ABSTRACT
The most distinctive feature of Kinesemiotics as a research area is that it looks at movement-based communication not as a paralanguage or a support for verbal language, nor is it interested in movement as an expression of physical aestheticism and style. The Functional Grammar of Dance (FGD) model has been developed specifically on ballet, but its potential for application goes beyond the particular area of movement-based communication. This chapter provides some examples of how the motivated movement realisations and the resulting projections can be comparatively analysed in a move and then in a sequence using the FGD in manual analysis. The comparison will show how different choices made in the FGD system result in different dance discourse realisations. Body parts accounted for in the FGD model are the head, the torso, arms and hands, legs and feet.
