Twenty-five lessons by Dr. Moshe Feldenkrais [2nd rev ed.]

Citation preview

Eshkol=Wachman Movement Notation

">::~t~:.'fWENTY-FIVE LESSONS BY DR MOSHE FELDENKRAIS Noa Eshkol

TWENTY-FIVE LESSONS BY DR MOSHE FELDENKRAI S

I

Eshkol-Wachman Movement Notation

TWENTY-FIVE LESSONS BY DR MOSHE FELDENKRAIS

Noa Eshkol

Second and Entirely Revised Edition

Published by THE MOVEMENT NOTATION SOCIETY, Israel for the RESEARCH CENTRE FOR MOVEMENT NOTATION FACULTY OF FINE ARTS TEL A VIV UNIVERSITY

Published with the aid of The National Council for Culture and Art Ministry of Education

© 1976 by The Movement Notation Society 75 Arlozorov Street, Halon 58327, Israel All rights reserved No part of this book may be copied or reproduced in any manner whatsoever without the written authorization of the copyright owners, except in the case of brief quotations for review purposes. The score was prepai ed for reproduction by: Ruth Sella

Shmuel Seidel

Tirza Sapir

Racheli Nul

Noa Kiryati

Osnat Bone

Book design: John G. Harries Typesetting by Technosdar, Tel Aviv Printed in Israel by I. Melimewkier, Tel Aviv

V

CONTENTS Page Preface to the Second Edition

vii . viii . ix

Preface to the First Edition ........................................................................ Introduction by Dr Moshe Feldenkrais ................................................................

I

PRINCIPLES OF MOVEMENT NOTATION I. Body and Manuscript Page ....................................................................................................................................... Parts of the body - Spaces assigned to them

.

2

2. The System of Reference ........................................................................................................................................... Horizontal plane - Positions - Scale - Vertical plane

.

3

3. The Individual Systems of Reference ....................................................................................................................... The System of Reference - A single idea and its multiplicity

.

6

4. Zero Position ........................................................................................................................................................... Ultimate physical position of reference - The symbol [OJ

.

7

5. Base of the Body, Law of Light and Heavy Limbs, Positions ................................................................................... Use of positions in analysis - The interrelation of limbs - Defining a position - Base of the body

.

7

6. Axis of Movement, Angle of Movement, Type of Movement ................................................................................... . The circle the simplest path - Axis of movement - Defining its position - Types of movement - Orientation Sense - Amount - Plane movement - Horizontal, Vertical, Intermediate, Undefined planes - Conical movementRotary movement

9

7. Former Method of Writing Plane Movement Alternative usage of the symbols

13

8. A Note on Sense of Movement ................................................................................................................................ A difficulty identified and defined

14

9. Notation According to the Axis of Movement ............................................................................................................ Types of movement equivalent to angles between axis of limb and axis of movement - Utilizing this fact in writing

15

10. Movement and the Law of Light and Heavy Limbs .................................................................................................... Moving limbs, active and carried - Simultaneous movement - Tfze hierarchy: heavy-to-light

16

11. Front - Rotated State - Circular Path .................................................................................................................... Front: a triple relation - Rotation of the whole body - Rotated state: the 'front' concept applied to individual limbs - Transport in circular paths

18

12. Bodywise Analysis and Writing .. .. .. .. .. ... . .... .. .. . .... ......... ...... .. .. .. .. .... .. ... . .. .. .. .. .......... ...... .. ..... ........ ......... .. .. .. ...... ... . .... Notation in relation to the limb's heavy neighbour - Four examples - Bodywise rotated states - Zero position is 'bodywise'

19

13. Topographical Positions ......................................................................................................... ,.................................. Points on the surface of the body - Limbs mapped into spheres - Topographical positions of the foot - Sides of the foot

21

14. Contact, Opposition ................................................................................................................................................ Contact with the ground - Release - Contact between parts of the body - with other objects - of extreme tips without weight - Holding - Eye 'contact' - Loose contact - Paired members - Opposition

23

15. Weight........................................................................................................................................................................ Shift of weight - Equal distribution - Jump - Half-jump - Fall - Rolling on the floor - Somersaults

25

vi

16. Time Time units - Bar. lines - Varying the value of the, time unit - An alternative method - Starting position Reverse - Repetition - Symmetry - Partial Repeat

26

17. Simultaneous Movement - Light and Heavy Limbs - Fixation ................................................................................ Interdependence of moving limbs - Carrying and carried limbs - A limb's movement modified by movements of heavier limbs - Fixation of a position - of movement - Simultaneous movements written with a single symbol

29

18. Conventions, Abbreviations and Special Cases ................................ ............................................................................ Kinetic link rotation - Symmetry - Passive - Contraction/extension - Amounts of movement - Legs: walking Flexion in Kinetic Links - Simulated conical movement - Key signatures

31

TWENTY-FIVE LESSONS BY DR MOSHE FELDENKRAIS

35

.................................................

General Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 7 Group Group Group Group

I (Lesson I - 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 II (Lessons 5 - 7) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 III (Lessons 8 - I 0) .......................................................................... 77 IV (Lessons 11 - 13) ......................................................................... 88

Group Group Group Group

V (Lessons 14 - 16) ......................................................................... 107 VI (Lessons 17 - 19) ............ , ............................................................ 119 VII (Lessons 20 - 21 ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 VIII (Lessons 22 - 25) ........................................................................ 145

vii

PREFACE TO THE SECOND EDITION These lessons are well worth study in every discipline in which the main subject is movement of the human body. They are elementary and basic in the best and most positive sense of the words. It is therefore a great pleasure to have the opportunity of preparing a new edition of "Twenty-five Lessons by Dr Moshe Feldenkrais". The differences between this revised version and its predecessors serve to demonstrate my contention that the day when we merely reprint one of our publications without change, will mark the end of creative work on EW Movement Notation. The concrete physical content of the book consists of the same 25 lessons given in the original work; but in fact this is an entirely new book, for the following reasons:

1. The explanation ot the pnnciples of EW Movement Notation which precedes the lessons has been completely rewritten since the appearance of the previous version, so as to incorporate many usages and refinements of the method accumulated over the years. 2. This is the first time that the notation of movement material has been worked upon by such a large number of people. The procedure of work on this edition may be summarised as follows: The material was distributed among the 1972 graduates of my Movement Course at Seminar Hakibbutzim Teachers' Training College, who have since become a homogeneous team working as part of the Movement Notation Society. Each read one or more lessons, and physically presented the material to the other members of the team, together with his ideas, proposals and reading problems. In the light of these experiments, and taking account of the logic of the suggestions made, all of the lessons were rewritten and a comparison made between the original directions given verbally by Dr Feldenkrais and recorded on tape; the notation of the first edition (first drafts as well as final versions); and the new notation. This manner of work made possible the improvement of the scores, and the achievement thereby of a more precise expression of the physical content of the lessons. 3. The order of the lessons has been changed, and the scores are this time divided into eight groups. Each group is prefaced and followed by an explanation of specific usages of the notation method, and in this way the value of the book is enhanced as a text for those studying Movement Notation, and also inasmuch as the nature of the lessons is further clarified. N.E. September 1976

viii

PREF ACE TO THE FIRST EDITION

The twenty-five lessons notated for this book were given by Dr. Moshe Feldenkrais at the School of Movement which I direct within the framework of the Seminar Hakibbutzim Teachers' Training College in Tel Aviv. This is the only institution in Israel which provides the possibility of an experimental school with the proclaimed goal of training people to awareness of movement and of the body, in a three-year course untramelled with the paraphenalia of marking systems, examinations and diplomas. This means that the student is not obliged to decide upon his ultimate aim before he really knows what movement is. This essentially humanistic approach takes into account that people, however drawn to the field of movement, do not necessarily know exactly what they hope to gain from or contribute to that field; this is directly opposed to the stand of the 'academic' institution which demands that the student should decide upon his ultimate profession at the very outset. The economic and social profits of this approach, to student and to teacher, are not calculable; the moral obligations involved are however, certainly very great. The fact that this non-calculating and indeed non-commercial approach was made possible by the training college for teachers of the kibbutzim is clearly not a matter of mere chance. I first met Dr. Moshe Feldenkrais at a time when I was disappointed with conventional dance training and its esthetic dictates, which seemed so arbitrary and so unphysical. I had started to work on a discipline of movement derived from laws of the body and of space; both by his ideas of re-education of the body, and by his personal example he gave me the necessary confidence and help to continue these first steps in a new direction. Apart from the fact that these are the lessons of Dr. Feldenkrais, my interest in recording them in Eshkol-Wachmann Movement Notation was in testing the ability of the notation to cope with the physical subtleties which characterise the work. Each lesson was recorded exactly as given, without any alteration of order etc., and includes every variation however slight. It is thus a faithful documentary record of the original lessons. Each lesson lasted between 50 and 60 minutes, so that the whole represents some 20 hours of physical work. N.E. 19 71

ix

INTRODUCTION

It is a great satisfaction to me to have some of my lessons published in Eshkol-Wachmann Movement Notation, and this on two counts: (I) The Notation shows movement in the same way as a musical score shows something of the structure of music that is very hard to perceive without the score. (2) Noa Eshkol was formerly a pupil of mine; but in fact she has used what she learned from me in such an original, novel and personal way that I pride myself on what she acquired from me. Movement is organically linked with life so that we grow practically unaware of the long and thorough apprenticeship we have gone through to be able to move as clumsily and as efficiently as so many of us do. As regards the visual form of our movement the position is even less satisfactory. Efficient movement is pleasant to the eye, but more movements are possible than we need use to satisfy our needs. The movements that are not essential to the maintenance of life per se are, however, essential to our harmonious functioning. We need them not only for expressing ourselves but for the equilibrium of our psychic-somatic functioning. Efficient, vitally necessary movements are moulded to a high degree of perfection through the purpose which evokes them, but the form and quality of non-purposeful movements need some abstract principles to give them a quality of form equal to the purposeful movements. The notation of movement as seen by Eshkol and Wachmann gives an intrinsic principle for movements. They use the structure of our skeleton in which the principle joints work so that a polar representation and not an axial cartesian one represents their configuration almost as clearly as we see them, but more precisely. The polar representation shifts the origin of movements to the body itself instead of to some arbitrary point in a space (such as a stage) chosen as an origin of a three-axial system of reference. In the latter, movements of a body can usefully be written down when the body is replaced by a point such as its centre of gravity or any other chosen point. In polar notation one can see the movements with a little practice, as one sees the angles formed by the principle joints of the body, independently of its situation on the stage or in space in general. An important consequence is that one is brought to educate even the smaller joints which are normally not appreciated, with the same care as the others. In the notation they are to be marked and written, and thereby acquire equal rights. The training of the body is improved in details of feet, ankles, eyes, fingers, to the full richness of their possibilities as part of the body, and not as an occasional necessity to satisfy the musical rhythm or similar considerations. Training a body to perfect all the possible forms and configurations of its members changes not only the strength and flexibility of the skeleton and muscles, but makes a profound change in the self-image and the quality of direction of the self. It is in this context that Noa Eshkol has benefited from my teaching, and my way of teaching. *

*

*

Movement is the best clue to the activity of the nervous system. Spasticity tremors, all varieties of paralysis, ataxia, impeded speech and poor muscular control in general, indicate injury or derangement of function of the brain stem or other parts of the nervous system. There is no means of making somebody do any movement whatsoever unless by one means or another we induce his nervous system to send the impulses that will contract the necessary muscles in the right patterns or assemblies and the right sequences in time. Movement or its absence show the state of the nervous system, its hereditary endowment and its degree of development. When born, we can do very little voluntary movement besides crying and contracting all the flexors in an undifferentiated global effort. We learn by experience to roll, to crawl, to sit up, to walk, to speak, to run, to jump, to balance, rotate and do whatever we are capable of performing as adults. Our consciousness becomes gradually adjusted to our surrounding environment in all its varieties. The first contacts with the outside world are through the skin and mouth. Later we learn to use our members separately and regulate them through seeing them. The major problem is differentiation of movements. Thus the ring finger will remain clumsy unless we play an instrument or make a special point of learning to move it at will. We end up by bringing the all-or-none response of the primitive muscular contraction to a more or less perfectly differentiated voluntary activity. We come to this so to speak naturally, i.e. without awareness of the process involved, nor of the state or degree of perfection achieved in our apprenticeship - provided, of course,

-x

that we are not grossly lacking in our achievement as compared with others. There must be a real impediment to make us aware of something wrong. The majority of us achieve a happy-go-lucky mediocrity, just enough to make us one of the many. My system or technique of bringing about better maturation of our nervous system uses the reversibility relationship of our muscular and nervous systems. Both the nervous system and the muscles have evolved in the gravitational field, which sets the standard both for the development and apprenticeship of each individual, and also for the species on the evolutionary level. The extraordinary development of the frontal lobes (the supralimbic system in general) in man, shows that the functioning of these is an evolutionary improvement and helps towards the survival of the fittest. This new development of the human brain is by and large becoming effective through its growth after birth and is thus being directed and moulded through personal individual experience. The result is an extraordinary opportunity, given to no other animal, to build up a body of learned responses, and also makes him vulnera.ble because of the dangers of going wrong. Other animals have their responses to most stimuli 'wired into' their nervous systems in the form of instinctive patterns of action and go wrong more rarely. We go wrong more easily than any other creature and - what is even more aggravating - we have little opportunity of becoming aware of where we went wrong, as we are the learner and the judge at the same time; and our judgement depends upon, and is limited to, our learning achievements. It is .almost obvious from our analysis, that to improve we have to better our judgement. But this is back where we started, as judgement is the result of learning, which, being adults, we completed long ago. To break this vicious circle, we use the basic quality of the supralimbic part of our brain, which is able to sense and abstract and often even express in words the 'goings on' in our bodies. On reducing all stimuli to their bare minimum we also reduce to their absolute lowest value any change in our muscular system anc;I senses, in general. (This is the Fechner-Weber law in practice.) We thus increase our sensitivity to its maximum and can therefore distinguish the finer details that were beyond us and escaped our notice even when we tried. We are like a person who has suffered from colour blindness and could not see any difference between red and green, to whom the ability to differentiate has been restored. Once the ability to differentiate is improved, the details of the self or the surroundings can be sensed and the rest is only a question of experience, practice, time and attention. As we become aware of what we are doing in fact, and not what we say or think we are doing, the way to improvement is wide open to us. The correction of the deviations discovered is a problem in itself. But in general, the wired-in tendency to optimal conditions takes care of that to a certain extent. To begin with, the lessons are in the lying position, prone or supine, to facilitate the breaking down of habitual muscular patterns. The habitual pressures on the sole of the feet and the ensuing configuration of the skeletal joints are suppressed, and the nervous system does not receive the habitual afferent stimuli due to gravitation and the efferent impulses are not linked into the habitual patterns. After the lessons, on returning to receive the habitual stimuli, one is surprised to discover a changed response to them. To facilitate such a result, the lessons should be done as slowly as possible, and as pleasantly as possible, with no strain or pain whatsoever; the main object is not training in what one knows, but to discover unknown new reactions in oneself and thereby learn a better, more congenial way of acting. The lightness of the movements should be a major concern so that after 15 or 20 repetitions the initial effort should drop to practically nothing more than the thought of it. This produces the maximum sensitivity in the person and enables him to detect the minute changes in the efferent tonus and the change in alignment of the different parts of the body. In the end one should improve to the point where one feels that one's body is hanging lightly from the head, so that the feet do not stamp on the ground, and the body glides when moving. The head, carrying all the teleceptors - the eyes, ears, nostrils and mouth - which turns right and left in almost every movement of the attention to changes in the space around us, should in the end turn with a smoothness unequalled by the most perfect man-made mechanism. Of all the teleceptors the eyes can also move relatively to the head, and their movement in the direction of the head's rotation or the opposite to it, should be gliding and easy if the head is to move as it should. Such training is equal to none as a preparation to the kind of dancing taught by Noa Eshkol, which is part and parcel of Eshkol-Wachmann Movement Notation. M. FELDENKRAIS 49 Nachmani Street Tel Aviv, Israel.

PRINCIPLES OF MOVEMENT NOTATION

2

1.

BODY AND MANUSCRIPT PAGE

Movement Notation is designed to express the relations and changes of relation between the parts of the body. A part of the body is any limb which either lies between two joints or has a joint and a free extremity. The limbs are imagined as straight lines; that is, in the analysis of movement we deal with their longitudinal axes.

LA

H F.a U.a Sh

I

I

I I

RA

RL

' I

N

Ch Plv Th LI.

Ft LL

I

I I

I

I

I I

I I

I

'

J.

I

LEFT ARM

HAND FOREARM UPPER ARM SHOULDER

RIGHT ARM

HEAD NECK CHEST PELVIS

UPPER BODY

THIGH LOWER LEG FOOT

RIGHT LEG

THIGH LOWER LEG FOOT

LEFT LEG

\

I

I

Hd UB

I

'

r.=

HAND FOREARM UPPER ARM SHOULDER

I

A Typical Manuscript Page and the Longitudinal Axes of the Limbs

A horizontally ruled page represents the body. The spaces between the lines are assigned to the separate parts of the body, and the lines represent the joints. The movement symbols are written in the order in which the movements occur, in the spaces of the appropriate limbs. The parts are grouped in accordance with the way they are grouped in the body itself. The distribution of the groups on the page, however, is somewhat arbitrary; this is because of the demands imposed by the mapping into two dimensions of a three-dimensional bilaterally symmetrical structure. Vertical lines divide the system into columns representing units of time; this is explained in Section 16.

3

2.

THE SYSTEM OF REFERENCE

The events which Movement Notation is designed to express are the relations and changes of relation between the parts of the body - an organism which can be treated as a system of articulated axes (the loneitudinal axes of the parts). Consider a single axis free to move in any way about one of its ends, which remains fixed; because of the fixed position of this end and the constant length of the moving axis, all of its movements will be enclosed by an imaginary sphere. The free end of the axis will always describe a curved path on the surface of this imaginary sphere. Typically, these curves will be circles or parts of circles, of various sizes and oriented in various ways relative to the sphere and to the origin (the fixed end of the axis, which is the centre of the sphere). The totality of all possible paths of movement of the axis is a sphere centred on the origin. The system of reference for the parts of the system of axes by which the body is represented is therefore a sphere. The system of axes and the spherical system of reference are of course both abstract and imaginary. By means of this abstraction we are able t6 express the movements of the actual physical moving human body, or any system amenable to treatment as a system of linked axes. The orientation of positions and movements of the axis is achieved by relating them, in the firs! place, to the equatorial plane of the sphere of movement. This plane is parallel to the ground, and will be called the horizontal plane. One direction on the horizontal plane is selected as the starting position for all measurements. This direction is called 'zero on the horizontal plane' and is the direction 'towards the observer'.

2. Horizontal Plane of ihe System of Reference

Other positions on the horizontal plane can now be defined in relation to this 'zero'. A unit of measurement is decided upon - say 45°. By measuring off intervals of 45 degrees, eight positions (lines or directions) are obtained on the horizontal plane. (See figure.) These are numbered in the clockwise direction, looking down on the plane from above. The unit is briefly stated by writing I = 45°. Any scale may be used: I = 90°, 1 = 30°, 1 = 5°, I = I O or any other, depending upon the movements to be recorded within the particular manuscript. The division of the horizontal plane is sufficient for the definition of the position of the axis of the limb so long as it is in the horizontal plane, as for example most of the limbs when the body is lying on the floor. But any other position in the sphere requires the definition of its vertical component as well. A vertical plane is established so as to coincide with each pair of complementary directions on the horizontal plane; for example, with the two directions O and 4. This vertical plane can be

4 4

2

referred to either as vertical plane (0) or as vertical plane (4 ). It is usually divided according to the same scale as the horizontal plane. Zero on a vertical plane is vertically downward, and other positions are counted upward in the direction of the position on the horizontal plane by which the vertical plane is identified. Thus, supposing that< the vertical plane shown in Figure 3 is treated as vertical plane (0), then the numbers of the eight positions on it are allocated beginning in ascending order in that plane (and continued downward on the other side). The erection of four such vertical planes on the basis of the division of the horizontal plane completes the system of reference. Any position of the moving axis (pivoted at the centre of its sphere of movement) can now be defined by stating (i) the horizontal component - the number of the vertical plane on which it lies; and (ii) the vertical component - a number indicating its degree on the vertical plane. The two numbers are written in parentheses, the vertical component above and the horizontal component below - for example (6); see Figure 6.

0

3.

A Vertical Plane, in Scale 1=45°

4. Horizontal Plane and Vertical Planes in Scale 1=45°

5. The Positions in Scale 1=45°

5

The vertically upward and downward positions are common to all of the vertical planes, and have the vertical component (4) and (0) respectively. With the scale 1 = 45°, twenty-six positions are expressible. If the scale is made smaller, the number of positions in the system of reference increases. For instance, in the scale 1 = 30°, the system of reference contains 62 positions. A body of more than one moving axis involves further considerations, and these will be gone into below.

6. The System of Reference with Scale 1=45°

6

3.

THE INDIVIDUAL SYSTEMS OF REFERENCE

The positions and movements of each individual part of the body are related to a system of reference centred upon the joint about which the part moves. The concept of system of reference is a single idea, but its application to the physical body is multiple. It is of the utmost importance to avoid thinking of a single system, a kind of spherical capsule within which the body stands and to which the movements of its parts are related. The use of the method requires the mental act of imagining any and every joint as the centre of a spherical system of reference. The longitudinal axis of the limb determines the size of this sphere, of which it is the radius. The extent to which the limbs can actually be made to attain the positions definable by means of the system of reference depends upon the anatomical structure of their joints.

(0)

7. Individual Systems of Reference (indicated by Horizontal Planes and Vertical Axes) When a limb is carried by the movement of another part of the body - as the forearm is carried by any movement of the upper arm, for example - its system of reference is considered to be moving together with it. In other words, its centre is at all times the joint about which it moves (the elbow, in this example). Its horizontal plane remains horizontal, and its vertical planes vertical. Furthermore, the direction (0) on the horizontal plane remains parallel to the direction selected for (0) at the outset. Therefore, all other directions on the horizontal plane also remain parallel to their original directions, whatever displacement of the centre of the system takes place. In short, the system of reference of each limb changes its location with movements of a limb which carries it, but not its orientation.

7

4.

ZERO POSITION

Zero position is the name which has been given to normal standing position with the feet parallel, the arms at the sides of the body and the palms of the hands facing inward (unlike the so-called 'anatomical position'). Only the shoulders and the feet are in positions other than vertical; all other parts of the body are either in positio'! (6) or (8). This has been chaser as the basic position to which all positions and movements are ultimately referred, because it is a 'neutral' state of highly unstable equilibrium. The forward surfaces of all the limbs face in direction (0) of the horizontal plane. The symbol for zero position is [0].

8. A Position Defined by Means of the System of Reference

5.

BASE OF THE BODY, LAW OF LIGHT AND HEAVY LIMBS, POSITIONS

So long as there is life, there is in fact no such thing as a position. The states of the body referred to as positions, which occur during a process of movement, are in fact points of reference for description - 'milestones' on the path of movement. It is no doubt humanly impossible to avoid them in describing and perceiving movement. But this does not justify the opposition of movements and positions as contrary and mutually exclusive entities - 'static vs. dynamic'. It can validly be argued that an infinity of successive positions is equivalent to a movement; but this is precisely a reason for regarding them as two aspects of the same phenomenon. The apparent paradox presented by the identity of position and movement is the result of a false and literal-minded dichotomy. As elements in the analysis of movement, defined positions have a useful function so long as they are understood as an integral part of the total phenomenon. Conspicuous examples are zero position (see preceding section), to

8

which all movements are ultimately related; the starting position with which a sequence of movement begins (separated from the rest of the score by a double bar-line); or the position with which the work ends. In the analysis of movements and positions, the limbs of the body are divided into two related groups, termed light and heavy. A limb is called 'heavy' if a change in its position causes a change in the positions of other limbs. It is 'light' if it is carried into a new position as the result of any change of position of another limb. Note that the terms light and heavy, coined to denote this interrelation between the limbs, do not refer to their ~ctual weight, but are figurative. The phenomenon itself, however, is a real and inescapable property of the human body. The position of a limb is defined by identifying the line (coordinate) in the system of reference to which the axis of the limb corresponds. The centre of the individual system of reference is made to coincide with the articulation of the limb with its heavy neighbour. Any limb which is in contact with the ground and carries the weight of the body is the base of the body. The direction of its longitudinal axis is determined from the (anatomically) proximal to the distal end. Thus, if the feet are the base, their positions are determined 'from heel to toes' - the heel corresponding to the centre of the system of reference. When the lower legs form the base of the body in kneeling position, their positions are established from knee to foot. The thigh is then the heaviest limb, being closest to the base, and its position is read as from knee to hip joint. Note that this means, in the second of the following illustrated examples, that the thighs and lower legs are in the same position - because the latter serve as the base.

(cf. page 23)

9. Positions of limbs Serving as Base

9

6.

AXIS OF MOVEMENT, ANGLE OF MOVEMENT, TYPE OF MOVEMENT

The visual phenomena expressed in Movement Notation are the relations and changes of relation between the parts of the body. These relations are called positions; changes of relation are called movements. In the foregoing section positions were defined by identifying them with the coordinates of the system of reference. The movements of limbs are also ,defined, oriented and measured in relation to this system of reference. (Movements could in fact be analysed into successions of positions. But it is both simpler and more consonant with our usual modes of perception to treat movements in their totality as paths and not as discrete positions, however closely placed). The simplest path a moving limb can describe is circular. The extremity of the limb describes a circle; an imaginary line passing through the centre of any such circle and perpendicular to the plane of the circle, is said to be the axis about which the limb moves. This axis of movement originates at the joint about which the limb pivots. Since the axis of movement originates at the joint of the moving limb, its position can be defined according to the system of reference, centred upon that joint. From any given position, a limb can move about any defined axis of movement. The type of movement is determined by the angular relation between the axis of movement and the position of the axis of the limb at the beginning of the movement. The angle between the two axes establishes the shape of the path of movement and its size. By varying the angle between the two axes, a continuous scale of different surfaces is obtained. When the angle of movement is 90 degrees, the surface which results is a plane, and the movement is called plane movement. In the case where the angle between the axes is zero (i.e., they coincide), no surface is created by movement of the axis of the limb, which simply rotates about itself. This is referred to as rotatory movement. Between these two extremes of 90 degrees and zero degrees lie all the other possible angular relationships of axis of limb to axis of movement. All of these result in paths of movement of conical shape, but of different sizes. This type of movement is called conical movement. In the explanations which follow, these three types of movement are taken as the basis of writing. In writing any movement, it will be necessary to indicate: (i) Type of movement: Plane, Conical or Rotatory. (ii) Spatial orientation: where the path of movement lies relative to the system of reference. (iii) Sense: positive or negative ('clockwise or counterclockwise'). (iv) Amount of movement (the size of the arc).

---+---•

JO. Plane Movement

Plane Movement In plane movement the angle between the axis of movement and the axis of the limb is 90 degrees. The path of the movement then has the form of a plane surface. The extremity of the limb traces the largest circle which can be drawn on the surface of a sphere - a 'great circle'.

__ Axis of Movement

10

11.

The Horizontal Plane

Three classes of plane movement are distinguished: (i) Horizontal plane movement, in which a limb moves parallel to the horizontal plane of the system of reference; (ii) Vertical plane movement, in which the limb moves in any plane perpendicular to the Horizontal plane; and (iii) Intermediate plane movement, in which the limb moves in any plane which is neither vertical nor horizontal. The form of the compound symbol indicates the class of plane movement. The symbol for horizontal plane movement is a horizontal arrow, with the amount of movement given as a number above. This angular measure expresses the size of the path of movement as the number of unit divisions through which the limb passes on the plane - the part of a circle described by the limb. The direction of movement is established in relation to the order of the numbers designating the division of the plane. Movement in the direction on the plane in which the numbers increase in value is called movement in the positive sense; the direction in which they decrease is called negative. In the horizontal plane, positive sense is thus seen as clockwise when the plane is viewed from above, looking downwards. Positive sense is shown by an arrow pointing to the right, negative sense is shown by an arrow pointing to the left. Thus a horizontal plane movement of 135 degrees in positive sense is written.land a movement of the same amount in negative sense is written 3 . Note that there is only one horizontal plane because only one great circle is horizontal - the equator of the sphere. +· Arrows pointing upward and downward on the manuscript system, without specification of plane, are used when a more vague directive is required. These signs parallel verbal commands to 'raise' or 'lower' a limb, and signify movements in which the overnll shift is in the shortest path from (8) to (6) - 'up' in terms of the familiar 'everday' space - or the contrary tendency, 'down'. Horizontal arrows, pointing to right or left, si5nify horizontal shifts to right or left. Vertical plane movement is written in a similar way, except that a number in parentheses specifies the vertical plane in which the limb moves; this is necessary because the system of reference contains more than one such plane - the number depending upon the scale. In the scale of I= 45° there are eight; thus, in this scale, ( 3 ) 4 indicates a movement in positive sense, in the vertical plane which intersects with the horizontal plane at (3). The amount of movement (four units in this example) is given without parentheses. Sense of movement is in the direction of numbers of increasing value (positive), or of decreasing value (negative). Positive sense in a vertical plane is therefore the direction away from (8), rising towards the division on the horizontal plane by which the vertical plane is identified, and the continuation of this direction, descending on the other side. Negative sense is the contrary direction. Intermediate plane movement is movement in any of the countless planes which are neither vertical nor horizontal. The plane is defined by means of the starting position of the movement taken together with the next position in the path of movement which is identifiable in the system of reference. Two intersecting lines are sufficient to define any plane, and these two positions provide two such lines. The starting position is known, and the second position is written above the arrow, thus: d) . If no further indication is given, the movement continues until the given position is reached. If the movement is to ➔ continue beyond the given position, the amount is expressed as amount of movement on the intermediate plane, by a number without parentheses: s and the like. The sense of movement is written by giving the direction of the horizontal shift only, as projected on the horizontal plane. A limb can move in an intermediate plane from any position excepting the vertically upward or downward positions. From these, the only type of plane movement that can be performed is vertical plane movement. ➔

12. A Vertical Plane

n) ➔

Conical Movement

13. An Intermediate Plane

Conical movement is movement in which the angle of movement is greater than zero and less than 90 degrees, so that the resulting path .has a conical shape. The symbol for conical movement is A (positive) or v (negative). The cone may be oriented so that the base of the cone is either horizontal, or so that it is at any other angle. The base may be circular or elliptical. These different kinds of conical movement are reflected in the form of the compound symbol. The size and location of a cone traced by a moving limb are defined by means of the diameter of the base of the cone. One end of the diameter is established by the extremity of the limb in its position at the beginning of the movement. This position is known. The other end of the diameter is expressed by means of a position which is (with certain exceptions) given

11

A d)

B

14. Conical Movement

15. Conical Movement: Size, Location, and Sense

as part of the movement sign. For example, a conical movement beginning at A in the figure would have a diameter one end of which is the starting position (~). The other end of the diameter of the cone in the figure is at B, which would be written in the movement sign as position (~) . The·amount of movement - the angular measure of the part of a circle described by a point on the axis of the limb - is given as the number of unit divisions passed through by the limb in its movement. This amount is written at the right side of the movement symbol - for example, would signify a conical movement in which the limb completed half of a cone-shaped path (assuming the scale I = 45°). In conical movement the sense of movement is determined by looking from the apex towards the base (outward along the limb). Movement then seen as clockwise is positive, and movement seen as counterclockwise is negative. (See figure). The symbol for conical movement in positive sense is A and in negative sense v. The position required for the identification of the diameter of the cone is written within this symbol: When the base of the cone is horizontal (and the axis of movement vertical) no position is given within the movement symbol. This can be done because, from any given (or known) starting position, it is possible to produce one cone and one only which has a horizontal base. In these cases the amount of movement is written within the symbol. For example, is a conical movement with horizontal base, passing through two unit intervals. A conical movement may produce a conical path with a base which is not circular, but elliptical. In this case, two positions are given. The first defines one diameter of the base according to the principle explained above. This is one axis of the elliptical base - either the major or the minor axis. The second position given is that which determines one end of the diameter the movement .,...___ at the other axis - the minor axis if the first was major, and vice versa. Thus from position c is an elliptical conical movement with a horizontal major axis. It is 'shallower' at the vertical axis than the circular conical movement by two-thirds of a unit.

W4

J) .

'2'

5) n-)

a)

U')

12 Rotatory Movement

In rotatory movement the angle of movement is 0 degrees. The axis of the limb coincides with the axis of movement, and thus does not change its position in the system of reference. This appears paradoxical since change of relation to the system of reference was stated above to be movement. But change of relation to the adjacent limb was also said to be movement, and this condition holds in the case of rotatory movement. An example makes the point clear. The head may be maintained upright while turning from en face to profile. The position relative to the system of reference is unchanged; the axis of the head remains in ci) when I = 45° but the change of 90 degrees between the two states seen in relation to the rest of the body is indisputably a movement.

''

'

16. Rotatory Movement

The sense of movement is determined in relation to zero position. In zero position almost all of the limbs are in vertical position and rotatory movement in that position is performed about the vertical axis. Any rotation in a clockwise direction as seen from above is in the positive sense; rotation in the counterclockwise direction is in the negative sense. The symbol for rotatory movement in the positive sense is n and the symbol for rotatory movement in the negative sense is u . A special case of rotatory movement is that in which the whole body rotates about its longitudinal axis. This is dealt with in Section I I. Plane and conical movement cannot occur in the same limb at the same time. This is because a conical movement results when the angle of movement is Jess than 90 degrees, whereas plane movement results only when it is 90 degrees. Rotatory movement, however, can occur together with either of the other two types. This is because the axis of rotatory movement is within the limb itself, and it is thus possible for the limb to move about two axes - one external to the limb and one internal.

13 7. FORMER METHOD OF WRITING PLANE MOVEMENT

The method of writing plane movement explained in the preceding section constitutes the most concise and economical usage of the symbols. This usage differs from that practised formerly - i.e. from the method explained in Movement Notation publications previous to December 1975. The analysis underlying the two ways of writing is identical and the difference is entirely in the use of the symbols. The two are therefore not contradictory and the older method is perfectly intelligible. It is explained in the following paragraphs for the benefit of new students who may encounter older scores, including the present volume. Movement in the horizontal plane is indicated (in both ways of writing) by a horizontally placed arrow, with the amount of movement given as a number above; positive sense is shown by an arrow pointing to the right, netative sense by an arrow pointing to the left. Movement in a vertical plane is indicated by a vertical arrow on the manuscript page. A number in parentheses placed in front of the arrow specifies in which vertical plane the limb moves. Thus (3) t indicates a movement in the vertical plane which intersects with the horizontal plane of the system of reference at (3). In vertical plane movement, pcs:tive sense "issignified by an upward-pointing arrow and negative sense by an arrow pointing downward. The amount of movement is expressed, as in horizontal plane movement, in terms of units passed through by the axis of the limb as it moves. It is written as a number without parentheses, following the arrow. A positive movement through 90 degrees of plane (5) is written thus: (5) t 2. Movement in an intermediate plane is written in the older method in the same way as explained in the preceding section, except that a flighted arrow is used. An alternative way of writing was also employed when convenient, based on the fact that intennediate plane movement is composed of horizontal shift and vertical shift. Four combinations of sense are therefore possible: 1) Positive horizontal shift plus positive vertical shift; this is written with the diagonal arrow t 2) Positive horizontal shift plus negative vertical shift; written \, 3) Negative horizontal shift plus positive vertical shift; written '\ 4) Negative horizontal shift plus negative vertical shift; written ✓ The signs 1 '\i ./' '\ 1 T have been used in some scores with the same general meaning as the symbols t \, ✓ '\ (intermediate planes) and t ,I, (vertical planes), but without specification of amount of horizontal or vertical shift. Thus J meant some movement in which there was positive horizontal shift together with positive vertical shift. These signs have been replaced by the undefined-plane symbols explained in the previous section.

14 8.

A NOTE ON SENSE OF MOVEMENT

So long as the sense of movement is determined by looking downward on the horizontal plane, no difficulty is encountered. But when (say) the base of a cone is located above the head, it is physically less comfortable for a human being to look upwards, and it would seem that this is also reflected in a built-in reluctance to do so in the imagination. At least, the effort of doing so is evidently the cause of some perceptual inconvenience. If this difficulty is in fact inherent for the human organism, it cannot be avoided; but it will be easier to overcome if it is recognised and carefully defined. Wherever the limb, the axis of movement and the path of movement are situated, positive sense always leads from O to I 2 3 4 5 6 7; and negative is always the sense producing the order 7 6 5 4 3 2 1 0. Looking down on the horizontal plane, these senses will appear as clockwise and counterclockwise respectively. The circle of sense for movements in the upper part of the system of reference is in a manner of speaking reversed - but we must be clear what this manner is. Supposing that this circle of sense is taken above the head, departing from an initial orientation identical with that of the horizontal plane; the transference must be imagined as taking place so that we continue to look at it 'from the same side'. Note that this has quite a

4

0 V,

17. Sense of Movement conceived

-..J

°'

l

incorrectly (left) and Correctl.v (right)

4

7

6

5

different result from that of translation upward like that of a lift. (See the figure). The change of orientation is rather of the kind to be expected in an aeroplane when the earth seems to become situated above one's head. Indeed a passenger in an aeroplane or space craft might well lose his sense of 'up' and 'down', but is not likely to confuse movements to the left or right. Note that even when the circle of sense is transferred above the head, 1 2 and 3 are still on the right side - i.e. in the right hemisphere - and 5 6 and 7 on the left. Movement Notation is not based upon the subjective feelings provided directly by our senses. Its concepts are objective in the first place, and have an educative function in teaching us to be aware of inconsistencies in our body's feelings. It is then possible to adjust to the latter, or to explain them in terms of Movement Notation.

15 9.

NOTATION ACCORDING TO THE AXIS OF MOVEMENT

In introducing the types of movement, it was shown how each of them constitutes a certain range differentiated among the possible angles between the axis of the limb and the axis of movement. (See Section 6). It therefore follows that any movement could be written by stating the angle of movement and the sense - without invoking the types of movement at all. This would in fact be the case, were the human body to be a robot with universal joints. But the body is not like this. Furthermore, to write satisfactorily all of the movements which can be encompassed by a system of reference with 1 = 45°, would require a much finer coordinative network if notated according to the axis of movement. This raises problems of perception. _Nevertheless, cases do occur from time to time in which it is useful to employ this mode of writing. Therefore, given that the ability for making such finer distinctions can be acquired, there is excellent reason for utilizing the mode where it is suitable.

\ )

J8. Different Surfaces produced by Movement about the same Axis of Movement

The position of the axis of the limb at the beginning of the movement is always known. The position of the axis of movement is identified as a position in the system of reference. The angle of movement is thus obtained. The movement of the axis of the limb about the axis of movement is expressed by the rotatory movement symbol n (positive) or u (negative). This com bi nation of rotatory movement sign with a positional sign is used uniquely for notation according to the axis of movement. The amount of movement is written following the movement sign. r.. Example I: Using the scale 1 = 45°, the limb is established as being in position (l,) and the movement which follows is (~ ) 8 ; this means that the limb moves through 360 degrees (eight units) in positive sense, in a conical path about the axis of movement at the given position. (The base of the cone is vertical). r.. Example 2: From the same starting position (b) the movement (02 is a positive plane movement in plane (0), ending at position (5) . In rotatory movement, it is never necessary to give the position of the axis of movement, since this is by definition the same as the (known) position of the limb. Rotatory movement is therefore always written by means of the rotatory movement symbol and the amount of movement.

16 10.

MOVEMENT ANU THE LAW OF LIGHT AND HEAVY LIMBS

We characterise the limbs of the moving body as active or carried. An actively moving limb is called heavy, and its movements change the location and modify the paths of movement of any lighter limb which it carries. Note that the terms 'light' and 'heavy', coined to denote this interrelation of movement in articulated limbs, do not refer to the actual weight of the limbs, but are figurative. The phenomenon itself is real, however, and an inevitable property of the human body in movement. A light limb changes its location in space as the result of the movement of a heavy limb. See the figure; in this illustration, only the movement of the heavy limb would be written. However, independent movement of the light limb is possible at the same time as it is being carried by the heavy limb, and the change of its location in space is then a result of the simultaneous movement of the heavy limb together with the movement of the light limb. In this case, the movement of each limb is written in its space on the page.

•------•

~f 19.

------)

'-------------------__,..

A Light Limb carried by a Heavy Limb

/

/

-·

:---...

----

/

/

c:-~•►=-----41•..... .. ------••

~f

"'-"'-

("

. .

.

.............. .........__ --------

!

~

. .......... ... '-----------

-

)- ------- -

__} -I

-

-

-

-

-►.~

--- _,.,'Y

20. A Light Limb carried by a Heavy Limb, and also Moving Independently

The hierarchy of limbs: heavy-to-light (with their corresponding systems of reference) begins from the base and continues through all adjacent limbs in the system of moving axes, according to the structure of the body and its situation.

17 In standing position, this hierarchy is as depicted below:

t

HEAD

*

NECK

I

UPPER BODY

! 1"ro + j

PELVIS

~\ I

'+ rl~1 I HEAD

t

UPPER ARM

~

UPPER ARM

UPPErODY

I

THIGH

~l

.... ~

LOWER LEG

------+--

frl

THIGH

FOREARM I

\

FO]~M ♦

" --------

LOWER LEG

Arrows in the diagram indicate the relation 'from heavy to light'. This hierarchy is modified by any change of the base, such as that caused by raising one leg from the ground:

JERAHM t

F~IRM

THIGH

't

jj LOWER LEG

LOWER LEG

!!

FOOT

..

In a jump there is no base, in the sense of a limb in contact with the ground, and the pelvis is taken as the 'heaviest' part of the body.

FOOT

+

In lying, there is multiple contact of the parts of the body with the ground, and here too the pelvis is regarded as the 'heaviest':

C

r

~

'" "r 8 __ ... t_ _____ "'"

... ,:

~

__

t_

•L

~

"r'"

:s

-;,_tll lJ!:

""'" ""

z

"'

0

~

~

" ;,;

,:

II!

'" >

o_,

18 11. FRONT-

ROTATED STATE-

CIRCULAR PATH

Front As explained in the section on Zero Position, the latter is the name which has been given to normal standing position with the arms at the sides of the body; with the palms of the hands facing inward; and with the feet parallel. Only the shoulders and the feet are in positions other than vertical; all other parts of the body are either in position (6) or (8) . This position has been chosen as a neutral basic position to which all positions and movements are ultimately referred. The symbol for zero position is IO]. The triple relation between the body, the system of reference and a hypothetical observer, is termed front. The lowest horizontal space on the manuscript page is devoted exclusively to information concerning this relationship. This space is labelled 'Front', or abbreviated to Fr. The way in which zero position of the body is related to the system of reference is as follows: the surfaces of the limbs which are frontal when the body is in zero position, face in direction (0) of the horizontal plane, which in turn is the direction 'towards the (hypothetical) observer'. This constellation of body, system of reference and hypothetical observer is expressed by the sign O - a zero without parentheses or brackets, written in the lowest space of the manuscript page - the space allocated to the Front. If it is required, for the purposes of analysis, to reorient the system of reference relative to the 'absolute' zero position just described, the new Front - the direction in which the O of the system is now to face - is indicated by a number without parentheses. From this point in the score onward, all movements would be written in relation to the new direction of the O of the system. However, a number enclosed in parentheses indicates only the orientation of the Front of the body in relation to the direction O of the system of reference. Thus, with the system of reference oriented towards the hypothetical observer, a position in which the body is in profile so that the observer sees its left side, would be indicated by (2) in the Front space, when 1 = 45°. When the body turns about its own longitudinal axis, this is rotatory movement. If rotation of the whole body takes place in relation to the ground, a new 'joint' is created - the articulation of the base of the body with the ground. Usually no single limb is 'responsible' for such a rotation, and therefore the total movement is written in the Front space, as a rotation. The loose contact sign L (see Section 14 below) is given for the part of the body which serves as its base. This rotation of the body is expressed by the sign for rotatory movement, with the amount of movement. In the case just described, the whole body rotates about its longitudinal axis; but the body can be rotated about other axes. In a somersault, for instance, it rotates about a lateral axis. This is written as explained in Section 9, as a rotation about, say, the axis at [~ l either positive or negative [~] . Forward and backward rolls are written in the Weight space - see Section 15.

ffi

'---'

Rotated State The rotated state of a limb is an extension of the concept of the Front to the individual parts _of the body. The surfaces of each limb are identified by assigning to each side a number in parentheses, corresponding to the direction in which it faces when the body is in 'absolute' zero position. For instance, the face is (0) of the head; the back is (4) of the upper body; the palm side of the right hand is (6); the palm of the left hand, (2). These numbers remain as 'labels' attached to the sides of the limbs. In analysing the rotated state of a limb at a given moment, the side which faces upwards is indicated, except in the positions in which the limb is vertical - (6) and (8). In these two cases, the side indicated is that which faces in direction (0) of the system of reference in its current orientation (Front). This single number is written in parentheses in the appropriate space. Rotated states are always given in the scale l = 45°. This is not indicated in the score, being a permanent stipulation.

Circular Path The concept of rotated state is also employed in writing transport in circular paths. Such transport is indicated by the combination of a horizontal arrow in the Front space with stepping movements in the Leg spaces. The direction of each step is then such as to contribute to an overall curved path. The side of the body w.hich faces the centre of the circle (the rotated state) is indicated above the symbol. Thu~ ~) means that the performer faces the centre of the circle, and steps sideways to his left along the circular path. (6) ..... means that his left side is towards the centre, and he moves forward along the line of the

19

circle in negative sense. But if the sense is positive: (6) he will step backwards. Thus, the steps will be in whatever 'bodywise' direction is dictated by the relation of the body to the circle at the given moment. Even if the body is turning about itself (indicated by the usual rotatory movement symbol in the Front space) transport is maintained along the circular path. A number above the second part of the symbol indicates what part or multiple of a whole circle is to be included in the path. ( 0J 4 would mea~ that half a circle is to be completed; (6J16 would mean two complete circles. The size of the circle depends upon the size and number of the steps.

12. BODYWISE ANALYSIS AND WRITING /---

I

I

/

/

J

21.

Example 1

In bodywise writing, the r,1ovement of a limb is notated in relation only to its heavy neighbour, wherever the latter is located. Whatever this position, it now serves as (bodywise) zero position. The concept underlying this mode of writing is a simple on~, and a few examples will serve to make the general idea clear. Example 1: From absolute zero position, an arm is raised 90 degrees in the forward plane; this position would usually be notated as (~) when 1 = 45°. This would also be the numerical expression of the position if expressed as a body wise relation between arm and upper body, because the upper body remains in zero position. If the upper body is now imagined as tilting 90 degrees forward and downward in plane (0), the usual notation of the new position of the arm would be (8). This new position is the result of the movement of the arm's heavy neighbour, the upper body, which has brought it into a new relation to the general system of reference. However, the angular relation between arm and body remains unchanged, so that the bodywise expression of the arm's position will be the same as in the preceding position: to indicate that the position is defined bodywise, square brackets are used: [5] and the like.

I Example 2: From a position in which the upper body is tilted 90 degrees forward and downward in plane (0), the arms parallel with the sides of the body - bodywise zero position of the arms - one arm now moves in plane (0) towards the ground until it is vertical. This would be written ( o )2 and the position of the arm would be (8) in relation to the system ➔ of reference. Written bodywise, the movement would be numerically the same: [o➔ l 2 . The position reached by the arm would, however, be [5] as we saw in the previous example, since no account is taken of the fact that the upper body (the arm's heavy neighbour) is not in zero position of the system of reference.

22.

Example 2

I

I

20

(/~~I \

) 23.

Example 3

Example 3: A simple comparison, starting from a position in which the performer is lying on his back with his arms at the sides of his body. The feet are towards (0) and the head towards (4), on the horizontal plane. If the arm is raised until vertical, this will be written ( o )2 and bodywise [ o] 2 . The end position of the arm, however, would be (6) in the first mode of writing, but whe; written bodywise. If the same movement were to be performed with the body lying with the feet towards (I) and the head towards (5), the notation would be ( 1 )2 in relation to the general system of reference, but the bodywise expression would not change, since bodywise writing only expresses the relation between the two limbs. The same applies, of course, to any other position of the body in relation to the system of reference.

rn]

Example 4: Suppose the body to be again in lying position, the feet towards (0) and the head towards (4), but with the left side in contact with the ground, the right arm along the right side of the body. This arm is now raised until vertical. The movement could be written in relation to the general system of reference: (o )2 and the new position reached would be (i ). If written bodywise, relating the arm movement only to the upper body, -;hich is treated exactly as though it were in absolute zero position, the arm would be regarded as moving in plane [2] and the movement would be written [2)2 . The end ➔ position would be written l. By turning the diagrams so that the upper body appears upright, the latter can easily be imagined as in zero position in each example, and the bodywise expressions of the positions and planes will be clearly understood. The bodywise mode of writing, which only deals with the relation between two limbs while ignoring the movements of the heavier, makes possible as it were the compilhg of an inventory of all potential movements of any light Jimb in any pair of adjacent limbs. This mode of writing is of particular value in giving direct expression of physically oriented directions 'sideways', 'backwards', or 'forwards' from the body. Rotated states can also be written in the bodywise mode. They are recognised in the score by the fact that they are enclosed in square brackets. The rotated state is then understood to be defined in relation to the limb's heavier neighbour as if the latter had never deviated from zero position. An example demonstrates the difference between the modes of writing rotated states. From zero position, the head is turned to face to the left, in profile; the rotated state is written (2), i.e., in relation to the system of reference. If the upper part of the body is now bent forward so that the whole torso is in position (l) , the rotated state of the head is now (6), in accordance with the side of the head which faces upward. Expressed bodywise, however, the rotated state of the head in left profile will remain (2] in this position of the torso too; and indeed this will be the way in which it is written in any position of the torso whatever. As already explained, the symbol used to indicate that a limb or limbs are in zero position is a zero enclosed in square brackets. The reason for this, is that zero position as a total state of the body constitutes a particular set of relations between the parts of the body. It can be used like any other position to serve as a 'milestone' indicating that the body reaches or passes through the position in the course of a sequence of movements. Or it can be used - again like "any other position - in expressing an amount of movement, by giving the position at which the body or a limb is to arrive at the end of the movement. Even when the whole body is not in the total state called zero position, a single limb can be indicated as being in that position. The meaning is, that this part of the body is in the bodywise position which it would occupy if the rest of the body were in fact in zero position. A special case is the position assumed by a leg as it closes to the other in a 'closing step', taking up the position relative to the supporting leg which brings them into the relation which obtains in the full zero position.

n

24.

Example 4

21

13.

TOPOGRAPHICAL

POSITIONS

A topographical position is a point on the surface of the body - an extension of the idea employed in defining rotated states. In defining topographical positions, the system of reference is not centred upon the joint of a limb; instead the longitudinal axis of the limb serves as the axis of the system of reference. Clearly the limbs are not in fact spherical, but by regarding each limb as the modification of a sphere, the positions of the coordinative grid of the system of reference can be mapped into the surfaces of the various limbs. The contours on the limb correspond to the coordinates of the spherical system of reference. The topographical positions are identified with positions on the system of reference. It is possible to carry out such a mapping of any part of the body. These may even 'overlap', only half of the system of reference being adapted to the surface - for example, face/head, or nose/face.

\

\

~

I I I

-

----q,_

I I

[8)

25.

26.

The Head seen as a Modified Sphere

These topographical positions are identified in the score by the sign c., placed between the numerals:'-½, .They are thus distinguished from ordinary positions of the limbs, which are given in parentheses: (D . The symbol is a condensation of the device formerly used: Topographical positions remain as if attached to the limbs, as 'labels'.

T

LC..,

Topographical Positions of the Foot In determining topographical positions of the foot, the upper surface is regarded as [OJ as though the foot were extended downward as a continuation of [OJ of the lower leg. The sole will then be [4J in the scale 1 = 45°. The heel will be

'¼ and

its extreme point

~

. The ball of the foot will be '{, and the tips of the toes

'ii

Topographical Positions of the Foot

22

Sides of the Foot - a Convention In Section 11, an account was given of the principle by which numbers are assigned to the sides of the limbs so that their different surfaces can be identified when determining their rotated states. The foot presents a special case because of its exceptional zero position (the feet are oriented horizontally in zero position); it is also an especially important case in situations which involve the placing of the feet in specific relations to one another. (Examples are the five positions of Classical Ballet, and many folk-dance motifs). These situations occur so frequently that it has been found in practice convenient to adopt a convention which is specifically designed for the particular form and functions of the foot.

7

"'

0 I

/

1

5

1 2 3

./ 5

"'3.

7 6

4 27. Sides of the Foot

The position of the foot in ordinary standing is such that the plane of the sole is horizontal. The foot can therefore be divided by analogy with the horizontal plane of the system of reference. The sides are indicated by single numbers - for example 2, the right side (i.e., the outside of the right foot or the inside of the left) or 6, the left side of the foot. If finer division is required, this is obtained by subdividing the sides of the foot so that side 2 has the regions I, the forward part of that side; 2, now signifying the middle region; and 3, the back part. Similarly, side 6 is subdivided into 5, back; 6, middle; and 7, forward part. (See the figure). The ways in which these numbers are employed in a score are described in the following section. Note that topographical positions and rotated states are always given in the scale 1 = 45°. This is not indicated in the score since the stipulation is permanent.

23 14. CONTACT, OPPOSITION The contact of the body with the ground (or a substitute for the ground) is an unalterable fact of our daily existence apart from the occasional brief interlude provided by a jump. This fact is expressed in Movement Notation by the contact sign. Contact of a part of the body with the ground is shown by the sign , in the appropriate limb-space. (Mnemonic - 'T for Touch'). In standing positions this sign appears in the spaces allotted to the feet. The symbol = signifies release from contact. This is essential in writing steps. Contact between parts of the body is shown by orientations of the sign on the page other than , written in the spaces of both the Jim bs involved: ...L 1 f--- A '( y ,< The limbs which are in contact with one another receive the same variant of the symbol. A number shows which side of each limb is in contact. For example, contact between the palms of the hands would be written: Left Hand: Right Hand:

2 --l 6 --l

Contact with another person or with an object, is written according to the same principle. For example: Dancer A

Left Hand: Left Shoulder:

2 I-

Dancer B

Right Hand: Right Shoulder:

6J... I-

_l_

The seven variants of the symbol (i.e. excluding contact with the ground) allow for many contacts to be indicated simultaneously. Contact of the extreme end of a limb, such as the finger tips, or the 'points' in Classical Ballet, is written + or -I- etc. When a foot or other part of the body is in contact with the ground but does not bear weight, this is indicated by the sign --, The sign ~ is used to indicate contact with holding. The sign f-, expresses contact with other parts of the body or with an object, in which pressure is exerted. Eye 'contact' is signified by the sign F either in a separate Eyes space, or in the Head space. It means that the eyes are directed to a limb or to an object other than the body. The principle is the same as the expression of physical contact, explained above. The part of the limb or object towards which the eyes are directed is indicated by a number indicating its side, or as a topographical position. In the following example, the eyes are directed towards the palm of the right hand: Right Hand: Eyes:

6~

Loose contact, written L is contact in which a limb or limbs are in contact with another surface, but move upon it. For instance, in rotation of the whole body in a tum with the foot as base, the sign L appears in the Foot space. Contact between paired members of the body can be expressed in the space allotted to one of them only. It is thus sometimes possible to dispense entirely with the other space. The sides of the two limbs which are in contact are included in the sign, as in the following example: Right Foot: This indicates that the sole of the right foot is in contact with the top of the paired member, that is the left foot. The upper number always refers to the limb in whose space the sign is written. When a part of the body is in contact with two or more other parts or other objects, release from one of them can be expressed by showing which side of the limb is to be released. Take for instance a lying position with the head resting on the palm of the right hand, and the back of the hand in contact with the floor. Then, Head: 4 will indicate that the head is released from the hand; but the contact of the hand with the floor continues.

24

Cases occur in which two parts of the body are in close proximity, without actually touching. The opposition of the two parts is frequently significant, and the sign used to expres~ this opposition is ,, or its variants L....J or, J or [ , the same form being placed in the spaces of the two limbs, just as in the use of the signs for actual contact; the sides facing each other are indicated by the respective numbers. When the principle is applied to paired members the sign may be written in one space only, with two numbers. The first indicates the side of (for example) the right foot, and the second that of the left, as below: Right Foot:

TI

This means that the heel of the right foot is opposite the instep of the left. The first number always refers to the limb in the space of which the sign is written. The above example, if written in the space of the Left Foot, would be notated Left

Foot

TT

Left Foot:

The opposition sign can be used in conjunction with topographical positions, as in the following example, which shows that the palm of the left hand is opposed to the front of the head in the region of the nose:

Left Hand

Head

Left

Foot

Right

Foot

,:-;-,

r-;7

6 0

24

Right

Foot

40

i; 8

28. Sides of the Foot used in Indicating Opposition (Seen from above).

25

15. WEIGHT A movement in the limb next to the base causes the whole of the rest of the body to move. In standing positions, in which the feet serve as the base, any movement of the lower part of the leg (which is then the heaviest limb) results in a movement of the whole body. This movement is called shift of weight. There is always shift of weight in adjustment to the influence of gravity upon the equilibrium. It is, however, written in the score only when it is visually predominant, or when it offers the most concise way of indicating an action. On the full manuscript page, shift of weight is written in the second space from the bottom, labelled Weight or Wt.

-------..

...-----:-

29.

---------

Shift of Weight to 2 and to 6

The symbol• r~presents equal distribution of the weight of the body: 'weight in the middle'. When the weight is shifted, the projection of the longitudinal axis of the body on the horizontal plane coincides with one of the horizontal coordinates. (See figure.) This coordinate is identified as usual, by counting in the positive sense, according to the scale in use. For instance, when.1=45°, a shift of weight forwards from zero position is written as 0, and a shift backwards as 4. The jump, in which all contact with the ground is abandoned, is written in the Weight space, using the symbol ( =) derived from the symbol for release of contact. A jump in a given direction is shown by a number indicating the appropriate horizontal coordinate; for example, ( : ) means a jump in direction (2). The symbol M for maximum can be used in the context of jumps. Placed beneath or beside the sign, it indicates a jump which covers the greatest possible distance in the given direction within the time assigned for the movements. When maximum height is intended, the symbol M is written above the jump sign. Every jump concludes with the symbol • indicating the resumption of stable distribution of weight on the base. Note that this sign is used only in the Weight space. Some contact may nevertheless be maintained during a jump if, for instance, the legs are temporarily thrown into the air while the body is supported on the hands. ln this type of action (the halfjump) the sign ( ~) is given in the spaces of the released legs·. The 'maximum' sign M added to a number indicating the direction in which the weight is shifted, signifies that the body is allowed to fall in that direction.

26 Section 11 included an explanation of the notation of rotatory movement of the whole body about its longitudinal axis. There is another case of rotation of the whole body about its longitudinal axis which is noteworthy in that it results in transport. This is when the body lies on the floor and roll~ on that surface. The action is written as a rotation about the axis of movement, which coincides with the longitudinal axis of the body. The usual rotatory movement symbol is used, but it is placed in the Weight space, indicating that the movement results in transport, with transfer of weight. To the extent that it is necessary, additional information such as the specific movements initiating the rolling action. is given in the appropriate spaces of the manuscript page. Other rotatory movements with transport are the forward and backward roll. These are rotatory movements about an axis which does not coincide with the longitudinal axis of the whole body. Because these actions are performed in contact with the ground, they result in transfer of weight, and transport; they are therefore written in the Weight space. as rotatory movements. The exact specifications for the roll are indicated by signs of contact of successive parts of the body with the ground.

16. TIME In Section I (Body and Manuscript Page) it was explained that the body is represented by a horizontally ruled page, and that the movements are written in the order in which they occur, in the spaces allotted to the appropriate limbs. The manuscript is also divided vertically by thin lines, into columns of equal width. These spaces between the vertical lines represent time units which are used to indicate the duration of the movements. The absolute (clock) value of the unit is given at the beginning of the work. This is usually given as a metronome reading: for example, the indication M 78 would mean that the value of each time unit is to be 1/78 of a minute, signified by the number 78 on the metronome scale. The duration of a movement is expressed by the number of time units between the bar lines which enclose every movement. Bar lines are drawn on the vertical thin lines of the basic grid of the manuscript page, somewhat thicker in order to distinguish them from the latter. Thus, a movement written between two bar lines separated by four columns has the duration of four time units. The size of the written symbol has no significance in the expression of duration. The movement begins from the beginning of its bar and continues until the encl of it. Unless a pause is expressly indicated by means of an empty bar. the next movement begins instantly, in an uninterrupted flow. A bar line does not necessarily extend from top to bottom of the manuscript page. It may apply to a limb group or even to a single limb. In this way, the division of the score into bars expresses the interrelation of movements of the parts of the body, whether they coincide, overlap or interrupt each other. The value of the time unit may be changed in the course of a piece of work. This is done by means of an indication above the system such as =½. This would mean that until further notice the value of the unit is reduced to half of that previously given. Thus, if the original value had been M 60, it would now be M 120. By this temporary alteration of the value represented by the column, an extension of the writing space is achieved. In cases where there are many movement signs, this device makes for greater legibility than 'squeezing in' a complex piece of writing. The return to the original value is indicated by = I . Likewise, an increase of value would be shown by an indication of the type =3 , which if the original value is again assumed to have been M 60, would mean that it is now to be M 20.

27

An alternative method of writing durations is suitable when notating rhythmically simple work in which there are few overlapping movements in the different parts of the body. An extra space is provided - usually at the top - in which the durations of the movements in each column are expressed by a numl1er indicating the appropriate number of time units. The value of the unit is given as before, by a metronome marking. Thick bar lines are dispensed with. When some polyrhythmic distribution nevertheless occurs, bows are employed to indicate the prolongation of a movement over two or more columns. In general, however, bows are to be used with great discretion. The first column of a score is usually devoted to the definition of the starting position. It is separated from the rest of the work by a double bar line. The starting position has no time value, and the metronome marking does not apply to this column. There is a number of other symbols associated with the subject of time: The letter R indicates the reverse of the preceding (single) symbol. It is a movement sign, but carries implications relating to time as well as space. Its meaning is, that the path of (only) the preceding movement is to be traversed again. but in the opposite sense. This means the reverse order - i.e. beginning from the final position of the original movement, and ending with its starting position. In the following example, only the rotation is involved in the reverse:

R

When the sign is followed by a number, thus: units is to be reversed, reading backward:

R3 this indicates that all movements in that number of preceding time

Written out in full, this would appear.

Note that all four movements are reversed, because they occur within the three time units. A repetition is indicated by a double bar line and two points at the beginning and at the end of the passage concerned:

II=

28

Many repetitions (without specification of the exact number) are indicated by three points:

=II

The number of repetitions can be specified:

11:

This would mean four times in addition to the original. The symmetry symbol can be incorporated, to indicate that the passage is repeated on the other side of the body. (See Symmetry in Section 18). When applied to parts of the body which are not paired members, the symmetry is to be applied to the sense of movement and orientation only.

II:

s :11

Sometimes a given sequence of movements is to be repeated in one limb or limb-group, while new material is introduced for the other parts of the body. This repetition is indicated by the sign •/· which indicates that all movement in the same group, beginning at the preceding (double or single) bar line, are to be repeated. In the following example, the plane movements of the arm are repeated, but accompanied by rotation of the head instead of conical movements. Note that this partial repeat sign relates to whole bars and not to time units.

Arm Head

If the sign is followed by a number, for example -/ 3 this indicates that this number of preceding bars is to be repeated.

29

17.

SIMULTANEOUSM0VEMENT-

LIGHT AND HEAVY LIMBS- FIXATION

In the descriptions and examples so far given, movements have been treated as if they were always produced by a single limb. This, however, was for explanatory purposes only, since in actual fact this is not the case. As stated before, the body is an articulated linkage, and movement of a single limb unaffected by any other is therefore rare. We refer to this predominating interdependence of moving limbs as simultaneous movement. The term covers more than temporal concurrence; it is used to refer to the movements of adjacent limbs, one of which modifies the other. This will be explained in the present section. In every movement of two or more articulated limbs, the limbs can be characterised as either carrying a neighbouring limb, or carried by it. Carrying limbs are referred to as heavy, carried limbs as light - figurative expressions with no connotation of physical weight; a limb can be 'heavy' in relation to one neighbour and 'light' in relation to another.

30. Movement of a Heavy Limb Changes the Positions of the Lighter Limbs

In every movement of two or more articulated limbs, each limb can be characterised as either carrying a neighbouring limb, or carried by it. Carrying li,nbs are referred to as heavy, carried limbs as light - figurative expressions with no connotation of physical weight. A limb can be 'heavy'. in relation to one neighbour and 'light' in relation to another. The movement of a heavy limb causes change of position of a lighter limb. Suppose, for example, a starting position in which the body stands in zero position except for the right arm, which is in (~) (scale I =45° ). Now the pelvis is tilted forward, reaching position @ . All parts of the upper body will also have been carried from (6) to a) ; the right arm, maintaining its relation of 90 degrees to the upper body, will have been carried from to (b) . In the example shown in Fig. 30, too, the upper body is the heavy part; none of the lighter limbs (head, arms etc.) moves in relation to the heavy part; but all of them change their positions relative to the system of reference. In such cases only the movement of the heavy part (the upper body in these examples) is written in the notated score. When independent movements of the light limbs occur while they are being carried by the heavy limb, the change of position of each limb in the linkage is the result of its own movement modified by the movements of the heavier limbs. In the notation, each limb's movement is written as though in isolation, in relation to a supposedly immobile heavy neighbouring limb. But in fact the path of this movement will be modified or distorted as a result of the fact that its heavy neighbour moves as well. Thus, a limb may perform a plane movement (relative to its heavy neighbour) whereas the path which it actually traces

a)

30

I I I

I \

\

Jf

""-'---- ---

--

31. Movement of a Heavy Limb Modifies the Movements of a Lighter Limb

1

l.-----m

I

in space is conical, because of movement of a heavier limb. Again, a limb may perform a movement of (say) two units of magnitude but arrive - as a result of the simultaneous movement of a heavier limb - at a position which is separated from its starting position in the system of reference by four units. (See Fig. 3 1.) A special case of 'independent' movement of a limb simultaneously with movement of a heavier limb or limbs is important because of its frequency and its physical significance. This is the case in which a light limb moves in relation to its heavy neighbour in such a way as to remain in the same position relative to the system of reference. A familiar everyday example is the adjustment of the upper body when the legs are bent as in a plie. If there were no mo\'ement between the upper body and its heavier neighbour (the thigh), the upper body would tilt. Upright posture is maintained by fixation of the position of the upper body relative to the system of reference. Although it is possible to write out the movements of adjustment, this is usually unnecessary, and the symbol f indicates the fixation of the limb in its position. The position can be specified, thus: f(6). This would mean that the limb remained in upright position despite any movement in the heavier limbs. The same principle applies to the fixation of movement. When the fixation sign is affixed to a movement sign, for example f (!) 2 it implies that the position of the axis of movement of that limb remains in fixed relation to its system of reference in spite of the movement of the heavier limb and despite its change of location. There are certain cases of simultaneous movement which are not instantly recognisable as such, because they are included in a single movement symbol. These are the cases in which a movement is written which is obviously impossible for a single limb, such as a conical movement for the upper body when both feet are on the ground. This is legitimate precisely because the movement is obviously impossible. Some anatomical knowledge is expected from the user of Movement Notation, and he will understand that he is to simulate a conical movement of the upper body by means of adjustments of the adjacent limbs. Other examples are given under the heading Simulated Conical Movement in the section which follows.

32. Fixation of the Forearm during a Movement of the Upper Arm

31 18.

CONVENTIONS, ABBREVIATIONS AND SPECIAL CASES

Kinetic Link Rotation A kinetic link is a group of limbs which is articulated at both extremities. A fixed linkage of two or more limbs is sometimes rotated about an axis joining the extremities of the limb group. This axis does not, as in ordinary rotatory movement, coincide with the longitudinal axis of a limb. The individual parts of the linkage therefore move in the various paths which result from their angular relation to this (external) axis. The linkage behaves as a rigid unit, as if it were a single limb. Since only one rotation is therefore possible, whatever the relation of the limbs to the axis, the rotatory movement sign is used, but with a special marking. In the terminology of the notation, the movement is called a kinetic link rotation. Where one extremity of the rotating linkage is irt the foot, and in all cases where one articulation is not an anatomical joint, the loose contact sign must be given. Kinetic link rotation is written with the rotation symbol together with the horizontal brace r"---. which expresses the inclusion of all parts of the linkage . .Symmetry

The symbol ~ in any of the spaces of the arm or leg group means that the limb performs movements symmetrical to those of the corresponding paired member. Written in parentheses ( $) the symbol means that the Jimb is in symmetrical position. In this context 'symmetry' means bilateral (mirror) symmetry, with vertical plane (0) as the plane of symmetry. When the 'symmetrical repeat' sign is given for members of the body which are not paired limbs, the movements are performed by the same member, but symmetrically in respect of the axis O on the horizontal plane. In everyday language: the preceding movements are repeated 'on the other side'. Passive

The sign P indicates that a limb is to move into, or be in, a 'relaxed' state, allowing the force of gravity to act upon it. Its tendency will therefore usually be towards the position (8) . This symbol may appear as a positional sign, enclosed in parentheses. It may also express an amount of movement - for example, (2)\ t\P . In combination with the plane movement sign, the passive symbol expresses the fact that the effect of gravity is exploited in a 'swinging' movement: f Contraction

The symbol X indicates contraction. The two extremities of a limb group (in the human case, particularly the upper body) approach one another in the same plane; all of the joints are slightly flexed, so that a concave or convex shape is created. The form of the symbol is derived from the arrowheads of plane movement signs, positive and negative relative to the given plane (absolute or·bodywise). The upper part of the limb group moves in negative sense, the lower part in positive sense. The amount of movement is written following the sign. For example, (2) X M indicates a contraction in plane (2) with maximal amount of movement, resulting in a concave curve to that side of the body. Amounts of Movement

m M

+

indicates indicates appended appended (The last

the smallest amount possible. the largest amount possible within the range of the joint involved. to a number signifies one-third of a unit less than the amount expressed by the given number. to a number signifies one-third of a unit more than the amount expressed by the given number. two are particularly useful in notating positions).

When no amount of movement is indicated, the magnitude is left to the choice, or the physical ability, of the individual reader. Arrows pointing upward and downward on the manuscript system, without specification of plane, are used when a more vague directive is required. These signs parallel verbal commands to 'raise' or 'lower' a limb and signify movements in which the overall shift is in the shortest path from (8) to (6) - 'up' in the familiar 'everday' space - or the contrary tendency,'down'.

32 Legs - Walking

+

When the feet are in contact with the ground the sign on the line separating the upper and lower leg spaces, without indication of plane, indicates that the leg is bent (plie in ballet tenninology). With the feet on the ground, only one bending movement is possible without changing the contact; the indication of plane can therefore be omitted, and the action is expressed by vertical arrows. Similarly, the sign t indicates extension of the leg. When enclosed in parentheses these signs express positions with bent and with straight legs, respectively. A single full step is indicated by the symbol S. The direction of the step is indicated either by a number in the Weight space, showing the horizontal direction in which the weight is shifted throughout the movement sequence; or by giving the symbol of th() plane in which the legs move, which will inevitably result in transfer of weight in the required direction - for example (0) S - a step forward. This symbol can be used in combination with additional movements of extension and flexion in writing embellished steps - that is, steps which include movements not functionally necessary, but which are still recognisably steps. For example, walking with bent legs or patterns alternating between bent and straight. Combination of the additional movement signs with the S symbol gives clear meanings, even in quite complex cases.The symbol has the advantages of mnemonic association (S for Step) and of ease and rapidity in writing. In earlier scores, the symbol used was:

f

Flexion in Kinetic Links The use of the sign + without indication of plane has been explained above in connection with the writing of bending of the legs, in cases where only one bending movement is possible. The principle can sometimes be extended to other parts of the body - particularly the arms - when these form kinetic links either through being in contact with other limbs, with the ground, or with a wall etcetera. In these cases, and so long as only one movement of flexion is possible, the sign can be used, written as described before, so as to be placed on the appropriate spaces on the manuscript page.

Simulated Conical Movement By a combination of plane movement in the lower leg and rotatory movement in the thigh, a conical path can be produced by the lower leg. Similarly, the forearm can produce simulations of conical movement. In writing such simulated conical movements, the position and size of the cone's diameter are usually written by giving a 'bodywise' defining position.

(D.

For example:

Key Signatures A key signature provides an overall specification which applies to a part or parts of the body, throughout a whole work or extended sequence. A key signature can be placed at the top of the manuscript page, beneath it, or - when it is introduced in the course of a work - within the system. The following are concrete examples of key signatures, illustrating some of those most frequently met with in Movement Notation. It is not a complete list; in fact any logical combination of symbols or verbal instructions can constitute a key signature.

I= 45° de.

The scale for the measurement

of amounts of movement;

the only absolutely indispensible key signature.

( f)

When the fixation key signature is given for both of two adjacent parts of the body, it indicates that they are separated in respect of the Jaw of light and heavy limbs. (See Section 17.)

(f)

Indicates that there is no separation in respect of the Jaw of light and heavy limbs. The sign is used as a key signature in its own right, and also in order to countermand the key signature (f) if this has been given in an earlier part of the score. Conversely, the sign (f) cancels this symbol.

33

M90

etc. The value of each time unit, as a metronome reading. Can also be written TU= 90.

=½

Written above the system at a point where the time unit is henceforth to have the value of (in this example) half of that which applied up to that point.

( 0)

All movements are performed in the same plane - in this example, plane (0). When given as a key for the legs, this also applies to any steps which occur.

➔

[2 l ➔

All movements are performed in the same plane bodywise (in relation to the neighbouring heavy limb); in this example, plane [2).

(P)

Passive, throughout.

(8)

In symmetrical relation to the corresponding limbs on the other side of the body.

TWENTY-FIVE LESSONS BY DR MOSHE FELDENKRAIS

37 GENERAL NOTES Names of Limbs

Common sense should be exercised in the matter of the labelling of limb spaces a:1d their groups. For example, where three spaces are given for the Leg, and the uppermost one is marked L Leg (or R Leg) - this is understood to mean that the three spaces are allotted to Thigh, Lower Leg, Foot, even though the parts are not labelled in detail. Fingers

The sign ~ indicates interlocked fingers ( a variant of the 'holding' contact sign). To indicate that the interlocking is to be reversed, so that if the right thumb was on top of the left it is·now to be beneath, the reversed form of the symbol is used. Time

It is part of the philosophy underlying Dr Feldenkrais' method of education in body awarf'ness, that each person participating in the lessons learns according to his individual capacity and at his own pace. Movement directives are given, but no rhythmic values - only commands such as to repeat many times, to accelerate, and suchlike. The participant is then in his own charge until the next command is given. Unless otherwise indicated, Dr Feldenkrais intends the movements to be slow and reversible at any moment, generally restful and in full consciousness of the path of the movement and of any slight deviations, paying careful attention to the subtle effects upon the body. A lesson lasts 40-50 minutes; thus whoever wishes to approximate the distribution of the exercises in the original lessons may do so by taking into account this overall duration. Because of the above consideration, the vertical columns on the manuscript system, marked off by thin lines, serve only as a grid for the sequence of movement, and there is no specified value for the time unit given as a metronome reading as in the case of Dance, for example. Each thin vertical line of the grid indicates the end of a movement; in cases where the durations of movements do not coincide, a bow is extended beyond the bounds of a single column; or, where one movement is briefer than others, a bar line is interpolated to show that it is concluded before the close of the column. In all other cases, the thin vertical lines serve as bar lines.

Tso

t(4)

Pause

An empty column in the manuscript indicates that a position is to be held. The position to be maintained is the last position to have been reached; the duration of the pause is not specified. See example at right. Interspersed among the lessons, there are columns with the Passive sign P above them, the limb spaces being either empty, or containing only contact signs. These are points at which the mover is required to rest - in any way he finds comfortable, within the limits set by the signs of contact. At pauses in the lessons, Dr Feldenkrais usually directs the participants to take stock of any changes they feel to have taken place in their bodies. Each exercise also begins with either a position, a preparatory movement, or a preparation combining positions and movements. These too are enclosed by double bar lines. Repeat Signs

For economy of writing, repeat signs appear in this edition only at the top of the manuscript system in conjunction with extended vertical lines: the signs are not given within the system, nor at the bottom. A number of different kinds of repeat is employed:

Plv

R. Leg

$

[o]

n

T

[Q]

~

~

, [~] tt-,~----t,t------tt---+..c~--+---H

[~]

(::::;}

L. Leg

\~/

1

n b

I \

38 1.

2.

Single repeat of a movement or a sequence:

rI I

A specific number of repeats (including the original):

4

11: I 3.

1 :11

Many repeats (exact number unspecified):

II: I I 4.

=11

Many repeats of a passage containing acceleration:

11: I 5.

Many repeats (at constant speed), then the same passage with acceleration:

6.

The same as the former, in an alternative notation:

7.

Many repeats, each time performing the symmetrical movements (i.e. 'on the other side'). This may include the starting position, in which case the positions too are symmetrical. The difference of position express~cl by the symmetry sign may be quite small, such as laying the other cheek on the ground.

8.

Many repetitions of a passage with symmetrical repeat.

9.

Symmetrical repeat of passage, beginning from the identical position.

10.

:11

IAC~:11

H

II:I I r~11

Repeat of identical passage, beginning from symmetrical position.

Other directives can appear at the top of the page in place of 'Accelerate' in these examples, such as Slow; Fast; and V. Fast. The abbreviation AUG may also appear, signifying augmentation of the range (amount) of movement; in everyday language: the movement is at first small, and is made gradually larger.

39

Symmetry

A symmetrical position is one in which the limbs on the two sides of the body mirror each other, taking into account the bilateral structure of the body. More precisely, the pairs of limbs are in positions with the same amount of hbrizontal deviation from plane (0) but in opposite directions, and at the same 'height' on their respective vertical planes. Similarly, a symmetrical movement is one in which the paired limbs move so as always to mirror one another, fulfilling the conditions just described for symmetrical positions, and the amount of movement is the same in both limbs. In a symmetrical repeat, the same movements are performed again, 'on the other side'. That is, a movement of the left arm is now performed by the right arm, a movement of the left leg by the right, and vice versa, the sense of movement being appropriately adjusted. In the case of lateral plane movements and rotatory movements of head, torso and other parts of the body which are not paired members, the symmetry is to be understood in reference to the sense of movement only. In contrast to the case of symmetrical repeats in paired Jim bs, the movement must always start from the same position again in the repeat. For instance, a rotation of the head to the left and back becomes a rotation to the right and back, beginning from the same place in both cases. Key Signatures

The reader is urged to take careful note of the key signatures which appear before every individual lesson. The following key signature is hereby stated, and applies throughout all of the scores in this book: 1=45° Front

Dr Feldenkrais' lessons are not 'frontal', and no importance attaches to the direction in which the participant faces during any exercise. Even in a large group, the work is individual, and each finds his own body space. There is therefore no indication of Front in these lessons, as is usual in dance scores in Movement Notation. Every lesson and every exercise begins with a position. To define a position means to assume that there is a O of the system of reference to which this position is related. But since there is no definitive 'Front' and no 'observer' to whom the mover must relate his movements, the direction of this O is open to the choice of the individual, and need not be the same for each successive exercise. General Remark

An instruction emphasized by Dr Feldenkrais is, to precede every lesson with a general survey of the body, taking note of its state at that moment; and on the conclusion of the lesson, to rise and walk about, 'seeing how it feels'. Alternative Notations

Experience has shown that students of Movement Notation find it fatally convenient to be given a unique 'correct' solution for every writing task: one single and exact way of writing each movement phenomenon, simple or complex. In the nature of things, however, this is not possible, and therefore not desirable. The exactitude of Movement Notation resides in its geometrical basis and in the possibility of precise definition of interval, type of movement, etc. But this is the ideal model for the human physical phenomena; in practice the aim is to find the best analogue for each physical manifestation. There is always-a small number of different possible ways of writing the same event, and there is thus a certain syntactic flexibility in the method, which has great advantages for the experienced writer, but also means that one must be continuously on the lookout for the best alternatives in the given circumstance. Furthermore, the amount of detail may be maximal, or it may be minimal. There can be no inexorable rule for deciding how much information is to be provided in very case. The optimal amount of detail will be decided according to the context, purpose and desired emphasis - and according to the writer's (and assumed reader's) knowledge of the body. The use of the notation thus always contains an opposition of redundancy to economy, an intellectual struggle with no certain and definitive outcome. It is, however, important that whatever the choice actually made by the writer, it should be one among the (usually few) possible ways which when properly read and performed will all have the same physical result. In order to-demonstrate something of the foregoing, examples are given at the end of each group of lessons, of a number of possible ways of writing a detail from one of those lessons. The student of Movement Notation is advised to give these his attention.

40 NOTES TO GROUP I (Lessons I, 2, 3, 4)

Lesson I Shoulders The key signature [] signifies . 'bodywise' movements or positions. All movements of the shoulders are written as horizontal plane movements; although spatially they are not horizontal but vertical, in plane (2-6). In order to understand the bodywise movements, the reader may find it instructive to perform them first while standing upright in zero position. Then the movement can be translated to lying position. Although the relation between the parts of the body and the 'general' system of reference is then changed, the relations between the parts of the body themselves remain unaltered. Upper Body The key signature (~). A key signature always implies frequency of occurrence within the score, and it thus provides some preliminary information about the content of the lesson. The key signature also results in economy of writing, as the plane is not written in the course of the score. Technical note: Since all arrows are written horizontally on the manuscript page, a vertical plane movement in which the plane is not specified in the movement symbol is distinguished from a horizontal plane movement by the placing of the amount of movement. In a vertical plane movement this is written following the arrow: ➔ M, whereas in horizontal plane movement it is written above the arrow: M· Legs In starting position at the beginning of the manuscript system there is a position for the legs, but the Leg spaces are thereafter dropped. This is because the legs remain in the same position throughout the lesson, and there is no further need for the spaces on the page.

Starting Positions The first position given is: lying on the ground and 'surveying' the body. The second is the starting position of the lesson. When two positions are given in succession without movement signs, the transition between them is open to choice. In this lesson, when the second of the two positions recurs subsequently, the writing is abbreviated by use of symmetrical position signs. Arm Positions In the second position the placing of the arms is determined by the opposition of the hands to the pelvis. The position cannot be defined more exactly, since it is dependent upon individual proportions of the body. In Movement Notation it is possible to define a position by means of auxilliary signs alone, so long as these are used unambiguously. The forearm has a position which includes the mark± which means: either slightly more, slightly less, or exactly the given value. Fixation of Contact: fixation of a position. of the arm.

f(,) The fixation sign used in conjunction with a contact sign is a logical extension of the concept of Here it appears in the Hand space, and ensures that the hand is not released as a result of the movement

Release Sign The release sign is used as a movement directive, as in the Forearm space in this lesson, when the movement is minimal or when the movement is restricted - two conditions which do not necessarily coincide. Eyes A space is provided for the eyes although they are not 'limbs' in the usual sense. This is for the purpose - i.e. direction of gaze. This can be defined in general terms - for example, eye 'contact' with a limb corresponding eye contact sign in the space of the limb towards which the gaze is directed. Or, contact can exactly by means of a topographical position; in this lesson, te eyes are directed towards the lower part of the

of eye 'contacts' - by giving the be specified very pelvis: '½,

Position in place of Amount of Movement Any position can serve in place of amount of movement. The usage appears in the present lesson where the head and neck and the torso move so as to reach zero position (which is a 'bodywise' position). 'Same Position' The sign I in the starting position of an exercise means that the position is to be the same as in the starting position of the preceding exercise. The symbol can be applied to the whole position of the body, or to particular limbs or limb groups.

Lessons 2, 3, 4 Key Signatures: Arms: Bodywise conical movement of the arms: L Arm ([vi) R Arm ([A]). The conical movements of the arms are all such as would, in standing zero position, have the base of the cone horizontal. To understand better the meaning of the

•

41

concept 'bodywise', it is again suggested that the reader try the movements first in standing position, afterwards transferring them to lying position, keeping the same angular relation between the limbs. Because the key signatures are given the square brackets are not written in the course of the score - an economy of writing. Upper Body·

The key signature indicates that all plane movement

is to be in plane zero:

(_Q.)- unless otherwise stated.

Legs An arrow pointing upward, without specification

of plane, means an upward movement towards (but not, as a rule, passing) position /

(0)

f

~

I'"'(

u

t

n

rs

1:

(/.)

.,.

(~)

(0)

f

~

'

n

(;,-:)

(\

(0)

f

n I

(1/.)

(\

(0)

T

f

,.--.. I '

i

(1/.)

(/.)

T

6r

.,.

(Y-)

0

' '1,' I'

(0) ~

r(

4.,.

\t!J ~~)JM

R

T

V

f

T

T

L. Leg

cs:i)

--1-:i

-j2

R. Arm

61-

-

(~_) ~

p

p

:21-j6

:21-

6t-

6r L. Arm

..

.

p

(:/.)

(1/.)

,-

t \v'1t J ,_I '

t

T

n

'

,,. I•

.,

)

t f

n

-,

I',

.\

I'•

I

t f

,...., ,,

,-

*..L 4

3.. T

(P) --

----

(4)[6)

['2]

115

V.FAST.

p

5

..

5

..

p

T

(P)

,-

(~)

T

(P)

T

(g;)

T

(.%)

T

(j)

4 T

3

-r

~ L

(i-1\

L

4

T

T

T

(w, L

5

T

(f')

(~)

T

Co-l ;,_ T

-r

(?) ,7 (Pl c-J

Wt

(,1/.)

6

,-)

r

Ii

L. L

.

-;

-r

(PJ

R. L

v. FAST-5

(Pl

( 2)

T

(.%)

(Pl co-n

CO'>'l

Plv

-;-

T

H

R. A

p

.. ..

-;

;,_

H

L. A

V,FAST.

p

Ace :

..

'7

j"\ ,,,T

-----

T

~ L

4 T

(;f) -r

(~) T

(-)

'

(P)

(P)

,-1

(-)

(0)

- -

[6] [2]

'----

4)[:

R

I.._)

R

~f(T

R

T

I(=)

g,)

T

116

LESSON 16 .. .. ..

....

..

.p

-

y

y 1Y

L. Arm

t

(Sl

I \;]_

-,-

R2

(Sl

t

R:z

(Sl

I '2

t

R2

-,-

(Sl t

t-

H&N

/~

Tso -,-'(4 0

R. Leg

($)

([t])

L

L

L

;:z

R2

T

V

tM

c:J

'I

:2~ -,- 4

L. Leg

n

tM

''

o1

-,-'4' Wt

I

\2

-.

(SJ

n

-,b

l\,2

')_

L£..J

(SJ t

I'-:;:-'

"

1, 2

.-

R;i.

-r

(SJ

,'4'

R2

0=;. V

tM

r. I \,2_

(SJ

-l,

R2

t

4

~

-,-

I

/'Z 1

-r

-,-

(;+l

2

t.£i

'

0~ -

-,-

I \.2_

"

-L,

-

T

I \ '.Z

,'-,,'

t(=)

n I \;:i_

/Z '.2

T

r-,

I \,2

2

--

b

(2>)

=

T

6 2 -,-

-r

-,-

(Pl

:; [g-J-,-. I&:'.;r-,-'(_J

:2 lo

~

(Sl

"

l,;i_

= (

,.....,

~p

-

+/

~

~M

~M

,,

~

4

-r

• (t)

T

(O)M

~

(P)

'

I'/\

i

(\

4 -r

T

(X)

drJ) -~

F

-

I•,,,\

,-✓• j

1._MJ

J-'(2)

'M' ;z

-r

u

u 5

L ~

T

-

4 T

T

I

(Y.)

L

rJr})

F

-r

(1/.)

I •/I

I•

\/•I

'---

-

(3i

'3

t(,J =

i

T

R4

b

R

b

_t p ·1

0

0 .,...

R3

n I \

p

\/'

J

I

p

n

-. \

.,,,

_t

• I

I

p

/

(o)

n I

\4

--,--

[t] ,,,---........ ,I n ''¥· I \4 p (6)

=

R::i.

I

\\)I,

(g)

-

= 0

\4

R4

.t p [t],,,--r---.

.,,

T

'.2

I \ ;2.

I

I

deg)

( Y.)

= 1'

n

-3 ...,...,... A- "' I\ 4

(7' \

Co) ~

0

(Y.) LV4' .,...I"'-

I \::,

--,-

¼i .,...

.t

~,

4\ .,...

R4-

=

n

( 1/.)

'-!JI

=

r- \

~~ I\