Effects of auditory rhythm on movement accuracy in dance performance

The present study addresses the impact of the rhythmic complexity of music on the accuracy of dance performance. This study examined the effects of different levels of auditory syncopation on the execution of a dance sequence by trained dancers and exercisers (i.e., nondancers). It was hypothesized that nondancers would make more errors in synchronizing movements with moderately and highly syncopated rhythms while no performance degradation would manifest among trained dancers. Participants performed a dance sequence synchronized with three different rhythm tracks that were regular, moderately syncopated, and highly syncopated. We found significant performance degradation when comparing conditions of no syncopation vs. high syncopation for both trained dancers (p = .002) and nondancers (p = .001). Dancers and nondancers did not differ in how they managed to execute the task with increasing levels of syncopation (p = .384). The pattern of difference between trained dancers and nondancers was similar across the No Syncop and Highly Syncop conditions. The present findings may have marked implications for practitioners given that the tasks employed were analogous to those frequently observed in real-life dance settings.     

Becoming a client, becoming a practitioner: student narratives of a dance movement therapy group

This paper documents one of several themes arising from a larger research study which invited trainees' views on their experience in a weekly, 2 year, dance movement therapy (DMT) personal development group. This group formed part of their post-graduate training. The study used a phenomenological, grounded theory and collaborative methodology followed by an interpretive framework. The research sought to discover participants' views on the experience of this personal development group in relation to their clinical practice with DMT groups during and following their training (the latter is not the subject of this paper). The study identifies a gap in the literature on trainee experience, particularly in relation to group process. Following a brief introduction and overview of methodology employed, the theme entitled 'becoming a client, becoming a practitioner' is presented, as it manifested for the students in the DMT group over time. The personal development component of therapists' training is directly relevant to most counselling/psychotherapy and arts therapies practitioners; consequently, the study has broader implications.     

From an object-superiority effect to an object-inferiority effect with movement of the fixation point

The object-superiority effect (OSE) refers to the fact that target lines can be more accurately discerned when part of a cube-like, three-dimensional object context than when part of a flat, unconnected line context (Weisstein & Harris, 1974). Explanations of the OSE have been based on the assumption that it is the configurational properties of the object form, such as its three dimensionality, and coherence that are responsible for the effect. It is demonstrated that the OSE produced by stimuli such as those used by Weisstein and Harris does not depend exclusively on configurational variables. Evidence is presented that fixation-point location and the amount of line detail about the point of fixation are crucial.     

Conscientiousness and Extraversion relate to responsiveness to tempo in dance

Previous research has shown broad relationships between personality and dance, but the relationship between personality and specific structural features of music has not been explored. The current study explores the influence of personality and trait empathy on dancers’ responsiveness to small tempo differences between otherwise musically identical stimuli, measured by difference in the amount in acceleration of key joints. Thirty participants were recorded using motion capture while dancing to excerpts from six popular songs that were time-stretched to be slightly faster or slower than their original tempi. Analysis revealed that higher conscientiousness and lower extraversion both correlated with greater responsiveness to tempo change. Partial correlation analysis revealed that conscientiousness remained significantly correlated with responsiveness when extraversion was controlled, but not vice versa. No effect of empathy was found. Implications are discussed.     

The application of psychodynamic ideas to professional dance training

Concern about the welfare of professional dance students is growing as it becomes clearer that the training is not producing emotionally healthy and mature young people. Psychodynamic ideas and concepts offer a means of analysing the problems of the training and indicating where change needs to be implemented. This paper looks first at the areas of adolescent development towards separation, autonomy, the creation of peer relationships and the development of sexual identity and awareness, and shows how traditional dance training fails to facilitate their growth. The paper then discusses envy and competition and argues that they need to be addressed within dance training if they are not to be so destructive. The paper then suggests that group theory could enable the better use of the dance class. Finally, the idea of the body storyline is used to show that dance training has the capacity to have a creative and remedial effect on students, if training institutions provide a sufficiently facilitating environment.     

Differentiated ratings of perceived exertion and physiological responses during aerobic dance steps by impact/type of arm movement

Overall ratings of perceived exertion, i.e., undifferentiated RPE, are often used as indicators of exercise intensity during walking, jogging, and cycling; however, conflicting results concerning RPE during aerobic dance exercise have been reported, and the use of differentiated RPE, i.e., local RPE and central RPE, has not been investigated. The purposes of this study were to assess local, central, and over-all RPE, and physiological responses [heart rate (HR); % HRmax; absolute and relative VO2;% VO2 max, ventilation (VE), ventilatory equivalent (VE.VO2(-1); and oxygen pulse] during aerobic dance exercise varied by Arm Movement (Static Arm vs Dynamic Arm) and Impact (High vs Low). Trained women (N = 25; max VO2 = 50.4 +/- 7.5 ml.kg-1.min.-1) completed four aerobic dance steps. No RPE were significantly correlated with heart rate or VO2; however, for all steps all RPE were significantly (r = .40-.62) correlated with VE.VO2(-1) or VE. No interactions were present for RPE or physiological variables, and main effects were noted for Impact and Arm Movement. All RPE were greater for High Impact and for Static Arm Movement. Because VE and VE.VO2(-1) were correlated with Overall RPE for all steps, this may suggest that participants "attended to" perceived changes in respiratory phenomena during aerobic dance exercise. It appears that during combined arm-and-leg aerobic dance exercise the use of Overall RPE is sufficient to assess perceptual sensations associated with the intensity of the exercise. Changes in Overall RPE were proportionate to objective measures of exercise intensity, i.e., HR and VO2; however, it is recommended that both HR and Overall RPE be used to assess fully a participant's objective and subjective responses during aerobic dance exercise.     

From body form to biological motion: the apparent velocity of human movement biases subjective time

In two experiments, we investigated time perception during apparent biological motion. Pictures of initial, intermediate, and final positions of a single movement were presented, with interstimulus intervals that were constant within trials but varied across trials. Movement paths were manipulated by changing the sequential order of body postures. Increasing the path length produced an increase in perceived movement velocity. To produce an implicit measure of apparent movement dynamics, we also asked participants to judge the duration of a frame surrounding the stimuli. Longer paths with higher apparent movement velocity produced shorter perceived durations. This temporal bias was attenuated for nonbody (Experiment 1) and inverted-body (Experiment 2) control stimuli. As an explanation for these findings, we propose an automatic top-down mechanism of biological-motion perception that binds successive body postures into a continuous perception of movement. We show that this mechanism is associated with velocity-dependent temporal compression. Furthermore, this mechanism operates on-line, bridging the intervals between static stimuli, and is specific to configural processing of body form.     

Comparing motivations of individual programmers and firms to take part in the open source movement: From community to business

The first urgent question for any scholar willing to study the Open Source (OS) movement has been clearly put by Glass (1999, 104): I don’t know who these crazy people are who want to write, read and even revise all that code without being paid anything for it at all. A growing body of economic literature has been addressing the motivations at the basis of the participation in the OS movement since when the new paradigm has become successful and triggered the entrance on the market of firms offering Open Source based products and services (Open Source firms). However, most of the empirical analyses focus on individual developers and neglect companies that adopt Open Source business models. This paper contributes to the literature by providing empirical evidence on the incentives of the firms that engage in OS activities. Findings on firms’ motivations are compared His recent research interests are in the economics of science, industrial dynamics in high technology industries, and theory and empirics of diffusion of technologies with network externality. He has authored or edited five books and written 80 papers in international journals and conferences. His studies have been published in several top refereed journals. He is member elected of the Executive Committee of the PRIME (Policies for Research and Innovation in the Move towards the European Research Area) Network of Excellence (6^th Framework Programme) and has previously coordinated or contributed actively to several EU research projects (within TACIS-ACE, DG III, DG XII and DG XXII). She got her Ph.D. in economics and management of innovation at Sant’ Anna School in November 2003. At present, she collaborates also with the Department of Electrical Systems and Automation of the University of Pisa. Her research interests deal with the economics of open source software (OSS) and focus on profit-oriented firms that offer open source-based products and services (open source firms). Under a theoretical point of view, she is now investigating the motivations that lead individuals to provide a continuous stream of contributions to collective goods that are immaterial in their nature (e.g., participation in OSS projects, participation in the scientific community). with the results of the surveys on individual programmers aiming at analyzing the role played by different classes of incentives (social, economic and technological) in determining the involvement in the movement of different typologies of agents (Individual vs. organizations).     

Experiencing affect through site-specific dance

Our embodied experiences of affect, feeling and emotion within the context of site-specific dance are the focus of this article. The specific sites of our dance are designed gardens and our performances are offered within the context of an arts festival. In performing within these gardens, we aim to complement and enhance the site through our embodiment. Both as dancers in, and as audience members of dance, we recognize that affect, feeling and emotion arise during special live performance events. We understand affect as a fluid and relational, collective experience that extends beyond our individual experiences as performers to being shared with and between particular audiences at particular times and places. However, it is often difficult to express these embodied, collective experiences. Drawing on a feminist and phenomenological approach, we offer vignettes of key moments in these performances to illustrate the affective practices in our work. These vignettes draw on moments when we felt we shared an experience with audiences, supported by written responses, recorded anecdotal comments from audience members, and discussions between performers. We conclude by reflecting on how we might offer our community an enhanced emotional experience of the gardens.     

From eye movement to cognition: Toward a general framework of inference comment on Liechty et al., 2003

Liechty, Pieters & Wedel (2003) developed a hidden Markov Model (HMM) to identify the states of an attentional process in an advertisement viewing task. This work is significant because it demonstrates the benefits of stochastic modeling and Bayesian estimation in making inferences about cognitive processes based on eye movement data. One limitation of the proposed approach is that attention is conceptualized as an autonomous random process that is affected neither by the overall layout of the stimulus nor by the visual information perceived during the current fixation. An alternative model based on the input-output hidden Markov model (IOHMM; Bengio, 1999) is suggested as an extension of the HMM. The need for further studies that validate the HMM classification results is also discussed.     

Relation of dance skills to body cathexis and locus of control orientation

33 subjects provided measures on extent of dance training, dance performance, locus of control orientation, and three measures of body cathexis. Pearson product-moment correlations yielded significant, though modest, positive relations between three measures of body cathexis and performance, and between time dancing and the Levenson Internal scale; and a negative relation between body cathexis and the Levenson Chance scale.     

Children's understanding of emotion in dance

This study investigated children's understanding of emotion in dance movements. Professional dancers were instructed to improvise on the emotions of joy, anger, fear, and sadness and to transform these improvisations into short solo dances, which were recorded on video. Eight performances were selected for use as stimuli. Children, aged 4, 5, and 8 years, and adults watched these performances and indicated which of the four emotions they perceived in the respective performance. All age groups achieved recognition scores well above chance level. As a rule, 4-year-olds' recognition was inferior to that of the other age groups, but in some cases either girls or boys of this age achieved as good a recognition as one or more of the other age groups. The 5-year-old children achieved recognition levels close to those obtained for 8-year-olds and adults. A cue analysis based on the Laban movement analysis suggested that force and tempo in movement were the key factors for emotion recognition.     

It takes two to tango: Research and practice as an amazing dance

This paper offers an appreciative critique of Kim Etherington's recent book, Narrative Approaches to Working with Adult Male Survivors of Male Child Sexual Abuse. I discuss the issues raised in the book with reference to one of my current clients. Etherington does not produce new substantive theory: the power of this work is in the narrative. Her important contribution lies in the reflexivity with which she encounters her material. The use of critical reflexivity challenges the subject/object dichotomy inherent in much positivistic research, and presents a much‐needed approach to process that is congruent with the lived experience of counselling. I would suggest that research is more likely to succeed in informing practice if the material is open to personal interpretation by the reader/therapist. Further, I would claim that the activity of using research creatively is itself a heuristic process: useful learning is most likely to occur if the dialogic relationship with the client and therapist is mirrored in the relationship between the therapist and the research text.