that's right, that's from the news desk for now. stay with the start. we have a documentary coming up looking at why animals love to dance. that's one. i have to say more on the www dot com at any time you want to instagram an x as well. the handle you need is at the w means plus the why do, how many does not get drunk? why do go to the tasteful waves, squeeze all bodies. how much do we need to put a pond print to help find beyond says get smaller on dw science outtake talk channel is not exclusively human but the way we

which relies it does it has to be in c can have a very healing quality. when people move together to music, they feel connected. dance helps us on the movement is the medium of evolution. it is a way of getting in touch with something because that's myself. a human self is constantly creating and becoming patterns of movement. dancing. humans become human, the,

the the is kind of incredible that you just growing human in your body and it's with you while you during everything you during the house and listen to music with headphones. but now i don't do that because i feel like, oh, i may as well share this with a southern little creature that scurrying inside of me. i don't know if it like, so i'm just saying, sir, but it's, it's kind of nice to know that there's like a, another set of you paying attention. i mean, it makes sense that dance would begin in the mother's hot b would be the 1st opportunity for a human brain to experience for the like a stage for the movement to be like the once an incident emergency. they are already engaged in this

new city that they're using, move with patterns as a way to explore their world and grow them. and as they make those move the daughters that they've been making in the room, different things happen. human insights are born with lead dependent in order to survive, thanks to succeed in getting caregivers to take care of them. an instance do so by exercising a sweet skills that find expression in their instance image movement patterns, like when they learn to smile, they synchronize their movements with their caregivers. they play with movement pat, today of names, and they practice the movement bits. sure them whatever nourishment and protection and they have this capacity to as they play and mimic, to become those patterns. it, them the,

the learning to dance is a right of passage. nearly all of us do it at some stage in our lives and dance as part of every human culture. this suggests a strong evolutionary reason or impulse. but are we the only ones who do it? good. the flamingos teach their young patterns of movement. they learn to join the pink parade before they're ready to make and it turns out this display is key to their survival. the this nature reserve on the

mediterranean is home to one of the most important flamingo breeding grounds in the world. that all know that the defendant, that yeah, every year, tens of thousands of flamingos gather to choose amazing partner doing what is known as enough jewel display. what is a very orienting i as in this port, cheap cost, i mean goes into the names and the females do that. and the names are the same out when tools each other to get a partner, which is the equivalent we've done so they are through obviously evasion. scientists have noticed that seemingly random movements are actually sharply defined there on the front of fosters. and during the course of these play at the 2nd, which is just moving the head like this. marching, we're incentive 2 inverters. when started for speeding

printings scratching their heads with their leg is also wing leg stretched in front of these points here. and there are more than $100.00 single transitions between the posters. by showing that they are able to do with a very complex dance. they show that they are foot for each individual on the wheel . next seats for the reading. the flamingos with the most moves are most likely to attract and makes the courtship display is a dance competition that drives via pollution is the speech the for our species. competitive dance has many motivation. the

new champions of dancing with the stars are bobby sometimes we can beat for money and thing the sometimes for fun or bragging rights. the tense is a complex expression of social behavior. and beyond that is these dancers will show us. it's a way to connect with the natural world. these professional dancers have agreed to an unusual challenge. to create choreography, that embodies the movement of 3 animal species. i guess it is ready for

the the oh, that's the way one to level more stuff for me like this. i never was of it just chilling the one of the whole. i thought it is true with one leg. some of those news look like human. just and it's a for that, it doesn't even have a spine or a frame that looks anything like an hour. the veronica energy kind of relates to more like 80 to the random house reaction.

the. we're hoping that as they interpret patterns of movement, they'll discover something about dan's nature and themselves for us to go back and select thing nation trying to replicate, but you're tapping back into how to proceed. movements. even though the get bodies a little together, the hands would be different. yeah. so like, even though it's unison is still signifies, if there's a difference between us, are you able to add your own to glance down over a little bit of thinking i vision comes with chemistry to see flamingos moving units, and that's our key, or the many animal species synchronize, sometimes it's

a way to overwhelm or evade predators. in the human dance forms, we often match each other's move. what does this mean in terms of our evolution, the at oxford university, the social and devolution ary psychologist hopes to find out. i'm really interested in understanding more about what happens when we dance together in an evolutionary and kind of big picture sense. or the ingredient that we identified to focus a little bit more closely on was that of synchrony. and not really gave rise to the design of the silent discovery experiment. taking spot be towards very, very basic down seems to out, to dispense in order to try and capture what then might happen when you bring them together. and they end up synchronizing through right to last and again,

10 to as much like make some groups are going to be told not to synchronize by virtue of the fact that they are tuned into different sign. it does go tunnel. didn't hear anything yet. some of the groups are going to be synchronizing because they will change and to exactly the same. so non synchronized groups are still don't 6 together facing each other. they're standing the same distance apart. but different music, different instructions doing different movements and their play not having the same kind of a good time of the groups that we don't single and things and you were having and not joining in some kind of collect isn't the joy as a witness. when everyone was synchronized, but more importantly, when we actually asked them questions afterwards, how much do trust the other participants that you've just done with? how much do like them help them and then press now td's bill,

how much do you feel like you are part of the great. there is a significant difference between those groups and the groups that have had a fully synchronized together done spirit. when people, i don't think it's very difficult not to find yourself twining, i'm just feeling a little bit of a moment of connection which is otherwise strange. and they tend to like they tend to feel close to, to each other, even if they're complete strangers, they might rate this person as being with some of the inputs. now seeing for a district realizing that we're actually moving as was wrong and wonder is it the subjective feelings of the connections? are linked to our brain chemistry on a chemical level, part of that explanation of the group funding. the format that we think of pumping through vein when we are engaging in al synchronize,

don't think it's very difficult to measure and defend directly. so we have to try and do it in an in direct way, for example, to pain threshold. now demonstration will be using an ice bucket test in order to see how long people can hold their hands, you know, as an indication of how much pain they can tolerate. how baseline measure is before they've done together. and we can see what's the change in pain tolerance for each participants and as a group that has done together 1st, as the group has not done fully. we're not going to repeat the i took a test as soon as these thoughts feel, any discomfort or pain. take that hand out, you know, study. we found that people that hadn't synchronized actually didn't experience on average and much of a change at all. and pain threshold for some people is in fact dropped.

great thanks the opposite side of the scope, that synchronized set of doctors. having done the synchrony, be able to hold their hands in the ice bucket full longer than they were before the done thing. endorphins, our natural opioids, these feel good. chemicals get ramped up when we move together when we synchronize together, especially. and that gives us a sense of collective joy that we then share. and so the social bonding siri of done is a convincing explanation in the big picture evolutionary sense for understanding why we might jobs. why on systems might have pressed tacit? don't saying,

well, i'm sure patient and experiment can shed light on wine. we dance. this philosopher believes that to truly understand you have to they're always impulsive, to move that are rising with everything that is happening at every moment at all times at all levels of our bodily cells room. and there's the movement of our cell burning energy trading a 1000000000 little fires. and every moment there's the movement of our digestive system. there's the movement of our breathing. there's the movement of our for, there's the movement of our neurons which are wiring and firing. every human is this constant process of creating and becoming pattern laying down trajectories of intention, sensory awareness of narrow, muscular coordination. defense become who

the what is the cultivated awareness of the che ripka, which yes. and remember this puts you towards this yes. and that lot stretch a visual sense might be very important in dancing, but the real holy grail is the can aesthetic. self awareness sensing myself internally all the time stretching. and then at some point, this expert in bio mechanics works in collaboration with a neuro sciences from m, i t's immersion lab. okay. one more time like 100 and explanation is the intersection of the mechanics and dancing. so today with these high level dancers we are trying to see if we can use biofeedback tools to help them

gain synchronicity or reading the city. then or dancer who has perhaps lost some offend, due to an injury and things from the steam between dancers but actually, okay, really like go somewhere. yeah, i can't even touch it. so hopefully i can feel a very big pain. so i can't stretch myself. i can do wrong, so it's uncomfortable. okay. so be placed in for deflector markers on the notices. and then we have all of these cameras around here which allow us to st dimensionally track these reflective thoughts. data from all of our gets automatically, computers by the software to reconstruct through the physicians in space and activity cream so that they can monitor and the last 50 of them. so

the perspective we're giving you is as if there is a screen attached to this to my curse, right? so somebody is, you're looking at yourself from the back via this augmented reality headsets. we can basically allow the dancer to see his or her environment at the same time as for texting right in front of them like a overhead display. like in the cards. um, what information the spine is basically sending jazz to understand what need to do with yourself to be able to distrust a lot. please take a step forward on your right and then make the top 2 points go away from each other to use the bills of elastic energy to tanya. so nice. how does that

feel free and no problem because she got real time visual consummation for which way do i have to feel inside to see these thoughts moving apart? so she quickly figured out this is the correct type of stretch. then you go to some type of contraction, which gives you the and it's come up. as maria feels better about the movement, there is an organic response enrollment's movement as well, which is informed by maria's change. like more of one more power to control in connection with this and that's being out of sync with yourself is really, really not good for us. and so then see can have

a very cetera beauty, a course healing quantity because it gets rid of this and then and so get you in touch with yourself the we synchronize with ourselves with others. and at some point in our lives, we learned to synchronize with music. in research, we're really interested in learning about how we develop a relationship with music advance. all right, hi, terrance, thanks so much for coming in with costs and impacts. and today i'm going to be playing some songs for them, and we're going to play that a few different templates to see if they notice it getting faster and slower. that sound good guys. at the temple lab we studied timing and treatment, music perception, and how that develops from infancy through childhood. and especially, we want to know how their temple of flexibility and be perception abilities are

also changing and growing. the type of flexibility is essentially this idea that you can look back, sir, when would be a faster and slower when the beat is slower? we are not responding to the beach. we're not clamping just after the beat happens because we hear it. we're actually predicting when the next either going to occur the children are going to be hearing a saw. so they probably know the chart. and they're also going to be hearing a song that you know me, i don't really want to move or just see the wonder is super session. we're going to be playing them. these songs had their original tempos, but we're also going to be playing a sped up version and a slow down version. and we want to know how the kids move to these different pieces of music. did it be

sometime between the age of 5 months and 14 months babies start to move because there's music playing bodies. we may see the baby's shifting a little bit in each direction. and then as they're getting older they're shifting closer and closer to those targets. between the ages of $4.00 and $6.00, we see huge improvements in the synchronization at a wider range of template for a 4 year old. she's doing an amazing job. it actually synchronizing to the beach and you can see that she's kind of like planning ahead like she's thinking like i want to do this move next. so by the time we're out, we can clamp along to something that's like 40 beats per minute. really,

really slow, and we can also clap along to something that's like $300.00 bits per minutes really, really fast. the sense disability develops in nearly all humans. where did we get it from? champion b as in human share in the last common ancestor about 67000000 years ago. so that means that chimpanzees are our closest living relative on earth of 98.6 percent of our dna is shared between these 2 species. and if we see chimpanzees in humans fair, i'm kind of common abilities that suggest that the capacities existed in are less common ancestor. but when say this expose captive chips to music was some move britain, basically. their ability to adjust to tempo is nowhere close to what humans can do

. humans are especially good at moving to the beach. the better than others piece is various. you can even try to do it, but you know where the best at moving to the beat. but then this bird came along the as millions of youtube users already know he's a cockatoo named snowball in videos with no trickery or fancy editing involved he dances too familiar, hit the there are others that there is, it has sco they will lay. so i have to kind of mimic not because the thought was really interesting challenge with this is that the animal

actually so not only right, its essence, but i'm also actually trying to replicate some of the rhythms of people to do freestar. and it's always stepping on 3 parts of teach some humans to do that. the what impresses the dancer on this a puzzle for evolutionary biologists. 2 1 day i was at my desk and a video was sent to me of a bird apparent that seemed to be moving to the beat of music. it was this parent sitting on the back of a chair in somebody's living room with a song by the backstreet boys and i had just never seen anything like this before.

i mean, i was just my, it was mind boggling. the why doesn't a chimpanzee, which is so close to it, so i move to the beat spontaneously where a parent with a little walnut sized brain. does the normal about that? that's weird. that's really weird. parents are more closely related to dinosaurs than they are to human beings. this neuro scientist believes that it might have something to do with vocal learning. very like if somebody asked me what is both learning at a cocktail party, i'm going to tell them it's the ability to imitate new sounds that they could not do before the most local learning species imitate sounds of their own speech. some of us like humans and some parents imitate our own species

plus others. yeah, for shake of petersburg, that would surely be upset. ready ready it turns out that learners unrelated speech, humans often see parents and song birds all have some ability is to do or how do we explain the relationship of vocal learning and the ability to. ready study focal learning in the context of elusive because you can compare species and habits versus pieces that down. and from that comparison learn what are the underlying next steps mechanisms might be found in the brain of

a tiny australian song for what you're seeing here. our brain sections of the safest and our brain is design comes differently. but the fundamental principles are the same. so catch way is really a network of connecting sounds. different kinds of networks to do different fancy plate pathway for singing is not only surrounded by the network for dancing, but to, to have some cross talk between each. and this is why in us humans and the news book learning during the auditorium information entering the years, we're hearing sound is somehow connected to this pathway to controlling movements of the body more so in us the so we

see specializations in areas of the brain having to do with movement of the vocal apparatus, both planning and executing and how we process the sounds. and then importantly, the connections between the hearing centers and the movement centers. because the bulk of learning has a lot to do with rapidly adjusting your movements based on what you hear. the bulk of learning has given us the ability to keep it beats. both the learning allows us to dance on the down. be like the set, the other ccs, kansas feel move all around like this to me music but they can ship the business pizza. that sounds so softball can go every body that your day is nice. yeah. dancing this down be right. not every body step. you're good to nice. these kinds of discoveries let us to what we call the continuum. i pods us

a good month. species is not a black and white world is not. you have an ability and you don't have it, is that you have it to various grades in between. i think of this continuum hypothesis not as a straight linear line, more like a step function. right? where you go up a step, you become more advanced in that building. but we, even within that step, there is variety including within one species like humans. yeah. people who are more advanced at dancing and less so of the year all these years. i'm setting these train pathways, spoken language, both learning and humans, birds and so forth. and twice a week i'm going to my dad's classes started performing, and to me, the 2 are disjointed. until that discovery, back in 2009 after this relationship between both learners and dance. and suddenly

my life felt like it became full circle. the eric jarvis shared his findings at the science festival, where snowball was a special guest. they brought us together at the world's science press, 2009. they wanted us to explain to the public. why can this bird here dance? and i was the person out there explaining the brain pathways that allowed snowball to do that. so the guess was, except for one thing to silva was dancing better than the rest and who was that one scientist dancer?

but while not everyone for every species can move to a beat, perhaps dance itself deserves a broader definition. if we use a human definition of dance, i would say true pansies do not dance. but there is this classic chimpanzees behavior called a range. oftentimes, some of the 1st rains as a rainy season, a list, it almost like this slow motion, rives, the mix movement of bodies, most likely in response to a loud sound. so i think that is the kind of closest approximation, some dancing that we see. and tim, i mean, we call the behavior range. so there is something about it that has this kind of

rhythmic quality. the, i think i'm getting a really good sense of dance. and i'm excited to explore that a little i think that it's such a beautiful expression. and it's very primitive trying to capture how that energy looks in my body trying to make sure it translates definitely a little frustrating. there was a little hard for me to connect with the animal authentically, the but i definitely am gradually, small subject, reconnecting. the

part of what we need to do in order to connect with nature is to re conceive our relationships in nature. it's not just about connecting to something that's out there. it's rather about re orienting our understanding of what it needs to be assuming the where we are not mine own body, but we are bodily. so we have fully invited creatures and its movement which is constantly connecting us to the natural world. we're constantly inhaling and and once we take that, then we open our so is to realizing that the natural world is

part of the i have no idea when dance actually began. but i believe that when homeless sapient emerg, they were already dancing and that that dancing provided there was an engine for developing those capacities that we associate with human beings. various of evolutionary author predicated on some notion of a unit of the types of individual a body as a material object that exist in an environment to which it has to adapt. part of what i want to just stick with the conversation and say, what if we think about in terms of movement potentials that are constantly looking

for ways to express themselves. the other species share some aspects of what it takes to down. so there are other species that should not speak. there's some species that can imitate sounds and imitate gestures. there's some species apply. we're the ones spacious, who puts all of these things together to use movement as a way to develop ourselves in relationship to the sources of sustenance for around us. we are the desk. the, i think this is one of the things that can help make us feel connected to not just each other, but the other space is something that is similar to something we do and leads us in to think deeper about what's going on inside their mind is one of the conscious experiences that led to that behavior. what do we share at

a more cognitive and emotional level with that animal? how can that will be nature? our ancestors, the future. dance is also about connecting to the spirit world. we don't necessarily have to define such a human centric perspective of movement. i really think of it as being more spirit centric. lot of things that i do and red sky performance with indigenous dance. we're supposed to dance for people who cannot our dances. here in canada, we're now the legal band could not dance. in 1921, the head of the department of indian affairs actually wrote

a letter describing why indigenous people should not be allowed to dance. because it brings a lot of power to people that brings a lot of strength and resilience to people. and people are remembering who they are and embodying who they are by taking away dance, calling our dance, torrance, part of the demo. that was the way of starting to raise our culture best. not that long ago, the colonial i thought it disappeared, it's gone. but actually it just went underground. and we have our elders to, thanks for keeping that. and it surfaced when it was safer for us to do so. the role of dances to deepen our identity. so we need to keep that moving forward. the each

dance form is a representation of cultural society at this point in time. and if you take away dance from a particular culture and suppress it is like telling a person, you can't speak your native tongue the, now i know we defined data sometimes as being this traditional dance, this contemporary dance. this is modern dance, this is valet. but really all things, dance animals, dance, plants, dance, been a grass play dances, everything, dances. it's a natural law. this is so many different facets that you can explain to this

question of why we gone dancing, provides an incredibly valuable and effective resource for connecting us with ourselves, with other people and with our natural world. as human beings, we want things flattened out so we can understand it. and by doing that, we kind of cut ourselves off from that real sense of movements in motion that is always around us. inside of us, always dance doesn't just stop at the edge of our body. it extends and connects with the natural world that our relationship to the natural world is something that we're always engaged in, that we're always practicing. and through dance, we can open up an awareness of the way in which the state of the earth and our state are entwined. when we care about something, when we connect to something, we're more likely to want to help it to service. human beings are not an endpoint and evolution. we are just one moment in a long history in the future yet,

and phone and advance has an important role to play in helping us think about what are we creating with the movements we make. * we can't control evolution that we can participate in the there are no ordinary the, [000:00:00;00]

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