Esther M. Zimmer Lederberg
Stepanov's Choreographic System 1

This page provides an example of Stepanov's system of choreography. It exemplifies some of the kinds of things that comprise a system of choreography. Stepanov's system of choreography was used in modern times, not the Renaissance. Thus, after a brief examination of Stepanov's system of choreography, an examination will be made of Renaissance choreography. After understanding Renaissance choreography, then an examination can be made of Renaissance dance itself, the music that accompanied Renaissance dance, as well as the environment of Renaissance dance: dance costumes (clothes, lighting, shoes, etc.), dances in courts, what the staging areas looked like, what did "dance" actually mean? For example, Renaissance architecture was a linguistic code used to support the state hierarchy. How did dance support the state hierarchy? For those that might find dance used to support the state hierarchy questionable, Queen Elizabeth dancing before the state's powerful nobility and aristocrats looking on, might want to question their facile assumptions.

  1. Stepanov's tripartite staff and clefs, with a total of 9 lines:
    click to see Stepanov's choreographic "staff and clef" notation
    2. .
  2. Head and body motion uses the first section of the staff for direction and level motions:
    click to see the 2-line staff and clef: Head and Body Motion
    3. .
  3. Motion of arms uses the second section of the staff:
    click to see the 3-line staff and clef: Right Arm Motion
    4. .
  4. Motion of legs uses the third section of the staff:
    click to see the 4-line staff and clef: Direction and Level of left Leg
    5. .
  5. Stepanov devised a "musical note" notation for diagonal direction motion:
    click to see notes for diagonal direction motion
    6. .
  6. Stepanov devised a sytem of "notes" to populate the staffs that supported timing:
    click to see musical notes for timing of motions
    7. .
  7. Stepanov devised a method for timing so that the duration of motion corresponded to musical notes:
    click to see more musical notation
    8. .
  8. Stepanov devised a method for timing "rests" in music corresponded to holding a position:
    click to see more notes for "rests": holding position
    9. .
  9. Stepanov devised a sytem of "notes" to populate the staffs that supported bending:
    click to see notes for timing of bending motions
  1. Stepanov devised a sytem of "notes" to populate the staffs that supported rotations of limbs:
    click to see rotating motions
    2. .
  2. Stepanov devised a sytem of "notes" to populate the staffs that supported foot positioning, including the plié and relevé:
    click to see foot positioning motions
    3. .
  3. Stepanov devised a sytem of "notes" to populate the staffs that supported turning:
    click to see Turning
    4. .
  4. Stepanov devised a sytem of "notes" to populate the staffs that supported pirouettes:
    click to see Pirouettes
    5. .
  5. Stepanov devised a sytem of "notes" to populate the staffs that supported walking sequences:
    click to see Walking sequences
    6. .
  6. Stepanov devised a sytem of "notes" for jumping:
    click to see notes for Jumping sequences
    7. .
  7. Stepanov devised a sytem of "notes" for sequences of arm motions:
    click to see notation for arm motions
    8. .
  8. What did Stepnov's choreography (notation) look like?
    click to see some actual Stepanov choreography
Examining Stepanov's system of choreography, we get an idea of the kinds of dance motions that are deemed important, and how these motions might be supported. However, intricate foot motions (caprioles) and intricate hand movements (constituting a gestural language in some Asian countries) might require a choreography that is far more complex. This discussion is limited to the Renaissance, thus Western Europe at a specific time period.

1 "Choreo-graphics: A Comparison of Dance Notation Systems From Fifteenth Century to the Present", by Ann Hutchinson Guest, Gordon Breach, 1959, Chapter Two

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