific b) c)

guidelines on sizes of repeat signs. B

7. ADVANTAGE OF ROUND PINS FOR FLOOR PLANS

7.1 We established long ago that there is a choice of pins
for floor plans: the flat set of Ex07a, and the round
set of b). It became general practice to use the flat
set. However, there has been a growing change over to
b) A I
round pins for the following reasons.
 (6) The Labanotator No.48, 1987

7. Advantage of Round Pins for Floor Plans (continued)

7.2 First the question of lining up flat pins for males
females. Which autography is right, 7c, or d)?
7.3 If round pins are used as in 7e there is no question.
704 If performers should be on a diagonal line which is
not at 45 , or if they are not facing exactly squarely
to the group line, this fact is not so easily shown
with flat pins and the reader may think the writer
had been careless, Exs.7f and g). The eye wants to
turn the pins into the formation of h).
7.5 With round pins, Exs.7i and j), this less usual sit-
uation is not visually so disturbing.
7.6 Identification on floor plans is easier with round
pins since they do not get visually confused with
arrows or angular letters of identification.

7.7 Exs. 7k and 1) show examples from a score which are not so easy to read.
In m) and n) these have been written with round pins, visually much easier.

V o
7k 1) m) n)
7.8 For indication of a person use can be made of the pin of
Ex.7o; Ex.p) is an alternative but slightly cumbersome
TO a P) s
way of stating ' a person 1 .
7.9 q) A r) 1
Ex.7q shows a finishing position wedge for 'a person'.
(sNote: Knust has different signs for ' a person', Ex.r
being a starting position pin and s) the finishing s) A
wedge).

80 RELATIONSHIP BETWEEN SUPPORT AND LEG GESTURE MOVEMENTS

8.1 In ExoSa will the bending and straightening of the supporting leg affect the
gesturing leg? Will the left leg also flex and extend?
8.2 For 8b we have stated that the level of the supporting leg affects the degree
of bend for a touching gesture in place. This exact degree of bend need not
be stated in the starting position, and the left leg will bend more on count 1
and then return to its previously flexed state on count 2,

8a b) c)

8,3 Does this rule apply to Ex.Sa? If it does not, there are two options for
keeping the left leg straight while bending the supporting leg. The leg may
slide further out to the side and return as the right leg bends and then
straightens as in 8c.
 The L a b a n o t a t o r No.48, 1987 (7)

8. Relationship between Support and Leg Gesture Movements (continued)

8.4 To keep the left leg straight and touching on
the same spot, the right hip has to shift out
to the right, as in 8d.
8.5 The hips could also shift backward, as when
one tilts the torso forward, Rx.8e.
8.6 When nothing specific is stated the exact
performance is left open. In a detailed
score the notator will want to specify what d)
performance is required.

SOME MORE COMMENTS FROM MARIA SZENTPAL ON LABANOTATOR NO.45

(The numbers given here are those used in that issue.)
1.8i Drawing of the Resilient (Rebound) signs
Maria draws the accent signs pointing in toward the movement involved, but
does not change the sign for relaxed, i.e. she uses Exs.r) and s).

Mari a: £) £) r> s) instead of

l.Sii Maria is concerned about the difference in resiliency between movements where
the accent comes first followed immediately by the relaxation, or vice versa.
The signs of Ip - ly do not show this difference; they are general signs. The
difference Maria wants will be discussed further in a future issue of the
Labanotator.
1.10 Drawing of Heel Drop sign and sign for Relaxed and Gentle.
Maria Szentpal commented that in showing the correct drawings _ :•
of these signs, "I draw them extra large and do not consider
the size of the heel drop sign in context. Here are some
small ones(to indicate that the difference can be shown even
when small.
12 „ "Opening the Chest"
12.1 Ex.l2f Maria points out that there seems to be three versions of drawing the
sign for the upper-forward surface of the chest (and other comparable signs),

12m n) o) 03] p) o q) 10
Pin placed inside Pin placed outside Pin placed on the
the box the box line of the box
Her practice is to use 12o, and indeed this placement does seem preferable
in that it is comparable to use of a black pin, 12p. Will specifying
middle level be written as 12q?
12.4 This paragraph needs more careful explanation, as follows:
More likely, the movement wan_te_d is one of opening, expanding, of the front
of the chest, i 0 e. the moveable part rather than the surface. Ex.12g indi-
cates the moyeable part of _the _front _of the _ches_t:_ this is usually taken
to be the breast bone, although _it may be more than jusjt _tha~t "part^ depending
9?-t1?? _typeand degree of movement. Ex. 12h states lateral expansion of the
front of the_chest.
13. Palm Facing - Timing
13.5 Correction please! The second sentence should read: "To perform
13f the wrist would flex and the lower arm twist to produce a
palm facing up at the start of the movement, as in 13g." (Add
to 13g a small outward rotation sign bowed to the arm column).
 8 The Labanotator, Issue No 48, 198?

THE LABAIOTATOR

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Discussions in the Labanotator represent the thinking of experienced

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