WEBVTT 00:00:00.000 --> 00:00:04.450 align:middle line:90% 00:00:04.450 --> 00:00:08.860 align:middle line:84% Let us now look a little bit more at qualitative analysis. 00:00:08.860 --> 00:00:13.420 align:middle line:84% There exist numerous systems for systematic notation, analysis, 00:00:13.420 --> 00:00:14.920 align:middle line:84% and exploration of body motion from 00:00:14.920 --> 00:00:17.050 align:middle line:84% a qualitative and observational point of view, 00:00:17.050 --> 00:00:20.650 align:middle line:84% including the Alexander Technique, Rolfing, 00:00:20.650 --> 00:00:24.070 align:middle line:90% expressive motion, and across. 00:00:24.070 --> 00:00:25.750 align:middle line:84% Common for most of these is that they 00:00:25.750 --> 00:00:28.360 align:middle line:84% were developed at the same time or in parallel 00:00:28.360 --> 00:00:32.110 align:middle line:84% to systems influenced by the dancer and choreographer Rudolf 00:00:32.110 --> 00:00:32.830 align:middle line:90% Laban. 00:00:32.830 --> 00:00:36.160 align:middle line:84% Here I will briefly introduce two of Laban's methods, 00:00:36.160 --> 00:00:40.070 align:middle line:84% the Labanotation and the Laban Movement Analysis. 00:00:40.070 --> 00:00:42.100 align:middle line:90% We start with the Labanotation. 00:00:42.100 --> 00:00:44.380 align:middle line:84% Rudolf Laban worked as a dancer and choreographer 00:00:44.380 --> 00:00:47.770 align:middle line:84% before he became interested in the description and analysis 00:00:47.770 --> 00:00:49.930 align:middle line:84% of human motion at large, with the aim 00:00:49.930 --> 00:00:54.740 align:middle line:84% of developing a universal system for motion analysis. 00:00:54.740 --> 00:00:56.660 align:middle line:84% For that reason, he spent time studying 00:00:56.660 --> 00:00:59.390 align:middle line:84% all sorts of human motion, including 00:00:59.390 --> 00:01:01.220 align:middle line:90% that of factory workers. 00:01:01.220 --> 00:01:05.660 align:middle line:84% In 1928 he presented the system called Schrifttanz, 00:01:05.660 --> 00:01:08.120 align:middle line:84% a method for the notation of motion 00:01:08.120 --> 00:01:10.250 align:middle line:84% as symbols along a vertical axis. 00:01:10.250 --> 00:01:12.080 align:middle line:84% This system was later to become what 00:01:12.080 --> 00:01:14.720 align:middle line:90% is today called Labanotation. 00:01:14.720 --> 00:01:17.270 align:middle line:84% Here we see an example of Labanotation, 00:01:17.270 --> 00:01:22.070 align:middle line:84% with time running vertically from the bottom to the top. 00:01:22.070 --> 00:01:24.850 align:middle line:90% 00:01:24.850 --> 00:01:28.180 align:middle line:84% And the vertical line in the centre of each notation system 00:01:28.180 --> 00:01:30.010 align:middle line:90% marks the centre of the body. 00:01:30.010 --> 00:01:32.560 align:middle line:90% 00:01:32.560 --> 00:01:35.650 align:middle line:84% Motion is then notated through the different symbols 00:01:35.650 --> 00:01:40.390 align:middle line:84% on the left and the right side of the centre line, 00:01:40.390 --> 00:01:44.670 align:middle line:84% representing the left and right side of the body. 00:01:44.670 --> 00:01:47.430 align:middle line:84% Each of the body parts had their own symbols, 00:01:47.430 --> 00:01:49.620 align:middle line:84% and the duration of motion and position 00:01:49.620 --> 00:01:51.030 align:middle line:84% are given through different types 00:01:51.030 --> 00:01:54.770 align:middle line:84% of symbols inside the shapes of the body parts. 00:01:54.770 --> 00:01:57.670 align:middle line:84% Labanotation is still in active use today, 00:01:57.670 --> 00:02:01.590 align:middle line:84% particularly in larger ballet and dance companies. 00:02:01.590 --> 00:02:05.280 align:middle line:84% Some movement researchers also use the notation. 00:02:05.280 --> 00:02:09.919 align:middle line:84% However, the system is complex, so few people really 00:02:09.919 --> 00:02:13.220 align:middle line:84% master Labanotation at the level in which they can 00:02:13.220 --> 00:02:16.490 align:middle line:90% read and write scores fluently. 00:02:16.490 --> 00:02:19.070 align:middle line:84% So, as opposed to music notation, which 00:02:19.070 --> 00:02:22.880 align:middle line:84% we can assume that most musicians and music researchers 00:02:22.880 --> 00:02:26.450 align:middle line:84% master at a quite high level, it is 00:02:26.450 --> 00:02:29.600 align:middle line:84% hard to find people that can comfortably read and write 00:02:29.600 --> 00:02:32.000 align:middle line:90% Labanotation. 00:02:32.000 --> 00:02:35.390 align:middle line:84% In addition to Labanotation, Laban also 00:02:35.390 --> 00:02:40.310 align:middle line:84% developed what has later become the Laban Movement Analysis. 00:02:40.310 --> 00:02:42.380 align:middle line:84% Here the aim is not to focus on writing 00:02:42.380 --> 00:02:45.650 align:middle line:84% motion structures in time, but rather 00:02:45.650 --> 00:02:49.040 align:middle line:90% to describe motion qualities. 00:02:49.040 --> 00:02:52.550 align:middle line:84% One important point here is that the analysis should always 00:02:52.550 --> 00:02:55.220 align:middle line:84% start from the observer's point of view. 00:02:55.220 --> 00:02:58.370 align:middle line:84% One could, for example, start by asking a question, 00:02:58.370 --> 00:03:02.000 align:middle line:84% how does this motion feel for my own body. 00:03:02.000 --> 00:03:03.920 align:middle line:84% The Laban Movement Analysis system 00:03:03.920 --> 00:03:10.220 align:middle line:84% is based on four main categories, body, space, shape, 00:03:10.220 --> 00:03:12.280 align:middle line:90% and effort. 00:03:12.280 --> 00:03:14.650 align:middle line:84% And each of these are also subdivided 00:03:14.650 --> 00:03:19.640 align:middle line:84% into different categories describing different movement 00:03:19.640 --> 00:03:20.940 align:middle line:90% qualities. 00:03:20.940 --> 00:03:22.910 align:middle line:84% It's a large and complex system, and we are now 00:03:22.910 --> 00:03:25.243 align:middle line:84% going to look a little bit more into one particular one, 00:03:25.243 --> 00:03:28.100 align:middle line:84% the effort subcategory, which can be further subdivided 00:03:28.100 --> 00:03:32.690 align:middle line:84% into four separate categories, each with a descriptive axis. 00:03:32.690 --> 00:03:34.970 align:middle line:84% Here we first of all talk about the space, 00:03:34.970 --> 00:03:39.930 align:middle line:84% and whether the movement is direct or indirect. 00:03:39.930 --> 00:03:41.670 align:middle line:84% The space describes how one moves 00:03:41.670 --> 00:03:43.890 align:middle line:84% through the physical space and how one relates 00:03:43.890 --> 00:03:46.080 align:middle line:90% to the body's kinesphere. 00:03:46.080 --> 00:03:48.630 align:middle line:84% Kinesphere is the maximal volume that we 00:03:48.630 --> 00:03:51.420 align:middle line:84% can reach around our body when standing fixed on the floor. 00:03:51.420 --> 00:03:53.430 align:middle line:84% So the performance scene is really 00:03:53.430 --> 00:03:56.310 align:middle line:84% then connected to the piano itself, 00:03:56.310 --> 00:03:59.350 align:middle line:84% because the musician, the pianist, is sitting down. 00:03:59.350 --> 00:04:03.600 align:middle line:84% And there's also the kinesphere, that is the maximum directions 00:04:03.600 --> 00:04:07.530 align:middle line:84% that the musician can use, are defining the performance scene 00:04:07.530 --> 00:04:09.270 align:middle line:90% that we are talking about now. 00:04:09.270 --> 00:04:11.550 align:middle line:84% This is the focus of attention for the audience, 00:04:11.550 --> 00:04:15.070 align:middle line:84% and this is also then where the performance is happening. 00:04:15.070 --> 00:04:17.160 align:middle line:84% The second effort element is time, 00:04:17.160 --> 00:04:21.089 align:middle line:84% and here we talk about an axis from quick to sustained. 00:04:21.089 --> 00:04:25.010 align:middle line:84% The quick is rapid, the sustained is sustained. 00:04:25.010 --> 00:04:27.320 align:middle line:84% Here, time is used to describe the rhythmic character 00:04:27.320 --> 00:04:29.840 align:middle line:90% of the motion. 00:04:29.840 --> 00:04:33.800 align:middle line:84% Laban was concerned that time and rhythm should not be split. 00:04:33.800 --> 00:04:36.140 align:middle line:84% This is because we experience rhythmical patterns all 00:04:36.140 --> 00:04:38.900 align:middle line:84% the time, and we have our own bodily rhythms defined 00:04:38.900 --> 00:04:41.030 align:middle line:90% by our pulse and breathing. 00:04:41.030 --> 00:04:43.400 align:middle line:84% The third effort element is that of weight, 00:04:43.400 --> 00:04:47.360 align:middle line:84% where we differentiate between strong and light. 00:04:47.360 --> 00:04:49.640 align:middle line:84% The weight is related to gravity and the fact 00:04:49.640 --> 00:04:51.500 align:middle line:84% that we need to use muscle or activity 00:04:51.500 --> 00:04:54.830 align:middle line:84% to work against gravity when moving upwards. 00:04:54.830 --> 00:04:58.700 align:middle line:84% We also use gravity to help us when moving downwards, 00:04:58.700 --> 00:05:01.490 align:middle line:84% and it is this constant interplay between our body 00:05:01.490 --> 00:05:03.320 align:middle line:84% and the Earth's gravitational pull 00:05:03.320 --> 00:05:06.210 align:middle line:90% that help shape our motion. 00:05:06.210 --> 00:05:08.150 align:middle line:84% And finally the fourth one, which 00:05:08.150 --> 00:05:12.230 align:middle line:84% is between bound and free movements. 00:05:12.230 --> 00:05:14.600 align:middle line:84% The flow describes how much motion and flow 00:05:14.600 --> 00:05:16.440 align:middle line:90% in time and space. 00:05:16.440 --> 00:05:19.250 align:middle line:84% What Laban calls free flow is when our emotion 00:05:19.250 --> 00:05:22.070 align:middle line:84% is both relaxed and continuous at the same time, 00:05:22.070 --> 00:05:25.640 align:middle line:84% while bound flow is when the motion is hindered. 00:05:25.640 --> 00:05:27.890 align:middle line:84% Even though the four effort parameters are but 00:05:27.890 --> 00:05:31.520 align:middle line:84% one small part of the full Laban Movement Analysis system, 00:05:31.520 --> 00:05:33.890 align:middle line:84% they give us a tool for talking about movement 00:05:33.890 --> 00:05:36.790 align:middle line:90% in a more systematic manner.