In the performing arts, such as music and dance performances, people actively interact with each other and show their exciting performances. Some studies have proposed that this interaction is a social origin of the performing arts. Some have further investigated this phenomenon based on the synchronization and coordination theory. Though the majority of these studies have focused on the collaborative context, several genres of the performing arts, such as jazz sessions and breakdance battles, have a competitive context. Several studies have (...) suggested that, in this competitive context, performers actively interact with each other and construct some correspondence. Moreover, a few recent studies focusing on competitive conversations, such as debates, have shown that, compared to people's interactions in collaborative conversations, people in competitive contexts frequently coordinate their behaviors in complicated ways. However, the interaction and coordination among performers in these competitive contexts have not been sufficiently investigated. Therefore, we investigated the coordination of expert breakdancers in battle scenes and measured their rhythmic movements using a motion capture system. We calculated the relative phase of the rhythmic movements between two dancers to investigate their coordination. The results showed that the dancers' rhythmic movements tended to synchronize in an anti-phase fashion, which means that there were similarities as well as differences between the two dancers' rhythmic movements. Furthermore, this pattern of coordination changed dynamically as time elapsed, from an in-phase synchronization or leader-follower relationships to an anti-phase synchronization and then leader-follower relationships. (shrink)

The current paper addresses two methodological problems pertinent to the analysis of observer studies in nonverbal rapport and beyond. These problems concern: the production of standardized stimulus materials that allow for unbiased observer ratings and the objective measurement of nonverbal behaviors to identify the dyadic patterns underlying the observer impressions. We suggest motion capture and character animation as possible solutions to these problems and exemplarily apply the novel methodology to the study of gender and cultural differences in nonverbal rapport. We (...) compared a Western, individualistic culture with an egalitarian gender-role conception and a collectivistic culture with a more traditional gender role conceptions. Motion capture data were collected for five male and five female dyadic interactions in each culture. Character animations based on the motion capture data served as stimuli in the observation study. Female and male observers from both cultures rated the perceived rapport continuously while watching the 1 min sequences and guessed gender and cultural background of the dyads after each clip. Results show that masking of gender and culture in the stimuli was successful, as hit rates for both aspects remained at chance level. Further the results revealed high levels of agreement in the rapport ratings across gender and culture, pointing to universal judgment policies. A 2 × 2 × 2 × 2 ANOVA for gender and culture of stimuli and observers showed that female dyads were rated significantly higher on rapport across the board and that the contrast between female and male dyads was more pronounced in the Arab sample as compared to the German sample. nonverbal parameters extracted from the motion capture protocols were submitted to a series of algorithms to identify dyadic activity levels and coordination patterns relevant to the perception of rapport. The results are critically discussed with regard to the role of nonverbal coordination as a constituent of rapport. (shrink)