# Original A–F movement-lab cards

These are **tabletop composition scores**, not a dance genre, body instruction or set technique. One marker represents a chosen movement idea; a learner may direct it, annotate it or opt in to a teacher-approved small personal gesture. On every card, **H = home**, **L = left**, **R = right**, **N = near edge**, **F = far edge** on the [path grid](print/path-grid.svg). “Travel” can be a marker slide or a hand/eye direction within a comfortable range. A held count is still part of the phrase. No one has to use the floor path. The imaginary contexts are fictional, not representations of existing communities or dance works.

## A · Four-count signal

Score: **1 H → 2 R → 3 HOLD R → 4 H**. The purpose is to make a moment of attention to the right visible, then return. In a tabletop version, slide a marker; in a quiet movement version, a tiny self-chosen pointing/turning intention may trace the same order. The score says nothing about force, speed within the count or meaning to every audience. Claim to test: “The held R on 3 may make the right-hand space seem significant because the marker stays there for an extra count.”

## B · Two paths, same four counts

Version 1: **1 H → 2 F → 3 R → 4 H**. Version 2: **1 H → 2 N → 3 R → 4 H**. Only count 2 changes. A fictional museum guide may use F to point viewers towards the far side; a tabletop food-bank map might use N for the near pickup edge. These are prompts for purpose, not claims about actual venue choreography. Comparison evidence must name the changed count and possible reading.

## C · Time and dynamic contrast

Keep A's locations: **H, R, R, H**. Version 1 glides the marker gradually during count 2, then rests on 3. Version 2 stops clearly at R at the start of 2, then rests on 3. The visual comparison is sustained versus sudden arrival, **not** a request to move a body forcefully. A word or drawn length of line can replace action. “Sudden” means a timing choice, not high impact.

## D · Relationship to an object

Place an invented **lamp** marker at F and a mover marker at H. Version 1 approaches F on count 2, waits at centre on 3, then returns H on 4; Version 2 keeps the mover at H and turns its arrow toward F on counts 2–3. No real lamp or person is needed. The object relationship is a compositional device: neither version proves what an audience feels. Do not require partner work or touch.

## E · Motif transformation

Start from A's movement locations **H, R, R, H**. Reverse the spatial emphasis while keeping count structure: **H, L, L, H**. This is a *lateral mirror*, not reverse time. A true reverse of A's order would be **H, R, R, H**, identical at this coarse location level; that is why the worksheet asks learners to name the precise operation. A second change, **H, R, H, H**, removes the held R and returns early. Explain which element changed, not just that it feels different.

Compact score reminder: original **H–R–R–H**; lateral mirror **H–L–L–H**; early return **H–R–H–H**.

## F · Repeat and contrast

Phrase P = A: **H–R–R–H**. Phrase Q = E's left variant: **H–L–L–H**. Eight-count structure **P|Q** contrasts direction; **P|P** repeats direction. The two versions use equal counts and equal rests. A possible purpose is to guide attention to two sides versus one side twice. Only the chosen direction and structure change; do not infer a cultural style.

The A–F examples are rehearsed and worked in the teacher scripts. **G/H are new check material and do not appear here.**