Monday, May 16, 2022

Dr. Ann Hutchinson Guest and Her Contributions to Labanotation in China

Submitted by Beijing Dance Academy -- May 16, 2022 

Chinese Text: Sharina, Zhang Jiayuan, Liu Huangkexin
English Text: edited by Mei-Chen Lu

On April 22, 2022, Beijing Dance Academy hosted an online webinar titled "’Dance +’ Academic Salon: Laban System and its Practice in China Series (舞蹈+学术沙龙:拉班理论体系及其中国实践系列).” The first series was devoted to "Dr. Ann Hutchinson Guest and her contributions to Labanotation in China." Dr. Ann Hutchinson Guest just passed away on April 9, 2022, at the age of 103.  The guest speakers included National First-Class Choreographer Luo Bingyu (罗秉钰); Lu Mei-Chen (卢玫蓁), Director of Library Services from the Dance Notation Bureau; Professor Ou Jianping (欧建平), Honorary Director, Researcher, master/doctoral/postdoctoral Advisor of the Dance Institute, the Graduate School of Chinese National Academy of Arts; and Wang Yunyu (王云幼), Distinguished Professor of Beijing Dance Academy. These four guest speakers shared their work and academic experiences with Ann, and cherished  memories with her.  Ann was a scholar who made important contributions to the dance field. A large number of online participants attended the webinar and many of them left enthusiastic comments, which created a good academic atmosphere.

  The organizer, Professor Wen Rou (温柔), Dean of the School of Humanities and Director of the Dance Institute of Beijing Dance Academy, first expressed her sincere gratitude to the guest speakers.  She spoke of the idea of the “Dance + Academic Salon” and work practices in the field of research of the School of Humanities, Dance Science Research Center and Dance Institute of Beijing Dance Academy.  At the same time, she wished to spread and develop Laban system in China through the webinar series. Lastly, the Academic Salon was moderated by Dr. Sharina (莎日娜) of the Dance Institute of Beijing Dance Academy.


The organizer, Wen Rou


The moderator, Sharina


Ann Hutchinson Guest (L) and Luo Bingyu at 2013 ICKL Conference in Canada. Courtesy of Luo Bingyu.

    The first guest speaker, Luo Bingyu, shared "In Memory of the Mentor of Chinese Dance Notation - Ann Hutchinson Guest." Ms. Luo has devoted to the dissemination of Laban's theory in China.  Her related teaching materials are produced and will be published on the basis of the broad platform of Beijing Dance Academy. Ms. Luo gave vivid descriptions of Ann and her teaching to people who learned Labanotation in China. Moreover, she shared her experiences interacting with Ann. In 2008, Ann and Ms. Luo became acquainted with each other through her translation of Ann's Labanotation (4th Edition). During the following five-year correspondence, Ann always gave guidance to Ms. Luo and patiently provided explanations to her questions. Ms. Luo found the clerical errors in the published book and corrected them in a timely manner.  In 2013 at the 28th International Council of Kinetography Laban/Labanotation (ICKL) Conference in Canada, Ann spoke highly of the Labanotation Chinese translation completed by Ms. Luo. In Ms. Luo's narrative, Ann was not only a lovable and reliable mentor, but also a respected and beloved elder. Ms. Luo expressed her deepest condolences and remembrance of Ann's passing.


Sandra Aberkalns (Professional Notator, L), Ann Hutchinson Guest (Center), and Mei-Chen Lu in an outing in Summer 2020. Courtesy of Mei-Chen Lu.

    The second guest speaker, Lu Mei-Chen, Director of Library Services at the Dance Notation Bureau, shared "Dr. Ann Hutchinson Guest's Lifetime Research, Contributions and Books in Labanotation" by combining precious historical pictures and documents. Lu first stated Ann's important contributions to Labanotation.  Ann began learning dance notation at the age of 16 and devoted herself to the career of dance notation. Ann was an important figure in the implementation and development of Labanotation theory. Ann published more than 45 books about dance notation, recorded 60 dance scores, and compiled many teaching materials of dance notation. Her Labanotation (4th Edition) is an essential textbook for learners of Labanotation all over the world. Until two months before her passing, Ann's latest theory book Advanced Labanotation Book 10: Body Variations was just released.  Furthermore, Ann planned to finish writing the last two Motif Notation books for children and to attend ICKL conference in Hungary this summer.

    Lu shared some of the dance scores recorded by Ann. The Green Table, a work choreographed by Kurt Jooss, was first recorded in 1939 and published in 2003; The Shakers, choreographed by Doris Humphrey, was recorded in 1948. In addition, she shared a very meaningful event in Ann's notation career. In 1952, Ann’s Labanotation score Kiss Me, Kate (choreographed by Hanya Holm) obtained the first copyright in the drama category at the Library of Congress Copyright Office.  It began the new era of copyright works for dance.  It was an exciting event for all choreographers, which meant that dance notation became a fixed medium recognized by the Library of Congress Copyright Office in addition to films. In another event, Nijinsky's Afternoon of a Faun score was donated to British Library, but no one could read it.  Ann and her colleague decoded Nijinsky’s notation and successfully translated it into Labanotation. She later published Faune Restored.  This case is known as "the highlight moment in Ann's Labanotation career". Lu stated that besides Rudolf Laban's contribution to dance notation, Ann also made significant contribution to Labanotation research, practice and writing of dance notation textbooks. At the end of her speech, Lu reminisced about her contacts with Ann, and expressed her endless memory and fondness to Ann.

Ou Jianping accompanied Ann Hutchinson Guest to visit Dr. Sun Yatsen Mausoleum in Nanjing in 1988. Courtesy of Ou Jianping.

  The third guest speaker, Professor Ou Jianping, shared "The Charm of the Chief Authority of Labanotation: Ann Hutchinson Guest I Knew". Professor Ou reviewed several exchanges between himself and Ann: the 1988 Nanjing International Conference for Coordination Method Dance Notation; the Fifth Hong Kong International Dance Conference at Hong Kong Performing Arts Academy in 1990; and the two ICKL conferences held at Beijing Normal University in 2004 and 2017, and so on. Professor Ou's warm and sincere feelings moved every attendee.

   Professor Ou recalled that at the 1988 Nanjing International Conference for Coordination Method Dance Notation, he was greatly impressed by Ann's sincerity and modesty. Ann politely pointed out that at that time people in China did not have a thorough understanding of various contemporary dance notation systems, and the notation research was relatively superficial.  She humbly said that her studies in dance notation from other countries were also insufficient, and she still needed to continue her studies. She hoped that everyone could communicate more and learn from each other. At the Fifth Hong Kong International Dance Conference in July 1990, Professor Ou was impressed by Ann's analytical thinking. She argued that even the same dance movement should be able to record and analyze differently.  She pointed out that the weakness of Labanotation is actually its strength. When Ann attended the ICKL Conference in Beijing in 2017, she was nearly 100 years old. And yet she attended the whole meeting with high concentration and spoke actively. She talked in detail the story that Mr. Laban entrusted her to spread Labanotation. In the eyes of Professor Ou, Ann was a dancer with humanities and love. Professor Ou also condensed these experiences and feelings into a long text that will be published soon to express his infinite admiration and nostalgia for Ann. 


Ann Hutchinson Guest (center, and her husband, Ivor Guest, next to her) coached Afternoon of a Faun in 2005.  The stager, 
Wang Yunyu (R4), stood next to Ann. Courtesy of Wang Yunyu.

The fourth speaker, Wang Yunyu, a Distinguished Professor of Beijing Dance Academy, shared her two working experiences with Ann Hutchinson Guest in Taipei, Taiwan in 2005 and in Colorado, USA a year later.  Her topic was "Sharing the Time of the Faune with Ann Hutchinson". Professor Wang recalled the story of rehearsing Afternoon of a Faun with Ann and showed photos. During rehearsals, Ann was very careful and paid attention to details while guiding the dancers. She not only explained to the dancers how to read Labanotation and clarify details and the meaning of movements, but she also described the relationship between dancers and use of space through Effort. When there weren’t enough information in notation, Ann would make small modifications to make the movement smoother. In addition, Ann also made a great deal in music. She would spend a lot of time explaining a music beat in relationship to movement and eye focus, which made dancers and students who rehearsed this work quite admire Ann. In addition, Professor Wang also showed us another side of Ann who loved to make fun. Ann would tell the main character "Faun" how to hang clothes, and other details and key points of the performance by fiddling with small models wearing costumes. She would also portray a frightened girl. Her exaggerated and lovely facial expressions always made everyone laugh, but also let the dancers have a greater understanding of the performance. On the day of the performance of Afternoon of a Faun, there were no empty seats in the theater. Ann also said that this 21-day trip brought her home full of memories. Lastly, Professor Wang expressed her memorial to Ann, and hoped that we could remember her kindness.

These four guest speakers shared their cooperation and learning experiences with Dr. Ann Hutchinson Guest in different areas, which greatly benefited the audience. In the subsequent exchange session, the speakers had an in-depth conversation around the theme and discussed Ann and her contributions from more aspects. Lu Mei-Chen clarified that Ann was not a direct disciple of Laban, but a disciple's disciple of Laban. Professor Ou Jianping said that this point is very important for us to understand the history of the development of Labanotation. Furthermore, Professor Wang Yunyu also introduced professor Liu Fengxue's use of Labanotation to record Vast Desert, Solitary Smoke Rise Straight Op. 115 (作品第115号:大漠孤烟直). Professor Liu Fengxue (刘凤学) trusts Labanotation very much and wants more of her works to be recorded in notation. The online audience asked questions after the guest speakers’ speeches and conversations. Lu Mei-Chen responded to the audience who wanted to know about the creation of Laban's Vom Tauwind und der Neuen Freude (Of the Spring Wind and the New Joy). In the end, Professor Zhang Suqin of Shanghai Theatre Academy spoke about the situation of communicating and working with Ann before her death. 

Through these four guest speakers’ conversations and sharing, allowing us to better understand Dr. Ann Hutchinson Guest, an important figure in the history of dance.  We learned her lifelong love in dance and her ardent expectation for Labanotation in China.

 



 

 

Wednesday, January 5, 2022

Readings in Modern Dance Volume 1

Submitted by Mei-Chen Lu -- January 5, 2022

Readings in Modern Dance was prepared for the Intermediate Labanotation Students and was published in 1974 by the Dance Notation Bureau  The volume one consists of nine excerpts from Modern dance master works. The editors of the book stated: "Our hope is to provide a literature which while furnishing material or the practice of reading skills will at the same time engage technical and interpretive abilities."

The excerpts of modern dance in volume one are:

  • Variations From Day to Day (1957) by Norman Walker. Notation by Ray Cook, assisted by Barbara Katz, 1968.
  • Passacaglia and Fugue in C Minor (1938) by Doris Humphrey. Notation by Lucy Venable, assisted by Joan Gainer, 1955.
  • Negro Spirituals (1941) by Helen Tamiris. Notation by Lucy Venable, 1967.
  • The Beloved (1948) by Lester Horton. Notation by Ray Cook, 1971.
  • Screenplay (1966) by Job Sanders. Notation by Muriel Topaz, 1971.
  • Folksay (1942) by Sophie Maslow. Notation by K. Wright Dunkley, 1972.
  • Odes (1965) by Anna Sokolow. Notation by Muriel Topaz, 1971.
  • Going (1962) by Marion Scott. Notation by Barbara Katz and Stephanie Thomas, 1972.
  • Partita V in G Major (1942) by Doris Humphrey. Notation by Els Grelinger, 1950. 

Last but not the least, the DNB would like to acknowledge the kind support from Gill Wright Miller and Dension University for sponsoring the scanning service.  


Monday, December 13, 2021

Principal KIN Usages and Rules Differing from LAB Usages and Rules

Submitted by Raphaël Cottin and Mei-Chen Lu - December 13, 2021

Jacqueline Challet-Haas's paper "Principal 'KIN' Usages and Rules Differing from 'LAB' Usages and Rules" is now available online. This article was originally written for the 21st ICKL Conference in 1999. The whole article has been revised with some updates, new layouts and graphics in 2020.   Now it is available in English and French at Centre National dÉcriture du Mouvement en Cinétographie Laban website.  

Note on the April 2020 publication:

This Technical Paper, revised by Jacqueline Challet-Haas, Raphaël Cottin and Noëlle Simonet, has been copied as close as possible to the original, while harmonizing the typography. The kinetograms have been revised as well as certain reformulations which seemed to us to contribute to greater clarity. The original paper can be consulted on request in the CNEM archives, deposited at the library of the Centre National de la Danse in Pantin, France.








Monday, May 10, 2021

Chinese Folk Dances

Submitted by Mei-Chen Lu, May 10, 2021

Madame Dai Ailian played a vital role in modern Chinese dance development.  She was born in Trinidad and received her education in England.  During World War II, she returned to her motherland and along she brought with her was Laban's theory to China. The system and theory Laban and his pupils introduced had deeply influenced Mme. Dai’s choreography and teaching.  

In the 1980s, Mme. Dai and her students spent weeks in rural areas in China to learn ethnic folk dances from locals and preserved them in Labanotation.  Later  "Eight Tibetan Folk Dances", "Eight Yi Folk Dances", and "Eight Chinese Nationalities Folk Dances" were published.  These folk dances are simple but reflect the life of people and aesthetic sense from their own culture.  

May 10 is Mme. Dai's birthday.  Here is our tribute to her by sharing her notation scores with the permission from the National Ballet of China. 

To view these scores, click the links below: 

"Eight Tibetan Folk Dances", 

"Eight Yi Folk Dances", and 

"Eight Chinese Nationalities Folk Dances"





Tuesday, April 6, 2021

Notes From a Course in Correctives

Submitted by Mei-Chen Lu -- April 6, 2021.



Five lectures and accompanying movement exercises which constitute an introductory course in correctives given by Irmgard Bartenieff at the Dance Notation Bureau.

The five sessions include:

1. Corrective: Its History and Terminology,

2. The Lower Unit: Initiation from Center of Weight - Locomotion - Change of Level,

3. The Rotary Element in Movement,

4. The Upper Unit: Counterbalance - Exploration - Orientation - Manipulation - Communication, and

5. Breathing.

The file is too large to view online. To download the book, click here.

Wednesday, March 17, 2021

Four Adaptations of Effort Theory in Research and Teaching

Submitted by Mei-Chen Lu -- March 17, 2021

Four Adaptations of Effort Theory in Research and Teaching by Irmgard Bartenieff, Martha Davis, and Forrestine Paulay.

Cecily Dell in the introduction stated:

"The four essays were originally lectures given in a seminar at the Dance Notation Bureau in 1968.  The authors collaborated in forming the first training program in Effort-Shape in the United States in 1965.  They have since become researchers and teachers in more specialized applications of Effort-Shape, and these essays reflect their current work.

The first essay explores the roots of Effort-Shape in Laban's early writings, while the second examines the theory in terms of its logic and consistency for scientific investigation.  The other two essays describe particular applications of Effort-Shape: one in movement training and re-training, and the other in cross-cultural movement research (choreometrics)."

To view the book online or download it:

https://drive.google.com/file/d/0B8Q3wiYtY7OCakM4TFQ3QTdXRUU/view?usp=sharing







Monday, March 8, 2021

Jazz Collections

 Submitted by Mei-Chen Lu -- March 8, 2021

Jazz Collection

  • Exercises and Jazz Combinations by Walter Nicks (1963). Notated by Muriel Topaz and Allan Miles.
  • Introduction to Modern Jazz by Peter Gennaro (1961). Notated by Jennifer Scanlon and Billie Mahoney.
  • Modern Jazz Combinations by Billie Mahoney (1963). Notated by Muriel Topaz and Allan Miles.
  • The Twist by Chubby Checker (1962). Notated by Allan Miles, Carl Wolz, and Billie Mahoney.

    Lyric Jazz Dances by Rose Lorenz, no date (1980s?):

    • True Love.
    • Frankie and Johnny.
    • Alley Cat.
    • Sophisticated Swing.
    • Golden Slippers.
    • The Hustle.
    • Taurus.
    • Ring Dem Bells.

    Modern Jazz New York Notation by Svea Becker and Laurie Winn (1975-1981). Edited by Ray Cook (1983)
    • Foreword
    • A Definition of Modern Jazz Dance
    • Footnotes and Music
    • Glossary
    • Jazz Terms
    • Notated Combinations
    • Index of Labanotation Terminology

    Variations on a Jazz Technique by Alvin Ailey (1965): 
    • Head Exercises. Notated by Ray Cook.
    • Chest and Shoulder Exercises. Notated by Ray Cook.
    • Short Movement Phrases. Notated by Ray Cook.
    • Dance Phrase from "Rocka My Soul". Notated by Ray Cook.
    • Dance Phrase from "Chain Gang". Notated by Ray Cook.
    • Lindy Phrase from "Blues Suite". Notated by Ray Cook.
    • Introduction to Tap Dancing by Paul Draper (1961). Notated by Ray Cook, Billie Mahoney, Lucy Venable, and Carl Wolz.
    • Introduction to Modern Jazz by Peter Gennaro (1961). Notated by Jennifer Scanlon and Billie Mahoney.
    • Modern Jazz Combinations by Billie Mahoney (1963). Notated by Muriel Topaz and Allan Miles.
    • Exercises and Jazz Combinations by Walter Nicks (1963). Notated by Muriel Topaz and Allan Miles.