fascinating! I would like to see him doing a choreography to the sound of the MRI machine from the brain exam. When i last had an MRI it was really full of extraordinary sounds, a sort of strange electronic music-- to move to it, would add another artistic layer to this study, more on the artistry side than science, but still, fascinating!
I like the distinction you made. :) It's also probably like those people who can draw beautiful renditions of what they see, but cannot draw anything out from their imaginations. Slightly unrelated: there are probably many good writers or poets who can't read a story - make it sound interesting instead of a boring recital - to save their lives. ;)
Part 2 Professional dancers quite often 'can't dance' is the sense of being able to improvise to dance - that is create their own movement patterns and sequences, It's the difference bettween reading poetry and writing it.
Or to put it another way, professionally trained dancers have a 'visual' image of how there movement is connected to the choreography - they are trying to copy a 'visual' representation of dance. Improvisational dancer's have a 'musical' image of what their movements should be. There movements are related to musical patterns - not visual ones.
There is a problem here. . . . . .and its well known. 99% of professional dancers are selected because of the ease with which they can copy and repeat choreography. What you are studying is the ability to copy and repeat movement - not movement itself. An interesting aspect of this is that ideational dyspraxic's (contray to expectations) often make fine improvisational dancers (I am one), but they are generally weeded out of dance because of their inability to follow choreography.
I agree. I have tried to gear my research towards the 'everyday human' and not only professional dancers. We all can benefit from the impact of dance in so many ways. My focus is on how it helps to build confidence and improve self-esteem.
3 years for a reply :-) That's a long time. I was interested in the personal experience, and personal observation that sequential dyspraxic's are often talented improvisational dancers but can't follow choreography at at. It's a fundamental contradiction that nobody seems to have picked up on and which could generate some very interesting research.
Or, dyspraxic are often exceptional, talented improvisational dancers, much better than professional dancers who folllow choreography. Dance teachers tell them they can't dance because they can't follow choreography.
@@HunterstonB Agreed. I stumbled upon this video this year only. I guess it all comes down to how we then define dance and in which spaces people are allowed to freestyle and which requires strict choreography.
@@simonethedancer There a very sharp difference between the way improvisational dancers approach dance to the way formally trained dancers learn dance. I'm a very strong improvisational dancer but find following choreography difficult, it not impossible (It would be VERY interesting to see how an MRP scan picked this up) Dance teachers have frequently told me 'you can't dance', but when I am not following choreography people are like 'how do you do that' Astonishing dyspraxics are often very good dancers, which should be impossible,
Which is where the research is fundamentally flawed. It's measuring the ability to copy movement - not the ability to link movement to music. The ability to copy a picture is not the same making your own interpretation or creating one from the imagination.
Why do I think the research is fundamentally flawed? Try this experiment. Seperate the music from the dancing and then ask experimental subjects (who are unfamilar with the dancing and music) to match them. I would expect about 9 out of 10 to fail while the remaining 10% get almost perfect scores. I base this on experience teaching dance. Only about 1 in 4 people can naturally move to a beat and even less, about 1 in 10 follow the phrasing and structure in music. If most people can't actually match the music to the dancing - what exactly are you measuring? Even more intriguing, what is it about the distinctly different cognitive experience of 10% of the people can match the movement to the music? I am very happy to discuss this subject at lenght. . . . . . I have a lot of insights. You might also look up the work of Steve Baarns, who I agree with on most things aka 'The unlikely Salsero'
You'll also have to find a 10% person or choreographer who can identify when the dancing matches the music. . . . . . for your test pieces. Most 'dancing' bears little relationship to musical structure.
Or, if you are interested in improvised dance, or what can be improvised, type 'Melissa Rutz' or 'Ben Morris' into RUclips (a Jack and Jill is improvised dance with unknown music and an unknown partner)
I've tried it - and accidentally ended up teaching Argentine Tango technique to a group of ballet students who didn't understand the underlying concepts of shared balance that are involved.
fascinating! I would like to see him doing a choreography to the sound of the MRI machine from the brain exam. When i last had an MRI it was really full of extraordinary sounds, a sort of strange electronic music-- to move to it, would add another artistic layer to this study, more on the artistry side than science, but still, fascinating!
I like the distinction you made. :)
It's also probably like those people who can draw beautiful renditions of what they see, but cannot draw anything out from their imaginations.
Slightly unrelated: there are probably many good writers or poets who can't read a story - make it sound interesting instead of a boring recital - to save their lives. ;)
Part 2
Professional dancers quite often 'can't dance' is the sense of being able to improvise to dance - that is create their own movement patterns and sequences, It's the difference bettween reading poetry and writing it.
Or to put it another way, professionally trained dancers have a 'visual' image of how there movement is connected to the choreography - they are trying to copy a 'visual' representation of dance. Improvisational dancer's have a 'musical' image of what their movements should be. There movements are related to musical patterns - not visual ones.
There is a problem here. . . . . .and its well known. 99% of professional dancers are selected because of the ease with which they can copy and repeat choreography. What you are studying is the ability to copy and repeat movement - not movement itself.
An interesting aspect of this is that ideational dyspraxic's (contray to expectations) often make fine improvisational dancers (I am one), but they are generally weeded out of dance because of their inability to follow choreography.
I agree. I have tried to gear my research towards the 'everyday human' and not only professional dancers. We all can benefit from the impact of dance in so many ways. My focus is on how it helps to build confidence and improve self-esteem.
3 years for a reply :-) That's a long time. I was interested in the personal experience, and personal observation that sequential dyspraxic's are often talented improvisational dancers but can't follow choreography at at.
It's a fundamental contradiction that nobody seems to have picked up on and which could generate some very interesting research.
Or, dyspraxic are often exceptional, talented improvisational dancers, much better than professional dancers who folllow choreography. Dance teachers tell them they can't dance because they can't follow choreography.
@@HunterstonB Agreed. I stumbled upon this video this year only. I guess it all comes down to how we then define dance and in which spaces people are allowed to freestyle and which requires strict choreography.
@@simonethedancer There a very sharp difference between the way improvisational dancers approach dance to the way formally trained dancers learn dance. I'm a very strong improvisational dancer but find following choreography difficult, it not impossible (It would be VERY interesting to see how an MRP scan picked this up)
Dance teachers have frequently told me 'you can't dance', but when I am not following choreography people are like 'how do you do that'
Astonishing dyspraxics are often very good dancers, which should be impossible,
I'd like to know the result!!!!
Hye frnds
Which is where the research is fundamentally flawed. It's measuring the ability to copy movement - not the ability to link movement to music.
The ability to copy a picture is not the same making your own interpretation or creating one from the imagination.
Why do I think the research is fundamentally flawed? Try this experiment. Seperate the music from the dancing and then ask experimental subjects (who are unfamilar with the dancing and music) to match them. I would expect about 9 out of 10 to fail while the remaining 10% get almost perfect scores.
I base this on experience teaching dance. Only about 1 in 4 people can naturally move to a beat and even less, about 1 in 10 follow the phrasing and structure in music.
If most people can't actually match the music to the dancing - what exactly are you measuring?
Even more intriguing, what is it about the distinctly different cognitive experience of 10% of the people can match the movement to the music?
I am very happy to discuss this subject at lenght. . . . . . I have a lot of insights. You might also look up the work of Steve Baarns, who I agree with on most things aka 'The unlikely Salsero'
You'll also have to find a 10% person or choreographer who can identify when the dancing matches the music. . . . . . for your test pieces. Most 'dancing' bears little relationship to musical structure.
Don Baarns - not Steve Baarns
Or, if you are interested in improvised dance, or what can be improvised, type 'Melissa Rutz' or 'Ben Morris' into RUclips (a Jack and Jill is improvised dance with unknown music and an unknown partner)
audio miffled, cannot understand yiu
Love this research
Hyeee frnds..
terrific!!!
i would suggest,say try pas deux de.....the psychology of 2 person.
I've tried it - and accidentally ended up teaching Argentine Tango technique to a group of ballet students who didn't understand the underlying concepts of shared balance that are involved.