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Cited by 95Action Observation and SynchronizationDiversity and Impact of DanceAesthetic Perception and Analysis

The DOI matches its Crossref record; 77 of the 77 references it cites were found in a registry or an index.

Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness

Open access
Himberg, Tommi, Laroche, Julien, Bigé, Romain, Buchkowski, Megan, Bachrach, Asaf·2018·Behavioral Sciences
DOI 10.3390/bs8020023PMC PMC5836006
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Abstract

Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of “togetherness” associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a ‘rhythm battle’ dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts.

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Figures

Figure 1 (A) Quantity of Motion in pre- (top) and post-improvisation mirror games in pilot 1; (B) Cross-correlation functions in pilot 1, indicating that group-level coordination was absent in pre-, but present in post-improvisation game; (C) Participants were standing in a circle, one arm and index finger extended. Frame from pilot 1, the movement trace shows finger trajectories for 1 s; (D) Distribution of maximum pairwise correlation coefficients in pilot 2. Red crosses are means, green dots medians, and blue dots represent the data points (pairwise CC’s).
Figure 1 (A) Quantity of Motion in pre- (top) and post-improvisation mirror games in pilot 1; (B) Cross-correlation functions in pilot 1, indicating that group-level coordination was absent in pre-, but present in post-improvisation game; (C) Participants were standing in a circle, one arm and index finger extended. Frame from pilot 1, the movement trace shows finger trajectories for 1 s; (D) Distribution of maximum pairwise correlation coefficients in pilot 2. Red crosses are means, green dots medians, and blue dots represent the data points (pairwise CC’s).CC BY · PubMed Central
Figure 2 (A) Structure of the rhythm battle protocol. (B) Average tempi in each of the segments. Data from the second group. Error bars represent averages of individual participant’s tempo variability. (C) Tempo similarity matrix from the second group. Yellow represents high similarity and dark blue dissimilarity. Values are normalised. (D) Correlations between tempo similarity matrices and group membership (blue), and tablet-IOS scores and tempo similarity (purple). Red dotted line indicates the p=0.05 threshold. Data from second group.
Figure 2 (A) Structure of the rhythm battle protocol. (B) Average tempi in each of the segments. Data from the second group. Error bars represent averages of individual participant’s tempo variability. (C) Tempo similarity matrix from the second group. Yellow represents high similarity and dark blue dissimilarity. Values are normalised. (D) Correlations between tempo similarity matrices and group membership (blue), and tablet-IOS scores and tempo similarity (purple). Red dotted line indicates the p=0.05 threshold. Data from second group.CC BY · PubMed Central
Figure 3 Network visualisations of the tempo similarity matrices in stage 1 (top) and stage 4 (bottom), in the game for second group. Node colors indicate group membership, thickness and also length of the edges reflect the tempo similarity with thicker and shorter edges reflecting closer tempo similarities.
Figure 3 Network visualisations of the tempo similarity matrices in stage 1 (top) and stage 4 (bottom), in the game for second group. Node colors indicate group membership, thickness and also length of the edges reflect the tempo similarity with thicker and shorter edges reflecting closer tempo similarities.CC BY · PubMed Central

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Research works printed but not linked: 5

  1. Novack, C.J. (1990). Sharing the Dance: Contact Improvisation and American Culture, University of Wisconsin Press.
  2. Kant, I., and Meredith, J.C. (2007). Critique of Judgement, Oxford University Press.
  3. Amighi, J.K. (1999). The Meaning of Movement: Developmental and Clinical Perspectives of the Kestenberg Movement Profile, Brunner-Routledge.
  4. 1994, The Mindreading System: New directions for research, Cah. Psychol. Cogn. Curr. Psychol. Cogn., 13, 724
  5. Maturana, H.R., and Varela, F.J. (1991). Autopoiesis and Cognition: The Realization of the Living, Springer Science & Business Media.

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Metadata

Authors
Himberg, T., Laroche, J., Bigé, R., Buchkowski, M., & Bachrach, A.
Affiliations
  • Université Paris 8 (FR)
  • Université Paris Sciences et Lettres (FR)
  • Centre National de la Recherche Scientifique (FR)
Corresponding author
Bachrach, Asaf
ORCID
Venue
Behavioral Sciences
Publisher
MDPI AG
Published
2018-02-09
Volume
8
Issue
2
Pages
23
ISSN
2076-328X (ISSN-L)
DOI
10.3390/bs8020023
PMC
PMC5836006
OpenAlex
W2794439841
Cited by
85
References
77
Citations by year
2026: 12 · 2025: 8 · 2024: 9 · 2023: 12 · 2022: 13 · 2021: 15 · 2020: 9 · 2019: 6 · 2018: 1
FWCI
10.49
Type
journal article
Language
en
Open access
Licence
Locations
  • Behavioral Sciences (publishedVersion, cc-by)
  • Europe PMC (PubMed Central) (publishedVersion, cc-by)
  • PubMed Central (publishedVersion, cc-by)
  • PubMed (publishedVersion)
  • HAL (submittedVersion, other-oa)
  • Aaltodoc (Aalto University) (submittedVersion, cc-by)
  • DOAJ (DOAJ: Directory of Open Access Journals) (submittedVersion, cc-by-sa)
Funders
Agence Nationale de la Recherche (ANR-10-LABX-0080, ANR-10)
Topics
  • Social Sciences › Psychology › Social Psychology › Action Observation and Synchronization
  • Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Diversity and Impact of Dance
  • Life Sciences › Neuroscience › Cognitive Neuroscience › Aesthetic Perception and Analysis
Keywords
aesthetic experience, embodied experience, interpersonal synchrony, temporal synchronization, relationship closeness, mirror game, contact improvisation, social dance, phenomenology

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CoChat. (2026). Citation check: Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness. https://app.cochat.ai/papers/10.3390/bs8020023
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Himberg, T., Laroche, J., Bigé, R., Buchkowski, M., & Bachrach, A. (2018). Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness. Behavioral Sciences. https://doi.org/10.3390/bs8020023

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