Kurt Jooss always regretted that Laban, in codifying his Effort analysis, had dropped the factor of central and peripheral use of space and of the body, which had been part of Eukinetics, the quality of movement explored as part of his modern dance training. Because Laban's focus during the war was on the practical, everyday movements, the expressive content of central and peripheral were not needed. Instead he established the use of space in terms of direct and indirect.
Years ago Jane Marriet wanted to be able to show a movement happening first in time and not first in space like leading/guiding. The example demonstrated was a Bartenieff knee drop.
When the DNB was looking for a solution Ann came up with the symbol seen below for the initiation bow (about 1981). Vera Maletic was also using the same symbol but in a very different context (i.e. as impulse).
Ex. a. Current DNB usage of initiation bow with shoulder blade initiating.
Ex. b. Addressing the timing issue by placing the initiation as an up beat.
Ex. c. The squiggle indicates that something has to happen before the actual movement.
Ex. d. Using a bracket (an addition bow) to indicate timing.
Ex. e. Shoulder blade
Ex. f. Using a leading bow rather than an initiation bow.
Ex. g. Playing around with the use of an arrow to show initiation.
Ex. h. Similar idea to ex. g but written differently.
Ex. i. Using a zed caret to link the body part initiating to the movement (body part) it is modifying.
*Notators at the DNB have disagreed for many years on the ICKL ruling and continue to use the zed caret as a symbol with a different meaning than a "regular caret" (see last paragraph).
Ex. j. llene said that if we give the zed caret the meaning of leading into a movement then in this example the zed caret doesn't make sense.
Ex. k. Ann says that in this case this is the primary reason we need zed carets.
Ex. l. You have a very slow preparatory action into the step. In this case it is an unspecified, "natural" way to progress into the movement.
Ex. m. llene wrote this example from the ICKL proceedings and asked if this example would not be equally clear with a caret? It says to shift onto the knees. Valarie and Sandra both said that the shift was the key word. Ann asked how you would do it different without the caret? The response was that you would have to write right forward diagonal high direction symbols.
Ann says that the trouble with blackening one end (see ex. a.) looks too much like an accent. It is possible/probable that the initiation happens before the movement actually begins. You need to show where the movement originates, it may be an unseen part, it may not be that visible, moving in space. A lead by bow is basically a good sign for it, but it needs something else, llene said that the vertical bow is a problem as there are timing issues. Most everyone agreed that the initiating action is almost an upbeat. Valarie thought that we need some sort of pre-sign that could accommodate a body part in it. Patty said that initiating is still denoting movement, action.
The problem with the ICKL ruling on carets and zed carets is that there is NO difference between the meanings in context. The DNB for many years (Ann agrees) has used (and glossarized) the zed caret to link a gesture to a step, to link a head rotation to a facing, and today were exploring the idea of linking a body part to a movement to indicate initiation.
- The phrasing bow is used to show that a series of consecutive symbols have, as Ann Guest says in Labanotation, 4th edition (p. 107), a “unity of thought.”
- The initiation bow is used to show the impulse for movement (e.g., a breath), or the place in the body where the movement begins in time.
- The part leading bow is used to indicate a body part that that goes first in space.