Synchrony and exertion during dance independently raise pain threshold and encourage social bonding

Tarr, Bronwyn; Launay, Jacques; Cohen, Emma; Dunbar, Robin

doi:10.1098/rsbl.2015.0767

Cited by 300 publications

(322 citation statements)

References 25 publications

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“…Similar results are seen when adults dance together in synchrony. After this experience, they are more cooperative (Reddish et al, 2013), can remember more visual details about one another (Woolhouse, Tidhar & Cross, 2016), experience increased pain thresholds, and have greater feelings of group cohesion (Tarr et al, 2015) compared to those dancing out-of-synchrony.…”

Section: Oving In Time With Others Ormentioning

confidence: 99%

“…When adults walk, row, tap, dance, or sing in synchrony with one another, affiliative behaviors such as trust, cooperation, and ratings of likeability are encouraged (Anshel & Kipper, 1988;Hove & Risen, 2009;Reddish, Fischer, & Bulbulia, 2013;Tarr, Launay, Cohen, & Dunbar, 2015;Valdesolo, Ouyang, & DesSteno, 2010;Weinstein, Launay, Pearce, Dunbar, & Stewart, 2015;Wiltermuth & Heath, 2009). Even 4-year-old children who play together in a musical versus a nonmusical way are later more helpful and cooperative with one another (Kirschner & Tomasello, 2010).…”

Section: Oving In Time With Others Ormentioning

confidence: 99%

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Effects of Interpersonal Movement Synchrony on Infant Helping Behaviors

Cirelli¹,

Wan²,

Spinelli³

et al. 2017

Music Perception

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MOVING IN SYNCHRONY WITH OTHERS ENCOURAGESprosocial behavior. Adults who walk, sing, or tap together are later more likely to be cooperative, helpful, and rate each other as likeable. Our previous studies demonstrated that interpersonal synchrony encourages helpfulness even in 14-month-old infants. However, in those studies, infants always experienced interpersonal synchrony in a musical context. Here we investigated whether synchronous movement in a nonmusical context has similar effects on infant helpfulness. Fourteen-month-olds were bounced gently while the experimenter faced the infant and bounced with them either in-or out-of-synchrony. In contrast to our previous studies, instead of listening to music during this interpersonal movement phase while being bounced, infants listened to nonrhythmic nature sounds. We then tested infant prosociality directed toward the experimenter. Results showed that synchronous bouncing still encouraged more prosociality than asynchronous bouncing, despite the absence of music. However, helping was more delayed and fussiness rates were much higher than in our previous studies with music. Thus music may not be necessary for interpersonal synchrony to influence infant helpfulness, but the presence of music may act as a mood regulator or distractor to help keep infants happy and allow them to fully experience the effects of synchronous movement.

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Section: Oving In Time With Others Ormentioning

confidence: 99%

Section: Oving In Time With Others Ormentioning

confidence: 99%

Effects of Interpersonal Movement Synchrony on Infant Helping Behaviors

Cirelli¹,

Wan²,

Spinelli³

et al. 2017

Music Perception

View full text Add to dashboard Cite

show abstract

“…Kinaesthetic empathic responsiveness to a client's movement repertoire is essential to developing a therapeutic alliance (Samaritter & Payne, 2013). Synchronous, effortful movement together nurtures the embodied relationship (Tarr, Launay, Cohen & Dunbar, 2015) and provides the therapist with a body felt-sense of the client's actions, emotions and sensory experiences facilitated by mirror neurones and embodied simulation (Berrol, 2006;Gallese & Sinigaglia, 2011). Attunement (connecting in rhythm) and adjustment (connecting in shape) can be part of the experience of mirroring (Kestenberg-Amighi; Loman, Lewis, Sossin, 1999).…”

Section: Techniques and Methodsmentioning

confidence: 99%

A comparative analysis of body psychotherapy and dance movement psychotherapy from a European perspective

Payne

Warnecke

Karkou

et al. 2016

Body, Movement and Dance in Psychotherapy

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The role of embodiment within contemporary psychotherapy practice and its discussion are gathering momentum, and are part of a paradigm shift in psychotherapy in which theory and practice are being reformulated. Body Psychotherapy (BP) and Dance Movement Psychotherapy (DMP) are playing a leading role in these deliberations. Although these two professions have separate professional bodies, distinct theoretical grounding and clinical methodology, they both place enormous value on the central role of the body and its movement as indicators of relational problems, and as agents of therapeutic change. There are few authors comparing and contrasting Body Psychotherapy and Dance Movement Psychotherapy although they have much in common as they are both embodied, enactive psychotherapies. However, neither their overlaps in theory, methodology and some of their clinical practice nor their distinct character have been sufficiently delineated. This article elucidates some similarities and differences in fundamental assumptions, compares and contrasts definitions and terms, and considers common and contrasting theoretical perspectives, techniques and methods. It is expected that this will contribute to the on-going discussion of the articulation of core characteristics in both professions and will facilitate a better understanding and collaboration between them.

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“…The therapist is bodily engaged in the active, expressive movement dialogue and expression, she is relating non-verbally to participants including their movements (whether they are conscious of this or not) to form a cohesive group process nurturing a sense of belonging. Research has demonstrated that this synchronous group process of dancing together to music can reduce pain and increase social bonding (Stone et al, 2015).…”

Section: Embodied Simulationmentioning

confidence: 99%

The Psycho-neurology of Embodiment with Examples from Authentic Movement and Laban Movement Analysis

Payne

2017

Am J Dance Ther

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It is proposed herewith that the integration of thought and emotion is felt through the body. It has been agreed that thought is embodied cognition and that our earliest learning is implicit, through the body, and non-verbal. Embodiment and Embodied Simulation (ES) (Gallese, 2011) represent controversial topics in the philosophy of mind (Clark, 1998) and cognitive neuroscience (Gallagher, 2015a(Gallagher, , 2015bGallese and Sinigaglia, 2011a; Gallese, 2014). As a result of the advances in these areas of research there is a need to re-conceptualize our understanding of the mechanisms/processes involved in DMP. Could ES be applied to the psychology of movement? This article attempts to apply this theory of embodiment to the practice of Authentic Movement (AM) and Laban Movement Analysis (LMA). The theory of ES is proposed as one possible explanation of how the role of the 'witness' in AM comes to know their inner experience whilst in the presence of a mover which may lead to an 'offering' to that mover from the witness' conscious body (Adler, 2002). Furthermore, there is an examination of how ES connects to the task of movement observation and how meaning is arrived at from the various movement patterns observed.

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Synchrony and exertion during dance independently raise pain threshold and encourage social bonding

Cited by 300 publications

References 25 publications

Effects of Interpersonal Movement Synchrony on Infant Helping Behaviors

Effects of Interpersonal Movement Synchrony on Infant Helping Behaviors

A comparative analysis of body psychotherapy and dance movement psychotherapy from a European perspective

The Psycho-neurology of Embodiment with Examples from Authentic Movement and Laban Movement Analysis

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