|Editor-in-Chief:||Teresa Heiland, Loyola Marymount University|
|Editors:||Tina Curran The University of Texas at Austin|
|Susan Gingrasso, University of Wisconsin at Stevens Point, Emeritus Professor|
Call for Papers: Special Issue on Voices of Notators: Approaches to Creating a Score.
Writing a Labanotation score, or any type of movement score, is a form of research, a deep analysis of the inner workings of a choreographer’s dance-work or mover’s creative ideas. Using notation, the score creator translates movement into a symbol-based score of what happens in the dance and also analyses the themes, ideas, and qualities of the movement, in order to compose a score that reveals the theoretical underpinnings of the spirit of the work. Each notator brings her/his own analytical skills to the process of capturing or creating a dance-work. Each dance-work also requires that the notator attend to the salient features of the work that drive the spirit of that dance. In this Special Issue, we invite notators to share their unique process of entering into the creation of a score, and sharing how that process transforms them as researchers and analysts. We are interested in all forms of movement notation
In this Special Issue, we are interested in the practices of creating scores. Consider the following possible topics:
- Describe how you approach and process the notation of scores in general; what is the practice for you, intellectually, affectively, physically, aesthetically, etc.
- Describe how you have approached and processed writing a score for a particular dance that was especially interesting, transformative, or challenging for you.
- Describe how you change your approach to notating a dance based on the ideas and approaches of the choreographer.
- Describe your process of deciding how you will engage with the dance and the choreographer’s rehearsal process so the score reader better understands what is seen, moved, and expressed by the choreographer. What sorts of things do you learn about a choreographer’s work when notating it that you might not learn when dancing the dance? What does the analysis and research process reveal? How does it inform in ways that learning only in the body does not?
- The notator preserves, in the score, all the knowledge shared with the dancers and intrinsic to the values of the work. How is this done via the notation system you use?
- Some notators work by hand on the final autography, and others use software, such as LabanWriter. Describe your unique processes and choices for how you create the final autography.
- Creating a score is not just like taking a video—but it is truly research and analysis to bring the essence of the dance to the page. What philosophical and educational theories support your experiences with why you notate and notate the way that you do?
- For those who use scores to create movement, describe your process of deciding how you engage with the notation with the dancers, so the notation scores support engagement in movement and deepen understanding of movement creation intended by you, the choreographer. How do you make the decisions for how to focus the notation for the given choreographic situation?
Deadline for paper submission is 15th November 2017.While flexible in length, we seek contributions of approximately 4,000 to 8,000 words addressing any of these or related topics. The journal uses Chicago Manual of Style, 16th edition. See "Final Manuscript Preparation Guidelines," in the tool bar to the left, for ways to focus writing, as well as details about preparing manuscripts.
Journal of Movement Arts Literacy is an international, peer reviewed, open-access academic publication that serves to promote the scholarly study of movement arts literacy (using notation, symbolic representation, and critical analysis) for the purposes of supporting development of pedagogy, theory, application, practice, and research of human movement. Focus on movement is especially aimed toward, but not limited to, inquiry into aesthetic, scientific, and cultural understanding of movement arts using movement-based literacy. For more details about movement arts literacy, see Aims and Scope.
Current Issue: Volume 3, Number 1 (2016) Laban Studies: Pedagogy in Theory and PracticeThis Special Issue on Pedagogy in Theory and Practice consists of a brief introductory article on pedagogical theory and practice of dance-based dance literacy using reflexivity, written by the lead editor, followed by three feature articles that focus on theoretical, philosophical, and epistemological perspectives of pedagogical practices within the realm of Laban Studies by Sherrie Barr and Livia Fuchs and János Fügedi.
Special Issue: Pedagogy in Theory and Practice in Laban Studies
Teresa L. Heiland
Doctrines and Laban Kinetography in a Hungarian Modern Dance School in the 1930s
János Fügedi and Lívia Fuchs