Authors: Alexander Refsum Jensenius; Kari Anne Vadstensvik Bjerkestrand; Victoria Johnson
Addresses: Department of Musicology, University of Oslo, PB 1017 Blindern, 0315 Oslo, Norway ' BodyMindFlow, Liaveien 10, 1450 Nesoddtangen, Norway ' Norwegian Academy of Music, Arne Nordheim Centre, PB 5190 Majorstuen, 0302 Oslo, Norway
Abstract: In this paper, we present the results of a series of observation studies of the three team members standing still for ten minutes at a time. The aim has been to understand more about people's ability to stand still, and to develop a heightened sensitivity for micromovements and how they might be used in music and dance performances. The quantity of motion, calculated from motion capture data using a head marker, was remarkably similar for each person who stood still. The 'best' results - that is, the least movement - were obtained when the subject set his/her feet at the width of the shoulders, locked the knees, and kept the eyes open. No correlation was found between quantity of motion and type of mental coping strategy, though we remain convinced that mental strategies influence the experience of standing still. These findings will be used to inform the development of a stage performance focused on micromovements.
Keywords: micromovements; standstill; dance performance; music performance; motion capture; standing still; motion quantity; mental coping strategy; mental strategies; stillness.
International Journal of Arts and Technology, 2014 Vol.7 No.2/3, pp.207 - 222
Available online: 08 May 2014Full-text access for editors Access for subscribers Purchase this article Comment on this article