Laban Movement
Christine Dugan
Sheila Buttermore
LMA Research Project Inner vs. Outer Connetivity
Laban movement analysis is the language of dance and is considered to be sacred geometry that uses five crystallized forms that calculate movement and offers equations through symbols to make sense of everyday movement . By using laban motifs/symbols in an equation, the end product is almost always a dance or a deliberate movement sequence. The ability to use the laban system has made me aware of how I both observe and understand dancing in every sense of the word and idea of movement as I study as a performing arts major at Raritan Valley. The concept of inner vs. outer connectivity is what intrigues me the most so far out of they many interesting facts and ideas taught and spoken about within this semester taking into account that we were exposed to was only the tip of a giant ice berg that is LMA and all that it offers. The simple concept of thinking about, and emotionally feeling a movement and where that movement is intended to go through space before actually moving it is something I feel that I have been knowingly over analyzing in all of my years of dancing both in and out of class. Learning about inner vs. outer connectivity brought an awareness and a validity to my understanding of dance along with developing my ability to put inner states into outer expressions. In order to portray a specific emotion or gesture through movement, one must consider their Spatial Intent. “Spatial Intent is a clarity and specificity of outer destination in movement that has the effect of promoting and organizing inner connectivity”(1) For example, to execute a movement with a heavy intent such as stomping your feet on the ground, thinking of a heavy mass or emotion will allow that stomping to be perceived as an undeniably heavy, weighed action. When dancers have not been introduced to laban’s inner and outer connectivity concept, they are only achieving the
Sheila Buttermore
LMA Research Project Inner vs. Outer Connetivity
Laban movement analysis is the language of dance and is considered to be sacred geometry that uses five crystallized forms that calculate movement and offers equations through symbols to make sense of everyday movement . By using laban motifs/symbols in an equation, the end product is almost always a dance or a deliberate movement sequence. The ability to use the laban system has made me aware of how I both observe and understand dancing in every sense of the word and idea of movement as I study as a performing arts major at Raritan Valley. The concept of inner vs. outer connectivity is what intrigues me the most so far out of they many interesting facts and ideas taught and spoken about within this semester taking into account that we were exposed to was only the tip of a giant ice berg that is LMA and all that it offers. The simple concept of thinking about, and emotionally feeling a movement and where that movement is intended to go through space before actually moving it is something I feel that I have been knowingly over analyzing in all of my years of dancing both in and out of class. Learning about inner vs. outer connectivity brought an awareness and a validity to my understanding of dance along with developing my ability to put inner states into outer expressions. In order to portray a specific emotion or gesture through movement, one must consider their Spatial Intent. “Spatial Intent is a clarity and specificity of outer destination in movement that has the effect of promoting and organizing inner connectivity”(1) For example, to execute a movement with a heavy intent such as stomping your feet on the ground, thinking of a heavy mass or emotion will allow that stomping to be perceived as an undeniably heavy, weighed action. When dancers have not been introduced to laban’s inner and outer connectivity concept, they are only achieving the