Location via proxy:   [ UP ]  
[Report a bug]   [Manage cookies]                
skip to main content
research-article

"Contradiction pushes me to improvise": Performer Expressivity and Engagement in Distanced Movement Performance Paradigms

Published: 04 October 2023 Publication History
  • Get Citation Alerts
  • Abstract

    The virtualization of traditionally in-person experiences has altered the workflows of performing arts communities, resulting in modifications to performance venues and alterations to expressiveness and interaction. 25 professional movement-based performers who have participated in both live and online performances were interviewed in order to determine how virtualization processes affected their practices and how they adapted to these changes. We discovered that performers viewed online performances as time-limited, non-interactive film recordings. Instead of avoiding distant venues, performers adapted to new limitations, inventing improvisation strategies in distracting environments and using time and technological constraints as creative constraints. To investigate how a distanced paradigm affects the live-action workflow of dancers, we staged a performance in which a dancer interacted with a robot in a remote location. The case study demonstrated that the performer modified her rehearsal techniques to work with remote technology and adapted to live interaction with a remote audience by visualizing unseen interactions. This study provides guidance for the design of interactive technology for virtual performances, taking into account the adaptation strategies that performers are currently employing to circumvent limitations of time, location, and absence.

    References

    [1]
    Sarah Alaoui, Kristin Carlson, Shannon Cuykendall, Karen Bradley, Karen Studd, and Thecla Schiphorst. 2015. How do Experts Observe Movement? https://doi.org/10.1145/2790994.2791000
    [2]
    Sarah Fdili Alaoui and Jean-Marc Matos. 2021. RCO : Investigating Social and Technological Constraints through Interactive Dance. In Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems. ACM, Yokohama Japan, 1--13. https://doi.org/10.1145/3411764.3445513
    [3]
    Sarah Bartley. 2021. How we open the doors to a community: creative collaborations and aesthetic strategies in social isolation. Routledge, London, 79--86. https://centaur.reading.ac.uk/101505/
    [4]
    AntÃ3nio BaÃa Reis and Mark Ashmore. 2022. From video streaming to virtual reality worlds: an academic, reflective, and creative study on live theatre and performance in the metaverse. International Journal of Performance Arts and Digital Media 18, 1 (Jan. 2022), 7--28. https://doi.org/10.1080/14794713.2021.2024398 Publisher: Routledge _eprint: https://doi.org/10.1080/14794713.2021.2024398.
    [5]
    Andy Bennett and Richard A. Peterson (Eds.). 2004. Music scenes: local, translocal and virtual (1st ed ed.). Vanderbilt University Press, Nashville.
    [6]
    Laura Bissell and Lucy Weir (Eds.). 2021. Performance in a Pandemic. Routledge, London. https://doi.org/10.4324/9781003165644
    [7]
    Bettina Bläsing and Esther Zimmermann. 2021. Dance Is More Than Meets the Eyeâ?"How Can Dance Performance Be Made Accessible for a Non-sighted Audience? Frontiers in Psychology 12 (April 2021), 643848. https://doi.org/10.3389/fpsyg.2021.643848
    [8]
    Aili Bresnahan. 2014. Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency. Dance Research Journal 46, 1 (April 2014), 85--94. https://doi.org/10.1017/S0149767714000035 Publisher: Cambridge University Press.
    [9]
    Carrie J Cai, Michelle Carney, Nida Zada, and Michael Terry. 2021. Breakdowns and Breakthroughs: Observing Musicians' Responses to the COVID-19 Pandemic. In Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems (CHI '21). Association for Computing Machinery, New York, NY, USA, 1--13. https://doi.org/10.1145/3411764.3445192
    [10]
    Erin A. Carroll, Danielle Lottridge, Celine Latulipe, Vikash Singh, and Melissa Word. 2012. Bodies in critique: a technological intervention in the dance production process. In Proceedings of the ACM 2012 conference on Computer Supported Cooperative Work (CSCW '12). Association for Computing Machinery, New York, NY, USA, 705--714. https://doi.org/10.1145/2145204.2145311
    [11]
    Teresa Cerratto-Pargman, Chiara Rossitto, and Louise Barkhuus. 2014. Understanding audience participation in an interactive theater performance. In Proceedings of the 8th Nordic Conference on Human-Computer Interaction: Fun, Fast, Foundational (NordiCHI '14). Association for Computing Machinery, New York, NY, USA, 608--617. https://doi.org/10.1145/2639189.2641213
    [12]
    Fred Davis. 2013. Fashion, culture, and identity. University of Chicago Press.
    [13]
    Lisa Dawley and Chris Dede. 2014. Situated learning in virtual worlds and immersive simulations. In Handbook of research on educational communications and technology. Springer, 723--734.
    [14]
    Steven Dow, Manish Mehta, Ellie Harmon, Blair MacIntyre, and Michael Mateas. 2007. Presence and engagement in an interactive drama. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. Association for Computing Machinery, New York, NY, USA, 1475--1484. https://doi.org/10.1145/1240624.1240847
    [15]
    Cornelia Dümcke. 2021. Five months under COVID-19 in the cultural sector: a German perspective. Cultural Trends 30, 1 (2021), 19--27. https://doi.org/10.1080/09548963.2020.1854036 Publisher: Routledge _eprint: https://doi.org/10.1080/09548963.2020.1854036.
    [16]
    Sarah Fdili Alaoui, Jules Françoise, Thecla Schiphorst, Karen Studd, and Frederic Bevilacqua. 2017. Seeing, Sensing and Recognizing Laban Movement Qualities. In Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems (CHI '17). Association for Computing Machinery, New York, NY, USA, 4009--4020. https://doi.org/10.1145/3025453.3025530
    [17]
    Richard Frenneaux and Andy Bennett. 2021. A New Paradigm of Engagement for the Socially Distanced Artist. Rock Music Studies 8, 1 (2021), 65--75. https://doi.org/10.1080/19401159.2020.1852770 Publisher: Routledge _eprint: https://doi.org/10.1080/19401159.2020.1852770.
    [18]
    Natalie Friedman, Kari Love, RAY LC, Jenny E Sabin, Guy Hoffman, and Wendy Ju. 2021. What robots need from clothing. In Designing Interactive Systems Conference 2021. 1345--1355.
    [19]
    Kexue Fu, Yixin Chen, Jiaxun Cao, Xin Tong, and RAY LC. 2023. "I Am a Mirror Dweller": Probing the Unique Strategies Users Take to Communicate in the Context of Mirrors in Social Virtual Reality. In Proceedings of the 2023 CHI Conference on Human Factors in Computing Systems (CHI '23). Association for Computing Machinery, New York, NY, USA, 1--19. https://doi.org/10.1145/3544548.3581464
    [20]
    J. Goetz, S. Kiesler, and A. Powers. 2003. Matching robot appearance and behavior to tasks to improve human-robot cooperation. In The 12th IEEE International Workshop on Robot and Human Interactive Communication, 2003. Proceedings. ROMAN 2003. 55--60. https://doi.org/10.1109/ROMAN.2003.1251796
    [21]
    Jiajing Guo and Susan R. Fussell. 2022. "It's Great to Exercise Together on Zoom!": Understanding the Practices and Challenges of Live Stream Group Fitness Classes. Proceedings of the ACM on Human-Computer Interaction 6, CSCW1 (April 2022), 71:1--71:28. https://doi.org/10.1145/3512918
    [22]
    Robert Hatten. 2009. Opening the museum window: improvisation and its inscribed values in canonic works by Chopin and Schumann. Musical Improvisation: Art, Education, and Society (2009), 281--295.
    [23]
    Louise C Hawkley and John T Cacioppo. 2003. Loneliness and pathways to disease. Brain, Behavior, and Immunity 17, 1, Supplement (Feb. 2003), 98--105. https://doi.org/10.1016/S0889--1591(02)00073--9
    [24]
    Stacy Hsueh, Sarah Fdili Alaoui, and Wendy E. Mackay. 2019. Understanding Kinaesthetic Creativity in Dance. In Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems. Association for Computing Machinery, New York, 1--12. https://doi.org/10.1145/3290605.3300741
    [25]
    Jodi James, Todd Ingalls, Gang Qian, Loren Olsen, Daniel Whiteley, Siew Wong, and Thanassis Rikakis. 2006. Movement-based interactive dance performance. In Proceedings of the 14th ACM international conference on Multimedia (MM '06). Association for Computing Machinery, New York, NY, USA, 470--480. https://doi.org/10.1145/1180639.1180733
    [26]
    Laewoo Kang and Steven Jackson. 2021. Tech-Art-Theory: Improvisational Methods for HCI Learning and Teaching. Proceedings of the ACM on Human-Computer Interaction 5, CSCW1 (April 2021), 82:1--82:25. https://doi.org/10.1145/3449156
    [27]
    Olena Khlystova, Yelena Kalyuzhnova, and Maksim Belitski. 2022. The impact of the COVID-19 pandemic on the creative industries: A literature review and future research agenda. Journal of Business Research 139 (2022), 1192--1210. https://doi.org/10.1016/j.jbusres.2021.09.062
    [28]
    The Lancet. 2022. Mental health after China's prolonged lockdowns. Lancet (London, England) 399, 10342 (June 2022), 2167. https://doi.org/10.1016/S0140--6736(22)01051-0
    [29]
    Celine Latulipe, David Wilson, Sybil Huskey, Berto Gonzalez, and Melissa Word. 2011. Temporal integration of interactive technology in dance: creative process impacts. In Proceedings of the 8th ACM conference on Creativity and cognition (C&C '11). Association for Computing Machinery, New York, NY, USA, 107--116. https://doi.org/10.1145/2069618.2069639
    [30]
    RAY LC. 2021. NOW YOU SEE ME, NOW YOU DON'T: revealing personality and narratives from playful interactions with machines being watched. In Proceedings of the Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction (TEI '21). Association for Computing Machinery, New York, NY, USA, 1--7. https://doi.org/10.1145/3430524.3442448
    [31]
    RAY LC, Aaliyah Alcibar, Alejandro Baez, and Stefanie Torossian. 2020. Machine Gaze: Self-Identification Through Play With a computer Vision-Based Projection and Robotics System. Frontiers in Robotics and AI 7 (2020). https://doi.org/10.3389/frobt.2020.580835 Publisher: Frontiers.
    [32]
    RAY LC, Maurice Benayoun, Permagnus Lindborg, Hongshen Xu, Hin Chung Chan, Ka Man Yip, and Tianyi Zhang. 2022. Power Chess: Robot-to-Robot Nonverbal Emotional Expression Applied to Competitive Play. In 10th International Conference on Digital and Interactive Arts (ARTECH 2021). Association for Computing Machinery, New York, NY, USA, 1--11. https://doi.org/10.1145/3483529.3483844
    [33]
    RAY LC and Mizuho Kappa. 2022. Presentation of Self in Machine Life : A human-machine performance. In 2022 IEEE VIS Arts Program (VISAP). 12--13. https://doi.org/10.1109/VISAP57411.2022.00009 ISSN: 2767--7028.
    [34]
    Jie Li, Xinning Gui, Yubo Kou, and Yukun Li. 2019. Live streaming as co-performance: Dynamics between center and periphery in theatrical engagement. Proceedings of the ACM on human-computer interaction 3, CSCW (2019), 1--22.
    [35]
    Yanheng Li, Lin Luoying, Xinyan Li, Yaxuan Mao, and Ray LC. 2023. "Nice to meet you!": Expressing Emotions with Movement Gestures and Textual Content in Automatic Handwriting Robots. In Companion of the 2023 ACM/IEEE International Conference on Human-Robot Interaction (HRI '23). Association for Computing Machinery, New York, NY, USA, 71--75. https://doi.org/10.1145/3568294.3580045
    [36]
    Shaohui Liu. 2020. The Chinese dance: a mirror of cultural representations. Research in Dance Education 21, 2 (2020), 153--168.
    [37]
    Vida L Midgelow. 2015. Improvisation practices and dramaturgical consciousness: a workshop. Dance Dramaturgy: Modes of Agency, Awareness and Engagement (2015), 106--123.
    [38]
    Yoshiyuki Miwa and Chikara Ishibiki. 2004. Shadow communication: system for embodied interaction with remote partners. In Proceedings of the 2004 ACM conference on Computer supported cooperative work (CSCW '04). Association for Computing Machinery, New York, NY, USA, 467--476. https://doi.org/10.1145/1031607.1031685
    [39]
    Eric B. Nash, Gregory W. Edwards, Jennifer A. Thompson, and Woodrow Barfield. 2000. A Review of Presence and Performance in Virtual Environments. International Journal of Human-Computer Interaction 12, 1 (May 2000), 1--41. https://doi.org/10.1207/S15327590IJHC1201_1 Publisher: Taylor & Francis _eprint: https://doi.org/10.1207/S15327590IJHC1201_1.
    [40]
    Jason Ng and Steven Gamble. 2022. Hip-hop producer-hosts, beat battles, and online music production communities on Twitch. First Monday (June 2022). https://doi.org/10.5210/fm.v27i6.12338
    [41]
    So Yeon Park, Emily Redmond, Jonathan Berger, and Blair Kaneshiro. 2022. Hitting Pause: How User Perceptions of Collaborative Playlists Evolved in the United States During the COVID-19 Pandemic. In Proceedings of the 2022 CHI Conference on Human Factors in Computing Systems (CHI '22). Association for Computing Machinery, New York, NY, USA, 1--16. https://doi.org/10.1145/3491102.3517604
    [42]
    Roosa Piitulainen, Perttu Hämäläinen, and Elisa D Mekler. 2022. Vibing Together: Dance Experiences in Social Virtual Reality. In Proceedings of the 2022 CHI Conference on Human Factors in Computing Systems (CHI '22). Association for Computing Machinery, New York, NY, USA, 1--18. https://doi.org/10.1145/3491102.3501828
    [43]
    Sophia Ppali, Vali Lalioti, Boyd Branch, Chee Siang Ang, Andrew J. Thomas, Bea S. Wohl, and Alexandra Covaci. 2022. Keep the VRhythm going: A musician-centred study investigating how Virtual Reality can support creative musical practice. In Proceedings of the 2022 CHI Conference on Human Factors in Computing Systems (CHI '22). Association for Computing Machinery, New York, NY, USA, 1--19. https://doi.org/10.1145/3491102.3501922
    [44]
    Katerina El Raheb, George Tsampounaris, Akrivi Katifori, and Yannis Ioannidis. 2018. Choreomorphy: a whole-body interaction experience for dance improvisation and visual experimentation. In Proceedings of the 2018 International Conference on Advanced Visual Interfaces (AVI '18). Association for Computing Machinery, New York, NY, USA, 1--9. https://doi.org/10.1145/3206505.3206507
    [45]
    Susanne Ravn. 2020. Investigating Dance Improvisation: From Spontaneity to Agency. Dance Research Journal 52, 2 (Aug. 2020), 75--87. https://doi.org/10.1017/S0149767720000182 Publisher: Cambridge University Press.
    [46]
    James Rendell. 2021. Staying in, rocking out: Online live music portal shows during the coronavirus pandemic. Convergence 27, 4 (Aug. 2021), 1092--1111. https://doi.org/10.1177/1354856520976451 Publisher: SAGE Publications Ltd.
    [47]
    Jean-Philippe Rivière, Sarah Fdili Alaoui, Baptiste Caramiaux, and Wendy E. Mackay. 2019. Capturing Movement Decomposition to Support Learning and Teaching in Contemporary Dance. Proceedings of the ACM on Human-Computer Interaction 3, CSCW (Nov. 2019), 86:1--86:22. https://doi.org/10.1145/3359188
    [48]
    Jean-Philippe Rivière, Sarah Fdili Alaoui, Baptiste Caramiaux, and Wendy E. Mackay. 2021. Exploring the Role of Artifacts in Collective Dance Re-staging. Proceedings of the ACM on Human-Computer Interaction 5, CSCW1 (April 2021), 108:1--108:22. https://doi.org/10.1145/3449182
    [49]
    David Z. Saltz. 2001. The Collaborative Subject: Telerobotic Performance and Identity. Performance Research 6, 3 (Jan. 2001), 70--83. https://doi.org/10.1080/13528165.2001.10871812
    [50]
    Tina M. Schwender, Sarah Spengler, Christina Oedl, and Filip Mess. 2018. Effects of Dance Interventions on Aspects of the Participants' Self: A Systematic Review. Frontiers in Psychology 9 (2018), 1130. https://doi.org/10.3389/fpsyg.2018.01130
    [51]
    Afrizal Yudha Setiawan, Indra Bulan, and Dwiyana Habsary. 2020. Social Media as a Platform of Performing Arts Education During Covid-19 Pandemic. (2020), 6.
    [52]
    John Solomon and Ruth Solomon. 2016. East Meets West in Dance: Voices in the Cross-Cultural Dialogue. Routledge. Google-Books-ID: YPZYCwAAQBAJ.
    [53]
    Kent De Spain. 2012. Improvisation and intimate technologies. Choreographic Practices 2, 1 (Feb. 2012), 25--42. https://doi.org/10.1386/chor.2.25_1
    [54]
    Anselm Strauss and Juliet Corbin. 1998. Basics of qualitative research: Techniques and procedures for developing grounded theory, 2nd ed. Sage Publications, Inc, Thousand Oaks, CA, US. Pages: xiii, 312.
    [55]
    Anselm Strauss and Juliet M. Corbin. 1997. Grounded Theory in Practice. SAGE. Google-Books-ID: TtRMolAapBYC.
    [56]
    Alina Striner, Sarah Halpin, Thomas Röggla, and Pablo Cesar. 2021. Towards Immersive and Social Audience Experience in Remote VR Opera. In ACM International Conference on Interactive Media Experiences (IMX '21). Association for Computing Machinery, New York, NY, USA, 311--318. https://doi.org/10.1145/3452918.3465490
    [57]
    Lito Tsitsou. 2021. The impact of COVID-19 on freelance contemporary dance work: Precarity and the vulnerabilities of the dancing body. Routledge, London, 19--30. https://eprints.gla.ac.uk/257560/
    [58]
    Michela Vecchi, Patrick Elf, Akiko Ueno, Athina Dilmperi, Charles Dennis, and Luke Devereux. 2022. Shall We Dance? Recreational Dance, Well-Being and Productivity Performance During COVID-19: A Three-Country Study. Journal of International Marketing 30, 2 (June 2022), 56--72. https://doi.org/10.1177/1069031X221079609 Publisher: SAGE Publications Inc.
    [59]
    Lauren Warnecke. 2020. Art and performance during the time of COVID-19 lockdown. Agenda (Sept. 2020). https://www.tandfonline.com/doi/abs/10.1080/10130950.2020.1783889 Publisher: Routledge.
    [60]
    Andrew M. Webb, Chen Wang, Andruid Kerne, and Pablo Cesar. 2016. Distributed Liveness: Understanding How New Technologies Transform Performance Experiences. In Proceedings of the 19th ACM Conference on Computer-Supported Cooperative Work & Social Computing (CSCW '16). Association for Computing Machinery, New York, NY, USA, 432--437. https://doi.org/10.1145/2818048.2819974
    [61]
    Sarah Webber, Mitchell Harrop, John Downs, Travis Cox, Niels Wouters, and Andrew Vande Moere. 2015. Everybody Dance Now: Tensions between Participation and Performance in Interactive Public Installations. In Proceedings of the Annual Meeting of the Australian Special Interest Group for Computer Human Interaction (OzCHI '15). Association for Computing Machinery, New York, NY, USA, 284--288. https://doi.org/10.1145/2838739.2838801
    [62]
    Emily E Wilcox. 2018. Dynamic inheritance: Representative works and the authoring of tradition in Chinese dance. Journal of Folklore Research 55, 1 (2018), 77--111.
    [63]
    Wu Zhen and Lian Luan. 2021. Physical World to Virtual Reality - Motion Capture Technology in Dance Creation. Journal of Physics: Conference Series 1828, 1 (Feb. 2021), 012097. https://doi.org/10.1088/1742--6596/1828/1/012097

    Cited By

    View all
    • (2024)TIME ENOUGH: Generative AI Visions of Climate Change as Cave Paintings of the FutureProceedings of the 16th Conference on Creativity & Cognition10.1145/3635636.3672190(608-613)Online publication date: 23-Jun-2024
    • (2024)When Teams Embrace AI: Human Collaboration Strategies in Generative Prompting in a Creative Design TaskProceedings of the CHI Conference on Human Factors in Computing Systems10.1145/3613904.3642133(1-14)Online publication date: 11-May-2024

    Index Terms

    1. "Contradiction pushes me to improvise": Performer Expressivity and Engagement in Distanced Movement Performance Paradigms

        Recommendations

        Comments

        Information & Contributors

        Information

        Published In

        cover image Proceedings of the ACM on Human-Computer Interaction
        Proceedings of the ACM on Human-Computer Interaction  Volume 7, Issue CSCW2
        CSCW
        October 2023
        4055 pages
        EISSN:2573-0142
        DOI:10.1145/3626953
        Issue’s Table of Contents
        Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than the author(s) must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected].

        Publisher

        Association for Computing Machinery

        New York, NY, United States

        Publication History

        Published: 04 October 2023
        Published in PACMHCI Volume 7, Issue CSCW2

        Permissions

        Request permissions for this article.

        Check for updates

        Author Tags

        1. dance improvisation
        2. performance technology
        3. remote robotics

        Qualifiers

        • Research-article

        Contributors

        Other Metrics

        Bibliometrics & Citations

        Bibliometrics

        Article Metrics

        • Downloads (Last 12 months)223
        • Downloads (Last 6 weeks)20
        Reflects downloads up to 10 Aug 2024

        Other Metrics

        Citations

        Cited By

        View all
        • (2024)TIME ENOUGH: Generative AI Visions of Climate Change as Cave Paintings of the FutureProceedings of the 16th Conference on Creativity & Cognition10.1145/3635636.3672190(608-613)Online publication date: 23-Jun-2024
        • (2024)When Teams Embrace AI: Human Collaboration Strategies in Generative Prompting in a Creative Design TaskProceedings of the CHI Conference on Human Factors in Computing Systems10.1145/3613904.3642133(1-14)Online publication date: 11-May-2024

        View Options

        Get Access

        Login options

        Full Access

        View options

        PDF

        View or Download as a PDF file.

        PDF

        eReader

        View online with eReader.

        eReader

        Media

        Figures

        Other

        Tables

        Share

        Share

        Share this Publication link

        Share on social media