More About Space in LBMS

Updating Laban’s Map of Space: further development of the LBMS Space Component  

Video presentation for Rio de Janeiro Aug 2024 Laban Conference

Expanding human knowledge and understanding is based in the process of analysis/synthesis.  Analysis is based on a process of differentiation leading to development. This occurs at both macro and micro levels of understanding. And is illustrated in the “zooming out”, expanding awareness of the cosmos, as well “zooming in”, discovering infinitesimal subatomic particles.

This developmental process also can be seen in our understanding of human movement, including as identified through the Laban/Bartenieff Movement System (LBMS). The System too continues to develop and evolve its understanding of human movement through explication of the parts of movement.

In identifying the parts of human movement, patterns of thematic dualities, are recognized as foundational to how we perceive, categorize and make sense of the phenomenon of the world, whether this be in actions of stopping/starting, beginning/ending, action/stillness, or the directions of up/down, here/there or our perceptions of day/night, hot/cold etc.  Thematic Duality is a foundation pattern based in oppositional parings of 2 parts creating a whole. We humans as pattern makers and patter perceivers, experience, name and create these patterns in support of understanding the world. Beginning with our concrete experience – – edible/inedible to then the abstractions we create – – heaven/hell, we conceptualize the phenomenon of the world of which we are a part.

The part/whole duality construct is seen throughout the entirety of LBMS. Duality is both an overarching pattern of human movement from a macro perspective, but also is present from a more micro perspective in each of the Body, Space, Shape and Effort Movement Components identified in LBMS as comprising the parts of our movement. And as a “system”, its parts – which can be identified in isolation, are understood to exist in synergistic relationship.  The concept of this part /whole synergy is found in what LBMS identifies as the theory of Space Harmony.

Space Harmony as a cornerstone of LBMS theory and practice is rich with patterns of duality including the “duals” in the Geometry of the Platonic Solids that are used in LBMS as models of the Kinesphere. These are the 3-D polyhedral forms Laban used in mapping the directions of the patterns of our actions. In Geometry it is recognized that these forms exist in dualist relations to each other – the Octahedron/Cube, the Icosahedron/Dodecahedron and the Tetrahedron to itself.

My purpose here is to propose that in moving using these Kinesphere models, we need to include not only the Cube, Octahedron and Icosahedron, as LBMS training has historically focused on, but also to understand the nature of the relation between the dual forms of these models which requires explicating the Dodecahedron.  The forms need to be studied not just as individual Kinespheric models but also as 2 parts of a greater whole in representing and experiencing the space of the Kinesphere . This opens the door to an even more rich understanding and perhaps even the creation and codification of new “Scales” in which the directions of both duals are incorporated as a  more holistic perspective of the whole! This would include Cube and Octahedron as duals, and the Icosahedron and the Dodecahedron as duals. In addition, this also suggests, when studying the Cube, we incorporate understanding how the Dual Tetrahedrons create the form of the Cubic model. I have been actively exploring these aspects of Space Harmony and WholeMovement is already exploring these in its Movement Analysis Training Programs.

Thus I believe further development in the explication of Space requires adding to and updating the map of the Kinesphere created by Laban with its 26 directions. This further differentiation needs to include adding the Spatial Directions of the Dodecahedron making the map a map of 38 defined Directions. The Dodecahedron, although already explored by many, has never been fully explicated particularly in its relationship to the Icosahedron.  This missing space of Laban’s map has no Motif Symbols to identify its Planal Directions. In exploring this Space, it is essential to experience that the primary and secondary Spatial Pulls of the Dodecahedral Planes are reversed. But also, that the ratio of these 2 pulls are not the Golden Proportion, as they are in the Icosahedral Planal infrastructure, but rather have a different proportional relationship creating their nature.

I believe that it is evident, that the Directions of the Dodecahedron (I am referring specifically in its Planal vertices here) are just as alive in the map of human movement as the other 26 Directions.  The Dodecahedron’s Directions, apart from the Diagonals whose directions are shared with the forms of both then Cube as well as the Dual Tetrahedrons, are not yet named/identified in the LBMS map. However, we can observe and experience the space of the Dodecahedral directions in movement patterns for seen in the spatial intent expressed in yoga and in Bharatnatyam and other movement forms. This Space is also clearly expressed as well as in everyday actions.  For example, the Dodecahedral Space can also be recognized through the human form in the actions such as, for movers familiar with LBMS sequences the “heel rock”. It is also evident in the bipedal human walking pattern. 

Laban mapped the Kinespheric Space . He did not explicate the Space within the Body rather the Space around the Body .  However, Bartenieff’s contribution advanced  the Body Component of LBMS opening the way to explore the Space within. In LBMS training it is a standard practice to explore this through Dimensional Breathing. Using the Expanding and Condensing actions of our inner volume in relationship to the dimensions of our length width and breadth. The Body/Space relationship subsequently developed into identifying the Shape Component. Many more clarifications about the nature of space and spatial patterns arise as we regarding affining and dis-affining of the Spatial Continuum of our Innerspheric and Kinespheric Space. As an example we may retreat through our core (Innerspheric Space )  while reaching forward  ( Kinespheric Space) creating what is often described as a kind of pleading action.  

In another example, we can observe the Innerspheric/Kinespheric Duality of Octahedral Space and Cubic Space in Classical Ballet in which the Octahedral Space dominates the Kinespheric expression, but is richly supported from the Cubic Innerspheric Space from the subtilties of, for example épaulement (coming from the rotational positioning of the upper core,  giving a sculpted, three-dimensional quality to the dancer’s positions).

This continuing development of LBMS is something of a passion for me but also seems an inevitable aspect of making it relevant in the world.

Karen A Studd. 2024.

Space Harmony

So, what is Space Harmony?

Let’s begin by identifying the parts

Space – Space can most simply be described as the environment, the totality of what surrounds us – the medium we exist within.

Harmony – in understanding harmony looking at synonyms can enlighten us. Some examples of these include: balance, coherence, concinnity, consonance, orchestration, proportion, symmetry, symphony, unity.

Space Harmony – thus, I would define Space Harmony as patterns expressing concinnity of the universe. These patterns explicate part/whole relationships which support growth, life, continuity, development, life’s progression. These patterns are frequently fractal in nature and often self-replicating or cyclic but also allow for change (evolution).  The image of the spiraled nautilus shell is frequently used as an example of Space Harmony and Sacred Geometry is rife with Space Harmony patterns and images.

A picture containing invertebrate, mollusk, indoor, chambered nautilus

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Patterns of Space Harmony also express dualistic patterns of universal balance in change and constant, symmetry/asymmetry, building and destroying, development and decay. All of which are expressions of order/chaos and the patterns of life and death – whether it be of an individual organism or of a star.

Much of Laban’s work is based in the Space Harmony expressed through the patterns of human movement.  His writings, both the theoretical, more technical text,  as well as the more philosophical words confirm this. And Laban, as something of a crystallographer, used the models of the spatially harmonic Platonic Solids in his mapping the patterns of human movement of the mover’s personal space (or what we define as the Kinesphere). Therefore, Space Harmony is a foundational idea of the theory, practice and one could even say, philosophy of the Laban/Bartenieff Movement System (LBMS) as based in Laban’s work.

In LBMS we can identify the essential Self/Other Theme with two foundational components of movement: Body (Self) and Space (Other). Juxtaposed with this Body/Space framing of Self/Other, is the Inner/Outer Theme, as we identify Space as existing on a continuum from inner to outer. We experience that we are containers of Space – perhaps most easily sensed in how our inner volume expands and condenses as we breathe (but also experienced in other inner body spaces). WholeMovement identifies/names the space contained within the Body as the Innersphere.  In addition to experiencing the space within, we can also experience that we are contained by space i.e., that we exist within Space. In the system we identify the containers of this space outside, and which surrounds us, as our personal space of the Kinesphere, the General Space of our localized environment and continuing outward to the totality of the cosmic/universal space. I frequently use a picture in a class “handout” that illustrates this idea of the containers of space, in which the image of a series of Russian Nesting dolls represent the spatial continuum. It starts with the smallest doll representing the Innersphere, then the next in size representing the Kinesphere , and then the next representing the General Space and finally the largest doll representing the Universal Space.

I also use a handout that illustrates a modified model of the BESS frame that shows the Components in a slightly different relationship. Rather than a simple horizontal progression of 4 letters (B – E – S – S) I use a vertical progression that starts at at the top with Body/Space and under this is the Shape Component and under this is the Effort Component. Remember, systems and models, as well as all bodies of knowledge, are ways we use to conceptualize parts in relationship.  In other words, how we organize our perceptions and frame the ideas that arise from the part/whole relationships of our lived experience. Remember too, that we humans are both pattern discerners as well as pattern makers in the experience and creation of our reality.

The Theme of Inner Outer Inner/Outer can also be linked to the ways in which we engage with the phenomenon of human movement in the theory and practice of LBMS. We do this primarily in two contexts: 1) from what we observe (outside ourselves) and 2) what we experience (part of our inner self).  We should, of course, acknowledge that these 2 perspectives overlap in human experience but are also differentiated. In other words, LBMS attempts to understand human movement from the perspective of the mover and also from the perspective of the observer.

We use these perspectives in describing, interpretating and finding the meaning in our patterns of action, reaction and interaction. In other words, the analysis and synthesis (part/whole relationship) in the practice of movement analysis.  

The System (LBMS) itself continues to evolve due to practitioners’ applications, other bodies of knowledge and other systems for identifying and codifying human movement which overlap with LBMS.

NB – this post is meant as a macro perspective and does not in any way explicate the highly developed practice of Space Harmony as a movement technique that explores the directions, pathways, forms, body support and dynamospheric relationships of the Spatial Scale sequences developed and codified by Laban. 

K. Studd 2021 

More about BF “Heel Rocks”

Class notes for Karen Studd’s WholeMovement Class Session April 17th 2020

A WholeMovement approach to Bartenieff Fundamental’s traditional “Heel Rock”(s) – starting from the basics and clarifying the intent of this action. Then continuing to explore possible variations and linking the action to BF Connections, BF Rhythms and BF Principles and the Basic 6.

What is the “Heel Rock”?

I am (in this document and representing the WholeMovement approach), defining this BF action as:

A repetitive, rhythmic, successive phrase of movement that is generally done through a lower to upper, successive, sequencing linked to the foundational aspects of the human form. The action is standardly performed from a lying supine position. Heel Rocks are based on, and stimulate, our foundational kinetic chains of action.

In other words, the BF Heel Rock (generally speaking), is a phrase of action that is initiated in the lower body and follows through the upper body, synergistically connecting parts to whole. Heel Rocks support and bring awareness to the efficient and harmonic patterns of our whole body’s innate postural actions (through limb/core differentiation and integration). It is linked to our design – i.e. to stand and walk upright. (I stress “generally” as Heel Rocks can, and from my perspective should be, explored in many ways)

What is the idea of Heel Rock?

Why do it?

Why is it significant in the practice of BF?

The “Heel Rock” is used to explore and experience whole body connectivity in order to:

  • prepare
  • recuperate
  • mobilize (activate through directing the internal paths of our flow through our kinetic chains)
  • diagnose (through observation, awareness and/or sensation)
  • intervene (to support change or a shift in emphasis)

How and why it works

The Heel Rock is based in the Vertical Throughness of our Axis of Length

In the Space Harmony of our human design our length is dominate. We are of course 3-Dimensional, but we have mostly length. We are taller than wide or deep. And our length (in our vertical upright stance) is a foundational part of the pattern of our species design in relation to gravity and to the environment. We are defined by our bilateral upright stance to interact with, and to locomote through, the world. The BF Heel Rock action is both based on, as well as supportive of the function and expression of our essential design.

To reiterate: The action of the Heel Rock supports Whole Body Connectivity through the Axis of Length. And awareness of our Axis of Length is a Bartenieff Fundamental Principle.

The human Axis of Length is linked to our spinal column, and as vertebrates the spine defines our midline. In addition, our spine is foundational to the Patterns of Body Organization, starting from the Spinal Pattern and linked to what BF identifies as the Head /Tail Connection. The spine, with its 2 ends (head end and tail end) is also the foundation of our Upper/ Lower aspects of Body and the Upper/Lower Pattern of Organization. And then subsequently the basis of the Body Half (Side/Side) Organization, because the spine as our postural midline, provides the structure to frame how the 2 sides are organized – toward /away from midline through the anatomical actions of adduction and abduction. Furthermore, the spine (and Axis of our Postural Length) is a significant aspect of Cross Lateral Patterning, where the midline (as demarcated by the spine) is crossed. And this culminating contralateral developmental pattern is linked to our walking pattern (and thus back to the essential function and form of our design: our upright stance and bipedal locomotion). This Cross Lateral Pattern is also linked to other ‘crossing the midline activities’ such as the corpus collosum bisecting the right and left sides of our brain…

Spinal design

There is a synergistic relationship of the spines parts which we can experience in several ways.

One way is accessing the Rhythmic interplay between Skull and Sacrum. This is what WholeMovement identifies as the Occipital/Sacral Rhythm. WholeMovement’s perspective of LBMS includes the Occipital/Sacral Rhythm as one of the 3 identified BF Rhythms – the other 2 are the Gleno-Humeral Rhythm and the Ilio-Femoral. ( I can talk about these in another context!) This is NOT the same rhythm as addressed in the Craniosacral Therapy – although of course may be linked to this work. In the Heel Rock action the spinal curves of the lumbar and cervical sections have a reciprocal, inverse response as the wave like action travels through the torso along the Axis of Length.

WM defines Rhythms as: foundational actions expressing the Mobile/Stable, limb-core proportional relationships. (NB The spine in humans serves as both “limb” and “core” – core as the central midline and the container of the spinal cord content, but also because of the two ends, head and tail, considered in another sense as limbs (2 of the 6 limbs we identify in core limb relationships.)

So in LBMS and more specifically the Bartenieff Fundamental aspect of the system, “Heel Rock” is directly linked to these concepts of BF:

  • PrincipleAxis of Length (one of the BF Principles as explicated by WholeMovement)
  • Rhythm – Occipital/Sacral (one of 3 BF Rhythms that WM identifies)
  • Connection – Head-Tail
  • Pattern of Body Organization – Spinal

In LBMS all the BESS Components are connected so now let’s considering Heel Rocks in relation to all BESS Components

Heel Rock Link to Shape Component

Shape in Heel Rock can be addressed through the Convex/Concave relationship of the spinal curves and foundational spinal actions of our developmental progression and foundational postural actions. The Convex/Concave aspect of Shape, is a foundation of the Body Space intersection. It can also be viewed as the basis of our patterns of Basic Body Actions in postural Condensing and Expanding (Body Component) and the explication of the 3 dimensions of Space (Space Component). The length of our spine creating up-down, while dividing us bilaterally and creating side-sidedness and in the action of spinal flexion/extension exposing or protecting our “front” and “back” (anterior/posterior) surfaces, is the foundation of our relationship to the world. Remember that the Shape Component is, in essence, the Body Space relationship. So the 3 dimensions of Space as we define them come from the experience of relationship of our form’s design – in its function and expression in the environment.

Heel Rock Link to Basic 6

The link to the Basic 6 is in that it supports each of these actions as the Axis of Length is a support for all these actions. In addition, these actions can be also experienced by adding the “rock” into the Basic 6 actions themselves, and by bringing the foundational spinal action more dramatically into the awareness of the mover and supporting an emphasis on mobilization.

Heel Rock Link to Effort

The Heel Rock sets the stage for Effort to emerge as it activates foundational Flowsensing and Weightsensing as precursors to Effort. The Heel Rock actions also sets the stage for time expression, due to its rhythmic nature.

Heel Rock Link to the Space Component

Access to Space starts from the expression of the Inner Space of the Body and directing the internal flow through the Innersphere. This then can be the beginning in defining our access to the Space of our Kinesphere in preparation to engage with the world around us.  OF interest perhaps for some of you if we analyze the Space of the Heel Rock action it can be best understood as the Space of the Dodecahedral Sagittal Plan and not the Sagittal Plan that we associate with the Icosahedron. There is, as you may know, a dual relationship between the 2 forms – Dodecahedron and the Icosahedron. This relationship is something that in the WM approach we are beginning to explicate more fully in addressing the Body Space relationship of Space Harmony and the human form.