Auditory Turn: William Forsythe's Vocal Choreography

Vass-Rhee, Freya

doi:10.1080/01472526.2010.517495

Cited by 11 publications

(7 citation statements)

References 2 publications

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“…In contrast, in Non-Western dance genres and in choreographic performance, beat induction need not be present. Dancers and choreographers may seek a variety of ways to coordinate with or without rhythm or metered regularity ( Vass-Rhee, 2010 ). They may exploit breathing cues, ambient sounds, or attend to mono or polysyllabic utterances to organize choreographies with fellow performers.…”

Section: Introductionmentioning

confidence: 99%

Effects of a Fragmented View of One’s Partner on Interpersonal Coordination in Dance

Brown

Meulenbroek

2016

Front. Psychol.

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In this study we investigated the effects of a mirror-mediated, partial view of one’s dance partner on interpersonal coordination in dance duets. Fourteen participant pairs (dyads) were asked to perform a reflectionally-symmetric eight-segment dance-relevant arm movement sequence in two visual conditions: with one dancer facing the mirror and providing a partial view on the dance partner, or both dancers facing back to back with, for both dancers, no view on one’s partner. During an eight-count beat-preparation phase, the task was paced via a metronome at three TEMPI; 1.6, 1.9, and 2.3 Hz, which was subsequently removed after which the movement sequence continued in silence. Interpersonal coordination was assessed using two tri-axial wireless accelerometers, one fixed to each dancer, that allowed the off-line kinematic analyses of dyad correlation, mean relative phase and mean standard deviation of relative phase of the up–down movements of (one of) the hands of the two dancers. In addition, two independent raters estimated the realized movement frequencies and percentage of the trial duration that the dancers moved in sync. Repeated measure ANOVAs revealed systematic effects of tempo on the performance measures, a positive effect of the use of the mirror on the coordination of the dancers’ movements but no facilitating effect of the mirror on the dancers’ synchronization. Overall, the results support the contention that when dancing to an internalized rhythmic beat the use of a mirror provides an ecological means to stabilize interpersonal coordination in dance duets without an effect on synchronization.

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Section: Introductionmentioning

confidence: 99%

Effects of a Fragmented View of One’s Partner on Interpersonal Coordination in Dance

Brown

Meulenbroek

2016

Front. Psychol.

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“…Our approach parallels the recent proposals of how aesthetic aspects of dance can (Christensen & CalvoMerino, 2013) and should (Jola & Christensen, 2015) be a subject for empirical research into the audience experience. Further, our research emphasis aligns with the current surge of interest in multisensory aspects of performance (Banes & Lepecki, 2007;Bläsing, 2015; Chapple & Kattenbelt, 2006;Di Benedetto, 2010;McKinney, 2012;Vass-Rhee 2010;Viaud-Delmon et al 2012). Within this context of developing research into the multi-modal aspects of dance, our aim was to research audiences' responses to dance movement when accompanied by different combinations of movement and sound.…”

Section: Introductionmentioning

confidence: 99%

Spectators’ aesthetic experience of sound and movement in dance performance: A transdisciplinary investigation.

Reason

Jola

Kay³

et al. 2016

Psychology of Aesthetics, Creativity, and the Arts

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We utilise qualitative audience research and functional brain imaging (fMRI) to examine the aesthetic experience of watching dance both with and without music. This transdisciplinary approach was motivated by the recognition that the aesthetic experience of dance revealed through conscious interpretation could have neural correlates in brain activity. When audiences were engaged in watching dance accompanied by music, the fMRI data revealed evidence of greater intersubject correlation in a left anterior region of the superior temporal gyrus known to be involved in complex audio processing. Moreover, the qualitative data revealed how spectators derived pleasure from finding convergences between two complex stimuli (dance and music). Without music, greater intersubject correlation was found bilaterally in a posterior region of the superior temporal gyrus, showing that bodily sounds such as breath provide a more salient auditory signal than music in primary auditory regions.Watching dance without music also resulted in increased intersubject correlation amongst spectators in the parietal and occipitotemporal cortices, suggesting a greater influence of the body than when interpreting the dance stimuli with music. Similarly, the audience research found evidence of corporeally focused experience, but suggests that while embodied responses were common across spectators, they were accompanied by different evaluative judgements. In this paper we discuss a study that was carried out as part of the Watching Dance: KeywordsKinesthetic Empathy project (www.watchingdance.org). The Watching Dance project. This was a transdisciplinary exploration of the extent to which spectators' experiences of dance were based upon kinesthetic empathy. The present paper focuses on spectators' aesthetic experience of sound and movement, investigated through a combination of qualitative audience research and functional brain imaging (fMRI).As a multi-modal form, dance invites research into how different sensory modalities interact with each other. Although the relationship between dance and music is central to Western theatre dance practice (see for example Jordan, 2000;2008), and has begun to be addressed by neurocognitive approaches , it has not hitherto been studied in combination with qualitative research on dance audiences in theatre settings. Our approach parallels the recent proposals of how aesthetic aspects of dance can (Christensen & CalvoMerino, 2013) and should (Jola & Christensen, 2015) be a subject for empirical research into the audience experience. Further, our research emphasis aligns with the current surge of interest in multisensory aspects of performance (Banes & Lepecki, 2007;Bläsing, 2015; Chapple & Kattenbelt, 2006;Di Benedetto, 2010;McKinney, 2012;Vass-Rhee 2010;Viaud-Delmon et al. 2012). Within this context of developing research into the multi-modal aspects of dance, our aim was to research audiences' responses to dance movement when accompanied by different combinations of movement and sound.The specific que...

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“…While in classical ballet productions as well as in numerous modern choreographies the sounds caused by the dancers' footsteps, ground contact, audible breathing or voices take a back seat, individual choreographers use such acoustic signals as dramaturgical means. One example is given by William Forsythe's "breath scores" that include not only audible breath but also noises caused by voice, footsteps, ground contact, body and clothing (Vass-Rhee, 2010). These acoustic events that are generated directly by the dancers' bodies are regarded on the same level as visible movements; in combination, they result in a performative intermodality with which Forsythe experimented intensively in 2003.…”

Section: Dance Made Audible By Means Of Choreographymentioning

confidence: 99%

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

Bläsing

Zimmermann

2021

Front. Psychol.

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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.

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Auditory Turn: William Forsythe's Vocal Choreography

Cited by 11 publications

References 2 publications

Effects of a Fragmented View of One’s Partner on Interpersonal Coordination in Dance

Effects of a Fragmented View of One’s Partner on Interpersonal Coordination in Dance

Spectators’ aesthetic experience of sound and movement in dance performance: A transdisciplinary investigation.

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

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