DANCE TILL YOU DROP!

Transcription

DANCE TILL YOU DROP!
Kiki Ottenhoff (4012720)
Course: Exploring Interactions 21 January 2014
Coaches: Sanne Kistemaker and Anna Pohlmeyer
2
ID4250 EXPLORING INTERACTIONS
INTRODUCTION
For the course Exploring Interactions the
assignment is to design something that helps
people to savor their valuable moments.
As stakeholder the Delft Institute of Positive
Design was involved. We, students at the TU
Delft, are used to design products that solve
problems. So to design something that makes
people savor something (which is positive),
instead of searching for problems, is a real
challenge.
So I accepted this challenge and developed
a product within the subject savouring in the
past six months. These months were divided
into three different cycles. IDEATE, ITERATE
and DEMONSTRATE.
for. From the conclusion of the user research
first design ideas were created.
In the second cycle, ITERATE, I explored
different design directions. I did several
research explorations (with buddies and
users). This was done with the use of different
prototypes that were made as simple as
possible to test it quickly with users.
In the third cycle, DEMONSTRATE, I was
still a looking what the final design should
be. With the use of several explorations on a
more detailed level, the final design has got
its final shape. Of this final shape a prototype
is created. This prototype is used for further
explorations and the final user test.
This cycle ends with a summary about the
final design and recommendations when it
will be further developed.
In the first cycle, IDEATE, I developed the
design goal and interaction vision for this
project and I chose a context to design for With all these cycles the whole process is
to determine a direction. Then I did in depth described in this report. Enjoy reading!
user research, to find opportunities to design
KIKI OTTENHOFF 4012720
3
TABLE OF CONTENTS
CYCLE 1: IDEATE
Design Goal8
Initial Research10
User research12
IP workshop n. 115
Initial ideas16
Concept direction18
CYCLE 2 :ITERATE
Adapted Design Goal22
Design directions23
Exploration design Directions
24
IP workshop n. 226
Verifying users28
Core value29
Final Exploration design directions
30
Inspiration33
Final concept34
CYCLE 3: DEMONSTRATE
Reflection cycle 2
39
Exploration Silhouettes and trigger
40
Survey42
IP workshop N. 344
Sublte vs. in your face
45
Prototype46
Study of materials49
In the spotlight50
Optimize form51
User test52
Final design57
Recommendations60
APPENDICES
Initial research64
User research72
IP Workshop 180
Survey SIlhouettes84
IP workshop N. 391
5
CYCLE 1: IDEATE
DESIGN GOAL
The design goal gives the direction in the project. It is a goal that I want
to achieve with this project. In this chapter the design goal for my project
and the motivation for this goal will be described.
For this project I want to focus on a sport that really
motivates me, which is ballroom dancing. For five years
I did this sport myself.
I danced normal ballroom dancing lessons, but also
private dancing lessons and matches. In 2013 my
partner and I won the national championships in our
classification (debutants 3). After this we quit dancing
because of the long travel time from Delft (where I live)
to Soest (where the dancing school is situated).
Still I have passion for this sport. That is why I want to
focus on this sport with this project, but from another
perspective.
What I experienced myself during a dancing lesson
is that when we learned a really nice figure, I always
thought of it and practice it throughout the week at
home. Until we learned new things in the next lesson
where I got new instructions of my dance teacher.
8
That is why my design goal becomes:
“To help young (15-30 years) amateur ballroom
dancers to prolong the feeling of excitement
and fun during a ballroom dancing lesson”
Whether this will be by reminiscing about the dancing
lesson, at the dancing lesson itself or looking forward
to it, is not decided yet.
INTERACTION VISION
The interaction vision tells something about how the interaction should
be experienced by the users of the design. In this chapter the interaction
vision according to my design will be presented and explained further.
The interaction vision is stated as follows:
“I want to evoke a meaningful warm, joyous
and short distraction. It should evoke a smile
on your face like you have when you are
looking at children doing something fun and
cute.”
This refers to the moment when you walk somewhere
along a child who does something naughty and fun
and you are the only one who sees it. The smile that
you get at that moment should also be evoked with
the design.
The most important thing in this interaction vision
is that it should evoke a meaningful distraction. The
product should distract users for a short moment and
the product should let them think about dancing. This
moment of distraction should be warm, joyous and
volatile.
This moment should be the same like when you are
looking at a child who is doing something fun and cute.
9
INITIAL RESEARCH
For this project I need to know more about the specific users. Of course
I already know a lot about the context and my own savouring moments
within ballroom dancing, which is why I need to know how others
experience these savouring moments. In this chapter the initial research
will be described.
First an initial research is done to answer the first
research questions, to verify if other people also have
these savouring moments.
SET UP
In the initial research I wanted answers on my first
research questions. These where:
• Do dancers already reminisce about their previous
ballroom dancing lesson or are they only looking
forward to a performance?
• Do dancers want to share their experiences on the
dance floor? If yes, in what way do they do this
already and with whom?
The questions were translated into questions for the
dancers. First I came up with some questions to
introduce the topic, like at what level they dance and
what it means to them. I also wanted to know what kind
10
of savouring moments they already experience within
dancing. Than I asked them about reminiscing and
sharing, the main goal of this initial research. These
were the questions that my peers answered:
• At what level are you dancing?
• What does dancing mean to you?
• What are your savouring moments within dancing?
• Are you reminiscing about your previous dancing
lesson, free dancing, matches, etcetera during the
week? Why?
• Are you looking forward to dancing lessons, free
dancing, matches, etcetera during the week?
Why?
• Are you sharing your dance experiences with
others? If yes, with whom and in what way?
I send these questions to dancers I already know from
my own dance school. They were really enthusiastic
to fill in my questionnaire. In the end 6 respondents
answered my questions.
RESULTS
The main conclusion is that other dancers definitely
reminisce about dancing. To the question ‘Are you
reminiscing about your previous dancing lesson? they
replied as follows:
So dancing means to put in some effort and while
you are doing that you do not have to think about
something else. It is about being active with your body
and brings relaxation to the dancers.
Dancers are putting effort into dancing because they
like it so much. This initial research also shows that
dancers also experience savouring moments within
dancing. A few examples are:
‘Heerlijk over de vloer heen zweven.’
(‘To float across the dance floor.’)
‘Door de hele week heen gaat dansen met je
mee.’
‘Wanneer er een van mijn “favoriete” nummers
(‘Dancing goes with you troughout the whole wordt gedraaid.’
week.’)
(‘When one of my favorite songs is played.’)
‘Als je alleen al loopt denk je aan het Rijzen en
‘Dat ik weer bij al mijn vrienden en kennisen
Dalen, het dansen van je kanten etc.’
ben.’
(‘If you walk alone you think of the rising and
(‘I am with all my friends again.’)
falling, dancing your sides etc.’)
‘Vaak denk ik dan terug aan figuren die we
hebben geleerd of herhaald. De pasjes, de
houding, de techniek en de muziek.’
(Often I think back to figures that we have
learned or repeated. The passes, the posture,
the techniques and the music.’)
So it is clear that dancers reminisce about their
dancing lessons. But they also look forward to it,
because everyone likes to dance and cannot wait till
they can practice it and learn new figures. Dancing
means different things to dancers:
‘Dansen is voor mij even lekker actief bezig
zijn en even alleen maar aan het dansen
denken.’
(‘Dancing is being busy with a pleasant and
active activity, where I just have to think of
nothing else.’)
So dancers have savouring moments. The research
also shows that dancers like to share what they have
achieved in dancing. They want to share it with friends,
family, colleagues and other interested people.
They are sharing it via conversation, Facebook, text
messages etc.
CONCLUSION
The main conclusion of this research is that dancers
do reminisce about dancing and look forward to it,
which makes that my design goal is stated in the right
way and I can further with my research and design
project. Besides this, dancing has a significant
meaning for dancers and therefore they want to share
their experiences with others.
‘Dansen is voor mij een moment van
ontspanning.’
(‘For me dancing is a moment of relaxation.’)
‘Dansen is inspanning, ontspanning, mijn
uitlaatklep.’
(‘Dancing is physical strain, relaxation, my
outlet.’)
11
USER RESEARCH
In the user research I searched for answers to questions that arised
during the initial research. In this chapter this research will be described.
Besides this, the context and atmosphere of a free dancing night will be
showed.
SET UP
So it is obvious that dancers reminisce about and
look forward to dancing. These answers provide new
questions and need further insights. That is why the
main research is set up. The research questions are:
• What is the trigger for dancers to think about
ballroom dancing?
• About what precisely do they reminisce?
• When do they reminisce about it?
what their favourite dance attribute is and what their
inspiration for dancing is.
I made cards with all these questions and made clear
that there were two different parts (see figure 1).
I spreaded these cards during the free dancing
night where I went for research. In the end 6 dancers
participated this research (see the appendix at the end
of this report for the detailed reactions of the peers).
The set up of this research consists of two
parts. First I asked the dancers to text me
when they were thinking about dancing. They
had to mention what they had triggered, about
what they thought and in which situation they
were at that moment.
Second I asked some questions related to
personal interests according to dancing.
They had to mention what their favourite
dance is, what their favourite dance song is, Figure 1. Card main research
12
RESULTS AND CONCLUSIONS
Part 1 - Text messages
So in the week after the dance night I received some
text messages. These are a few examples of what
they texted me:
‘Ik dacht aan wat ik vanavond in de les wil
gaan doen.’
(‘I tought about what I want to do in class
tonight.’)
‘Mijn wekker die af ging om mij er aan te
herinneren dat ik dansles heb.’
(‘My alarm clock went off to remind me of my
dance lesson.’)
you can see in the answers of respondent 5 and 6 in
the appendix).
In the last quote it becomes clear that people, like in
the initial research, dance anywhere they are. They
practice their dance figures throughout the week. This
could also be an opportunity to design for.
Part 2 - Short inspiration questions
The short questions about interests were answered
very differently.
In figure 3, 4 and 5 you can see the favourite dance
attributes for dancers.
In figure 6, 7 and 8 you can see the inspiration sources
for dancers.
‘Ik was bij een vriendin thuis, ze vroeg me hoe
vrijdansen was geweest.’
(‘I was at a friends house, she asked me how
the free dancing night was.’)
‘Bij ons thuis staat altijd de radio aan. Op dat
moment draaide toevallig het nummer “the
boy does nothing” (oftewel een jive). Ik sprong
enthousiast op om wild mee te dansen en
gekke improvisatie jive figuren te verzinnen.’
(‘At our hous the radio is always on. On that
moment the song “the boy does nothing”,
which is a jive, played accidentally on the
radio. I jumped enthusiastically to dance on
this number and improvised my own dance
figures.’
Figure 4. Favourite dance attribute: dance shoes
Level of reminiscing
The most important conclusion is that dancers
reminisce about their lesson just before their going to
dance or right after their dance lesson (like you can
see in figure 2). So between the two dance lessons
dancers do not reminisce about dancing. This could
be an opportunity to design for
Figure 3. Favourite dance attribute: floating dance skirt
Dance lesson
Dance lesson
Figure 2. Level of reminiscing of ballroom dancers
This does not apply to all respondents. Some think
about it the whole week (As you can see in the answers
of respondent 3 in the appendix), but there are also
some dancers who do not think about it anymore (as
Figure 5. Favourite dance attribute:
dance shoes
13
CONTEXT OBSERVATION
For this main research I also went to the dance school
itself. Beneath you can see an impression of the
evening (you can also look at the video ‘free dancing
night’ that is attached).
Figure 6. Inspiration source: empty dance floors
Figure 9. Free dance night: dancers on the floor
Figure 10. Free dance night: dancers chatting on the side
Figure 7. Inspiration source: dance music
Figure 11. Free dance night: dancers on the floor
Figure 8. Inspiration source: friends
For further results you can see the answers in the
appendix. These outcomes function as sources of
inspiration and additional information for the project.
Figure 12. Free dance night: dancers chatting on the side
14
IP WORKSHOP N. 1
A workshop was organized to try out an initial idea, to get insights about
the interaction with the product. At this stage in the process I did not
have any ideas yet. So I used the workshop in a different way.
Because I did not have any ideas yet, I used my
buddies for a brainstorm session. At this point in the
process I got stuck. I did not know at what kind of
design ideas I should think of in this project. That is
why I wanted some input on this.
I also noticed that I got lost in the tings I already
knew from dancing. Because I do dancing myself my
perspective is too focused. I needed something that
would help me looking at it from a ‘bird view’.
So we did a brainstorm session. I had four initial design
directions. We explored al these directions. We turned
it into ‘how-to’ questions and did a brainstorm session
with post-it’s. For every question, we held a brainstorm
session of 5 minutes. The following questions were
formulated and used in the session:
Q1: “How can you share ideas?”
Q2: “How to inspire people during class.”
Q3: “How to look forward to something.”
Q4: “How to memorize something.”
You can find the outcomes of the workshop in the
appendix. These brainstorm sessions are used (and
can be used when thinking of ideas) as an inspiration
source.
15
3
1
4
5
INITIAL IDEAS
2
In the first instance I started to think of ideas in three different directions.
Namely, memorizing the dance lesson, share the memories with other
dancers and preparing for the next lesson. In this chapter these first
initial ideas will be described.
IDEAS MEMORIZE
1 This idea is a light ball that will light up and play a
random dance song at a random time. This idea
refers to the fact that dancers like the music they
are dancing on.
2
3
This idea is an ornament for shoes. The dancer
can put this anywhere he or she likes at home. By
walking along this ornament he or she will think
back to the dancing lesson. This idea refers to the
favourite dance attributes of dancers.
This idea is like twister. By doing indicated steps,
you act out a dance figure and in this way you can
practice your dance moves. This idea refers to
dancers that act out dance steps anywhere they
are (at work, when walking in the street etc.).
This idea is a frame with a saying on it. When the
16
4
dancer hangs it at a place where he or she often
walks by, it will help him or her to think back to
the dance lesson. This is a short distraction, as
described in the interaction vision.
IDEAS SHARING
5 This idea consists of an interactive photo frame
that is connected to a network. In this way dancers
can share their photos or movies. Who sees your
photos will be selected randomly. Once in a while
the photo frame lights up and shows you a picture
or movie. This refers to the fact that dancers really
like to share their dancing activities.
6
The idea for an application can be applied in
several ways:
First it can be applied as a platform for dancers
wherewith they can send dance songs/movies/
pictures to each other. Or maybe they record
something and share it via the platform.
10
6
8
7
9
7
Second it could be applied in the form of a game.
Several examples are:
It could be an associative dance game. One
person names a word within the subject ballroom
dancing, and others have to react on it.
It could also be a game wherein you have to guess
what dance song or dance is played. Maybe the
dancers themselves could make a voice over of
the song and others guess what he or she meant.
7
This idea consists of an interactive object. This
object is something that everyone often carries
with him or her, like for example a bracelet or a key
ring. This key ring lightens up when a dancer, who
is thinking about ballroom dancing, is pushing the
button on it. Than the other key ring (that is carried
with another dancer) lightens also up, which
should help as a trigger to think about dancing.
It could also be that the objects are both lighting
up at a random time, so dancers get the trigger
about dancing at the same time.
IDEAS PREPARING
A bag in which you can collect all your dance
8
accessories during the week. Every dancer needs
his or her dancing shoes, scraper for the shoes,
cloths, make up etc.
9
10
A clothes hanger wherewith you can choose the
clothes you want to wear, at the free dancing night
or dance lesson, during the week. I came up with
this idea because one of my respondents said
that her favourite dance attribute was her skirt.
A telescope wherein you can see what the
next dance lesson will happen (you know the
kaleidoscope form childhood with the figures and
colour which changed when you turned it?). I
came up with this idea because of the brainstorm
session.
17
CONCEPT DIRECTION
For the further design process a
concept direction will be chosen. This
is the direction that will be developed in
the second cycle of this project.
ST
A
The direction that I chose can be described as acting
out the dance figures to reminisce about the dance
lessons.
The research has shown that dancers often practice
their dance lessons anywhere they are. When I help
them with a design that helps them act out their dance
figures, dancers can more often reminisce about
ballroom dancing.
You can see an example of a design in this direction
in figure 13 and 14. The design is intended to lay it on
the ground and act out the figure that is explained. In
figure 13 the dancer is supposed to make a turn. In
figure 14 the dancer is supposed to make a lock step.
ST
A
ST
A
!
RT
ST
A
!
RT
!
RT
Figure 13. Idea 1
18
!
RT
Figure 14. Idea 2
19
CYCLE 2 :ITERATE
ADAPTED DESIGN GOAL
After the previous cycle my design goal is adjusted. This is explained
beneath.
After the previous cycle it is clear that the design will
be focused on the home setting instead of the dance
school. Therefore my design goal is adjusted and is
stated as follows:
“To help young (15-30 years) amateur ballroom
dancers to prolong the feeling of excitement
and fun that they have during a ballroom
dancing lesson at home.”
22
DESIGN DIRECTIONS
Within the overall concept direction (to help dancers to act out their dance
figures at home), I explored different design directions. The different
design directions I found within the concept direction are described in
this chapter.
DESIGN DIRECTIONS
FEET ON THE FLOOR
This direction is about feet that are placed on the floor
wherewith the dancer can act out a specific dance
figure. This should trigger the dancer to act out the
dance steps literally.
FORCE DANCER TO ACT OUT
This direction is about dancing around an object that is
in the way. When the dancer wants to grab something
or wants to go somewhere, but an obstacle is in the
way, it could trigger him/her to think of a creative
solution (may be a nice dance move) to dance around
the obstacle.
OBJECT THAT TRIGGERS THE DANCERS
It could also be an object that triggers the dancers. An
object that stands in a specific place and is designed
to evoke thoughts of dancing could trigger it. But it
can also be an object that does something (make
sound, light up, shows text etc.) whereby the dancer
gets triggered to practice the dance passes.
PROTOTYPE PREVIOUS CYCLE
The prototype that I came up with at the end of Cycle
1, belongs to the design direction whereby the feet are
placed on the floor. This idea was
to lay down a dance figure on the
ground and act out the figure that
is explained. In the first example
the dancer was supposed to make
a turn and in the second example
the user was supposed to make a
lock step. Because I already had a
prototype in the previous cycle of
this idea, I did a user test (figure
15). In this test (with dancers and
non-dancers) it became clear that
this idea is experienced as fun. But
after using it a few times they think
it will be boring if the dance figure
always stays the same. Therefore
in all the idea explorations this
should be taken into account.
Figure 15. User test
with first prototype.
23
5
3
1
2
4
6
EXPLORATION DESIGN DIRECTIONS
After defining different design directions I explored what kind of ideas
matched in these directions.
EXPLORATION
The different design directions have in common
that it should be a short distraction or trigger to
remember the dancer to practice his or her dance
passes. I also took into account that the design
should have a changing element, as is concluded
from the user test.
1
2
3
24
FEET ON THE FLOOR
After thinking of the first prototype, I looked at
other possibilities in this design direction. First I
thought of a carpet whereupon two or three feet
are placed as the beginning of a dance figure. The
user has to finish the dance figure himself. In this
way the user can decide what kind of dance figure
he wants to dance.
The second idea is a carpet that is full of footsteps.
The footsteps are placed in a way that the user can
dance several figures. So with the same carpet the
user can dance a chachacha, but also a quickstep.
The third idea comes close to the first prototype.
It is a package of separate feet. These feet are
not fixed at the ground, but they can be placed
everywhere and in the form of every dance figure
the user likes.
4
FORCE DANCER TO ACT OUT DANCE FIGURES
The first idea is about using objects that are
present at the users home to act out the dance
figures. To place some feet or hands on the stairs
and the railing it could trigger the dancer to make
a crazy move when he uses the stairs.
5
The second idea is about obstacles that are placed
deliberately in the way. So the user has to use the
obstacles to move to the place where he needs to
be. This can be done in different ways. The user
can be triggered to follow the obstacles, but he
can also be triggered by different lines on the floor
to think of other creative solutions to get at the
place he wants to be.
6
The last idea is about the posture that is visualized
on the users’ mirror. This visualization helps the
dancer to act out his dance posture. By imitating
the posture he can practice it.
7
8
9
10
OBJECT THAT TRIGGERS DANCERS
The object that triggers the dancers could be as
simple as a mug whereupon text is written that
reminds the dancer to act out the dance passes.
CONCLUSION
Three of the ideas that are explained above will be
chosen and tested in the Interaction Prototyping
Workshop.
8
The object could also be something that is already
present at the house of the dancer. Because one of
the dancers said in my research (cycle 1) that they
practiced their dancing while they where waiting
for the water to boil for their cup of tea, the first
idea is to make a water boiler that plays a dance
song when you are waiting for your cup of tea.
FEET ON THE FLOOR
In this direction the idea with the separate feet will
be tested. The other ideas still do not vary that
much according to the idea with the package of
feet. The carpet ideas cannot be changed while
dancers can change the separate feet anytime
they want.
9
The second idea is to use a product what people
often hang on the wall, a block calendar. To make
a block calendar focused on acting out dance
figures the dancers can be triggered. When every
day another text is showed, like ‘make a pirouette’
or ‘practice your chachacha’, and the dancer walks
along the calendar he will be triggered by the text.
When the calendar is created in an interactive way,
the text could change every day and it can play
a dance number at the moment the dancer walks
along and looks at the calendar.
In the workshop I will test how people react if an
obstacle is deliberately placed in the way. To see
how people react on this. This direction is chosen
because it is easy to test if this works well to trigger
to act out dance figures.
7
10
The object that is chosen in this direction is the
interactive calendar. In this idea every aspect of
this direction is incorporated (the trigger of text
and the trigger of playing a song).
25
IP WORKSHOP N. 2
In the Interaction Prototyping workshop I tested the main ideas of the
three different design directions. I hoped to get feedback on these ideas
so I could make a decision about which idea(s) could be worked out.
SETUP
In the workshop I tested three different ideas. These
are explained below.
FEET ON THE FLOOR
First, I tested what my buddies would do if I gave
them a package of feet (see figure 16). They had
to lay them down in a kind of pattern so they would
dance it afterwards. I wanted to know what kind of
things would happen if they
only get a package of feet
wherewith they could
lay down figures
in any form they
like. In this way the
idea has a more
open
structure
instead of dancing
the same figure
Figure 16. Prototype package of feet
every time.
26
Second, I tested how my
buddies would react on a
object that would play a
dance number when they
walked along it and looked at
it. I worked it out as a block
calendar with the text ‘make
a pirouette’ on it (see figure
17). Then when my buddies
walked by music started to
play and they should act out
what was on the calendar.
21
Make
a pirouette
Figure 17. Prototype block
calendar
The last thing I tested was how my buddies would react
if they had to dance around an obstacle. Therefore
I made a straight line on the ground. In the middle
of that line a chair was positioned. Then I asked my
Figure 18. Lex dancing the figures Frank laid
down for him
Figure 19. Frank walking along block calendar
buddies to dance across the line and they had to see
themselves how they would use the obstacle.
RESULTS
The results that came out of the workshop were
interesting. Everyone surprised me by participating
very enthusiastically. How they participated you can
see in the photos (figure 18 till 20).
CONCLUSIONS
FEET ON THE FLOOR
My buddies really liked this idea. Incidentally it
occurred that buddies laid down the feet for each
other. So the second person has to dance the dance
figure that the first person laid down. They liked this
element very much, so they recommended me to
think of who is laying down the feet when the user is
at home.
Still they missed some sort of surprise element. They
think you will get bored after doing this a couple of
times.
Figure 20. Frank dancing around the
obstacle
The idea with the object that randomly plays a dance
song when you are looking at it, was perceived as
really fun. The surprising element is a nice trigger and
my buddies advised my to take a further look in this
design direction.
The idea with the obstacles is perceived as weird. My
buddies did not exactly know what to do with the chair
standing on the straight line. It does not awake or
trigger the practice of dance figures. So the idea with
the obstacles did not work out as well as I expected.
This design direction did not evoke the trigger that
is needed in the design. That is why this idea will be
disposed.
27
VERIFYING USERS
Because it is needed to make a judgment about which of the two
remaining design directions is the best and thus I could not make this
decision on my own I went to my users to clarify what idea they like the
most.
When I ask to dancers which of the two remained
ideas they like, they all first answer they like the block
calendar idea. They think this would really work and
they like to hear music by surprise. They are convinced
that music as a trigger will work best. But when they
keep on thinking, they recognize that it also can be a
problem. When they will hear the music often, the user
can get annoyed from it.
Then they begin to think of the second idea, with the
package of feet. They like the subtle character of this
idea and the fact that you always can change the
composition of the feet. Only they think that they will
not recognize or ignore it after using it longer than a
few weeks.
So both ideas have their pros and cons. It could also
be an opportunity to combine the two ideas into one.
28
CORE VALUE
With all the input that I gathered from my buddies and from dancers, I
can determine what the core value of my product is. I specified it in this
chapter.
The core value of the product should be that it triggers
the dancer to practice the dance figures. When the
product anticipates on the dance lessons the dancer
follows, it becomes more an interactive product. So
the dancer should have the possibility to indicate
which dances he practiced in the dance lesson. Than
the system can remind him about these specific goals
he need to achieve. And the dancer can practice the
dance figures more focused, what makes that the
system responds to the things the dancer wants to get
trained in.
So the core value of the design is:
• The product saves/knows at what day the dancer
trains.
• The dancer can indicate what dance he wants to
practice.
• The product reminds the dancer of practicing
dance figures by eliciting a trigger.
29
2
3
1
FINAL EXPLORATION DESIGN DIRECTIONS
In this chapter I explain my last exploration phase of this cycle. With
the core values of my product in mind and the two remained design
directions, I thought of ideas that would fit these values.
EXPLORATION
Beneath the final exploration phase is described.
1
2
30
DIGITAL SCREEN
The first idea in this exploration is a digital screen
that the user hangs on the wall (number 1 above).
This should be placed at a spot in your home
where you often walk along. In an application the
user can indicate when he had his dance lesson
and which dance he needs to practice. When
the dancer is at home he has to answer these
two questions in the application. Then the screen
detects (via the application and the phone) that
the user is at home and starts playing a dance
song and an animation of dance feet randomly.
PROJECTOR
The fifth idea is a projector (2) that projects a
dance animation on the wall or on the floor. By
playing this animation randomly at a day when the
user is at home he is triggered by it.
3
STATIC BOARD WITH MAGNETIC FEET
The second idea is a static board whereupon
magnetic feet are placed (3). The user can
configure the feet in the dance figure that he
practiced in the dance lesson that week. When he
walks along the board it will be a trigger that he
has to practice that specific dance figure.
4
INTERACTIVE BOARD
The sixth idea is about a board hanging on the
wall and separate magnetic feet that stands for
different dances. On this board there is a hole in
the form of a foot (4.1). The dancer has to place
the magnetic foot that stands for the dance he
wants to practice (4.2) in the hole. Then the board
will start to play a dance animation and a dance
song randomly (4.3).
5
APPLICATION ON MOBILE PHONE
The third idea is about using the object that the
user already carries with him at home. In this case
4
5
6
it is about the mobile phone. An application on the
phone detects (via GPS) when the user is at home.
Then once in a while the screen will light up and
play a dance animation and a dance song (5).
6
weird to have moving feet on the wall. So for the
final concept the animation should be projected
on the floor.
PHYSICAL OBJECT
Instead of only using an application on the mobile phone, a physical object could be added.
This idea is about an object whereat the user
can indicate when he had his dance lesson and
which dance he wants to practice (6). To connect the device with the mobile phone it detects
the settings of the user and starts to play dance
animations randomly.
CONCLUSION
The most important thing of the ideas in this
exploration is the combination of a physical and
digital product that is certainly what I want to
achieve with my product.
The negative aspect of these ideas is that it is
31
32
INSPIRATION
After this last exploration phase I was inspired by the design called
ReMind. An important conclusion can be drawn from this inspiration
source.
The design that is called Remind1 inspired me for this
last exploration phase. This design is a wall mounted
calendar/to-do-list-like object (figure 21). It consists of
a wooden ring that is hanging on the wall. A motor
on the top ensures that the object is turning around.
The user has to write down on a magnetic puck the
personal goal he wants to achieve. Then he has to
put it on the wooden ring at the day the deadline of
this personal goal will be. When time goes by, the
ring turns and when the deadline is there the motor
on the top of the wooden ring will throw the puck on
the ground. The user has to pick it up and decide if he
wants to re-schedule the personal goal or that he is
going to do it at that particular moment.
This idea inspired me because it opens my eyes in
how things can be designed in a physical way and is
still so simple. What I think that is striking in this design
is that something that is very normal in everyday life
(a calendar and to-do’s) is translated into a physical
object to emphasize on a particular aspect (the
personal goals).
What I concluded from this design is that it is very
powerful to use physical objects in a design, because
the user is then actively engaged. Because this is an
important aspect, I think my product must also consist
of a physical object. That is why my final design exists
of a digital part and a physical part.
Figure 21. The design ReMind
33
FINAL CONCEPT
In this chapter the final concept will be presented.
The design exists of a digital and a physical part.
The physical part exists of a physical object that is
placed on the wall (figure 22). Besides that, the user
has separated objects (in this case feet). Each foot
stands for a different dance. The dancer has to put
one of these feet at the wall to indicate which dance
he wants to practice.
Then the digital part of the design is activated. A
projector is playing a dance animation that belongs to
this specific dance on the floor at a random moment
when the dancer walks by (figure 23). In this way the
dancer gets remembered to practice the dance passes.
The system is
connected with the
dance partner of
the user and will
repeat the dance
animation
when
the dance partner
is practicing. Then
the user becomes
aware of the fact
he also has to
practice his dance
figures.
Figure 22. Physical part is Figure 23. Dancer is triggered by animation that is Figure 24. Dancer starts dancing
at the animation
played
hanging on the wall
34
Figure 25. Stop motion quickstep. The first five dance passes of a quickstep (‘voor-zij-sluit-zij’)
INTERACTION
The interaction that takes place is caused by the
trigger the dancer gets of the design (by playing a
dance animation).
The dancer can interact with the design in different
ways. When the dance animation is played he gets
remembered of practicing the dance figures. He
can also decide to dance along with the feet that are
projected on the floor (figure 24). And last but not
least, the user can start with practicing to encourage
his or her dance partner to practice.
is visualized. To get a better idea of this animation I
want to refer to the movie clip ‘animation of feet’ that
is attached.
OBJECT
The intention of the design is that the different parts
are integrated into one product. So the projector will
be putted into the object that is hanging on the wall.
ANIMATION
The animation that is played is derived from the very
first idea with the feet that are placed on the floor. It
shows feet on the floor that move in the composition
of a dance figure (figure 25). It does not only show the
feet of the user but also the feet of the dance partner.
In the figures beneath you can see how the animation
35
CYCLE 3: DEMONSTRATE
38
REFLECTION CYCLE 2
To start with this cycle I look back to the concept of the previous cycle
and the feedback I received on that. From there a starting point for this
cycle will be created.
Looking back at the last concept made clear that it is
‘over designed’. The projection in combination with
an object on the wall enables dancers to repeat their
lesson at home. But my interaction vision was to give
them a trigger to think about it. These are two different
things.
Besides this, the last concept existed of two separate
things: the animation of the feet and the object on
the wall. I think the concept is stronger when it is
one object that triggers dancers to think about their
dancing lesson and if they like to, they can practice
their dance passes themselves.
That is why the design should be simplified. How can it
be as simple as possible, but yet effective?
This question should be explored in this last cycle.
39
EXPLORATION SILHOUETTES AND TRIGGER
In this chapter there will be searched for a solution wherewith the concept
is simplified into one design instead of two separate things. This has to
deal with different aspects.
EXPLORATION SILHOUETTES
When thinking about the adaptation of the design, I
thought of using dance silhouettes. Ballroom dancing
has such a unique look. By expressing stereotypical
figures in the silhouettes, every dance can be
communicated in a clear way. In this way the design
will take the form of an object.
EXPLORATION TRIGGER
Besides that the design should be a good-looking
object, it should also trigger the dancer to think about
their dancing lessons. This trigger can be done in
different ways.
The object can play a dance song at a random time, but
(as said earlier) this can be experienced as annoying
by dancers. When an object stands in the middle
40
of the room and plays a song every now and then,
there is a high chance that there is a moment that the
dancer will not be amused by it. That is why I decided
to do the opposite: the object recognizes what dance
is played in the surrounding sounds (radio, tv, water
boiler, someone who is drumming on the table etc.).
When the object recognizes a specific dance, it will
show the matching silhouette.
Now this aspect is defined, the question of how the
trigger will be communicated arises. This can be done
in different ways. It could be silhouettes on an object
that are lighting up or a lamp that shows the silhouettes
in different colours. It could also be an object that
turns the silhouettes till the matching silhouette stands
in front or on top.
1
2
OBJECT WITH SILHOUETTES
An object with silhouettes could be a design solution.
This object can be formed in different ways.
1
When it is an object it could be a static object with
dance silhouettes. It could be a round or halfround, flat object that is placed on the wall. But it
could also be an object that is round whereby the
dance silhouettes are placed in the outer ring and
with a lamp in the middle. This object could stand
anywhere in the room.
By turning this objects whereby the matching
silhouette stands on top or in front of the object
it could be communicated which dance is played
in the room. It could also be designed that the
specific silhouette is lighting up.
3
2
3
Another solution could be a lamp that shines on
a wall and shows the right silhouette in different
colours. Hereby every dance could have its own
colour.
The silhouettes can also be displayed as shadows.
When a dance number is played the lamp goes on
and will shine the matching shadow on the little
screen in front of the lamp. In this way a shadow
play is created.
In all these examples an object is created that not only
is an object that will remind dancers to their dancing
lesson, but also an object wherewith they can express
to others what their hobby/sport is that they are proud
of. That is why this will be explored further.
41
1
6
2
3
7
4
8
5
9
10
SURVEY
To verify if dancers understand the dance silhouettes correctly, a survey
is held among dancers. The setup, results and conclusions will be
described in this chapter.
SETUP
When using dance silhouettes it must be verified
that everyone interprets the dance silhouette in the
same way. When the silhouettes are recognizable for
dancers they will understand the design in a better
way.
Therefore, a questionnaire was made and spread
among the dancers. It showed ten silhouettes (see
the image above). Each silhouette represented one
dance and the dancers had to fill in the correct dance
with each silhouette. In addition, they were asked to
indicate whether they had difficulty defining certain
silhouettes.
RESULTS
In total eleven dancers responded. In the following
diagram you can see how many experience the
respondents have with dancing:
The dances supposed to be the following:
1
Waltz
6
Cha-cha-cha
2
Tango
7
Jive
3
Quickstep
8
Paso Doblé
4
Viennese Waltz
9
Samba
5
Slow Foxtrot
10 Rumba
42
In the diagrams on this page you can see per
silhouet what the dancers answered.
The Jive and Tango are guessed right by 10 of
11 respondents. The Cha-cha-cha, Waltz and
Viennese Waltz are guessed right by 9 of 11
respondents. The Paso Doble and Slow Foxtrot
are guessed right by 7 of 11 respondents. And the
Rumba and Samba are guessed right by 6 of 11
respondents.
The dancers were also asked if they have a tip on
how the dance silhouettes can be distinguished,
when they are not totally clear to them. The
respondents had several tips. A few are: adjusting
the silhouettes into more specific silhouettes for
the specific dance (especially for the Paso Doblé),
creating silhouettes whereby the posture of the
man and woman are clear and using colours for
different dances. For the extensive answers of the
respondents you can take a look in the appendix.
CONCLUSION
In general it is obvious that for every silhouette
more than 50% of the respondents guessed the
right dance that is belonging with it. The silhouettes
for the Rumba and Samba are the most difficult to
define for the respondents.
The tips of the dancers are helpful. Maybe dance
silhouettes can be made more clear by using
colours (for example light in different colours). It
could also be more clear to engrave lines of both
dancers. By engraving the lines between the two
dancers when they stand close to each other,
so the silhouette is expressing more details and
therefore more clear.
Though these conclusions can be drawn, the
silhouettes will not be adjusted. More than 50% of
the respondents guessed every silhouette well. So
I think it is stronger when the silhouette will not be
adjusted, this will lead to a mysterious or puzzling
element. The dancer has to figure out himself which
silhouette belongs to which dance. In usage it will
become obvious. Then the product will react on the
music that is playing in the room, so the dancer can
connect the silhouette and the dance music from
his own experience.
Besides this, it is inevitable to avoid some
similarities between the different dances. In both
Ballroom and Latin dances there are similarities in
figures between the dances (for example between
a Rumba and a Cha-cha-cha). There will always be
some overlap.
LEGENDA:
43
AT HOME
EVERYWHERE
Speakers
Vase
Phone cover
Limbo dancing
Paving stone
Necklace
Lamp
Interactive picture frame
Clock
Backpack
Pet collar
Headphones
Belt
Fanfare
Trash can
Rhythm of walking
Window projection
On your plate
Game
Wheel of fortune
Mirror
Bracelet
What could
it be?
Key chain
Watch
Cookie jar (eating is cheating
but not if you dance it of))
Coaster
Application
Bottle of water
TV/beamer
On dishwashing brush
NS information signs
Church clock
Not round, but straight
Something on the wall
Ring
IP WORKSHOP N. 3
Underpants
Interactive glasses
Lights in shoes
In the third IP workshop the buddies are used for another brainstorm
session. This time it is a brainstorm session about what the object could
be.
Because I was still not totally sure about what the
object should be I used my buddies for a brainstorm
session. To explore this aspect in depth I asked to
think of objects that are present at home and objects
that you can use everywhere you are. I included this
option because it could be interesting that the object
reacts on every environmental sound, when the dancer
carries the object with him or her. The results of the
brainstorm session are showed in the picture above.
that the trigger should be something more than only
lighting up.
When we talked after the brainstorm session about
the different opportunities, a combination of three
different ideas came up. This combination existed of a
lamp, a trophy and silhouettes. It could be something
like an ornament that stands somewhere in the room
of the dancer. The ornament is displaying different
silhouettes and when a dance number is played the
specific silhouette is lighting up.
The question that aroused was if it is enough when the
specific silhouette only lights up. My buddies thought
44
Figure 26. Talking after the brainstorm session
SUBTLE VS. IN YOUR FACE
The question aroused if it is enough when the silhouettes only light up.
This has something to do with how subtle or how ‘in your face’ the design
should be. There will be searched for a solution in this chapter.
To make a decision about what the final design should
be, I need to know what level of attention the object
should ask of the user. Should it be very subtle? or
should it really draw the attention of the user?
SUBTLE
When the design triggers the dancer in a subtle way
it should only move to the specific silhouette. So if a
circular object is made with all the silhouettes, it could
turn around its central axis until the right silhouette
stands on top.
The effect is that the dancer only sees the trigger
when he is looking at it. It does not disturb the user in
his activities and can easily be ignored.
IN YOUR FACE
The design can also attract the attention of the dancer.
This can be done by using light in different colours and
show the shadow of the silhouettes in the middle (as
in the picture above). When the light is changing, the
atmosphere in the room will change too. In this way
the dancer recognizes the trigger and it will attract the
attention of the dancer.
CONCLUSION
I think the design should help the dancer with
reminiscing about dancing, but the dancer should
still make the choice himself if he wants to react on
the trigger. So the design should offer the possibility
to ignore the trigger. That is why I think the trigger
should be something in between subtleness and ‘in
your face’, but still more subtle than drawing attention.
So the subtle turning of the object will be applied in
the design. But the question remains if using light can
have a positive influence on the design whereby it
does not draw that much attention. To make a final
decision about this it will be tested with the prototype
that will be created.
45
PROTOTYPE
After all these decisions I think it is time to make prototypes of my ideas.
In this way I can see what design decisions I should make.
Because I was still a bit doubting whether the design
should be something on the wall or an ornament I
made a first prototype out of cardboard to see how
it looks (figure 27). The prototype worked out very
well. Incidentally I found out that the shadows of the
silhouettes give a nice effect.
After this I decided that the design should be an
ornament. When the design can stand on its own, it
is easier to give it a place (instead of hanging it on
the wall). On the other hand dancers probably have
trophies that they place somewhere where they can
look at them and can be proud of it. This should also
happen with the ornament that I am designing.
Then I created the final prototype. In figure 28 till 31
you can see how it looks. I send it to the laser cutter.
Because I was in a hurry (because of the queue at
the laser cutting company) I quickly made a plate
46
Figure 27. Prototype of cardboard
Figure 28. Final prototype (assembled)
Figure 29. Close up final prototype (assembled)
that stands behind the silhouettes. I decided to
make an oval shape in the plate so I could still test
afterwards if lighting up the silhouette would work.
But when I assembled the prototype and was looking
to it I thought this is also a nice way to show which
silhouette is selected to the environmental sound. This
accidentally occurred, but because it worked out so
well it will be included in the final design.
Another coincidence is the fact that the shadows are
projected on the plate behind the silhouettes. This
gives an extra charisma to the product.
47
1
2
3
4
5
6
7
8
9
10
11
12
48
STUDY OF MATERIALS
To find out of which materials the product will be made, several
combinations have been tried out. One of those will be chosen for the
final design.
On the left page you can see the different combinations
of materials. First combinations with different materials
have been tried. Like wood with plastic (2, 5 and 6)
or chrome with plastic (3) and so on. Also different
colours have been tried.
The first striking effect of the materials and colours
that are used, is the contrast the materials offer. In
comparison with the product that is totally made out
of the same materials (9) the products with a contrast
of materials are the most outstanding. The silhouettes
are more obvious when the contrast is high. So in the
final product there should be a contrast between the
back plate and the silhouettes.
When looking at the different combinations several
combinations can already be declined. The wooden
products (10 till 12) can be rejected. These are too
pale. Also 7 and 8 can be rejected, these are jocular,
these look like an old cuckoo clock.
Then 6 products remain. Two products with the
combination black colour and a wooden colour and
four products with other material combinations.
What I really like from the prototype is that the laser
cutting burns the edges, which gives an extra effect
to it. That is why I will choose one of the products with
the wood and plastic material (5 or 6).
Figure 32. Prototype silhouettes black and back plate wood colour
Figure 33. Prototype silhouettes wood colour and back plate black
To make this final decision I made two photos of how
this would look from a distance. The most important
thing is that the silhouettes should be obivous.
In figure 32 and 33 you can see how it looks from a
distance. The silhouettes are more obvious when they
have a wooden colour and a black background. So this
combination (6) will be chosen for the final product.
49
IN THE SPOTLIGHT
As said earlier the prototype will be used to test whether a light source
will be used or not. In this chapter it will be explored and a conclusion is
made for the final design.
Different things are tested with the prototype. With all
tests the light source shined trough the hole of the
back plate. Because this is how the selected dance
is communicated. Then the light source can shine in
different ways at the silhouettes.
The lamp can shine like a real spotlight, as you can
see in the left picture above. But the light could also
have a more subtle character. When a spotlight is
placed underneath the hole and shine upwards from
an angle, this gives a subtler look. Like you can see in
the picture above on the right.
If you look at the two different ways of lighting up
the silhouette, the one with the diffuse light behind it
can be recognized from a distance. In this way the
silhouette is also clearer from a distance and the
shadow of it also plays a nice role. The subtler way
of using light is less obvious from a distance. And
because the movement is already subtle, something
50
needs to attract the attention of the user. Otherwise
the user will not be triggered at all. That is why the
spotlight right behind the silhouette will be used in the
final design (picture on the left).
Also different colours of light can be used. When for
each dance a different colour will be used, it can be
clearer which dance it is. But on the other hand it will be
easier to guess which dance it is. That is why coloured
light will not be used. In this way it is more mysterious
to recognize the dance posture and that makes that
the dancer thinks a little longer about dancing.
OPTIMIZE FORM
To optimize the design in a way that it is clearer from a distance, the final
form of the product will be adjusted for the last time. In this chapter will
be explained why.
When looking at the product from a distance (as you
can see in the previous two chapters) the silhouettes
on the side are falling out of sight. This is because of
the background but also because the back plate is
rectangular and is not covering all silhouettes. That
is why the form will be adjusted into the form you can
see in the right figure above. The round form is added
whereby all the silhouettes are clear from a distance.
51
USER TEST
To test if the design goal, interaction vision and experience of my final
design suit with the experience the users really have with the product, a
user test is done. In this chapter the setup, results and conclusions will
be described.
SETUP
With the user test I wanted to know how dancers
would respond to my product. Is it really the short
distraction that I meant to design? (IV) And does it help
the dancers to reminisce longer about dancing? (DG)
To get the answer on these questions I will put my
prototype on the middle of the table and ask the users
to put on some music. I will turn the right silhouette up
that belongs to the music number.
After doing this for a while I ask dancers some
questions. These questions are:
• How would you use it yourself?
• How would you experience the design yourself?
• What aspects do you like about it?
• How would you experience it if people are coming
over?
• Where would you place this design?
• How would you experience the design on the long
term?
52
• Would you like it when the design is mobile and
you could take it with you (everywhere you go)?
Because the reactions on the product are the most
important, I will video tape everything.
I will go to three dancers. Two of them are a dance
couple and are together at the moment I will do my
user test. They dance approximately 7 years. The third
dancer dances 5 years.
RESULTS
It was really exciting to do the user test with these three
dancers. First I went to the dance couple.
When I came in I putted the prototype on the table
and asked them to put on some music. They have a
huge database with all different kinds of music. So they
can type in the song they are searching for and it will
pop up. This was really nice because they first began to
play normal dance music. When I turned the silhouette
to the right dance they started smiling. They really
liked to find out which silhouette belongs to which
dance. This continued till all dance silhouettes came
round. Then they started to play random music (mostly
top 2000 music) and then we started to think which
dances you could dance on for example ‘paradise by
the dashboard light’. The funny thing of this was that
the lady of the dance couple started to dance, to see
if it was true when they thought that it was a jive or
whatsoever.
Then I went to third dancer. Here I did the same thing.
I putted the prototype on the table and asked to play
some songs. Because she had no stereo installation
with a database, I gave her my telephone with a playlist
of dance songs. Then she started to play songs and I
showed the right silhouettes. This dancer kept saying
that she really liked the silhouettes. Striking was to see
that she recognized all dance silhouettes together with
the dance silhouettes. And also this dancer was happy
to hear all dance numbers again and get remembered
to the dance that is belonging with it.
The following quotes were said during the user test:
“Doordat ik de silhouetten pas echt herken
wanneer ik de muziek erbij hoor, triggert
mij dat wel om te kijken en te checken welk
silhouet bij welke dans hoort.”
(Because I recognize the silhouettes only in
combination with the music, it triggers me to
look and check whiche silhouette belongs to
which dance.”)
“Oh dat is de slow fox inderdaad, dat je zo
vanuit dat figuur aankomt en dan de hoek in
danst!”
(“Oh that is the Slow Fox indeed. So that you
arrive at the end of the dance floor and you
have to dance the angle!”)
“Nu er een quickstep aan staat snap ik
waarom je dat silhouet hebt gekozen, ja dat
past er inderdaad helemaal bij.”
(“Now there is a quickstep playing I
understand why you chose that silhouette.
Yes that silhouette fits the dance perfectly.”)
“Je kan de latin silhouetten inderdaad door
elkaar halen, maar als je de rumba ziet weet
je toch echt dat dat silhouet de rumba is! De
dans van de liefde he!”
(“You can mix up the silhouettes of the Latin,
but when you see the silhouette of the rumba
you really know that it is that dance. It is the
dance of love! Isn’t it?”)
Figure 34. Second user test. She really likes the silhouettes.
53
“De silhouetten zijn zo mooi geworden. En ze
zijn ook zo pietje precies!”
(“The silhouettes are beautifull! I really like
that it is so precise!”)
The following questions were answered by the users:
HOW WOULD YOU USE AND EXPERIENCE IT
YOURSELF?
Dance couple:
In the beginning we would test the product. Whether
it can connect every dance song to a silhouette. We
would also do this with random numbers, to check if
you can dance on it.
Then we would use it in the normal way.
WHERE WOULD YOU PLACE THIS DESIGN?
Dance couple:
We would put the product on the loudspeakers. This is
a central point in the whole living room and kithcen. So
It is always in sight and it is also placed near the radio
and TV, where most of the sounds are coming from.
Dancer:
I would put it on the dresser. This is the place where the
throphies that I won with matches have been placed.
So this a place to put down these kind of things. So
the product will also be placed there. In addition, it is
closely placed to the TV and the radio.
Dancer:
I would put it on the dressoir and would turn it on. I think
that it is very funny when it starts to give light when you
are looking at the tv and that you get reminded that it
is a dance number. That you recognize a quick step, for
example, and you can start to practice it.
When you use the spotlight as trigger, it would be
enough to get my attention.
WHAT ASPECTS DO YOU LIKE ABOUT IT?
Woman of the dance couple:
I really like the spotlight behind the silhouette. I think it
will be the perfect trigger for me.
Figure 35. The place where the dance couple would place the product.
Man of the dance couple:
I wonder if just a light behind the silhouette is enough
for a trigger. I would rather have a large projection on
the wall. Now I must pay attention to the design and
then see what happens. The silhouettes are too small
for me right now. But on the other hand, it will perhaps
be dominant after using it after a time.
Dancer:
I really like the plate with the different silhouettes. It is
really good-looking. It is so precise and I recognized
every dance (with music).
Figure 36. The place where the dancer would place the product.
HOW WOULD YOU EXPERIENCE IT IF PEOPLE
ARE COMING OVER?
Dance couple:
In first instance I would not use it to show others how
proud I am of dancing, but for the trigger to think
about dancing. But when it stands on a central place in
the room I think it will trigger questions at the visitors
about dancing.
HOW WOULD YOU EXPERIENCE THE DESIGN ON
THE LONG TERM?
Dance couple:
We think we would continue to like it on the long term,
especially if it can be turned on for a longer time. But
we think that we will eventually feel less alert to where
it stands on, because we get easily used by it. Although
it would continue to trigger us, just because it is part of
your furniture and it lights up.
Dancer:
When I have visitors and I am, for instance, watching
a movie with them, it would be really nice when the
product starts to turn into the right silhouette. This can
be a nice trigger to start telling about dancing to my
friends.
Dancer:
On the long term I think I would be less triggered by
it. This is because the novelty of the product declines.
However the light ensures that I will still be triggered
when this novelty is decreased.
54
WOULD YOU LIKE IT WHEN THE DESIGN IS
MOBILE AND YOU COULD TAKE IT WITH YOU
(EVERYWHERE YOU GO)?
Dance couple:
I appreciate it more in the way it is now. At home I
have more time for thinking about dancing and I can
also practice it easier. I am not going to dance if I am
in public.
Dancer:
It is really cool when you can take it with you. But I think
that the silhouettes are going to be too small if you
literally shrink them. So I am afraid that you cannot see
the silhouettes that clear anymore and that means you
neglect the most important aspect. It could be really
nice when you are in a bar. But maybe you could make
it in another form. Like a display where all 10 dance
silhouettes can be showed.
CONCLUSION
All dancers do recognize the silhouettes. They find
it a little bit hard to recognize the dances within the
Latin or Ballroom. But when a silhouette is selected
to a dance song, it is immediately recognized. So the
silhouettes are identifiable enough.
The experience of the product will be the same as is
designed. The trigger of the spotlight is for most of
the dancers enough to trigger them. However one
dancer would like to have a trigger that is attracting
your attention more. When he thinks about using it on
a longer term he can agree that it could be too much.
Besides the product will used as intended, there may
be other ways of using it. In the first user test the dance
couple is playing random numbers to test if it are dance
numbers and to test which dance belongs to which
silhouette. This way of use will occur occasionally.
Dancers prefer to place the product in a central place
in their house and also a central place in their living
room. Often they want to put the design in the living
room near the radio or TV, where most of the sounds
come from
Dancers really purchase this product to reminisce
about dancing. They will never purchase it for showing
to others what their favourite hobby is. However this is
a nice additional advantage.
I thought dancers would really like the idea of taking
this design in a smaller form with them, so they can
be reminded of dancing everywhere. Instead of this
opinion, they prefer the product as it is now. They
really like that you can put it somewhere in your home
and get reminded in this place. Also because that it is
the moment they have time to pay attention to it.
55
The MoveMind
56
FINAL DESIGN
MoveMind is a product that will help young amateur Ballroom dancers with
reminiscing about their dance lessons at home. MoveMind encourages
dancers to think about dancing or even practice it, depending on the
user himself. It is a product that exists of a round object with silhouettes
on it. Every silhouette stands for a specific dance. When a dance rhythm
is recognized by the MoveMind, it will initiate a trigger for dancers. The
silhouette that belongs to the rhythm will be selected and will turned
into the right position (in front of the oval shape). Then a light source is
turned on behind the silhouette to communicate to the user that a dance
is selected. The MoveMind is a product on itself so it can be placed
anywhere the user likes, but preferably at a central place (like the living
room).
57
INTERACTION AND EXPERIENCE
MoveMind is designed for young amateur dancers. In
the first user research it became clear that dancers
often practice their dance figures at home and really
like to think back to their dance lessons. These thoughts
are often short distractions. Therefore the interaction
with the product should also evoke a short distraction
that is warm, meaningful and joyous. To stimulate to
think more about the fun and excitement of dancing
within a short distraction, MoveMind is designed.
The user can decide himself where to place
the MoveMind, but preferably it is a place with
environmental sounds (radio, tv, sounds of tapping
Figure 37. Possible places for the MoveMind
58
etc.). When it is turned on, it will automatically start
with recognizing dance music. When a dance number
is recognized and the MoveMind indicates this (by
turning the silhouette in the right position and turning
the light source on), the dancer is triggered that this
specific number is a dance number. So the dancer is
invited to think about his dancing experiences and he
can decide himself if he also want to practice it.
The trigger that is created in the MoveMind is subtle,
but can be recognized from a distance. The reasoning
behind this is that the user should have a notification
about when a dance is selected. But this should not
attract your attention too much. The dancer should
have the possibility to ignore the trigger when he is
very busy. So this is why the trigger is a combination
of turning silhouettes and putting a light source on. In
this way a short distraction is created for the user.
The interaction that users have with the MoveMind can
also be in different ways.
Instead of being triggered that a dance number is
played, dancers can put random music on and see
what kind of dance is showed by the MoveMind.
It can also be an ornament that helps dancers to show
what their hobby or sport is to others. So if they have
visitors they can show them their favourite sport by
using the MoveMind.
Unless these interactions are not the usual interactions
with the product, it could happen that people have
these kinds of interactions with the product.
POSSIBLE PLACES
MoveMind can stand in several places. Although it is
up to the users themself to place it anywhere they like,
there are some places that are more suitable for the
MoveMind than others.
As you can see in the figures 37 till 39 you can see
where people would place it (I asked people to send
me a picture where they would place the MoveMind
and I made photos during the user tests). In general
the MoveMind is placed in the living room. Dancers
want to put it next to the tv or radio and preferably also
a place where they can see it.
APPEARANCE
The appearance of the MoveMind is created by using
different materials. The back plate and the housing
are made of black plastic. The plate with silhouettes
is made of plywood (polished). This will all be laser
cutted.
The use of these materials and the use of laser cutting
give the appearance to the product. Because of the
laser cutting the plywood gets burned edges, which
gives an extra effect on the appearance of the plate
with the silhouettes. The black plastic has a shiny look.
The effect of this is that the silhouettes are reflected in
the plastic.
The combination of a natural material with a plastic
material provides a modern, but warm, look.
COMPONENTS
The product exists of
different
components.
Besides the housing
(figure 40), back plate
and the plate with
the silhouettes there
are
several
other
components.
An axis is used to hold the
different plates together.
Between the silhouette
plate and the back plate
a bearing is placed to
ensure that the silhouette Figure 40. The housing at the back
of the MoveMind
plate can turn compared
to the back plate.
Then a spotlight will be placed behind the oval hole
of the back plate and for the spotlight a translucent
plastic will be placed to ensure the effect of a diffuse
light behind the silhouettes.
The components that will be placed into the housing
will be described in the chapter ‘Technology’.
TECHNOLOGY
In this chapter the technology behind the MoveMind
is described. Different aspects like dimensions,
production, turning mechanism and the way the
MoveMind will recognize music will be described.
DIMENSIONS
In figure 41 you can see the dimensions of the product.
PRODUCTION
The materials of the back plate, housing at the back,
and the plate with silhouettes will be made with the
use of laser cutting. The back plate and the housing
will be laser cutted out of black plastic. The plate with
silhouettes will be laser cutted out of plywood and
afterwards it will be polished.
25 cm
5 cm
11 cm
20 cm
Figure 41. Dimensions of the MoveMind
59
TURNING MECHANISM
A mechanism will be placed in the housing to let
the silhouette plate turn into the right position.
This mechanism exists of two gear wheels that are
attached to a little motor and on the other side to the
axis of the silhouette plate. The motor will be turning
the silhouettes based on input from the software.
SOFTWARE
The most important thing to let the MoveMind work is
that it will recognize the rhythms in the environment
where it is placed. Specific software needs to be
developed to make this work. This is not done for
this project, but there are several examples that are
showing that it is possible to develop something like
this.
First there are applications that can recognize the
beats per minute (BPM, see figure 43) of a song. The
dances within ballroom dancing have all different
BPM’s (figure 42). When measuring BPM also other
environmental sounds could be recognized. So this
would be a perfect option.
music recognotion apllications. Applications that are
already existing are Shazam and Soundhound (figure
44). These apllications can ‘listen’ to the music and
then they recognize which number it is. They search
trough a database of numbers. This can also be used
for the MoveMind.
This option is less attractive because dance numbers
have to be putted in the database and environmental
sounds cannot be included.
POWER SOURCE
The MoveMind’s power source is connected with a
plug to a socket. You can use a button on the product
itself to turn it on or off.
NAME
The name of the MoveMind has multiple meanings.
Move refers to the movement of dancing and mind
refers to being reminded of dancing. But the whole
name ‘MoveMind’ refers to a short disctraction. To
have your mind off for a while and, in this case, only
think of dancing.
Another kind of software that can be used is based on
Figure 42. BPM’s of all dances (Source; Wikipedia)
Figure 43. BPM application
60
Figure 44. Music recognition
applications
61
RECOMMENDATIONS
When the SPIND will be developed further, it is important that several
aspects are further explored. Because not everything could be explored
during this course and the user test showed also some aspects that
could be improved.
CLARIFY SILHOUETTES
It can be further explored if the silhouettes can be
made clearer. This can be done in different ways.
First the spotlight could shine in different colours.
Every dance could have its own colour, so it would be
easier to identify each dance.
Second, it can be explored how it would be to use
engraving lines. You can see this in figure .. The dark
lines should be the lines that would be engraved. In
this way the silhouette of the man and the silhouette
of the woman is clearer. Dancers can recognize the
specific dance posture more easily.
In both cases it should taken into account that it is
still nice to have a certain level of mystery around the
silhouette. Dancers like the SPIND also because they
have to guess which silhouette is which dance. So an
optimization between those two aspects could help to
develop the design further.
62
Figure 44. Engraving lines in dark brown
Figure 45. Little oval shape
ENLARGING OVAL SHAPE
The dance couple of the user test pointed out to me
that not every silhouette is fully lighted up. The oval
shape is too small to show the whole silhouette. That is
why the oval shape should be a bit bigger. As you can
see in figure 45 and 46. In figure 45 the oval shape is
how it is now and in figure 46 is the oval shape how it
should be.
Figure 46. Big oval shape
Maybe the trigger should be bigger after a long time
or maybe it should be working with intervals. That the
SPIND acts like it stands off and then suddenly begins
to detect sounds again. In this way the user could be
triggered all over again.
SOFTWARE
When developing the SPIND it is important to develop
the software in the next phase. It should be sorted
out what the best way of detecting dance songs and
environmental sounds is.
ON THE LONG TERM
Users indicate that the design will not trigger them that
much as in the beginning. That is why it should be
explored how it could stay attractive on the long term.
63
64
APPENDICES
In the following appendices you can find:
• Results of the initial research
• Results of the user research
• Results of the workshop
65
66
INITIAL RESEARCH
At this page you can find the questions of the initial research. On the
following pages the answers of the respondents will be shown.
The following questions were answered by the dancers:
• At what level are you dancing?
• What does dancing mean to you?
• What are your savouring moments within dancing?
• Are you reminiscing about your previous dancing
lesson, free dancing, matches, etcetera during the
week? Why?
• Are you looking forward to dancing lessons, free
dancing, matches, etcetera during the week? Why?
• Are you sharing your dance experiences with
others? If yes, with whom and in what way?
67
Respondent 1
Op welk niveau dans je?
Op dit moment volg ik de derdejaars clublessen.
Wat betekent dansen voor jou?
Dansen is voor mij even lekker actief bezig zijn
en even alleen maar aan het dansen denken. Het
voelt voor mij als een stukje ontspanning omdat je
tijdens het dansen voornamelijk alleen bezig hoeft
te zijn met de passen en de muziek. Ik hou er van
om uitdaging op te zoeken in dingen die ik doe en
dat kan ik meestal ook kwijt in het dansen. Ik word
altijd blij van het dansen, het vrolijkt me op. Dus kort
gezegd is dansen een heerlijke uitlaatklep voor mij,
waar ik al mijn enthousiasme in kwijt kan en waar ik
veel positieve energie van krijg.
Wat zijn jouw geluksmomentjes binnen het
dansen?
Mijn geluksmomentjes tijdens het dansen zijn de
momenten waarop er een van mijn “favoriete”
nummers wordt gedraaid (een nummer dat ik mooi
vind, waar ik vrolijk van word of gewoon een van de
lievelingsliedjes die je van begin tot eind mee kan
zingen) en dat je dan voor je gevoel over de dansvloer
vliegt. Ook de momenten dat een bepaald figuur waar
we veel moeite mee hadden, een dans die een tijd wat
minder ging of een nieuw figuur goed gaat, geven mij
altijd een energie boost. Ik word ook altijd erg gelukkig
van een Weense wals op de Harry Potter theme.
Denk je gedurende een week wel eens terug aan de
dansles(sen), vrijdansen, wedstrijden, optredens
en privélessen die je hebt gehad? Zo ja, waar denk
je dan precies aan terug?
Ja, vaak denk ik dan terug aan figuren die we hebben
geleerd of herhaald. De pasjes, de houding, de
techniek en de muziek. Ook specifieke technische
dingen haal ik door de week heen nog wel eens op.
Als iets heel goed is gegaan tijdens het dansen, vind
ik het ook altijd leuk om daar aan terug te denken of
over te hebben. Bij de wedstrijden die we gedaan
hebben, dacht ik juist aan wat er minder goed ging en
probeer ik dat op die manier voor mezelf te verwerken
zodat ik het kan verbeteren. Na het vrijdansen denk ik
68
terug aan de gezelligheid en dat ik gelukkig word van
dansen.
Kijk je uit/leef je toe naar de dansles, vrijdansen,
wedstrijden, optredens, privélessen etc.? Zo ja,
waarom?
Ja, meestal wel. Wanneer ik gedanst heb en het ging
goed heb ik ook altijd veel zin om weer verder te
kunnen gaan. In dit soort situaties krijg ik ook altijd
spontaan zin om bepaalde figuren thuis te oefenen
en begin ik soms spontaan te dansen op de muziek
die thuis aan staat. Ik vind wedstrijden wel spannend,
maar ik hou ervan om op die manier de uitdaging
op te zoeken. Dus ook hier kan ik naar uitkijken. Die
voorliefde om uitdaging op te zoeken maakt ook weer
dat ik kan toeleven naar de technieklessen, omdat ik
hier weer voor mezelf een bepaald doel kan stellen
om mezelf weer te verbeteren. Naast de lessen kijk
ik ook uit naar het vrijdansen, maar dan alleen als ik
weet dat ik met een gezellig groepje daar naartoe ga.
Ik kan minder uitkijken naar de lessen wanneer het
les tempo te langzaam gaat of er voor mijn gevoel te
weinig uitdaging in zit.
Deel je je dans ervaringen met anderen? Zo ja, met
wie en op welke manier?
Soms. Als mensen geïnteresseerd zijn in het dansen,
vind ik het altijd erg leuk om erover te vertellen of ze
een keer mee te nemen naar een vrije dansavond.
Tijdens onze les hebben we nu zes jongeren, dus het
is ook altijd erg gezellig om tijdens de les met hen
op te trekken. Het maakt het (voor mij) leuk als je er
allemaal met hetzelfde enthousiasme staat, gezellig
met elkaar op kunt trekken en er af en toe ook ruimte
is om gewoon even lekker gek te doen.
Respondent 2
Ik dans op verschillende niveaus.
Debutanten 3 (Ballroom - Latin)
Rolstoeldansen: Amateur Klasse 1
Stijldansen:
Dansen is voor mij een moment van ontspanning.
ik bij danslessen, waarbij mijn ervaring de partner
waarmee ik dans help. En af en toe leer ik mensen een
klein beetje dansen.
Ik deel mijn ervaringen met iedereen die er
geïnteresseerd in is: vrienden, Familie, Collega`s,
andere sporters (van voetbal), beginnende dansers,
maar ook meer gevorderde dansers.
dansen?
Geluksmomentjes binnen het dansen. Er zijn er
meerdere. Tijdens Stijldansen ondervind ik mijn
geluksmoment al ik bijv. een slowfoxtrot dansen.
Heerlijk over de vloer heen zweven. Met Rolstoeldansen
hebben we veel geluksmomentjes gehad tijdens
wedstrijden. De eerste wedstrijd die wij deden was
het NK, dit was na 6 lessen. Die wedstrijd werden we
Nederlands Kampioen in onze klasse. Daarna hebben
we nog een aantal wedstrijden gedaan die we ook
hebben gewonnen.
Door de hele week heen gaat dansen met je mee. Als
je alleen al loopt denk je aan het Rijzen en Dalen, het
dansen van je kanten etc. Aan wedstrijden denk je ook
wel terug aangezien het toch een prestatie is die je
hebt geleverd.
waarom?
Ik kijk meestal uit naar dansen omdat het voor mij toch
een manier is om tot rust te komen. Verder is het ook
leuk om je dansen met andere te delen. En om op
wedstrijden te kijken hoe je het doet in vergelijking
met andere.
Ja, ik deel mijn dans ervaringen met anderen. Foto`s
van wedstrijden plaats ik op facebook. Verder help
69
Respondent 3
Op dit moment dans ik in de groep “Goud” ofwel
derdejaars. Mijn niveau licht waarschijnlijk wat hoger
dan derdejaars. Ik zou zeggen topklasse 2 ofwel 5e
jaars.
Dansen is een sport waarvan ik nooit zou hebben
gedacht dat ik het zou kunnen. Toen ik op dansen
ging was het vooral om iets nieuws en geks te
proberen en om nieuwe sociale contacten op te doen.
Tegenwoordig is het nog steeds om dezelfde sociale
contacten te onderhouden, maar het dansen zelf is niet
meer nieuw en gek meer. Wel sta ik en mijn omgeving
nog regelmatig versteld dat ik aan stijldansen doe en
dat het me nog redelijk afgaat ook!
Als concreet antwoord op de vraag: Dansen betekent
voor mij leren samenwerken, leren op elkaar te letten,
leren overleggen, herhalen en samen trots en tevreden
kunnen zijn.
Natuurlijk is dansen op dit moment ook leuk omdat het
iets is wat ik samen doe met Esmee. Het is altijd leuk
om iets te kunnen delen en het ergens over te kunnen
hebben met iemand waar je dicht bij staat.
dansen?
• Volledig de ruimte in de quickstep, zodat je zonder
om je heen te kijken een hoekdraai kan uitvoeren
en lekker ruim kan uitkomen.
• Een samba die zó swingt en lang doorgaat dat je
er van moet zweten.
• Met eerste of tweedejaars dames dansen,
die gewend zijn leiding te geven aan een wat
onwennige mannelijke danspartner. En de altijd
terugkerende “Aha dus zo voelt het om geleid te
worden”.
• Mensen die niet weten dat ik kan stijldansen laten
zien dat ik het kan met wat ingewikkelde jive en
cha-cha moves.
70
Op dit moment niet veel. Dit komt omdat Esmee en
ik onder ons niveau dansen en daarom niet heel veel
thuis hoeven te repeteren. Vroeger was dat anders,
omdat elk nieuw figuur lastig was en dus inspanning
en overleg nodig had. Deze intensiviteit komt denk ik
op den duur wel weer, nadat we eerst goed aan onze
basistechniek hebben gewerkt.
waarom?
Ik leef op dit moment zeker toe naar danslessen
omdat ik het leuk vind om te laten zien dat ik het nog
kan. Tevens is het leuk om een aantal jaargenoten te
spreken en het over dansen te hebben, waarvan ik het
idee heb dat ik prima mee kan praten.
Wedstrijden leef ik niet naar toe, integendeel. Ik denk
dat het met het competitieve in mij te maken heeft. De
angst om laatste te worden en in de zelfde klasse te
dansen met mensen waar je toch al van weet dat je er
van gaat verliezen.
Ik deel mijn danservaringen zeer duidelijk met
anderen. Het is leuk om mensen te verbazen dat ik
aan dansen doe. Ik leer dames die nog nooit hebben
gedanst nog wel eens de basisfiguren van de chacha op feestjes en ik doe thuis, zowel in mijn eigen
huis als bij mijn ouders, nog wel eens een lock-step
op een onberekend moment.
Respondent 4
Op welk niveau ik dans (of hoe het genoemd wordt)
hangt af van de bond waar we voor dansen. Bij de
NADB heet het C-klasse, bij de WDC Dutch amateur
league heet het National Amateurs.
Dansen betekent heel veel voor mij. Het is mijn
inspanning, mijn ontspanning, mijn uitlaatklep. Door
het dansen voel ik me goed en fit.
Ik deel graag mijn dans ervaringen met mensen. Dit
doe ik omdat ik er heel enthousiast en gepassioneerd
over ben. Ik deel het voornamelijk met vrienden, familie
en collega’s. Eigenlijk met iedereen die het maar
horen wil. Dit gebeurd meestal als ik een wedstrijd of
demonstratie heb gehad. Ik geef ook dansles op een
vereniging aan 50 plussers. Ik probeer hen op een
leuke en enthousiaste manier te leren dansen.
dansen?
Mijn geluksmomentjes binnen het dansen zijn de
momenten dat je merkt dat je weer iets beter bent
geworden. Als je een nieuw geleerde techniek snapt
en beheerst. En uiteraard als er een prijs behaald
wordt op een wedstrijd.
Ik denk dagelijks aan dansen. Dat is voornamelijk aan
de informatie die ik gekregen heb in de privéles. Ik
denk niet heel vaak terug aan wedstrijden, behalve
als we er net 1 gehad hebben. Achteraf bespreken
we wat er goed ging en wat minder ging en waar we
in kunnen/moeten verbeteren om hogerop te kunnen
komen.
waarom?
Ik leef heel erg toe naar wedstrijden en optredens.
Daar pas je je trainingsschema op aan. Vlak voor een
wedstrijd geen nieuwe dingen leren, maar zo goed
mogelijk doen wat je al kan, bijvoorbeeld. Ik hou er van
om in de schijnwerpers te staan en van competitie.
Daarom leef ik naar dat soort momenten toe.
71
Respondent 5
Ik dans dit jaar voor het 3e jaar ( niveau 3 dus ) hier
heb ik niveau 1 en 2 ook gedaan.
Dansen is voor mij iets ontspannends, ik kan hierbij
mijn gedachte dan ook even opzij zetten.
dansen?
Mijn geluksmomenten zijn, dat ik weer bij al mijn
vrienden en kennissen ben. En soms heb ik gewoon
geluk bij het dansen.
Ik kijk zeker terug op de danslessen, want ik moet toch
de pasjes een beetje kunnen onthouden.
waarom?
Ik vindt het elke week weer leuk, om er naar toe te
gaan en kijk er ook echt naar uit lekker weer een
avondje er tussen uit.
Ik deel mijn dansen ervaring bijna nooit, alleen als
iemand hier om vraagt dan vertel ik hoe leuk het is om
te doen.
72
Respondent 6
Ik denk dat het niveau klasse C word.
Dansen betekend voor mij plezier, ontspanning en
met je eigen lijf bezig zijn.
dansen?
Geluksmomentjes zijn merken als je jezelf verbeterd.
Het behalen van je zelf gestelde doel je helemaal
overgeven aan de muziek.
Terug denken aan dansen gebeurt zeker na een
privéles overdenken war je hebt gedaan en bekijken
waar dat in de rest van de programma’s ook toegepast
kan worden na een wedstrijd evaluatie voor jezelf wat
kan er nog verbeterd worden.
waarom?
Ja ik kijk uit naar het dansen omdat je jezelf dan weer
kan verbeteren en lekker met het geleerde aan de gang
kan.! Wedstrijden ook om te kijken of je trainingen nut
hebben gehad en om te kijken waar je nu ongeveer
uitkomt en tussen hoort.
Danservaringen deel ik met veel mensen familie
vrienden klanten mensen die geïnteresseerd Zijn
vertel ik graag over het dansen en wat het precies
inhoud.
73
74
USER RESEARCH
At this page you can find the questions of the user research. On the
following pages the answers of the respondents will be shown.
The set up was as follows:
PART 1
Dancer send me a text message when he or she thinks
back to dancing.
I asked to answer the following things in the text
message:
In which situation are you?
What triggered you to think about dancing?
About what did you think exactly?
PART 2
These are a few questions about the interests of the
dancer.
Following questions should be answered:
What is your favourite dance?
What is your favourite dance song?
Take a picture of your favourite dance attribute.
Create or find a picture of what inspires you for
dancing.
CARDS
I handed these questions to the dancers by using the
following cards:
75
Respondent 1
PART 1 – TEXT MESSAGES
PART 2 – QUESTIONS ABOUT INTERESTS
Momenten dat ik terug dacht aan dansen:
• Gelijk na vrijdansen: We hebben zonet in de auto
de swiffle van de tango uitgebreid uitgedacht en
over gediscussieerd! Over hoe ik daar leid en welke
passen nu onderhand suf en achterhaald zijn in de
tango (en welke juist heel tof). Dit gedachtespinsel
uiteraard ook namen Esmee!
• Op mijn werk: Als je terug loopt naar je plaats
wil ik nog wel eens een mooie danspas maken.
Een lockstep bijvoorbeeld. Dat doe ik dan eerlijk
gezegd om mijn (nieuwe) collega’s te laten zien
dat ik het kan. Vaak zeg ik dan ook: “dit was een
lockstep” met een blij hoofd.
• Op atletiektraining: De atleten waren bezig een
dansje te ontwerpen voor school. Ik kon toen niet
laten om aan te geven dat ik ook op dansen zit
en dat ik ze best wat wou leren. Dit vonden ze
erg leuk! We hebben er achteraf door tijdgebrek
en een zware training geen tijd meer voor gehad
achteraf.
• Met Esmee hebben we het op maandag heel even
gehad over een danspas die nog niet lekker loopt
(de wing in de engelse wals) hier discussiëren we
dan even over en bedenken dan samen waar het
misschien verkeerd gaat.
Wat is je favoriete dans?
engelse wals
76
Wat is je favoriete dans liedje?
Die mooie engelse wals met die operastem of de harry
potter weense wals.
Maak een foto van je favoriete dans attribuut.
Een beetje cliché, maar toch gewoon dansschoenen.
Deze zijn onlosmakelijk verbonden met dansen.
Maak of zoek een foto van wat jou inspireert voor
het dansen.
Vooral muziek. De ene foto is de LP van Hair de
musical. Als ik let the sushine in/aquarius hoor moet ik
dansen. En de andere foto is mijn basgitaar vanwege
de overtuiging dat een goed dansnummer een goede
baslijn moet hebben!
Respondent 2
6 oktober
wat ik vanmiddag in de les wil doen.
7 oktober 12.06
Moest weer aan dansen denken omdat ik je kaartje
zag :)
7 oktober 14.03
Wat ik vanavond in de les wil gaan doen.
9 oktober
Afgelopen Woensdag nog aan dansen gedacht. Kreeg
toen een sms van André dat hij niet kon dansen. Heb
toen terug gedacht aan wat we donderdag op de les
hebben gedaan.
PART 2 – QUESTIONS ABOUT INTERESTS
Ik heb er eigenlijk 2: de Engelse wals en de Slow Fox.
Ik vind het moeilijk om aan te geven waarom. Ik denk
dat het voornamelijk te maken heeft met wat voor
gevoel deze dansen mij geven. Als ik een Slow Fox
of Engelse wals dans en het loopt allemaal goed, krijg
ik het gevoel van vrijheid, het gevoel dat je zweeft.
Ik denk dan nergens aan en hoef dan alleen maar te
volgen. Dit heb ik ook bij andere ballroom dansen,
maar het meest bij de Slow Fox en wals. Waarschijnlijk
heeft dit ook te maken met de muziek. Op het ene
nummer dans ik lekkerder dan op het andere. Ik denk
dat dit te maken heeft met ritme en (uiteraard) smaak.
Ook hier heb ik er meer, maar voor de Slow Fox denk ik
dat ik Coba het mooist vind (heb niet meer informatie
voor je over muzikant of zo). Voor de Engelse wals
vind ik de Dark Waltz van Hayley Westenra erg fijn om
op te dansen, evenals Nocturne van Secret Garden.
In zowel de was als de Slow Fox vind ik het belangrijk
dat ze niet te snel moeten zijn. Zo heb je alle tijd om je
techniek goed te dansen en er extra van te genieten.
Mijn dansschoenen!!!! Zonder ben je nergens :)
het dansen.
De muziek en het gevoel van vrijheid. (moeilijk om hier
een foto van te maken)
77
Respondent 3
Zaterdag 5 oktober
Ik zat in de auto samen met Tycho en we waren op
de terugweg van het vrij dansen. Ik vroeg aan Tycho
wat hij van de avond had gevonden en hoe we het
dansen vonden gaan. Van daaruit dachten we terug
aan een aantal figuren in de tango, welke daarvan
goed gingen, welke leuk waren en welke minder leuk
of saai zijn.
Zondag 6 oktober
Ik zat op de bank bij Tycho na onze dansles. We waren
muziek aan het draaien en om de beurt kozen we een
nummer uit. Toen kwam er op een gegeven moment
een hele leuke en opzwepende chacha langs. Dit
triggerde mij om uitbundig in mijn eentje een chacha te
dansen, waarop ik op een gegeven moment vast liep
met een bepaald figuur. Dus toen heb ik Tycho erbij
geroepen en hebben we samen het figuur uitgewerkt
en geoefend.
Zondag 6 oktober
Ik was bij Tycho en ik was thee aan het zetten. Tijdens
het wachten op het water dat moest koken moest
ik denken aan een technische opmerking over mijn
78
houding tijdens het dansen van een engelse wals
en een tango (en het verschil daartussen), waarop ik
deze twee verschillende houdingen uitprobeerde. Ik
vroeg Tycho om feedback en Tycho haakte in om het
verschil uit te proberen met de twee houdingen.
Dinsdag 8 oktober
’s Ochtends was ik rustig aan het opstarten met een
kopje koffie op de bank. Bij ons thuis staat altijd
de radio aan. Op dat moment draaide toevallig het
nummer “the boy does nothing” (oftewel een jive).
Ik sprong enthousiast op om wild mee te dansen en
gekke improvisatie jive figuren te verzinnen. Toen
het nummer afgelopen was bedacht ik me dat ik het
altijd heerlijk vind om gewoon te dansen en lekker
enthousiast en fanatiek te bewegen op een leuk
nummer. Ik voelde me goed en concludeerde dat ik
van dansen vrolijk en gelukkig word.
Donderdag 10 oktober
Ik was aan het kletsen met een oud vriendinnetje van
het roeien en we hadden het over verschillen tussen
“topsport” en “amateurroeien”. Zij vertelde over een
clinic die ze had gehad van een van de olympische
roeiers die kennelijk om zijn rompstabiliteit te
verbeteren in zijn vrije tijd aan ballet dansen doet. Op
dat moment dacht ik dat ballet mij ook nog een leuke
tak van dansen lijkt om eens te gaan doen. Ik ben dit
vervolgens gaan vergelijken met het stijldansen en
heb redenen uiteen gezet waarom stijldansen hier ook
wel eens geschikt voor zou kunnen zijn en op welke
manier je dan zou moeten trainen en dansen.
van de schoen ik het lastiger vind om bijvoorbeeld
duidelijk over de hak aan te halen en niet te veel door
mijn knieën te zakken. Het verschil tussen ballroom
schoenen en latin schoenen tijdens de latin vind ik ook
wel groot, maar het danst voor mijn gevoel makkelijker
had ik voor mezelf bedacht.
Vrijdag 11 oktober
Toen ik op internet aan het zoeken was naar interessante
vacatures kwam ik via diverse links ineens op een site
met dansatributen uit. Ik werd direct getriggerd om op
alle artikelen te klikken en de foto’s ervan te bekijken.
Ik heb een mooi lijstje gemaakt met dingen die ik nog
wel zou kunnen gebruiken, schoenen die ik wel zou
willen hebben en kleding die ik erg tof vond.
PART 2 – SHORT QUESTIONS ABOUT INTERESTS
Zondag 13 oktober
Voor de dansles had ik een afspraak bij Bart. Omdat ik
wist dat we die avond zouden gaan dansen en ik ook
wist dat ik niet tussendoor nog naar huis zou gaan,
had ik mijn spullen alvast ingepakt. Ik heb een tijdje
staan twijfelen welke schoenen ik graag aan wilde
doen en uiteindelijk heb ik bedacht dat ik het lekkerst
dans op mijn ballroomschoenen en heb ik die dus
ingepakt. Ik heb bedacht hoe latin schoenen dansen
tijdens de ballroom en bedacht met dat door het model
Tango (en stiekem Weense wals ook, en soms Engelse
wals maar op dit moment tango)
Favoriete dans liedje: Harry Potter wals en Roxanne
(moulin rouge tango versie)
Maak een foto van je favoriete dans atribuut.
Mijn schoenen zijn absoluut mijn favoriete dansatribuut!
Ik zou niet meer zonder die schoenen willen dansen.
het dansen.
Grote
open
ruimtes,
mooie
dansvloeren,
sfeerverlichting, daarvan krijg ik altijd veel zin om te
dansen.
79
Respondent 4
6 oktober
Ik was bij Fréderique thuis, ze vroeg me hoe vrijdansen
was geweest. Ik heb haar verteld dat het enorm
gezellig was en het leuk vond dat er weer eens zoveel
jeugd was tijdens een vrijdansavond.
8 oktober
Thuis aan mijn bureau huiswerk/geen huiswerk aan
het maken. Mijn wekker die af ging om mij er aan te
herinneren dat ik dansles heb. Het gevoel van haast
kwam direct tot mij. Ik dacht niet zozeer ergens aan
terug aangezien het vlak voor mijn dansles was.
10, 11 oktober
Ziek, thuis in bed/op de bank. Door dat ik ziek ben
dacht ik steeds dat het jammer is dat ik niet kon gaan
dansen, op donderdag en op vrijdag niet en het feit dat
ik Fréderique daarmee teleur moest stellen. Ik dacht
terug aan de vorige week toen we wel les hadden (ook
op donderdag met Eline) en hoe goed dat ging (bij
Fréderique *iets* minder goed, though).
Slowfoxtrot. Ik heb er eigenlijk een soort haat-liefde
verhouding mee. Ik vind het een mooie, elegante
80
dans, maar ook absoluut de lastigste dans. Tijdens
sportklasse ook maar ontdekt dat ik de dans een stuk
minder goed beheers dan ik dacht. En toch blijf ik
het een mooie dans vinden juist omdat er de meeste
energie in gaat zitten (en nog veel meer tijd).
shall we dance – santa maria (tango) (https://www.
youtube.com/watch?v=s3XrngpBgFU)
Al sinds jaar 1 dat ik stijldans mijn favoriete
dansnummer. Het nummer is actief, modern maar het
doet verder niets af aan de ouderwetse tango muziek
(voor zover ik dat kan bepalen).
Of het echt een attribuut is, weet ik niet. Een goede
foto ervan kan ik helaas niet voor je vinden, maar ik
zit met de dansvloer in mijn hoofd. Eigenlijk is de hele
wereld een dansvloer, maar er gaat toch echt niets
boven een echte dansvloer!
het dansen.
Ik haal mijn inspiratie voor het dansen voor een groot
deel uit mijn vrienden. Ik zit niet alleen op dansles
voor mijzelf, ik doe het ook voor drie anderen en op
vrijdansavonden voor soms nog wel meer. Zonder
vrienden zou het dansseizoen er een stuk saaier
uitzien.
Respondent 5
Ik heb eigenlijk veel minder terug gedacht aan dansen
dan ik eerst zou denken. Dus heb helaas geen smsjes
kunnen versturen.
Mijn favoriete dans attribuut is een lekker zwierig rokje
die lekker meezwiert bij het rondjes draaien! Zie de
foto die hierna komt!
het dansen.
Mijn grootste inspiratie voor het dansen is toch echt
de muziek. Als ik muziek hoor waar je goed op kan
dansen dan word ik daar meteen enthousiast van en
krijg je heel veel zin om te dansen! Ik heb er een foto
bijgedaan van de muziek van Snap, waar je een hele
fijne Samba op kunt dansen.
Mijn favoriete dans is de Samba. Ik vind dat de Samba
een heel fijn ritme heeft en Latin muziek en Latin
dansen spreken mij altijd het meeste aan.
Mijn favoriete dans liedje is: comp samba cult of snap
van Snap. Dit is een Samba! Als ik deze muziek hoor
word ik helemaal enthousiast en moet ik meteen een
Samba dansen!!! Heerlijk!
81
Respondent 6
Heb helaas niet zo vaak teruggedacht aan dansen.
Maar als ik het doe dan laat ik het weten.
Cha cha Wat is je favoriete dans liedje?
Appassionata van Secret Garden
Dat zijn mijn dansschoenen
het dansen.
Vrolijkheid en lachende mensen: http://www.wallsave.
com/wallpaper/1366x768/nature- for-party-dancingsmiling-girl-people-photo-on-the-408106.html
82
IP WORKSHOP 1
How can you share ideas?
Memo
Talk
Clothing choice
TEDx
(dinner) conversation
Discuss
Email
Mindmap
Morse
Flash mob
Post it’s
Hints
Skype
Smartphone communication
Screaming
Journalism
Paper planes
Conference/congres
Courier
Draw
Telephone
Terrorist attack
Banners
Writing letters
Mimic/act out
Convince someone to spread
Have a messenger deliver
Exchange
Youtube
Digital media/twitter/Facebook
Smoke signals
Advertisement
Write a paper
Blog
Pictures
Hidden message
Gift
Drink a beer
Presentation/pitch/speech
Video’s
Posters
83
How to memorize something?
Megaphone
Practice
Alarm
Do
GTD
Revive it because of kids
Notes
Creative facilitator
Take pictures/ Photos
Reminder in phone
Checklist
Reminders
Photobook
Study
Write down keywords
Someone tells you
Note block
The game memory
Flash back
Tattoo
Ornament
Getting reminders by others
Record
Write down
Dictaphone
Elephant
Facebook
Videos
Focus
Print out and hang at a place you see often
Post-it’s
Music
Ask your mum
Deja vu
84
By sharing (facebook)
Knoop in je zak
How to look forward to something?
Did’nt do it for al long time
Don’t look behind
Sharing
Tunnel vision
Telescope
Warming up
Achieve a goal
Practice
Reminders
Daydream
Warm feeling
By reminisce about the previous time
Make glad
Enrol
Good memory
Watch after movie
Birds view
Being proud
Participation
Prepare
If something went well
Be reminded
Pep talk
Block calendar
Blinkers (Oogkleppen)
Push message
Get pumped by others
Plan in your agenda
Teasers
Read reviews
Read info
Be early
Think/talk about it
9gag (remember things by images)
Challenge
Watch previous sessions
Smile
Nostalgia
Blinkers (Oogkleppen)
Advent calendar
85
How to inspire during the lesson?
Twerken
Disco time
Posters
Happy hardcore
Weird warming up (think about ‘the wheelbarrow’)
Small competitions at the end
Colors/light
Become untied
Show video’s
Theme’s (50’s or 60’s)
Pop-ups
Make it romantic
Man of the ‘match’ at the end
Pipo shoes
Project on the floor
Mix styles
Roller-skating
Dancing with the stars
Mirrors
Crazy
To put on ski’s
Crazy clothing day
Hairspray (the movie)
Have a judge
Act out a dance movie
Dancing at other places (like a skateboarding parc)
Metaphors
Feedback of last lesson
Close your eyes
Game
Scramble (in Dutch: stoelendans)
Learn different genres for 5 minutes
Switch dance partners
Be awesome
Dance battles
Audience
86
Interaction between dance couples
Fireworks
In public
Music
Creative teacher
(grand)parents
SURVEY SILHOUETTES
At this page you can find the question form of the survey. On the following
pages the individual answers are given.
12-12-13
Stijldansen - Google Drive
Stijldansen
Voor het project waar ik mee bezig ben, heb ik jullie feedback nodig. Het ontwerp dat ik ga maken heeft te maken met het triggeren en daardoor stimuleren van het dansen wanneer je thuis bent. Hierbij wil ik aangeven over welke dans het gaat, waarbij ik silhouetten wil gebruiken. Nou wil ik jullie vragen of jullie in deze enquete aan kunnen geven of jullie de dansen herkennen bij de silhouetten. In onderstaande afbeelding zie je 10 silhouetten staan. Elk silhouet stelt een andere dans voor en ik wil jou vragen om elk silhouet 1 dans toe te kennen. Veel plezier! :)
*Vereist
Silhouetten
12-12-13
2. Welke dansen vond je moeilijk uit elkaar te houden? *
12-12-13
1. Link elk silhouette aan 1 specifieke dans. (De dansen waar je uit kunt kiezen zijn: Engelse
wals, Tango, Quickstep, Slow Foxtrot, Weense wals, Rumba, Chacha, Jive, Samba, Paso
Doble) *
Schrijf de antwoorden op als bijvoorbeeld: 1 = Engelse wals, 2=quickstep etc.
2. Welke dansen vond je moeilijk uit elkaar te houden? *
3. Heb je een tip over hoe je deze dansen makkelijker uit elkaar kan houden?
Als je het niet moeilijk vond om de dansen uit elkaar te houden kan je deze vraag overslaan.
KIKI OTTENHOFF
4012720
3. Heb je een tip over hoe je deze dansen makkelijker uit elkaar kan houden?
Als je het niet moeilijk vond om de dansen uit elkaar te houden kan je deze vraag overslaan.
87
Respondent 1
Respondent 2
HOE LANG DANS JE AL?
7 jaar
7 jaar
LINK ELK SILHOUETTE AAN 1 DANS.
1 = Engelse wals
2 = Tango
3 = Quickstep
4 = Weense Wals
5 = Slow fox
6 = cha cha
7 = jive
8 = Paso
9 = Rumba
10 = Samba
1 = Engelse Wals
2 = Tango
3=
4 = Quickstep
5 = Slow Foxtrot
6 = Rumba
7 = Jive
8 = Paso Doble
9 = Samba
10 = Cha Cha
WELKE DANSEN VOND JE MOEILIJK UIT ELKAAR TE HOUDEN?
De Ballroom dansen omdat hierbij de dame en de
heer dicht tegen elkaar aan staan. Figuur 4 is het meest
onduidelijk.
WELKE DANSEN VOND JE MOEILIJK UIT ELKAAR
TE HOUDEN?
Zes en tien
HEB JE EEN TIP OVER HOE JE DEZE DANSEN
MAKKELIJKER UIT ELKAAR KAN HOUDEN?
Misschien voor figuur 3, 4 en 5 een nieuwe plaatje
kiezen waarop duidelijk de houding van zowel de
vrouw als de man te zien is.
88
Geen antwoord.
Respondent 3
Respondent 4
7 jaar
4 jaar
1 = Engelse wals
2 = Tango
3 = Quickstep
4 = Weense wals
5 = Slow Foxtrot
6 = Chacha
7 = Jive
8 = Paso Doble
9 = Rumba
10 = Samba
1 = engelse wals
2 = tango
3 = jive
4 = weense wals
5 = quick step
6 = rumba
7 = cha cha
8 = slow foxtrot
9 = paso doble
10 = samba
Vooral bijvoorbeeld plaatje 6, dat figuur dat vertoond
wordt kan bij meerdere dansen voorkomen
Plaatje 9 vind ik een beetje vaag.
Sommige latin dansen lijken qua figuren op elkaar en
vind ik lastiger uit elkaar te houden.
Ben ook wel benieuwd of ik het goed gedaan heb :P
8 en 5
7 en 9
1 en 4
Figuren nemen die dansspecifiek zijn of meer emotie
laten overkomen. Een energiek plaatje voor een
chacha en een romantisch plaatje bij een rumba
bijvoorbeeld.
als 9 inderdaad paso is kun je daar misschien de begin
stand van maken met 1 arm naar voren gehaakt?
89
Respondent 5
Respondent 6
4 jaar
14 JAAR
1 = Engelse wals
2 = Tango
3 = Slow Foxtrot
4 = Quickstep
5 = Weense Wals
6 = Chacha
7 = Jive
8 = Paso Doble
9 = Samba
10 = Rumba
1=Engelse wals
2=tango
3=Quickstep
4=Weense wals
5=slow foxtrot
6=ChaCha
7=jive
8=paso doble
9=samba
10=rumba
Eigenlijk allemaal waren ze vrij lastig. Dacht wel goed
te kunnen zien wat ballroom of latin was.
Plaatje 3, 4 en 7 vond ik extra lastig omdat het
rare bewegingen zijn of niet duidelijk is waar de
danspartners zich bevinden.
Heb ik nooit moeite mee gehad.
Gebruik van kleur en lijnen om de dansers van elkaar
te onderscheiden. Misschien ballroom en latin een
eigen kleur. Blauw vs rood bijvoorbeeld. en misschien
gezichten erbij zodat je de kijkrichting ziet.
90
Respondent 7
Respondent 8
Geen Antwoord.
38 jaar
1 = Engelse wals
2 = Tango
3 = Quickstep
4 = Weense Wals
5 = Slow Foxtrot
6 = Cha cha
7= Jive
8 = Samba
9 = Paso doble
10 = Rumba
1 = Engelse wals
2 = Tango
3 = Quickstep
4 = Weense wals
5 = Slowfox
6 = Cha Cha
7 = Jive
8 = Rumba
9 = Paso
10 = Samba
1-3-4-5
Deze komen voor in alle 5 de dansen.
Alleen als je verder kijkt dan pas kun je een keus maken.
N.V.T.
Er is niet echt een tip.Omdat iedereen een plaatje
anders bekijkt.
Geen antwoord.
91
Respondent 9
Respondent 10
Nu niet meer, maar heb 10 jaar gedanst.
8 jaar
1 Slow Foxtrot
6 Chacha
2 Engelse wals
7 Jive
3 Quickstep
8 Pasodoble
4 Weense wals
9 Samba
5 Tango
10 Rumba
1= Engelse Wals
2= Tango
3= Quickstep
4= Weense Wals
5= Slow Foxtrot
6= Chachacha
7= Jive
8= Paso
9= Samba
10= Rumba
De chacha en de Rumba.
Geen antwoord.
Geen antwoord.
Geen.
92
Respondent 11
12 jaar
1: Slow Foxtrot
2: Tango
3: Paso Doble
4: Weense Wals
5: Tango
6: Chacha
7: Jive
8: Chacha
9: Samba
10: Rumba
Geen.
Geen antwoord.
93
94
Pet collar
Mirror
Something on the wall
Interactive glasses
Bottle of water
Watch
Bracelet
Ring
Belt
Necklace
Lights in shoes
Church clock
TV/beamer
Application
Key chain
Rhythm of walking
Headphones
NS information signs
Underpants
EVERYWHERE
Paving stone
Fanfare
Phone cover
Backpack
What could
it be?
On dishwashing brush
Not round, but straight
Coaster
Cookie jar (eating is cheating
but not if you dance it of))
Game
Window projection
Wheel of fortune
Vase
Interactive picture frame
Limbo dancing
Trash can
Clock
On your plate
Lamp
Speakers
AT HOME
IP WORKSHOP N. 3
95

DANCE TILL YOU DROP!

Transcription

Similar documents

Friday Saturday Sunday Amphitheatre Schedule Wine

muziek - Kleutergroep

EC 14/03/2015 : TSC Dance Feet Kelmis Belgium

Starplash De Broeveskender Bilzen Tiny Turtles ASTV Walgau Spirit

Northern Renaissance 1400 - 1500 PDF

modern - Dansstage

Untitled

Portfolio - katja heitmann

activiteiten van la protectora avilés

Examen VMBO

Examen VMBO-BB - De Digitale School

Spintronics in hard drives 22

Live-Engineer - The Fortunate Few

Persmap 12/2013 - The Fortunate Few