Acceso usuarios
[1]
;
Isabel Cecilia Martínez
[1]
Argentina
Los estudios en cognición musical corporeizada conciben el baile social como el resultado de los movimientos inducidos por la música, mientras que desde el enfoque de la cognición social puede considerárselo como una coreografía estructurada resultante de las interacciones corporales entre las personas en la pista de baile. En este trabajo se realizó un microanálisis de los movimientos de baile de brazos y piernas, entre el público que concurre a una fiesta de música electrónica tech house en La Plata, Argentina, a partir de su registro audiovisual, con el objetivo de identificar y describir los patrones de movimiento comunes entre las personas y su relación con la temporalidad musical. Se pudo observar que este baile posee una estructura de movimientos definida por cuatro breves patrones, estrictamente alineados con la estructura métrica de la música y caracterizados por su desarrollo espacial, que se repiten múltiples veces antes de modificarse. Mientras la sincronía temporal de los movimientos con la métrica musical evidencia el efecto de la música sobre el baile, la poca variabilidad espacial de los patrones de movimiento puede interpretarse como una coreografía tácitamente compartida por el público. Así, el baile en fiestas de música electrónica se encuentra determinado, tanto musical como socioculturalmente.
From the framework of enactive cognition, musical sense emerges -at least in part- from the movements that people make during musical perception or performance. In cases of social musical practices, movements are coupled both to sonic changes (synchronies with musical metrical structure and form, for example) and to other’s people movements. Motor patterns emerge from these person-music and person-person interactions and express the sense-making of the environment. Since the case of the dance is rarely studied by the psychology of music, it was necessary to introduce the anthropology perspective, which considers that dances -at least the folkloric ones- have a structure made by spatiotemporal regularities of the movements.
In this article, it is proposed that dance at electronic parties is organized in motor patterns defined by the interaction of each person with the music and the other people. An empirical study was based on the audiovisual record of a tech house party (La Plata city, Argentina), and a microanalysis arms and legs movements of 20 persons at the dance floor, with the aim to identify and describe the motor patterns shared by people and their links with music.
Based on this analysis, a dance structure formed by the constant repetition of a motor patterns’ set, spatiotemporal defined was identify. The predominant motor patterns of the legs are two: one formed by two steps (44 % of the total time) and the other by four (50.8%). In both cases, people synchronize their steps with the musical beat, which produce a pattern of two beats length and other of four. The predominant motor patterns of the arms are also two, each formed by a direct movement and another in the opposite direction: one pattern’s spatial trajectory is horizontal (48.8 %) and the other, sagittal (47.4 %). People synchronize their arms’ movements with the metrical structure of music; the pattern’s length varies between one (39.7 %), two (46.7 %) and four beats (9 %). People repeat each arm and leg’s pattern multiple times before switching to the next. The moment at which each person switches their movements from a pattern to another is not temporarily aligned either with other people change of movements or with significant musical changes.
Although motor coordination with metrical structure is a characteristic feature of a huge number of musical genres, the omnipresent synchrony with metrical levels of one, two and four beats of this type of dance is probably promoted by the specific features of electronic music for dance, which is analyzed in the article. The temporality of these dance movements can be described as an emergency from the interaction with the music and therefore reciprocally determined by both the music and the person. Instead, spatial features of motion patterns do not seem to have any relation with music. These features can be described as an emergency from the coordination of spatial trajectories between people at the dance floors of several parties, and therefore determined by the social interactions and the culturally right ways of moving in this context. Thereby, the dance structure at electronic parties emerges from the union of the musical and the other’s dance sense making.
