Interpretation of human movement through a system of symbols.
(All the texts of this project were write in Catalan). Dance is a form of expression that makes use of the movement of the body, with or without music, to communicate. It is an art that is difficult to extrapolate and represent through a writing language, as is the score to music.
In spite of this, Rudolf von Laban, was the first to provide a complete system to the dance, raising the movements of the different parts of the body through various symbols and schemes, which can be interpreted by another person thanks to this set of symbologies, called Labanotation or Kinetography Laban.
The project proposes to go one step further and look for areas where movement is not choreographed or premeditated, providing another vision of this movement, thus making the movement of the body and its richness in the expressiveness of each step, as if it were a piece of dance. How do we write to hug a person, pedal a bicycle or have a coffee?
The methodology is based on the analysis and subsequent interpretation of this extensive system and how this can be extrapolated and accommodate other aspects beyond dance, following the logic and reliability of the system already created. As a result of this, questions and doubts arise about what movement is and how it can be captured to be reinterpreted. We also reflect on the extent to which these actions could be choreographed or pre-established.
The project analyses human movement through a registration system, the Labanotation, which allows us to provide different visions of it -especially in the most internalised and, therefore, most forgotten movements- and a different way of analysing them.
The fact of finding a system that allows the registration of all the danced movement, and that also opens up a wide range of possibilities for us to note down all the possibilities of the movement, brings us many interesting questions. It can bring us new visions about the movement, especially a series of movements that perhaps acquire more importance with these visions, such as the banalities of the day to day, giving importance to the acts that we do without wanting or that we have fully internalized.
If we talk about movement, we have to talk about an audiovisual format. With this format, we reach many of the aspects of movement that with other static elements may fall short. In addition, we can easily structure a narrative line with approach, knot and denouement. In this way, by superimposing the Laban notation system, the audiovisual piece acquires a new status and a new reading outside of what we are used to visualizing these formats.
Following this audiovisual piece, we have thought of a physical format that at the same time serves to make a constellation of objects, to enrich the project in all its globality. Thus, the formed poster provides a brushstroke of what the audiovisual piece treats and at the same time complements it, following the same mechanics as the audiovisual; the movement with its consequent translation into the Laban notation system.
The function of this physical or "static" format is to break down the relevant movements that appear in the audiovisual document and to understand the notation of that movement through explanations and guidelines that help to understand the physical and audiovisual format and, as a whole, the entire project.
On the other hand, the compilation of the notations and part of the explanations about the Labanotation form another compilation piece.