Escrita para Vassourinhas e sua relação com os sistemas de notação coreográfica

Quando tocamos com vassourinhas, fazemos sequências de padrões de movimentos como na dança. No entanto, no caso do baterista esses movimentos emitem som. Podemos relacionar a escrita do movimento usada na dança desde 1700 com a escrita para vassourinhas de Ed Thigpen, Clayton Cameron e Kirk Wilis a fim de melhorar nossas técnicas de notação. Apesar de ter uma forte tradição oral, os coreógrafos e bailarinos também sentiram necessidade de registrar e perpetuar suas coreografias pela escrita. Analisaremos a Labanotation, Benesh Movement Notation e a Sutton Movement Shorthand. A escrita para vassourinhas ainda se encontra em movimento de evolução e é necessário que olhemos para a história para poder contribuir com ela.

Laban, Rudolf (1879–1958)

Rudolf Laban was one of the leaders of Ausdruckstanz ("expressionist dance") in Germany. He worked as a dancer, choreographer, writer, educator, movement analyst, ballet master, director of cultural institutions, and industrial consultant. During the years of World War I, he worked intensively with other dancers and artists in Switzerland on Monte Verità in Ascona and in Zurich. After the war, he returned to Germany and soon founded a network of schools and affiliated dance companies. He promoted movement choirs as a form of mass dance, and developed a system of movement notation. After the National Socialists came to power in 1933, he continued his leadership role until 1937. The following year he immigrated to Great Britain, where he spent the rest of his life, abandoning his artistic career and focussing on his theoretical research and on the educational implications of his ideas. His work became the basis for British Modern Educational Dance. His most important legacy, however, lies in his conceptual thinking on dance, including his system of writing movement by means of signs and symbols originally called Schrifttanz ("dance writing") and later Kinetography or Labanotation.

Mapping Indeterminacy and Chance through Movement Notation: A Study on Dance Improvisation

A dance notation system is usually regarded as a representation tool rather than a creative tool. This paper uses the indeterminacy approach as a creativity method to assist body-based limb exercise and development. The movement notation system is constructed based on the effort action from Laban Movement Analysis. In-depth interviews provide a comprehensive insight into the choreographer’s perspective. The findings show that the notation system and body-based improvisation training are not mutually exclusive. Therefore, the use of a notation system gives dancers a better understanding of how movements interact with various stimuli, in relation to internal and external environments.

Noa Eshkol and the Idea of a Chamber Dance Group

Noa Eshkol (1924–2007) was an Israeli dance artist who developed a movement notation system in collaboration with her colleague, the architect Avraham Wachman. Consideration of Eshkol's dance values, particularly as they pertain to dance's basis in movement, understood as a material that can be “thought,” like music, by means of a notation system, and the role of the dancers as the work's primary audience, can contribute to the ongoing task of investigating dance modernism and its variety of authorship and spectatorship modes.