For the How to Run a Successful Less Wrong Meetup booklet, I'm looking for information about how to better build a social group and foster a feeling of community. Since this bit is probably of general interest, I'm posting it here.
If you want to make the members of the group like each other more and feel more like a group, synchronized actions may be one of the easiest ways of achieving this goal. Anthropologists have long known the community-building effect of dancing:
As the dancer loses himself in the dance, as he becomes absorbed in the unified community, he reaches a state of elation in which he feels himself filled with an energy of force immensely beyond his ordinary state . . . finding himself in complete and ecstatic harmony with all the fellow-members of his community, experiences a great increase in his feelings of amity and attachment towards them. (Radcliffe-Brown 1933/1948, quoted in Kesebir 2011)
Armies around the world utilize the same effect to foster a feeling of unison through repeated drills:
Words are inadequate to describe the emotion aroused by the prolonged movement in unison that drilling involved. A sense of pervasive well-being is what I recall; more specifically, a strange sense of personal enlargement; a sort of swelling out, becoming bigger than life, thanks to participation in collective ritual. (McNeill 1995, quoted in Kesebir 2011)
Wiltermuth & Heath (2009) summarize some of the research on the topic:
The idea that synchronous movement improves group cohesion has old roots. As historian William H. McNeill suggests, armies, churches, and communities may have all benefited, intentionally or unintentionally, from cultural practices that draw on ‘‘muscular bonding,’’ or physical synchrony, to solidify ties between members (McNeill, 1995). This physical synchrony, which occurs when people move in time with one another, has been argued to produce positive emotions that weaken the boundaries between the self and the group (Ehrenreich, 2006; Hannah, 1977), leading to feelings of collective effervescence that enable groups to remain cohesive (Durkheim, 1915/1965; Haidt, Seder, & Kesebir, in press; Turner, 1969/1995). Andaman Islanders have been said to become ‘‘absorbed in the unified community’’ through dance (Radcliffe-Brown, 1922, p. 252). Similar observations have been made of Carnival revelers (Ehrenreich, 2006), and ravers dancing to beat-heavy music (Olaveson, 2004). Moreover, Haidt et al. (in press) have argued that people must occasionally lose themselves in a larger social organism to achieve the highest levels of individual well-being.
Some recent findings on the topic include:
Wiltermuth & Heath (2009): Synchronous activity in the form of walking around a campus in step causes people to be more likely to make decisions requiring trust and to self-report stronger feelings of trust and connectedness with others. Singing in synchrony, even if the song is an out-group anthem ("O Canada", when the subjects were USA residents), causes more trust and and greater feelings of being on the same team, as well as an increased willingness to cooperate in a public goods game.
Kirschner & Tomasello (2010): "Given that in traditional cultures music making and dancing are often integral parts of important group ceremonies such as initiation rites, weddings or preparations for battle, one hypothesis is that music evolved into a tool that fosters social bonding and group cohesion, ultimately increasing prosocial ingroup behavior and cooperation. Here we provide support for this hypothesis by showing that joint music making among 4-year-old children increases subsequent spontaneous cooperative and helpful behavior, relative to a carefully matched control condition with the same level of social and linguistic interaction but no music."
Valdesolo, Ouyang & DeSteno (2010): Synchronous rocking increases perceptions of similarity and connectedness. The subjects were given the task of holding the opposite ends of a 12 × 14 wooden labyrinth with both hands and guiding a steel ball through it together. The subjects in the synchronous rocking condition performed better than the subjects in the asynchronous rocking condition.
Valdesolo & DeSteno (2011): Subjects who are told to tap the beats they hear in an audio clip, and are paired with a confederate who has been instructed to synchronize his tapping with the participant’s, tend to find like the confederate more and consider him more similar to themselves. The confederate being assigned an unfair task then evokes more feelings of compassion, and the subjects are more likely to help him, even at a cost to themselves.
The implication for meetup groups, as well as any other groups that might want to make their members like each other more, seems clear: spend some time singing and dancing together, possibly in the form of drinking songs if people are too self-conscious to sing while sober. Just make sure that any non-drinkers don't feel excluded. If all else fails, you can always march around the city while chanting "doom doom DOOM DOOM". (If anybody asks, you can say that you're testing a scientific hypothesis about group bonding, and ask if they'd want to join in.)
References
Kesebir, S. (2011) The Superorganism Account of Human Sociality: How and When Human Groups Are Like Beehives (ungated version). Personality and Social Psychology Review.
Kirchner, S. & Tomasello, M. (2010) Joint music making promotes prosocial behavior in 4-year-old children. Evolution and Human Behavior 31, 354–364.
McNeill, W.H. (1995) Keeping together in time: Dance and drill in human history. Cambridge, MA: Harvard University Press.
Radcliffe-Brown, A. R. (1948) The Andaman Islanders. Glencoe, IL: Free Press.
Valdesolo, P. & DeSteno, D. (2011) Synchrony and the Social Tuning of Compassion. Emotion, vol. 11, no. 2, 262–266.
Valdesolo, P. & Ouyang, J. & DeSteno, D. (2010) The rhythm of joint action: Synchrony promotes cooperative ability. Journal of Experimental Social Psychology, vol. 46, no. 4, 693–695.
Wiltermuth, S.S. & Heath, C. (2009): Synchrony and Cooperation. Psychological Science, vol. 20, no. 1.
I should state that none of this is based on per reviewed research, just personal experience and practices learned from others with more experience than myself, which apparently have merit.
I should also state that some of these may be specific to partner dancing activities (I do Lindy Hop, which is a type of swing dance)
There are, IMO, two incredibly important aspects of a good dance activity: 1) Whoever is teaching the step/lesson/whatever avoids, at all cost, adopting an "I'm a dance teacher" air. How precisely to do this is probably specific to individual personalities. 2) Rule number 1 is to have fun. That has to be the primary and perhaps sole purpose for dancing. In the right crowd I often word it as "If you are not having fun, then you are doing it wrong." Much more laughs and smiles come from non-catastrophic errors than from business as usual "doing it right".
Some other practices for making people comfortable dancing:
-If there is an existing core of experienced dancers, have it be part of the culture to engage newcomers (ie ask new, inexperienced people to dance. I'm not sure what this would look like for line type dances) -The converse, build a culture where newcomers will self-engage (ie ask experienced people to dance). This can be done by saying "feel free to ask anyone to dance" as often as possible and by having a culture where saying "no" without good reason is taboo. It is general etiquette in my circle that if you say no to someone, you are either injured, tired, need a drink/breather, or don't like this song, as such if your favorite partner comes up and asks you to dance right after you said no to someone else, you are still injured, tired, need a drink, etc and should sit out the song. -When giving a lesson or teaching the step, avoid "[Random Learner], you are doing this wrong" instead, say "I am seeing a few people doing this wrong." Even though I (and others like me) like it when given direct correction, I don't have issues with feeling comfortable in these situation, but people who get embarrassed easily will be by "Hey you shy girl blushing, you the one blushing even more now, don't do it that way." -As with any teaching/learning, everyone is different. Some like to count, some need music, music makes it harder for some, counting confuses some, some don't need to see the move from multiple angles, some will never get it without seeing it from multiple angles, some will get confused if they see it multiple angles. You have to constantly update your model of the group and encourage feedback.
I hope this is helpful, I'll update if I think of anything else useful.
One of the reasons I have not tried social dancing is because I think I would be expected to touch strangers. I would like to go with someone I know and just dance with them, to see if I like the dancing itself, and I might or might not become more comfortable later; but I'm pretty sure I would be subjected to smarmy encouragement, cannot-take-a-hint repeated inquiries, or stern norm-announcing about that. So I don't go at all.
Is there a solution to this problem?