Author	Article	Year	Vol	Pages
Anon	Dance Appreciation – Critic’s Awards	2005	24.3	pp.5-7
Archbutt, S.	Understanding the Concept of the Kinesphere and its Scaffoldings	2007	26.3	pp.16-19
Archbutt, S.	Understanding the Concept of the Kinesphere and its Scaffoldings	2007	26.3	pp.16-19
Archbutt, S.	Choreutics Revisited and the Laban “Rings”	2008	27.1	pp.10-12
Archbutt, S.	The Laban Scales and Rings (1)	2008	27.2	pp.7-11
Archbutt, S.	The Laban Scales and Rings (2)	2008	27.3	pp.10-14
Archbutt, S.	The Laban Scales and Rings (3)	2008	27.4	pp.19-23
Archbutt, S.	The Laban Scales and Rings (4)	2009	28.1	pp.12-15
Archbutt, S.	The Laban Scales and Rings (5)	2008	28.2	pp.18-21
Ashley, T.	The Bartenieff Fundamentals Thigh Lift, Core integration and Contact Improvisation	2013	32.1	pp.10-12
Bagley, C.	A Laban Introduction to Choreography	1998	17.1	p.15
Bagley, G.	Thinking About the Kinesphere	2003	22.2	p.6
Bagley, G.	The Dance of the Crystal and the Gel, part.1	2006	25.2	p.16
Bagley, G.	The Dance of the Crystal and the Gel, part.2	2006	25.3	pp.18-19
Bagley, G.	The Dancing Homunculus (part.3 of above)	2006	25.4	pp.14-15
Bagley, G.	A Consideration of the Physical Factors Involved in the Perception of Movement	2007	26.1	pp.8-9
Bagley, G.	Some Thoughts About the Three Spheres	2008	27.2	pp.12-14
Bailey, E.	Flow, the Odd one Out	1998	17.1	pp.14,16
Bauer, L.	Dance Composition		35
Bodmer, S.	The Power of the Dance		25
Bodmer, S.	Dance Composition – Part 1		28
Bodmer, S.	Dance Composition – Part 2		30
Bodmer, S.	Harmonics in Space	1983	71	Nov
Bodmer, W.	A Scientific Approach to the Study of Movement – ‘…in the biological sciences…we start with the classifications of Linnaeus and eventually arrive at the modern theories of evolution and inheritance and their complicated mathematical justifications and predictions.  In this light I consider Laban’s work as laying the foundations of such a scientific study of human movement.’	1958	21	pp.39-41
Bridges, D. and A.	Creativity, Originality and Judgements of Value		50
Carlisle, A.	Interview with Jack Bullen	2014	33.3	pp.3-4
Chapman, O	Creative Dance, Some Implications of the Concept		35
Curl, G.	Philosophic Foundations – Part 1		37
Curl, G.	Philosophic Foundations – Part 2		38
Curl, G.	Philosophic Foundations – Part 3		39
Curl, G.	Philosophic Foundations – Part 4		40
Curl, G.	Philosophic Foundations – Part 5		41
Curl, G.	Philosophic Foundations – Part 6		43
Curl, G.	The Skilful – a Major Sector of the Aesthetic		53
Curl, G.	Play-acting is Pretence – how then can it be a Vehicle of Truth?	2003	22.3	p.6
Curl, G.	Aesthetic Values in Community Dance	2004	23.3	pp.7-9
Curl, G.	Laban’s Choreutics – Transformed and Fragmented!	2005	24.1	pp.10-13
Curl, G.	Dance Criticism	2005	24.2	pp.4-6
Curl, G.	Question for (past) Experts – What Makes Good Dance?	2005	24.3	pp.8-13
Curl, G.	Charismatic Crystals	2006	25.1	pp.41-44
Curl, G.	“Images” and “Aspects” in Dance	2008	27.1	pp.16-18
Curl, G.	Keeping up Appearances in the Arts	2010	29.1	pp.4-7
Curl, G.	The Critical and Appreciative Approaches to Dance in Education – Part 1	2015	34.1	pp.8-11
Curl, G.	The Critical and Appreciative Approaches to Dance in Education – Part 2	2015	34.2	pp.14-16
Curl, G.	Laban’s Movement Analysis	2016	35.2	pp.13-15
Curl, G.	Keeping Alive the Legacy of Kurt Jooss	2017	36.2	pp.13-14
Curl, G., Longstaff, J. and Lamb, W.	Critical Debate (1)	2008	27.2	pp.15-18
Curl, G., Longstaff, J. and Lamb, W.	Critical Debate (2)	2008	27.3	pp.19-20
Curl, G., Longstaff, J. and Lamb, W.	Critical Debate (3)	2008	27.4	pp.24-25
Curtis-Jones, A.	Transmission: Re-Imagining Laban, Contemporising the Past, Envisioning the Future	2016	35.1	pp.12-16
Curtis-Jones, A.	Summary – Re-Imagining Laban: Dynamic transformations in Contemporary Dance Practice	2022	41.4	pp.5-9
Davies, K., Fowler, J., McCaw, D., & Roberts, H.	The Laban Archives – Bedford, NRCD, Trinity Laban and Brotherton	2015	34.1	pp.15-17
Dewey, M.	The Significance of Movement		29
Douse, L.	Flow: the psychology of intrinsic motivation	2015	34.3	pp.4-6
Doyle, B.	The Important Dynamics of our Dance Group; and some of the issues it raises	1980	64	May
Erdorf, S. (translated by Gerard Bagley)	The Oil of Movement is the Flow	1996	15.2	p.8
Foster, R.	The Analysis of Movement – a Current Conception and Reasons for it		25
Gasparotti, C.	New Technologies for Dance and Laban	2022	41.5	pp.3-4
Glockner, S.	A Short Introduction to the Bartenieff Movement	2000	19.4	pp.10-11
Henshaw, D.	Eukinetics	1996	15.3	pp.4-5
Hermelin, W.	Time and no Time	2000	19.3	p.15
Holbrook, J.	Laban, Wagner and the Gesamtkunstwerk	1983	70	May
Hutchinson-Guest, A.	The Language of Dance Centre	1992	11.4	p.1
Hutchinson-Guest, A.	In Question – the Body	1996	15.1	pp.1,3
Hutchinson-Guest, A.	Space Dance. Twelve Choreutic Dance Studies	1997	16.2	pp.8-9
Hutchinson-Guest, A.	Essential Meanings	2009	28.2	p.9
Johnston, S.	Flow of Energy, Birth to Maturity	1989	78	May
Kennedy, A.	EUROLAB Certificate Programs in Laban/Bartenieff Movement Studies	2016	35.2	p.28
Kennedy, A.	Spiral Didactics – Revisiting Modern Educational Dance	2018	37.1	pp.8-10
Kennedy, A.	Rudolf Laban and Warren Lamb A Team Movement Pattern Analysis	2023	42.5	pp.4-6
Kennedy, D.	What is Dance – ‘Dance is not only an art, but is the taproot of all art.  …From this root art have sprung music, drama, painting and decoration, etc., daughter arts which are still compounded with Mother-dance in the service of tribal magic, ceremony and religion.’	1951	6	pp.12-17
Kirsten, J.	My Series for L	2013	32.1	pp.4-7
Lange, R.	Philosophic Foundations and Laban’s Theory of Movement		43
Lange, R.	The Nature of Dance		44
Lamb, W.	Movement as a Common Denominator	1998	17.2	p.3
Leaman, O.	Thinking Philosophically About Dance	1998	17.2	p.3
Leonard, M.	Rhythm and Dance – Part 1 – ‘Today, man may choose to eel that his primitive ancestry is far behind him, yet there are few who do not respond in some way to the deep resonant beat of a drum, and in doing so realise that within themselves are unexpected depths, primitive forces not beyond recall.’	1954	12	pp.29-33
Leonard, M.	Rhythm and Dance – Part 2 – ‘Differences in the use of rhythm characterise opposing racial temperament, and the contrast provided between the drumming of India and Africa clearly illustrates this.’	1954	13	pp.56-61
Leonard, M.	Rhythm and Dance – Part 3 – ‘Musically Man has gained much, but also lost a great deal and the value of musical research into primitive, oriental and folk traditions, is that it serves to widen our horizons.’	1955	14	pp.36-43
Leonard, M.	Rhythm and Dance – Part 4 – ‘Freedom and metricity in rhythm are two opposite poles between which stands a whole range of intermediary stages.  A rhythm may change from one to the other abruptly, or maybe transformed by degrees.’	1956	17	pp.45-51
Leonard, M.	Rhythm and Dance		47
Lewis, H.	Relationships – through Dancing together we Learn	1996	15.4	pp.1,12
Loughran, B.	Sharing my practice and research in higher education: ‘universals soul’, my university role and context	2021	40.2	pp.8-11
Maletic, V.	Laban Concepts and Laban Dialects in Shape	1988	77	May
Meredith-Jones, B.	Moving and Living		27
McCaw, D.	The Genius of Geraldine Stephenson	2009	28.1	pp.1-4
McCaw, D.	Working in the John Hodgson Archive	2013	33.3	pp.12-13
Millar, B.	Polyhedron	2019	38.3	p.9
North, M.	Effort Study	1996	15.3	p.1
North, M.	Dimensions of Laban’s Contribution to Movement Analysis	2012	30.2	pp.6-8
Nugent, A.	Letter re. William Forsythe	2004	23.4	p.3
Nugent, A.	Swimming Upside Down; William Forsythe and Rudolf Laban	2010	29.1	pp.1-3
Parr, J.	Expressing emotional states through contrasting movement modes in ‘Macbeth’	2021	40.1	pp.6-7
Perrotet, C.	Thoughts about Dance and Dance Technique		39
Perrotet, C.	Learning Dance Studies in the context of Choreutics	1998	17.3	pp.4-5,14
Platt, M.	Movement can say More	1998	17.3	pp.1,6
Poulter, B.	Moving and being moved: Laban Movement Analysis in Dance Movement Psychotherapy	2018	37.3	pp.6-8
Preston-Dunlop, V.	Going for a Walk with a Line	1982	69	May
Preston-Dunlop, V.	Choreological Studies	1988	77	May
Preston-Dunlop, V.	Laban’s Kammertanzbuhne Revisited	1988	77	May
Preston-Dunlop, V.	Laban, Space and Choreutics	1996	15.2	pp.1,3
Preston-Dunlop, V.	Laban and Choreological Studies 1926 – 2001	2001	20.1	pp.4-7
Preston-Dunlop, V.	Letter – Connections between Dance and Drama in Laban’s work	2003	22.3	p.3
Preston-Dunlop, V.	Icosohedra and All That	2004	23.3	p.13
Preston-Dunlop, V.	Icosohedra and All That	2004	23.4	p.6
Preston-Dunlop, V.	Laban’s Choreutic Practice	2006	Supp	p.12
Preston-Dunlop, V.	Contemporary Engagement with the Past – Ascona address	2014	33.1	pp.4-6
Preston-Dunlop, V.	Keynote Address – 22+100: Laban and the Modernist Project	2022	41.4	p.5
Preston-Dunlop, V.	Laban and the Modernism: Rio 2022	2022	41.5	pp.8-9
Rosewarne-Jenkins, M.A.	Exploration of Aspects of Rhythm		39
Royston, D.	“In these Dramatic Times…” how to use the Laban Approach to activate Online Dimensions	2020	39.2	pp.3-8
Royston, D.	Shape-Shifting within Platonic Planes	2021	40.1	pp.4-5
Salter, A.	Icosahedral Symmetry Operations		39
Salter, A.	Notes on Effort		44
Salter, A.	Movement and Mind	1984	73	Nov
Salter, A.	Choreutics: A Rational Structuring	2008	27.1	pp.12-15
Salter, A.	Practical Aesthetics from Movement to Art	2009	28.2	pp.15-17
Salter, A.	Existentialism, Aesthetics, Dance	2011	30.1	p.11
Savrami, K.	Laban’s Influence in Contemporary Greece	2023	42.3	pp.6-7
Selioni, K.	The Synthesis of Character	2023	42.1	p.4
Skelly, M.	Developmental Possibilities – Part 1		60
Skelly, M.	Developmental Possibilities – Part 2		61
Skelly, M.	Developmental Possibilities – Part 3		62
Stephenson, G.	A Laban Approach to Performance	1994	13.2	pp.1,5
Stuiber, B.	Archetypes of Movement	2009	28.1	pp.7-9
Tolley, J.	Effort Analysis and The Tempest	1982	69	Nov
Turner, J.	Is Dance Science?	2002	21.1	pp.6-7
Ullmann, L.	Space Harmony – Part 1 The Dimensional Scale – ‘The six movements of this scale are not arbitrary, but evolve naturally from the study of the physical and mental functions of the human being.’	1952	9	pp.16-19
Ullmann, L.	Space Harmony – Part 2 The Diagonal Scale – ‘In the diagonal scale we see how the three dimensions or six dimensional directions of up-down, left-right and backward-forward eliminate one another.  The centre of gravity which had its static security is now flung or dragged into a direction which may be high-right-forward at the same time.’	1953	10	pp.30-32
Ullmann, L.	Space Harmony – Part 3 – ‘The dimensional movements which tend to establish positions on the one hand, and on the other, to continue the motion into one dimensional direction only at a time, require a stable balance of the centre of gravity either vertically above the stance or its pull out of this situation into the stress direction.’	1953	11	pp.23-26
Ullmann, L.	Space Harmony – Part 4 – ‘Now I should like to consider further such movements which avoid a central pathway and which circle around the core of the body.’	1954	12	pp.26-29
Ullmann, L.	Space Harmony – Part 5 – ‘I would suggest that when one moves in a definite direction, space and its harmony or the east move in it with winding, circling gestures is entirely forgotten.’	1955	14	p.33-36
Ullmann, L.	Space Harmony – Part 6 – ‘There are the three structural factors to be considered: (a) The right-left symmetry of the body; (b) The spine, bending forward and backward; (c) The division of the upper and lower part of the body.’	1955	15	pp.29-34
Ullmann, L.	Space Harmony – Part 7 – ‘Movement evolves in space.  There is no end to the variety of possible motions but in the various situations of man’s life selections are made according to inner preparedness and outer  opportunity for action.’	1957	18	pp.23-27
Wigman, M.	The Extraordinary Thing Laban Gave to the Dance		51
Wilson, K.	Using the Seven Motions as Foundation for Choral Movement in Greek Odes	2021	40.1	pp.5-6