2 THE ACTION STROKE COLUMN2.1 The Action StrokeIn this author's opinion, the most basic characteristics of a movement are whether it takes weight and, if not, whether it touches anything. Therefore, the present notation system allows the rapid classification of each movement in a dance figure as being one of three basic actions:a support (step, hop, kneel, sit, etc.), which takes weight; a touch-gesture, which contacts the floor, an object, or a part of the body (the dancer's or a partner's) without taking weight; and an air-gesture, which does not touch at all.
The step stroke is straight, while the two gesture strokes are curved. The air gesture stroke curves upward, while the touch gesture stroke curves downward. These symbols may be drawn very quickly, which lends itself to a shorthand score. In the first illustration, #1 is step with the right, #2 an air gesture with the left, #3 a step with the left, and #4 a touch-gesture with the right.
The vertical placement of the staffline end of the actionstroke indicates the simple timing, the critical point, of each movement. This is defined as follows: for an air gesture, it is the time that the limb arrives at the notated destination; for a touch-gesture, it is the time that the limb initiates for a step, it is the time that weight transfer begins. Thus, you may judge the timing of successive movements by how they are spaced. In the illustration, we step R(1), L(2), RLR(3-4), LRL(5-6). The "two-step" symbols are clumped together. 2.1.1 AnticipationSometimes, while a dance figure is traditionally counted "1,2,3...", it is necessary to show an anticipatory movement that occurs before count 1. If so, then the staffline is extended downward, as a dotted line, and a solid action stroke is attached at the appropriate point to show the movement.2.1.2 Passive Supports, Touches and GesturesAction strokes are always solid, indicating that they represent "actions". Occasionally, there is a need to indicate that a support, touch, or gesture is passive, that is, is not the result of a distinct action of the notated limb but is a byproduct of an action of another part of the body. In this case, the stroke is dotted rather than solid. A dotted support stroke is called a "retention of weight" sign.2.1.3 InactionInaction may be shown by the absence of any new action strokes. However, this author prefers to remind the reader of where the supports lie by use of the retention of weight sign, repeated on each "empty" labeled count.2.1.4 Starting PositionDotted strokes are also used in notating the starting position since, by definition, until the figure commences, no "action" has occurred. To show the starting position, extend the staffline downward as a dotted line, and attach passive (dotted) strokes toit.Alternatively, draw a double horizontal line below the staff and place the starting position symbols below it. 2.1.5 No Support (Jumps and Leaps)If the dancer is in the air, then there is, by definition, no support. This may be shown by placing gesture symbols in both the left and right leg action stroke columns. This is the preferred approach if a stylized attitude, like a leg split or a heel click, is assumed while in the air.
It should be noted that when the bird sign is placed on the staffline, it has only ordinal, rather than quantitative time significance, that is, it indicates that the dancer is in the air before the next movement, but not exactly how long before. 2.1.6 Divided SupportsThe weight of the body may be divided among two (or more) points of support, most often, between both legs. This is called a divided support.When, in moving from a single to a divided support, both limbs move, "step" action strokes will be placed in both limb action columns. If, in the process, the dancer temporarily leaves the ground, then these steps will be considered leaps and may be notated accordingly. Otherwise, the original supporting foot must be sliding into its destination and a sliding contact symbol should be placed below and leading up to the action stroke, as discussed in the section on "hops". If however, the originally supporting limb merely passively retains weight, the step action stroke will appear only in the column for the active limb. A "retention" of weight sign, which is a dotted horizontal line, will be used in the column of the passive limb. In either case, the relative length of the step (or retention of weight) signs indicates the proportion of the body's weight borne by each supporting limb. If both step symbols are full width, the division of weight is equal. If one is full width and the other is half width, the division of weight is unequal. If finer distinctions are necessary, a "note" should be used to specify exactly how the weight is divided. A retention of weight sign is also used when a dancer moves (without leaving the ground, or sliding) from a single support to a divided support. It should not be used when the dancer is moving from a divided support to a single support. The transfer of weight onto a foot is always considered an "action". When "balancing" from one leg to another, the retention of weight sign, of appropriate length, will be used for the leg losing weight, and a step action stroke, of appropriate length, for the leg gaining weight. 2.1.7 Supported GesturesAfter the leg has taken weight, as a separate movement, it may do something ( a knee flexion, a rise on the toes, a roll onto flat foot, a pivot) without changing "place". This is called a supported gesture. So far as the support is concerned, if there is no increase in weight, and no change in floor position, the movement is considered passive, so that the "retention of weight" sign (dotted horizontal line) is used. However, to show the gesture, another symbol may be added.If one wishes to show the nature of the gesture, use a touch stroke if the gesture changes the nature of the floor contact, and an air stroke if the gesture just bends or straightens the knee. Both the retention of weight sign, and the touch or gesture sign, will be attached to the staffline at the same point. (For a supported gesture, the critical point is the time that the limb arrives at the notated destination.) If the effect of the movement is a change of level, one can ignore how the change is accomplished, and emphasize the effect. If so, then, on top of the retention of weight sign, we put a white diamond (to show a rise), or a black diamond(to show a fall). One may also indicate a pivot on a foot already bearing weight. We combine the dotted retention of weight sign with a turning sign, / for clockwise or \ for counterclockwise. If there is both a change in level and a pivot, the white or black diamond may be added. Please note that if a step and pivot are simultaneous, a regular step action stroke is used, and the pivot is shown by the change of facing. Certain additional information is also placed in the action stroke column, either above or below the action stroke. 2.1.8 Hops The
term "hop" is used in folk dancing to cover a variety of different movements
whose only common feature is that a movement is started from, and returns
to, a foot which already bears weight. The movement may travel, or remain
in place. It may result in the foot briefly leaving the ground, or in a
mere change in the level of the center of gravity of the body. The present
notation system is sensitive to these distinctions.
In the figure, action #1 is a step on the right foot. Action #2 is a hop in which the right foot remains in place and does not leave the ground. Therefore, a retention of weight sign is used. This is combined with a gesture symbol to represent the change in floor contact (by lifting the heel off the floor) which characterizes this type of hop. A "hop" in which the supporting foot leaves the ground or moves across the floor is considered a step. For a hop to result in movement across the floor, without leaving the ground, the foot must, by definition, maintain a "sliding contact" with the floor. (Some folk dancers call this movement a "chug".) A sliding contact symbol is placed below and leading up to the action stroke (see Figure, action #3). When a sliding hop occurs, it is likely that the foot will rise onto the ball of the foot (or at least raise the heel off the floor) as it slides, and be lowered once it comes to a stop. If desired, both of these actions may be notated. However, it is customary to infer the "rise" from the use of the sliding contact" symbol, and notate only the final outcome. A hop can also result in motion across the floor if the foot leaves the ground. If there is nothing fancy about what the leg does while it is in the air, the hop is notated much like a leap, except of course the leap is right-to-right or left-to-left (#4). If there is something worth noting about the attitude of the leg while in the air, a gesture signs should be placed on both sides of the staff (#5). In a step-hop, the step and the hop normally have equal time value. A skip is a quick hop, anticipating the beat, followed by a step on the beat. The timing of the hop and step in a skip are unequal. 2.2 Describing the Direction and Length of StepsIn the case of a support stroke (step, hop), it is also important to indicate the direction in which the dancer is traveling. The direction may be indicated relative to the direction in which the dancer was facing immediately before taking the step, i.e., a "body front" frame of reference, or relative to a direction keyed to the room or stage in which the dance occurs, i.e., an external frame of reference.A direction arrow in the travel column shows the movement of the dancer in the external (room) frame of reference. In contrast, a direction arrow is placed above the step action stroke to indicate the direction of travel in a body front frame of reference, and a distance number or symbol is placed beside the arrow. Together, given knowledge of the starting position, these state which part of the floor you are touching. A step is normally defined in terms of a direction and distance of travel away from a prior position, while the location of a part of the body as a result of a gesture is usually defined in terms of the post-action location of that part of the body, relative to the post-action location of another part of the body, e.g., the base joint of a limb. In the travel column, the normal reference point for the direction arrow is the location of the point on the floor directly below the dancer's center of gravity. This is the standard definition of "place" in Labanotation. In contrast, in the action stroke column, the normal reference point (the one assumed if there is no explicit reference point symbol) for the direction arrow is, if the leg were initially "free", the "open anatomical place" for the stepping limb (that is, the spot on the floor immediately below the base joint of the limb), or, if the leg initially bore some or all of the body's weight, the initial position of the supporting part of that leg. (This is different than in Labanotation, but seems more intuitive.) However, depending on the nature of the movement, it may be more useful to specify (in the action stroke column) where the step is taking place by relating it to a different reference point than the one suggested above. The most common alternatives are the point on the floor below the dancer's center of gravity (the Labanotation, or kinematic "place"), and the opposite foot. There are standard symbols for these reference points. The purpose of a dance notation system is to facilitate the explanation of the movement in whatever manner is best suited. Hence, you are not forced to use a particular reference point in this situation. However, be careful, especially when notating a divided support position, that you write what you mean.
In the first score, the default reference points are used. Thus, above the leg action strokes we show how each foot moved relative to where it was on the count before. The first score thus emphasizes that the feet are moving forward and outward on count 2, both to the right on count 3, and both to the left on count 4. In the second score, we use the center of gravity-based place as the reference point for the leg action strokes. On counts 2-4, the spacing of the feet is constant, so the symbols are the same. The second score thus emphasizes the constancy of the relative position of the feet on counts 2-4. In the third score, on count 2, we use the center of gravity as the reference point. On count 3, we show that the left foot jumps to where the right foot had been, while the right foot is two step lengths to the right of the new position of the opposite (left) foot. Count 4 is, of course, the reverse position. The third score thus emphasizes the "displacement" effect on counts 3 and 4. Since the travel column always describes the motion of the center of gravity-based place, it is the same for all three scores. 2.2.2 Notating Step Direction When Facings Change Care must be taken in notating the direction of steps when changes in facing occur during the dance. The direction arrow in the travel column always uses a room frame of reference and is therefore unaffected by changes in facing. The standard frame of reference for a direction arrow in the action stroke column, however, normally uses a body front. A change of facing may occur (1) before a step begins, (2) while the leg is moving out, but before weight transfer commences, (3) during the transfer of weight, (4) after the transfer of weight is complete, or (5) some combination of 1-4 above. In case (1), the new facing is shown in the facing column as having occurred before action stroke. The direction of the action is judged against the new facing. In case (2), the new facing sign will be even with the action stroke, and a rotation sign will appear just below it on the score. If facing changes while in the "reaching out" phase of a step, it can happen in one of two ways. First, the old supporting foot can pivot in place (a kind of slide) while the stepping foot reaches out. If so, the direction of the step is judged according to the new facing. The other possibility is that the change occurs during a leap in the air. If this is the situation, the best thing to do is to ask yourself, does the step clearly "feel" like a leap forward, backward, or sidewise? If so, notate it accordingly. If you have to agonize over it, it is better not to notate the direction using a "body front" frame of reference at all! For case (3), a rotation sign is placed on the step stroke, and even with it, in the facing column, and the new facing is indicated just above the rotation sign. The direction of the step is judged according to the old facing. In case (4), the change of facing is a new action. Above the solid step stroke, place a dotted step stroke (to indicate a new action with retention of weight) with a rotation sign upon it. Place a rotation sign even with it in the facing column, and a new facing sign just above that. Naturally, the direction of the step is indicated according to the old facing. Please note that it is always safe to just notate the direction of a step using a room frame of reference, as is standard in the "travel" column. If you do not want to use a separate travel column, you may show direction, using a room frame of reference, in the action stroke column by placing the direction arrow within square brackets. 2.3 Describing Which Body Parts Are TouchingIn the case of a support (step) or a touch-gesture action stroke, we will also normally describe which part of the body of the bodyis doing the touching (by a body part symbol placed below the action stroke) and, if applicable, the part of the body which is touched (by a symbol placed above the action stroke). When the arm (leg) is doing the touching, it will be assumed to be using the hand (foot) unless stated otherwise. Of course, when one part of the body touches another, it is somewhat arbitrary to say which part is "touching" and which part is "touched". Generally speaking, if the arm touches the leg, only the arm action will be notated, and the leg will be deemed to be touched. Moreover, if either the arm or the leg touches the head or torso, only the limb action will be notated and the head or torso will be deemed to be touched. No signs relating to touching will be placed in the action stroke column of the "touched" part of the body. If however, one clicks ones' heels together, or claps ones' hands together, these have equal priority, and both the left and the right action stroke columns will show both an action stroke and a body part symbol identifying the symmetrically opposite part of the body as being what was touched. All body part symbols feature a vertical line, which is a single line if the part is of the dancer's own body, and a double line if it is a part of another's body. Therefore, the single or double vertical line, by itself, are generic symbols for the body of the dancer or of another, respectively. These generic symbols may be modified later to specify the body part more precisely. It is also possible to represent touching an object. The generic symbol for an object is a diamond. A number or letter is placed inside the diamond to identify the object. Following the score, all object IDs are explained. 2.3.1 Touches with Certain Portions of the Hand or Foot Touches
with the foot have certain characteristics that warrant a special symbology.
It is not possible to touch the floor with the center
of the foot without also touching the toe or heel. One may therefore visualize
one spectrum of possible touches of the foot to the floor as being represented
by rolling the foot on the floor from toe only, through flat foot, to heel
only. A touch with the forward part of the foot is represented by an upward
pointing arrowhead, and one with the backward part of the foot by a downward
pointing arrowhead. If the touch is with the flat foot, these symbols are
combined into a diamond.
If you wish to be more specific, you may specify a degree of "roll". There are four forward degrees and four backward degrees. In order of increasing departure from the flat foot, these are shown by combining the appropriate arrowhead with a black circle, an "x", a white circle, or a white square. Note that these are modified degree signs. The top of the foot may be shown by a double arrowhead rather than a single arrowhead. The side of the foot is shown by a single arrowhead pointing to the right or left, as appropriate. Touches with the hand are less limited than touches with the foot. However, when appropriate, the aforementioned foot contact symbols may also be used to show hand contacts. 2.3.2 Touches with Other Parts of the BodyWhen a touch is executed by a part of the body other than the hand or foot, the part of the body doing the touching must be explicitly stated. This is done by putting the appropriate body part symbol below the touch stroke.2.3.3 What is TouchedNo symbol is needed to show when the floor is being touched; that is the default. A body part symbol, as described in the section, is used to show when a part of the dancer's body, or a partner's body, is touched. A footnote will indicate when an object is touched.Accented steps and touches make noise. They are shown by an exclamation mark (!) placed above, or, more preferably, below, the action stroke. Preferably, the mark is placed near the outer edge of the action stroke column. Its location should be chosen so (1) it is clear which action stroke is being accented, and (2) it is not confused with another notation symbol. An extraordinary accent may be shown by a double exclamation mark (!!).
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Each
of these basic actions is represented by a simple symbol, the "action stroke".
On the leg and arm staffs, the action stroke is normally attached to the
staffline. It is to the left of the staffline if the movement is of the
left limb, and it is to the right of the staffline if the movement is of
the right limb.
When
the action is one of the head, chest, or pelvis, the symbol is symmetrical.
In the second illustration, #1 designates weight-taking (admittedly not
too likely), #2, an air-gesture, and #3, contact of the floor or a body
part without weight.
the
notated touch;
When
the movement into the air is a brief grace note preceding another movement,
as in a hop or leap, it may be convenient to represent it in another way,
which takes up less space on the score. A "bird" sign is placed on the
staffline just below the attachment points of the step sign. The "bird"
sign looks something like a stylized picture of a bird seen from far away.
Since birds fly, this sign seemed appropriate.
In
the illustration, we have described the same movement in three different
ways (I have left out the "bird" signs to reduce clutter.) The movement
is as follows: count 1-jump on both feet in place; count 2, jump on both
feet, forward and outward equally; count 3, jump on both feet to the right,
keep the feet apart as they were on count 2, the left foot landing where
the right had been; count 4-jump to the left, reversing the action of count
3.