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EFFORT
BY
RUDOLF LABAN
AND
F. C. LAWRENCE
Preface . x
Index 86
FOREWORD
T his publication is an attempt to demonstrate the results of the
team work of two authors of widely differing experience in life,
one being an artist, and the other an industrialist.
The urge to collaborate arose from their common interest in
Human Effort, and the conviction that the study o f Effort is
to-day necessary to everyone in his own personal life, and in
every field o f activity in which he may engage.
The authors desire to express their thanks to A . Proctor
Burman, who has helped them indefatigably to sort the material
of research accumulated over many years from which the present
book is derived.
Burman, an engineer and Olympic skater, contributed to
many valuable discussions relevant to our theme and to the
exposition of our principles, both theoretical and practical.
We ought in justice to extend our thanks to many thousands
of people with whom we have worked and experimented, and
it is our hope that all our collaborators will find in this pub
lication the best possible expression o f our gratitude.
Rudolf Laban
F. C.Lawrence
Manchester
July 15 th, 1947.
BIOGRAPHICAL NOTE
R u d o l f L a b a n was born in 1879 in Bratislava, Hungary, which is now
part o f Czechoslovakia. E ven in his earliest years he found a fascination
in observing people’ s m ovements. His desire to probe the secrets of
physical and mental effort led him on a long course o f study, experiment
and research. Architecture first attracted him, but did not satisfy. He
went to Paris, Berlin, Vienna and other centres o f learning to seek further
knowledge o f the arts and sciences essential to the student o f movement.
He was led from the academic to the practical in search o f indigenous
and cultivated activity— to the Am erican Indians, the natives o f Africa,
the peoples o f the N ear East, and the Chinese— in order to study at first
hand their peculiar habits and the manifestations o f their power.
Ballet naturally claimed his m ajor attention and in time he became
Director o f M ovement in the Berlin State Opera and one o f Europe’ s most
famous choreographers. Reacting against the artificiality o f the theatre,
however, he sought expression o f his art and philosophy amongst the
common people, and all over Europe centres were established in his name
for the artisans who came to seek advice on their own working problems
and on the strains and stresses involved in their various occupations. In
these centres they found the bodily awareness, understanding and relief
in the courses o f m ovement that were provided especially to meet their
needs.
Unable to w ork under the Nazi regime, which looked upon his teachings
o f harmony and fulfilment through re-educating the sense o f rhythm and
movement as a threat to its own discordant philosophy, Laban and some
o f his pupils sought sanctuary in Great Britain. Remarkable developments
followed in that country, where previously very little awareness existed o f
the common basis movement provides to both dance and work.
During the war Laban turned to industry and established the Laban-
Lawrcncc Industrial Rhythm, which comprised new approaches to
selection, training, placing, investigation o f w orking processes and asses
sing job capacities based on his researches into the natural rhythm o f man’s
movement. This development was made in association with F. C.
Lawrence, who as management consultant included in his practice these
new methods, which offered a vital contribution to the solution o f the
difficult problem s that constantly arise in the management o f men and
women in industry.
Early in this century, at the beginning o f his career, Laban began to
develop a system o f movement notation for the purpose o f his investiga
tions which he called “ Kinctography” (known as “ Labanotation” in the
U .S.A .) and published in 1928. This found world-wide recognition and
is now practised in connection with a variety o f human activities by
scientists and artists alike. In 1959 the International Council o f Kincto
graphy Laban was founded by the leading experts from both western and
eastern countries.
viii
BIOGRAPHICAL NOTE ix
Important in Laban’s concepts and development o f movement principles
arc his examinations of spatial relationships occurring in static and
dynamic spacc^fmms. He prcscnCcd an introduction to this subject in his
book'CJjoreograpbie, which was published in 1926 in Germany but has been
out of print for many years. During his later years he greatly developed
this area of his studies, which he called “ Chorcutics,” and he left many
drawings, diagrams and manuscripts on the subject.
In connection with investigations o f human capacity in industry, during
the x940’s Laban evolved the effort graph explained 171 flits "book as a means
o f recording kinetic quality o f performance (as opposed to spatial form).
In the further development o f its use it has become an essential tool for
recognising personality traits through observation and analysis o f effort
phrases in a person’s movements.
In the field o f therapy the application o f his effort analysis has produced,
remarkable results. Through his study o f mind-body relationships and
the psychological effects o f certain movement patterns, he was able to
achieve improvements in many emotionally disturbed people as well as in
those with physical limitations.
Significant o f the fast-growing interest in Laban’s concepts was the
forming in 1942 o f the Laban Art o f Movement Guild, today a flourishing
association o f international repute.
After the war Laban devoted much o f his energy and time to dance as
an educational force. Inc 1046 Lisa Ullmann, who had been his close
associate for a number o f years, founded thc^Art o f Movement Studio in
Manchester, which became the training centre for movement study and
educational dance based on Laban’s concepts and findings. Laban
lectured regularly at the Studio, at the same time visiting various uni
versities and educational establishments as guest lecturer. He was also
for many years co-director with Esme Church o f the Northern Theatre
School at Bradford and contributed to the training o f many people who
arc today well known and successful in the world o f drama.
1^ 19 5 3 Laban moved to Addlestone^ Surrey, to an estate in the Thames
V alley~tflierc there were facilities for housing not only his work and
archives but also the A rt o f Movement Studio. In 1954 th.e Laban Art
o f Movement Centre was formed as an educational trust to perpetuate his
worlc and to ptomoiTT and provide education in the art o f movement in
accordance with his theories and practice. Laban put his collection o f
materials at the disposal o f the Trust to make accessible to the public the
wealth o f charts, manuscripts and models which resulted from his explora
tions and discoveries.
After the publication o f Effort in 1947, Laban wrote and published
Modern Educational Dance, The Mastery o f Movement and Principles o f Dance
and Movement Notation. Laban continued working at Addlestone until
his death in £958.
With the wide facilities at Addlestone, the practical application o f
Laban’s findings to the many fields o f human activity in which movement
plays an important part has been carried on extensively, and his principles
are today recognised as an important basis for the movement education
o f children and adults.
M acd o n a ld & E vans
November 1964.
PREFACE
T he tremendous collective effort made by political and economic
associations, nations and the whole o f mankind is evident to-day
to everyone who reads the papers and listens to the radio. The
struggle for the technical mastery o f our environment fascinates
the spectator to such a degree, that the importance o f individual
effort is often forgotten. The success or failure o f our striving
to resolve the difficulties o f existence and to bring order and
prosperity out o f chaos depends primarily on the personal contri
bution o f millions o f people to a common aim. Few people realise
that their contentment in work and their happiness in life, as well
as any personal or collective success, is conditioned by the perfect
development and use o f their individual efforts. We speak about
“ industrial effort,” “ war effort,” “ cultural effort,” without
realising that each collective action is built up from mental and
manual efforts o f individual people. W e forget that all our
striving to be reasonable and friendly and to combat our wrong
habits are so many instances o f individual effort. But what
effort really is and how this essential function o f man could be
assessed and adapted to the specific necessities o f life remains for
most people an unsolved problem.
Education, and to a certain extent industry, but in the greatest
degree the cruel devastation o f war, have each called attention
to the individual efforts o f children, o f adult workers, and men
in the Services.
Methods o f selection and training have been devised, but
individual effort has never been really investigated. What has
been taken so far as the basis o f examination and test was but
the surface indication o f effort, not the effort itself.
Here, from a new angle, an attempt is made to penetrate to
the core o f man’s effort, an attempt born in the joint authors’
lifelong occupation with movement in two different fields o f
human activity— namely, art and industry.
The pooling o f the two authors’ experience coincided with
PREFACE xi
the Second World War, when the necessity to simplify and
condense the methods of assessment of human effort became
urgent. The resulting method o f effort control here intro
duced has made it possible to achieve in io to 20 hours what
previously occupied 100 hours when observation, analysis, and
the working out by trial and error were the vogue. This new
method, however, proved to be more than a time-saving device.
Shedding a new light on the nature of effort, it revealed itself
as a method of instruction and training leading to increased
enjoyment o f work through the awareness and practice of its
rhythmic character.
Now that this method has been established in practice in a
number of factories, as well as in the realms o f art and educa
tion, the details must be published, so that its extensive use may
contribute to the return of prosperity, and to the broadening
of human relationships in private and communal life.
In spite of the fact that all of us judge the efforts o f ^cher
people every day from the cradle to the grave, the source and
origin of such judgements was never seriously studied. We
assess our own efforts partially, and other people’s efforts
critically. A mass o f almost superstitious beliefs and routine
practices help us— or are thought to help us— in the endeavour
to know ourselves, and to select people for posts, or as team
members, or for executive positions. Everyone has found in life
a sufficient number of instances where the unjust and superficial
assessment of his own or of other people’s efforts has caused
trouble, misunderstanding and misery. Peaceful intercourse,
well-being and economic prosperity depend upon the right
assessment o f our own and our neighbours’ efforts.
A person’s efforts are visibly expressed in the rhythms o f his
bodily motion. It thus becomes necessary to study these
rhythms, and to extract from them those elements which will help
us to compile a systematic survey of the forms effort can take in
human action.
A rhythm may consist of strong, quick and direct movements.
People who are strong, quick and direct can easily be distinguished
from those with sensitive fine touch, sustained consideration and a
flexible approach to decisions and actions. Persons thus endowed
look and move differently from the strong, quick and direct
xii PREFACE
people. You will recognise them if you meet them, and you
may recognise «uch characteristics in yourself.
The lesson to be learnt from these distinctions is that human
effort is variable in its manifestation, and a compound o f several
elements mixed together in an almost infinite number o f com
binations.
The deeper understanding o f the endless variations o f rhythm
movements demands, however, a complete technique. The
rudimentary knowledge o f a principle is not sufficient for the
assessment o f a person’s aptitude for special work or for guiding
him to the right choice o f a profession. It would be presump
tuous to teach or to train a person for higher efficiency in work
and life on the basis o f such scanty knowledge.
Once rightly assessed, individual effort can be changed and
improved by training, for, in the end, all education is based
upon effort-training. The conscious penetration into our effort
life can be used, and, what is more, is needed for many pur
poses. The recognition o f the nature o f effort is necessary for
that self-training o f our own efforts which is so painfully enforced
upon us in the hard school o f life.
We are striving to become the rulers o f ourselves, and though
we are still far from the achievement o f this aim, human society
has progressed some way towards the goal. N ow a more
efficient and more impartial control o f all the individual efforts
is demanded than was hitherto possible.
The control o f individual effort advocated in this book, and
the realisation that this control is based on the observation o f
rhythmic movement, is not a specific that will cure all evils.
Yet, it is a serviceable basis on which to make our selections
and examinations, our education and training, and finally also
some o f our most important social measures and economic
decisions, and that in a more humane and adequate way than
in the past.
Something should be said about the form o f research from
which the facts contained in this book arc derived.
To-day research becomes more and more a matter o f team
work. N o longer does the student retire from the world in
order to record his own visions and dreams. Knowledge, in
most fields, has become too complex to be mastered by any one
PREFACE
man, and many branches o f knowledge have to contribute to
the elucidation o f special problems. The physicist and the
mathematician investigate motion, and the engineer bases his
practical activity on their researches. The anthropologist and
physician offer data to the teacher on which he can build up
his educational principles. The industrialist uses the know
ledge gathered by the sociologist and economist who inves
tigate motion again from a different angle. The artist cannot
do without the experiences o f the anatomist, and the circle is
closed by the philosopher, who tries to link ideals with realities.
Human effort plays thereby an increasingly appreciated role.
Motion, visible everywhere in the whole universe, permeates
all these sciences and practical fields o f application, thus to build
an almost inextricable network o f common interest in its study.
This branch o f knowledge and practice is in its contemporary
form not much older than half a century. Taylor, the pro
tagonist of what he called “ scientific management,” first used
the expression “ motion study,” and he foresaw its application
particularly in the field of industry. Since his time, education
and art as well as many other pursuits have adopted the methods
of effort research, which is an essential part of motion study.
In this epoch of industrial revolution or evolution such research
is bound to find its first and greatest application in industry.
The pooling o f common experiences from all the fields con
tributory to this subject has to-day become an imperious necesT
sity, and in this publication we make a modest attempt to show
the results o f team work— the pooling o f knowledge, experi
ments, and practical application— drawn from at least two main
human activities, industry and art. From the training o f an
apprentice to the function of a manager the mastery of individual
effort is ultimately decisive for success.
Even the technical part o f industry dealing with the flow o f
material, and indirectly only with the rhythmic movement o f man,
has in the present civilisation— often called the machine age— the
greatest influence upon the development and deployment of
individual effort.
The other important source of inspiration for modern effort
study is the art o f movement on the playground and on the
stage.
xiv PREFACE
Rhythmic movement is the basis o f play and art, both pro
minent factors in the education o f children and adults, in which
the development o f individual effort is the essential aim. The
actor on the stage shows in his rhythmic movements a great
variety o f efforts which are characteristic for almost all shades of
human personality. The actor studies the movements o f all kinds o f
people in real life and what he observes are exactly those elements
o f bodily motion which are o f vital interest to effort research.
The line o f approach the authors o f this book have taken in
dealing with their subject is in some respect similar to that of the
actor studying his models. In searching for the hidden effort
behind the rhythm o f movement and sound, it has been discovered
that practically everyone has the natural gift to discern rhythm.
Few people, however, realise that what they discern is in reality
effort. They hear the sound variations in a tune produced by the
efforts o f the musician. They can at the same time see these
efforts by observing the musician while he is playing; indeed, if
we see a musician playing on the screen, and the sound track
should fail, it is still possible to discern whether the tune is vivid
or languid, gay or sad. In watching dancing, our interest is
focused upon the visible efforts forming the rhythm expressed by
movement. In a similar way we can discern the rhythm in the
efforts o f any working person.
When the efforts o f the musician, dancer or workman are strong,
direct and quick, the impression upon us will be quite different
from what it is when the efforts are light, flexible and sustained.
This impression is based upon the fact that rhythm speaks
to us independently o f the task to which it is applied. We
can gather the meaning o f a movement and though it seems to
be difficult to express it in exact words, rhythm conveys some
thing by which we are influenced : we may be excited, depressed,
or tranquilised.
The amalgamation o f the two impressions o f rhythmic move
ment gained in industry and art offers the new approach to the
problems o f individual and collective effort.
Unconscious effort-reading is the explanation for our belief
that we can see the thoughts and feelings showm in facial expres
sion, in body carriage, and in the almost imperceptible expressive
movements of hands, shoulders, and so on.
PREFACE xv
The subtle effort rhythms appearing in the smaller everyday
movements are more difficult to decipher than the larger action
efforts in work and play.
The degrees of effort-expression as well as the ability to read
them are individually different. Some people might show in
their effort rhythms—small or large— an astonishing variety and
intensity, others might avoid any superfluous movement not
needed for a practical purpose.
To be a good observer of other persons’ effort-expressions,
one need not oneself have great bodily expressiveness. Good
movers may be poor observers, for they may see nothing in
small effort-rhythms, and may even be unable to notice the
evident rhythm in larger movements.
Our age and civilisation are definitely on the poor side, both
in effort-expression and effort-reading.
It is appalling to contemplate how the general intellectual
trend during the past two thousand years has brought the effort-
rhythm components of the human mind ever nearer to stagna
tion. Effort-rhythm was the cohesive medium o f all living
styles of architecture, painting, sculpture and fashion in ancient
times. It was the basis, too, o f movement and behaviour in
everyday life, and of the working actions which resulted in the
creation of so much beauty. To-day all that remains o f this
former rhythmic vitality has been directed into mechanical
devices in which the living, driving force o f man has been
neglected and left without articulate expression. To-day it is
the audible rhythm of music which alone remains as a last con
cession to man’s desire for a language o f effort. But music
alone cannot suffice to create harmonious and efficient action—
it is as if we were standing somehow detached from our rhythmi-
cality instead of it being an integral part o f our lives.
Seen in this light, the investigation into the nature of effort
takes on a new aspect, which, however, exceeds the scope of
the main theme o f this book on effort control in industry.
It is in the working actions o f man that efforts become most
clearly discernible. It is in industry that the control of effort
has become an urgent necessity. The results of the study of
working efforts are, however, of universal interest because man uses
the same efforts in all his activities and even inhis expressive gestures.
xvi PREFACE
Although the practical application o f the new knowledge of
human effort in industry differs from that in education, art and
other fields o f human activity, the fundamental principles remain
the same.
Investigations dealing with the different aspects o f effort
control in other domains are reserved for treatment in later
publications.
CHAPTER £
ECONOMY OF HUMAN EFFORT
T he tendency o f our age to replace human-power by machine-
power represents one side only o f the problem o f the economy of
human effort.
The other side is the rational use o f human-power so far as it is
still employed in industry.
Two main considerations determine the construction of
machines. One is that the machine shall be able to do the work
hitherto done by men in a more efficient manner than men can do
it, and the other is that the handling o f machines by men shall be
made as easy as possible.
Yet there is another aspect, perhaps the most important aspect
of the economy o f human effort.
The efficient machine which can be easily operated is driven and
assisted by men who should be enabled to use their own bodilv
power in the right way.
The capacity to do so is unevenly distributed by nature. The
faulty ways in which the human body engine is used vary indivi
dually, and a very small number o f people only have the innate
gift to apply their muscular power efficiently to whatever tasks
confront them. Some people have a natural vocation for certain
tasks. Put on work which is consonant with their gift, they will
show an admirable economy o f effort, and this is the first pre
requisite o f skill. Confronted with tasks lying outside their
natural capacity they might be, however, as awkward as the
majority o f people who cannot adapt themselves easily to any
kind o f work.
The two necessary measures to further a general economy o f
human effort are selection and instruv *«on. Selection means the
putting o f the right man on the right job; instruction is the
teaching o f people how to use the bodily engine in the right way.
Efficient selection and instruction demand both a thorough
knowledge o f the nature and the display o f human effort. A man
EFFORT
might show exceptional skill in certain operations, and to employ
him on tasks in which these operations occur is common sense.
Y e t it is quite possible that the man in question has more than
this one gift, and he might even be still more efficient in another
task than that given to him. It is a waste o f human effort to
employ a man on tasks for which he is less gifted and deny him
the opportunity to exercise his best faculties.
Without a thorough knowledge o f the nature and the display
o f human efforts, opportunities are often overlooked to the
employer’ s as well as the employee’s disadvantage. It is likewise
a waste o f human effort if a latent capacity, which could be easily
developed by adequate instruction, is left to remain undeveloped.
A further necessity o f instruction arises from the general lack of
skill as shown by the great majority o f people. Everybody knows
that a long experience enables one to do particular jobs with an
acceptable degree o f efficiency. Apprenticeship is based on this
fact. Adequate instruction can shorten apprenticeship, and this
is desirable because it is a waste o f human effort to leave a person
longer than necessary in an untrained state. During the instruc
tion o f apprentices latent gifts might become evident. Many
who do not show any appreciable sign o f skill might have dor
mant qualities which can be awakened and fostered. T o leave
latent qualities undeveloped is again contrary to a rational
economy o f human effort.
Knowledge o f the nature and the right display o f human
effort can be acquired in several ways. Personal experience in
apprenticeship training and selection remain forcedly restricted to
the type o f the economy o f effort most needed in the industry in
which the experience has been gained. A more general survey
can result from the collection o f the experiences made by several
people and in various fields o f human activity. A third source of
knowledge is the investigation o f the effort capacities displayed
in the functions o f man’s bodily engine, and o f the rules which
govern their economic and efficient application.
This third type o f investigation forms the main theme o f the
present treatise. The description o f the bodily engine and o f its
functions envisages a vast field o f research with which a whole
series o f sciences such as anatomy, physiology, biology, psycho
logy and anthropology, including sociology, are linked.
E C O N O M Y OF HUMAN E F F O R T 3
The description of a machine is, however, quite different from
the description of its practical handling, and so the description of
the human body engine differs from that of its practical use in any
kind of work.
Any handling of things, and the bodily functions engaged in it,
is an art demanding not only knowledge but also skill. The
rules of skill, which are in essence applied science, have been most
clearly developed in recreational activities such as sports, games,
gymnastics, the dance, music and the theatrical arts. The applica
tion of the experience gained in these activities to industry is in its
initial stages only. The fact that not only industry but also
recreation—indeed any kind of activity— have profited from the
exchange of ideas concerning economy of human effort might
justify the publication of the new viewpoints arising from those
aspects of the problem common to both the art of management
and the art of the recreational trainer.
A simple example will make the difference between the
scientific and the practical approach to the problem of economy of
effort clear.
Suppose a man has to push a heavy object away. The practical
consideration will be to determine whether he is able to do this
efficiently or not. When he uses the right economy of effort,
he will perform the task efficiently. I f he is inefficient, one of the
first things discerned will be that he uses cither too much or too
little strength. This lack o f the control of strength might have
many causes of greater or lesser interest for his inst ructor. The
main thing, however, is to develop the man’s capacity to control
strength in the degree to which he is physically able to exert it.
In investigating such effort the different branches ot science
will dwell upon special causes which might or might not be
relevant in practice.
A knowledge of anatomy and physiology will inform the
instructor that the average man uses, in pushing things away,
such and such muscles, which receive their stimulus from such
and such parts of the nervous system, and that a certain alterna
tion between exertion and relaxation must take place in order to
avoid over-fatigue. Biology will teach the instructor that the
weakness or coarseness of muscular action can be inherited or
acquired. Psychology will differentiate between a voluntary or
4 EFFORT
involuntary inhibition o f control, and seek its causes in some
remote or recent experiences o f the working person. Anthropo
logy and sociology might discover a connection between the social
situation o f the man and his physiological and psychological
inhibitions. A ll this information could lead in the best case to the
removal o f all the causes o f failure, if such removal be possible.
The main practical problem is, however, to assist the man to
exert rightly controlled effort under all and even the worst
exterior conditions.
Practical analysis o f effort offers a more secure and immediate
help. It will be easy to determine whether the deficient action
is done with exaggerated or with too little strength, and it can also
be seen whether the effort errs by excess or defect. Witness o f
this is the progress o f the pushed object in Space and Time.
The man can push the thing along a straight line much farther
than intended, or he can reach his goal by a roundabout path,
which both constitute a waste o f effort. The movement can be
wrongly timed it can be too quick or too slow. The essential
point is how the control o f the Weight-moving force fits with the
control o f the progress in Space and Time. It is the sense for the
proportion between the degrees o f these motion factors which
determines the degree o f the economy o f effort used.
This criterion o f efficiency, the right proportionality o f Weight,
Space, Time and the control o f the Flow o f movement, is also the
peculiar aim o f observation from which all scientific analysis can
draw its conclusions. The deficiency or redundancy o f the effort
becomes visible in this proportionality only. Suspected causes of
anatomical and psychological character can be investigated by
circumstantial tests and questioning afterwards, but the decisive
first impression consists in nothing else than in the observable
co-ordination o f Weight-Space-Time control during the
movement.
As long as a man is only occasionally disturbed by outward
circumstances, it is o f no use to pay too much attention to them.
It is much more important to foster his sense o f proportion, so
that he will be able to maintain a perfect effort even in adverse
situations. When such disturbances prevail habitually the
development o f the sense of proportion becomes imperative, and
is then quite as important as the removal o f the extraneous
ECONOMY OF HUMAN EFFORT 5
obstacles that hinder the full deployment o f his capacity for
effort.
The external arrangement of working conditions and personal
inhibitions lies outside the scope of this publication. The central
problem is, in our opinion, the development and safeguarding of
the sense o f the proportions of the factors o f Motion, Weight,
Space and Time, and their controlled Flow. The lack o f the
sense o f proportion is the main stumbling-block o f efficiency.
Man is conscious o f the efforts bridging the gulf between our
intentions and the realisation o f them by our movements and
actions. In these cases movements and actions are preceded by a
conscious decision to perform the definite task. Many move
ments are, however, done involuntarily— that means, without the
investigation and guidance o f a conscious decision. In the auto
matic repetitive movements used so frequently in industry, man
does not think o f the motive, or even the effect o f his move
ments, he simply performs them in the right order after having
taken the initial decision to do the work.
Any voluntary or involuntary movement involves an effort.
The state in which no effort is made is rest. Rest is something
else than relaxation, as in rest all effort is absent, while in the
activity o f relaxing some effort is present. In relaxation the
degree of exertion contained in the effort might be reduced with
out, however, abolishing it altogether. Examples o f this are the
relaxed movements which alternate with movements o f greater
exertion and create thereby the simplest form o f rhythm. Rests
inserted between exertions for the sake o f recovery from fatigue
represent the cessation or end o f a movement or o f a sequence of
movements. The length o f rests between operations must be
proportionate to the length and intensity o f exertion in order to
allow the muscles and nerves to recover from fatigue. The time
needed for recovery is that sufficient (a) for the elimination of
waste material accumulated during work in the muscle and nerve
tissues, parts o f which have been burned up in producing the
efforts, and (b) for the building up or feeding o f new muscle tissue
which can be used in the following exertions.
Such replacing o f waste material by new fuel can, however,
take place to a certain degree during the relaxed parts o f a well-
proportioned rhythm o f effort. Well-regulated rhythmic move
6 EFFORT
ment is thus less fatiguing than those movements in which exer
tions and relaxations are distributed regardless o f the repeated
recovery o f muscle tissue and nervous energy.
Rhythmic movement is pleasant, partly because its energy
saving qualities are felt by the operator and partly because it gives
to the actions a certain perfection.
Distorted and cramped performance o f rhythmic exertions are,
however, resented not only as harmful but also because o f the
feeling o f frustration they engender.
The contentment accompanying the beauty o f well-rhythmised
and therefore skilled movements plays a great role in the economy
o f human effort.
CHAPTER II
T H E A PPR O P R IA T E U SE OF M O V EM E N T
A ny inappropriate use o f movement is just a waste o f effort. The
only advantage is that the intelligent person using for a time the
inappropriate movement will, in time, learn by trial and error more
or less accurately the movements appropriate to the job.
This is, in fact, the case in all learning. An occasional chance
success will be noticed, and the learner will try to repeat the
advantageous combination o f motion factors. The inappropriate
forms o f effort will be discarded by degrees until the most appro
priate form is almost automatically employed. This final stage
of perfection is called skill.
Skill is acquired through the gradual refinement o f the feel o f
the movement, and any training has indeed to promote this feel,
which, in its essence, is the awakening o f the sense for the pro
portions o f motion factors. Some people will learn quicker than
others. The self learner, being restricted to the trial and error
method, will acquire skill in a longer or shorter time according
to his natural ability. The methodically trained learner has the
chance to advance more quickly, even if he is less gifted. The
best practical method consists o f a combination o f exercise and
the awakening o f the understanding o f the rules o f the propor
tionality between motion factors.
It is obvious that a learner, who has been made aware o f the
fact that he exerts too much or too little effort in his operation,
will have the advantage o f another learner who must detect the
cause o f failure by prolonged trial. Few people realise in the
beginning o f their learning period that they may lack the necessary
capacity for exertion, and the finer distinctions in the display o f it.
The trainer who is able to develop the lacking capacity will
implicitly ponvey the finer shades o f exertion to his pupil. A
shortening o f the learning period will result in all cases, no matter
if the pupil is gifted or not.
Mental understanding, which contributes to the awakening o f
7
EFFO RT
the sense for the proportionality between the elements o f effort,
is intimately connected w ith the capacity for control. This
understanding can be developed in a similar way to the capacity
for exertion. T he learner w ill not know in the beginning whether
he lacks control or if his efforts are too meticulously controlled.
The capacity fo r control increases with the awareness o f the
degrees o f control representing the finer shades between the con
trasts o f fluent flow and bound flow in movement. Movements
perform ed w ith a high degree o f bound flow reveal the
readiness o f the m oving person to stop at any moment in order
to readjust the effort if it proves to be w rong, or endangers
success.
In movements done with, fluent flow., the utmost lack o f
control or abandon becomes visible, in which the possibility to
stop is considered as being unessential.
A s the relationship between exertion and control has never
before been exactly studied, there exists no terminology in which
these relations can be clearly and simply expressed by words.
The follow ing symbol is a simple device to record the possible
sources o f failures in the performance o f any action :
Exertion:
Light
Strong
.____ Bound
* Strong
Flu en t------ -
Strong '
Exam ples.
It will lead to failure and the effort will be wasted, when
someone tries :
J
or t h e ____ effort (light-fluent).
The exertion dealing with Weight is, however, not the only one.
Any skilled movement is led along a definite path in space.
Deviations from this path hinder efficiency and make the effort
to a greater or lesser degree inappropriate to the task.
In the above examples, the swinging o f an object will describe
a definite curved path in space. The exaggeration o f the curved
ness constitutes a waste o f effort and will diminish the effectiveness
o f performance. The same is the case when the curve o f the
path is too flat— that is, too near to a straight line.
In the other example o f putting an object cautiously down,
where an almost straight line movement might be required, the
action will become ineffective when the straightness is too
accentuated or the curve too round.
The appropriate exertion dealing with Space will have to be
learned together and in connection with the exertion dealing with
Weight in each new operation which an apprentice tries to perform.
The insecurity o f the movements in space is very obvious with
almost all learners. The cause o f the failure to do a job properly
is very often the use o f a wrong path in space. In order to
record such failures, space indications can be added to the cross
or to the effort graphs introduced above.
The small diagonal branching off from the middle o f the cross
connecting it with the space indication is used as the sign o f
effort.
flexible
direct
“ f
The appropriate effort for this action would be
L_
been recorded as
iL
would be a wasted one and would be inefficient.
The appropriate effort is
L=r
where the exertion dealing with Space is direct.
The exertion in Time contains a further danger for the
appropriateness of the effort. A movement can be too quick
12 EFFORT
or too slow for the efficient proportionality o f all motion factors,
and therefore for the economic and efficient performance o f the
action.
The capacity to discern and to use shades o f time durations
rationally is well developed in people having a rhythmical sense.
This is a rather widespread gift. The greatest obstacle for its
practical application is the prejudice that high speed in work is
valuable in itself. Exaggerated quickness developing into haste
can be as detrimental to efficiency as the exaggerated use o f any
other motion factor. Many operations require sustained move
ments, and even slight accelerations o f the effort might prove to be
wasteful and detrimental to success. The learner will waste much
time in discovering the right speed o f his movements needed for
the skilled performance o f his task. Exercise and the awakening
o f the sense o f proportion are as much needed in the exertions
dealing with Time as in the two other forms o f exertion. The
capacity o f controlling speed goes hand in hand with the control
o f the whole effort.
Time indications added to the cross will be added below the
horizontal branches o f control. Sustained exertion is repre
sented by a line parallel to fluent flow, and quick exertion by a
line parallel to bound flow.
The cross, with space and time indications, reads as follows :
Flexible
Space Indications
Direct
X
Time Indications------------
Sustained Quick
J c r
It will not be always necessary to consider all four motion
factors. Indeed, a series o f basic actions which man uses in
work find their expression in the relationship o f the three exertions
dealing with W, S, T.
In omitting the flow element in the above examples o f most
appropriate efforts for swinging and careful depositing two com
binations o f exertions will be found which contrast with one
u-
another, as they have no element in common :
J
Swinging a heavy Depositing a light
object consisting object carefully
of a consisting o f a
strong'i light"!
flexible >exertion direct ^exertion
quick-) sustained*)
slashing gliding
r pressing flicking
wringing u - dabbing
punching
IJ floating
and
uncontrolled
T H E AP P R O P R IA T E U SE OF M O V E M E N T 17
the bound wringing effort will be applied to the twisting o f a
material into a precise shape, while the fluent wringing effort
can be applied, say, to the slinging together of ropes.
A person who is unable to control the flow of his movement
will never be able to bring material into a precise shape, while
people with too controlled a flow o f movements will fail in the
performance o f actions requiring fluent flow.
c
CHAPTER III
E F F O R T -T R A IN IN G
into
into
into
-r pressing
changes
into
dabbing
-r changes
into Ll
pressing floating
(intermediary movement)
1
FL O A T N &
W RlN&INCr
z6 EFFORT
always belong to one o f the categories represented in the diagrams
A , B or C.
The awakening o f the understanding and feel o f these con
nections is a fundamental task o f general effort-training.
The character o f a basic effort is slightly changed when one
o f its elements is stressed as the main element, the other two
elements being o f secondary importance.
Punching, for instance, can have a thrusting character, when
the Space exertion o f directness is especially stressed. This can
be expressed in the effort graph by adding a comma at the outer
end o f the stroke for directness :
-r
(b) cutting— pressing. Exercise : cut leather with a sharp knife,
or wood with a carver’s knife.
-r
(c) squeezing— pressing. Exercise : squeeze a bulb or squirt
with the hand, or suitings with shears.
~r
The basic effort “ slashing ” has the derivatives :
(a) beating— slashing. Exercise: beat a carpet with beater, or
a nail with a hammer.
J
(<•) stretching—wringing, Exercise : stretch elastic or cloth by
hand.
1/ —
The basic effort “ gliding ” has the derivatives :
(a) smoothing— gliding. Exercise : smooth cloth by hand, or
lace with iron.
1/ ’
U
EFFO RT-TRAINING 31
(b) flapping— flicking. Exercise : flap coins, counting them, or
count notes in similar way.
jJ
(b) stirring— floating. Exercise: stir water by hand, or oil paint
with stick.
_|j
jJ
(c) stroking— floating. Exercise : stroke vessel, polishing it, or
brush clothes.
f
Such exertions represent incomplete basic efforts in which two
elements are obliterated.
In touching an object with a light Weight exertion for a
prolonged time no matter how long this touch lasts, is another
example o f an incomplete effort:
1/
In intermediary movements, inserted between two subsequent
efforts which have one or no element in common, incomplete
efforts will sometimes be used.
In intermediary movements, in which either the Space or the
Time exertion alone is o f importance, the other two exertions will
be obliterated because they could not contribute to the efficiency
o f the task. In moving the hand from one switch o f a machine
to another, quickness might be o f sole importance :
/
EFFORT-TRAINING 33
When an arm and a hand have to follow an indirect path, say, a
J
curve around some protruding part of the machine, the flexibility
o f the movement will be mainly or solely important:
or sustainment only—
/
r
One-sided and exaggerated Lightness results in time in
Sloppiness :
1/
One-sided and exaggerated D irectness results in time in
O bstinacy :
Flexibility
J
One-sided and exaggerated results in time in
Fussiness :
3» EFFORT
One-sided and exaggerated Sustainment results in time in
Laziness :
/
\ obstinate
I crampedness
sloppy
obstinacy
and so on.
The habit o f using one basic effort too exclusively and with
exaggerated accentuation o f all its elements results in more
complicated disturbances o f normal functions.
A sloppy, fussy and hasty flicking is surely a disastrous habit,
and the person having an uncommonly fine touch might easily
be in danger o f developing this form of function when the
SELECTION AND EFFO RT-BA LA N CE 39
compensating efforts, say, the ability to exert a solid pressure, are
totally absent in his general effort make-up :
(habitually (habitually
present) absent)
TH E O BSE R V A T IO N A N D SPECIFICATIO N OF
JO B -EFFO R T S
T he gradual increase of perfection in the working methods of
those learning a new operation is of paramount importance for
the observer who wants to specify a job by studying its per
formance by different operators.
The first step in learning a new job is to find out the method
of doing it in the simplest and least strenuous way. Having
become acquainted with the object of the job, the final result of
the working process is taken for granted, and the interest shifts
to the details of the performance of the actions required for the
task. The manual worker will try at this stage o f learning to
select those bodily actions which ensure efficiency.
The elements o f action upon which the operator is mainly
concentrated are not so much the single efforts or movements,
but rather the rhythms and shapes produced by a series of
movements and the transitions o f efforts one into another.
The rhythm and shape o f an effort-sequence build together a
unit which might be called the Time-Space pattern o f the job.
When the pattern most appropriate to the job is found— that is,
when a series of movements has proved to be the most suitable
to produce the desired effect without causing obvious waste o f
time and energy— the workman memorises the feel o f the pattern
during further repetitions o f the working action. Finally, the
performance o f the Time-Space pattern will become automatic
so that attention need not be paid to its details any longer. The
whole attention of the workman is then centred on maintaining
the rhythmic flow o f the action, envisaging, o f course, the
possibility o f accidental interruption through personal distractions
or mechanical failures of tools, machines or faulty material.
The first advantage of the thorough knowledge o f the methods
by which skill is acquired is that the observer is enabled to deter
mine the stage o f skill reached by individual operators. Differences
43
44 EFFORT
in skill will be noticed in the fluency with which the Time-Space
pattern is performed. Even before the finished product can be
inspected, a- guarantee is given in the fluent performance o f the
Tim e-Space pattern that the worker has attained a certain inde
pendence from the continuous worry about the next movement,
and that he will be therefore more able to complete his task in an
adequate manner.
The second advantage is that the observer, after having himself
become clear about the final aim o f the job, will be able to
concentrate upon the Tim e-Space pattern, the performance o f
which is the real job o f the workman. The observer will soon
recognise which operator’s pattern is the simplest and the most
adequate for the job, and where in other cases economy o f time
and energy could be effected.
Briefly stated, the flow o f actions o f which the job consists can
be studied successfully only when the progressive development o f
skill in work is fully understood.
The breaking up o f the operation into its subdivisions should
be done according to the articulation given to the Time-Space
pattern o f the job by the efficient workman. There is no need
to enumerate at this stage the steps by which the product
approaches its final form. This would be a purely academical
procedure which has no connection with the real performance o f
the job.
In the mind o f the skilled workman the gradual growth o f the
product is the natural outcome o f his rhythmised action and he
does not pay much attention to the single steps o f this develop
ment, which he takes for granted. The skilled workman never
allows a stage o f production to interrupt his flow o f action, unless
such interruption coincides with a break in the natural flow o f his
performance. The observer has to follow the bodily mental line
o f the operator’s action and is greatly hampered in his task when
he applies preconceived academic or theoretical considerations in
subdividing or breaking up the job.
In observing the stops in the flow o f work, it must be realised
that stops will be more frequent, with the learner or the less
skilled man than with the skilled operator. The latter frequently
performs the whole set o f efforts required by the job in an
uninterrupted sweep o f an unbroken Time-Space pattern. Well
T H E O B SE R V A T IO N OF JO B -E F F O R T S 45
discernible isolated efforts and actions occur very rarely. This is
one of the causes why the observation o f working actions is so
difficult and bewildering for the unskilled observer. It is almost
like the endeavour to follow the tricks o f a conjurer, in which
one movement melts indiscernibly into the next, so that the eye
and mind of the average spectator have no opportunity to reflect
upon what has happened.
The observer must therefore learn to grasp the structure o f the
Time-Space pattern which the operator uses, without thinking of
the steps of production— that is, he must look at the operation
with the same eye and mental attitude as the operator. The
discernment of the natural articulation o f the Time-Space pattern
soon becomes a matter of routine, which should, o f course, be
supported by an intimate knowledge o f the general rules of the
articulations which all chains or sequences of efforts follow.
Each effort in itself must be regarded as being mobile and
never as a stable, motionless entity. Even the effort o f holding
an object in a certain position is continuous. An enduring
pressure exerted by a hand, a knee, a foot is performed, and
though the position in space is not changed, a continuously
flowing time and strength effort is exerted. It is only in complete
relaxation, say, when an exhausted person lies motionless on the
floor, that a complete interruption o f the flow o f efforts takes
place. A ll other states o f relative immobility contain well
discernible efforts.
In the specification o f Time-Space patterns, the sense for the
uninterrupted flow o f actions is indispensable and must be early
acquired by the observer. The next step is to learn to discern
the articulation o f the Time-Space pattern performed by the
operator. The articulation consists in principle in the use o f two
kinds o f efforts, one kind being more essential for the performance
o f the task, while the rest o f the efforts used are less essential for
the achievement o f the final purpose. The essential efforts to
which the workman, and especially the learner, pays the more
attention constitute special exertions by which the rhythmic flow
o f action is marked but must not be broken. Such exertions
are distanced from one another by time intervals, and they form
a kind of rhythmical skeleton or articulation o f the Time-Space
pattern. The proportions o f the time intervals between several
EFFORT
special exertions is only partly given by the time indication of
the efforts used in the special exertions. The intervals may some
times be filled by less essential exertions which have no direct
impact upon the process o f manufacture but have their own
independent duration.
Both a sustained as well as a quick essential effort can be
followed either by a short or a long interval before the next
essential effort occurs.
."Exam ples .
(/)
f
Short interval o f indistinct character, between the sustained
efforts o f pressing and wringing, represented here by an
effort diagonal without indication o f distinct effort elements.
(///)
!_
a “ shoving punch ” , a “ hitting punch ”
with free flow ^ with bound flow
_ b -
which latter causes less exertion and might fulfil the purpose just
as well.
JO EFFORT
Having been taught how to do the essential actions, further
consideration might be given to the rest o f his movement.
Between and after the two essential actions various inter
mediary non-essential efforts can be inserted.
Six frequent transitions or non-essential efforts between the
“ throwing slash ” and the “ skimming glide ” observed with
different stokers can be mentioned here.
First Second
transitional effort transitional effort
1/
1/
3* . ------1 /
5 ✓ 5* ------- \ /
6. s
T H E O B SE R V A T IO N OF JO B -E F F O R T S 51
The remarkable point is that in each of these six transitions a
gradual change from the “ throwing slash ” to the “ skimming
glide ” is effected through the successive change of the effort
elements one by one, whereby the structure of the next essential
effort is gradually approached and finally reached.
„„ „„ „„
In 1 the weight factor of the preceding effort is changed.
1 a „ space
z „ weight
za „ time
3
,„ „„
3
4
„ space
* „ weight , „ »
„>
„ space
4a „ time
5 ,„
„
„, „„
,„ „
„ time
5* „ weight
6 „ time
Ga „ space >,
, „
„„
Any of these six transitions consisting o f non-essential efforts
might be appropriate in cases where the operator has to adapt
himself to certain outer conditions influencing his performance.
The decreasing height of the pile o f coal, or the increasing filling
up o f the furnace, for instance, might demand a variation of his
movement.
Whatever the non-essential transitions the operator might
choose, they will rarely make the fulfilment of the task absolutely
impossible, which could, however, happen if he used impossible
essential actions.
A certain waste o f time and energy might result when the
stoker persistently uses such flexible transitions, as seen in z-za
and 5-5*, in letting drop thereby some of the load on the shovel.
Such awkward effort-habits should be noticed and corrected.
They would show a lack o f effort-balance, as mentioned in the
paragraph concerning selection, but at any rate some coal would be
stoked.
This would not be the case when the stoker used wrong essen
tial efforts, say, a “ gliding ” for loading his shovel, whereby he
would get a few pieces o f coal only or none at all, and a “ wring
5* EFFORT
ing ” for throwing the load into the furnace, whereby the few
lumps o f coal which he might have collected would fall on the
ground outside the furnace. Such absurd essential movements
do occur with unskilled learners.
Instead o f dismissing such childish attempts as hopeless, an
instructor who knows about the transformation o f efforts will be
able to transform the wrong movements in an astonishingly short
time into more suitable ones.
A ny transitional action consists o f at least tw o parts. The first
part o f it is a dissolution o f the preceding essential effort, while
the second part constitutes a preparation o f the following essential
effort.
A repeated operation, as, for instance, stoking, has also a
transition in the return from the final essential effort to the first
one; in the case o f the stoker after returning from the furnace
to the coal heap, or, expressed in terms o f effort, between the
“ skimming glide ” and the “ shoving punch.”
Between strenuous repeated actions rests might be inserted
which can be more cr less appropriate to the situation. A rest
in a cramped tension, holding the tool in hand, obviously does not
Quick, 11
Q Surprised attention, 63
Suspicious attention, 63
Sustained, 12
Recreational trainer, 3
Reflection, 61
Regenerating, 63
Relaxation, 3, 5, 19 piecework, 77
Reliability test, 3 5 Temperament, 37
Resistance to adverse situations, 3$ Tensions, 19
Rest, 5 Theatrical arts, 3
Rhythm, j Thinking in terms of effort, 70
of effort, 3 Thoroughness, 61
Rhythmic energy, 60 Throwing, 14, 28
exertions, 6 Thrust, 20
feel, 83 Time, 4
flow, 43 and motion study, 34
Rhythmical control, 63 Transformation of efforts, 32
dislocation, 60 Transition, 19, 70
sense, 12 Transitional action, 32
traits, 61 Transmuted, 73
action, 44 Trial and Error method, 18, 74
Richness of efforts, 38
S Unbalanced personal effort, 39
Scale of intentional efforts, 81 Unco-ordinated efforts, 34
Selection, 1, 33 Unstressed secondary, 26
of higher executives, 79
Sequence of efforts, 43
of working movements, 3 3
Shadow moves, 60, 64 Vision of flow, 70
Shaking, 30 Voluntary movements, 3
Shoving, 16
Sign of effort, 10
Skill, 1 Weight, 4
Slashing, 14 Weight-Time-Space control, 4
Sloppiness, 37 Whipping, 29
Smearing, 30 Work control, 79
Smoothing, 14, 30 Working rhythm, 60
Smudging, 30 Wringing, 14