Life is a Dance, Essay Example

Many people have used dance variations to create their own identity and express themselves. Over time, then, descriptions have evolved to evaluate, analyze, and critique the movements that blend together into dance itself. Using the Laban Movement Analysis, which utilizes the body, effort, shape, and space, it is interesting to try and evaluate oneself, and get an interpretation of what my own dancing conveys to the world.

Starting with the body, the physical, as well as structural, characteristics of the human form are being distinguished; in short anatomy. This is where the actual moving parts are defined; observing the connections of different parts and influences to see how one pose flows seamlessly into the next. Ultimately, “it address the question ‘where in the body does the movement begins and how does it follow through to complete the phrase?’” (“Laban Capture,” 2011).

For my own styles of dancing, it is safe to say that I use a simultaneous approach; that is to say that all of the body that is being used for the movement is being coaxed into motion at the same time. Of course breathing is taking place for sustained motion; as such lungs and the respiratory system are engaged to allow for fluidity. Finally, head- tail connectivity is a must as it paints the picture of the body connecting upon the vertical axis, or spine. This, naturally, aids in the flexibility, sensuousness, etc… that is mandatory for a dancer, particularly for level changes.

Next in the Laban Movement Analysis is the effort that is being exerted with each movement; particularly the subtleties and variations necessary to flow through the changes mandated in any dance with attention and respect paid to the actual intention of the dancer herself. For example, “the difference between punching someone in anger and reaching for a glass” of water relies on varying extensions of the arm and force exerted by the muscles involved (Davison, 2001).Timing, strength, control, all play important roles in this type of classification, and all have differing ranges.

For myself, effort is fun to play around with for it provides even more variation in every movement. I am fond of using strong bursts of motion and weight to provide the force necessary to keep my flow of movements free. Naturally it would be difficult to dance at all without some amount of flow but the less bound a movement is, in my opinion, the easier the transition into the next step of the dance and the more integrated, and strong, the message.

“The shape category looks at ‘What forms does the body make?’, ‘Is the shape changing in relation to self or in relation to the environment?’, ‘How is the Shape changing- what is the major quality or element which is influencing its process of change?’ Underlying all shape change is the basic change in the body’s form that happens in the process of breathing” (Groff, 1995). Even the smallest breath can have an effect upon the shape that the body is holding at any moment. It is imperative to take everything into account when striving to reach for a particular effect.

Personally, and in accordance with the rest of my movement signature, I like to focus on shape flow support. Making everything look simple, even when it is expressing the most ragged of emotions is one of the parts of dancing that I strive to master. As such, keeping the shape of my body in focus at all points of any dance is a primary concern. Switching the directional flow of movement flawlessly is supplemental in keeping with my goals as well; this is because dance is never a one way endeavor.

Last, but not least, space. Space “articulates the relationship between the human body and the three dimensional matrix of space” (“Laban Capture,” 2011). Space aspects include “information about the mover’s own personal movement sphere” and general space “which is an important part of characterization or personal style” (“Laban Capture,” 2011).  These patterns of movement, and the dancer’s perception of boundaries, can add an entire new aspect to any artist’s canvas.

When I dance, I want to convey the concepts of both central radiance and peripheral boundary. Always changing both the ideas of what the stage is showing and the movements that the dance is expressing further defines that thought of constant change and evolution within a situation; all anyone can ever hope to accomplish is success within the trials set before them. By mixing up multiple aspects of space into one dance, I am able to demonstrate many traits with one movement, one expression.

With all of that under evaluation, I would like to increase the dynamic and types of styles that can be found within my dancing repertoire. I definitely wish to add more cross- lateral connectivity to further add complexity to my dances. Additionally being capable of changing my signature would make me more diverse and as such a more valuable commodity in any job I choose to take on.

Dance, like life, is one of those things that constantly changes and evolves; a way of life. If one is completely dedicated anything can be accomplished. By using the Laban Movement Analysis, and various other tools, a dancer, athlete, patient in rehabilitation, etc… can gain valuable insight into their own tendencies towards motion. By evaluating body, effort, shape , and space, a person, then, has access to a map of their own movement and can breakdown any motion in particular to make minute adjustments; ultimately leading to further success in whatever goal has been established.

Works Cited

Davison, James. “Laban Movement Analysis/Bartenieff Fundamentals.” The Daily Telegraph.       London. 2001. Web. 29 May 2011.

Groff, E. “Laban Movement Analysis: Charting the Ineffable Domain of Human Movement.” Journal of Physical Education, Recreation & Dance. 66. 1995. Web. 29 May 2011.

“Laban Capture.” New York Movement Research Group. 2011. Web. 29 May 2011.

Newlove, J. Laban for Actors and Dancers: Putting Laban’s Movement Theory into Practice, Nick Hern Books. London. 1993. Web. 29 May 2011.