Major Concepts Laban 1926 Choreographie

Movement and Dance Concepts in Laban’s (1926) Choreographie (2011) Jeffrey Scott Longstaff Rudolf Laban’s 1926 German publication Choreographie contains an abundance of concepts that would eventually evolve into modern-day Labanotation and Laban Movement Analysis. Rudolf Laban appeared to use this publication as a kind of workbook, introducing a variety of concepts and methods for notating human body movement, sometimes including alternative methods designed for the same purpose. An attempt is made here to give an overview of the German-language concepts in Choreographie (page numbers refer to the original 1926 publication). Format: Italicized: Non-English words (German or French) Bold: English words used in this translation for specific German words in Choreographie Outline Dance Writing, Script, Notation Body Organization Series and Clusters Position, Placement, Posture Movement, Swinging, Striving, Leading Effort (Eukinetics) and Space (Choreutics) Effort, Dynamic qualities Creating Space Space - Kinesphere Spatial Form Spatial Form Structures Spatial Pathways Spatial Orientation Spatial Dimensions Dimensional Planes Spatial Diameters Spatial Diagonals Spatial Deflections & Inclinations Effort / Space Affinities Transformations Symmetry Relation, Correlation, Correspondence Opposition, Countermovement, Equilibrium Tension Harmony Harmonic Laws Theory, Teachings, Doctrines Scales

Dance Writing, Script, Notation “Choreographie” (Choreography, pp. 19, 54) appears both as the title of the book and also in the titles of Chapters 7 and 17. This is used in its original sense as the writing or notating of dance, rather than the modern-day usage of ‘choreography’ as referring to dance composition. In the same way musical composition is tied to musical notation with the description of ‘writing a song’ mean the composing of the song (whether it was actually written down or not). The chief concern in Choreographie is a broad exploratory survey for possibilities to develop a “conceptualisation of dance-notation” (begrifflichen Tanznotierungen; p. 81). Creating such a method begins with an understanding of general body movement concepts: concept (Begriff; p. 84) (ie. idea) conception (grifflich; p. 93) conceptual (begrifflich; p. 84) conceived (begriffen; p. 76) movement-concepts (Bewegungsbegriffe; title chapter 27) spatial-direction-concepts (Raumrichtungsbegriffe; p. 8) time-concepts (Zeitbegriffe; p. 84) auxiliary-concept (Hilfsbegriff; p. 84) The method for representing these dance concepts is explored through the creation of various dance notation, dance writing, or dance script. These three concepts are used almost interchangeably and could receive the same English translation. The idea of a dance “script” was often used by Laban (1954, 1955) in his English writings, and the idea of “dance writing” is also commonly used (Preston-Dunlop & Lahusen, 1990). Therefore both of these English translations of “script” (Schrift), and “writing” (schreiben) are maintained in this translation in preference to what might be the more typical English concept of “notation” (Notierung) which is also used in Choreographie, but only rarely: notation / notate (Notierung / notieren; pp. 76, 101) musical-notation-script (Musiknotenschrift; p. 85) (using both “notation” and “script”) dance-notation (Tanznotierungen; p. 81) script (Schrift; pp. 39, 54, 63, 73, 92, ...etc.) ballet-script (Ballettschrift, p. 63) dance-script (Tanzschrift; pp. 12, 21, 64) movement-script (; p. 14) musical-notation-script (Musiknotenschrift; p. 85) diagonal-script (Schrägenschrift; p. 32; Schrägschrift; p. 103) script-signs (Schriftzeichen; p. 102) column of script (Schriftreihe; p. 102) - a column of writing. script-series (Schriftreihe; p. 101) script-picture (Schriftbild; p. 101) trial-script (Schriftversuch; pp. 20, 69, 96, 103) script-guidelines (Schriftanleitung; Title appendix II, p. 100) write (schreiben; pp. 92-93, 101, 102) writes (schreibt; p. 4) ) (ie. to describe, to draw) written (geschreiben; pp. 92, 98-99, 101-103) written (ausgeschreiben; p. 96) (Lit. written-out) write-out (aufzuschreiben; p. 100) ballet-writing (Ballettbeschreibung p. 63) writing-possibilities (Schreibmöglichkeiten; p. 103) describe / description (beschreiben; pp. 6, 8-10, 54, 57, 59, 62, 65) (uses same German root “schreiben” - to write) Dance and movement is represented in notation or script with various signs or symbols. The English use of either ‘sign’ or ‘symbol’ may vary widely. Works in Labanotation sometimes refer to “symbols”, such as the “direction symbols” (Hutchinson, 1970), but the most widespread use refers to “signs” (Knust, 1979a,b; Hutchinson, 1970, 1983) and so has been followed here. The German for “sign” (zeichen) is closely related to the verb for “drawing” or designing (zeichnen), hinting at the link between the bodily-motion of drawing and the structure of a sign or symbol used in notation or language. This is key to the idea that letters and symbols used in language or notation, are at their origin based on the ‘drawn’ shapes of simple body movements and this becomes one of Laban’s topics in some places (Laban, 1966). Several other concepts also use the same German root “zeichen” and are translated into similar concepts such as signify, identify, and in some cases, representation or terminology: sign (Zeigung / zeichen; pp. 54, 65, 67, 69, 102, ...) [cf. ‘signify’] signify / signified (Gekennzeichnet; p.55 / kennzeichen; pp.100-101/aufgezeichnet; p.98) script-signs (Schriftzeichen; pp. 47, 102) spatial-signs (Raumzeichen; p. 85) free signs (title Chapter p.89) timing-signs (Zeitzeichen; p. 85) Starting-sign (Anfangzeichen; p. 47) Ending-sign (Schlußzeichen; p. 47) performance-signs (Vortragszeichen; p. 102) direction-signs (Richtungszeichen; p. 103) dimensional-signs (Dimensionalzeichen; p. 100) diagonal-signs (Schrägezeichen; p. 100) deflection-signs (Ablenkungszeichen; p. 102) position-signs (Positionszeichen; p. 63) movement-signs (Bewegungszeichen; p. 19) pathway-signs (Wegzeichen; p. 102) suspended-leg-signs (Schwebebeinzeichen; p. 95) foot-sign (Fußzeichen; p. 55) leg-sign (p. 95) variation-signs (Variationszeichen; p. 55) prefix- and secondary-signs (Vor- und Nebenzeichen; p. 102) rhythmic signs (rhythmische Zeichen; p. 102) (also p. 16) secondary-stream-signs (Nebenströmungszeichen; p. 102) intensity-signs (Intensitätszeichen; p. 102) linking-sign (Bindezeichen; p. 69) lifting signs (high movement) (p. 91) representation (Zeichnung, p. 67) [similar to zeichen - sign] drawing (Zeichnung) pathway-drawing (Wegzeichnungen, p. 62) ground-plan-drawing (Grundrisszeichnung; pp. 65, 102) movement-representation (Bewegungsaufzeichnung; p. 100) dance-representation (Tanzaufzeichnung; pp. 19, 56) terminology (Bezeichnungen; p. 80)

Body Organization A basic distinction is made between the standing or supporting leg versus the gesturing or working leg (pp. 92-93). For the standing leg, two similar German words, “stehen” (to stay) and “Stand” are both used, and both German terms have been translated as “stand”: stand (stehen / steht; pp. 87-88, 96, 101) standing-leg (Standbein; pp. 87-88, 92-93) [cf. ‘suspending-leg’] standing-leg-exchange (Standbeinwechsel; p. 92) The gesturing leg is identfied through several different concepts, the most frequent of these is translated as “Suspended” (Schwebend). This term seems to be used for two different concepts, in one case it is used to refer to sagittally deflected diagonals (see ‘deflections’) while in this case it is used to specify the limb which is gesturing. Other concepts of gesture, striving and swinging are only occasionally used to refer to the limb: suspended [as gesturing limb] (Schwebend; pp. 10, 59, 68, 86-87) suspending-limbs (Schwebeglieder; p. 100) suspended-leg (Schwebebein; pp. 68-69, 92-93, 101) [cf. ‘stand’] suspending-leg-gesture (Schwebebeingeste; p. 69) suspended-leg-signs (Schwebebeinzeichen; p. 95) gesture (geste) leg-gesture (Beingeste; p. 87) used only once striving (Strebung) usually used to refer to spatial actions or numbers of movement. bodily-strivings (Körperstrebungen; p. 102): striving-limb (Strebeglied; p. 87) striving-arm (Armstrebung; p. 96) striving-arm (Strebearm; p. 87) striving-leg (Beinstrebung, Strebebeins; pp. 67-68) swinging (Schwung) usually used to refer to spatial actions or directions swinging-limbs (Schwunggleidern; pp. 17, 19). swinging body-quarters (schwingenden Körperviertel; p. 17) Several concepts describe the “body” (Körper; pp. 68, ... etc.), including: body-part (Körperteil; p. 86) body-side (Körperseite; pp. 64, 74) body-construction (Körperbaues; p. 24) In Choreographie the body was represented graphically with the “body-cross” (Körperkreuz; p. 15), later as the referred to as the “spatial-cross” (Raumkreuz; pp. 89, 103). Each of the “body-quarters” (Körperviertels; pp. 15, 17 ...etc.) were indicated within one quarter of the cross, overall giving an idea of the body positions or “body-situations” (Körperlagen; pp. 17 ...etc.) (Laban 1926, p. 15) . A few times the body action of a weight transfer is described as an exchange of weight: exchange (of weight) (Wechsel; wechseln; pp. 33, 68, 75-76, 92) standing-leg-exchange (Standbeinwechsel; p. 92). In a couple places Laban seems to have created a concept to describe limb organisation, which he identifies as being similar to fingering (Fingersatz), such as used to refer to the organisation and employment of the different fingers when playing a piano. He creates a comparable concept for the limbs of “Gliedersatz” which has no obvious translation in English (Satz can be a phrase or a sentence) but has been translated here as “limb-sequencing” since this concept is often used in body study to describe the coordination within a limb and amongst different limbs: sequencing (used as a gerund-noun) (Satz; pp. 14, 100) [ie. sequencing of body parts] fingering (Fingersatz; p. 89) [organizing finger motions to play an instrument] limb-sequencing (Gliedersatz; pp. 89, 100) [a word created by Laban similar to fingering] The same English word sequencing is also translated from the German “Folge” in other places when referring to a sequence of movements or a spatial sequence, but in the case of “Satz” it refers to body-sequencing. The idea of “Connection” (Verbindungen / verbunden) while many times used to refer to ‘connections’ of spatial lines and points (pp. 8, 15, 22, 36, 40, 43, 49) is also used many times to refer to organisation or integration amongst body parts (pp. 8-9, 11, 14, 19, 73, 87). Similarly in one place Laban describes how full-body connections reveal “integrated” (einheitliche; p. 19) body postures. This perspective is obviously a similar concept to the modern-day Laban Movement Analysis idea of bodily “integration” and “connectivity” (Bartenieff & Lewis, 1980; Hackney 1998).

At one point Laban offers a detailed account of possibilities for full-body organizations, referred to as “limb-correlations” (Gliederzusammenhängen; pp. 86-87). The German zusammenhängen would be literally translated as “hanging together” and in Choreographie it is usually used to describe correlations and harmonic laws amongst spatial pathways (see “Transformations” below). However here the same “correlations” (zusammenhängen) concept seems to be applied to body organisation and might be considered as an early form of what is considered to be the “body” area of modern-day Laban Movement Analysis Laban (pp. 86-87) uses four factors to decipher basic “limb-correlations”: Limb: Upper limb Lower limb Limb action “streben” (“striving”) ie. impetus of motion (see “movement” below) “schweben” (“suspending”) ie. “maintaining the countermovement” (pg. 87) Side of the body into which the limb is moving: “eigenseite” (“own-side”), “fremdseite” (“foreign-side”) “gegenseite” (“counter-side”) Direction a limb moves into its own up / down direction: “nach” (to, towards) seems to imply: upper limb moves upwards lower limb moves downwards a limb moves into the opposite up / down zone: “nach unten” (“downwards”) upper limb moves downwards “nach oben” (“upwards”) lower limb moves upwards The eight possible “limb-correlations” can be summarized as follows (letter headings correspond with headings in the text, pp. 86-87):
	Limb			Action				Direction			Side of body
a)	Upper limb			Strives				[ Upwards ]			Own side
	Lower limb			Suspends (countermovement)				[ Downwards ]			Own side

b)	Upper limb			Strives				[ Upwards ]			Foreign-side
	Lower limb			Suspends (countermovement)				[ Downwards ]			Foreign-side

c)	Upper limb			Strives				Downwards			Own side
	Lower limb			Suspends (countermovement)				Upwards			Own side

d)	Upper limb			Strives				Downwards			Counter-side
	Lower limb			Suspends (countermovement)				Upwards			Counter-side

e)	Upper limb			Suspends (countermovement)				[ Upwards ]			Own side
	Lower limb			Strives				[ Downwards ]			Own side

f)	Upper limb			Suspends (countermovement)				[ Upwards ]			Foreign-side
	Lower limb			Strives				[ Downwards ]			Foreign-side

g)	Upper limb			Suspends (countermovement)				Downwards			Own side
	Lower limb			Strives				Upwards			Own side

h)	Upper limb			Suspends (countermovement)				Downwards			Counter-side
	Lower limb			Strives				Upwards			Counter-side
Body organisation, especially reflex reactions to maintain equilibrium with countermovements is closely associated with spatial symmetry and Laban’s concepts of laws of harmony. This is described in more detail below (see “symmetry”).

Series and Clusters An explicit distinction is made between the sequential, progression aspects of movement and the simultaneous, configurational aspect of momentarily held positions (pp. 90-91). The sequential aspect of movement is usually considered to be a series (Reihung; reihen), though once as series (from the French Serie) and a very similar concept, translated as sequence (Folge) is also frequently used. Several times the two German terms are even joined together as Reihenfolge, this series-sequence redundancy attempted in the English translation of specific-sequence: series (Serie; p. 87 from French) series (Reihung; reihen; pp. 88-91) form-series (Formreihung; p. 89) specific-sequence (Reihenfolge; p. 25-28, 47, 61) (ie. “series-sequence”) sequence (Folge; pp. 10-12, 40, 68, 88-89, 101) [ie. sequence of spatial directions] scale-sequence (Skalenfolge; p. 73) ring-sequence (Ringfolge; p. 39) four-ring-sequence (Vierringfolgen; p. 40) turning-sequences (Wendefolgen; p. 70) specific-sequence (Reihenfolge; p. 25-28, 47, 61) movement-sequence (Bewegungsfolge; p. 11) Simultaneous attributes of movement such as configurations of body parts are distinguished as “clusters” (Ballung; pp. 78, 90-91, 101) which implies a pulling or pressing together into a ball or bale. This could be translated as “configuration” but “clusters” is suggested by Preston-Dunlop (1981, pp. 49-50) to refer a harmonious relationship of several spatial elements as “belonging together” and so this seems like an apt translation here.

Position, Placement, Posture Several concepts are used in Choreographie. which could all potentially be translated as “position”, the three most frequently used being Position, Haltung and Stellung. If Laban intends a significant difference between the concepts it is not clear, and in some cases they seem to be used almost interchangeable, for example, ‘Beinposition’ (leg-position) is used in one place followed by ‘Beinhaltung’ in the very next sentence (p. 11). Separate English translations are made for each of these German terms in an attempt to retain their distinctive characters. ‘Position’ is translated from Position which may indicate a more static quality. Haltung could also be translated as “position” but it implies a more expressive action and is sometimes used in German to describe a way of thinking, whereas Position is not. A halt implies a previous activity just before stopping the movement whereas position does not imply any previous movement. Haltung can also imply an entire arrangement of body-parts and so it is translated here as ‘posture’. This application of ‘posture’ to a single limb, as in “arm-posture” might seem unusual in English, but it does fit the common definition of posture as: “a position or attitude of the limbs or body” (Collins, 1986) and so is used here in the attempt to distinguish the concepts of Position and Haltung. Likewise, the German Stellung, could also be translated as ‘position’, coming from stellen, meaning ‘to put’ or ‘to place’. The concept of ‘placement’ in ballet (ie. placing the body into organised arrangements) is similar to Laban’s discussion of Stellung (eg. p. 17) and so it has been used as the translation here (though on some occasions to fit the context of the sentence it is translated as formation. Other similar concepts are also used: position (Position; pp. 6-8, 35, 44, 54, etc...) ballet-positions (Ballettpositionen; p. 35) leg-position (Beinposition; p. 11) contrary-position (Kontraposition; pp. 10, 19, 27-28, 35) [See ‘countermovement’] position-signs (Positionszeichen; p. 63) false-position (Falschposition; p. 20) (ie. like a “false note” in music, out of harmony) posture (Haltung; pp. 7-9, 69, 77, 83, etc...) (eg. “a stop”) leg-posture (Beinhaltung; p. 11) body-posture (Körperhaltung; pp. 3, 77) postural-stillness (Stillstandshaltung; p. 77) specialized postures (besondere Haltungen; p. 93) placement (Stellung; pp. 7-8, 17, 77, 83) [cf. ‘formation’] placement (Einstellung; pp. 1, 3, 75) directional-placement (Richtungseinstellung; p. 1) basic-placements (Grundstellungen; p. 8) hand-swing-placements (Schwunghandstellungen; p. 73) starting-placement (Anfangsstellung; p. 99) end-placement (Endstellung; p. 99) formation (Stellung; pp. 60, 86) portrayal (Darstellung; pp. 60, 62) situation (Lage; pp. 13, 17, 19, 25-26, 34, 40-41, 84, 100) spatial-situation (Raumlage; pp. 10, 13-14, 100) basic-situation (Grundlage; pp. 24, 100) diagonal-situation (Schrägenlage; p. 25) four-ring-situation (Vierringlagen; pp. 38, 40) three-ring-situation (Dreiringlagen; p. 41) condition (Zustände; pp. 1-3, 17, 74-75) (from ‘stand’) stationary-conditions (Zustande; pp. 2-3) condition-transformations (Zustandswandlungen; p. 1)

Movement, Swinging, Striving, Leading The most frequently used motion concepts in Choreographie are ‘movement’ (Bewegung), ‘striving’ (Strebe), ‘swing’ (Schwung), and ‘leading’ (Führung). The most common term movement (Bewegung) and its shorter form moving, or mobile (Bewegte) are used in over thirty compound words: movement (Bewegung; pp. 63, 83, 76, 80, 86, etc....) defense-movement (Abwahrbewegung; p. 83) fighting-movements (Kampfbewegungen; p. 34) artistic-movement (Kunstbewegung; p. 81) kind-of-movement (Bewegungsart; p. 12) [ie. general ‘kind’, cf. ‘movement-manner’] movement-atrophy (Bewegungswerkummerung; p. 81) movement-expression (Bewegungsausdruck; pp. 63, 80) expressive-movements (Ausdrucksbewegungen; pp. 19, 25) specialized-movement (Sonderbewegung; pp. 73, 93) movement-picture (Bewegungsbildes; p. 100) movement-processes (Bewegungsvorganges; p. 55) movement-manifestations (Bewegungserscheinungen; p. 64) hand-movements (Handbewegungen; p. 73) movement-concepts (Bewegungsbegriffe; title chapter 27) [ie. effort or space concepts] movement-contents (Bewegungsinhalte; p. 80) [ie. effort] movement-nuances (Bewegungsnuancen; p. 80) [ie. effort] movement-manner (Bewegungsart; p. 62) [ie. effort] movement-form (Bewegungsform; pp. 62, 80) [ie. space] movement-progression (Fortbewegung; pp. 62, 65) movement-development (Bewegungsablaufes; p. 64) movement-combinations (Bewegungskombinationen; p. 55) movement-centre (Bewegungszentrum; p. 39) movement-cluster (Bewegungsballung; p. 101) movement-sequence (Bewegungsfolge; p. 11) countermovement (Gegenbewegung; pp. 6-7, 11, 59, 84, 86-87, 98) countermovement-direction (Gegenbewegungrichtung; p. 87) movement-kinesphere (Bewegungsumraums; p. 21) movement-area (Bewegungsfeld; p. 62) movement-script (; p. 14) movement-signs (Bewegungszeichen; p. 19) moving, or mobile (Bewegte; pp. 4, 10, 14, 29, 58, 60, 68, 74) moving-towards (hinbewegetm; p. 18) move-across (hinüberbewegt; p. 60) arousal (from the same German root: bewegtheit; p 85) Movement is also frequently described as “striving” (streben) implying an inner desire and motivation to move. The German noun Strebe can refer to a brace, a strut, or a pole which supports a tent, long structures on suspension bridges, or poles on which plants grow upwards. Translating “striving” into an English noun may be slightly awkward but this conveys the intention and quality of the German verb ‘to strive’ and this translation has been attempted here: striving (Strebung, strebt; pp. 15, 21, 34, 70, 86-87) (ie. an intentional movement) bodily-strivings (Körperstrebungen; p. 102): striving-limb (Strebeglied; p. 87) striving-arm (Armstrebung; p. 96) striving-arm (Strebearm; p. 87) striving-leg (Beinstrebung, Strebebeins; pp. 67-68) spatial-strivings (Raumstrebungen; p. 6): aimed-towards-the-striving (Zielstrebig; p. 34) diagonal-strivings (Schrägenstrebungen; p. 28) equilibrium-strivings (Gleichgewichtsstreben; p. 5) wide-striving (Weitestreben; p. 75) striving-direction (Streberichtung; pp. 78, 86) number of phases (strivings) within a movement sequence: one-striving (einstrebige; p. 4) multi-striving (vielstrebige; p. 4) two-striving (zweistrebige; p. 4) three-strivingness (Dreistrebigkeit; p. 17) four-striving (vierstrebige; p. 4) five-striving (funfstrebige; p. 4) six-striving (sechsstrebige; p. 4) twelve-striving (zwolfstrebige; pp. 4) secondary-striving (Nebenstrebungen; p. 70) (see ‘Effort’) In the choreutic tradition, movements have also been traditionally considered as “swings” (schwung). Principal of these are the “swing-scales” where movements are “swung-together” in longer sequences: swing (Schwung; pp. 12, 17, 24, 34, 48) swinging-movement (Schwungbewegung; p. 65) swing-lines (Schwunglinie; p. 71) central swings (zentral geschwungen; p. 28) principle-swings (Hauptschwunge; pp. 28, 36, 101) falling-swing (Fallschwung; p. 68) swung-together (zusammenschwungen; p. 49) Bodily swings hand-swing-placement (Schwunghandstellungen; p....) swinging body-quarters (schwingenden Körperviertel; p. 17) swinging-limbs (Schwunggliedern; pp. 17, 19) (ie. gesturing-limbs) swing-scales (Schwungskalen; pp. 65, 93, 101) high-swing (Hochschwung; pp. 24-25) deep-swing (Tiefschwung; pp. 24-25) outwards-swing (Auswartsschwung; p. 25) [cf. ‘sideways’] inwards-swing (Einwartsschwung; p. 25) backwards-swing (Rückschwung; p. 25) [cf. ‘rearward-thrust’] forwards-swing (Vorschwung; p. 25) [cf. ‘forward-thrust’] Two less easily translatable concepts combine ‘schwung’ with the prefixes ‘An-’ or ‘Aus-’. These are rarely used but they appear to be significant concepts since they are used within statements on fundamental ‘laws’ of body organisation in relation to space. The German prefix ‘Aus-’ (literally; ‘out’) is not ‘outward’ in the sense of spatially outward, away from the body (see list above, Laban uses inwards-swing and outwards-swing for swings in and out relative to the body). Instead ‘Aus-’ is added to verbs to indicate that their activity is completed or fulfilled, ‘carried out’, ‘acted out’, or ‘let out’ and expressed. For example: sprechen--- ‘to speak’ --- aussprechen --- to speak out, express schreiben --- ‘to write’ --- ausschreiben --- to write out in full stehen --- ‘to stand’ --- ausstehn --- to endure lauchen --- ‘to laugh’ --- auslauchen --- to have a really good laugh Ausschwung --- ‘to swing’ --- ??? --- to fulfill the swing In German gymnastics ‘Anschwung’ refers to a movement away from the resting point to a place of potential kinetic energy, a preparation. ‘Ausschwung’ then is the release of the potential energy into the main action. These are a bit awkward to describe in English, but they might be translated as the preparation-swing and action-swing: preparation-swing (Anschwung; 29, 73, 77) action-swing (Ausschwung; pp. 29, 72-73, 77) Movement is also sometimes described as how the body may be leading (Führung) the movement or into which direction the movement is led: leading (Führung; pp. 28, 44-45, 58, 62, 68, 89, 91-94, 103) (ie. guiding) [cf. ‘perform’] leading with the body: right-leading (rechtsführend; pp. 29-32, 70, 76, 78, 95) left-leading (linksführend; pp. 29-32, 79) progressive-leading (Fortführung; p. 89) leading in space: inwards-leading (Einwärtsführende; p. 78) led-forwards (vorgeführt; p. 58) direction led very widely (Richtung sehr weit geführt; p. 103) direction led narrowly (Richtung eng geführt; p. 103) led-through (weitergeführt; p. 103) Occasionally movement is described as the progress (Fort) or progression (Fortschreitung): progress (Fort) progression (Fortschreitung; pp. 62, 67, 100, 102) progressive-leading (Fortführung; p. 89) movement-progression (Fortbewegung; pp. 62, 65) movement-progression-elements (Fortbewegungselemente; p. 62) = elemental attributes of movement “manner” (effort) or “form” (space) Several other concepts are also used less frequentyl to describe movement: activate (Eingeschaltet; p. 70) to turn on a potential energy action (Handlungen; pp. 1-3) Commitment (Gegangen, begehen, pp. 70, 80); to actually be going. development (Ablaufes, pp. 64, 74, Verlauf, p. 89); ‘running through’ happening (Geschehen; pp. 63, 78) event (Ereignisse; pp. 2-3) phases (Phasen; pp. 3, 77) sequencing (Satz; pp.14, 100); a sentence, clause, or syntax process (Vorgang , pp. 3, 55); ‘going forward’ proceeding with the action

Effort (Eukinetics) and Space (Choreutics) The modern-day concepts of ‘effort’ and ‘space’ are generally used to refer to two major categories of movement analysis: 1) Effort: movement quality & dynamics 2) Space: movement form & shape While Choreographie is primarily concerned with spatial aspects of movement, the effort (dynamic) aspects are also presented with an integration and interaction with space. Laban often organised effort and space with identical models. The conception of the “dynamosphere” in Choreutics uses polyhedral (spatial) models to represent relationships (aka. ‘directions’) amongst effort dynamics (Laban, 1966, p. xxx; Salter 1967, 1977, 1980). These same parallel model for effort and space is used throughout Choreographie: Spatial forms are considered to be the “primary-direction” (Hauptrichtung) or the “primary-stream” (Hauptströmung) while effort qualities are considered to be the “secondary-direction” (Nebenrichtungen) and the “secondary-stream” (Nebenströmungen). Laban used the same terminology later in his English book Choreutics where he describes: “... a kind of secondary tendency appears in the body, namely a dynamic quality” ... [these] “dynamic actions . . . create ‘secondary’ trace-forms” ... [so called since the] ... “dynamospheric currents are secondary in respect of their spatial visibility” (Laban, 1966, pp. 31-33, 36). In differentiating between effort and space, it appears that Laban encountered an inevitable conflict between analysis and synthesis. On the one hand there is a need to distinguish between effort and spatial aspects for the sake of notation and analysis, while on the other hand in the phenomenon of actual movement these are thoroughly integrated and inseparable: “Third fact of space-movement Although dynamospheric currents are secondary in respect of their spatial visibility, . . . in reality they are entirely inseparable from each other. It is only the amazing number of possible combinations which, in order to comprehend them, makes it necessary for us to look at them from two distinct angles, namely that of form and that of dynamic stress.” (Laban 1966, p. 36) In some places the effort / space distinction is considered as two types of structures: 1) expressive-structure (Ausdrucksgebildes; pp. 62, 83) 2) form-structure (Formgebilde; p. 89) Effort and space are also distinguished as movement-progression-elements (Fortbewegungselemente; p. 62), subdivided into two major headings: 1) “movement-manner” (Bewegungsart; p. 62) dynamic quality of movement 2) “movement-form” (Bewegungsform; pp. 62, 80) shape and spatial design. Similarly they are also distinguished as two basic “movement-concepts” (Bewegungsbegriffe; p. 80) or “movement-contents” (Bewegungsinhalte; title chapter 27, p. 80) namely: 1) “expressive-contents” (Ausdrucksinhalte; p. 80) qualitative dynamics attributes. 2) “movement-forms” (Bewegungsform; pp. 62, 80) spatial shape and orientation. However, most often the distinction is between either “primary” (space) or “secondary” (effort): Primary- (haupt-) (ie. the spatial form, rather than the dynamic form) primary-direction (Hauptrichtung; pp. 29, 39, 49, 51-53, 74, 78, 86) primary-dimensional (Haupt-dimensionalen; p. 79) primary-inclination (Hauptneigungen; pp. 29, 37, 40, 78) primary-movement-line (Hauptbewegunglinie; p. 63) primary-stream (Hauptströmung; pp. 74, 76-77) primary-swing (Hauptscuwunge; pp. 28, 36, 40, 101) primary-tension (Hauptspannung; p. 3) primary-focus (Hauptaugenmerk; p. 62) primary-figure (Hauptfigur; pp. 59-61) primary-essence (Hauptsachlichen; pp. 55, 63, 82, 87) Secondary- (Neben-) [cf. ‘primary’] (ie. ‘Effort’ rather than ‘Space’) secondary-direction (Nebenrichtungen; p. 75) secondary-line (Nebenlinie; pp. 62-63) secondary-striving (Nebenstrebungen; p. 70) secondary-arm-movement (Armnebenbewegung; p. 87) secondary-streams (Nebenströmungen; title chapter 25, pp. 63, 74-76, 79, 102) secondary-sign (Nebenzeichen; p. 102) secondary-stream-sign (Nebenströmungszeichen; p. 102) Together with these parallel concepts of “primary-directions” (spatial forms) and “secondary directions” (effort qualities) came other models for close interactions between spatial forms and effort qualities: · The theory of effort / space affinities proposed that certain effort qualities have a tendency to occur with certain spatial directions (see “effort-space affinities” below). · Notation signs: in some cases the same (or very similar) set of notation signs would be used for both spatial forms and effort qualities. For example Laban used ‘vector signs’ for both spatial directions and also sometimes used the same signs for effort qualities (1926, p. 79). And this same practice continued in Choreutics (1966) where Labanotation direction signs, together with a letter “s” were used to represent effort qualities. · Organizational models: Sometimes both areas (the spatial concepts and also effort concepts) were organised according to the same polyhedral models, for example referred to as the “kinesphere” and the “dynamosphere” (Laban 1966). · Transformations: All of these parallel associations between concepts of spatial forms and concepts of effort qualities supported a practice of transforming a spatial form into an effort form, and vice versa (see “transformations” below)

Effort, Dynamic qualities While Choreographie focus primarily on the spatial structure of body movements, the forerunners of the four effort factors presented in later works (Laban & Lawrence 1947) are already well developed here. In Choreographie the dynamic qualities are generally referred to as the: intensity (Intensität; pp. 76-77): intensity-manifestations (Intensitätserscheinungen; p. 78) or ‘intensity-shining’ intensity-degrees (Intensitätgrade; p. 77) intensity-scale (Intensitatsskala; p. 74); a range between two effort polarities regulators-of-intensity (Intensitätsregulatoren; p. 74) intensity-nuances (Intensitätsnuancen; p. 76) spatial-temporal-dynamic nuance (räumlich-zeitlich-dynamische Nuance; pp. 74, 75) form-nuances (Formnuancen; p. 80) [ie. an ‘effort-form’] movement-nuances (Bewegungsnuancen; p. 80) The four effort factors of space, weight, time, and flow, are described with a variety of concepts: Weight Effort factor: dynamic nuance (dynamische Nuance; pp. 74-75) force (Kraft; pp. 4, 74, 76, 78) taking-of-force (Kraftholen; pp. 74-75), Weight Effort elements (fighting / indulging continuum) degree-of-tension (Spannungsgrad; p. 4) strong (stark; pp. 74-78) to weak (schwach; pp. 74-78) tensile-force (Spannkraft; p. 78) non-tension (Abspannung; pp. 74-75) strongly tensioned (stark gespannte; p. 75) relaxing (Erschlaffen, 75) Time Effort factor: temporal nuance (zeitlich Nuance; pp. 74-75) time (Zeit; pp 74-79) speed [‘speedyness’] (Geschwindigkeit; pp. 76, 78) timing-influences (Zeitbeeinflussungen; p. 75) Time Effort elements (fighting / indulging continuum) degree-of-speed (Geschwindigkeitsgrad; p. 4) quick (rasch; pp. 74-76, 78-79) vs. slow (langsam; pp. 74-79) speedy (geschwind; p. 74) fast (schnell; p. 77) accelerate (beschleunigt; p. 78) Space Effort factor: spatial nuance (räumlich Nuance; p. 75) spatial-metric nuance (raum-metrische Nuance; p 74) spatial-extent (Raumweite; p. 76) spatial-metric (Raummetrik; p. 63) spatial-measurement (räumlich-metrische; p. 63) Space Effort elements (fighting / indulging continuum) degree-of-size (Weitegrad; p. 4) near (nah; p. 74) to far (weit; pp. 74-77) narrow (eng; pp. 19, 75-78) wide; width (weit; Weite; pp. 19, 78-79) furthest-reaching (weitgehendste; p. 75) Flow Effort factor: flux (Flucht; pp. 4, 74, 76, 78 [to flee, to escape]), flux-intensity (Fluchtitensitat; p. 75), movement-flow (Bewegungsflusses; p. 102) flying, fleeing, fleeting (fliegend, fliehend, fluchtend; p. 75) lability-fluctuations (Labilitätsschwankungen; p. 74) Flow Effort elements (fighting / indulging continuum) degree-of-lability (Labilitätsgrad; pp. 4, 74) stability (Stabilität; pp. 63-64, 75-78) to lability (Labilität; pp. 63-64, 75, 77-78) rigid (starr; pp. 74-75, 77) vs. mobile (bewegt; p. 74) stiffening (erstarrend; p. 78) fleeting (flüchtig; pp. 18, 77) (ie. volatile) flow (Fluß; pp. 75, 102) flows (abfließt; p. 22) flowing (fließend; pp. 74, 76, 103) flinging (schleudernd; p. 74) Discussion of Effort Factors: Flow Effort. In the English book Effort (Laban & Lawrence, 1947, pp. 7 - 17) a distinction amongst the four effort factors is made by identifying flow effort as the aspect of “control”, while weight, space, & time efforts are considered to be “exertions”. This ‘three-plus-one’ structure of effort leads to the designation of the eight effort ‘actions’ (float, punch, glide, slash, dab, wring, flick, press -- all the combinations of Weight, Space, and Time) as distinct from the aspect of control (flow). Similarly in Choreographie flow effort is treated differently, considered as the “flux-intensity” (Fluchtitensitat) while space, time, and weight efforts are considered to be the “intensity-nuances” (Intensitätsnuancen) described collectively as the “spatial-temporal-dynamic nuance” (räumlich-zeitlich-dynamische Nuance). The system of effort / space affinities (see below) also reveals the special role of flow effort. In Choreographie and also later English writings, weight, space, and time efforts are each affined to one of the three dimensions; vertical, lateral, and sagittal; whereas flow effort is the odd-one out - without any dimension for an affinity. Instead, the more fundamental role of flow is made explicit in Choreographie (pp. 75-77) by identifying it as the “degree-of-lability”; ranging from “stability” affined with dimensional orientations and “lability” affined with diagonals. Weight Effort. Weight effort in Choreographie is referred to as “force” (kraft) which is a very active concept, expressed as the “taking-of-force”(Kraftholen). This same concept of force was reiterated when Laban wrote his first English book Choreutics (Laban, 1966, p. 55 [written in 1939] ), and only later developed to strong or light “weight” (Laban & Lawrence, 1947, p. 13). The concept of the body’s “weight” (Gewichts) also does appear in Choreographie but primarily in regards to the balancing of equal-weight in “equilibrium” (Gleichgewicht). In Choreographie weight effort is also closely associated with “tension” (spannung), not as the modern-day concept of ‘spatial-tension’ but as forceful muscular tension. The quality is explicitly labeled as the “degree-of-tension” (Spannungsgrad) or as the “tensile-force” (Spannkraft) ranging from “relaxing, non-tension” (Erschlaffen, Abspannung) to “strongly tensioned” (stark gespannte). These earlier concepts weight effort as force and tension might be similar to the idea of “increasing and decreasing pressure” as sometimes used to describe weight effort. This has a more active feeling about using one’s weight with active exertions and gradations in pressure (Lamb 1965; Lamb & Turner 1969; Lamb & Watson 1979; Moore 1982). Space Effort. In Choreographie space effort is considered mainly in terms of size; as the “spatial-extent” (Raumweite) or “degree-of-size” (Weitegrad) ranging from “near” (nah) and “narrow” (eng) to “far” or “wide” (weit; Weite). These spatial concepts include the body shape, whether narrowing with smaller trace-forms or widening with larger spatial forms and is similar to the modern-day concept of ‘size of kinesphere’. This consideration of ‘size’ seems to change in Laban’s English works where the shape of the pathway became more important with space effort described as “directional flux” ranging from “straight” to “roundabout” (Laban 1966 [1939], p. 55) or as the “shape of its path through space” ranging from “flexible” to “direct” (Laban 1963, p. 54). Space effort has evolved to present-day concepts in Laban Movement Analysis as a quality of ‘focus’ from direct and pin-pointed to flexible and meandering. However these concepts still associate back to the original concepts of space as external spatial form and design and (this author’s personal opinion) observations and awareness of space effort (quality of focus - direct to flexible) cannot be completely be divorced from choreutics - space harmony (form of movement - straight to curving). Time Effort. Modern-day concepts of time effort seem to have remained more or less consistent with those in Choreographie. The only issue, and this difference is still present amongst different practitioners in different areas of the world today (this author’s observation), is whether time effort is conceived as “speed” (Geschwindigkeit) ranging from “fast” (schnell) to “slow” (langsam) or whether time effort is conceived as active changes in speed, thus either to “accelerate” (beschleunigt) or decelerate. The first concept of fast / slow can indicate steady, unchanging velocities, while the second concept of accelerate / decelerate specifies how the timing has active moment-to-moment changes in speed. In his later English writings Laban used concepts of “quick” or “sudden” and “sustainment” which distinguish time effort from simply ‘fast’ or “slow” tempos (Laban 1963, 1966; Laban & Lawrence 1947).

Creating Space A major focus of Choreographie is devoted to analyzing the “space” (Raum; pp. 74, 76) of body movements, which is used in over 20 compound terms (see Translation Index). The intention, necessary to create a movement-notation system, is to identify the spatial-organisation (Raumordnung; title chapter 7, p. 19) of body movement. A variety of basic concepts of space are derived from the German root verb ‘bilden’ (to shape, to mold, to form, to create) and its associated noun ‘Bild’ (drawing, painting, photo, picture) or ‘Gebilde’ (structure, project, construction, creation, shape). These concepts in Choreographie relay the idea of space being ‘created’ and these were carried over into Laban’s Choreutics (1966) where spatial forms only exist when there are continuously created by body movement. Likewise, Laban’s later English concept of a “trace-form” also appears to be derived from the German ‘Formbild’, one of the many compound words with this same German root: structure (Gebilde) [could also be: project, construction, creation, shape] to create (bilden) [could also be: to shape, to mold, to form] picture (Bild) [could also be: drawing, painting, photo] to create bilden / bildet (pp. 3. 5, 36, 49-50, 71, 88) structure Gebilde, gebildet (pp. 4, 28, 46, 62, 83, 85, 88) complete-structure Gesamtgebilde (p. 34) expressive-structure Ausdrucksgebildes (pp. 62, 83) form-structure Formgebilde (p. 89) picture Bild (p. 35) mirror-image Spiegelbildlich (pp. 3, 25) spiegelbild (p. 34) portrait Abbilder (p. 84) portrayal abbild (p. 40) prototypes Vorbilder (p. 4) [literally, created-before] form-picture Formbild (p. 4) (eg. trace-form?) spatial-picture Raumbild (pp. 20-21, 64) written-picture Schriftbild (p. 101) movement-picture Bewegungsbilds (p. 100) image Ebenbild (pp. 40, 42) - eben; even, the same trace-form (Formbild; p. 4)

Space - Kinesphere Spatial zones are distinguished in Choreographie. The “kinesphere“ coined by Laban as “the sphere around the body whose periphery can be reached by easily extended limbs” (1966, p. 10) appears to have developed from the German ‘Umraum’ (literally, the ‘surrounding-space’ or ‘the space around’). Other spatial zones are also referred to: dance-space (Tanz-raum; pp. 62, 64) ; the overall space of the room or setting. dance-circle (Tanzumkreis; p. 11) ); virtually synonymous with kinesphere, stressing the circle. kinesphere (Umraum; pp. 17, 40, 89) bodily-kinesphere (Körperumraum; pp. 62, 64) movement-kinesphere (Bewegungsumraumes; p. 21) kinespheric-points (Umraumpunkte; p. 29) kinespheric-inclinations (Umraumneigungen; p. 40)

Spatial Form The kinesphere is created by varieties of form (Formen) which appears in over 20 different German compound words (see Translation Index). From the first sentence of Choreographie, an “account of the world of dance-forms” is proposed (p. 1) and this is begun with a fundamental distinction between: static form-theory (statische Formenlehre; pp. 3-4) [ie. study of positions] analyzing stationary conditions (Zustände; pp. 1-3, 17, 74-75 versus dynamic form-theory (dynamishe Formenlehre; pp. 3-4) [ie. study of motions] analyzing progressive events (Ereignis; pp. 2-3) Several types of forms are discussed: spatial-forms (Raumformen; pp. 1, 2, 84, 88) dance-forms (Tanzformen; p. 1) trace-form (Formbild; p. 4) (or ‘form-picture’) [cf. form-structure] movement-form (Bewegungsform; pp. 62, 80) pathway-forms (Wegformen; pp. 10, 80, 99) step-forms (Schrittformen; p. 54) A variety of concepts are introduced to decipher structural components of forms: basic-form (Grundform; pp. 4, 74) singly-formed (einförmig; p. 56) complete-form (Gesamtform; p. 64) form-combination (Formkombination; pp. 83, 89) form-series (Formreihung; p. 89) form-component (Formteiles; pp. 4-5, 45, 75) form-kernel (Formkern; p. 1) form-element (Formelementes; pp. 2, 3) form-structure (Formgebilde; p. 89) Symmetries and relationships amongst forms are explored (more details below) kindred forms (verwandte Formen; p. 1) form-changes (Formveränderungen; p. 83) form-transformations (Formwandlungen; pp. 1-2) [See ‘transform’] form-transformation-processes (Formwandlungsprozesse; p. 1).

Spatial Form Structures Laban’s concepts of “gathering” and “scattering” from his later English works (Laban 1966, pp, 49, 175; 1980, p. 83) appear to have already been present in Choreographie as “Heranrufen” and “Wegstossen” (p. 82) (literally ‘calling-together’ and ‘pushing-away’) and distinguished as the two “simplest purposeful-movements” (p. 82). Analyses of form-structure (Formgebilde; p. 89) follows the Euclidean framework: point (Punkte; pp. 11, 22, 29, 32-33, 45) having only location, a single spot in space orientation-points (Orientierungspunkte; p. 11) kinespheric-points (Umraumpunkte; p. 29) stopping-points (Haltepunkte; p. 28) end-point (Endpunkt; p. 33, 49) starting-point (Anfangspunkt; p. 49) floor-contact-point (Bodenberührungspunkt; p. 69) supporting-points (Stützpunkte; p. 68) line (Linie; pp. 17, 22), having length through space spatial-line (Raumlinie; p. 50) movement-line (Bewegungslinie; pp. 49, 63, 102) swing-line (Schwunglinie; p. 71) secondary-line (Nebenlinie; pp. 62-63) (ie. an Effort) direction-line (Richtungslinie; p. 99) side-line (Seitenlinie; p. 24) plane (Ebene; pp. 49-50) only used twice apparently to describe the quality of flatness. plane (Fläche; pp. 17, 22-23, 75) describing the shape of flatness dimensional-planes (Dimensionalflächen; pp. 23, 36) high-deep-plane (Hochtief-Fläche; p. 22) right-left-plane (Rechtslinks-Fläche; p. 22) fore-back-plane (Vorrück-Fläche; p. 22) plastic (plastische; pp. 3-4, 64, 78) sculptural, moldable, clay-like trait filling a volume of space. “Plastic” (plastische) is distinguished from “three-dimensional” (Drei-Dimensionalität; p. 17) which Laban uses in other places. Whereas ‘plastic’ describes form of volumetric molding of the body, ‘three-dimensional’ describes orientation relative to vertical, lateral, & sagittal. Thus, the form of a line or a plane can also have a three-dimensional orientation. Further categories of form-structures are based on the “step-forms” (Schrittformen; p. 54), in Choreographie Laban gives credit to Feuillet as the earlier source for these, while later in his English book Choreutics, Laban (1966, p. 83) presents the same group of forms but doesn’t mention Feuillet. These four forms (or more? see Chapter 17 for discussion) are drawn upon for their spatial concepts as well as their notation signs. In Choreographie it can be seen how Laban draws on the French terminology (from Ballet and Feuillet) and then also provides German terms for the same concepts (pp. 54-55, 80, 94): straight (droit) French from Feuillet (gerade) German open (ouvert) French from Feuillet (offener; offen) German round (rond) French from Feuillet (runder) German twisted (tortillé) French from Feuillet (gewundener) German (Further detailed discussion of these forms can be found in Longstaff 1966, Section IVB.32 Path Hierarchy. < http://www.laban-analyses.org/jeffrey/1996-jeffrey-scott-longstaff-phd-thesis/IVB30_kinespheric_paths.htm >)

Spatial Pathways One way forms can be produced are by pathways through space, occurring as paths of limb gestures also for larger floor paths. The pathways might create any of the form structures (outlined above). Several concepts of pathways are used in Choreographie: pathway (Weg; title chapter 21, pp. 8, 10, 60, 65, 68, 80, 84) (lit. ‘way’) spatial-pathways (Raumwege; p. 102), pathway-forms (Wegformen; p. 80) floor-pathway (Bodenweg; pp. 65-66) ground-plan-pathway (Grundrissweg; p. 65) pathway-segments (Wegabschnitte; p. 11) circuit-pathway (Kreisweg; p. 36) free pathway (Freier Weg; p. 65) connecting-pathways (Verbindungswege; p. 22) pathway-signs (Wegzeichen; p. 102)

Spatial Orientation Laban’s characteristic spatial-orientation-method (Raumorientierungsmittel; p. 6) is already fully developed in Choreographie, but is stated with different descriptions and different symbol systems than in Choreutics. ([1939] 1966). A principal component of orientation is an analysis of “direction” (Richtung) and developing a “direction-theory” (Richtungslehre; title chapter 4, p. 13) including: basic-directions (Grundrichtungen; pp. 26, 32, 74) direction-elements (Richtungselemente; p. 64) directional-value (Richtungswert; p. 13) primary-direction (Hauptrichtung; pp. 29, 39, 49, 51-53, 74, 78, 86) While the concept of a “secondary-direction” (Nebenrichtungen) is used, in Choreographie this refers to an effort quality. In the topic of ‘spatial orientation’ the focus is on “spatial-directions” (Raumrichtungen; pp. 18, 24, 65, 84) such as: spatial-direction-concepts (Raumrichtungsbegriffe; p. 8) spatial-direction-chords (Raumrichtungsakkordik; p. 25) spatial-direction-combinations (Raumrichtungenkombinationen; p. 84) For example, these consist of: directional-aim (Zielrichtung; p. 77) action-swing-direction (Ausschwungsrichtung; pp. 29, 72) direction-line (Richtungslinie; p. 99) position-directions (Positionsrichtungen; p. 13) falling-direction (Fallrichtung; p. 68) directional-placement (Richtungseinstellung; p. 1) striving-direction (Streberichtung; pp. 78, 86) direction-groups (Richtungsgruppen; title chapter 26, p. 78) directional-correlations (Richtungszusammenhänge; p. 7) contrary-direction (Kontrarichtung; pp. 12, 20, 45, 86) counter-direction (Gegenrichtung; pp. 12, 36, 39, 95) And the aim is to develop “direction-signs” (Richtungszeichen; p. 103) to use in notation.

Spatial Dimensions The first direction-elements (Richtungselemente) are identified as the: dimensional (Dimensionale; pp. 8, 14, 17, 20-25, 28, 63, 78, ...etc. dimensional-character (Dimensionalcharakter; p. 78) primary-dimensional (Haupt-Dimensionalen; p. 79) high-deep-direction (Hochtiefrichtung; p. 80) forward-backward-direction (Vorruckrichtung; p. 80) right-left-direction (Rechtslinksrichtung; p. 80) Occasionally, as an alternative to right and left “Side” (Seite; p. 25) is used, or: sideways (seitwärts, p. 59) sideways (seitlich; pp. 24, 26, 68, 75) (Lit. side-like, ie. across, lateral) side-impulse (Seitimpuls; p. 39) side-line (Seitenlinie; p. 24) body-side (Körperseite; pp. 64, 74) Or in some cases, instead of right and left “in and out” (ein und aus; p. 25) Inwards / outwards (einwarts, auswarts) inwards-leading (Einwärtsführende; p. 78) outwards-swing (Auswartsschwung; p. 25) [cf. ‘sideways’] inwards-swing (Einwartsschwung; p. 25)

Dimensional Planes One of the fundamental spatial-laws is described in Choreographie where each dimension has a “double consequence” (zweifachen Auswirkung; pp. 22-23) such that anatomical constraints induce the body to move in the dimensions, not as lines, but in planes. The resultant Cartesian planes are not square or round, but are elongated along the dimension out of which the plane emerged. Accordingly, they are considered to be “dimensional-planes” (Dimensionalflächen; pp. 23, 36), and each plane is named according to which dimension is largest. This same description of the dimensions dividing into planes, resulting in “dimensional planes” is reiterated in later English writings (Ullmann 1955, pp. 29-31; 1966, pp. 139-141; 1971, pp. 18-21; for review see Longstaff, 1996, IVA.82). These three cardinal planes are also considered according to how they create a “separation” of the space (Scheide; pp. 22, 27, 28) and referred to as: separation-direction (Scheiderichtung; pp. 36, 49) separation-direction-pair (Scheiderichtungenpaar; p. 36) Thus, the conception of the three cardinal planes begins with each dimension, which expands into a plane, which creates a separation of the space:
Dimension		Expands			‘Dimensional plane’		Separation			Anatomical term
high-deep (Vertical)		right & left			high-deep-plane (Hochtief-Fläche; p. 22)		fore/back-separation (Vorruck-Scheide; pp. 22, 36)			Frontal plane (or Vertical plane)
right-left (Lateral)		fore & back			right-left-plane (Rechtslinks-Fläche; p. 22)		high/deep-separation (Hochtief-Scheide; pp. 22)			Transverse plane (or Horizontal plane)
fore-back (Sagittal)		high & deep			fore-back-plane (Vorrück-Fläche; p. 22)		right/left-separation (Rechtslinks-Scheide; pp. 22)			Medial plane (or Sagittal plane)


Spatial Diameters The concept of diameters or diametral (French-based Diametrale; p. 86) appears only once in Choreographie, and in this case refers generally to any diameter through the sphere of the movement space. This is different than how Laban used the term in Choreutics (1966 [1939], pp. 11-16) where the “diameter” was specialized to refer only to ‘planar diagonals’ (passing across opposite corners in one of the Cartesian planes). This special definition of “diameter” appears to have developed later, and its absence in Choreographie is reiterated in the notation methods which have signs for dimensions and diagonals and inclinations, but no signs for planar-diagonals (in Choreutics called “diameters”). The absence of ‘diameters’ in Choreographie may be because the conception of space and notation was fundamentally different at that time. Here the basic concepts were the dimensions and the diagonals and their interaction (deflections) which lead to the 24 inclinations. The inclinations are based in motion. Later, by the time Laban wrote Choreutics (1966 [1939]) the notation system had become based in points - positions, and thus inclinations because more obscure in favor of the simpler position-based ‘diameters’.

Spatial Diagonals The “three-dimensional” (Drei-Dimensionalität; p. 17) orientation of “Diagonal” directions are referred to in Choreographie primarily with the German “Schräge” (pp. 8, 13-14, 19, 21, et. seq.) but also occasionally the French-based “Diagonale” (pp. 6, 11, 19, 86, 119) is used. Both of these have been translated into diagonal since this is the term used in Laban’s later English writings. However, in one place both terms are used in the same sentence, and so in this single case Schräge is translated as “oblique” (p. 6). It is not clear what distinction could be implied between the German and the French concepts but it may be that Laban was developing a characteristically ‘German’ style and so preferred to use Schräge rather than Diagonale with its associations to ballet.

Spatial Deflections & Inclinations Of all his published works, Choreographie may contain the clearest presentation of Laban’s unique idea of a “deflected dimensional-system” (abgelenkte Dimensionalsysteme; p. 36). This is explicitly laid out (pp. 13-14), beginning with a “pure diagonal” (reine Schräge; p. 14) which has a slope with equal components of all three dimensions. The slope refers to a “numerical measure of the inclination or steepness of the line” (Munem & Foulis 1986, p. 137) and is typically represented as: slope = {rise / run} rise = distance changed along the vertical run = distance changed along the horizontal For a three-dimensional slope, an additional run can be added, thus: slope = {vertical rise / lateral run / sagittal run} Thus, for a “pure diagonal” the three-dimensional slope would be: slope = {1 / 1 / 1} Laban then conceives that pure diagonals will “deflect” (ablenken; pp. 11, 13, 17-19, . . . etc.). This German term could also be translated as: to turn aside, to refract, to distract, to diffract, to parry, to avert, or to divert; and seems to indicate an energetic process, perhaps associated with Laban’s use of saber fencing as a model for spatial sequences. The translation “deflect” is maintained here since this is used extensively in Laban’s English writings. Several other concepts similar to deflection are used less frequently: Movements must yield (ausweichen; pp. 9, 18-19) around the body and so become deflected; Forms will deviate (beugen; pp. 10-11, 92) according to the physicality of the body; Directions might diverge (Abweichende; pp. 9, 11, 22, 65), away or towards another direction; Or directions might burgeon (Ausschlag; p. 22) a German term also translatable as deflect; knock out; shake out; beat out; bud out; lash out; to swing, which describes an active, forceful, dynamic quality to a deflection. The result of deflections is that regular orientations (eg. pure dimensions or pure diagonals) slightly re-orient into irregular 3D slopes referred to as “inclinations (Neigungen; pp. 13, 29-31, . . . etc.). Laban explains that an inclination might be conceived as a dimensionally deflected diagonal, or a diagonally deflected dimension, and that these two options are essentially equivalent: “There appear two possibilities: To put forward either a diagonal deflected through a close-by dimensional, or alternatively, a dimensional deflected through one of the closest diagonals. Since to us the dimensional-concepts are more familiar, we shall relate the positional-inclinations to these.” (Laban, 1926, p. 13) The resultant 24 inclinations are considered to be the “basic-directions” (Grundrichtungen; pp. 26, 32, 74) and are referred to according to their dimensional content as either:
inclination					dimensional deflection				3D slope {vertical / lateral / sagittal} .
flat			(flachen)		right-left	(lateral)	of any diagonal		prototype 3D slope	= {1.6 / 2.6 / 1 }
steep			(steile)		high-deep	(vertical)	“ “ “		“ “ “	= {2.6 / 1 / 1.6}
suspended			(schwebend)		fore-back	(sagittal)	“ “ “		“ “ “	= {1 / 1.6 / 2.6}
The irregular 3D slopes of the inclinations becomes an important aspect when examining the the order of movements in Laban’s system of “scales”. The uneven components in the 3D slope have been variously referred to as the “uneven stress on three spatial tensions” (Dell, 1972, p. 10), as “three unequal spatial pulls” or “primary, secondary, [and] tertiary spatial tendencies” (Bartenieff and Lewis, 1980, pp. 38, 92-93) and in Choreographie as “extremely” , “somewhat”, or “scarcely” “outspoken” (Laban, 1926, pp. 25-26).

Effort / Space Affinities The understanding of what would later become to be known as effort / space affinities, was already fully envisaged in Choreographie. The basic scheme is presented by starting with the effort qualities, and observing the spatial directions which tend to occur along with these “four regulators-of-intensity” (p. 74). The basic scheme for space effort, time effort and weight effort is first described, comprising an account of the “spatial-temporal-dynamic nuance” which followed by an emphasis on flow effort, in terms of stabile and labile and its affinity with dimensional and diagonal directions (p. 75). The idea of affinities is described as a “preference” (Bevorzugung; p. 78) or how certain directions and intensities (efforts) will be “preferably” (vorzugsweise; pp. 78, 80) performed together or how they will have an “alliance” (verbunden; pp. 15, 75, 80). Interestingly, when presenting the affinities for the Right A-scale (p. 79), the results are NOT as simple as following the basic scheme of affinities. Instead only every other inclination is given the same effort affinity as its greatest dimensional component:
Effort - Space Affinities with the Right A-scale (vector signs refer to effort qualities) (Laban 1926, p. 79 [Labanotation direction signs and “flat”, “steep”, “suspended” added -- JSL] )
This list of effort / space affinities for the A-scale are not typical for modern-day concepts in Laban Movement Analysis. The greatest dimensional component of each inclination (flat, steep, suspended) is not paired with its corresponding effort affinity (space effort, weight effort, time effort, respectively). However, if the A-scale is considered to be a deflection of the dimensional scale (see Chapter 8, p. 25; Chapter 8 note #8; also described by Laban 1966, pp. 42, 80), then the affinities here DO follow the correct pattern of efforts in the order of the dimensional scale (otherwise known as the “defense scale”).

Transformations An inseparable part of Laban’s “dynamic form-theory” (dynamishe Formenlehre; pp. 3-4) is an analysis of the continual changes, mutations, transformations (and their structural similarities) amongst spatial forms. These processes are generally described regarding how a spatial or dynamic form might “transform “ (wandelt; p. 77) and other variations on this same German root are also used: transformation (Wandlung; pp. 1) form-transformations (Formwandlungen; pp. 1-2) form-transformation-processes (Formwandlungsprozesse; p. 1) transformable (umwandlungsfähig; p. 99) condition-transformations (Zustandswandlungen; p. 1) Several other transformational concepts can be translated with the English prefix “trans-” (from the German über-, lit. ‘over’), the most common of these being “transfer” (Übertragen; pp. 9, 12, 57-58, 87, 92, 97, 99 [could also be ‘translate’ or ‘transmit’]), used to refer to the action of transferring the body weight to a new location in the room. Other ‘trans-’ concepts are used more rarely: transfer (übertragen; p. 28) [translation of a spatial form from peripheral to central moves] transmit (überliefert; p. 8) [‘transmitted through history’] transport (überführt; p. 77) [literally, leading-over] transport-towards (hinüberführen; p. 28) transmute (umgeformt; p. 3) transpose (verlegt; p. 19) [could be: transfer, to lay, to move, to shift] transpose (hinübergeleitet; p. 1) [literally: to escort or accompany over] moved-across (hinüberbewegt; p. 60) Other transformational concepts are also used, including: exchange (Wechsel; pp. 33, 68, 75-76, 92) exchange of directions (between A- & B-scales) or exchanges from one dynamic quality to another. displaced (verlagern; p. 86) - translation symmetry between counter-directions in a 4–ring; manifold (mannigfaltigster; p. 86) - variety of bodily coordinations with the same trace-form. modify (abwandeln; p. 1) [same root as Wandlung] variation (Variation; pp. 18, 55, 87) varieties (abarten; pp. 55, 76) Elaboration-possibilities (Ausbaumöglichkeiten; p. 19) One unique type of transformation indicated in Choreographie is associated with effort / space affinities and involves changing a spatial form into an effort quality and vice versa. This is illustrated in plate 19 where one person completes a “purely formal” (rein formal) spatial direction while the other completes an associated “expressive tension” (Ausdrucksspannung). This is presented in more detail in Choreutics where Laban describes how one can “transform” a dynamic sequence (effort qualities) by “enlarging and transferring” it to create a spatial sequence (1966, p. 60).

Symmetry Transformations often result in various forms of “Symmetry” (Symmetrie) which is used to describe opposing spatial directions (p. 86), as well as being named as the simplest form of ‘harmony’: “Dance is movement, its tendency is labile. Nevertheless the harmonization of movement is allied with a certain stabilization. The simplest form of harmony is symmetry, equilibrium.” (Laban 1926 p. 15) This description gives an indication of the association between body organisation and spatial symmetry, and how this association is at the heart of Laban’s concepts of ‘harmony’. In Choreutics a similar statement goes into more detail: “A most important way of attaining what we call equilibrium is found in the so–called movements of opposition. When one side of the body tends to go into one direction, the other side will almost automatically tend towards the contrary direction. We feel the loss of equilibrium and produce, often involuntarily, motions to re-establish balance. . . . The wish to establish equilibrium through symmetric movements is the simplest manifestation of what we call harmony; the aim of this is . . . to achieve a unity of form, a wholeness, a completeness.” (Laban, 1966, pp. 89-90) This points out the association between body reflex coordination (countermovements to maintain equilibrium) and spatial symmetry (limbs extending into opposite directions), thus “equilibrium through symmetric movements”. This idea is taken one step further in the “law of countermovement” stated in Choreographie where Laban asserts that the movement to maintain equilibrium is not exactly in the opposite direction, but only “moving towards a nearly opposite spatial-direction” (p. 18). Again, when describing the “preparation-swing” occurring just before each “primary direction” in a movement sequence, that “in fact this preparation-swing lies in a completely particular specific direction and not exactly opposite the primary direction” (p. 29 [italics mine]). Thus it is not purely symmetrical movements in countermovements for maintaining equilibrium, but instead it becomes a sequence of “asymmetric movements which must necessarily be completed by other asymmetric tensions or moves” (Laban, 1966, p. 90). These descriptions are identical to an action-reaction reflex pattern of “dynamic equilibrium”, as well-known in kinesiology studies: “After an unbalancing movement is perceived, some motion is initiated to counterbalance it and move the centre of gravity of the body back over the supporting base. Typically, this countermovement is too great, producing an unbalancing movement in the opposite direction. This calls again for detection and countermovement. As the process is repeated, oscillation occurs.” (Rasch and Burke, 1978, p. 102) This idea of series of asymmetrical movements while maintaining equilibrium becomes the source for deriving many of the choreutic “scales”. In Choreographie the concept of “Symmetry” is sometimes specific to body parts and body structure: symmetrical-halves [of the body] (Symmetriehalften; p._) body-symmetry (Körpersymmetrie; p. 22) symmetry-divisions (Symmetrieteilung; p. 27) symmetrical divisions (symmetrischen Tielung; p. 33) symmetry-middle (Symmetrie-mitte; p. 27) Several specific aspects of symmetry are also identified: proportion (Verhaltnis; pp. 7, 27, 36, 76, 84) parallel (parallel; p. 36), eg. between opposite edges of 4-rings parallelism (Parallelismus; p. 40) symmetry group, trioism (Trialismus; p. 40) three lines in a triangle (3-ring) mirror-image (Spiegelbildlich; pp. 2, 25, 34) inversion (Umkehrungen; p. 28) - a 3-D reflection; projection (Projektion; pp. 13, 65, 102) - duplicating a form with new location and/or size; reversed (Gedreht; p. 101) - executing a form in retrograde;

Relation, Correlation, Correspondence Or generally described as a “relationship” (Beziehung; pp. 8, 13, 28) harmonious-relationships (Harmonicbeziehungen; p. 88); counter-direction-relationships (Gegenrichtungbeziehungen; p. 62). When groups of spatial forms have symmetrical relationships amongst themselves, they are sometimes described as being “kindred” or having a “kinship” (verwandt, Verwandtshaften; pp. 1, 36-39, 78, 99). The German Verwandt is related to Wandlung (transformation / change) and expresses how spatial forms might be different transformations of each other, yet retain the same essence; for example, amongst groups of 4–rings (pp. 36-39), or between inclinations and their dimensional components (p. 78). Other concepts identifying relationships are: “Correlation” (Zusammenhänge; pp. 68, 86), literally hanging-together, could translate as association, coherence, connection, or relationship. This is a double-relationship, a mutual hanging together, interrelation. This concept is used for spatial aspects: Spatial Correlations (Räumliche Zusammenhänge; title Chapter 28); directional-correlations (Richtungzusammenhänge; p. 7) Law of Correlations (Gesetz der Zusammenhänge; p. 5) And it is also used for dynamics in effort: power-correlations (Gewaltenzusammenhängen; p. 81) Further, it is also applied to coordination amongst body parts (see “body” above): limb-correlations (Gliederzusammenhängen pp. 86-87) (ie coordination across limbs) “Corresponding (Entsprechender; pp. 7, 9-10, 13, et. seq.); used frequently to indicate two features (lines, body-parts) which are in agreement, accord, eg. arm motion towards the ‘corresponding’ counter-direction of a previous movement.

Opposition, Countermovement, Equilibrium Various manifestations of oppositions and countermovements are considered. The translation “opposition” is used for each of the three instances of the French “Opposition” (pp. 7, 11, 98). In each of these cases it is explicitly identified as being equivalent to the German “countermovement” (Gegenbewegung). An abundance of oppositional concepts are used, primarily derived from the German roots: Gegen- (opposing, against, counter-, contrast) and Kontra- (contra-). The exact difference between “Gegen” and “Kontra” is not explicitly clear. For example “Gegenrichtung” and “Kontrarichtung” could be translated into identical English words. However for the sake of maintaining the difference given in German, it is attempted to consistently translate them into separate English terms: Gegen (opposing) opposing (Gegen) opponent (Gegner; p. 24) opposite (gegenüber; pp. 29, 34, 36, 59, 83, 86-87) opposition-placements (Gegenüberstellungen; p. 86) lying-opposite (gegenüberliegenden; p. 36) Gegen (against) against (gegen; p. 84) against-one-another (gegeneinander; pp. 25, 86) Gegen- (counter-) counter-leg (Gegenbeins; p. 20) counter-direction (Gegenrichtung; pp. 11-12, 36, 39, 95) counter-direction-relationships (Gegenrichtungsbeziehungen; p. 62) countermovement (Gegenbewegung; pp. 6-7, 11, 59, 84, 86-87, 98) countermovement-direction (Gegenbewegungrichtung; p. 87) counterparts (Gegenteile; p. 78) counter-side (Gegenseite; pp. 75, 86-87) counter-swing (Gegenschwung; p. 11) counterweight (Gegengewicht; p. 18) [cf. equilibrium] Gegen- (contrast) contrast (Gegensätze / gegensätzliche; pp. 25, 74, 81, 86) contrast (dagegen; p. 39) contrast (Gegenteile; pp. 81, 86) contrasting (entgegengesetzte; pp. 18, 60) contradict (entgegensetzen; p. 74) Kontra- (contra-) contra-direction (Kontrarichtung; pp. 12, 20, 45, 86) contra-position (Kontraposition; pp. 10, 19, 27-28, 35) contra-position-inclinations (Kontrapositionsneigungen; p. 68) contrapunctual-situation (kontrapunktieren; p. 86) contrary (kontra; p. 45) Kontra- (counter-) counterpoint (Kontrapunkt / kontrapunktieren; p. 86) Countermovements often arise as a reflex body coordination for maintaining “equilibrium” (Gleichgewicht; literally, ‘equal-weight’, could also be translated as ‘balance’). Together with countermovements these play important roles in harmonic laws and in construction of choreutic scales: equilibrium (Gleichgewicht; pp. 5, 7-8, 75, 77, 81, 84-85) [literally ‘equal-weight’; ie. balance] law–of–equilibrium (Gleichgewichtgesetz; p. 18) equilibrium-condition (Gleichgewichtzustand; p. 75) equilibrium-strivings (Gleichgewichtstreben; p. 5) equilibrium-suspension (Gleichgewichtsschwebe; p. 86) equilibrium-tensions (Gleichgewichtsspannungen; pp. 3-4) equilibrium-moments (Gleichgewichtsmomente; p. 77)

Tension In his English works Laban used the concept of “tension” and this also runs throughout Choreographie (Spannung; pp. 3, 11, 39, 63, 74, 93, 101) appearing in over 17 compound words. The use of Spannung seems to be applied in three areas, which may however all be tied together. As a spatial stretch, reach or ‘span’ across a distance (eg. ‘wing span’). As a reference to weight effort, force and tension in the muscles; and perhaps similar to this, as tension in the body. Spatial Tension: In the context of choreutics, ‘tension’ is often considered as spatial: spatial-tension-wishes (Raumspannungswünschen; p. 78) primary-tensions (Hauptspannung; p. 3) auxiliary-tensions (Hilfsspannungen; p. 3) individual-tension (Einzelspannung; p. 100) equilibrium-tensions (Glechgewichtsspannungen; p. 4) (stable plastic chords) four-five-tensioning (Vier-Fünf-Gespanntheit; p. 73) four-tensioned-star (Viergespannten stern; p. 88 Dynamic Tension: In the context of effort, ‘tension’ has been considered as “tension flow”, the rhythmic alternation between releasing and binding of muscular tension, which is a basis of effort flow (Kestenburg (1967, pp 45-49; Sossin & Kestenberg Amighi 1999, p. 12). In Choreographie it is used more specifically for the force of weight effort: force, degree-of-tension (Kraft, Spannungsgrad; p. 4), tensile–force (Spannkraft; p. 78) non-tension, weakness (Abspannng, Schwache; p. 74) relaxing, non-tension (Erschlaffen, Abspannung; 75). attentive-tension (Aufmerksamkeitsspannung; p. 80) strongly tensioned (stark gespannte; p. 75) Body Tensions: Tensions are also considered in the body: body-tension (Körperspannung; p. 93, 101) arm-tension (Armspannungen; p. 10) foot-tension (Fusspannungen; p. 93) hand-tension (Handspannung; pp. 93, 101) muscle-tension (Muskelspannung; p. 76) Several other ‘stretching’ concepts related to bodily tension and Spannung are used, including extend (Tendiert; p. 27), expand (Dehnen; p. 85), reach (Reichen pp. 59, 74), and frequently stretch (Strecken, gestreckt, vorstrecken, streckungen; pp 22-23, 28, 57-58, 74, 85, 93).

Harmony The study of “harmonic” (harmonisch) aspects of movement is one of the overlying themes of Choreographie and Laban (1966, p. viii) defined “Choreutics” as “the practical study of the various forms of (more or less) harmonized movement”. Concepts of harmony are closely associated with symmetry (Symmetrie; p. 86), dance-logic (Tanzlogisch; p. 89), and also to bodily reflex patterns of countermovement (Gegenbewegung) and equilibrium (Gleichgewicht). Harmony is used within several other concepts: harmony, -ic, -ised (harmonisch; title chapter 10, pp. 7, 11, 29-30, 63, 68, 76, 86-87, 98, 101) disharmonic (disharmonish; p. 73) harmony-theory (Harmonielehre. p. 93) harmonic countermovement (Harmonische Gegenbewegung; p. 98) harmonic scales (harmonischen Skalen. p. 101) harmonious liveliness (harmonsche Lebendigkeit. p. 76) movement-harmonies (Bewegungsharmonien. p. 18) harmonious-relationships (Harmoniebeziegungen; p. 88)

Harmonic Laws The “choreutic laws” (Laban 1966, p. 26) or the “binding laws of harmony” (Ullmann 1971, p. 1) are mentioned in the literature, but of all Laban’s published writings, and perhaps of all past and modern published works on Choreutics, also known as “space Harmony” (Dell 1972), the clearest, most direct and explicit statements of the proposed “laws” of movement harmony may be found in Choreographie. The “laws” (Gesetz; ie. ‘rule’, ‘statute’) generally are referred to as: lawfully (Gesetzmassig; p. 101) basic-laws (Grundgesetze; p. 18) spatial-law (Raumgesetzlich; p. 18) regular-lawfulness (Gesetzmassigkeit; p. 14, 86, 101) harmonic regular-lawfulness (harmonisch Gesetzmassigkeit; p. 86) lawfully-opposite (Engegengesetzte; p. 18) More specifically, several explicit laws are set forward: law of countermovement (Gesetz der Gegenbewegung; pp. 18, 25) law-of-equilibrium (Gleichgewichtsgesetz; p. 18) law-of-sequence (Gesetz der Folge; pp. 18, 25) [law of] flowing-from-the-centre (Aus-der-mitte-fliessens; pp. 18, 25) law of spatial-direction-chords (Gesetz der Raumrichtungsakkordik; p. 25) law of correlations (Gesetz der Zusammenhange; p. 5) Descriptions of these laws can be found in the text and also as found in the discussion of “dynamic equilibrium” (see above). Broader accounts of each laws and integration into a system of laws of body movement can be a topic for future practitioners and writers.

Theory, Teachings, Doctrines Several ‘doctrines’, ‘teachings’, or types of “theory” (Lehre; p. 73) are established. These are not ‘theories’ in the sense of a theoretical hypotheses, but are areas of ‘theory’ in the sense of larger areas of study with teachings, doctrines and established principles of knowledge derived from practical studies. In Choreographie the different areas of teaching are rarely referred to specifically by name, but primarily occur as headings of entire chapters or sections. theory (Lehre; p. 73) [‘doctrine’, ‘teaching’] movement-theory (Bewegungslehre; pp. 2, 54) posture-theory (Haltungslehre; p. 2) form-theory (Formenlehre; p. 3, title of chapter 2) static form-theory (statische Formenlehre; pp. 3-4) [ie. study of positions] dynamic form-theory (dynamishe Formenlehre; pp. 3-4) [ie. study of motions] direction-theory (Richtungslehre; p. 13, title of chapter 4) harmony-theory (Harmonielehre; p. 93) theory of preparation- and action-swings (Lehre de an- und ausschwung; pp. 73 ____)

Scales Analogous to musical scales, a variety of “scales” (Skalen; pp. 12, 27-28, 47-48, 51-53, 101) are developed for body movement. In the same way as musical scales, accomplishment performing the movement scales (sometimes called “choreutic scales” or “space harmony scales”) is considered as a kind of prescriptive practice, developing and demonstrating the practitioner’s ability for body movement. Further, the scales themselves can be used as models for theoretical analyses of movement forms. Some descriptions of scales are based on deriving them from fighting and defense movements (esp. saber fighting). As described above, reflexive body coordination creating countermovement for maintaining equilibrium seems to have a role in defining the sequence of some of the movement scales. Similarly, the scales are described as emerging from the interaction between dimensions (stability) and diagonals (lability): “The two contrasting fundamentals on which all choreutic harmony is based are the dimensional tension and the diagonal tension. Basic sequences can be built up on these two principles. Such scales, being based on natural movement which corresponds to the structure of the body, may be called ‘natural sequences’ in space.” (Laban 1966, p. 45) Movement scales are sometimes referred to as: spatial-exercises (Raumubung; p. 22), harmonic scales (harmonischen Skalen; p. 101), scale-like movement-sequences (skalenartige Bewegungsfolge; p. 12) Various “scale-elements” (Skalenelemente; p. 65) are identified: scale-axis (Skalenachse; p. 34) scale-inclination (Skalenneigungen; p. 28) scale-sequence (Skalenfolge; p. 73) General categories or types of scales are distinguished: basic-scales (Grundskalen; p. 47) combined scales (Kombinierte Skalen; pp. 47, 51-53) complete-scale (Gesamtskala; p. 34) mixed-scale (Mischskala; pp. 28, 66) Scales are sometimes designed for specific body parts: arm-scales (Armskalen, p. 11) arm-movement-scales (Armbewegungsskalen; p. 8) port-des-bras-scales (Port-des-bras-skalen; p. 8) foot-scales (Fusskalen; p. 8) Many particular sequences are referred to as “swing-scales (Schwungskala; pp. 65, 93, 101): defensive-scale (Abwehrskala; p. 34) attack-scales (Angriffsskalen; p. 34) A-scale (A-Skala; pp. 28-34, 48-49, 101) B-scale (B-Skala; pp. 28, 30, 32-34, 48-49) scale of primary-swings (Skala der Hauptschwung; p. 28) Axis-scale (Achsenskalen; pp. 43, 48) equator-scale (Aquatorskalen; pp. 43, 46, 48) separation-[plane]-scales (Scheidenskala; p. 28)