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Subject: alt.arts.ballet FAQ 5: Miscellany
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Archive-name: dance/ballet-modern-faq/part4
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Last-modified: Jul. 8, 2002

================================
Part 5 of seven parts
================================

    Copyright (c) 1995-2004 by Thomas Parsons; all rights reserved.
    This FAQ may be posted to any USENET newsgroup, on-line service, BBS,
    or Web page, provided it is posted in its entirety, including this
    copyright statement, EXCEPT that this FAQ may not be posted to any Web
    page where such posting may result in assignment of copyright.  This
    FAQ may not be distributed in part or in full for financial gain.  No
    portion of this FAQ may be included in commercial collections or
    compilations without express permission from the author.

================

Contents:

PART 5: MISCELLANEOUS QUESTIONS

    5.1. Is there a way of writing down dance, the way we write down music?
    5.2. Is there software for doing choreography?
    5.3. Is there software for my dance studio?
    5.4. What is Contact Improvisation?

================

5. Miscellaneous questions

5.1. Is there a way of writing down dance, the way we write down music?

    Yes, and the tradition is very nearly as old as ballet itself.
The earliest notation, in the late 15th century, consisted of writing the
initials of the names of the steps under the musical notes in the score.
The first widely used system of dance notation using special symbols was
apparently that attributed to Raoul Feuillet and Pierre Beauchamp and set
forth in Feuillet's _Chor'egraphie_ in 1700.  This system was used mostly
to indicate the steps and the movement of the dancers about the floor,
which were regarded as most important, with only a few indications of arm
movements.  It was used for about 100 years, gradually being extended until
it became too unwieldy.  Since that time, more than 80 systems of notation
have been devised, the bulk of them in the 20th century.  Dancers in this
century who specialize in recreating Baroque dance have revived the
Beauchamp/Feuillet notation; Wendy Hilton's _Dance of the Court and
Theater_ provides a comprehensive text and is the standard reference.

    In the 19th century, Charles Victor Arthur Michel Saint-L'eon
developed a system which he published in his book, _Stenochor'egraphie_
(1852).  (Notice the difference between the title of this book and that of
Feuillet's: this reflects the fact that "choreography," which originally
meant recording dance, had come to mean the making of dances.)  This system
was fairly widely used in the latter half of the 19th century but
eventually fell into disuse.  About this system, Sandi Kurtz writes,

    It was a version of this system that Sergeyev used to reconstruct the
    classical works for the early Sadler's Wells Ballet, which gave the
    west a view of that tradition and helped forge the style of what is now
    the Royal Ballet.

    Dance notation is never simple, since there is so much that needs
to be specified for every dancer: positions of the feet, arms, hands, head,
and torso; whether the dancer is standing still or moving and, if moving,
in what direction (horizontally, vertically, or both) and how fast...and so
on.

    In this century, Vaslav Nijinsky devised a notation system about
which little is known, although Ann Hutchinson Guest and Claudia Jeschke
were able to use it to reconstruct Nijinski's _Afternoon of a Faun_.

    The two most popular systems to-day are Laban (introduced by
Rudolph von Laban in 1928 in his book, _Schrifttanz_) and Benesh (the work
of Rudolph and Joan Benesh, 1958).  (The picture is complicated by the fact
that there are two dialects of Laban: the dialect in use in the U.S. and
Great Britain is called Labanotation; the dialect used in the rest of
Europe is called Kinetography-Laban.)  You can recognize Laban notation
from the fact that it takes the form of long vertical lines to which blocks
and other markers are attached.  Because Laban describes the movements of
the body in such minute detail, it has been applied to time and motion
studies in industry.

    Benesh notation uses 5-line musical staves.  The lines, from top to
bottom, are used to indicate the head, shoulders, waist, knees, and floor.
Benesh notation has been part of the RAD curriculum since 1956.

    For a comprehensive history of dance notation, see Ann Hutchinson
Guest's book, _Dance Notation_, cited in the reading list.  For specific
information about the Laban system, see her book, _Labanotation_, also in
the reading list.  For more information on dance notation, see
    http://www.math.ucla.edu/~eijkhout/rad/faq_notate.html
For information on computer-aided dance notation, see question 5.2.2.


5.2. Is there software for doing choreography?

    Do you mean software for doing choreography (that is, for modeling
it on the computer) or for writing it down (i.e., notation)?

5.2.1.

    The only software for doing choreography known to this group is a
program called LifeForms.  There are versions for the Macintosh and Silicon
Graphics (SGI) systems and also for Windows.  Contact
    Credo Multimedia Software Inc.
    Suite 270 - 8900 Nelson Way
    Burnaby, BC Canada V5A 1S6
    tel: [phone]
    fax: [phone]
    email: [e-mail]
or link to their Web site,
    http://fas.sfu.ca/lifeforms.html

    The following information and opinions are extracted from postings
to alt.arts.ballet.  These postings date from October, 1994 and may well be
out of date by now; more up-to-date information is probably be available
from Multimedia.

        LifeForms was developed at Simon Fraser University by a team
    including dancers and computer programmers.  Its original name was
    COMPOSE and it's over 10 years in development.  There are currently 2
    versions available.  The high end version runs on a Silicon Graphic
    workstation and creates amazing lifelike animation.  The less powerful
    version runs on a Macintosh and is not quite so thrilling, especially
    in its emulation of walking and running.  --Sandi Kurtz
    <[e-mail]>

        In a feature article on Merce Cunningham in The Village Voice
    several years ago, Deborah Jowitt observed that [he] was using the
    computer in place of getting up and noodling around, which he can no
    longer do easily.  I would add in addition that MC has long been
    interested in whatever technology was emerging, and that the computer,
    in particular, mirrors some of his own concerns. --Nancy Dalva

        I have done some basic experimenting with LifeForms on the
    Macintosh.  The premise is as follows: You have a stage on which you
    can place a one or more "dancers." You can then manipulate the bodies
    of the figures, and program movements that occur over time.

        You manipulate the figure by clicking on a body part with the
    mouse, and dragging it to the desired position.  The program is smart
    in that, unlike an animation, you don't have to draw every frame.  An
    example would be starting with the left arm down, and five seconds
    later having it raised to 90 degrees.  You just program the starting
    and ending poses, and the computer figures out the movement in between.
    The arm follows the most obvious, straight line path between point a
    and point b, which often looks a bit stilted.  Giving more life to a
    movement like this means breaking it down into shorter bits.

        The program also offers a library, where you can store movement
    sequences that you can call back later.  Helpful if you are creating
    thematic material that returns later in the piece.

        On the Macintosh version, the bodies are drawn as "wire frames"
    so really only suggest a real body.  I think the version that runs on
    Unix workstations might do high quality rendering of the bodies, so
    that one probably looks a lot better.

        Though I am a composer not a choreographer, I must say that the
    process gets very tedious over a period of time, especially when com-
    pared to choreographing on one's own body, which is instantly respon-
    sive to your ideas.  One thing that would help this program a lot would
    be some kind of alternative input device, perhaps reminiscent of the
    little wood artists models that you can get at an art supply store.  To
    be able to physically move body parts on a model to create the poses
    would speed the process up immensely.  It seems certain that someone
    will do this, as it is so obvious.

        Of course, the criticism in the previous paragraph assumes that
    you have a body that still moves well.  When I think that this tool has
    helped Merce Cunningham continue to choreograph new works (a person
    whose body moves not less beautifully but perhaps a little less well
    these days) it would seem something to seem grateful for. -- Mark
    Coniglio

There is also a program called Poser, from Fractal Design, which might be
thought of as a choreography program.  Jim Williams writes,

    If you don't need to do animation, just show body positions (useful for
    teaching, illustrations etc.) another piece of software to consider is
    a new application called Poser, from Fractal Design.  I've got it and
    have been working with it.  This is in effect a software "mannequin"
    that you can pose in various positions, then render into detailed
    images.  It isn't designed to produce animated sequences the way Life
    Forms is; instead, it's useful for producing "still photos" of body
    positions.  The rendering quality isn't photo-realistic, but is much
    more detailed than the wireframe images produced by Life Forms.

    Poser's price is quite reasonable ($99 US until Aug. 31, 1995) and it's
    relatively easy to learn and use....

    Poser allows you to create your own "libraries" of frequently-used
    positions, body types, camera positions, and lighting setups (you're
    limited to three lights, but they're fully adjustable in direction,
    intensity and color.) These libraries can be re-used as needed, so
    you can work fairly quickly once you've invested the time to create
    libraries of poses you use most. --Jim Williams

As of June, 1996, Poser is available for the Macintosh and for the PC.

5.2.2.

For choreographic *notation*, there is a program for the Macintosh called
Labanwriter.  According to Callum Downie, it is available from FTP sites
after a search by the likes of "archie."  I understand there is also at
least one program for Benesh notation; contact Andrew Ward, Marketing
Director of the Royal Academy of Dancing and Benesh Institute Director on
[e-mail].

For further information, see `topics/labanotation-dialog-FAQ.txt' in the
Dancers' Archive.  For information on dance notation in general, see also

    Dance Notation Bureau
    33 West 21st Street
    New York, New York  10010
    [phone]
    e-mail: [e-mail]

Here are some European addresses linked to Laban (courtesy of Marion
Bastien)

    Laban Centre, Laurie Grove, New Cross, London SE 14 6NH , U.K.
    Tel: [phone]
    Fax:  [phone]
    Dance Department, that offers in their curriculum Laban theories
    studies and Labanotation studies. The library contains many Laban
    relate documents. They have also a dance company, named *Transition*.

    Labanotation Institute, Dpt of Dance Studies, University of Surrey,
    GU2 5XH Guilford, Surrey , U.K.
    Tel: [phone]
    Fax: [phone]
    Labanotation Institute offers several courses in Labanotation. Also
    located in Surrey University is a collection named *Laban Archives*.
    For more information  look at
    http://www.surrey.ac.uk/NRCD/nrcd.htmltion studies

    Folkwang-Hochschule Essen, Kinetographiestudio
    Klemensborn 39, D-45239 Essen, Germany
    Tel: [phone]
    Fax: [phone]
    Folkwang-Hochschule offers in the dance curriculum Kinetography
    Laban/Labanotation studies.
    For more information  look at
    http://www.folkwang.uni-essen.de/FOLK-Tanz.html

    Conservatoire de Paris, Dpt des Etudes Choregraphiques, 209 avenue
    Jean-Jaur`es
    75019 Paris, France
    Tel: [phone]
    Fax: [phone]
    Conservatoire offers professional training in Kinetography
    Laban/Labanotation studies.

    There is a short introduction to Labanotation as well as a bibliography
    on it at:

    http://www.rz.uni-frankfurt.de/~griesbec

    Another great site to visit is:
    http://www.dance.ohio-state.edu/files/Odrg/notation.html


5.3. Is there software for my dance studio?

Mark J. Zetler writes:
      My wife (& I) have a dance studio in San Diego.  I've been using
      COMPUDANCE by a company in Texas called Theatrical Administration
      Consultants [phone] for about 7 years.  It seems to do the
      job, and the author seems to be responsive to the people who use the
      program.  There are some quirky things that that are annoying but all
      in all the program works.  I think the price is around $300 (????).

      I have only run into 3 other programs.  The first one was about $100
      and didn't do anything.  I don't think the company exists any more.

      The High Priced Spread is called DANCE MANAGER. Last I heard (I could
      be wrong) the price was about $1,200.  The demo of the program
      implied this program could do everything.  I just could not justify
      the cost.

      The last program I've run into is called IN MOTION: THE STUDIO
      MANAGER from Full Spectrum in Anaheim Hills, CA. [phone].
      ($200ish)  The program looked promising but seemed to run everything
      from the accounting end not the student.  I'll try to explain, at our
      studio most question/problems are easier to resolve by first looking
      up the student, seeing what classes they are registered in, look at
      the billing, then look at the payments.  With the IN MOTION:you have
      to go to different places to find all that info.  In COMPUDANCE you
      can do all that from one starting place (presentation ain't as pretty
      as the other programs but I still got the info and that is what
      counts).

      Compudance will have a Windows version in summer '96.

There is also an advertisement in Dance Magazine for DanceWorks; runs under
Windows; $395; phone [phone] for free demo.


5.4. What is Contact Improvisation?

    Contact Improvisation is a modern dance form invented by Steve
Paxton in 1972.  The emphasis is on touching (not surprisingly) and on the
use of body weight; it has been compared to a kind of cooperative, non-
combative wrestling.  To judge by the descriptions and pictures in Novack
(1990), it is most often done by pairs of dancers.  There is a great deal
of lifting, falling, and supporting of one dancer by the other.  It started
out as at least a semi-social dance form but has become more professional
as the years have gone by.  It is claimed that contact improvisation
requires no prior dance training, but it's clear (and not surprising) that
as you learn from experience the range of things you can do increases.  In
the descriptions that follow, taken from postings to alt.arts.ballet, there
is not complete agreement on what it requires of the dancer or what it does
to/for him/her:

        "It was extremely cool stuff, but you really had to be a good
    dancer, i.e., modern or ballet, in order to pull it off."  --CarlosC14
    <[e-mail] >

        "Contact improv seems like something that would be experienced
    in dramatically different ways by those with formal dance training
    (ballet jazz modern) versus those without (despite what everyone says).
    My impression is that the students from the CU dance department got
    much more out of the workshops than I did.  Mostly I got *bruises*,
    because I don't have a lot of natural padding and there I was rolling
    around on the floor with someone on top of me.  My backbone, knees, and
    hips were repeatedly ground into the floor.  Oh, gee, what fun. >-( "
    --Robinne Gray <[e-mail]>

        "It's usually associated with modern/contemporary dance in that
    many of the same people do it.  Take some music, anything really, and
    work with it as pairs, triples, n-tuples.  Usually some vocabulary has
    been worked to use.  Most `improvisation' has been worked on more than
    routines.  With a common vocabulary and the music, the dancers can
    interact with each other and it doesn't just become a mess as everyone
    `does their own thing.'  The `contact' is because everyone is working
    together and physically close, whether imitating a `maul' (rugby union)
    or breaking into smaller groups for a time."  --Callum Downie
    <[e-mail]>

        "The risk-taking, weight-sharing and be-here-now aspects of
    this form are truly intoxicating once you get past the bruised body
    stages.  Just like judo, it really is possible to do without hurting
    yourself once you master the first technical level."  --Randy Barron
    <[e-mail]>

================================
Continued in Part 6....
================================

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