Laban movement analysis (LMA), sometimes Laban/Bartenieff movement analysis, is a method and language for describing, visualizing, interpreting and documenting human movement. It is based on the original work of Rudolf Laban, which was developed and extended by Lisa Ullmann, Irmgard Bartenieff, Warren Lamb and others. LMA draws from multiple fields including anatomy, kinesiology and psychology. It is used by dancers, actors,[1] musicians and athletes; by health professionals such as physical and occupational therapists and psychotherapists;[2] and in anthropology, business consulting and leadership development.[3]
Labanotation (or Kinetography Laban), a notation system for recording and analyzing movement, is used in LMA, but Labanotation is a separate system.
Laban movement analysis is contemporarily categorised in various way. Originally, these categories were very basic and Laban himself referred mostly to Eukinetics - which is his effort studies - and Choreutics - which is Spatial Harmony theory. His student Irmgard Bartenieff later further elaborated these categories in four - Body, Effort, Shape and Space - and this system, known as BESS is commonly taught today. However, BESS is not the only organisation of Laban's theory in use. In the U.K. for example, more influenced by Lisa Ullmann, another student of Laban, the categories are Body, Effort, Space and Relationship with Shape being interwoven into Body, Space and Relationship.[4]
The categories of BESS are as follows:[5]
Other categories, that are occasionally mentioned in some literature, are relationship and phrasing. These are less well defined. Relationship is the interaction between people, body parts or a person and an object. Phrasing is defined as being the personal expression of a movement.
These categories are in turn occasionally divided into kinematic and non-kinematic categories to distinguish which categories relate to changes to body relations over time and space.[6] [7]
The body category describes structural and physical characteristics of the human body while moving. This category is responsible for describing which body parts are moving, which parts are connected, which parts are influenced by others, and general statements about body organization.
Several subcategories of body are:
Effort, or what Laban sometimes described as dynamics, is a system for understanding the more subtle characteristics about movement with respect to inner intention. The difference between punching someone in anger and reaching for a glass is slight in terms of body organization – both rely on extension of the arm. The attention to the strength of the movement, the control of the movement and the timing of the movement are very different.
Effort has four subcategories (effort factors), each of which has two opposite polarities (Effort elements).[8]
| Effort Factor | Effort element (Fighting polarity) | Effort element (Indulging polarity) | |
|---|---|---|---|
| Space | Direct | Indirect (flexible) | |
| Weight | Strong | Light | |
| Time | Sudden (quick) | Sustained | |
| Flow | Bound | Free |
Laban named the combination of the first three categories (Space, Weight, and Time) the Effort Actions, or Action Drive. The eight combinations are descriptively named Float, Punch (Thrust), Glide, Slash, Dab, Wring, Flick, and Press. The Action Efforts have been used extensively in some acting schools, including ALRA, Manchester School of Theatre, LIPA and London College of Music to train in the ability to change quickly between physical manifestations of emotion.
Flow, on the other hand, is responsible for the continuousness or ongoingness of motions. Without any Flow Effort, movement must be contained in a single initiation and action, which is why there are specific names for the Flow-less Action configurations of Effort. In general it is very difficult to remove Flow from much movement, and so a full analysis of Effort will typically need to go beyond the Effort Actions.
While the individual motion factors of Space, Time, Weight and Flow may be observed, usually they will appear in combinations.Combinations of 3 Motion Factors are known as drives. The drives are:
Alongside the drives, combinations of two efforts are known as states. The states are known as:
Full effort, where all 4 motion factors are equally expressed, is usually considered to be a rare and usually momentary occurrence.
The states and drives are often discussed as having distinct psychological characteristics.
While the Body category primarily develops connections within the body and the body/space intent, the way the body changes shape during movement is further experienced and analyzed through the Shape category. It is important to remember that all categories are related, and Shape is often an integrating factor for combining the categories into meaningful movement.
There are several subcategories in Shape:
See main article: Space Harmony. One of Laban's primary contributions to Laban Movement Analysis (LMA) are his theories of Space. This category involves motion in connection with the environment, and with spatial patterns, pathways, and lines of spatial tension. Laban described a complex system of geometry based on crystalline forms, Platonic solids, and the structure of the human body. He felt that there were ways of organizing and moving in space that were specifically harmonious, in the same sense as music can be harmonious. Some combinations and organizations were more theoretically and aesthetically pleasing. As with music, Space Harmony sometimes takes the form of set 'scales' of movement within geometric forms. These scales can be practiced in order to refine the range of movement and reveal individual movement preferences. The abstract and theoretical depth of this part of the system is often considered to be much greater than the rest of the system. In practical terms, there is much of the Space category that does not specifically contribute to the ideas of Space Harmony.
This category also describes and notates choices which refer specifically to space, paying attention to:
The Space category is currently under continuing development, more so since exploration of non-Euclidean geometry and physics has evolved.
LMA is used in Human-Computer Interaction as a means of extracting useful features from a human's movement to be understood by a computer,[9] as well as generating realistic movement animation for virtual agents [10] and robots.[11]
Laban movement analysis practitioners and educators who studied at LIMS, an accredited institutional member of the National Association of Schools of Dance (NASD), are known as "Certified Movement Analysts" (CMAs).
Laban/Bartenieff and Somatic Studies International™ (LSSI), is an approved training program of ISMETA, and offers Movement Analysis and Somatic Practice training, which qualifies “Certified Movement Analysts & Somatic Practitioners” (CMA-SPs).
Other courses offer LMA studies, including Integrated Movement Studies, which qualifies "Certified Laban/Bartenieff Movement Analysts" (CLMAs).
The Laban Guild, set up by Rudolf Laban in the UK, offers courses in Laban Movement Analysis and Labannotation and is responsible for preserving and developing the work in the U.K.
Trinity Laban Conservatoire of Music and Dance offer a 3-year post-graduate diploma in Choreological studies and Valerie Preston-Dunlop is a course director.