dance till you drop! · is that it should evoke a meaningful distraction. the product should...

DANCE TILL YOU DROP!Kiki Ottenhoff (4012720) 21 January 2014

Course: Exploring Interactions Coaches: Sanne Kistemaker and Anna Pohlmeyer

ID4250 EXPLORING INTERACTIONS2

KIKI OTTENHOFF 4012720 3

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.

In the first cycle, IDEATE, I developed the design goal and interaction vision for this project and I chose a context to design for to determine a direction. Then I did in depth user research, to find opportunities to design

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.

With all these cycles the whole process is described in this report. Enjoy reading!

INTRODUCTION

TABLE OF CONTENTS


CYCLE 1: IDEATEDesign Goal 8Initial Research 10User research 12IP workshop n. 1 15Initial ideas 16Concept direction 18

CYCLE 2 :ITERATEAdapted Design Goal 22Design directions 23Exploration design Directions 24IP workshop n. 2 26Verifying users 28Core value 29Final Exploration design directions 30Inspiration 33Final concept 34

CYCLE 3: DEMONSTRATE

Reflection cycle 2 39Exploration Silhouettes and trigger 40Survey 42IP workshop N. 3 44Sublte vs. in your face 45Prototype 46Study of materials 49 In the spotlight 50Optimize form 51User test 52Final design 57Recommendations 60

APPENDICESInitial research 64User research 72IP Workshop 1 80Survey SIlhouettes 84IP workshop N. 3 91

CYCLE 1: IDEATE


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.

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.

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.

DESIGN GOAL


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.”

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.

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 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.

INTERACTION VISION


First an initial research is done to answer the first research questions, to verify if other people also have these savouring moments.

SET UPIn 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

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?

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.

INITIAL RESEARCH


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.

RESULTSThe 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:

‘Door de hele week heen gaat dansen met je mee.’(‘Dancing goes with you troughout the whole week.’)

‘Als je alleen al loopt denk je aan het Rijzen en Dalen, het dansen van je kanten etc.’(‘If you walk alone you think of the rising and 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.’)

‘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.’)

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.’)

‘Wanneer er een van mijn “favoriete” nummers wordt gedraaid.’(‘When one of my favorite songs is played.’)

‘Dat ik weer bij al mijn vrienden en kennisen ben.’(‘I am with all my friends again.’)

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.

CONCLUSIONThe 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.


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 UPSo 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?

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,

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).

USER RESEARCH

Figure 1. Card main research


RESULTS AND CONCLUSIONS

Part 1 - Text messagesSo 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.’)

‘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.’

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

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

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 questionsThe 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.

Dance lesson Dance lesson

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Figure 2. Level of reminiscing of ballroom dancers

Figure 3. Favourite dance attribute: floating dance skirt

Figure 4. Favourite dance attribute: dance shoes

Figure 5. Favourite dance attribute: dance shoes


For further results you can see the answers in the appendix. These outcomes function as sources of inspiration and additional information for the project.

CONTEXT OBSERVATIONFor 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 11. Free dance night: dancers on the floor

Figure 12. Free dance night: dancers chatting on the side

Figure 7. Inspiration source: dance music

Figure 8. Inspiration source: friends


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.

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.

IP WORKSHOP N. 1


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IDEAS MEMORIZEThis 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.

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

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 SHARINGThis 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.

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.

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.

INITIAL IDEAS

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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.

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 PREPARINGA bag in which you can collect all your dance accessories during the week. Every dancer needs his or her dancing shoes, scraper for the shoes, cloths, make up etc.

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.

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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.

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.

CONCEPT DIRECTION

START!

START!START!

START!

Figure 13. Idea 1 Figure 14. Idea 2

CYCLE 2 :ITERATE


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.”

After the previous cycle my design goal is adjusted. This is explained beneath.

ADAPTED DESIGN GOAL


DESIGN DIRECTIONSFEET ON THE FLOORThis 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 OUTThis 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 DANCERSIt 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 CYCLEThe 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.

DESIGN DIRECTIONSWithin 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.

Figure 15. User test with first prototype.


EXPLORATIONThe 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.

FEET ON THE FLOORAfter 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.

FORCE DANCER TO ACT OUT DANCE FIG-URESThe 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.

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.

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.

After defining different design directions I explored what kind of ideas matched in these directions.

EXPLORATION DESIGN DIRECTIONS4

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OBJECT THAT TRIGGERS DANCERSThe 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.

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.

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.

CONCLUSIONThree of the ideas that are explained above will be chosen and tested in the Interaction Prototyping Workshop.

FEET ON THE FLOORIn 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.

FORCE DANCER TO ACT OUT DANCE FIG-URESIn 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.

OBJECT THAT TRIGGERS THE DANCERSThe 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).

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SETUPIn the workshop I tested three different ideas. These are explained below.

FEET ON THE FLOORFirst, 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 every time.

OBJECT THAT TRIGGERS THE DANCERSSecond, 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.

FORCE DANCER TO ACT OUT DANCE FIGURESThe 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

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.

IP WORKSHOP N. 2

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a pirouetteFigure 17. Prototype block

calendar

Figure 16. Prototype package of feet


buddies to dance across the line and they had to see themselves how they would use the obstacle.

RESULTSThe 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 FLOORMy 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.

OBJECT THAT TRIGGERS THE DANCERSThe 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.

FORCE DANCER TO ACT OUT DANCE FIGURESThe 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.

Figure 18. Lex dancing the figures Frank laid down for him

Figure 20. Frank dancing around the obstacle

Figure 19. Frank walking along block calendar


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.

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.

VERIFYING USERS


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.

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.

CORE VALUE


EXPLORATIONBeneath the final exploration phase is described.

DIGITAL SCREENThe 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.

PROJECTORThe 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.

STATIC BOARD WITH MAGNETIC FEETThe 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.

INTERACTIVE BOARDThe 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).

APPLICATION ON MOBILE PHONEThe third idea is about using the object that the user already carries with him at home. In this case

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.

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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).

PHYSICAL OBJECTInstead of only using an application on the mo-bile 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 con-nect the device with the mobile phone it detects the settings of the user and starts to play dance animations randomly.

CONCLUSIONThe 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

weird to have moving feet on the wall. So for the final concept the animation should be projected on the floor.

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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.

INSPIRATION

Figure 21. The design ReMind


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.

In this chapter the final concept will be presented.

FINAL CONCEPT

Figure 22. Physical part is hanging on the wall

Figure 23. Dancer is triggered by animation that is played

Figure 24. Dancer starts dancing at the animation


INTERACTIONThe 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.

ANIMATIONThe 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

is visualized. To get a better idea of this animation I want to refer to the movie clip ‘animation of feet’ that is attached.

OBJECTThe 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.

Figure 25. Stop motion quickstep. The first five dance passes of a quickstep (‘voor-zij-sluit-zij’)

CYCLE 3: DEMONSTRATE


REFLECTION CYCLE 2To 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.


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 SILHOUETTESWhen 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 TRIGGERBesides 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

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.

EXPLORATION SILHOUETTES AND TRIGGER


OBJECT WITH SILHOUETTESAn object with silhouettes could be a design solution. This object can be formed in different ways.

When it is an object it could be a static object with dance silhouettes. It could be a round or half-round, 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.

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.

2 3

1

2

3

1


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.

SETUPWhen 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.

The dances supposed to be the following: 1 Waltz 6 Cha-cha-cha2 Tango 7 Jive3 Quickstep 8 Paso Doblé4 Viennese Waltz 9 Samba5 Slow Foxtrot 10 Rumba

RESULTSIn total eleven dancers responded. In the following diagram you can see how many experience the respondents have with dancing:

SURVEY

41 2 3 5

86 9 107


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.

CONCLUSIONIn 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:


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.

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

that the trigger should be something more than only lighting up.

What could it be?

Lights in shoes

Backpack

Rhythm of walking

Paving stone

Bottle of water

Key chain

UnderpantsRing

Church clock

TV/beamer

NS information signs

ApplicationWatch

Bracelet

Belt

Fanfare

Necklace

Headphones

Phone coverSpeakers

Window projection

Not round, but straight

Vase

Trash can

Coaster On dishwashing brush

Something on the wall

Cookie jar (eating is cheating but not if you dance it of))

On your plate

Mirror

Game

Wheel of fortune

Clock

Pet collar

Interactive glasses

Lamp

Interactive picture frame

Limbo dancing

AT HOME EVERYWHERE

IP WORKSHOP N. 3

Figure 26. Talking after the brainstorm session


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?

SUBTLEWhen 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 FACEThe 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.

CONCLUSIONI 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.

SUBTLE VS. IN YOUR FACE


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

PROTOTYPE

Figure 27. Prototype of cardboard


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.

Figure 28. Final prototype (assembled)

Figure 30. Close up final prototype (assembled)




41 2 3

9 10 11 12

5 86 7


STUDY OF MATERIALSTo 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).

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.

Figure 32. Prototype silhouettes black and back plate wood colour Figure 33. Prototype silhouettes wood colour and back plate black


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

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.

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.

IN THE SPOTLIGHT


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.

OPTIMIZE FORMTo 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.


USER TESTTo 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.

SETUPWith 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?

• 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.

RESULTSIt 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.


“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.

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.

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).

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.

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.

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.

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: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.

Figure 35. The place where the dance couple would place the product.

Figure 36. The place where the dancer would place the product.


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.

CONCLUSIONAll 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.


The MoveMind


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).

FINAL DESIGN


INTERACTION AND EXPERIENCEMoveMind 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

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 PLACESMoveMind 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.

Figure 37. Possible places for the MoveMind




The combination of a natural material with a plastic material provides a modern, but warm, look.

COMPONENTSThe 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 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’.

TECHNOLOGYIn 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.

DIMENSIONSIn figure 41 you can see the dimensions of the product.

PRODUCTIONThe 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.

Figure 41. Dimensions of the MoveMind

Figure 40. The housing at the back of the MoveMind

25 cm

5 cm

20 cm

11 cm


TURNING MECHANISMA 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.

SOFTWAREThe 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.

Another kind of software that can be used is based on

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.

NAMEThe 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.

Figure 44. Music recognition applications

Figure 42. BPM’s of all dances (Source; Wikipedia)

Figure 43. BPM application


CLARIFY SILHOUETTESIt 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.

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.

RECOMMENDATIONS

Figure 44. Engraving lines in dark brown


ENLARGING OVAL SHAPEThe 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.

SOFTWAREWhen 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 TERMUsers 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.

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.

Figure 45. Little oval shape Figure 46. Big oval shape


In the following appendices you can find:

• Results of the initial research• Results of the user research• Results of the workshop

APPENDICES


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?

INITIAL RESEARCH


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

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 1


Respondent 2

Op welk niveau dans je?Ik dans op verschillende niveaus. Stijldansen: Debutanten 3 (Ballroom - Latin)Rolstoeldansen: Amateur Klasse 1

Wat betekent dansen voor jou?Dansen is voor mij een moment van ontspanning.

Wat zijn jouw geluksmomentjes binnen het 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.

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?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.

Kijk je uit/leef je toe naar de dansles, vrijdansen, wedstrijden, optredens, privélessen etc.? Zo ja, 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.

Deel je je dans ervaringen met anderen? Zo ja, met wie en op welke manier?Ja, ik deel mijn dans ervaringen met anderen. Foto`s van wedstrijden plaats ik op facebook. Verder help

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.


Op welk niveau dans je? 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.

Wat betekent dansen voor jou?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.

Wat zijn jouw geluksmomentjes binnen het 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.

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?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.

Kijk je uit/leef je toe naar de dansles, vrijdansen, wedstrijden, optredens, privélessen etc.? Zo ja, 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.

Deel je je dans ervaringen met anderen? Zo ja, met wie en op welke manier?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 cha-cha 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 3


Op welk niveau dans je?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.

Wat betekent dansen voor jou?Dansen betekent heel veel voor mij. Het is mijn inspanning, mijn ontspanning, mijn uitlaatklep. Door het dansen voel ik me goed en fit.

Wat zijn jouw geluksmomentjes binnen het 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.

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?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.

Kijk je uit/leef je toe naar de dansles, vrijdansen, wedstrijden, optredens, privélessen etc.? Zo ja, 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.

Deel je je dans ervaringen met anderen? Zo ja, met wie en op welke manier?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.

Respondent 4


Op welk niveau dans je?Ik dans dit jaar voor het 3e jaar ( niveau 3 dus ) hier heb ik niveau 1 en 2 ook gedaan.

Wat betekent dansen voor jou?Dansen is voor mij iets ontspannends, ik kan hierbij mijn gedachte dan ook even opzij zetten.

Wat zijn jouw geluksmomentjes binnen het dansen?Mijn geluksmomenten zijn, dat ik weer bij al mijn vrienden en kennissen ben. En soms heb ik gewoon geluk bij het dansen.

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?Ik kijk zeker terug op de danslessen, want ik moet toch de pasjes een beetje kunnen onthouden.

Kijk je uit/leef je toe naar de dansles, vrijdansen, wedstrijden, optredens, privélessen etc.? Zo ja, 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.

Deel je je dans ervaringen met anderen? Zo ja, met wie en op welke manier?Ik deel mijn dansen ervaring bijna nooit, alleen als iemand hier om vraagt dan vertel ik hoe leuk het is om te doen.

Respondent 5


Op welk niveau dans je? Ik denk dat het niveau klasse C word.

Wat betekent dansen voor jou? Dansen betekend voor mij plezier, ontspanning en met je eigen lijf bezig zijn.

Wat zijn jouw geluksmomentjes binnen het dansen?Geluksmomentjes zijn merken als je jezelf verbeterd. Het behalen van je zelf gestelde doel je helemaal overgeven aan de muziek.

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?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.

Kijk je uit/leef je toe naar de dansles, vrijdansen, wedstrijden, optredens, privélessen etc.? Zo ja, 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.

Deel je je dans ervaringen met anderen? Zo ja, met wie en op welke manier?Danservaringen deel ik met veel mensen familie vrienden klanten mensen die geïnteresseerd Zijn vertel ik graag over het dansen en wat het precies inhoud.

Respondent 6


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.

CARDSI handed these questions to the dancers by using the following cards:

At this page you can find the questions of the user research. On the following pages the answers of the respondents will be shown.

USER RESEARCH


PART 1 – TEXT MESSAGES

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.

PART 2 – QUESTIONS ABOUT INTERESTS

Wat is je favoriete dans? engelse wals

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 1



6 oktoberwat ik vanmiddag in de les wil doen.

7 oktober 12.06Moest weer aan dansen denken omdat ik je kaartje zag :)

7 oktober 14.03Wat ik vanavond in de les wil gaan doen.

9 oktoberAfgelopen 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 Wat is je favoriete dans? 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.

Wat is je favoriete dans liedje? 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.

Maak een foto van je favoriete dans attribuut. Mijn dansschoenen!!!! Zonder ben je nergens :)

Maak of zoek een foto van wat jou inspireert voor het dansen.De muziek en het gevoel van vrijheid. (moeilijk om hier een foto van te maken)

Respondent 2


Respondent 3


Zaterdag 5 oktoberIk 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 oktoberIk 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 oktoberIk 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

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 oktoberIk 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.

Vrijdag 11 oktoberToen 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.

Zondag 13 oktoberVoor 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

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.

PART 2 – SHORT QUESTIONS ABOUT INTERESTS

Wat is je favoriete dans? Tango (en stiekem Weense wals ook, en soms Engelse wals maar op dit moment tango)

Wat is je favoriete dans liedje? 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.

Maak of zoek een foto van wat jou inspireert voor het dansen. Grote open ruimtes, mooie dansvloeren, sfeerverlichting, daarvan krijg ik altijd veel zin om te dansen.



6 oktoberIk 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 oktoberThuis 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 oktoberZiek, 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).


Wat is je favoriete dans? Slowfoxtrot. Ik heb er eigenlijk een soort haat-liefde verhouding mee. Ik vind het een mooie, elegante

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).

Wat is je favoriete dans liedje? 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).

Maak een foto van je favoriete dans attribuut. 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!

Maak of zoek een foto van wat jou inspireert voor 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 4


PART 1 – TEXT MESSAGESIk heb eigenlijk veel minder terug gedacht aan dansen dan ik eerst zou denken. Dus heb helaas geen smsjes kunnen versturen.


Wat is je favoriete dans? 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.

Wat is je favoriete dans liedje? 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!

Maak een foto van je favoriete dans attribuut. Mijn favoriete dans attribuut is een lekker zwierig rokje die lekker meezwiert bij het rondjes draaien! Zie de foto die hierna komt!

Maak of zoek een foto van wat jou inspireert voor 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.

Respondent 5


PART 1 – TEXT MESSAGESHeb helaas niet zo vaak teruggedacht aan dansen. Maar als ik het doe dan laat ik het weten.


Wat is je favoriete dans? Cha cha

Wat is je favoriete dans liedje? Appassionata van Secret Garden

Maak een foto van je favoriete dans attribuut. Dat zijn mijn dansschoenen

Maak of zoek een foto van wat jou inspireert voor het dansen.Vrolijkheid en lachende mensen: http://www.wallsave.com/wallpaper/1366x768/nature- for-party-dancing-smiling-girl-people-photo-on-the-408106.html

Respondent 6


How can you share ideas?

IP WORKSHOP 1

Talk

Mindmap

(dinner) conversation

Skype

Paper planes

Telephone

Discuss

Writing letters

Smartphone communication

MemoTEDx

Conference/congres

Youtube

Convince someone to spread

Hidden message

Video’s

PicturesBlog

Hints

Screaming

Morse

Post it’s

Smoke signals

Mimic/act out

Presentation/pitch/speech

GiftDrink a beer

Digital media/twitter/Facebook

Have a messenger deliver

Advertisement

Banners

Journalism

Terrorist attack

Courier

Write a paper

Draw

Exchange

Posters

Clothing choice

Email

Flash mob


How to memorize something?

Practice

Creative facilitator

Reminder in phone

Study

Note block

Someone tells you

Flash back

Take pictures/ Photos

Photobook

Videos

Print out and hang at a place you see often

Notes

Checklist

Do

Write down

Elephant

GTD

Reminders

Record

FacebookMusic

Post-it’s

Knoop in je zakDeja vu

Ask your mum

Focus

The game memory

By sharing (facebook)

Getting reminders by others

Revive it because of kids

Megaphone

Tattoo

Alarm

Ornament

Dictaphone

Write down keywords


How to look forward to something?

Telescope

Warm feeling

Did’nt do it for al long time

Tunnel vision

Warming up

Daydream

Watch after movie

Be reminded

Birds view

Good memory

Pep talk

Being proud

Block calendarPrepare

Push message

Get pumped by others

Teasers

Challenge

Read reviews

Read info

Watch previous sessions

Advent calendar

Think/talk about it

Reminders

Be early

Smile

Don’t look behind

Blinkers (Oogkleppen)

Blinkers (Oogkleppen)Nostalgia

Plan in your agenda

By reminisce about the previous timeMake glad

If something went well

9gag (remember things by images)

Sharing

Achieve a goal Practice

Enrol

Participation


How to inspire during the lesson?

Weird warming up (think about ‘the wheelbarrow’)Happy hardcore

Become untied

Theme’s (50’s or 60’s)

Make it romantic

Small competitions at the end

Mix stylesPipo shoes

Roller-skating

To put on ski’sCrazy

Act out a dance movieDancing at other places (like a skateboarding parc)

Hairspray (the movie)

Feedback of last lesson

Interaction between dance couples

Game

Scramble (in Dutch: stoelendans)

Switch dance partners

Audience

Close your eyes

Colors/light

(grand)parents

In public

Show video’s

Learn different genres for 5 minutes

Man of the ‘match’ at the end

Mirrors

Project on the floor

Disco time

Dancing with the stars

Have a judge

Fireworks

MusicDance battles

Metaphors

Pop-ups

Posters

Be awesome

Creative teacher

Twerken

Crazy clothing day


At this page you can find the question form of the survey. On the following pages the individual answers are given.

SURVEY SILHOUETTES

12-12-13 Stijldansen - Google Drive

https://docs.google.com/forms/d/1Ljcz8TbpkCTf-Kgn4SavKJKLJDtuJjqeWd8Qn1YSBUI/edit 1/2

StijldansenVoor 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

1. Link elk silhouette aan 1 specifieke dans. (De dansen waar je uit kunt kiezen zijn: Engelsewals, Tango, Quickstep, Slow Foxtrot, Weense wals, Rumba, Chacha, Jive, Samba, PasoDoble) *Schrijf de antwoorden op als bijvoorbeeld: 1 = Engelse wals, 2=quickstep etc.

Silhouetten



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.

Mogelijk gemaakt door



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.

Mogelijk gemaakt door


HOE LANG DANS JE AL?7 jaar

LINK ELK SILHOUETTE AAN 1 DANS.1 = Engelse wals2 = Tango3 = Quickstep4 = Weense Wals5 = Slow fox6 = cha cha7 = jive8 = Paso9 = Rumba10 = Samba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?De Ballroom dansen omdat hierbij de dame en de heer dicht tegen elkaar aan staan. Figuur 4 is het meest onduidelijk.

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.


LINK ELK SILHOUETTE AAN 1 DANS.1 = Engelse Wals2 = Tango3 = 4 = Quickstep5 = Slow Foxtrot6 = Rumba7 = Jive8 = Paso Doble9 = Samba10 = Cha Cha

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?Geen antwoord.

Respondent 1 Respondent 2



LINK ELK SILHOUETTE AAN 1 DANS.1 = Engelse wals2 = Tango3 = Quickstep4 = Weense wals5 = Slow Foxtrot6 = Chacha7 = Jive8 = Paso Doble9 = Rumba10 = Samba WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?Vooral bijvoorbeeld plaatje 6, dat figuur dat vertoond wordt kan bij meerdere dansen voorkomenPlaatje 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

HEB JE EEN TIP OVER HOE JE DEZE DANSEN MAKKELIJKER UIT ELKAAR KAN HOUDEN?Figuren nemen die dansspecifiek zijn of meer emotie laten overkomen. Een energiek plaatje voor een chacha en een romantisch plaatje bij een rumba bijvoorbeeld.


LINK ELK SILHOUETTE AAN 1 DANS.1 = engelse wals2 = tango3 = jive4 = weense wals5 = quick step6 = rumba7 = cha cha 8 = slow foxtrot9 = paso doble10 = samba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?8 en 5 7 en 91 en 4

HEB JE EEN TIP OVER HOE JE DEZE DANSEN MAKKELIJKER UIT ELKAAR KAN HOUDEN?als 9 inderdaad paso is kun je daar misschien de begin stand van maken met 1 arm naar voren gehaakt?




LINK ELK SILHOUETTE AAN 1 DANS.1 = Engelse wals2 = Tango3 = Slow Foxtrot4 = Quickstep5 = Weense Wals6 = Chacha7 = Jive8 = Paso Doble9 = Samba10 = Rumba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?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 JE EEN TIP OVER HOE JE DEZE DANSEN MAKKELIJKER UIT ELKAAR KAN HOUDEN?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.

HOE LANG DANS JE AL?14 JAAR

LINK ELK SILHOUETTE AAN 1 DANS.1=Engelse wals2=tango3=Quickstep4=Weense wals5=slow foxtrot6=ChaCha7=jive8=paso doble9=samba10=rumba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?Heb ik nooit moeite mee gehad.

HEB JE EEN TIP OVER HOE JE DEZE DANSEN MAKKELIJKER UIT ELKAAR KAN HOUDEN?



HOE LANG DANS JE AL?Geen Antwoord.

LINK ELK SILHOUETTE AAN 1 DANS.1 = Engelse wals2 = Tango3 = Quickstep4 = Weense Wals5 = Slow Foxtrot6 = Cha cha7= Jive8 = Samba9 = Paso doble10 = Rumba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?1-3-4-5Deze komen voor in alle 5 de dansen.Alleen als je verder kijkt dan pas kun je een keus maken.

HEB JE EEN TIP OVER HOE JE DEZE DANSEN MAKKELIJKER UIT ELKAAR KAN HOUDEN?Er is niet echt een tip.Omdat iedereen een plaatje anders bekijkt.


LINK ELK SILHOUETTE AAN 1 DANS.1 = Engelse wals 2 = Tango 3 = Quickstep 4 = Weense wals 5 = Slowfox 6 = Cha Cha 7 = Jive 8 = Rumba 9 = Paso10 = Samba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?N.V.T.





HOE LANG DANS JE AL?Nu niet meer, maar heb 10 jaar gedanst.

LINK ELK SILHOUETTE AAN 1 DANS.1 Slow Foxtrot 6 Chacha2 Engelse wals 7 Jive3 Quickstep 8 Pasodoble4 Weense wals 9 Samba5 Tango 10 Rumba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?De chacha en de Rumba.



LINK ELK SILHOUETTE AAN 1 DANS.1= Engelse Wals2= Tango3= Quickstep4= Weense Wals5= Slow Foxtrot6= Chachacha7= Jive8= Paso9= Samba10= Rumba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?Geen antwoord.

HEB JE EEN TIP OVER HOE JE DEZE DANSEN MAKKELIJKER UIT ELKAAR KAN HOUDEN?Geen.


Respondent 11


LINK ELK SILHOUETTE AAN 1 DANS.1: Slow Foxtrot2: Tango3: Paso Doble4: Weense Wals5: Tango6: Chacha7: Jive8: Chacha9: Samba10: Rumba

WELKE DANSEN VOND JE MOEILIJK UIT EL-KAAR TE HOUDEN?Geen.



IP WORKSHOP N. 3

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form

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si

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tio

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Fan

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Pho

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cove

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eak

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Wi

ndo

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roj

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stra

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