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SESSIONS The role of notation on body construction by Angela Loureiro de Souza, Brazil/France, and Jacqueline Challet-Haas, France Paper After years of LMA practice, the notation domain seemed to me important to be explored in order to enlarge and deepen the understanding of Laban’s thought concerning human movement. My expectations were not deceived. I propose to examine two experiences of crossing Laban Movement Analysis and Bartenieff Fundamentals with Kinetography. Both experiences show the continuity and coherence between them: first, the LMA introductory classes to notation students at the Conservatoire Supérieur de Musique et Danse de Paris; second, the notation of Bartenieff Fundamentals together with Jacqueline Challet-Haas. The LMA introductory classes to notation students allowed me to work on: - the receptiveness to movement experience and the capacity of connecting symbols and concepts to dance, one nourishing the other. - enlargening the consciousness and the mastery of body and movement through the embodiment of analytical issues. - the possibility of seeing movement patterns in a score and in personal movement affinities, as well as the possibility of reaching beyond them. Notation students, during their two year basic training course, are encouraged to change personal habits and to enlarge movement possibilities. LMA can only strengthen this fundamental issue. The project of notating Bartenieff Fundamentals arose from a desire to share experiences. Through this project, Jacqueline Challet-Haas and myself have seen how much Laban Movement Analysis, Bartenieff Fundamentals and Kinetography are nourished by the same movement thoughts. Among them, I would like to emphasize: - the "belonging" of body and space and its importance to body work. - the major role of body weight transfer. - the constant interplay of stability and mobility. - the plasticity of the body as a result of a three-dimensional perspective. Both experiences, respecting the specificity of each domain of Laban analysis, show the richness of crossing points of view. The same movement themes can be detected and explored. Angela Loureiro had her first contact with Laban/Bartenieff System through Regina Miranda’s work and her Companhia de Atores Bailarinos do Rio de Janeiro of which creation Angela participated in 1978. As a dancer, choreography assistant, coach and teacher, her experience extends to the fields of dance, theater and cinema. Graduated in History, her interest leant towards the history of brazilian medical sciences. In 1995, she got her certificate in the Laban/Bartenieff Institute for Movement Studies, under the orientation of Peggy Hackney. In 1999, she graduated in Laban Kinetography in the Conservatoire Supérieur de Musique et Danse de Paris, supervised by Jacqueline Challet-Haas with whom she has been colaborated notating the Bartenieff Fundamentals. Angela Loureiro has lived in France since 1988, where she works with different population groups – professionals and students of dance, theatre and singing; nurses in training, psychomotriciens, older adults – and has, through master classes, workshops, lectures and teaching, contributed to diffuse Laban-Bartenieff System.
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