Shimizu Daichi, Okada Takeshi
Graduate School of Human Development and Environment, Kobe University, Nada-ku, Hyogo, Japan.
Graduate School of Education, The University of Tokyo, Bunkyo-ku, Tokyo, Japan.
Front Psychol. 2025 Jul 8;16:1441378. doi: 10.3389/fpsyg.2025.1441378. eCollection 2025.
Complex interactions are central to the performing arts. While recent studies have explored these dynamics through synchronization and coordination theories, they have mainly focused on collaborative contexts. In contrast, genres like jazz sessions and breaking battles involve active competition, where performers seek to outshine one another. Although prior research has identified patterns like anti-phase synchronization in such settings, coordination across expressive channels and differences from sports interactions remain underexplored. To address this gap, the present study had two objectives: first, to investigate coordination through back-and-forth movements during breaking battles, and second, to compare these patterns with those observed in interpersonal sports. We conducted an experimental study simulating a battle scene with expert break dancers, examining how they coordinated their movements and managed relative distances. The results revealed two key findings: (1) dancers maintained close distances (~1.0 m) while coordinating through anti-phase synchronization (-180° to -160° and 160° to 180° relative phases), with coordination patterns shifting dynamically-from leader-follower relationships to anti-phase and then in-phase synchronization-depending on context and time; and (2) such time- and context-dependent coordination dynamics were unique to the performing arts and not observed in interpersonal sports. This study highlights the distinctive nature of context-sensitive, multi-channel interpersonal coordination in competitive performing arts.
复杂的互动对于表演艺术至关重要。虽然最近的研究通过同步和协调理论探索了这些动态，但它们主要集中在合作情境中。相比之下，像爵士演奏会和霹雳舞比赛这样的流派涉及到积极的竞争，表演者们试图相互超越。尽管先前的研究已经在这种环境中识别出了诸如反相同步等模式，但跨表达渠道的协调以及与体育互动的差异仍未得到充分探索。为了填补这一空白，本研究有两个目标：第一，研究霹雳舞比赛中通过来回动作进行的协调；第二，将这些模式与在人际体育中观察到的模式进行比较。我们进行了一项实验研究，让专业霹雳舞者模拟比赛场景，研究他们如何协调动作以及控制相对距离。结果揭示了两个关键发现：（1）舞者在通过反相同步（相对相位为-180°至-160°和160°至180°）进行协调时保持近距离（约1.0米），协调模式会根据情境和时间动态变化——从领导者-跟随者关系转变为反相，然后是同相同步；（2）这种依赖时间和情境的协调动态是表演艺术所特有的，在人际体育中未观察到。这项研究突出了竞争性表演艺术中情境敏感、多渠道人际协调的独特性质。
