Abstract
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.
Highlights
The central goal of the present study is to investigate the effects of the use of a mirror on interpersonal coordination in dance duets who perform preplanned movement sequences together at the same time, i.e., whether or not mirror-use facilitates interpersonal rhythmic coordination
While this study included a visual and non-visual condition, a key difference here is that Demos et al (2012) observed emergent coordination while the present study examined planned coordination in the form of prescribed dance movement
If we embed these concepts into our current understanding of joint action and joint coordination, one might conclude that the dancers in this study co-represented their own as well as their dance partner’s shared goal (Sebanz et al, 2003, 2005)
Summary
Dancing is a complex task involving a plethora of motoric, cognitive, and affective processes. Dancing together with two or more individuals at the same time exemplifies such complexity; as the information processes that afford solo dance need to be properly coordinated between individuals. Apart from being dependent on techniques and artistry, successful joint dance may depend on anticipatory information processing in sensory, motor, and cognitive modalities. Dancers exhibit a better integration of proprioceptive signals than non-dancers when given an endpoint position-matching task (Jola et al, 2011). When compared with non-dancers, trained dancers are more successful at visual-motor coordination of dance moves (Washburn et al, 2014). Being able to form proper mental representations of dance movements may be an essential prerequisite for learning dance
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