Muscular effort coding in action representation in ballet dancers and controls: Electrophysiological evidence

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.

Brain Activity of Professional Dancers During Audiovisual Stimuli Exposure: A Systematic Review

Many studies have shown the effect of dance to the brain. It seems that long-term practice modulates brain plasticity and visuomotor skills, as it activates the Action Observation Network (AON). The aim of this systematic review was to evaluate potential differences in the brain activity (visuomotor skills) between professional dancers and non-dancer adults, measured by electroencephalography (EEG), during the observation of an individual who is dancing (video dance stimuli). This literature search was conducted from February to June 2022, according to the PRISMA guidelines, in the PubMed database using advanced search, mesh terms, and extensive manual search. The included articles were published in English. Specifically, case-control studies were selected, which used healthy adults, professional dancers, and non-dancers as participants, who were exposed to video dance clips and measured by EEG. The articles were excluded if they were based on different type of study, unhealthy population, control group with athletic background, different type of stimuli (rhythmic), or different type of task and procedure. The ratings of quality of evidence were conducted using the Joanna Briggs Institute's (JBI) critical appraisal tool. Five case-control studies were included with 193 participants in total, 87% females. The participating groups of professional dancers (n = 12-25) had mean age 25.14 years, with at least 9-19 years of professional training, whereas control groups had the same sample size, mean age of 24.14 years, and no experience in dancing. Most of the studies presented high methodological quality. All studies showed significant differences in dancers' brain activity, especially regarding the visuomotor skills. The results showed faster activation of AON demonstrated by higher P300 at the frontocentral regions and increased sensitivity of the occipital temporal cortex. Dancers could cope easier with familiar-unfamiliar and effortful-effortless movements. They also demonstrated faster alpha band peak frequency, stronger synchrony over the bands theta, beta, gamma during the audiovisual stimuli, and the ability to encode faster the visual information. The results demonstrate that dancers had better visuomotor skills suggesting dance-enhanced neuroplasticity, as professional dancers processed their actions easier. Dance, which includes visuomotor tasks, could help in prevention, therapy, and rehabilitation of neurodegenerative diseases or movement disorders.

Effect of skill proficiency on motor imagery ability between amateur dancers and non-dancers

Evidence has shown that athletes with high motor skill proficiency possess higher motor imagery ability than those with low motor skill proficiency. However, less is known whether this superiority in motor imagery ability emerges over amateur athletes. To address the issue, the present study aimed to investigate the individual differences in motor imagery ability between amateur dancers and non-dancers. Forty participants completed a novel dance movement reproduction task and measures of the vividness of visual imagery questionnaire (VVIQ) and the vividness of motor imagery questionnaire (VMIQ). The results showed that, relative to non-dancers, amateur dancers had higher ability of motor imagery to reproduce the lower-limb and upper-limb dance movements during the dance movement reproduction task. Besides, amateur dancers displayed higher abilities of the visual motor imagery and the kinesthetic imagery, but comparable visual imagery ability as the non-dancers. These findings suggest that the mental representation of motors but not the visual is affected by the motor skill levels, due to the motor imagery practice in sports amateurs.

Extension of Dancer's Legs: Increasing Angles Show Motion

Usain Bolt’s Lightning Bolt pose, one arm highly extended to one side, suggests action. Likewise, static pictures of animals, legs extended, show animation. We tested a new cue for motion perception—extension—and in particular extension of dancer’s legs. An experiment with pictures of a dancer finds larger angles between the legs suggest greater movement, especially with in-air poses and in lateral views. Leg positions graded from simply standing to very difficult front and side splits. Liking ratings (a small range) were more related to Difficulty ratings (a large range) than Movement ratings (a moderate range).

Enhanced biological motion perception in deaf native signers

We conducted two studies to test how deaf signed language users perceive biological motions. We created 18 Biological Motion point-light displays (PLDs) depicting everyday human actions, and 18 Scrambled control PLDs. First, we conducted an online behavioral rating survey, in which deaf and hearing raters identified the biological motion PLDs and rated how easy it was for them to identify the actions. Then, we conducted an EEG study in which Deaf Signers and Hearing Non-Signers watched both the Biological Motion PLDs and the Scrambled PLDs, and we computed the time-frequency responses within the theta, alpha, and beta EEG rhythms. From the behavioral rating task, we show that the deaf raters reported significantly less effort required for identifying the Biological motion PLDs, across all stimuli. The EEG results showed that the Deaf Signers showed theta, mu, and beta differentiation between Scrambled and Biological PLDs earlier and more consistently than Hearing Non-Signers. We conclude that native ASL users exhibit experience-dependent neuroplasticity in the domain of biological human motion perception.

The Effect of Expertise on Kinesthetic Motor Imagery of Complex Actions

The ability to mentally simulate an action by recalling the body sensations relative to the real execution is referred to as kinesthetic motor imagery (MI). Frontal and parietal motor-related brain regions are generally engaged during MI. The present study aimed to investigate the time course and neural correlates of complex action imagery and possible effects of expertise on the underlying action representation processes. Professional ballet dancers and controls were presented with effortful and effortless ballet steps and instructed to mentally reproduce each movement during EEG recording. Time-locked MI was associated with an Anterior Negativity (AN) component (400-550 ms) that was larger in dancers relative to controls. The AN was differentially modulated by the motor content (effort) as a function of ballet expertise. It was more negative in response to effortful (than effortless) movements in control participants only. This effect also had a frontal distribution in controls and a centro-parietal distribution in dancers, as shown by the topographic maps of the scalp voltage. The source reconstruction (swLORETA) of the recorded potentials in the AN time-window showed enhanced engagement of prefrontal regions in controls (BA 10/47) relative to dancers, and occipitotemporal (BA 20) and bilateral sensorimotor areas in dancers (BA6/40) compared with controls. This evidence seems to suggest that kinesthetic MI of complex action relied on visuomotor simulation processes in participants with acquired dance expertise. Simultaneously, increased cognitive demands occurred in participants lacking in motor knowledge with the specific action. Hence, professional dance training may lead to refined action representation processes.