Aesthetics of Dance

2021 ◽  
Author(s):  
Beatriz Calvo-Merino
Keyword(s):  
Cognitive Neuroscience ◽  
Experimental Psychology ◽  
Performing Arts ◽  
Expressed Emotion ◽  
Aesthetic Experience ◽  
Prior Experience ◽  
Dance Movement ◽  
Dance Performance ◽  
Embodied Aesthetics ◽  
The Brain

How does the brain see and experience dance? Performing arts have captured the attention of empirical aesthetics and neuroaesthetics. In this chapter, the author reviews studies from cognitive neuroscience and experimental psychology that have contributed to our understanding of the brain mechanisms for dance perception. The author introduces the concept of sensorimotor aesthetics, the process whereby the observer evokes an internal simulation of the perceived action of a dance performance, during its emotional and aesthetic experience. The author proposes an embodied aesthetics framework, in which the perception of the dancer’s body, the dance movement, and the expressed emotion are significantly influenced by an observer’s prior experience. Finally, the author discusses potential avenues for enhancing interactions between the science and artistic communities in pursuit of a deeper understanding of the aesthetics of dance.

A Physical Experience While Watching Dance

2008 ◽  
Vol 40 (S1) ◽  
pp. 237-246 ◽  
Author(s):  
Liesbeth Wildschut
Keyword(s):  
Cognitive Neuroscience ◽  
Mirror Neurons ◽  
Empirical Studies ◽  
Visual Input ◽  
Motor Memory ◽  
Emotional Experiences ◽  
Dance Performance ◽  
Research Results ◽  
Kinesthetic Empathy ◽  
The Brain

Cognitive neuroscience is an area that helps us to enlarge our knowledge of how movement is perceived and how we can understand the process of kinesthetic empathy. In this article I will analyze the connections between the visual input while watching a dance performance, the motor memory, the awareness of movement sensation, and emotional experiences. Experiments done on monkeys by Rizzolatti et al. gave insight in the working of the brain while watching dance. He discovered activity of neurons, which he called mirror neurons. Many experiments followed by neuroscientists and psychologists like Keysers, Bekkering, and Calvo–Merino. In this article I will use research results from neuroscience, as well as results from my own empirical studies. Those results give us more insight in the mechanisms active in the process of kinesthetic empathy, which can be helpful for choreographers interested in involvement strategies on a movement level.

scholarly journals The Relation of Kendang and Jaipongan: Functions and Inspirations of Kendang Musicality on Jaipongan’s Journey

2020 ◽  
Vol 20 (2) ◽  
pp. 126-134
Author(s):  
Asep Ganjar Wiresna ◽  
Cece Sobarna ◽  
Endang Caturwati ◽  
Gugun Gunardi
Keyword(s):  
Data Collection ◽  
Performing Arts ◽  
Musical Instrument ◽  
Study Data ◽  
Dance Movement ◽  
Dance Performance ◽  
Central Function ◽  
Dance Movements ◽  
The Creation ◽  
Data Collection Technique

This study aims to describe the Kendang relationship, as a traditional Priangan musical instrument, to the Jaipongan performing arts and dance. Kendang, which has a central function in the Jaipongan dance performance, has received less appreciation in West Java arts’ discourse. The Jaipongan dance art focuses on dance movements, although the song (gending) that accompanies the dance movement depends entirely on the Kendang music playing. This study used qualitative research methods. The data collection technique is done through interviews, observation, and document study. Data were analyzed through complete data collection activities and then adjusted the data and literature review, and in the end, described the research data. The results showed that Kendang, as a musical instrument has a relationship and attachment with the creation and development of the Jaipongan dance art. Kendang and the player (pengendang) have a vital function, in contrast to the stereotype that these instruments are only accompaniment to songs/dances in the performing arts. The Kendang instrument is an important part that regulates the tempo and the course of the Jaipongan dance performance. Pengendang, as artists and musicians, contribute greatly in communicating the performance of the performance both with dancers and the audience. Kendang is a source of inspiration for the creation of Jaipongan dance art. During the process of creating the Jaipongan dance, Gugum Gumbira acts as a creator communicating with other artists, both dancers, and pengendang.

scholarly journals Simulazione incarnata, estetica e architettura: un approccio estetico sperimentale

2021 ◽  
pp. 160-175
Author(s):  
Vittorio Gallese ◽  
Alessandro Gattara
Keyword(s):  
Cognitive Neuroscience ◽  
Aesthetic Experience ◽  
Scientific Investigation ◽  
Empirical Approach ◽  
Experimental Aesthetics ◽  
Works Of Art ◽  
Perceptual Objects ◽  
The Aesthetic ◽  
Art And Architecture ◽  
The Brain

This chapter, written by a cognitive neuroscientist and an architect, endeavors to suggest why and how cognitive neuroscience should investigate our relationship with aesthetics and architecture—framing this empirical approach as experimental aesthetics. The term experimental aesthetics specifically refers to the scientific investigation of the brain-body physiological correlates of the aesthetic experience of particular human symbolic expressions, such as works of art and architecture. The notion “aesthetics” is used here mainly in its bodily connotation, as it refers to the sensorimotor and affective aspects of our experience of these particular perceptual objects.

Social Learning

2013 ◽  
Author(s):  
William Hoppitt ◽  
Kevin N. Laland
Keyword(s):  
Spatial Distribution ◽  
Social Learning ◽  
Learning Strategies ◽  
Cognitive Neuroscience ◽  
Cultural Evolution ◽  
Experimental Psychology ◽  
Academic Disciplines ◽  
Mathematical Methods ◽  
Indispensable Tool ◽  
Social Learning Strategies

Many animals, including humans, acquire valuable skills and knowledge by copying others. Scientists refer to this as social learning. It is one of the most exciting and rapidly developing areas of behavioral research and sits at the interface of many academic disciplines, including biology, experimental psychology, economics, and cognitive neuroscience. This book provides a comprehensive, practical guide to the research methods of this important emerging field. It defines the mechanisms thought to underlie social learning and demonstrate how to distinguish them experimentally in the laboratory. It presents techniques for detecting and quantifying social learning in nature, including statistical modeling of the spatial distribution of behavior traits. It also describes the latest theory and empirical findings on social learning strategies, and introduces readers to mathematical methods and models used in the study of cultural evolution. This book is an indispensable tool for researchers and an essential primer for students.

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

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

2016 ◽  
Vol 10 (1) ◽  
pp. 42-55 ◽  
Author(s):  
Matthew Reason ◽  
Corinne Jola ◽  
Rosie Kay ◽  
Dee Reynolds ◽  
Jukka-Pekka Kauppi ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Dance Performance

scholarly journals Audiovisual Aesthetics of Sound and Movement in Contemporary Dance

2018 ◽  
Vol 38 (2) ◽  
pp. 191-211
Author(s):  
Claire Howlin ◽  
Staci Vicary ◽  
Guido Orgs
Keyword(s):  
Electrodermal Activity ◽  
Incongruent Condition ◽  
Contemporary Dance ◽  
Causal Relationships ◽  
Dance Movement ◽  
Dance Performance ◽  
Psychophysiological Responses ◽  
Aesthetic Appeal

How do movement and sound combine to produce an audiovisual aesthetics of dance? We assessed how audiovisual congruency influences continuous aesthetic and psychophysiological responses to contemporary dance. Two groups of spectators watched a recorded dance performance that included the performer’s steps, breathing, and vocalizations but no music. Dance and sound were paired either as recorded or with the original soundtrack in reverse so that the performers’ sounds were no longer coupled to their movements. A third group watched the dance video in silence. Audiovisual incongruency was rated as more enjoyable than congruent or silent conditions. In line with mainstream conceptions of dance as movement-to-music, arbitrary relationships between sound and movement were preferred to causal relationships in which performers produce their own soundtrack. Performed synchrony Granger caused changes in electrodermal activity only in the incongruent condition consistent with “aesthetic capture.” Sound structures the perception of dance movement, increasing its aesthetic appeal.

scholarly journals Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽  
2017 ◽  
Vol 10 (2) ◽  
pp. 517-532
Author(s):  
Agus Yulianti
Keyword(s):  
Surrounding Area ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Art Form ◽  
The People ◽  
City District ◽  
Evil Spirits ◽  
Musical Accompaniment ◽  
Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan.  Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

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