Laban Movement Analysis (LMA) and Labanotation (LN) are methods for observing, describing, notating, and understanding all types of body movement. They provide a language and notation for detailed analyses of body movement, identification of specific movement attributes, and promotion effective physical performance of movement characteristics. Further, the methods draw on underlying theories and concepts for body movement 'harmony', health, and physical ability.

Originating with the Hungarian dancer, teacher, and author Rudolf Laban (1879-1958), the methods and theories have been developed over the years by a multitude of Laban's colleagues and students, through which a wealth of modern-day practices, analytical methods, and specialised schools have evolved world-wide. Applications are made in an abundance of professional fields such as choreography, dance analysis, performance enhancement, actor training, injury prevention, physical rehabilitation, sports coaching, psychology, child development, non-verbal communication, anthropology, management and team building, and other fields where body movement plays a role.

Labanotation and Motif
Systems for notating body movement are named Labanotation (or Kinetography Laban) and Motif.

Labanotation consists of a precise and objective notation system, developed from earlier dance notation systems such as Feuillet, then expanded to have utility for notating any type or style of body movement. The system has evolved through years of application, with an abundance of dance scores notated and housed at center of notation such as the Dance Notation Bureau (New York City & The Ohio State University), and a documented history of development in conference proceedings of the International Council of Kinetography Laban / Labanotation (ICKL).

Motif is a more flexible, adaptable approach to notation where the format can be modified according to interests and purposes of the notator. Motifs have been widely used, they are similar to Labanotation but simplified, or specified, to show only a theme or to highlight one or two particular aspects of the movement. Their adaptability is part of their usefulness, allowing notation formats to be derived for specialised analyses, as well as lending themselves easily for creating movement manipulations for choreography. Development of motif has especially occurred through the Language of Dance Center (LODC), both in England and USA.

Choreutics or Space Harmony
The consideration of Space comprises a major area of study in Laban Movement Analysis and considers patterns, forms, designs, configurations, and other aspects of the human body in space. Methods for understanding space have become known as Choreutics, the title of Laban's (1966) book, or also as Space Harmony, referring to underlying theories of 'natural' or organic function.

A unique feature of Choreutics is the use of geometric polyhedra as spatial networks, called kinesphere or scaffolding, created by movement around the body. These networks are used to identify directions and paths and coordination amongst these. Most frequently the five regular solids are used (cube, octahedron, icosahedron, dodecahedron, tetrahedron), but the method also conceives of movement as continuously varying or deflecting amongst these prototypes, thus a wider variety of kinespheric nets are also explored. An elaborate collection of scales are defined, analogous to musical scales, the choreutic or space harmony scales guide the body through various symmetrical patterns, each dividing or segmenting three-dimensional space in particular ways. Further, coordination patterns across limbs are identified in networks such as tetrahedra and compared to musical chords.

Other features in Choreutics include the approach to kinesphere (relationship to center) defined as either central, peripheral, or transverse, as well as a detailed system for defining orientations of movement as aligned either along a dimension, a diameter (two-dimensional), a pure diagonal (three-dimensional, equal), or as an inclination (three-dimensional, un-equal). Further the body might mould in the space either as linear, planar (flat, surface), or plastic (volumetric).

Body Fundamentals
Described as Body Fundamentals, or just Body, this area considers structural and physical characteristics of the human body as well as fundamental reflexes and coordinations amongst body parts known as kinematic chains, coordinative structures, or connectivity. This area is also placed within the field of somatics with methods providing a physical organic approach to body ability. In areas of rehabilitation this contributes to basic movement function, while in skilled movers it promotes fine-tuning of connectivity and corresponding injury prevention.

Body Fundamentals have been especially developed by Irmgard Bartenieff as Bartenieff Fundamentals, and also by Bonnie Bainbridge Cohen as Body Mind Centering. These have grown as independent practices however share many similar concepts. Principal amongst these is an understanding of Patterns of Total Body Connectivity, also called Developmental Patterns, or neuromuscular patterns. These are considered to represent a developmental progression of neurological organisation and to be a model for motor development of the baby (ontogenesis) as well as the evolutionary motor development of species (phylogensis). Practical methods for physical training are offered by several principals that are in operation throughout the entire developmental progression, which runs:

• Breath and breath-support growing to all cells;
  
• Core-Distal (naval radiation) with core-support for expansion outwards to the extremities;
  
• Mouthing opens and reaches, beginning to distinguishing the spine;
  
• Spinal patterns link the full continuation from the head to the tail;
  
• Upper-Lower (Homologous) patterns connecting across upper and lower body;
  
• Body-Half (Homolateral) distinguishing the entire right and left sides of the body; and
  
• Body-Diagonal (Contralateral) patterns such as opposition connecting across right and left.
  

• Space Effort considers focus or awareness, ranging from direct to indirect or flexible;
  
• Weight Effort considers pressure, force, or sensitivity, ranging from strength to lightness;
  
• Time Effort considers speed or slowing of the pace, ranging from quick to sustained.
  
• Flow Effort considers the control of movement, ranging from bound or controlled to free or released.
  
  

• Awake State (space & time) combines focus and awareness of timing of actions, while its opposite
  
• Dream State (weight & flow) combines bodily sensation with fluidity in a kind of self-sensing.
  
  
• Near State, or Rhythm State (weight & time) creates a physically active presence, while its opposite
  
• Remote State (space & flow) tends more towards the pondering of abstract concepts.
  
  
• Stable State (weight & space) creates a clear structure of the body in space, while its opposite
  
• Mobile State (time & flow) can lead to continuous fluctuation, changeability and formlessness.
  

• Shape Flow refers to how a body can interact and change shape in a kind of self-to-self relationship such as massaging an injury or rubbing oneself to keep warm.
  
• Directional movement sees the body creating a kind of bridge outwards into the environment, either curving and Arc-like, or straight and Spoke-like.
  
• Carving refers to moulding or sculpting, interacting and accommodating with the surrounding environment creating a solid substance or volume in the space.
  

• Advancing/Retreating relative to the anterior and posterior body surfaces;
  
• Rising/Sinking, lengthening or shortening along entire surface of either side of the body;
  
• Spreading/Enclosing, widening or narrowing around a the longitudinal axis of the body.