Analysing dance performance: comparing three methods

Wyon Matthew, PhD, MSc, BSc (HONS), University of Wolverhampton, Walsall, United Kingdom: Angioi, Manuela MSc, University of Wolverhampton, Walsall, United Kingdom; and Twitchett, Emily BSc, University of Wolverhampton, Walsall, United Kingdom 

Martin² noted that dance is a continually developing medium where the artist feels something unknown and expresses it irrationally.  Eventually tangibility comes to the expression and science manages to define it, at which point Martin decides that expression is dead and art needs to move on.  Beardsley¹ though, suggests that dance can be defined as a sequence of motions that give pleasure through rhythmic order.  Modern dance uses the form of kinaesthetic sympathy to convey its meaning to the observer.

This study examined three scientific methods that hopes to develop a different non-aesthetic understanding of dance performance.  Ethical approval was given by the university?s research ethics board. A series of dance pieces that are part of a post-graduate performance company?s rep will be analysed using three different methodologies.  The methodologies were assessed as to which one provides the most useful information for the exercise physiologist/ strength and conditioning specialist to help them prepare the dancer for the demands of performance.  The three methodologies were:

Cardiorespiratory demands through telemetric gas analysis, heart rate and blood lactate collection.  Dancers wore a Metamax gas analyser whilst performing, that collected breath-by-breath data and blood lactate was taken from the earlobe at the end of the performance.  Data was later smoothed to provide 15-second averages as well as whole performance means

Movement analysis using Sensewear (Body Media) armbands.  This equipment has two accelerometers and a skin temperature analysers that calculate METS, steps taken and energy expenditure.

Video analysis.  Using a dance specific time-motion analysis the work:rest ratio and a number of discrete skills (such as number of jumps, lifts, changes in direction) were monitored for the performance

Data has been collected and partially analysed (Feb 2007)

References

1. Beardsley, M. C. (1958). Aesthetics : problems in the philosophy of criticism. New York, Harcourt Brace.

2. Martin, J. (1972). The Modern Dance. New York, AS Barnes& Co.