Space Tension – More Here
Posted: December 7, 2010 Filed under: creative process, laban studies | Tags: Laban Movement Analysis, physical practice, Rudolf Laban 2 Comments »Dec 1 – I plant my feet on the ground and commit towards forward with my upper body. Forwardness. The farthest place in front of me. Then farther. My feet stay planted. New direction. Side low. Then diagonal towards my left and forward. This is hard work, and very pleasurable. My body is pulling as far as it can against itself, and my energy filling and then exiting the tips of my fingers. I imagine I am defining the space around me, and connecting to the space. I am hooking into strange forces which are invisible and crisscross the space around me, and which keep me standing even at impossible angles. This is an antidote to sensing my weight and going with the flow, and it is a new way of moving to me. I’m inspired by Laban’s Space Harmony, which I haven’t studied, but I’ve heard of it. And seen a lot of pictures. It looks much more physical, more direct than the dancing I’ve learned to do here in sense-your-weight land.
I was going to study Laban’s theories of Space more deeply to understand this. I’ve got a pile of books on the shelf, waiting. But, I’ve changed my mind. Doing this is what I want. Why take the roundabout way through the theory books and the gatekeepers when dancing is where I want to end up? At least for now, I will do, and if I don’t get it all right, that’s okay with me.
From what I can tell, when you study Space Harmony officially, you do scales:
This heady stuff gets you a good deal of credit with certain people if you know how to do it. That doesn’t mean that it is necessarily valuable to me, nor does it automatically make it worthless. But I know that the photos above, they leave me cold. Not nearly so extreme as this:
Which is why, for now, I am not going to learn the theory of space harmony through and through. I’m really working on working. On going, myself or with other people, into the studio and doing things, making things.
I don’t always bring my video camera so I’m jotting things down here, so perhaps later I can make it all into something more organized.
a story from work when i was doing, not learning
Posted: February 21, 2010 Filed under: interesting, laban studies | Tags: Laban Movement Analysis, laura riding, letters to catherine Leave a comment »I enter details about archival materials into a database at my job. To do this I use my fingers, my eyes, and a very little bit of my brain to take me through a rhythmic, repetitive process with multiple steps that don’t work if they don’t proceed in the correct logical order. Click, type a number, click, click, look at the folder, another number, click, caps lock off, look at the folder for the title, shift-and-type, repeat, click, click, caps lock on, enter the library call number which gets stored in my short-term memory for the next 100 reps or so, click, turn to physically slide that folder down in the box and slide the next up, return to home position. That is one repetition.
This may be good and right work for a person to do or it may not be. I am not trying to decide about that just now, but I do think about whether or not I do it well. There is an elegance to getting it just right. It has to be light, and quick, and smart and accurate. It’s not so good if my thoughts go to other things while I try to do this; I can’t follow the flow of all the steps. It’s also not good if my fingers aren’t awake. They have to move so exactly to the right place to type with any speed. Another pitfall is to go slow enough to think through and double-check each step. When I do that I lose the sense of flow, and what’s worse, I begin to think again, now thinking about how slowly I’m working, and how I’ll never catalogue all the files, and whether it is even a worthy project, and why I am doing it, and about what is good or not good for me to do. And with each thought I become more weighed down until I am slogging through key after key, and everything becomes an awful miasma. Then I realize, it is cold in these libraries. And I start to think about snacks.
But when I go just quick enough, the numbers and syllables seem to slide straight from my eyes to my fingers. Rather than doing acts of data entry, I enter into a state within which entering the data is all I do. This feel silly to say, but it becomes pleasant. I might even say my body feels pleasure and I’m less aware of cold, or hunger, or tight muscles. For a time it is self-sustaining. What a relief–I’m really not thinking. I am just in an experience which flows and which I trust will stop itself when I grow tired.
I was in just such a state yesterday. Another thing about this state is that the folder titles have to be stored in my short-term memory for a second each. If I get too interested in what might be inside a folder, I’ll stop and read it, but see above about what happens when I go too slow. It can be deadly. When I don’t stop to read, there is still a conversation, above and through the physical rhythms of the data entry, between me and the words I’m reading. Yesterday among the words were, “Warren Lamb – How to Choose a Manager”, and “Efficiency in Movement” and “The Flow of Work”.
How fortuitous–this box was full of archives from Laban’s work with work, in which he analyzed movement of workers to help them find the personal flair in movement which would allow them to work most efficiently and happily. As I understand it, this analysis was about the qualitative or holistic aspects of movement, which is now what, in dance is practiced as Laban Movement Analysis. (Different than Laban Notation).
I kept up the keystrokes without stopping to read the files again. But the title of the folders streamed past, drawing out associations. I couldn’t help but smile; the thing Laban was going for with those German and then English workers was the thing I was experiencing right then in my state of work. I continued. How lucky, how much fun.
So it was lucky, and fun, and neat to run into the ideas I “work” with–but while working. The ideas themselves can become so tiresome! Discussing them, framing them, writing sentences that become paragraphs that become papers–and then abstracts for the papers. Then, telling the other paper writers about my papers, patiently listening to them about theirs. . . I get weary. The data entry is so different from the building of papers, and so tangible. It is hard for me to start this type of work–the real kind, of dancing or cleaning or this, data entry. The paper writing feels much more important, and more likely to fill my desires. How ironic, and how lovely is it that yesterday when I dug in and started to type, it wasn’t long before I ran smack right back into Mr. Laban, only this time I didn’t feel so much like saying “will you go away already? I’m tired of you!” as I have been. Maybe I jump to conclusions, but I daresay I the work refreshed me. At times like this I can’t help but think for a moment, “my life is perfect”.

There’s no way I would have written this blog post, or maybe even had this experience, if I hadn’t recently read “The Third Letter: To Discuss Learning” in Laura Riding’s Four Unposted Letters to Catharine. Also, this post may not make sense if you too haven’t read that. So here is an excerpt – please read! If you want more, leave a comment. I will lend you my copy.
And if I hadn’t been in on a series of discussions with my seminar group and teachers Michael Mercil and Ann Hamilton, I wouldn’t have read that, so I want to throw a “thanks” out there to them, too.
Serious Play, Curious Investigation
Posted: April 14, 2009 Filed under: Uncategorized | Tags: accad, dance, improvisation technologies, laban dance notation, Laban Movement Analysis, Monster Partitur, physical practice, score, Scott DeLahunta Leave a comment »
The Forsythe workshop at Ohio State constitutes one of the deepest, broadest, and most pleasurable arcs of learning in my life so far. It was unique in its holistic combination of theory and practice. I found that the readings, viewings, discussions, and symposium fed my studio practice, which then informed further thoughts, writings and discussions about this work.
William Forsythe’s ideas and technique left their mark on my body, my conception of the study of dance technique, my approach to creative inquiry, and my perception of time.
At a young age I came to be interested in dismantling the structures that seemed to keep dance separate from the questioning in my heart. I have so identified with deconstruction as a reason and mode for making, and so stripped away at dance while trying to make dances, that it began to seem better not to make anything at all. In part, this pattern is what drew me to step outside of the making process and identify myself as a Labanotator rather than a creator. Something that irks me about the world of Labanotation is the sense notators sometimes convey of having secret knowledge that other dancers don’t, or can’t have. Perhaps I have been irritated by this because it is a strategy I’ve been using to help me hide from my disappointment with dance.
Engaging with the work of William Forsythe, with its beauty in the contrast of extreme complexity and deconstruction has given me a new sense of permission to build and make. Rather than throwing the dance baby out with the bathwater, Forsythe takes what is useful to him and regenerates, fragments, and regenerates again in a beautiful sort of alchemy. Though I admire Forsythe’s choreographic structures, and love the way his technique feels on my skin, I don’t want to make what he has made. Instead I want to imitate his posture of questioning and curiosity. At the heart, this workshop has inspired me to seek earnestly what my questions are starting now. I would like to continue to deconstruct dance when I need to, but also to not be afraid of building new and complex structures. I would like to learn to say, “I don’t know what dance is,” but not to give up on my body and its rich knowledge. I would like to build structures in symbol, movement, new media, or all three at once, and through these structures to continually engage in serious, playful investigation.
Winter 2009
Posted: March 16, 2009 Filed under: Uncategorized | Tags: A-Scale, collaboration, dance, group notation, improvisation technologies, joshua penrose, knust, laban dance notation, Laban Movement Analysis, Max/MSP Jitter, Monster Partitur, Movement Choirs, physical practice, Richard Maxfield, score, Space Harmony, Titan, Vivaldiana, Wii Leave a comment »Working backwards, here’s what I’ve been doing the last few months.
- Meditative tracing of skeleton sculptures for William Forsythe’s Monster Partitur in the Wexner Center Performance space.
- Afferent Data, an eight-channel sound environment responsive to the small movements of respiration, with Joshua (mentioned by Bill Mayr in the Dispatch). And therefore asking. . .
- What is it to be alive? What is it that makes me alive? Is it possible to be still? What is the smallest amount of movement? What is the essence of being alive?
- Studying Vicki Blaine’s 1978 Progression dance score with regard to Rudolf Laban’s theories of space, and thus;
- Committing Laban’s A-Scale to muscle memory
as well as. . .
- Rolling, swinging, rocking and dropping my way through some Bartenieff fundamentals.
- Gathering information on John Rodriguez’ abstract ballet Vivaldiana, reading the Labanotation score, and embodying it. This has felt like a satisfying, complex physical Sudoku. Learning that every personal story is interesting if one spends enough time with it.
- Twenty-one beautiful sessions of playful, intentional improvisation (and four ballet classes) with Nik Haffner and friends in a workshop presenting William Forsythe’s ideas at OSU’s Department of Dance.
- Batsheva, Batsheva, Batsheva at the Wex. That’s watching them, dreaming about them, and talking about them.
- Learning the differences between Labanotation in 1927 and now.
- Attempting without much success to understand the score of a movement choir from Germany in 1927. Staring with fascination at pages of Knust’s Group Notation.
- Attempting, again without success, to map data from movement into Max/MSP through the Wii remote. The idea is to make an instrument which will classify movement according to the space and effort qualities of Laban Movement Analysis.
- Reading the fantastically illuminating responses of elective students in dance to a dance concert, and thus;
- revisiting the question; what do we make things for, our audience, our research, or somewhere in between? Facing that I have not really been asking this question with honesty. Appreciating the ideas of Richard Maxfield in his Composers, Performance and Publication essay in light of all this.












