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The Mind as a Work of Art > 7 - Dance > Flashcards

7 - Dance Flashcards

1
Q

dance - basics

A
  • rhythmic entrainment of movement to other people (synchronizing movements)
  • narrated (pantomime) or acted out (mime theater)
  • interpersonal coordinations
    -> demonstrate group commitment; group display of behavior
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2
Q

dance is about …

A

the body (body coordination); a group moving as if with one body
-> superorganism

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3
Q

coordination in ____ & ____ (for dance)

A
  • space (spatial patterns); coordination in space
  • and time (entrainment); synchronizing, coordination in time
    -> dance has narrative and performing arts
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4
Q

4 Ps of dance - basics

A
  1. patterning
  2. pacing
  3. partnering
  4. person
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5
Q

Patterning - 4 Ps of dance

A

-> space
movement patterns

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6
Q

pacing - 4 Ps of dance

A

-> time
timing and rhythm for each movement

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7
Q

partnering - 4 Ps of dance

A

-> space
social interaction

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8
Q

person - 4 Ps of dance

A

-> space
role playing, impersonation

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9
Q

bipedalism (unique sensorimotor capacity) - basics

A
  • precedes emergence of stone tools and expansion of brain size
  • 4 million years ago
  • unique human locomotor style
  • lot of changes in human anatomy to achieve it
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10
Q

bipedalism evolvement theories

A
  1. freeing hands from carrying (use of other objects possible)
  2. energy efficiency
  3. savannah hypothesis -> terrestrial model: when humans transitioned to land that was easier to move (caused by transition to land)
  4. postural feeding hypothesis -> arboreal model: reaching for food on trees (transition before)
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11
Q

anatomical changes -> bipedalism

A
  • head in too if vertebral column, sitting over the pelvis
  • rib cage flatter and broader (mass to center of body)
  • knees closer to midline (angled inwards)
  • human food is a platform
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12
Q

bipedalism in dance

A

handedness & leggedness
- right-leg bias for locomotion initiation
- right-foot bias for ball kicking
- left-leg postural preference (stabilization)
- left bias for turning
-> bipedalism creates intrinsic duplex rhythm (two beat rhythm) -> can be felt and heard (body percussion)

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13
Q

movement patterns of dance

A
  • egocentric;
    kinesphere, fixed in place, body moves in this place
  • allocentric;
    moving in space, movement path, move in space (choreographic patterns)
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14
Q

classifying dance
1) body trajectory
2) energy

A

1) linear (in and out) & rotational (turning around) movements
2) tempo (speed) & articulation (smooth = legato, disconnected = staccato)

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15
Q

synergies

A

intra-individual coordination
- all joints need to be coordinated
- ex. continuation of one’s arm due to dance partner

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16
Q

gait cycle

A

2 phases of walking, always in opposite to each other
-> standing and swinging phase
- standing, knee extended -> extension (away from body)
- swinging, knee flexed -> flexion (towards body)
-> cycle of flexion and tension
-> we humans move our arms counter-wise to legs

17
Q

food cycle (during stand phase)

A

heel forward (flexion) -> flat foot -> push up on ball (extension)
[flexion and extension concerning the ankle]
-> the flatfoot moment gets synchronized with beats (more stable)

18
Q

gestural imitation

A
  • learning motor skills based on gestural imitations (uniquely to human)
  • chameleon effect; unconscious imitation of other person
  • dancing is intentional imitation; observational learning (following role model)
    1. anatomical; same side (makes movements contrary in face to face interaction)
    2. specular; mirroring
19
Q

observational learning

A

-> observing role models (visually or acoustically)
- can be unsupervised learning (implicit, just observing)
- or supervised (explicit, teacher (error correction);
1. demonstrational; performance, showing steps -> unique to humans
2. non-demonstrational; verbal instructions, feedback

-> we teach each other skills and information; rehearse what we have been taught pursued if the context of using the skill

20
Q

duration & IOIs (+ their relation)

A

= the time between the onset and offset of an event

= inter-onset interval; time between onset of successive beats (onset to onset)

-> duration can take up whole IOI or just parts

21
Q

metrical structures

A
  • each node has onset and offset
  • metric; related/equal IOIs, mathematical
  • non-metric; IOIs not related (no mathematical ratios)
22
Q

isochronous rhythm

A
  • same time for all IOIs (all equal)
    -> ex. metronome; 1-beat rhythm
23
Q

metrical hierarchy

A
  • most rhythms have multiple periodicities/cycles of timing -> nested in hierarchy
  • longest note as basic beat, others are sub-beats (smaller integer ratios)
    -> tactus as the one we perceive (tab to)
24
Q

metrical structure is ___

A

generic (not specific to music)

25
Q

other types of rhythm

A

lights, haptic/sensory
(coordination in time)

26
Q

metric entrainment

A
  • happens on tactus level

<compare>
-> metrical structure; self-paced (ex. walking)
-> metric entrainment (needs timekeeper); entrained, externally paced by time keeper (mainly unique for humans, ex. marching) [animals also have coordination patterns but it does not follow a metric]
</compare>

27
Q

cues for entrainment

A
  1. acoustic; body percussion (different kinds of sounds, ex. clapping)
  2. visual; ex. seeing dance partner
  3. haptic; proprioceptive (push/pull) & somatosensory (touches);
    - direct body contact -> dance
    - indirect contact via object -> ex. moving sofa
28
Q

moving together in time - partnering

A
  • coordination in space and time -> partnering coordination
  • group dancing unique to human species (MAWA) -> moving as with one body -> super organism
29
Q

coordination in space

A
  • spatial configurations -> movement patterns
  • often done geometrical (way we humans interact; side to side, standing in circle, …)
    -> lines and circles
    ; circles: no hierarchy (can even enclose something in its center)
  • couple dancing; has gender hierarchy
    -> also dances combining lines and circles
    -> dance is the only form we’re body contact occurs at group level (MAWA); body contact can even lead as extension of own body
30
Q

coordination in time - summarized

A

non-metric & self-paced:
daily life movements (ex. eating), irregular

metric & self-paced:
ex. waking

non-metric & entrained:
coordination in time but not following metric rhythm (ex. moving sofa with someone)

metric & entrained:
follow regular rhythm (ex. dancing to music) = metric entrainment

31
Q

2 types of entrainment

A
  1. mutual entrainment (= entraining with)
    - interactively-generated rhythm -> mutual/adaptive adjustments by agents (dyadic)
    - both lead and follow
    - metric & non-metric rhythms
    - widespread in animals
    -> ex. rowing in a team (metric as well)
  2. external entrainment (= entraining to)
    - to fixed timekeeper (not adaptable; one way, external)
    - involves metric rhythms
    -> ex. dancing to music

-> metric entrainment is art-specific
[movement synchronicity stimulates pro social behavior] -> evolved from mutual entrainment by body movements

32
Q

leader & followers (coordinative roles)

A
  • leader: initiates & navigates actions -> giving good signals
  • follower: responses to leader, adjusts to signals -> ensure smoothness
  • coequal: everyone is the same (ex. circle) -> folks dances
33
Q

dance model of rhythm

A

-> dance; rhythm evolved as mutual entrainment (between 2 animals); body percussion promoted entrainment
-> music; inherited rhythm from dance

; interpersonal - mutual entrainment
; locomotor - intrinsic dual rhythm to locomotion (bipedalism)
; multimodal - acoustic, visual, haptic (more towards music)
; body percussion as acoustic cue

34
Q

mutual body sway

A

-> proto-dancing: mutual body sway during conerversational interaction

35
Q

dance vs theater

A

dance - theater:
- no speaking ~ speaking
- music throughout ~ barely some music
- moving to music ~ no moving to music
- dancing/pantomime/typical movement patterns ~ no dancing

36
Q

2 parallel systems of narrative

A
  1. dance -> the body -> pantomimic gestures
  2. music -> the voice -> spoken language
37
Q

pantomime

A
  • iconic gestures; resembling actual object (ecocentric/allocentric)
  • more egocentric -> full body involved
  • narrates simple actions, intermittent agent
  • mine theater is acted out; complex routines, character actions (complex)
    -> pantomime to narration what mind theater is to acting
38
Q

dance vs mime

A

dance - mime:
- one character ~ multiple characters shown by one person
- ensemble performance ~ soloist
- music ~ with or without music
- props (can include tools) ~ empty handed
- costumes ~ typical mimers outfit
- sets ~ minimalistic background/no sets
- dancing ~ pantomiming

-> narrative dance = regular spoken theater
-> mime theater = sketch dancing

The Mind as a Work of Art (10 decks)

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