Embodied aesthetics and self-perception

less may be more

Corinne Jola, Vilja Niitamo

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Abstract

People dance all over the world – notably for different reasons and in different forms. Yet, amongst these idiosyncratic movements, different ‘dance styles’ have evolved, each following specific aesthetic principles aligned with the function and meaning of the dances. For instance, a ballerina aims at a gravity-defying image of lightness to convey dignity and control whereas a contemporary dancer appears powerful and grounded, passionately expressing closeness to nature and physical limitations. The specific aesthetics of a dance style, such as its movement quality, the related body image, its body culture and the role of these factors in dance appreciation and creation have been relatively ignored by empirical aesthetics. Since the prototypical actions of a dance style are closely linked to the aesthetics of a dance, we argue that a better understanding of how embodying different dance styles affect dancers’ physicality and self-other perception is an important influence on dance appreciation. We collected responses from 198 dancers and non-dancers to a set of online questionnaires. The data for established theatre dances (ballet and contemporary dance) and more recent predominantly street-culture based dance styles (Street dance/Hip Hop and Dancehall) showed that the level of embodiment is a significant factor; while the dance style is not. Self-identified semi-professional dancers scored lower on body shame and appearance anxiety than did professionals, dance students, or non-dancers. Notably, many studies on dance expertise are conducted with semi-professional dancers. The particular (positive) body image we found for this expert group may thus have coincidentally benefited many empirical investigations.
Original languageEnglish
Title of host publicationProceedings IAE 2016
Subtitle of host publicationXXIV. Conference of the International Association of Empirical Aesthetics
EditorsHelmut Leder, Michael Forster, Gernot Gerger, Marcos Nadal, Matthew Pelowsk, Raphael Rosenberg
PublisherInternational Association of Empirical Aesthetics
Pages38
Number of pages1
Publication statusPublished - 1 Sep 2016
EventXXIV Conference of the International Association of Empirical Aesthetics - University of Vienna, Vienna, Austria
Duration: 29 Aug 20161 Sep 2016
https://www.science-of-aesthetics.org/congresses.html

Conference

ConferenceXXIV Conference of the International Association of Empirical Aesthetics
Abbreviated titleIAEA 2016
CountryAustria
CityVienna
Period29/08/161/09/16
Internet address

Fingerprint

dance
self-image
aesthetics
body image
hip hop
shame
theater

Cite this

Jola, C., & Niitamo, V. (2016). Embodied aesthetics and self-perception: less may be more. In H. Leder, M. Forster, G. Gerger, M. Nadal, M. Pelowsk, & R. Rosenberg (Eds.), Proceedings IAE 2016: XXIV. Conference of the International Association of Empirical Aesthetics (pp. 38). International Association of Empirical Aesthetics.
Jola, Corinne ; Niitamo, Vilja. / Embodied aesthetics and self-perception : less may be more. Proceedings IAE 2016: XXIV. Conference of the International Association of Empirical Aesthetics. editor / Helmut Leder ; Michael Forster ; Gernot Gerger ; Marcos Nadal ; Matthew Pelowsk ; Raphael Rosenberg. International Association of Empirical Aesthetics, 2016. pp. 38
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title = "Embodied aesthetics and self-perception: less may be more",
abstract = "People dance all over the world – notably for different reasons and in different forms. Yet, amongst these idiosyncratic movements, different ‘dance styles’ have evolved, each following specific aesthetic principles aligned with the function and meaning of the dances. For instance, a ballerina aims at a gravity-defying image of lightness to convey dignity and control whereas a contemporary dancer appears powerful and grounded, passionately expressing closeness to nature and physical limitations. The specific aesthetics of a dance style, such as its movement quality, the related body image, its body culture and the role of these factors in dance appreciation and creation have been relatively ignored by empirical aesthetics. Since the prototypical actions of a dance style are closely linked to the aesthetics of a dance, we argue that a better understanding of how embodying different dance styles affect dancers’ physicality and self-other perception is an important influence on dance appreciation. We collected responses from 198 dancers and non-dancers to a set of online questionnaires. The data for established theatre dances (ballet and contemporary dance) and more recent predominantly street-culture based dance styles (Street dance/Hip Hop and Dancehall) showed that the level of embodiment is a significant factor; while the dance style is not. Self-identified semi-professional dancers scored lower on body shame and appearance anxiety than did professionals, dance students, or non-dancers. Notably, many studies on dance expertise are conducted with semi-professional dancers. The particular (positive) body image we found for this expert group may thus have coincidentally benefited many empirical investigations.",
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Jola, C & Niitamo, V 2016, Embodied aesthetics and self-perception: less may be more. in H Leder, M Forster, G Gerger, M Nadal, M Pelowsk & R Rosenberg (eds), Proceedings IAE 2016: XXIV. Conference of the International Association of Empirical Aesthetics. International Association of Empirical Aesthetics, pp. 38, XXIV Conference of the International Association of Empirical Aesthetics, Vienna, Austria, 29/08/16.

Embodied aesthetics and self-perception : less may be more. / Jola, Corinne; Niitamo, Vilja.

Proceedings IAE 2016: XXIV. Conference of the International Association of Empirical Aesthetics. ed. / Helmut Leder; Michael Forster; Gernot Gerger; Marcos Nadal; Matthew Pelowsk; Raphael Rosenberg. International Association of Empirical Aesthetics, 2016. p. 38.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

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T1 - Embodied aesthetics and self-perception

T2 - less may be more

AU - Jola, Corinne

AU - Niitamo, Vilja

PY - 2016/9/1

Y1 - 2016/9/1

N2 - People dance all over the world – notably for different reasons and in different forms. Yet, amongst these idiosyncratic movements, different ‘dance styles’ have evolved, each following specific aesthetic principles aligned with the function and meaning of the dances. For instance, a ballerina aims at a gravity-defying image of lightness to convey dignity and control whereas a contemporary dancer appears powerful and grounded, passionately expressing closeness to nature and physical limitations. The specific aesthetics of a dance style, such as its movement quality, the related body image, its body culture and the role of these factors in dance appreciation and creation have been relatively ignored by empirical aesthetics. Since the prototypical actions of a dance style are closely linked to the aesthetics of a dance, we argue that a better understanding of how embodying different dance styles affect dancers’ physicality and self-other perception is an important influence on dance appreciation. We collected responses from 198 dancers and non-dancers to a set of online questionnaires. The data for established theatre dances (ballet and contemporary dance) and more recent predominantly street-culture based dance styles (Street dance/Hip Hop and Dancehall) showed that the level of embodiment is a significant factor; while the dance style is not. Self-identified semi-professional dancers scored lower on body shame and appearance anxiety than did professionals, dance students, or non-dancers. Notably, many studies on dance expertise are conducted with semi-professional dancers. The particular (positive) body image we found for this expert group may thus have coincidentally benefited many empirical investigations.

AB - People dance all over the world – notably for different reasons and in different forms. Yet, amongst these idiosyncratic movements, different ‘dance styles’ have evolved, each following specific aesthetic principles aligned with the function and meaning of the dances. For instance, a ballerina aims at a gravity-defying image of lightness to convey dignity and control whereas a contemporary dancer appears powerful and grounded, passionately expressing closeness to nature and physical limitations. The specific aesthetics of a dance style, such as its movement quality, the related body image, its body culture and the role of these factors in dance appreciation and creation have been relatively ignored by empirical aesthetics. Since the prototypical actions of a dance style are closely linked to the aesthetics of a dance, we argue that a better understanding of how embodying different dance styles affect dancers’ physicality and self-other perception is an important influence on dance appreciation. We collected responses from 198 dancers and non-dancers to a set of online questionnaires. The data for established theatre dances (ballet and contemporary dance) and more recent predominantly street-culture based dance styles (Street dance/Hip Hop and Dancehall) showed that the level of embodiment is a significant factor; while the dance style is not. Self-identified semi-professional dancers scored lower on body shame and appearance anxiety than did professionals, dance students, or non-dancers. Notably, many studies on dance expertise are conducted with semi-professional dancers. The particular (positive) body image we found for this expert group may thus have coincidentally benefited many empirical investigations.

M3 - Conference contribution

SP - 38

BT - Proceedings IAE 2016

A2 - Leder, Helmut

A2 - Forster, Michael

A2 - Gerger, Gernot

A2 - Nadal, Marcos

A2 - Pelowsk, Matthew

A2 - Rosenberg, Raphael

PB - International Association of Empirical Aesthetics

ER -

Jola C, Niitamo V. Embodied aesthetics and self-perception: less may be more. In Leder H, Forster M, Gerger G, Nadal M, Pelowsk M, Rosenberg R, editors, Proceedings IAE 2016: XXIV. Conference of the International Association of Empirical Aesthetics. International Association of Empirical Aesthetics. 2016. p. 38