{"id":3408,"date":"2022-10-07T14:51:46","date_gmt":"2022-10-07T14:51:46","guid":{"rendered":"https:\/\/www.inspirees.com\/?p=3408"},"modified":"2022-10-07T14:51:46","modified_gmt":"2022-10-07T14:51:46","slug":"waef-2023-lbms-summit-program-d3","status":"publish","type":"post","link":"https:\/\/www.inspirees.com\/waef-2023-lbms-summit-program-d3\/","title":{"rendered":"WAEF 2023 LBMS Summit Program D3"},"content":{"rendered":"
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LBMS Summit<\/a> Programme outline (TBC upon submission content)<\/span><\/b><\/p>\n

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Day 3:\u00a0 Integrating First and Third Person Views of Movement<\/span><\/b>\u00a0<\/span><\/p>\n

While Laban\u2019s work is associated with objective movement recording and analysis, he was equally aware of the need for a first person understanding of movement as experienced by the individual and the group.\u00a0 He called the first person, somatic view the \u201cbodily perspective,\u201d writing that \u201cAlthough in analysis we look at movement from the standpoint of an outside observer, we should try to feel it sympathetically from within.\u00a0 A mind trained to assist bodily perspective would give us a completely new outlook on movement and therefore on life.\u201d (Laban, 1966: 90).<\/span>\u00a0<\/span><\/p>\n

Laban\u2019s Movement Analysis framework offers a scientific approach to the study of movement.<\/span> As a methodology itself, LMA offers a dual approach in that the movement practice is both the subject of enquiry and source of data, as well as the method of data collection. Through analysis of the parameters of Body, Effort, Space and Shape, the movement analyst observes the mover for empirical evidence of these parameters and how they interrelate, giving information about a mover\u2019s \u2018preferences\u2019 in movement, or specifically about a particular area the mover or analyst want to address.\u00a0<\/span>\u00a0<\/span><\/p>\n

Information\/data gleaned from observation\/s can be recorded on a \u2018coding sheet\u2019 where the analyst and mover can \u2018make sense\u2019 of the movement for therapeutic, performance, or educative purposes. Alongside this method, Labanotation \/Motif <\/span>symbols and combinations of them arranged on a score communicate in detail the various components of movement (direction, level, phrasing, dynamics etc.) for recording and observation purposes. This has approach to Laban\u2019s work has dominated the field of Laban studies, and whilst the framework offers a useful tool for movement analysis, it fails to comprehend, or record the more elusive and ineffable aspects of human movement.<\/span>\u00a0<\/span><\/p>\n

However, whilst the legacy of Laban\u2019s work allows us to analyse, dissect and understand movement phenomenon in great detail, what has been absent from the canon is the acknowledgment of the \u2018ineffable\u2019, more somatic, subtle and energetic aspects of the body which are illuminated in movement practice. That is, the somatic-spiritual aspects of Laban\u2019s thinking which underpins his notion of \u2018movement harmony\u2019 and more generally, his insistence on movement experience and analysis from a \u201cbodily perspective\u201d and \u201ca new awareness and practice of this faculty\u201d (Laban, 1966: 91).<\/span>\u00a0<\/span><\/p>\n

In archived notes, manuscripts and drawings, Laban asserts that subtle energies can be brought to notice via physical movement practice, can be \u2018awakened\u2019, enlivening the individual in their \u2018soul\u2019 life in the subtle body, or \u201cghost function\u201d as he calls it (Laban, n.d., L\/E\/5\/37). In published texts he refers to \u201c<\/span>the \u201cdream-side of life\u201d (Laban. 1971: 3), \u2018inner life\u2019 of the mover and \u201clife hidden beneath external appearances\u201d (Laban, 1980: 143), and \u201cthe land of silence\u201d, \u201cthe realm of the soul\u201d (Laban, 1975: 89). He alludes to the subtle-somatic in comments such as \u201cdance-like thinking and feeling brings about a consciousness of one\u2019s innermost self\u201d whereby \u201cthe physical self disappears\u201d and the \u201cfleeting pathway of the dancer is filled with ethical spirit\u201d (Laban, 1975: 178). In various published and unpublished texts, Laban repeatedly refers to the unconscious as being both the site of and gateway towards such soma-spiritual faculties. He goes further and suggests that it is in art, and specifically the art of movement as an embodied art form, which illuminates subtle energy and is our \u201chighest representative of our capacity to dream\u201d (Laban, 1971: 6) and which comes from the realm of the unconscious.\u202f<\/span> Practice of these ideas offers an understanding of movement which is not solely in the corporeal, analysable domain and <\/span>illuminates and grants meaning to physical movement.<\/span>\u00a0<\/span><\/p>\n

During this day, we invite papers, presentations, and workshops that approach movement objectively, subjectively, physically, metaphysically, spiritually, and approaches that comingle these perspectives. Our aim is to invite conversations that explore movement experience from the outside in and the inside out, ideas and practices that challenge the dichotomy of object and subject.<\/span>\u00a0<\/span><\/p>\n

AM\/PM activities TBD on submissions content to ensure a diverse mix \/ intermingling of ideas and approaches in-keeping with the days\u2019 aims of integration and synthesis.<\/span>\u00a0<\/span><\/p>\n