Submitted by Charlotte Wile - November 10, 2010
1.2 There were two responses to the April 5, 2010 minutes:
(Note: Examples in Ann's paper are labeled here as AHG)“In marking off the vertical units of time, it is not the horizontal bar line or the ‘tick’ marks that show the beat, the count of 1, 2, 3, etc. These signs are dividers, the moment of the beat comes just after the bar line or tick mark. A small amount of space on the page has to exist to represent that moment, that time unit, visually. (See Your Move, 2008 page 275.) Thus, for example, the foot hook or end of a contact bow needs to be placed in this small area, Ex. 1a and 1b. This fact, long agreed upon, has been missing from the Labanotation textbooks. My apologies.”
1.5 The group had questions about this idea.
1.6 Mira: We don’t teach that or write that way, but I think I understand what Ann means. When we write an accent sign we put it a little bit above the line. (E1a)
1.29 In Ann’s paper (page 1) she says,
“Let us go over again what the symbol of 3a represents. The base of the direction symbol represents (and must represent) the moment the foot contacts the floor, 3b. This is true whatever the part of foot it might be. For the tap dancer, that is the moment the tap sound is heard, i.e. on the beat.”
1.30 Ray: If the support direction symbol touches the tick mark or measure line, then this statement disagrees what Ann wrote earlier in her the paper (paragraph 1.4 above). In that case the timing would begin slightly after the beginning of the symbol.
1.33 On page 1 in her paper Ann says, “Before a travelling step takes place, the moving leg needs to advance in the appropriate direction in preparation for taking weight; at the same time the center of gravity (CofG) moves beyond centered balance toward the new support. In the notation of 3c, the arrow shows where this is understood to take place.”
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1.38 The group discussed zed carets, e.g., as in Ann’s 3g.
1.41 Mei: The distance of the step is affected by the use of the zed caret. Stepping on the same spot will make the step smaller. If no zed caret is used, then the step may or may not be on the same spot.
1.44 Ray: Assume the zed caret means there is a connection or phrasing between the gesture and the step. Does that mean that when there is no zed caret, there is not a connection?
“But when consecutive steps occur, the center of weight will be moving into the direction of the next step. Thus the moment of the CofG being centered must occur before its displacement into the direction of the next step, as shown in 4b. Exactly where this point of balance occurs will depend on: a) the speed and b) the style of the movement. Because it is a passing event, it has not seemed important, to date, to pin it down precisely. However, as indicated in 4b, we have the means to be precise. Probably a larger basic unit for each beat (count) would be needed."
"In the case of fast, swaying steps, the weight may never be centered. Ex. AHG 5a shows a typical example; there is not time to produce full transferences of weight. By throwing the torso weight from side to side, as in 5b, a moment of being centered can be achieved.”
1.51 Charlotte: Is there an assumed timing for when the centering occurs? At the April 5 meeting everyone seemed to think there is one, although there was some discussion about whether it occurs 1/2 way into the support sign or 1/3 way into the support sign. In contrast, in her paper Ann is saying that is not so. She says the point of balance is not assumed; it depends upon the context of the movement.
1.65 Ray: The examples Lynne has given are correct. You see those variations of the movement all the time in ballet class. However, those are just individual interpretations of the movement. What is written on the page is what is supposed to be done. If you want all those variations as possibilities, then that must be stated in the notation.
“Ray, Mira, and Mei pointed out that the rule about center occurring ½ way into the step has been changed. In Guest, Labanotation, page 127 it says that it is ½ way.” I read the referenced page several times but found nowhere this statement. Though it would have been much simpler looking it up if you’d cited the text and/or stated which figure you were referring to, I suppose you meant the explanation about Fig.190a. But here AHG* writes: “At (ii) the weight is transferred half way” (italics by me).In other words, the weight is not fully centered at the half of the direction sign, but only half way, because the direction sign is followed by a body hold when the movement stops and the weight finally arrives “centered”. In this page AHG says nothing about when the weight is centered during a step. (190.a was used to explain the step-gesture rule, also confirming her stand in opposition with Knust and Szentpál on élancé and coupé.)”
1.76 Caity pointed out that AHG 190a is a concluding step, so János was correct in his reading of Ann’s statement. In her paper Ann differentiates between concluding steps and consecutive steps.
1.78. Charlotte: I now see that János is correct about how Ex. 190a in Labanotation should be interpreted. However, it is interesting to note that everyone at this meeting was taught the centering occurs 1/2 way into a step. Where did this idea come from? Perhaps centering needs to be explained more clearly in the texts.
1.80 Charlotte said that P.W. Pluto presents an interesting case. He wants to notate tango movement. For him the issue of where center comes seems very important, even though he is a beginning/intermediate student.
1.83 Ray: We are discovering new possibilities for writing because of issues that have come up and have never been addressed.