“Quantifying JI” Short talk 1.1: Saul Albert - Extemporary movement: an interactional account of partner dance improvisation
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Descriptif
Clear empirical distinctions can be drawn between joint improvisation and choreography in dance byexploring the rhythmical coordination of dancers and audience members in a partner dance performance.Novice dancers typically learn footwork patterns or ’basics’ that help them move in time to music together.Experts’ familiarity with basics, as well as conventional variations and setpiece moves form a set ofcompositional structures that can be linked together to fit complimentary rhythmical patterns in music on thefly. In a ’social dance’ performance such as the Lindy hop, (an African American vernacular jazz dance fromwhich the data for this study is drawn), dancers link together basics with setpiece moves along withmoments of joint improvisation. These improvised movements are literally extemporaneous they move outof the temporal regularities of mutually learned patterns and rely onother kinds of interactional resources and methods to achieve coordination. This paper analyses rhythmicalcoordination between dancers and audience members clapping along to a Lindy hop performance in anaturalistic setting using data drawn from a Youtubevideo. This empirical starting point enables a tractable analysis of the haptic, visual, and semantic structuresand processes used for coordinating extemporaneous dance movements. Audience members’ rhythmicalresponses to these processes also provides insight into longstanding problems of measurement and meaning in empirical aesthetics. Music and dance psychology tend to emphasise psychophysical measuresand posthoc report as proxies for aesthetic response. This paper proposes new ways to use the observablepatterns of rhythmicalcoordination to explore joint improvisation as part of an interactional sensemaking practice
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