When two people move in synchrony, they become more social. Yet it is not clear how this effect scales up to larger numbers of people. Does a group need to move in unison to affiliate, in what we term unitary synchrony; or does affiliation arise from distributed coordination, patterns of coupled movements between individual members of a group? We developed choreographic tasks that manipulated movement synchrony without explicitly instructing groups to move in unison. Wrist accelerometers measured group movement dynamics and (...) we applied cross-recurrence analysis to distinguish the temporal features of emergent unitary synchrony and distributed coordination. Participants’ unitary synchrony did not predict pro-social behavior, but their distributed coordination predicted how much they liked each other, how they felt toward their group, and how much they conformed to each other's opinions. The choreography of affiliation arises from distributed coordination of group movement dynamics. (shrink)

Synchrony — intentional, rhythmic motor entrainment in groups — is an important topic in social psychology and the cognitive science of religion. Synchrony has been found to increase trust and prosociality, to index interpersonal attention, and to induce perceptions of similarity and group cohesion. Causal explanations suggest that synchrony induces neurocognitive self-other blurring, leading participants to process one another as identical. In light of such findings, researchers have highlighted synchrony as an important evolved tool for establishing and maintaining collective identity (...) in human groups, particularly within ritual and religious contexts. However, many aspects of group life require coordination rather than mere prosocial cooperation. In coordinative contexts, interpersonal relations and motor sequences are often complementary rather than identical, and leadership hierarchies streamline group decisions. It is thus unclear whether synchrony would benefit or hamper group outcomes in contexts requiring complex interdependent coordination and hierarchy. In a two-condition experimental paradigm, we tested the effects of synchrony on the outcomes of a three-person, complex verbal coordination task. Groups in the synchrony condition performed more poorly on the coordination exercise and reported higher levels of conflict as well as lower levels of group cohesion and similarity. We interpret these results as indicating boundary conditions on the prosocial effects of synchrony: in settings that require complex, interdependent social coordination, the self-other blurring induced by synchrony is situationally inappropriate. These findings dovetail with the anthropological observation that real-world ritual is often focused on establishing and reinforcing social distinctions rather than social unison. (shrink)

Dance provides natural conditions for studying relationships between coordination patterns and human experience. von Zimmermann and colleagues investigate whether relatively simple or more complex forms of movement coordination are related to pro‐social experiences during group dance. They find that pro‐social experience depends on the degree to which movement patterns are distributed and diversified, but not the degree to which movement patterns are simply unitary.

Emotions are a natural vector for acting together with others and are witnessed in human behaviour, perception and body functions. For this reason, studies of human-to-human interaction, such as multi-person motor synchronisation, are a perfect setting to disentangle the linkage of emotion with socio-motor interaction. And yet, the majority of joint action studies aiming at understanding the impact of emotions on multi-person performance resort to enacted emotions, the ones that are emulated based on the previous experience of such emotions, and (...) almost exclusively focus on dyadic interaction. In addition, tasks chosen to study emotion in joint action are frequently characterised by a reduced number of physical dimensions to gain experimental control and subsequent facilitation in data analysis. Therefore, it is not clear how naturalistically induced emotions diffuse in more ecological interactions with other people and how emotions affect the process of interpersonal synchronisation. Here, we show that positive and negative emotions differently alter spontaneous human synchronous behaviour during a multi-person improvisation task. The study involved 39 participants organised in triads who self-reported liking improvisational activities. The task involved producing improvisational movements with the right hand. Participants were emotionally induced by manipulated social feedback involving a personal ranking score. Three-dimensional spatio-temporal data and cardiac activity were extracted and transformed into oscillatory signals to compute behavioural and physiological synchrony. Our results demonstrate that individuals induced with positive emotions, as opposed to negative emotions or a neutral state, maintained behavioural synchrony with other group members for a longer period of time. These findings contribute to the emerging shift of neuroscience of emotion and affective sciences towards the environment of social significance where emotions appear the most—in interaction with others. Our study showcases a method of quantification of synchrony in an improvisational and interactive task based on a well-established Kuramoto model. (shrink)

Sacred Harp singers the world over gather weekly to sing out ofThe Sacred Harp, a collection of shape-note songs first published in 1844. Their tradition is highly ritualized, and it plays an important role in the lives of many participants. Following the implementation of lockdown protocols to combat the COVID-19 pandemic, groups of Sacred Harp singers quickly and independently devised a variety of means by which to sing together online using Zoom, Jamulus, and Facebook Live. The rapidity and creativity with (...) which Sacred Harp singers developed ways to sustain their activities attests to the strength and significance of this community of practice, and in this article I describe each modality and provide an account of how it came to be developed and widely used. As a participant-observer, I completed extensive fieldwork across these digital sites and conducted semi-structured interviews with 22 other singers. I found that online singing practices have reshaped the Sacred Harp community. Many singers who did not previously have the opportunity to participate now have access, while others have lost access due to technological barriers or lack of interest in online activities. At the same time, geographical barriers have disintegrated, and singing organizers must make an effort to maintain local identity. A stable community of singers has emerged in the digital realm, but it is by no means identical to the community that predated the pandemic. I also identify the ways in which online singing has proven meaningful to participants by providing continuity in their personal and communal practice. Specifically, online singing allows participants to access and celebrate their collective memories of the Sacred Harp community, carry out significant rituals, and continue to grow as singers. While no single modality replicates the complete Sacred Harp singing experience, together they function “like pieces in a puzzle”, allowing individual participants to access many of the elements of Sacred Harp singing that are most meaningful to them. (shrink)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the (...) individual when the activity of “dancing” is enjoyedas a dancerwithindifferent dance domains(e.g.,professional/”high-art”type of dance,eroticdance,religiousdance,clubdancing,Dance Movement Therapy(DMT), and what is commonly known ashobby, recreationalorsocialdance), and (b) the effects on the individual within these different domains, as a dancer of thedifferent dance styles(solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body. (shrink)