Improvisation ≠ non-improvisation

As part of a research project into partner dance as an interactional achievement, I presented a short paper at the 2015 Joint Improvisation Meeting in Paris. The presentation draws on research published in a paper I wrote on the rhythmical coordination of performers and audience members in a dance improvisation. Thanks to CNRS Paris and the organisers for making this video of the talk available available.

References

If you just saw a presentation of this paper, here are the references for the talk – there are more in the paper linked above.

• Atkinson, J. Maxwell. 1984. “Public Speaking and Audience Responses: some Techniques for Inviting Applause.” In Structures of Social Action: Studies in Conversation Analysis, edited by J. Maxwell Atkinson and John Heritage, 370–410. Cambridge University Press.
• Boden, MA. 2003. The Creative Mind: Myths and Mechanisms. London: Routledge.
• Broth, Mathias. 2011. “The Theatre Performance as Interaction Between Actors and Their Audience.” Nottingham French Studies 50 (2): 113–133.
• Broth, Mathias, and Leelo Keevallik. 2014. “Getting Ready to Move as a Couple: Accomplishing Mobile Formations in a Dance Class.” Space and Culture 17 (2) (\#jan\#): 107–121. doi:10.1177/1206331213508483.
• Chauvigné, Léa A. S., Kevin M Gitau, and Steven Brown. 2014. “The Neural Basis of Audiomotor Entrainment: an ALE Meta-Analysis.” Frontiers in Human Neuroscience 8. doi:10.3389/fnhum.2014.00776.
• Clayman, Steven E. 1993. “Booing: The Anatomy of a Disaffiliative Response.” American Sociological Review: 110–130.
• DeMers, Joseph Daniel. 2013. “Frame Matching and ΔP T ED: a Framework for Teaching Swing and Blues Dance Partner Connection.” Research in Dance Education 14 (1) (Apr): 71–80. doi:10.1080/14647893.2012.688943. http://dx.doi.org/10.1080/14647893.2012.688943.
• Gardair, Colombine. 2013. “Assembling Audiences.” PhD thesis, Queen Mary University of London.
• Goodwin, Charles. 2007. “Interactive Footing.” In Reporting Talk, edited by E Holt and Rebecca Clift, 16–46. Cambridge: Cambridge University Press.
• Jackson, Jonathan David. 2001. “Improvisation in African-American Vernacular Dancing.” Dance Research Journal 33 (2) (Winter): 40–53. doi:10.2307/1477803.
• Keevallik, Leelo. 2010. “Bodily Quoting in Dance Correction.” Research on Language & Social Interaction 43 (4) (\#nov\#): 401–426. doi:10.1080/08351813.2010.518065.
• Puri, Rajika, and Diana Hart-Johnson. 1995. “Thinking with Movement: Improvising Versus Composing.” In Human Action Signs in Cultural Context: The Visible and the Invisible in Movement and Dance, edited by Brenda Margaret Farnell and Drid Williams, 158–185. Metuchen, N.J.: Scarecrow Press.
• Ravignani, Andrea, Daniel L Bowling, and W Tecumseh Fitch. 2014. “Chorusing, Synchrony, and the Evolutionary Functions of Rhythm.” Frontiers in Psychology 5. doi:10.3389/fpsyg.2014.01118.
• Sacks, Harvey, and Emanuel A Schegloff. 2002. “Home Position.” Gesture 2: 133–146. doi:10.1075/gest.2.2.02sac.
• Schober, Michael F., and Neta Spiro. 2014. “Jazz Improvisers’ Shared Understanding: a Case Study.” Frontiers in Psychology 5 (August) (\#aug\#): 1–21. doi:10.3389/fpsyg.2014.00808.
• Sloboda, John A. 1986. “The Musical Mind” (Apr). doi:10.1093/acprof:oso/9780198521280.001.0001. http://dx.doi.org/10.1093/acprof:oso/9780198521280.001.0001.