Social Dance in the Age of (Anti-)Social Media

Marshall, Wayne

doi:10.1525/jpms.2019.31.4.3

Cited by 9 publications

(4 citation statements)

References 4 publications

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“…Our findings regarding dance experience may change if a wider range of experience is sampled. Our study was not designed to test the effects of dance training nor did we aim to sample individuals with dance experience, but this should be an area of future study, especially due to how widespread engagement with live dance is (O'Neill et al., 2021) and more recently, the increasing engagement with dance via the internet, video game, and social media platforms (Bench & Harling, 2021; Marshall, 2019; Warburton, 2022). We urge future researchers to consider dance forms as multifaceted and engage the multimodal platforms through which dance is created and experienced.…”

Section: Limitations and Future Directionsmentioning

confidence: 99%

Mechanisms for Affect Communication from Dance: A Mixed Methods Study

Stutesman,

Goldstein

2023

Journal of Creative Behavior

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Dance is a multifaceted creative act that has been used to communicate emotions throughout human evolution. Despite this history, there has been no empirical exploration of components of dance that allow it to communicate emotion. We address this with a mixed methods study in which a quantitative study with dance viewers builds upon qualitative findings with dance artists. Qualitative analysis revealed proposed components of dance responsible for emotion communication are narrative content, social interaction, emotion portrayal intent, and textural quality of movement. These elements were then manipulated using dance video stimuli to quantitatively test viewers' emotion perception accuracy. Results revealed emotion portrayal intent (i.e., expression intent in dance creation) is an important factor for viewers to accurately perceive emotion, regardless of narrative content. While prior studies have focused on the perceiver's role in emotion perception from dance, this is the first study to demonstrate emotions are perceived from dance based on intent during dance creation. Findings highlight the nuanced structure of emotion communication in dance, for which we pose a theoretical framework. Together, dance holds possibilities for studying distinct mechanisms for creative communication that may be important for the study of generalized affect communication outside of creative arts contexts.

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Section: Limitations and Future Directionsmentioning

confidence: 99%

Mechanisms for Affect Communication from Dance: A Mixed Methods Study

Stutesman,

Goldstein

2023

Journal of Creative Behavior

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“…Superficially, Fortnite is a platform for celebrity concerts, more of a platform for wealthy advertisers than one dedicated to musical expression. Listener self-expression requires the purchase of commodities, as expression is primarily facilitated by "emote" character animations, which players must individually purchase (Marshall 2019). Fortnite uses virtual world capabilities to amplify hierarchical relationships between performer and audience, with one concert even representing Ariana Grande as a larger-than-life figure with godlike control over the audience.…”

Section: Challenges In Virtual Music Performancementioning

confidence: 99%

Enter the Paraverse: Challenging Assumptions of Live Music in the Metaverse

Healy,

Standiford

2023

ECGBL

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The Metaverse, a concept and buzzword echoing throughout industry and academic spaces, does not exist. In this paper we theorize about the object that does exist: the Paraverse, the global set of disconnected virtual worlds and virtual world platforms working independently to advance virtual world technology and culture. We present a novel system within the Paraverse named Soundscape.social: a multi-user virtual world where participants explore concert spaces containing pre-recorded, synchronous performances by independent musicians during the early stages of the COVID-19 pandemic. Through its design and implementation, we demonstrate how small teams of independent developers may quickly contribute to the fringes of the Paraverse, and thus play an essential role in driving innovation. We assessed the platform’s ability to foster communal listening experience through virtual ethnography, in-game data collection, and interviews with attendees and performers. Soundscape.social was successful at preventing abusive behaviour despite anonymous communication, respecting participant privacy through minimal in-game data collection, modelling anarchic community through a performance format that challenged hierarchical structures of listening, and fostering a novel understanding of liveness through listener autonomy and a novel asynchronous communication feature of interest we name "virtual graffiti." We further discuss opportunities for future work developing technologies that aid developers looking to create independent Paraverse applications, contributing to the future of virtual worlds and, perhaps, the Metaverse.

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“…Los bailes de TikTok descubren una nueva cultura para comunicar, amplificada por la comunicación no verbal y la popularización de micro-clips musicales consolidados bajo el reto musical o music challenge (Marshall, 2019). Esta tipología se caracteriza por su capacidad viral, en una simbiosis de música y movimiento coordinados.…”

Section: Tiktok Y Retos Musicalesunclassified

Tiktokers y objetivación sexual de género en retos musicales

Vizcaíno-Verdú

Tirocchi

2021

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The rise of social media such as TikTok, where short-content takes prominence, has generated a trend of online musical challenges. Songs from the music industry have made way for amateur choreography that is becoming viralized around the world, and replicated in a constant network algorithm. This study seeks to address gender differences and the sexual objectification of musical challenges on the platform. For this purpose, a descriptive and correlational content analysis was conducted for eight popular songs on the platform, in a sample of 400 tiktoks, 200 females and 200 males. Based on the analysis of the sexual objectification of music videos, we applied a codification that collected race and age demographics, followed by interpretative-choreographic factors such as body exposure, perpetration and gaze, decorative role, facial attractiveness, body shape, degree of global sexualization, provocative dress, and sexual dancing. The results revealed a significant statistical relationship between gender and sexual objectification in all cases, except in the choreography and sensual movements, sexual positions and seductive expressions. In the rest of the codes analyzed predominated the female gender. From this group, the exposure of body, facial attractiveness and provocative clothing differed. To sum up, the research introduces a new social phenomenon characterized by the sexualization of its young performers, where gender differences are accentuated perpetuating the media pattern of the music industry.

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Social Dance in the Age of (Anti-)Social Media

Cited by 9 publications

References 4 publications

Mechanisms for Affect Communication from Dance: A Mixed Methods Study

Mechanisms for Affect Communication from Dance: A Mixed Methods Study

Enter the Paraverse: Challenging Assumptions of Live Music in the Metaverse

Tiktokers y objetivación sexual de género en retos musicales

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