right, i'll have more. well, here's at the top of the, our next on the w documentary, looking at why animals left about the why do humming does not get drunk. why do grab a tasteful waves, squeeze all bodies. how much do we need to put a stop fun cream for help find beyond fis gets much on dw science. outtake talk channel

is not exclusively human but the way we rich revises does it get to be 10? see, can have a very healing quality. when people move together to music, they feel connected. dance helps us on the move, which is the medium of evolution. it is a way of getting in touch with some things. take us as myself. a human self is constantly creating and becoming patterns of moving the dancing health human become human, the the,

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

the once an incident emergency. they are already engaged in this nice advance. they're using move with patterns as a way to explore their world and grow themselves. and as they make those move the daughters that they've been making in the room, different things happen. human insights are born completely dependent in order to survive, they to succeed in getting caregivers to take care of them. an instance do so by exercising a sweet skills that finds expression in their instant image movement patterns, like when they learn to smile, they synchronize their movements with their caregivers. they play with movement tags. today of maine and they practice the movement fits sure them, whatever nourishment and protection. and they have this capacity to as they play,

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

this nature reserve on the mediterranean is home to one of the most important flamingo breeding grounds in the world. that i know that the defendants have. yeah. every year, tens of thousands of flamingos gather to choose amazing partners during what is known as enough jewel display. what is a very orienting i as in these for cheap cost, i mean goes into the names and the females do that. and the names are the same amount of weight in terms of each other to get a box now, which is the equivalent we've done. so are they all through of servatius? scientists have noticed that seemingly random movements are actually sharply defined there on the front of fosters and during the course of display. and 2nd, which is jessica holding the head like this. marching wind salutes inverted

wings standards force feeding. breeding's scratching the head with their leg is also we next stretch in front of these for sure. there are more than 100 percent of the transitions between the posters. by showing that they are able to do with a very complex dance. they show that they are foot $42.00 and even on the wheel. next, it's for the reading. the flamingos with the most moves are most likely to attract to make the courtship display is a dance competition that drives the evolution of the species. for species, competitive dance has many motivation. the

new champions of dancing with the stars. more, bobby, sometimes we can beat for money and thing the sometimes for fun or bragging rate. the dance is a complex expression of social behavior. and beyond that is these dancers will show us, it's a way to connect with the natural world. these professional dancers have agreed to an unusual challenge to create choreography that in by,

to use the movement of 3 animal species. i guess you guys ready for the, the, the oh. plus the ways one to level more stuff for me like this. i never was of it just chilling the one of the whole. i thought it is true with one leg. so those moves look like human just and it's a very that it doesn't even have a spine or frame that looks anything like an hour. the

kind of relates to my like 8080 range house reaction the we're hoping that as they interpret patterns of movement, they'll discover something about dance nature and themselves. was to go back and select the thing based and trying to replicate. but you're tapping back into how to proceed. movements, even though they get bodies a little together, the hands would be different. yeah. so like, even those unison is still signifies. if there's a difference between us, are you able to add your own little glance down on a little bit of thinking i vision comes with chemistry to see flamingoes moving units, and that's our key or the

many animal species synchronize. sometimes it's a way to over well or a base predators in human dance forms. we often match each of these moves. what does this mean in terms of our evolution, the at oxford university? this social and devolution ary psychologist hopes to find out. i'm really interested in understanding more about what happens when we dance together in an evolutionary and kind of big picture sense. the ingredient that we identified to focus a little bit more closely on was that of synchrony. i'm not ready, gave rise to the design of the silent disagree experiment. taking spot. we towards very, very basic down seems to out participants in order to try and capture what then

might happen when you bring them together. and they end up synchronizing through right to last and again, 10 to like make some groups are going to be told not to synchronize by virtue of the fact that they are tuned into different sign. it does go tunnel. didn't hear anything yet. some of the groups are going to be synchronizing because they're changing to exactly the same trial. non synchronized groups are still don't things together facing each other. they're standing the same distance of todd, but different music, different instructions doing different movements. and they're clean, not having the same kind of a good time as the groups that were don't single and things and you were having been not joining in, in some kind of collect isn't the joy as a witness when everyone was synchronized. but more importantly, when we actually asked them questions afterwards,

how much do you trust the other participants that you've just done with? how much do you like them, post them and then press to now to do you feel how much do you feel like you are part of the great. there is a significant difference between those groups and the groups that have had a fully synchronized together done and experience when people are johnson. and it's very difficult not to find yourself timing to feeling a little bit of a moment of connection which is otherwise strange. they tend to like they tend to feel close to, to each other, even if they're complete strangers, they might rate this person as being with some of the inputs. announcing brain gets trick. realizing that we're actually moving as one from and one to resist. the subjective feelings, if the connections are linked to our brain chemistry, on a chemical level, part of that explanation of the group funding the 4 months that we think time

pumping through vein. when we are engaging in al synchronize don't thing. it's very difficult to measure endorphins directly, so we have to try and do it in an in direct way, for example, through pain threshold. now, demonstration will be using an ice bucket test in order to see how long people can hold their hands. you know, it's an indication of how much pain they can tolerate out baseline measure as before, they've done together. and we can see what's the change in pain color for each participants. and as a group that has done together versus the group that has not done fully, you know, we're not going to repeat the ice book a test. as soon as these thoughts feel, any discomfort or pain, take the hand out. you know, study. we found that people that hadn't synchronized actually didn't experience on

average, and much of a change at all, and pain threshold. for some people, it in fact dropped. great thanks. the opposite side of this goes that synchronized set of doctors. having done these synchrony samples to hold their hand in the ice bucket full longer than they were before the dancing endorphins, our natural opioids, these feel good. chemicals get ramped up when we move together when we synchronize together, especially. and that gives us a sense of collective joy that we then share enter the social funding. siri of don is a convincing explanation in the big picture evolutionary sense for understanding why we might dogs, why on systems might have 1st started. don't thing. ringback

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

muscular coordination. defense become who the what is the cultivated awareness of the che, ribcage. yes. and remember this puts you towards this. yes. and that lot stretch a visual sense might be very important in dancing, but the real holy grail is the can aesthetic self awareness sensing myself internally all the time stretching. and then at some point, this expert in biomechanics works in collaboration with a neuro scientist from mit is immersion lab. okay. one more time. my current explanation is the intersection of the mechanics and dancing. so today with these high level dancers we are trying to see if we can use biofeedback tools

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

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

feel? free and know, think about it cuz she got real time visual consummation for which way do i have to feel inside to see these thoughts moving apart? so she quickly figured out this is the correct type of stretch. then you go into some type of contraction which gives you the and it's come up. as maria feels better about the movement, there is an organic response enrollment's movement as well, which is informed by maria's change. like more of one more power to control in connection with this and this being out of sync with yourself is really, really not good for us. and so then see, can have

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

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

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

by the time we're out, we can clap onto something that's like 40 beats per minute. really, really slow. and we can also clap along to something that's like $300.00 bits per minutes really, really fast. since disability develops in nearly all humans, where did we get it from? sometimes we use in human share in the last common ancestor about 67000000 years ago. so that means that chimpanzees are our closest living relative on earth of 98.6 percent of our dna is shared between these 2 species. and if we see chimpanzees in humans fair, i'm kind of common abilities that suggest that the capacity existed in are less common ancestor. but when scientists expose captive

chips to music was some move britain, basically their ability to adjust the tempo is nowhere close to what humans can do . humans are especially good at moving to the beach, the better than other spaces. various you can even try to do it, but you know where the best at moving to the beat. but then this bird came along the, as millions of youtube users already know. he's a cockatoo named snowball. in videos with no trickery or fancy editing involved. he'd dances too familiar, hit the fair, all her father's sco, they was blaze. so i added him to kind of mimic not because the thought was really

interesting. challenge with this is not the animal actually. so not only right, it's like essence, but i'm also actually trying to replicate some of the people to do freestar. and it's always stepping on 3 parts of teach some humans to do that. what impresses the dancer on this? a puzzle for evolutionary biologists. 2 1 day i was at my desk and a video was sent to me of a bird apparent that seemed to be moving to the beat of music. it was this parent sitting on the back of a chair in somebody's living room with

a song by the backstreet boys and i had just never seen anything like this before. i mean, i was just my, it was mind boggling. * why doesn't a chimpanzee, which is so close to it? so i move to the beat spontaneously where a parent with a little walnut sized brain. does the normal about that? that's weird. that's really weird. parents are more closely related to dinosaurs than they are to human beings. this neuro scientist believes that it might have something to do with vocal learning. very like somebody asked me what is both learning at a cocktail party. i'm going to tell them it's the ability to imitate new sounds that they could not do before the most local learning species

imitate sounds of their own speech. some of us like humans and some parents imitate our own species plus others. yeah for shake of petersburg that would surely be upset. heard. ready ready it turns out that learners unrelated speech, humans often see parents and song, birds all have some ability a to do or how do we explain the relationship of local learning and the ability to. ready i studied kunkle learning in the context of that list because you can compare species that habits versus pieces that down. and from that comparison learn,

what are the underlying mechanisms might be found in the brain of a tiny australian song for what you're seeing here. our brain sections of the safest and our brain is design comes to freely, but the fundamental principles are the same. so a cat's weigh is really a network of connecting sounds, different kinds of networks to do different fancy things. the pathway for singing is not only surrounded by the network for dancing, but to, to have some cross talk between each. and this is why in us humans and the news both learning birds, the auditorium information, entering the years for hearing sound is somehow connected to this pathway for controlling movement of the body more so in us internet the so we see

specializations in areas of to bring having to do with movement of the vocal apparatus, both planning and executing and how we process the sounds. and then importantly, the connections between the hearing centers and the movement centers. because the bulk of learning has a lot to do with rapidly adjusting your movements based on what you hear, the bulk of learning has given us the ability to keep a beat. both the learning allows us to dance on the down. be like say that the other ccs, kansas feel move all around like this to me. physics but they can just the basic beats of sound. so self all can go every body that you're serious. nice. yeah, i'm dancing this down. be right. not every body step. your kids do nice,

these kinds of discoveries, let us to what we call the continuum i potus is amongst species. is not a black and white world is not. you have an ability and you don't have it. is that you have it to various grades in between. i think of this continuum hypothesis not as a straight linear line, more like a step function, right? where you go up a step, you become more advanced in that building. but even within that step, there is variety including within one space is like humans. you have people who are more advanced at dancing and less so. and so here, all these years, i'm setting these train pathways, spoken language, both learning and humans, birds and so forth. and twice a week, i'm going to my dad's plan to start performing, and to me, the 2 are disjointed. until that discovery,

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

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

we call the behavior range and so there is something about it that has this kind of rhythmic quality. the, i think i'm getting a really good sensor and i'm excited to explore that a little i think that it's such a beautiful expression. and it's very primitive trying to capture how that energy looks in my body trying to make sure it translates definitely a little frustrating. there was a little hard for me to connect with the animal authentically, the but i definitely am gradually more authentically connecting the

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

part of the i have no idea when dance actually began. but i believe that went home with sapient emerg. they were already dancing. and that, that dancing provided there was an engine for developing those capacities that we associate with human beings. the various of evolution are often predicated on some notion of a unit of the types of individual, a body as a material object that exist in an environment to which it has to adapt. part of what i want to do is click this conversation and say,

what do we think about in terms of movement potentials that are constantly looking for ways to express themselves. the other species share some aspects of what it takes to them. so there are other species that cannot speak. there's some suspicious that can imitate sounds and indicate gestures. there's some species apply. we're the one species who puts all of these things together to use movement as a way to develop ourselves in relationship to the source of success. and it's around us. we are the desk the, i think this is one of the things that can help make us feel connected to not just each other, but the other spacing. something that is similar to something we do and leads us in to think deeper about what's going on inside their mind. what are the conscious

experiences that led to that behavior? what do we share at a more cognitive and emotional level with that animal? how can that illuminate what makes us human and what makes them who they are, the kind of like the reaction to and they're kind of claiming the rain and this is like their power. i'm kind of relating to this primitive feeling like an expression of your aggression. my movement comes together . for me to express myself. all of it is dance to me, the

dances ultimately about connection to the forces. whether that be nature, our ancestors, the future. dance is also about connecting to the spirit world. we don't necessarily have to define such a human centric perspective of movement. i really think of it as being more spirit centric. lot of things that i do and red sky performance with indigenous dance. we're supposed to dance for people who cannot our dances. here in canada, we're now the legal band not dance.

in 1921, the head of the department of indian affairs actually wrote a letter describing why indigenous people should not be allowed to dance. because it brings a lot of power to people that brings a lot of strength and resilience to people. and people are remembering who they are and embodying who they are by taking away dance, calling our dance sports part of the demo. that was a way of starting to race our culture best. not that long ago, the colonial i thought it disappeared, it's gone. but actually it just went underground. and we have our elders to, thanks for keeping that and it surfaced when it was safer for us to do so. the role of dance is to deepen our identity. so we need

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

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

and evolution. we are just one moment in a long history in the future yet, and phone. and the dance has an important role to play in helping us think about. what are we creating with the movements we make? we can't control evolution that we can participate in the there are no ordinary the or the

into the conflicts own. with tim sebastian. as the warning ukraine grind on the neighboring voltage states what's anxiously from the ring side, see, pressing the west to increase a think kia, and make sure russia dozens with my guess this week is last is 5 minutes to place you on this current. and he's clear nature up in conflict in 30 minutes on the w, the

people in trucks, in judge when trying to see the city center, the straight pieces the around the world more than 100 and assessing 1000000 people we ask mine because no one should have to make up your own mind. dw may 4 mines the

dw news line from bad in the us on the you time new sanctions against iraq as israel logistics allies to increase international pressure on turnaround in response to last weekends attack western countries also hope to dissuade israel from response to could spock a why the conflict also on the program a little bit because in georgia, advance of foreign influence, slow the critic, save, restricts basic freedoms, and could be royal to places, hopes of joining you. legislation fuels mass protest in the capital and the solomon islands go to the polls for the 1st general election since the

government switched except for my.