Neurocognitive control in dance perception and performance

Bläsing, Bettina; Calvo-Merino, Beatriz; Cross, Emily S.; Jola, Corinne; Honisch, Juliane J.; Stevens, Catherine J.

doi:10.1016/j.actpsy.2011.12.005

Cited by 249 publications

(202 citation statements)

References 78 publications

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“…Motor imagery is also used in dance training to help memorize complex movements. It is accompanied with beta band activity observed in a broad range of cortical areas (Bläsing et al 2012). In the motor system, beta band activity apparently relates to maintenance of the current motor set and the dominance of endogenous top-down influences that override the effect of potentially novel, or unexpected, external events.…”

Section: Discussionmentioning

confidence: 99%

Brain electrical activities of dancers and fast ball sports athletes are different

et al. 2014

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Exercise training has been shown not only to influence physical fitness positively but also cognition in healthy and impaired populations. However, some particular exercise types, even though comparable based on physical efforts, have distinct cognitive and sensorimotor features. In this study, the effects of different types of exercise, such as fast ball sports and dance training, on brain electrical activity were investigated. Electroencephalography (EEG) scans were recorded in professional dancer, professional fast ball sports athlete (FBSA) and healthy control volunteer groups consisting of twelve subjects each. In FBSA, power of delta and theta frequency activities of EEG was significantly higher than those of the dancers and the controls. Conversely, dancers had significantly higher amplitudes in alpha and beta bands compared to FBSA and significantly higher amplitudes in the alpha band in comparison with controls. The results suggest that cognitive features of physical training can be reflected in resting brain electrical oscillations. The differences in resting brain electrical oscillations between the dancers and the FBSA can be the result of innate network differences determining the talents and/or plastic changes induced by physical training.

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Section: Discussionmentioning

confidence: 99%

Brain electrical activities of dancers and fast ball sports athletes are different

et al. 2014

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“…We have pointed out that observers are indeed able to recognize emotions in dance movements, and that neuroimaging studies have shown that emotion processing is triggered when observing emotional whole body movements. To date, studies related to dance and dancers' expertise have focused on such issues as motor control, timing and online movement synchronization, sequence learning and memory, visual and motor imagery, neural coupling between action and perception and some neuroaesthetics questions (Bläsing, Calvo-Merino, Cross, Jola, Honisch and Stevens, 2012). An important issue that still needs to be resolved-so we believe-refers to the neural concomitants of the observers' affective response to emotion perceived in danced movement.…”

Section: Discussionmentioning

confidence: 99%

Dance as a subject for empirical aesthetics.

Christensen¹,

Calvo-Merino²

2013

Psychology of Aesthetics, Creativity, and the Arts

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This is the accepted version of the paper.This version of the publication may differ from the final published version. There may be minor differences in this draft with respect to the published version of the paper. Both authors contributed to the paper equally. Permanent repository link Dance as a subject for empirical aestheticsWe are grateful to Marcos Nadal for very useful comments and discussions on previous drafts of the paper and to dancers and choreographers (Tom Sapsford and MavinKhoo) for their help and assistance during some of the projects described throughout this paper. AbstractThe purpose of this paper is to highlight the possibilities that research on dance appreciation offers empirical aesthetics, as well as the challenges it poses. Behavioral and neuroimaging approaches have, to date, mainly focused on the perception and recognition of human body movement and structure. A small number of studies, nonetheless, have explicitly taken the basic research on the perceptual, emotional and cognitive processes engaged during movement observation, together with their neural concomitants, as a starting point to understand the aesthetic experience triggered by the observation of a dance. We provide an overview of these studies and, thereafter, point out avenues for future research on dance appreciation within the scope of empirical aesthetics. We also note some methodological and conceptual issues that should be taken into account in the design of empirical studies of the aesthetic appreciation of dance, including dance theory scholarship and humanistic approaches to dance practice.Finally, we describe how common movement features of dance styles around the world suggest that humans may be endowed with an evolved cognitive ability to appreciate and to be aesthetically moved by dance.

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“…In contrast to the wealth of evidence describing expertise effects in the domains of action perception (see Bläsing et al, 2012 for a review of dance expertise effects in neurocognition), very little is known about how movement expertise modulates the processing of affective information in movement. Recent studies have shown that expert artists (an example of experts in emotional expression) have enhanced affective responses as compared to controls.…”

Section: Introductionmentioning

confidence: 99%

Dance expertise modulates behavioral and psychophysiological responses to affective body movement.

Christensen

Gomila

Gaigg

et al. 2016

Journal of Experimental Psychology: Human Perception and Perfor

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This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link AbstractThe present study shows how motor expertise increases sensitivity to affective body movement at the behavioural and physiological level. Nineteen affective movement experts (professional ballet dancers) and twenty-four controls watched 96 video clips of emotionally expressive body movements while they performed an affect rating task (subjective response)and their galvanic skin response was recorded (psychophysiological response). The movements in the clips were either sad or happy, and in half of the trials movements were played in the order in which they are learned (forward presentation), and in the other half, backwards (control condition). Results showed that motor expertise in affective body movement specifically modulated both behavioural and physiological sensitivity to others' affective body movement, and that this sensitivity is particularly strong when movements are shown in the way they are learnt (forward presentation). The evidence is discussed within current theories of proprioceptive arousal feedback and motor simulation accounts.

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Neurocognitive control in dance perception and performance

Cited by 249 publications

References 78 publications

Brain electrical activities of dancers and fast ball sports athletes are different

Brain electrical activities of dancers and fast ball sports athletes are different

Dance as a subject for empirical aesthetics.

Dance expertise modulates behavioral and psychophysiological responses to affective body movement.

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