Constraints on communicating the order of events in stories through pantomime

Pantomime is a means of bodily visual communication that is based on iconic gestures that are not fully conventional. It has become a key element in many models of language evolution and a strong candidate for the original human-specific communicative system (Zlatev et al. 2020). Although pantomime affords successful communication in many contexts, it has some semiotic limitations. In this study, we looked at one of them, connected with communicating the order of events in stories. We assumed that pantomime is well-suited for communicating simple stories, where events are arranged in chronological order, and less so for communicating complex stories, where events are arranged in a non-chronological order. To test this assumption, we designed a semiotic game in which participants took turns as directors and matchers. The task of the directors was to mime a story in one of two conditions: chronological or non-chronological; the task of the matchers was to interpret what was mimed. The results showed that the chronological condition was easier for the participants. In the non-chronological condition, we observed that initially, poor communicative success improved as the participants started to use various markers of event order. The results of our study provide insight into the early stages of conventionalisation in bodily visual communication, a potential first step towards protolanguage

What’s in a mime? : An exploratory analysis of predictors of communicative success of pantomime

Several lines of research within developmental psychology, experimental semiotics and language origins studies have recently converged in their interest in pantomime as a system of bodily communication distinct from both language (spoken or signed) and nonlinguistic gesticulation. These approaches underscore the effectiveness of pantomime, which despite lack of semiotic conventions is capable of communicating complex meanings. However, very little research is available on the structural underpinnings of this effectiveness, that is, the specific properties of pantomime that determine its communicative success. To help fill in this gap, we conducted an exploratory rating study aimed at identifying those properties of pantomime that facilitate its understanding. We analysed an existing corpus of 602 recordings of whole-body re-enactments of short transitive events, coding each of them for 6 properties, and found out that the presence of salient elements (conspicuous objects in a specific semantic space), image mapping (representing the physical orientation of the object), and gender markers (distinguishing between the represented characters) increased the guessability of pantomimes

Praxis, demonstration and pantomime: a motion capture investigation of differences in action performances

A commonly held assumption is that demonstration and pantomime differ from ordinary action in that the movements are slowed down and exaggerated to be better understood by intended receivers. This claim has, however, been based on meagre empirical support. This article provides direct evidence that the different functional demands of demonstration and pantomime result in motion characteristics that differ from those for praxic action. In the experiment, participants were dressed in motion capture suits and asked to (1) perform an action, (2) demonstrate this action so that somebody else could learn how to perform it, (3) pantomime this action without using the object so that somebody else could learn how to perform it, and (4) pantomime this action without using the object so that somebody else could distinguish it from another action. The results confirm that actors slow down and exaggerate their movements in demonstrations and pantomimes when compared to ordinary actions