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Laban Movement Analysis and Somatics Assignment Danielle Murray Brigham Young University Dance 261 Winter 2009

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Somatic practices create a sensory awareness that organize, guide, illuminate, and transform the movement. The reason we have somatics is to promote a mind-body unity. Somatics is the vehicle in which physical strength ( ) and aesthetic expressiveness are combined (Baston 67). Laban Movement Analysis fits under the scope of somatic practices because it promotes that same unity. A major premise of LMA is that movement is the physical manifestation of inner intent. Our inner feeling states become outwardly apparent through bodily action as we interact with our environment (Debenham 3). LMA is the framework for understanding the interrelationships of movement components (Debenham 8). I often come away from a concert bewildered by the movement and wondering what the choreographers intention was during the performance. I believe that LMA can communicate meaning to a viewer; especially if the viewer can relate them to a personal experience. When a personal connection is made, then LMA can be used to elucidate the movement. This exercise proves Laban Movement Analysis use as a somatic practice because it creates emotional and physical connection. Folk dance is the ancestor, the source of all art dance forms. It is the history and sources of dance forms. Many dancers seem to view the patterns of folk dance superficially, seeing only the body positions and steps, the footprints-pattern-onthe floor, rather than the shape that the body carves ( ) through space, the motivation for the movement, and the subtleties of effort qualities that give a movement- and a dance form- character (Kerr 38). Because there are thousands of cultures upon the Earth, there are thousands of dances that originate from those cultures, each one unique to its origin. Although it is difficult to name prominent Laban qualities that are consistent in all ethnic dance forms, it is possible to identify common movement qualities within a specific culture. LMA is a means of perceiving and a

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vocabulary for describing movement (Bartenieff and Lewis 23). Because LMA vocabulary can be used to describe folk dance, it can be used to teach folk dance. Therefore the terms become universal amongst dance students and the students are able to apply LMA terminology to all dance forms despite their origin. Most folk dances are based on a natural use of the body (Kerr 39). Depending on the dance style or culture being represented the dancer has more free range in the choreography. Some styles such as Russian and ballet are regimented to an exact formula. Other dances such as Satmari Czardas from Hungary are social dances and therefore have a few set steps that can be changed and expounded upon by the energy of the dancer. Because of this, shape ( ) and effort( ) qualities tend to be the most prevalent in folk dance activities; for these qualities have the most flexibility in choreography. Kathleen Kerr conducted a study on Bulgarian dance forms. She found that dances from the same region tend to have very similar movement profiles. The apparent change in effort factors may account for the perceptible differences in dance style from region to region. For example, the dances from the northwestern Bulgaria exhibited the predominance of sudden ( ) time, a tendency toward strength ( ) in the weight factor, and a direct ( ) attitude toward space. By contrast, dancers from south central Bulgaria show a tendency toward lightness ( ) in the weight factor and no predominant attitude toward space (Kerr 40). Folk dances are the preservation of a culture. Just as we have many books to keep a record of our histories, many cultures keep their histories alive through dance. LMA can help preserve the history of a civilization by documenting movement through its vocabulary. Kathleen Kerr demonstrated this in her study of Bulgarian dance quoted above as she discussed different regions and groups of people using LMA. LMA is necessary and plays a valuable role to folk dance. I believe I am drawn to the study of folk dance because there is so much versatility within the genre.

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I am able to learn about a society through the universal language of dance, which I understand. The LMA vocabulary is necessary to effectively document dance histories. I feel more connected to my surroundings and a greater appreciation for my culture when I am able to recognize the experiences of other ethnicities. Folk dance reflects the values of every culture it represents because reflecting values was its first intention. Most people dance to express themselves and therefore say something about their lives. The forms of this genre reflect the experiences, the aspirations, and the concerns of a society (Winterton). In Romania, there is a dance called Alelunel de Isbucceni. This dance is performed at social gatherings and danced by all who desire to move. One of the featured movements of this dance is the following: two steps forward, one step back. That pattern brings one thought to mind, oppression. When this dance originated the government was hostile and had communist influences. The repression of progress amongst the Romanian citizens is obvious in their movements. With every two advancing ( ) steps they took toward change, the government was there to prohibit their progress by one large retreating ( ) step backward. Another example of the concerns of a society being represented in dance is found in the style called Troika from Russia. Troika means horse drawn carriage in the Russian language. The dance is very cute. The women wear beautiful dresses and big bows on their backs and in their hair. At some point during the dance, usually at the end, a man grabs all the bows from the womens dresses, unties them, and holds them with strong ( ) direct ( ) effort. The women appear to be horses and the man is driving them with the bows which now resemble the reins of a horse. The dance is so lively and entertaining that the audience rarely catches the subliminal message of male dominance that exists through the dance and especially at the end where the man literally controls the women.

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Just as we can determine the experiences and aspirations of a community through their dance, I was interested to know if signs of my upbringing were evident in my common movements. I conducted a brief experiment in which I monitored my personal body movements. I had a roommate write down any subconscious movements she saw me execute at least three times. There were three movements she consistently documented. One, was that when I am concentrating on a project and my left leg is crossed over my right, there is a strong ( ) sustained ( ) flexion in my left foot. Second, because my glasses slid down my face, I would constantly push them to the top of my nose. This effort was very direct ( ) and quick ( ). Third, when I brushed my teeth or held a cup, I would stick out my pinky in a very strong ( ) and direct ( ) manner. It was as if all the energy of my whole body was spurting forth from the tip of my pinky finger. All of these motions take place within my small kinesphere ( ). I think this just goes to show what a private person I can be. I have a personal bubble which I do not commonly appreciate being invaded. The presence of so much strength ( ) and direct ( ) effort in such a small area may be related to my obsessive compulsive nature toward personal space. After my roommate gave me her list of subconscious movements, I compared them to a list of movement traits I have noticed in my dance studio experiences. Most of my teachers will give me a list of comments along with each test, of ways I can improve my dancing. I thought it was interesting that my roommate noticed my pinky sticking out because that is a common comment I receive on tests. I think it is due to my ballroom dance training where the fingers are flared in almost all arm extensions. I think this trait is valuable in ballroom dance and maybe even a little in ballet por de bras. But other than those two situations, advancing ( ) and strong ( ) pinky fingers are kind-of odd. The comment about my foot being flexed does not surprise me at all. One of my biggest struggles on the dance floor is that my foot is naturally flexed. Therefore several professors

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make note of my not-pointed feet. Maybe that is why I have such a struggle with pointing my feet; when Im under stress or concentrating very hard my feet are flexed with a very direct ( ) effort and I subconsciously commit that movement to muscle memory. The third tendency, pushing my glasses to the top of my nose, I cannot connect with any studio habits. But it is a subconscious movement and therefore may have an effect upon other unintentional movements, such as my use of shape ( ) and flow ( ). My value of personal space was apparent because of the strong ( ) controlling effort I constantly use in my small kinesphere ( ). I guess that means I like to be in control of my immediate surroundings, and furthermore I appreciate and demand respect for my body. After compiling the results of my experiment, I have deduced the following theory. Some movements become so natural to us that we forget the meaning behind them. The Romanians were so used to oppression they didnt even think about the significance of taking two steps forward and one step back in their dancing, it came naturally. The Russians as well were used to male dominance and it was not questioned when the male led the women by reins in a public performance. It was fun to look at my common body movements under an LMA lens. The vocabulary of Laban Movement Analysis allowed me to make connections to personal issues. Another somatic practice besides LMA that focuses on improving posture and movement is Ideokinesis. Ideokinesis was developed in the early 1900s. Mabel Elsworth Todd was the creator of this approach to somatics. A childhood illness weakened her kidneys. Fortunately she was well enough to attend a private secondary school for girls where she developed a keen interest in science. A close relationship to her science teacher provided opportunities for special projects and encouraged her passion in the field (Matt). Many of her students have created their own methods of Ideokinesis. All of which still use mental imagery as a source of therapy.

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Ideokinesis involves sustained mental focus upon imagined actions. A central tenet of the approach suggests that disciplined concentration on precisely formulated imagery will improve the coordination underlying our habits of posture and movement (Matt). One exercise would take you through the following steps. One, imagine a body part in which you recognize a problem. Two, Touch the body part that has the problem and imagine it again. Three, imagine the problem being gone as you still complete steps one and two. This mental exercise is meant to help you psychologically rid your body of illness and improve your posture and movement. It appears that a person does not need to obtain specific certification in Ideokinesis to teach it. Although most Ideokinesis courses and therapy groups are conducted by certified Pilates instructors and certified movement analysts that have studied the somatic practice at a University. I took an interest in Ideokinesis because the word was unique to my vocabulary. The root of ideo- is idea; which means a thought or action taking place in the brain. The word kinesis represents a motion in response to a stimulus. Therefore Ideokinesis could mean ideas of motion. I think this makes a lot of sense given that most people who practice Ideokinesis have physical handicaps and movement limitations. All they can do is have ideas of motion and hope that these ideas will become tangible realities. LMA is a means of perceiving and a vocabulary for describing movement (Bartenieff and Lewis 23). LMA acts as a written form of the universal language of dance. When a dance patron understands the terminology they can better understand and relate to the movement they view in a concert. Laban Movement Analysis is a somatic practice because it creates emotional and physical connection; not only for dance viewers but for the dancers. In the study of folk dance, dance is believed to reflect the experiences, the aspirations, and the concerns of a society

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(Winterton). LMA can be used to determine not only the concerns of folk dancers, but anyone who is willing to examine their lives and connect their physical movement to their spiritual expressions.

Works Cited

Bartenieff, I., and D. Lewis. Body Movement: Coping with the environment. New York: Gordon and Breach Science Publishers, 1980.

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Batson, Glenna. Dancers tools for performance. Dancer Teacher Magazine 3 (1998): 65-69.

Debenham, Pat and Debenham, Katie. Meaning Making in Movement- A Process for Interpreting Movement Symbol Using Principles of Laban Movement Analysis. Diss. Brigham Young University.

Kerr, Kathleen, A. Analysis of Folk Dance with LMA-based tools. Journal of Physical Education, Recreation, and Dance (1993): 38-40.

Matt, Pamela. Mabel Elsworth Todd. The Pioneers. 25 March 2009. < http://www.ideokinesis.com/pioneers/todd/todd.htm>.

Winterton, Dee. A few thoughts on Dance. Diss. Brigham Young University, 1981.

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