DANCE NOTATION FOR FIELD RESEARCH Nadia Chilkovsky

Labanotation has now become rather widely accepted a s the most flexible and logical s y s t e m f o r recording human movement. This s y s t e m was invented by Rudolf Laban and copyrighted in 1 928 and 1954. (Supplementary symbols copyrighted by the Dance Notation Bureau, New York, in 1954.) Labanotation i s now being taught a t the following c enters and institutions: Laban Art of Movement Guild, Surrey, England; Folkwangschule, Essen, Ge r many (Albre cht Kunst ); Dance Notation Bureau, New Yo r k City; Philadelphia Dance Academy, Philadelphia, P a .; and Institut fiir Volksbildung, Budapest, Hungary (Maria Szentpal). Gertrude P. Kurath, Ann Arbor, Michigan, u s e s Labanotation t o r e c o r d some of h e r observations of the American Indian Dance. Labanotation i s complete enough to encompass and to overcome the differences in style and terminology in specific a r e a s of dance and i s adaptable to the needs of field r e s e a r c h . It i s m o r e than a dance notation. It i s a movement notation. All motion possible to the human body can be notated. The collector's facility in using this recording method i s of course i n fairly direct ratio to his ability to observe and to analyze movement. However, since t h e r e i s such a wealth of dance waiting to be recorded, even a n elementary knowledge of this notation s y s t e m can be of value. It i s a case of p a r t of the loaf being better than none. Labanotation i s not complicated. It can be learned in a few hours of diligent study. It can, if desired, be learned by correspondence. Instruction books on Labanotation can be secured through the Music Publishers Holding Corporation, 488 Madtson Avenue, New York 22, New York. However, the complexity of the human body and the incredible number of movement variations it i s able t o p e r f o r m pr esent the r e a l problem, i. e ., m a s t e r y of movement analysis. East Indian dance, for example, with i t s infinite variety of subtle glances and gestures, requires m o r e time for observation than many folk dance f o r m s . The l a t t e r can be notated rather quickly, particularly when stylistic details a r e omitted in favor of a general description of the main movements. As a prerequisite to the actual use of Labanotation it i s recommended that the notator develop the following minimum competencies : 1. Ability t o recognize a . rhythmic structure (tempo, m e t e r , b e a t s ) b. left and right sides of the main body segments and t h e i r fundamental movements (flexing, extending, rotating, inclining) c. basic group patterns (circle, line, file) d. direction of circling and turning (clockwise and counter - clockwise)
2.

Understanding of the following t e r m s at, directly over and directly below the point of support f o r the entire body o r any a . IN PLACE limb. In normal standing position when the t o r s o i s upright and the feet a r e close together the cent e r of gravity for the body i s directly over the feet (point of support). We say, then, that we a r e standing IN PLACE. b. SUPPORTS any part of the body which supports the weight. The feet a r e supports in walking o r standing; the hips a r e supports when sitting; etc. any movement of the a r m s o r legs other than those which support body weight. (This c. GESTURES i s a limited definition of GESTURE.)

.. .

...

.. .

The Labanotation staff consists of three vertical parallel lines. The center line r e p r e s e n t s the center of the body dividing its left and right p a r t s (sagittal plane). Beats a r e marked off by placing equidistant ticks along the center line of the staff. Measures a r e indicated by drawing horizontal b a r lines a c r o s s the entire staff. Meter indications a r e a s in music.

A m e a s u r e in 3 m e t e r
4

A pictorial sign derived from a single root-a

rectangular shaped symbol representing the location IN

PLACE-indicates ment.

each m a i n directional point.

The shape of the symbol indicates the direction of the move-

Forward left diagonally forward

In place
/

right diagonally forward

\

left sideward left diagonally back

right si'deward right diagonally back

Backward

LEVEL

I E I U
High

Mlddle

Low

Left

Right

The relative length of the symbols indicate duration of movement

The shading of the symbols indicate the level of support o r gesture.

Placement of the symbol on the staff indicates the p a r t of the body which moves.

Left and right on the staff correspond t o the reader's l e f t and right. Labanotation i s r e a d f r o m the bottom of the staff up. Steps on the left foot a r e written on the left side of the center line. Steps on the right foot a r e written on the right side of t h e center line. The dot inside the direction symbol for t h e s t e p indicates that the knees a r e normally straight (middle l e v e l ) .

4
3

2
I

4
FORWARD STEPS 1 . s t e p fwd on left 2 . s t e p fwd on right 3 . s t e p fwd on left 4. s t e p fwd on right BACKWARD STEPS 1. s t e p back on left 2. s t e p back on right 3 . s t e p back on left 4. step back on right SIDEWARD STEPS 1 . s t e p left side on left 2. s t e p right side on right 3 . repeat 1. 4. repeat 2. WALTZ S T E P

STEPS IN PLACE (marking t i m e ) 1. step on left 2. step on right 3 . s t e p on left 4. s t e p on right

The l a r g e volume of dance s c o r e s a l r e a d y available f o r study in the United States and Europe i s hopeful testimony to the functionalism of this s y s t e m . However, it would be wise t o r e m e m b e r that dance i s a complex of rhythmic, spatial, and dynamic elements; textural and stylistic nuances; great harmonic range of movement design; and countless a r r a n g e m e n t s of solo and group choreography. To notate quickly r e q u i r e s p r a c t i c e . A r e cent project (Chilkovsky, Nadia, American Bandstand -Dances in Labanotation, M. Witmark & Sons, New York, 19591, notated on location, proved to the author that with sufficient practice intricate patterns can be notated with great accuracy. There a r e a number of schools in which dance i s already being taught a s a recorded a r t . Notated s c o r e s , graded to meet a l l working levels, a r e used to t r a i n students in the techniques of movement analysis and notation concurrently with the development of movement skills. Such integrated study holds great p r o m i s e f o r future dance r e s e a r c h e r s . F o r the p r e s e n t a combination of films and s c o r e s in Labanotation probably s e r v e s a s the m o s t practical archival r e c o r d .