Movements Toward Understanding Humans Through the Anthropological Study of Dance [and Comments and Reply]

Hanna, Judith Lynne; Abrahams, Roger D.; Crumrine, N. Ross; Dirks, Robert; Gizycki, Renate von; Heyer, Paul; Shapiro, Alan E.; Ikegami, Yusaku; Kaeppler, Adrienne L.; Kealiinohomoku, Joann W.; Kubik, Gerhard; Lange, Roderyk; Royce, Anya Peterson; Sweet, Jill D.; Wild, Stephen

doi:10.1086/202269

Cited by 32 publications

(21 citation statements)

References 47 publications

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“…To create strong internal validity to examine this question, our artificial creation of collective song and dance deviated from that commonly found in human ecologies. For example, most natural expressions of music and dance last considerably longer than the six minutes used in our experiments; are performed by groups of people who know each other well usually with an existing group identity; and often involve group identifiers such as similar dress, a shared cultural meaning of the dance or music, and lyrics that prime unique attributes of the group [76]–[78]. It is unclear how these factors may interact with shared intentionality and synchrony to affect cooperative outcomes.…”

Section: Discussion Experimentsmentioning

confidence: 99%

Let’s Dance Together: Synchrony, Shared Intentionality and Cooperation

2013

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Previous research has shown that the matching of rhythmic behaviour between individuals (synchrony) increases cooperation. Such synchrony is most noticeable in music, dance and collective rituals. As well as the matching of behaviour, such collective performances typically involve shared intentionality: performers actively collaborate to produce joint actions. Over three experiments we examined the importance of shared intentionality in promoting cooperation from group synchrony. Experiment 1 compared a condition in which group synchrony was produced through shared intentionality to conditions in which synchrony or asynchrony were created as a by-product of hearing the same or different rhythmic beats. We found that synchrony combined with shared intentionality produced the greatest level of cooperation. To examinef the importance of synchrony when shared intentionality is present, Experiment 2 compared a condition in which participants deliberately worked together to produce synchrony with a condition in which participants deliberately worked together to produce asynchrony. We found that synchrony combined with shared intentionality produced the greatest level of cooperation. Experiment 3 manipulated both the presence of synchrony and shared intentionality and found significantly greater cooperation with synchrony and shared intentionality combined. Path analysis supported a reinforcement of cooperation model according to which perceiving synchrony when there is a shared goal to produce synchrony provides immediate feedback for successful cooperation so reinforcing the group’s cooperative tendencies. The reinforcement of cooperation model helps to explain the evolutionary conservation of traditional music and dance performances, and furthermore suggests that the collectivist values of such cultures may be an essential part of the mechanisms by which synchrony galvanises cooperative behaviours.

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Section: Discussion Experimentsmentioning

confidence: 99%

Let’s Dance Together: Synchrony, Shared Intentionality and Cooperation

2013

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“…coupled is supported by studies on cultural aspects of dance (i.e., Grau, 1983;Jordan, 1993;Jordan, 1994) and music (i.e., Becking, 1928;Gritten & King, 2006;Schneider, 2010) that include anthropology (Blacking, 1983;Desmond, 1994;Hanna et al, 1979) and ethnography (Browning, 1995;Grau, 1983;Hoerburger, 1960). Studies on dance cognition (Stevens & McKechnie, 2000), synchronization (Goebl & Palmer, 2009;Repp, 2005Repp, , 2006, spontaneous dancing to music (De Bruyn, Leman, Moelants, & Demey, 2009;Toiviainen, Luck, & Thompson, 2010), and musical gesture research (Godøy & Leman, 2010) have given us further insight into the fact that this coupling implies the occurrence of spatiotemporal cues that relate positions of body parts to musical events.…”

Section: T He Idea T H At Dance and Music Are Closelymentioning

confidence: 97%

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

Naveda

Leman

2010

Music Perception

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Music Perception vo lu m e 28, issue 1, pp. 93-111, issn 0730-7829, electronic issn 1533-8312 © 2010 by t h e regents o f t h e university o f california. all rights reserved. please d i r e c t all requests f o r permission to p h oto c o p y o r r e p ro d u c e a rt i c l e c o n t e n t t h ro u g h t h e university o f california press's rights a n d permissions w e b s i t e , h t t p ://www.ucpressjournals.com/reprintinfo.asp. doi:10. 1525/mp.2010.28.1.93 Topological Gesture Analysis (TGA) 93 luiz naveda & marc leman Ghent University, Ghent, Belgium spatiotemporal gestures in music and dance have been approached using both qualitative and quantitative research methods. Applying quantitative methods has offered new perspectives but imposed several constraints such as artificial metric systems, weak links with qualitative information, and incomplete accounts of variability. In this study, we tackle these problems using concepts from topology to analyze gestural relationships in space. The Topological Gesture Analysis (TGA) relies on the projection of musical cues onto gesture trajectories, which generates point clouds in a three-dimensional space. Point clouds can be interpreted as topologies equipped with musical qualities, which gives us an idea about the relationships between gesture, space, and music. Using this method, we investigate the relationships between musical meter, dance style, and expertise in two popular dances (samba and Charleston). The results show how musical meter is encoded in the dancer's space and how relevant information about styles and expertise can be revealed by means of simple topological relationships.

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“…9-ojo dešimtmečio, kai pasirodė juozo Lingio keturių tomų leidinys "Sceninis lietuvių liaudies šokis", apibendrinantis istorinius duomenis apie atskirus lietuvių liaudies šokius, žaidimus ir ratelius (21), buvo apgintos pirmosios disertacijos liaudies choreografijos tema 9 , pradėta išsamiau analizuoti šokio funkciją. Nuo XX a. paskutiniojo dešimtmečio prasidėjo nuoseklūs apeiginės etnochoreografijos tyrimai 10 , vėliau -etnografinių regionų choreografinio folkloro ypatybių, improvizacijos ir stiliaus tyrimai, šokių struktūrinė analizė bei kitos temos. Nuo 2004 m. nemažą įtaką padarė Lietuvos muzikos ir teatro akademijos etnochoreologų (studentų ir dėstytojų) įsitraukimas 8 Vieni pirmųjų tyrinėjimų -juozo Lingio, Zenono Slaviūno, Vytauto jakelaičio 1955 m. rusų kalba paskelbti gana išsamūs įvadiniai straipsniai apie lietuvių liaudies šokių šaltinius, raidą ir ypatybes prie rinkinio, skirto stilizuotų tautinių šokių sceninėms kompozicijoms (87; 88).…”

Section: Lietuvių Choreografinio Folkloro Tyrimų Raidos Apžvalgaunclassified

“…Vėliau disertaciją apgynė Kazys Poškaitis ir 1992 m. ją paskelbė knygoje "Liaudies choreografija" (35). 10 Dauguma jų paskelbti Dalios Urbanavičienės straipsniuose ir 2000 m. monografijoje (65).…”

Section: Lietuvių Choreografinio Folkloro Tyrimų Raidos Apžvalgaunclassified

Choreografinio folkloro tyrimai užsienyje ir Lietuvoje: metodologiniai aspektai

Urbanavičienė

2015

Tradicija Ir Dabartis

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Anotacija. Pastaraisiais dešimtmečiais tarptautiniuose šokio tyrimuose įsitvir-tinusios naujos nuostatos skatina kritiškai peržiūrėti lietuvių choreografinio folkloro tyrinėjimus ir įvertinti juos tarptautiniame kontekste -lyginant su šokio antropologijos, šokio etnologijos ir šokio folkloristikos (arba etnochoreologijos) pasiekimais. Lietuvių choreografinio folkloro tyrimai prisišlieja prie Europos šokio folkloristikos mokyklos (labiausiai atitinka jos 1960-1980 m. laikotarpį), daugiausia dėmesio tenka klasifikavimui, struktūrinei analizei, regioninių ypatumų nustatymui, todėl šokis dažniausiai tyrinėjamas kaip atskiras objektas. Kai kuriuose pastarųjų metų darbuose pastebimi ir antropologiniai aspektaidaugiau dėmesio skiriama kontekstui fiksuoti, pateikėjų požiūriui, sąvokoms ir terminijai išsiaiškinti (emic aspektas), taikomi semantinės struktūralistinės analizės metodai, nagrinėjamos šokio funkcijos, prasmės, improvizacijos ir stiliaus, šokio judesio terapijos temos. Lietuvių choreografinio folkloro tyrimus gerokai apsunkina tai, kad sunyko gyvosios tradicijos tęstinumas, o archyvinė etnochoreografijos medžiaga sukaupta nekokybiškai, neatitinka nei šokio folkloristikos, nei šokio antropologijos reikalavimų. Taip pat abejonių kelia dabartinė lietuvių choreografinio folkloro klasifikacija, sudaryta neatsižvelgus į liaudyje gyvavusią terminiją ir vietos tradicijas, remiantis vien etic aspektu -tyrinėtojų požiūriu bei susikurtomis prielaidomis. Pagrindiniai žodžiai: choreografinis folkloras, metodologija, šokio antropologija, šokio folkloristika, etnochoreologija, lauko tyrimai, funkcija, kontekstas, stebėjimas dalyvaujant, tiesioginis stebėjimas, emic ir etic aspektai, evoliucionizmas, klasifikavimas, struktūrinė analizė, semiotika, struktūralizmas.Abstract. Entrenched new provisions in the international dance studies over past few decades suggest a critical review of the investigations of choreographic folklore in Lithuania by integrating the comparison of the foreign achievements in dance anthropology, dance ethnology, and dance folkloristics (or ethnochoreology). The Lithuanian choreographic folklore research has been largely consistent with the European school of dance folkloristics (especially between the periods of 1960-1980) because its main focus lies on classification, structural analysis, and the determination of the regional features. Moreover, dance is mostly studied as a separate object. Several anthropological aspects have been observed in a few recent studies. There has been more emphasis put on to the context, the amplification of approaches, concepts, and terminology (the emic aspect). The methods of semantic structural analysis have been put into practice, and more investigation completed on the themes of dance function, sense, style and improvisation, and dance movement therapy. The research of Lithuanian choreographic folklore has been greatly complicated by the fact that the continuation of living tradition has declined. Besides that, the archival material of ethnochoreography has been coll...

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Movements Toward Understanding Humans Through the Anthropological Study of Dance [and Comments and Reply]

Cited by 32 publications

References 47 publications

Let’s Dance Together: Synchrony, Shared Intentionality and Cooperation

Let’s Dance Together: Synchrony, Shared Intentionality and Cooperation

The Spatiotemporal Representation of Dance and Music Gestures using Topological Gesture Analysis (TGA)

Choreografinio folkloro tyrimai užsienyje ir Lietuvoje: metodologiniai aspektai

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