Laban Movement Analysis: Charting the Ineffable Domain of human Movement

Groff, Ed

doi:10.1080/07303084.1995.10607038

Cited by 39 publications

(16 citation statements)

References 2 publications

(1 reference statement)

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“…BrainDance can be used as a warm-up or as main sequential exercises for all ages and learning levels. It constitutes part of Laban's theory of Human Movement Analysis and owes its existence to Laban's collaborator Irmgard Bartenieff (1890Bartenieff ( -1981, who, based on the above theory, created a set of eight movement patterns known as the "Bartenieff Fundamentals" (Guest 1977;Groff 1995;Hackney 2003;Billingham 2009;Theocharidou 2017). In 2015, influenced by Rudolf Laban's four movement categories, Gilbert formed her own movement vocabulary and proposed a BrainDance program integrating the four fundamental elements of Creative Dance (Body, Space, Time, Force/Dynamics) and the fifteen dance concepts (Body: parts, shapes, relationships, balance; Space: place, size, level, direction, pathway, focus; Time: speed, rhythm, duration; Force/Dynamics: energy, weight, flow).…”

Section: Creative Dance and Braindance In Physical Educationmentioning

confidence: 99%

The Positive Effects of a Combined Program of Creative Dance and BrainDance on Health-Related Ouality of Life as Perceived by Primary School Students

Olga

Lykesas

Giossos

et al. 2018

Physical Culture and Sport. Studies and Research

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The combination of Creative Dance and BrainDance within the context of physical education could be a promising innovation. This combined program can be implemented in primary school to help students achieve a better and more holistic assessment of their Health-Related Quality of Life (HRQoL), covering aspects of physical, emotional, social, and mental functioning and well-being. The aim of this study was to investigate the impact that a combined Creative Dance and BrainDance program based on the Laban Theory of Movement Analysis has on HRQoL perceptions of primary school students when this program is implemented within the context of the physical education curriculum in primary school. For this purpose, an eight-week educational intervention was designed combining Creative Dance and BrainDance into one single program. The survey sample consisted of 32 fifth- and sixth-grade primary school students. The Kidscreen-52 questionnaire was used to collect data. Data analysis was performed with the use of descriptive statistical indices and mixed analysis of variance (ANOVA). Although the results showed no differences between the beginning and end of the educational intervention, a fact that might be due to the small sample and the time of the implementation of the program (limited to 8 weeks), its implementation produced very good results with regard to improvisation, body control, balance, and coordination, as well as kinaesthetic awareness and musical rhythmic skills. Creative Dance and BrainDance promote imagination, creativity, improvisation, and self-esteem in general, particularly in primary school students..

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Section: Creative Dance and Braindance In Physical Educationmentioning

confidence: 99%

The Positive Effects of a Combined Program of Creative Dance and BrainDance on Health-Related Ouality of Life as Perceived by Primary School Students

Olga

Lykesas

Giossos

et al. 2018

Physical Culture and Sport. Studies and Research

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“…Based on the work of twentieth-century choreographer, movement theorist, and analyst Rudolph Laban, LMA encapsulates a range of approaches to identifying and describing the elements of expressive human movement (Groff, 1995). The principal assumption of LMA is that inner motivation for movement is apparent in observable movement (Bartenieff & Lewis, 1980).…”

Section: Laban Movement Analysismentioning

confidence: 99%

Analyzing Expressive Qualities in Movement and Stillness: Effort-Shape Analyses of Solo Marimbists' Bodily Expression

Broughton

Stevens

2012

Music Perception

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laban movement analysis, specifically effort-shape analysis, is offered as a system to study musicians' bodily expression. It proposes others' intentions are manifest in expressive bodily activity and understood through shared embodied processes. The present investigation evaluates whether the basic components of Laban analysis are reflected in perceptual judgments of recorded performances and, specifically, evaluates interjudge reliability for effort-shape analysis. Sixteen audio-visual excerpts of marimba pieces performed by two professional solo marimbists' (female and male) served as stimuli. Effort-shape analyses and interjudge reliability thereof were assessed through three different tasks: 1) verification task, 2) independent analysis task, 3) signal detection yes/no task. Professional musicians — two percussionists, a violinist, and a French hornist — acted as participants. High interjudge reliability was observed for transformation drive and shape components, but less so for basic effort action components. Mixed interjudge reliability results for basic effort actions, and differences between frequency observations, point to differences in participant's embodied expertise, task implementation, and training issues. Effort-shape analysis has potential to drive comparative and predictive research into musicians' bodily expression. Effort-shape provides a fine-grain temporal analysis of ecologically valid performance sequences.

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“…This hierarchical model distinguishes low, mid level, and higher order features (Camurri et al 2016). Conceptually, this model is inspired by the classical movements analysis of Laban (Groff 1995). Our experimental conditions consisted of two familiar characteristics of body movements: "lightness and fragility," two labels commonly used to describe qualities of movement and inspired by Labanian movement analysis theory (Groff 1995) (see Supplementary Material, for details).…”

Section: Introductionmentioning

confidence: 99%

Computational Feature Analysis of Body Movements Reveals Hierarchical Brain Organization

et al. 2018

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Social species spend considerable time observing the body movements of others to understand their actions, predict their emotions, watch their games, or enjoy their dance movements. Given the important information obtained from body movements, we still know surprisingly little about the details of brain mechanisms underlying movement perception. In this fMRI study, we investigated the relations between movement features obtained from automated computational analyses of video clips and the corresponding brain activity. Our results show that low-level computational features map to specific brain areas related to early visual- and motion-sensitive regions, while mid-level computational features are related to dynamic aspects of posture encoded in occipital–temporal cortex, posterior superior temporal sulcus and superior parietal lobe. Furthermore, behavioral features obtained from subjective ratings correlated with activity in higher action observation regions. Our computational feature-based analysis suggests that the neural mechanism of movement encoding is organized in the brain not so much by semantic categories than by feature statistics of the body movements.

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Laban Movement Analysis: Charting the Ineffable Domain of human Movement

Cited by 39 publications

References 2 publications

The Positive Effects of a Combined Program of Creative Dance and BrainDance on Health-Related Ouality of Life as Perceived by Primary School Students

The Positive Effects of a Combined Program of Creative Dance and BrainDance on Health-Related Ouality of Life as Perceived by Primary School Students

Analyzing Expressive Qualities in Movement and Stillness: Effort-Shape Analyses of Solo Marimbists' Bodily Expression

Computational Feature Analysis of Body Movements Reveals Hierarchical Brain Organization

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