La Co-Construcción Del Marco Métrico en La Clase De Técnica De Danza

Abstract

El presente artículo presenta una síntesis e interpretación de un cuerpo considerable de datos empíricos recolectados a lo largo de una serie de experimentos que procuraron estudiar diversos aspectos de la interacción conductual que tiene lugar entre bailarines y músicos de danza en el curso de la performance de un ejercicio en el contexto de una clase de técnica de danza. Los datos revelan que la complejidad de la interacción, dada por la multiplicidad de modalidades perceptuales implicadas, las diversidad de las experiencias perceptuales de los actores involucrados y la disparidad de mecanismos cognitivos comprometidos, trasciende la problemática de acoplarse a una pauta de regularidad fuertemente establecida (como un mecanismo de entrainment simple) e involucra detalles más sutiles de intercambio intersubjetivo. Se identifica primordialmente un período de negociación a través del cual, músicos de danza y bailarines co-construyen el marco métrico sobre el cual el ejercicio de danza tiene lugar. Las aportaciones que cada uno realiza difieren en la naturaleza perceptual y cognitiva.

Visual and sound gesture in dance communication

“…This variety makes this encounter a kind of Babel that often causes disorders and communication failures between them. We have been working on the problem of communication in dance class [Laguna 2009[Laguna , 2013Shifres y Laguna 2013, 2015 in different contexts between teachers and dance students (academic level), dancers (professional level) and dance musicians (in both academic and professional context), finding some important clues to identify such failures and proposing some lines of work to fix them. They circumscribed this communicational problem to an intersubjective exchange of subjects that fulfill different roles (dancers and musicians) and have different body experiences, immersed in a context of abundant multimodal information (propositional and non-propositional content conveyed by voice and movement).…”

“…Although this combination is idiosyncratic, since its details depend on each teacher, in general they keep certain principles that can be understood as general because they have been presented in a similar way over time throughout the world (Royal Academy of Dance 2019). Although the teacher can give clear indications to either the dancer or dance musician (Teck 1989;Cavalli 2001;Ochoa and Payri 2009;Toenjes 2009;Wong 2011;Laguna 2013) separately, in general all indications are taken into account by both. In addition, Ballet exercises (modern dance, among other techniques) are designed so that their movements can be adjusted to the metric and formal framework of tonal music, that is, rhythms based on an underlying pulse and groupings of 8.…”