Neurocognitive control in dance perception and performance

Group exercise for balance in people with Parkinson's disease: a systematic review with meta-analysis

BACKGROUND

High-quality evidence shows that exercise helps people with Parkinson's disease improve functional abilities including balance. However, few studies have investigated whether the setting and format through which balance-focused exercise programs are provided matters. This systematic review investigated group exercise compared to individual exercise, and to no-exercise control (CTL), on clinical measures of balance for people with Parkinson's disease.

METHODS

MEDLINE, EMBASE, CINAHL and Cochrane CENTRAL databases were searched through March 24, 2024, on terms for Parkinson's disease; exercise or physical activity; community-based or group classes; balance or postural control. Citations, abstracts and full-text articles were independently reviewed, and included studies were rated on risk of bias by two authors.

RESULTS

Twenty-seven randomized controlled trials (30 reports) with 1200 participants met criteria. Meta-analysis using mean difference (MD) compared group exercise to CTL on seven clinical measures of balance. Three yielded significant differences favoring group exercise: Timed Up and Go = -2.29 (MD), -3.56 to -1.02 (95% Confidence interval) (95% CI); Mini-BEST = 2.72 (MD), 1.88 to 3.57 (95% CI); Berg Balance Scale = 4.31 (MD), 1.33 to 7.29 (95% CI). Meta-analyses were also conducted on six clinical measures of balance, comparing group exercise to individual exercise, yielding no significant differences.

CONCLUSIONS

For people with Parkinson's disease, group exercise may be more effective than CTL on some clinical measures of balance and it yields similar results to individual exercise. People with Parkinson's disease are encouraged to participate regularly in group or individual exercise based on preference and accessibility.

The Difference Between Expert Dancers' and Non-Dancers Tapping Timing With and Without an Auditory Stimulus at a Slow Tempo

Our primary purpose in this study was to determine whether trained dancers differed from untrained non-dancers in their ability to accurately control motor timing during finger and heel tapping tasks, both with and without slow isochronous auditory stimuli. Dancers and non-dancers were instructed to synchronize their taps with isochronous auditory stimuli under three conditions: 30, 40, and 50 BPM. After the synchronization phase, participants were asked to continue tapping without the auditory sequences. On the synchronization task, the tapping onset of both groups lagged behind the stimulus onset in all tempo conditions. In all conditions, dancers showed more accurate and stable beat synchronization and continuation than non-dancers. As the tempo condition slowed down (from 50 to 30 BPM), synchronization accuracy decreased while synchronization and continuation variability increased. Unlike for novices, dancers showed no difference between the finger and heel tapping synchronization tasks. During the continuous tasks, their timing accuracy was higher for heel than for finger tapping. Collectively, these findings suggest that dance training, which involves synchronizing bodily movements based on rhythm, may lead to an accumulation of experience that enhances specific sensorimotor skills related to synchronizing movements with external stimuli or continuing rhythmic movements temporally.

Audiovisual integration of rhythm in musicians and dancers

Music training is associated with better beat processing in the auditory modality. However, it is unknown how rhythmic training that emphasizes visual rhythms, such as dance training, might affect beat processing, nor whether training effects in general are modality specific. Here we examined how music and dance training interacted with modality during audiovisual integration and synchronization to auditory and visual isochronous sequences. In two experiments, musicians, dancers, and controls completed an audiovisual integration task and an audiovisual target-distractor synchronization task using dynamic visual stimuli (a bouncing figure). The groups performed similarly on the audiovisual integration tasks (Experiments 1 and 2). However, in the finger-tapping synchronization task (Experiment 1), musicians were more influenced by auditory distractors when synchronizing to visual sequences, while dancers were more influenced by visual distractors when synchronizing to auditory sequences. When participants synchronized with whole-body movements instead of finger-tapping (Experiment 2), all groups were more influenced by the visual distractor than the auditory distractor. Taken together, this study highlights how training is associated with audiovisual processing, and how different types of visual rhythmic stimuli and different movements alter beat perception and production outcome measures. Implications for the modality appropriateness hypothesis are discussed.

Therapeutic effects of line dancing in people with multiple sclerosis: an evaluator-blinded, randomized controlled study

BACKGROUND

Line dancing is a popular form of exercise shown to affect balance and mood positively. However, few studies examine its effectiveness in multiple sclerosis (MS). The study aims to investigate the effects of line dancing on balance, mood, and health-related quality of life in MS.

METHODS

Participants were randomized into the line dance (n =15) and the control groups (n =16). Outcomes were measured using the Berg Balance Scale, Hospital Anxiety and Depression Scale, and Multiple Sclerosis Quality of Life-54 (MSQoL-54) at baseline and post intervention.

RESULTS

Post-intervention in the line dancing group, significant improvements were observed in balance, anxiety status, and health-related quality of life. When the groups were compared, significant differences were found in balance, anxiety, and the mental health composite of the MSQoL-54.

CONCLUSION

This study recommends the use of line dancing as a therapeutic intervention in MS. Nevertheless, comparisons with different intervention approaches and follow-up studies are needed.

Iranian classical dance as a subject for empirical research: An elusive genre

Dance has entered mainstream empirical research: dance as an experimental stimulus, and dancers as movement experts. Informed by several sources, including primary sources (original, historical documents, and oral reports, such as interviews with practitioners and academic scholars of Iranian dance genres) and secondary sources (research literature), we describe what we label "Iranian classical dance" within this paper as an important resource for empirical research, not only in humanities scholarship but also, and importantly, for empirical aesthetics, emotion psychology, cross-cultural psychology, and affective neuroscience. For this purpose, we (1) describe the aesthetics, characteristics, and history of Iranian classical dance; (2) outline issues of definition and systematization; and (3) give an overview of the cultural complexities and sociopolitical issues regarding Iranian classical dance in the past 40 years, which have shaped its current form. After the political revolution of 1979 (Iranian solar calendar year: 1358), dance in Iran-both as everyday practice and as a cultural heritage-was first forbidden, and now remains heavily restricted. International, interdisciplinary research teams can contribute to safeguarding Iranian classical dance in the future by firmly enshrining it into empirical research on human dance. We outline empirical research perspectives on Iranian classical dance, dataset resources, and expert communities.

Embodied metacognition as strengthened functional connection between neural correlates of metacognition and dance in dancers: exploring creativity implications

Introduction

Dance education fosters embodied metacognition, enhancing student's creativity. This study examines the crucial role of functional connectivity (FC) between the neural correlates of metacognition (NCM) and dance (NCD) as the neurological foundation for dancers' embodied metacognition. The investigation also explores whether these consolidated FCs inform the general creativity in dancers.

Methods

The research involved 29 dancers and 28 non-dancer controls. The study examined resting-state connections of the NCM through seed-based FC analysis. Correlation analyses were employed to investigate the connections between the targeted NCM-NCD FCs, initiated from the a priori NCM seed, and general creativity.

Results

Dancers demonstrated heightened FC between NCM and NCD compared to non-dancer controls. The targeted regions included the putamen, globus pallidus, posterior cerebellum, and anterior insula of NCD. The dancers exhibited higher originality scores. In dancers, the enhanced FC showed a negative correlation with originality and a positive correlation with flexibility. Conversely, the controls exhibited no significant correlations.

Discussion

Extended dance training enhances the NCM-NCD connection signifying embodied metacognition. This interconnectedness may serve as the neural predisposition for fostering general creativity performance in dancers. Dancers with heightened levels of originality could leverage the relatively weaker NCM-NCD FCs to facilitate better integration and coordination of creative cognitive processes. Our findings suggest that the consolidated functional connections as sculpted by domain-specific training may inform general creativity.

Trait representation of embodied cognition in dancers pivoting on the extended mirror neuron system: a resting-state fMRI study

Introduction

Dance is an art form that integrates the body and mind through movement. Dancers develop exceptional physical and mental abilities that involve various neurocognitive processes linked to embodied cognition. We propose that dancers' primary trait representation is movement-actuated and relies on the extended mirror neuron system (eMNS).

Methods

A total of 29 dancers and 28 non-dancer controls were recruited. A hierarchical approach of intra-regional and inter-regional functional connectivity (FC) analysis was adopted to probe trait-like neurodynamics within and between regions in the eMNS during rest. Correlation analyses were employed to examine the associations between dance training, creativity, and the FC within and between different brain regions.

Results

Within the eMNS, dancers exhibited increased intra-regional FC in various brain regions compared to non-dancers. These regions include the left inferior frontal gyrus, left ventral premotor cortex, left anterior insula, left posterior cerebellum (crus II), and bilateral basal ganglia (putamen and globus pallidus). Dancers also exhibited greater intrinsic inter-regional FC between the cerebellum and the core/limbic mirror areas within the eMNS. In dancers, there was a negative correlation observed between practice intensity and the intrinsic FC within the eMNS involving the cerebellum and basal ganglia. Additionally, FCs from the basal ganglia to the dorsolateral prefrontal cortex were found to be negatively correlated with originality in dancers.

Discussion

Our results highlight the proficient communication within the cortical-subcortical hierarchy of the eMNS in dancers, linked to the automaticity and cognitive-motor interactions acquired through training. Altered functional couplings in the eMNS can be regarded as a unique neural signature specific to virtuoso dancers, which might predispose them for skilled dancing performance, perception, and creation.

Mirror, mirror on the wall, who is the fairest dancer of them all? A naturalistic lens model study on the judgment of dance performance

Success as a dancer is closely associated with positive dance judgments by perceivers. Although dancers' physical appearance (attractiveness, style) might affect dance judgments beyond dance-specific attributes (technique, expression), they have largely been unconsidered in previous studies. To contribute to a comprehensive explanation of real-life dance judgments, we applied the lens model, an approach explicitly developed to explain the emergence of social judgments by multiple attributes. Therefore, video-records of 70 solo performances were (1) rated regarding dancers' physical appearance, technique, and expression and (2) judged by 33 perceivers. Results of cross-classified mixed-effects models revealed that attributes of all domains were significantly related to dance judgements. Considered simultaneously, however, only dance-specific attributes contributed to the prediction of dance judgments. Additional moderation analyses underscored the importance of perceivers' expertise in judging dance. We discuss the lens model as suitable framework for a naturalistic approach to the study of aesthetic experiences and sports performances.

The Neuroscience of Dance: A Conceptual Framework and Systematic Review

Ancient and culturally universal, dance pervades many areas of life and has multiple benefits. In this article, we provide a conceptual framework and systematic review, as a guide for researching the neuroscience of dance. We identified relevant articles following PRISMA guidelines, and summarised and evaluated all original results. We identified avenues for future research in: the interactive and collective aspects of dance; groove; dance performance; dance observation; and dance therapy. Furthermore, the interactive and collective aspects of dance constitute a vital part of the field but have received almost no attention from a neuroscientific perspective so far. Dance and music engage overlapping brain networks, including common regions involved in perception, action, and emotion. In music and dance, rhythm, melody, and harmony are processed in an active, sustained pleasure cycle giving rise to action, emotion, and learning, led by activity in specific hedonic brain networks. The neuroscience of dance is an exciting field, which may yield information concerning links between psychological processes and behaviour, human flourishing, and the concept of eudaimonia.

A 5-emotions stimuli set for emotion perception research with full-body dance movements

Ekman famously contended that there are different channels of emotional expression (face, voice, body), and that emotion recognition ability confers an adaptive advantage to the individual. Yet, still today, much emotion perception research is focussed on emotion recognition from the face, and few validated emotionally expressive full-body stimuli sets are available. Based on research on emotional speech perception, we created a new, highly controlled full-body stimuli set. We used the same-sequence approach, and not emotional actions (e.g., jumping of joy, recoiling in fear): One professional dancer danced 30 sequences of (dance) movements five times each, expressing joy, anger, fear, sadness or a neutral state, one at each repetition. We outline the creation of a total of 150, 6-s-long such video stimuli, that show the dancer as a white silhouette on a black background. Ratings from 90 participants (emotion recognition, aesthetic judgment) showed that intended emotion was recognized above chance (chance: 20%; joy: 45%, anger: 48%, fear: 37%, sadness: 50%, neutral state: 51%), and that aesthetic judgment was sensitive to the intended emotion (beauty ratings: joy > anger > fear > neutral state, and sad > fear > neutral state). The stimuli set, normative values and code are available for download.

Eco-Friendly and Sustainable Pathways to Photoluminescent Carbon Quantum Dots (CQDs)

Carbon quantum dots (CQDs), a new family of photoluminescent 0D NPs, have recently received a lot of attention. They have enormous future potential due to their unique properties, which include low toxicity, high conductivity, and biocompatibility and accordingly can be used as a feasible replacement for conventional materials deployed in various optoelectronic, biomedical, and energy applications. The most recent trends and advancements in the synthesizing and setup of photoluminescent CQDs using environmentally friendly methods are thoroughly discussed in this review. The eco-friendly synthetic processes are emphasized, with a focus on biomass-derived precursors. Modification possibilities for creating newer physicochemical properties among different CQDs are also presented, along with a brief conceptual overview. The extensive amount of writings on them found in the literature explains their exceptional competence in a variety of fields, making these nanomaterials promising alternatives for real-world applications. Furthermore, the benefits, drawbacks, and opportunities for CQDs are discussed, with an emphasis on their future prospects in this emerging research field.

The McNorm library: creating and validating a new library of emotionally expressive whole body dance movements

The ability to exchange affective cues with others plays a key role in our ability to create and maintain meaningful social relationships. We express our emotions through a variety of socially salient cues, including facial expressions, the voice, and body movement. While significant advances have been made in our understanding of verbal and facial communication, to date, understanding of the role played by human body movement in our social interactions remains incomplete. To this end, here we describe the creation and validation of a new set of emotionally expressive whole-body dance movement stimuli, named the Motion Capture Norming (McNorm) Library, which was designed to reconcile a number of limitations associated with previous movement stimuli. This library comprises a series of point-light representations of a dancer's movements, which were performed to communicate to observers neutrality, happiness, sadness, anger, and fear. Based on results from two validation experiments, participants could reliably discriminate the intended emotion expressed in the clips in this stimulus set, with accuracy rates up to 60% (chance = 20%). We further explored the impact of dance experience and trait empathy on emotion recognition and found that neither significantly impacted emotion discrimination. As all materials for presenting and analysing this movement library are openly available, we hope this resource will aid other researchers in further exploration of affective communication expressed by human bodily movement.

Moving online: Experiences and potential benefits of digital dance for older adults and people with Parkinson's disease

BACKGROUND

Dance provides a range of beneficial effects for older adults including individuals with age-related neurological conditions such as Parkinson's disease (PD). The COVID-19 pandemic accelerated the development of at-home dance programs delivered digitally through live and pre-recorded media, but little is known about how participants may engage with and benefit from these resources.

OBJECTIVE

This study explored experiences and potential benefits of digital dance participation among healthy older adults and people with PD.

METHODS

An online survey consisting of fixed-choice and open questions was designed in collaboration with dance program providers and distributed between June and November 2020.

RESULTS

Healthy older adults (N = 149) and people with PD (N = 178) participating in at-home dance programs reported frequent engagement and a range of benefits. People with PD reported greater levels of motor (e.g., ease of movement, balance) than non-motor (e.g., energy, confidence) outcomes, while healthy older adults reported similar numbers of motor and non-motor outcomes. Positive outcomes were associated with the use of movement imagery during dance in both groups, while singing was associated with benefits in people with PD and vocalising was associated with benefits in older adults. At-home dance resources were found to offer convenience and flexibility, but participants missed the interaction, support, and routine provided by in-person classes. The majority expressed a preference to continue with both digital and in-person participation in the future. Qualitative analysis of participants' comments further revealed that digital participation could help to maintain connection and well-being, as well as identifying further considerations for improving accessibility and facilitating digital engagement.

CONCLUSIONS

At-home dance appears to be accessible, engaging, and potentially beneficial for older adults and people with PD, although barriers to participation should be addressed. Digital resources will be increasingly important to enable cost-effective, large-scale provision of home-based therapeutic activities.

Neurophysiological Response of Adults with Cerebral Palsy during Inclusive Dance with Wheelchair

A total of 16 adults with cerebral palsy (age = 37.50 (7.78)) participated in this cross-sectional study. The electroencephalographic (EEG) data were recorded under three conditions: (1) baseline; (2) while listening to music; (3) while performing inclusive dance choreography with wheelchair. EEG data was banded into theta (4-7 Hz), alpha (8-12 Hz), and beta (13-30 Hz). Significantly higher values of theta, alpha, and beta bands were found in dance conditions than in the baseline. Significant differences between baseline and listening to music conditions were not found in any of the power spectrum bands. Differences between listening to music conditions and inclusive dance with wheelchair were observed in theta and beta power spectrum band studies in the F4 electrode. Inclusive dance with wheelchair increases theta, alpha, and beta power spectra when compared to baseline. In addition, the beta power spectrum is greater only during inclusive dance conditions, which could be modulated by emotions. However, future studies should corroborate this hypothesis.

Prenatal dance activity enhances foetal and postnatal cognitive and motor development

Introduction

No research has examined the impact of any physical-artistic-cognitive activity on foetal neurodevelopment. The aim of the study was to investigate the efficacy of a unique prenatal dance activity in pre- and postnatal cognitive and motor development as a complementary health care practice.

Methods

26 clinically uncomplicated primiparas and multiparas with singleton pregnancies and their later born children were examined in this prospective study at the University of Pécs, Hungary. The activity group participated in supervised, 60-min, twice-weekly, moderate-intensity prenatal dance classes for 19.56 ± 3.97 weeks, whereas the control group did not. We determined the developmental ages of their children with the Bayley Scales of Infant and Toddler Development in both groups at 5 weeks of age and in the activity group at 33 months of age.

Results

Prenatal dance activity did not cause any adverse outcomes. Infants in the activity group had significantly higher mean developmental ages than the control group regarding cognitive skills (P < 0.001), receptive (P < 0.001) and expressive communication (P = 0.007), fine (P < 0.001) and gross motor (P = 0.001). As toddlers their mean developmental ages were significantly higher than their mean calendar age regarding cognitive skills (P = 0.001), receptive (P = 0.001) and expressive communication (P = 0.001), fine (P = 0.002) and gross motor (P = 0.001).

Conclusions

Our results confirm the safe implementation of this prenatal dance activity and the more advanced cognitive and motor development of children in the activity group as infants compared to the control group and as toddlers compared to the norm. These results offer a novel approach to dance in pre- and postnatal clinical practice.

The association between ballroom dance training and empathic concern: Behavioral and brain evidence

Dance is unique in that it is a sport and an art simultaneously. Beyond improving sensorimotor functions, dance training could benefit high-level emotional and cognitive functions. Duo dances also confer the possibility for dancers to develop the abilities to recognize, understand, and share the thoughts and feelings of their dance partners during the long-term dance training. To test this possibility, we collected high-resolution structural and resting-state functional magnetic resonance imaging (MRI) data from 43 expert-level ballroom dancers (a model of long-term exposure to duo dance training) and 40 age-matched and sex-matched nondancers, and measured their empathic ability using a self-report trait empathy scale. We found that ballroom dancers showed higher scores of empathic concern (EC) than controls. The EC scores were positively correlated with years with dance partners but negatively correlated with the number of dance partners for ballroom dancers. These behavioral results were supported by the structural and functional MRI data. Structurally, we observed that the gray matter volumes in the subgenual anterior cingulate cortex (ACC) and EC scores were positively correlated. Functionally, the connectivity between ACC and occipital gyrus was positively correlated with both EC scores and years with dance partners. In addition, the relationship between years with dance partners and EC scores was indirect-only mediated by the ACC-occipital gyrus functional connectivity. Therefore, our findings provided solid evidence for the close link between long-term ballroom dance training and empathy, which deepens our understanding of the neural mechanisms underlying this phenomenon.

Action imitation via trajectory-based or posture-based planning

Imitation is a significant daily activity involved in social interaction and motor learning. Imitation has been theorized to be performed in at least two ways. In posture-based imitation, individuals reproduce how the body should look and feel, and are sensitive to the relative positioning of body parts. In trajectory imitation, individuals mimic the spatiotemporal motion path of the end effector. There are clear anecdotal situations in which one might benefit from imitating postures (when learning ballet) or trajectories (when learning to reach around objects). However, whether these are in fact distinct methods of imitation, and if so, whether they may be applied interchangeably to perform the same task, remain unknown. If these are indeed separate mechanisms that rely on different computational and neural resources, a cost should be incurred when switching from using one mechanism to the other within the context of a single task. Therefore, observing a processing cost would both provide evidence that these are indeed two distinct mechanisms, and that they may be used interchangeably when trying to imitate the same stimulus. To test this, twenty-five healthy young adults performed a sequential multitasking imitation task. Participants were first instructed to pay attention to the limb postures or the hand path of a video-recorded model, then performed a neutral, congruent, or incongruent intervening motor task. Finally, participants imitated the modeled movement. We examined both spatial and temporal imitation accuracy as well as individual spatial consistency. When the primary task involved imitating trajectories, analysis of individual consistency suggested a processing cost: movements following the posture-matching intervening task were less consistent with baseline (neutral) performance, suggesting performance may be disrupted by the incongruence. This effect was not observed when imitating limb postures. In summary, we present initial evidence for a difference between posture matching and trajectory imitation as a result of instructions and intervening tasks that is consistent with the existence of two computationally distinct imitation mechanisms.

More Than Movement: Exploring Motor Simulation, Creativity, and Function in Co-developed Dance for Parkinson’s

Dance is an enjoyable, non-therapy-focused activity that may provide a range of benefits for people with Parkinson’s. The internal simulation of movement through observation, imitation, and imagery, is intrinsic to dance and may contribute to functional improvements for people with Parkinson’s. This study explored the feasibility and potential benefits of a dance program designed by a collaborative team of dance artists, researchers, physiotherapists, and people living with Parkinson’s. The program incorporated motor simulation through observation, imitation and imagery of movement, supported by creative themes, expression, and music. A 6-week pilot trial of the program was conducted with 10 people with Parkinson’s. A focus group following the trial (N = 8) provided insights into the use of imagery, observation and imitation within dance, and the link between creativity and functional outcomes, as well as indicating multidimensional benefits of dance as reported in previous studies. Exploratory outcome measures also suggested potential effects on motor simulation, functional dexterity, and quality of life. The present study demonstrates the feasibility of a co-developed dance program for Parkinson’s and indicates how creative elements of dance may support functional outcomes. Future research should examine the role of motor simulation processes in dance for Parkinson’s, including the potential to develop transferable cognitive-motor skills. This study also highlights the value of collaborative partnerships in designing dance for health programs, which may optimise beneficial effects by using creative approaches to incorporate evidence-based elements, with guidance from individuals with lived experience to ensure the relevance to their goals.

The Role of Art Expertise and Symmetry on Facial Aesthetic Preferences

Humans, like other species, have a preference for symmetrical visual stimuli, a preference that is influenced by factors such as age, sex, and artistic training. In particular, artistic training seems to decrease the rejection of asymmetry in abstract stimuli. However, it is not known whether the same trend would be observed in relation to concrete stimuli such as human faces. In this article, we investigated the role of expertise in visual arts, music, and dance, in the perceived beauty and attractiveness of human faces with different asymmetries. With this objective, the beauty and attractiveness of 100 photographs of faces with different degrees of asymmetry were evaluated by 116 participants with different levels of art expertise. Expertise in visual arts and dance was associated with the extent to which facial asymmetry influenced the beauty ratings assigned to the faces. The greater the art expertise in visual arts and dance, the more indifferent to facial asymmetry the participant was to evaluate beauty. The same effect was not found for music and neither for attractiveness ratings. These findings are important to help understand how face aesthetic evaluation is modified by artistic training and the difference between beauty and attractiveness evaluations.

If You Are Old, Videos Look Slow. The Paradoxical Effect of Age-Related Motor Decline on the Kinematic Interpretation of Visual Scenes

Perception and action are tightly coupled. However, there is still little recognition of how individual motor constraints impact perception in everyday life. Here we asked whether and how the motor slowing that accompanies aging influences the sense of visual speed. Ninety-four participants aged between 18 and 90 judged the natural speed of video clips reproducing real human or physical motion (SoS, Sense-of-Speed adjustment task). They also performed a finger tapping task and a visual search task, which estimated their motor speed and visuospatial attention speed, respectively. Remarkably, aged people judged videos to be too slow (speed underestimation), as compared to younger people: the Point of Subjective Equality (PSE), which estimated the speed bias in the SoS task, was +4% in young adults (&lt;40), +12% in old adults (40–70) and +16% in elders. On average, PSE increased with age at a rate of 0.2% per year, with perceptual precision, adjustment rate, and completion time progressively worsening. Crucially, low motor speed, but not low attentional speed, turned out to be the key predictor of video speed underestimation. These findings suggest the existence of a counterintuitive compensatory coupling between action and perception in judging dynamic scenes, an effect that becomes particularly germane during aging.

[Rehabilitation of patients with multiple sclerosis]

Multiple sclerosis is a common cause of disability among young and middle-aged people. Despite the modern possibilities of diagnostics and therapy, over time, the disease acquires a secondary progressive character. Rehabilitation of patients at all stages of the disease plays an important role in improving well-being, improving the quality of life, adapting the patient and restoring motor skills. However, there is currently no clear recommendation for the application of specific techniques in each case. The aim of this work was to analyze the available methods of rehabilitation therapy, to highlight the most used and promising ones. Due to the progressive course of the disease, the benefits of rehabilitation measures are usually higher at the initial stages. Nevertheless, nowadays there is a large number of works devoted to rehabilitation measures in patients with moderate and high levels of disability. It has been shown that both inpatient and outpatient rehabilitation has a positive effect on the quality of life and improvement of clinical indicators. Our review describes the main techniques with recommendations for the scheme of application. A comprehensive assessment of the patient's health status, a multidisciplinary team and a personalized approach increase the quality and effectiveness of rehabilitation measures. We also describe our own experience in the treatment of spasticity in patients with a secondary progressive multiple sclerosis.

Expertise Modulates Neural Stimulus-Tracking

How does the brain anticipate information in language? When people perceive speech, low-frequency (<10 Hz) activity in the brain synchronizes with bursts of sound and visual motion. This phenomenon, called cortical stimulus-tracking, is thought to be one way that the brain predicts the timing of upcoming words, phrases, and syllables. In this study, we test whether stimulus-tracking depends on domain-general expertise or on language-specific prediction mechanisms. We go on to examine how the effects of expertise differ between frontal and sensory cortex. We recorded electroencephalography (EEG) from human participants who were experts in either sign language or ballet, and we compared stimulus-tracking between groups while participants watched videos of sign language or ballet. We measured stimulus-tracking by computing coherence between EEG recordings and visual motion in the videos. Results showed that stimulus-tracking depends on domain-general expertise, and not on language-specific prediction mechanisms. At frontal channels, fluent signers showed stronger coherence to sign language than to dance, whereas expert dancers showed stronger coherence to dance than to sign language. At occipital channels, however, the two groups of participants did not show different patterns of coherence. These results are difficult to explain by entrainment of endogenous oscillations, because neither sign language nor dance show any periodicity at the frequencies of significant expertise-dependent stimulus-tracking. These results suggest that the brain may rely on domain-general predictive mechanisms to optimize perception of temporally-predictable stimuli such as speech, sign language, and dance.

Dance Improves Motor, Cognitive, and Social Skills in Children With Developmental Cerebellar Anomalies

In this multiple single-cases study, we used dance to train sensorimotor synchronization (SMS), motor, and cognitive functions in children with developmental cerebellar anomalies (DCA). DCA are rare dysfunctions of the cerebellum that affect motor and cognitive skills. The cerebellum plays an important role in temporal cognition, including SMS, which is critical for motor and cognitive development. Dancing engages the SMS neuronal circuitry, composed of the cerebellum, the basal ganglia, and the motor cortices. Thus, we hypothesized that dance has a beneficial effect on SMS skills and associated motor and cognitive functions in children with DCA. Seven children (aged 7-11) with DCA participated in a 2-month dance training protocol (3 h/week). A test-retest design protocol with multiple baselines was used to assess children's SMS skills as well as motor, cognitive, and social abilities. SMS skills were impaired in DCA before the training. The training led to improvements in SMS (reduced variability in paced tapping), balance, and executive functioning (cognitive flexibility), as well as in social skills (social cognition). The beneficial effects of the dance training were visible in all participants. Notably, gains were maintained 2 months after the intervention. These effects are likely to be sustained by enhanced activity in SMS brain networks due to the dance training protocol.

Feeling for the Other With Ease: Prospective Actors Show High Levels of Emotion Recognition and Report Above Average Empathic Concern, but Do Not Experience Strong Distress

Differences in empathic abilities between acting, dance, and psychology students were explored, in addition to the appropriateness of existing empathy measures in the context of these cohorts. Students (N = 176) across Higher Education Institutions in the United Kingdom and Europe were included in the online survey analysis, consisting of the Reading the Mind in the Eyes (RME) test, the Interpersonal Reactivity Index (IRI), the Empathy Quotient (EQ), and the E-drawing test (EDT), each measuring particular facets of empathy. Based on existing evidence and our understanding of the discipline practices, we predicted that acting students would perform the best at identifying people’s emotional expressions but might lack other cognitive or affective empathy skills, particularly those related to emotional reactions. This cohort thus provides an opportunity to evaluate different empathy measures. While actors showed significantly higher RME scores than dancers, the difference between actors and psychologists was marginal. Moreover, actors’ scores did not differ significantly on other empathy measures, such as their concern for others’ emotional wellbeing or fantasy, both measured by IRI subscales. Psychology students scored highest in the IRI perspective taking subscale and the data supported anecdotal evidence that psychologists were more concerned for others’ emotional wellbeing than dancers or actors. Dancers seemed the least concerned with others’ perspectives and emotional states, which we explained through a somatosensory ‘inward’ focus required by their art form. Nevertheless, compared to the general population, our groups reported higher empathic abilities on all IRI subscales except for personal distress. Altogether, our study shows that the RME, the IRI, and the EDT vary in their susceptibility to different facets of empathic abilities in acting, dance, and psychology students whereas the EQ does not. Emotions can be expressed and perceived through language, facial expressions, or behavior. As many empathy tests focus on one type of signal they might miss other strategies. Where empathy tests are applied to individuals that have a predominance to read or respond to others in a particular way, as we showed through these three disciplines, they might not capture these empathic strategies. We thus propose that empathy tests must evolve by means of integrating varied forms of communication.

Dance at Home for People With Parkinson's During COVID-19 and Beyond: Participation, Perceptions, and Prospects

Emerging evidence shows that dance can provide both physical and non-physical benefits for people living with Parkinson's disease (PD). The suspension of in-person dance classes during the COVID-19 pandemic necessitated a transition to remote provision via live and recorded digital media. An online survey explored accessibility of and engagement with home-based dance programs, as well as potential benefits and processes involved in participation. The survey was co-developed by researchers and dance program providers, with input from people with PD and physiotherapists. Responses were collected from 276 individuals, including 178 current users of home-based programs, the majority of whom were participating at least once per week. Among respondents not currently using digital resources, lack of knowledge and motivation were the primary barriers. Most participants (94.9%) reported that home based practise provided some benefits, including physical (e.g., balance, posture) and non-physical (e.g., mood, confidence) improvements. Participants valued the convenience and flexibility of digital participation, but noted limitations including reductions in social interaction, support from instructors and peers, and motivation. There was a strong preference (70.8%) for continuing with home-based practise alongside in-person classes in the future. The results indicate that at-home dance is accessible and usable for people with PD, and that some of the previously-reported benefits of dance may be replicated in this context. Digital dance programs will likely remain a key element of future provision for people with PD, and the present findings will inform further development of resources and research into mechanisms and outcomes of home-based dance participation.

Improvisational Dance-Based Psychological Training of College Students' Dance Improvement

Dance creation involves complex psychological activities. Although previous studies have conducted extensive investigations on the psychological aspects of choreographers' creations, little is known regarding the psychological barrier of choreographers in terms of creativity. The study aims to explore the psychological barrier of innovation in dance choreography, which is a kind of situation between mental illness and mental problems. The research shows that improvisational dance is a free dance with the human body as a material carrier, and it is a dance form that the dancer's thinking is transformed into dance action to express their inner thoughts. The improvement of the potential creative thinking of dance creators through the improvisational dance movement and structure are explored. Meanwhile, the theoretical ideas of psychologists have been applied to the cultivation and improvement of improvisational dance creativity, which has made full certification and supplement. Moreover, through psychological experiments, it is proved that improvisational dance is an important way to release and develop creativity. Based on the theory of psychology, feasible suggestions are given to improve students' creative ability in the process of improvisational dance teaching.

Dancing in Your Head: An Interdisciplinary Review

The aim of this review is to highlight the most relevant contributions on dance in neuroscientific research. Neuroscience has analyzed the mirror system through neuroimaging techniques, testing its role in imitative learning, in the recognition of other people's emotions and especially in the understanding of the motor behavior of others. This review analyses the literature related to five general areas: (I) breakthrough studies on the mirror system, and subsequent studies on its involvement in the prediction, the execution, the control of movement, and in the process of "embodied simulation" within the intersubjective relationship; (II) research focused on investigating the neural networks in action observation, and the neural correlates of motor expertise highlighted by comparative studies on different dance styles; (III) studies dealing with the viewer's experience of dance according to specific dance repertoires, which revealed the relevance of choreographic choices for aesthetic appreciation; (IV) studies focused on dance as an aesthetic experience, where both the emotional and the cultural dimension play a significant role, and whose investigation paves the way to further progress both in empirical and in phenomenological research methodologies; (V) collaboration-based experiments, in which neuroscientists and choreographers developed expertise-related questions, especially focusing on the multiple phenomena that underlie motor imagery.

Dance Is More Than Meets the Eye-How Can Dance Performance Be Made Accessible for a Non-sighted Audience?

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's "Sons of Sissy," we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research.

Learned Overweight Internal Model Can Be Activated to Maintain Equilibrium When Tactile Cues Are Uncertain: Evidence From Cortical and Behavioral Approaches

Human adaptive behavior in sensorimotor control is aimed to increase the confidence in feedforward mechanisms when sensory afferents are uncertain. It is thought that these feedforward mechanisms rely on predictions from internal models. We investigate whether the brain uses an internal model of physical laws (gravitational and inertial forces) to help estimate body equilibrium when tactile inputs from the foot sole are depressed by carrying extra weight. As direct experimental evidence for such a model is limited, we used Judoka athletes thought to have built up internal models of external loads (i.e., opponent weight management) as compared with Non-Athlete participants and Dancers (highly skilled in balance control). Using electroencephalography, we first (experiment 1) tested the hypothesis that the influence of tactile inputs was amplified by descending cortical efferent signals. We compared the amplitude of P1N1 somatosensory cortical potential evoked by electrical stimulation of the foot sole in participants standing still with their eyes closed. We showed smaller P1N1 amplitudes in the Load compared to No Load conditions in both Non-Athletes and Dancers. This decrease neural response to tactile stimulation was associated with greater postural oscillations. By contrast in the Judoka's group, the neural early response to tactile stimulation was unregulated in the Load condition. This suggests that the brain can selectively increase the functional gain of sensory inputs, during challenging equilibrium tasks when tactile inputs were mechanically depressed by wearing a weighted vest. In Judokas, the activation of regions such as the right posterior inferior parietal cortex (PPC) as early as the P1N1 is likely the source of the neural responses being maintained similar in both Load and No Load conditions. An overweight internal model stored in the right PPC known to be involved in maintaining a coherent representation of one's body in space can optimize predictive mechanisms in situations with high balance constraints (Experiment 2). This hypothesis has been confirmed by showing that postural reaction evoked by a translation of the support surface on which participants were standing wearing extra-weight was improved in Judokas.

A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of “dancing” is enjoyed as a dancer within different dance domains (e.g., professional/”high-art” type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body.

DARE to move: feasibility study of a novel dance-based rehabilitation method in severe traumatic brain injury

Objective: Dance is a versatile and multimodal rehabilitation method, which may be useful also in traumatic brain injury (TBI) rehabilitation. Here, we assessed the feasibility and preliminary effects of a novel dance-based intervention called Dual-Assisted Dance Rehabilitation (DARE).Method: This is a feasibility study with a cross-over design where 11 persons with severe/extremely severe TBI received a 12-week (2 times/week) DARE program. Motor and neuropsychological tests and questionnaires measuring mood, executive functions, and quality of life were performed at baseline, 3-month, and 6-month stage. Self-perceived benefits were assessed with a post-intervention questionnaire.Results: Acceptability of and adherence to DARE were encouraging: 91% were fully consistent with protocol, and adherence to DARE sessions was 83-100%. Pre-post treatment effects sizes were medium-large for self-reported depression (BDI-II: d = 1.19-1.74) and executive deficits (BRIEF-A: d = 0.43-1.09) and for test-assessed trunk movement control (TIS: d = 0.47-0.76) and cognitive functioning (WAIS-IV subtests: d = 0.34-0.89). Other outcome measures did not show similar positive effect sizes. Self-perceived benefits were largest for mobility and cognition.Conclusion: Dance-based rehabilitation is a feasible and promising method in severe TBI and its efficacy should be assessed with a larger clinical trial.

Dance on the Brain: Enhancing Intra- and Inter-Brain Synchrony

Dance has traditionally been viewed from a Eurocentric perspective as a mode of self-expression that involves the human body moving through space, performed for the purposes of art, and viewed by an audience. In this Hypothesis and Theory article, we synthesize findings from anthropology, sociology, psychology, dance pedagogy, and neuroscience to propose The Synchronicity Hypothesis of Dance, which states that humans dance to enhance both intra- and inter-brain synchrony. We outline a neurocentric definition of dance, which suggests that dance involves neurobehavioral processes in seven distinct areas including sensory, motor, cognitive, social, emotional, rhythmic, and creative. We explore The Synchronicity Hypothesis of Dance through several avenues. First, we examine evolutionary theories of dance, which suggest that dance drives interpersonal coordination. Second, we examine fundamental movement patterns, which emerge throughout development and are omnipresent across cultures of the world. Third, we examine how each of the seven neurobehaviors increases intra- and inter-brain synchrony. Fourth, we examine the neuroimaging literature on dance to identify the brain regions most involved in and affected by dance. The findings presented here support our hypothesis that we engage in dance for the purpose of intrinsic reward, which as a result of dance-induced increases in neural synchrony, leads to enhanced interpersonal coordination. This hypothesis suggests that dance may be helpful to repattern oscillatory activity, leading to clinical improvements in autism spectrum disorder and other disorders with oscillatory activity impairments. Finally, we offer suggestions for future directions and discuss the idea that our consciousness can be redefined not just as an individual process but as a shared experience that we can positively influence by dancing together.

The effects of acute physical fatigue on sauté jump biomechanics in dancers

Dancers spend large amounts of time practicing and performing, where fatigue may occur, resulting in adverse movement patterns. The purpose of this study was to compare sauté landings before and after acute physical fatigue in experienced female dancers. Twenty-one dancers completed 10 sauté jumps before and after a dance-specific fatigue protocol. A 12-camera motion capture system and a force plate were utilized to collect three-dimensional kinematic and kinetic data. After fatigue, dancers demonstrated an increase in mediolateral centre of mass displacement, pelvis excursion, peak knee abduction, peak ankle eversion and external rotation, as well as decreased peak metatarsophalangeal (MTP) joint extension, indicating less desirable movement patterns. Peak vertical ground reaction force was decreased after fatigue due to a softer landing strategy, demonstrated by increased peak hip flexion, knee flexion, and ankle dorsiflexion. There was some indication of shifting demands demonstrated by an increased peak knee extensor moment and decreased peak MTP flexor moment after fatigue. With jump landing kinematics and kinetics affected after only an average of 5 minutes of dancing, dancers may benefit from developing greater endurance and more eccentric strength to allow them to slow down properly while landing and to sustain the aesthetic demands throughout performance.

Watching video of discrete maneuvers yields better action memory and greater activation in the middle temporal gyrus in half-pipe snowboarding athletes

Although motor performance training often involves action observation, it has been controversial whether individual aesthetic sport athletes benefit more from watching videos of discrete maneuvers (DMs) or continuous runs (CRs). In the present study, half-pipe snowboarding athletes completed a visual 2-back task with DM and CR conditions. To explore the neural mechanisms of action memory processing, brain hemodynamic activity during the task was monitored with functional near-infrared spectroscopy (fNIRS). Compared to watching CR videos, watching DM videos tended to yield better action memory performance and greater activation in the middle temporal gyrus to these athletes, suggesting that watching DM videos may have a tendency to improve action memory more effectively. Evidence of two pathways underlying half-pipe snowboarding action processing was obtained. Watching of CR videos and watching of DM videos might be associated with activation of more sensorimotor regions and more semantic regions, respectively, during memory consolidation.

PasoDoble, a Proposed Dance/Music for People With Parkinson's Disease and Their Caregivers

Managing the heterogeneity of Parkinson's disease symptoms and its progressive nature demands strategies targeting the hallmark disrupted neurotransmission but also the comorbid derangements and bolstering neuroprotection and regeneration. Strong efforts are done to find disease-modifying strategies, since slowing disease progression is not enough to hamper its burden and some motor symptoms are resistant to dopamine-replacement therapy. The inclusion of non-pharmacological strategies can provide such a multitarget umbrella approach. The silent long-term biological process that precedes the clinical onset of disease is a challenge but also an opportunity to reinforce healthy lifestyle known to exert preventive/therapeutic effects. These non-pharmacological strategies are foreseen as able to reduce the prevalence and the global impact of long-term diseases demanding strong management of patient-caregiver quality of life. In this regard, European guidelines for Parkinson's disease recommend physical-related activities such as aerobic exercise and dancing known to improve functional mobility and balance in patients. Here, we propose “PasoDoble,” a novel dance/music patient-caregiver intervention with additional preventive value. The rationale is founded on evidence-based therapeutic benefits of dance/music therapy and the singular features of this widely extended Hispanic dance/music targeting motor symptoms, mood/cognition, and socialization: (i) As a dance, an easy and simple double-step pattern (back-and-forward and lateral movements) that evolves from a spontaneous individual dance to a partnered dancing, performed in social groups and involving dancing-figures of increasing complexity; (ii) “PasoDoble,” as a music that can be sung, has musical rhythmicity with high groove and familiarity that will help to synchronize the steps to the rhythm of music; (iii) Widely extended (Spain, Mexico, Puerto Rico, Colombia, and USA) and easy-to-learn for others. As a regular dancing “PasoDoble” can improve and preserve function, mood and socialization, as an intervention the method is structured to improve gait and balance; facilitate movement, reaching and grasping; muscle power and joint mobility; reduce of risk of falls, and increase of aerobic capacity. Finally, this easy-to-implement into patient care and free-living environments (elderly social centers, home care) rehabilitation programs can promote positive emotions and self-esteem, with added general improvement of social attachment and recognition, thus improving the quality of life of patient-caregiver.

Moving in unison after perceptual interruption

Humans interact in groups through various perception and action channels. The continuity of interaction despite a transient loss of perceptual contact often exists and contributes to goal achievement. Here, we study the dynamics of this continuity, in two experiments involving groups of participants ([Formula: see text]) synchronizing their movements in space and in time. We show that behavioural unison can be maintained after perceptual contact has been lost, for about 7s. Agent similarity and spatial configuration in the group modulated synchronization performance, differently so when perceptual interaction was present or when it was memorized. Modelling these data through a network of oscillators enabled us to clarify the double origin of this memory effect, of individual and social nature. These results shed new light into why humans continue to move in unison after perceptual interruption, and are consequential for a wide variety of applications at work, in art and in sport.

Towards a neurocognitive approach to dance movement therapy for mental health: A systematic review

Dance movement therapy (DMT) has become an increasingly recognized and used treatment, though primarily used to target psychological and physical well-being in individuals with physical, medical or neurological illnesses. To contribute to the relative lack of literature within the field of DMT for clinical mental health disorders, using a narrative synthesis, we review the scope of recent, controlled studies of DMT in samples with different psychiatric disorders including depression, schizophrenia, autism and somatoform disorder. A systematic search of electronic databases (PubMed, Science Direct, World of Science and Clinicaltrials.gov) was conducted to identify studies examining the effects of DMT in psychiatric populations. Fifteen studies were eligible for inclusion. After reviewing the principal results of the studies, we highlight strengths and weaknesses of this treatment approach and examine the potential efficacy of using bodily movements as a tool to reduce symptoms. We conclude by placing DMT within the context of contemporary cognitive neuroscience research, drawing out implications of such an orientation for future research and discussing potential mechanisms by which DMT might reduce psychiatric symptoms. DMT has clear potential as a treatment for a range of conditions and symptoms, and thus, further research on its utility is warranted.

Head orientation and gait stability in young adults, dancers and older adults

BACKGROUND

Control of body orientation requires head motion detection by the vestibular system and small changes with respect to the gravitational acceleration vector could cause destabilization.

RESEARCH QUESTION

We aimed to compare the effects of different head orientations on gait stability in young adults, dancers and older adults.

METHODS

Three groups of 10 subjects were evaluated, the first composed of young adults (aged 18-30 years), the second composed of young healthy dancers under high performance dance training (aged 18-30 years), and the third group composed of community-dwelling older adults (aged 65-80 years). Participants walked on a treadmill at their preferred speed in four distinct head orientation conditions for four minutes each: control (neutral orientation); dynamic yaw (following a target over 45° bilaterally); up (15° neck extension), and down (40° neck flexion). Foot and trunk kinematic data were acquired using a 3D motion capture system and the gait pattern was assessed by basic gait parameters (step length, stride width and corresponding variability) and gait stability (local divergence exponents and margins of stability). Main effects of conditions and groups, as well as their interaction effects, were evaluated by repeated-measures analysis of variance.

RESULTS

Interactions of group and head orientation were found for both step length and stride width variability; main effects of head orientation were found for all evaluated parameters and main effects of group were found for step length and its variability and local divergence exponents in all directions.

SIGNIFICANCE

As expected, the older adults group showed less stable gait (higher local divergence exponent), the shortest step length and greater step length variability. However, contrary to expectation, the dancers were not more stable. The yaw condition was the most challenging for all groups and the down condition seemed to be least challenging.

Beyond action observation: Neurobehavioral mechanisms of memory for visually perceived bodies and actions

Examining the processing of others' body-related information in the perceivers' brain (action observation) is a key topic in cognitive neuroscience. However, what happens beyond the perceptual stage, when the body is not within view and it is transformed into an associative form that can be stored, updated, and later recalled, remains poorly understood. Here we examine neurobehavioural evidence on the memory processing of visually perceived bodily stimuli (dynamic actions and images of bodies). The reviewed studies indicate that encoding and maintaining bodily stimuli in memory recruits the sensorimotor system. This process arises when bodily stimuli are either recalled through action recognition or reproduction. Interestingly, the memory capacity for these stimuli is rather limited: only 2 or 3 bodily stimuli can be simultaneously held in memory. Moreover, this process is disrupted by increasing concurrent bodily operations; i.e., moving one's body, seeing or memorising additional bodies. Overall, the evidence suggests that the neural circuitry allowing us to move and feel ourselves supports the encoding, retention, and memory recall of others' visually perceived bodies.

An adapted dance program for children with Charcot-Marie-Tooth disease: An exploratory study

BACKGROUND

Charcot-Marie-Tooth disease (CMT) is a rare hereditary peripheral neuropathy. Its sensorimotor clinical manifestations are heterogeneous, and it might also influence cognitive functions. Physical activity is recommended for adults with CMT, however there is a lack of studies focusing on the effects of physical activity in children with CMT. Dance practice is beneficial for motor and cognitive functions. Adapted dance is interesting for children with CMT because it could address the functional deficits.

OBJECTIVES

To evaluate the feasibility of an adapted dance program and to explore its effects on motor and cognitive functions in children with CMT.

METHODS

Five children with CMT followed a 10-week dance program added to regular care, while four others received only regular care. Feasibility of the program was assessed by participation and retention rates. Motor (CMT clinical characteristics, muscular force and power, postural control, pain) and cognitive (rhythm task, sustained attention, short term memory) abilities were evaluated before and after the program.

RESULTS

The high participation and retention rates (89% and 100%) suggest that a dance program is feasible in children with CMT. Significant benefits were noted for both motor (CMT clinical characteristics, strength of leg muscle groups, pain during physical activity) and cognitive (rhythm task, attention) functions for the dance group.

CONCLUSION

The results suggest that an adapted dance program is feasible and can have beneficial effects on motor and cognitive functions of children with CMT. Dance appears as a new approach adapted for these children. Further research is needed to confirm these results.

Contemporary Dance Practice Improves Motor Function and Body Representation in Huntington's Disease: A Pilot Study

BACKGROUND

Physical exercise improves neurological conditions, but adherence is hard to establish. Dance might be a promising alternative; however, since patients with Huntington's disease (HD) suffer from rhythmic movement execution deficits, any metric dance practice must be avoided.

OBJECTIVE

Here we asked, if contemporary dance, a lyrical dance form, practiced for two hours per week over five months, might improve motor function, neuropsychiatric variables, cognition and brain volume of HD patients.

METHODS

Nineteen patients aged between 43 and 78 years with mild to moderate HD (TFC range 7-13, UHDRS motor score range 3-58) participated in this randomized, controlled pilot study (NCT 01842919). The primary outcome measure was total motor score. Secondary outcome measures were differences in brain structure, cognitive function, neuropsychiatric variables, apathy and quality of life. A semi-structured interview assessed participants' experiences.

RESULTS

Adherence to dance classes was very good. All participants completed 5 months of dance practice. Motor impairment (median [IQR] decreased from 28[6-51] to 27[7-33] for the dance group compared to an increase of 19[13-35] - 25[14-42] for usual care, Z = -2.44, p = 0.015). No other behavioral measures showed any changes.Brain volume increased in the medial superior parietal and paracentral lobule, in line with compensatory structural brain changes in areas supporting spatial and somatosensory processing. These changes were also reflected in patients' reports that contemporary dance altered the way they "felt and lived in their bodies".

CONCLUSIONS

Contemporary dance practice, through work on spatial and bodily representations, helps improve motor function in HD patients.

Dance and Parkinson's: A review and exploration of the role of cognitive representations of action

Parkinson's disease (PD) is a neurodegenerative condition that causes both sensorimotor and non-motor impairments, and there is a clear need for non-medical approaches to improve quality of life. Dance is an increasingly popular activity among people with PD, which demonstrates potential therapeutic benefits. However, findings to date have been inconsistent, and little is known about the mechanisms underlying benefits of dance in PD. In this review, we provide an overview of research into dance for people with PD. The majority of quantitative evidence is in the sensorimotor domain, but cognitive, psychological and social effects have also been reported. We consider the role of cognitive representations of action within dance through observation, imitation and imagery, which may contribute to both sensorimotor and non-motor outcomes for people with PD. Moreover, we discuss how these processes may be enhanced through dance to provide further benefits in everyday life. Finally, we propose avenues for future research to increase understanding of action representation in dance for PD, which has the potential to inform practice and maximize benefits.

Dancers' Somatic of Musicality

Dancers often perform while synchronizing their movements to music, as required by the choreographer. In this article, we introduce the concept of categorizing choreography (or segments of it), according to its relationship with either the rhythm or the melody of the accompanied music, or with both. We demonstrate this distinction through several examples for each category. In a pilot study, we composed choreographic sequences that were either melodic-based or rhythmic-based and taught them to professional dancers. The results showed that some dancers tend to synchronize their movements better to rhythm and others, to melody. We refer to this tendency as the "dancers' somatic of musicality." The findings highlight important differences in the somatic of musicality among dancers, requiring attention from both choreographs and dancers, since these differences have bearing on the way dancers learn, memorize, and perform.

Adaptive Sports, Arts, Recreation, and Community Engagement

Adaptive sports and recreation have an important role in the lifestyle of individuals with cerebral palsy (CP). This article discusses the history of adaptive sports and the benefits of adaptive sports and recreation. Barriers and medical challenges are also thoroughly discussed, including common musculoskeletal issues, methods to prevent musculoskeletal injury, pain, fatigue, maximal exertion, and other medical comorbidities and illness. The role of health care providers such as physiatrists is emphasized to provide support to individuals with CP who either are interested in starting exercise or a sport or are already an athlete.

Music and Metronomes Differentially Impact Motor Timing in People with and without Parkinson's Disease: Effects of Slow, Medium, and Fast Tempi on Entrainment and Synchronization Performances in Finger Tapping, Toe Tapping, and Stepping on the Spot Tasks

Introduction

Rhythmic auditory stimulation (RAS) has successfully helped regulate gait for people with Parkinson's disease. However, the way in which different auditory cues and types of movements affect entrainment, synchronization, and pacing stability has not been directly compared in different aged people with and without Parkinson's. Therefore, this study compared music and metronomes (cue types) in finger tapping, toe tapping, and stepping on the spot tasks to explore the potential of RAS training for general use.

Methods

Participants (aged 18–78 years) included people with Parkinson's (n = 30, Hoehn and Yahr mean = 1.78), older (n = 26), and younger adult controls (n = 36), as age may effect motor timing. Timed motor production was assessed using an extended synchronization-continuation task in cue type and movement conditions for slow, medium, and fast tempi (81, 116, and 140 mean beats per minute, respectively).

Results

Analyses revealed main effects of cue and movement type but no between-group interactions, suggesting no differences in motor timing between people with Parkinson's and controls. Music supported entrainment better than metronomes in medium and fast tempi, and stepping on the spot enabled better entrainment and less asynchrony, as well as more stable pacing compared to tapping in medium and fast tempi. Age was not confirmed as a factor, and no differences were observed in slow tempo.

Conclusion

This is the first study to directly compare how different external auditory cues and movement types affect motor timing. The music and the stepping enabled participants to maintain entrainment once the external pacing cue ceased, suggesting endogenous mechanisms continued to regulate the movements. The superior performance of stepping on the spot suggests embodied entrainment can occur during continuous movement, and this may be related to emergent timing in tempi above 600 ms. These findings can be applied therapeutically to manage and improve adaptive behaviours for people with Parkinson's.