Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo"

Analysis of the motor behaviour of people without specific dance training in improvisation tasks: Influence of mirror and partner

This study aims to analyse the influence of the mirror and/or partner constraints on the motor creativity of women without specific training in dance during improvisation tasks, in order to contribute to the knowledge of creativity in the field of sports science and movement-based practices. We studied the exploratory behaviour and emerging movement patterns of 12 women who performed four improvisations under the following situations: individual without mirror; individual with mirror; partner without mirror; and partner with mirror. The dynamic overlap qd(t) was calculated to identify the exploratory dynamics composed of the exploratory amplitude and the rate of change between movement configurations. To determine emerging movement patterns, a principal component analysis was carried out by ad hoc routines prepared. A mixed linear model was performed to find out the influence of the different constraints on the exploratory behaviour. The results indicate that the presence of the mirror seems to provoke a decrease in the exploratory behaviour. In addition, partner improvisation favoured coupling and imitation dynamics among the participants. Likewise, the most recurrent emergent movement pattern was walking while moving the arms. It would be advisable to take the influence of these constraints into consideration depending on the improvisation purpose and the experience level of female participants.

Experiencing Rhythm in Dance

In this article, two dance educators offer a definition of rhythm from both educational and performance perspectives and discuss pedagogical practices that waken students’ awareness to rhythm as a lived-experience over which they have creative control. For the dancer, in the midst of the dance, rhythms are, in the words of Margaret H’Doubler, recurring patterns of measured energy. These patterns are nested in scales from the moment-to-moment shifts in muscular contraction and release to the rise and fall of dramatic tension in a performed dance. This approach to rhythm runs counter to many dance students’ studio-based training in which rhythm is equated to synchronizing accents to a specific meter. The authors describe pedagogical practices in the studio that foster engagement with rhythm as lived-experience. Drawing attention to their kinesthetic experience while moving, students are encouraged to modulate levels of exertion embedded in the qualities of movement they are experiencing. As varying levels of exertion are attended to across temporal durations, students notice patterns as they emerge and recur. This attention to recurring patterns of measured exertion is, the authors claim, the lived-experience of rhythm in dance.

Dance Is More Than Meets the Eye-How Can Dance Performance Be Made Accessible for a Non-sighted Audience?

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's "Sons of Sissy," we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research.

Effects of Mirror and Metronome Use on Spontaneous Dance Movements

This study investigated effects of mirror and metronome use on spontaneous upper body movements by 10 preprofessional dancers in a motor task in which maximally diverse upper body movement patterns were targeted. Hand and trunk accelerations were digitally recorded utilizing accelerometers and analyzed using polar frequency distributions of the realized acceleration directions and sample entropy of the acceleration time. Acceleration directions were more variably used by the arms than by the torso, particularly so when participants monitored their performance via a mirror. Metronome use hardly affected the predictability of the acceleration time series. The findings underscore the intrinsic limitations that people experience when being asked to move randomly and reveal moderate effects of visual and acoustic constraints on doing so in dance.

Timing is everything: Dance aesthetics depend on the complexity of movement kinematics

What constitutes a beautiful action? Research into dance aesthetics has largely focussed on subjective features like familiarity with the observed movement, but has rarely studied objective features like speed or acceleration. We manipulated the kinematic complexity of observed actions by creating dance sequences that varied in movement timing, but not in movement trajectory. Dance-naïve participants rated the dance videos on speed, effort, reproducibility, and enjoyment. Using linear mixed-effects modeling, we show that faster, more predictable movement sequences with varied velocity profiles are judged to be more effortful, less reproducible, and more aesthetically pleasing than slower sequences with more uniform velocity profiles. Accordingly, dance aesthetics depend not only on which movements are being performed but on how movements are executed and linked into sequences. The aesthetics of movement timing may apply across culturally-specific dance styles and predict both preference for and perceived difficulty of dance, consistent with information theory and effort heuristic accounts of aesthetic appreciation.

The Demands of Performance Generating Systems on Executive Functions: Effects and Mediating Processes

Performance generating systems (PGS) are rule- and task-based approaches to improvisation on stage in theater, dance, and music. These systems require performers to draw on predefined source materials (texts, scores, memories) while working on complex tasks within limiting rules. An interdisciplinary research team at a large Western Canadian University hypothesized that learning to sustain this praxis over the duration of a performance places high demands on executive functions; demands that may improve the performers' executive abilities. These performers need to continuously shift attention while remaining responsive to embodied and environmental stimuli in the present, they are required to inhibit automated responses and impulses using the rules of the system, and they strive toward addressing multitasking challenges with fluidity and flexibility. This study set out to test the mentioned hypothesis deductively and identify mediating processes inductively, using mixed empirical methods. In a small sample experiment with a control group (28 participants; 15 in intervention group, 13 in control group), standardized quantitative tests of executive functions (D-KEFS) were administered before and after an 8-week intervention. Participant-reported qualitative observations from the praxis were also collected throughout the intervention for grounded analysis. Within the limitations of small sample data, we found both statistically significant and trending effects on inhibition, problem-solving initiation, fluidity, and cognitive flexibility. Examining the mediating process, we found that participants experienced significant challenges sustaining the practice halfway through the intervention. The participant-reported solutions to these challenges, which emerged as the strongest behavioral patterns when coding the qualitative data to saturation, were strategies of problem-solving and of re-directing attention. These strategies support and advance our understanding of the effects measured in the standardized tests. In terms of application, our results identify characteristics of PGS that could potentially maintain and strengthen executive functions over and above less demanding performing arts interventions. The results also deliver new insight into how PGS works, which may contribute to the development and teaching of this artistic practice.

Tilting Together: An Information-Theoretic Characterization of Behavioral Roles in Rhythmic Dyadic Interaction

Every joint collaborative physical activity performed by a group of people, e.g., carrying a table, typically leads to the emergence of spatiotemporal coordination of individual motor behavior. Such interpersonal coordination can arise solely based on the observation of the partners' and/or the object's movements, without the presence of verbal communication. In this paper, we investigate how the social coupling between two individuals in a collaborative task translates into measured objective and subjective performance indicators recorded in two different studies. We analyse the trends in the dyadic interrelationship based on the information-theoretic measure of transfer entropy and identify emerging leader-follower roles. In our experimental paradigm, the actions of the pair of subjects are continuously and seamlessly fused, resulting in a joint control of an object simulated on a tablet computer. Subjects need to synchronize their movements with a 90° phase difference in order to keep the object (a ball) rotating precisely on a predefined circular or elliptic trajectory on a tablet device. Results demonstrate how the identification of causal dependencies in this social interaction task could reveal specific trends in human behavior and provide insights into the emergence of social sensorimotor contingencies.

Dancers' Somatic of Musicality

Dancers often perform while synchronizing their movements to music, as required by the choreographer. In this article, we introduce the concept of categorizing choreography (or segments of it), according to its relationship with either the rhythm or the melody of the accompanied music, or with both. We demonstrate this distinction through several examples for each category. In a pilot study, we composed choreographic sequences that were either melodic-based or rhythmic-based and taught them to professional dancers. The results showed that some dancers tend to synchronize their movements better to rhythm and others, to melody. We refer to this tendency as the "dancers' somatic of musicality." The findings highlight important differences in the somatic of musicality among dancers, requiring attention from both choreographs and dancers, since these differences have bearing on the way dancers learn, memorize, and perform.

Watching or Listening: How Visual and Verbal Information Contribute to Learning a Complex Dance Phrase

While learning from observation is generally regarded as major learning mode for motor actions, evidence from dance practice suggests that learning dance movement through verbal instruction might provide a promising way to support dancers' individual interpretation of and identification with the movement material. In this multidisciplinary project, we conducted a study on the learning of dance movement through two modalities, observation of a human model in a video clip and listening to the audio-recording of a verbal movement instruction. Eighteen second year dance students learned two dance phrases, one from observation and one from verbal instruction, and were video-recorded performing the learned material. In a second learning step, they were presented the complementary information from the other modality, and their performance was recorded again. A third recording was carried out in a retention test 10 days after learning. Completeness scores representing the recall of the dance phrases, expert ratings addressing the performance quality and questionnaires reflecting the participants' personal impressions were used to evaluate and compare the performance at different stages of the learning process. Results show that learning from observation resulted in better learning outcomes in terms of both recall and approximation of the model phrase, whereas individual interpretation of the learned movement material was rated equally good after initially verbal and initially visual learning. According to the questionnaires, most participants preferred learning initially from observation and found it more familiar, which points toward an influence of learning habit caused by common training practice. The findings suggest that learning dance movement initially from observation is more beneficial than from verbal instruction, and add aspects with regards to multimodal movement learning with potential relevance for dance teaching and training.

Effect- and Performance-Based Auditory Feedback on Interpersonal Coordination

When two individuals interact in a collaborative task, such as carrying a sofa or a table, usually spatiotemporal coordination of individual motor behavior will emerge. In many cases, interpersonal coordination can arise independently of verbal communication, based on the observation of the partners' movements and/or the object's movements. In this study, we investigate how social coupling between two individuals can emerge in a collaborative task under different modes of perceptual information. A visual reference condition was compared with three different conditions with new types of additional auditory feedback provided in real time: effect-based auditory feedback, performance-based auditory feedback, and combined effect/performance-based auditory feedback. We have developed a new paradigm in which the actions of both participants continuously result in a seamlessly merged effect on an object simulated by a tablet computer application. Here, participants should temporally synchronize their movements with a 90° phase difference and precisely adjust the finger dynamics in order to keep the object (a ball) accurately rotating on a given circular trajectory on the tablet. Results demonstrate that interpersonal coordination in a joint task can be altered by different kinds of additional auditory information in various ways.

Joint action aesthetics

Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers' movements, and the spectators' affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators' heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance-and perhaps all performing arts-in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts.

Segmentation of dance movement: effects of expertise, visual familiarity, motor experience and music

According to event segmentation theory, action perception depends on sensory cues and prior knowledge, and the segmentation of observed actions is crucial for understanding and memorizing these actions. While most activities in everyday life are characterized by external goals and interaction with objects or persons, this does not necessarily apply to dance-like actions. We investigated to what extent visual familiarity of the observed movement and accompanying music influence the segmentation of a dance phrase in dancers of different skill level and non-dancers. In Experiment 1, dancers and non-dancers repeatedly watched a video clip showing a dancer performing a choreographed dance phrase and indicated segment boundaries by key press. Dancers generally defined less segment boundaries than non-dancers, specifically in the first trials in which visual familiarity with the phrase was low. Music increased the number of segment boundaries in the non-dancers and decreased it in the dancers. The results suggest that dance expertise reduces the number of perceived segment boundaries in an observed dance phrase, and that the ways visual familiarity and music affect movement segmentation are modulated by dance expertise. In a second experiment, motor experience was added as factor, based on empirical evidence suggesting that action perception is modified by visual and motor expertise in different ways. In Experiment 2, the same task as in Experiment 1 was performed by dance amateurs, and was repeated by the same participants after they had learned to dance the presented dance phrase. Less segment boundaries were defined in the middle trials after participants had learned to dance the phrase, and music reduced the number of segment boundaries before learning. The results suggest that specific motor experience of the observed movement influences its perception and anticipation and makes segmentation broader, but not to the same degree as dance expertise on a professional level.