This book is suitable for students and professionals from the fields of psychology, neuropsychology, cognitive psychology, sport psychology and sport science, movement science, motor control, motor development, kinesiology, dance, ...
Author: Bettina Bläsing
Publisher: Psychology Press
Dance has always been an important aspect of all human cultures, and the study of human movement and action has become a topic of increasing relevance over the last decade, bringing dance into the focus of the cognitive sciences. This book discusses the wide range of interrelations between body postures and body movements as conceptualised in dance with perception, mental processing and action planning. The volume brings together cognitive scientists, psychologists, neuroscientists, choreographers, and ballet teachers, to discuss important issues regarding dance and cognition. First, scientists introduce ideas that offer different perspectives on human movement and therefore can be applied to dance. Secondly, professionals from the world of dance have their say, reporting on how their creative and pedagogical work relates to cognition and learning. Finally, researchers with personal links to the dance world demonstrate how neurocognitive methods are applied to studying different aspects related to dance. This book is suitable for students and professionals from the fields of psychology, neuropsychology, cognitive psychology, sport psychology and sport science, movement science, motor control, motor development, kinesiology, dance, choreography, dance education and dance therapy; to teachers who want to teach dance to students of any age.
Cross, The Neurocognition of Dance: Mind, Movement and Motor Skills; Scott Grafton and Emily Cross, “Dance and the Brain,” in Learning, Arts, and the Brain: The Dana Consortium Report on Arts and Cognition, eds.
Author: Sandra C. Minton
Publisher: Rowman & Littlefield
As seasoned dancers and dance educators, Minton and Faber approach brain function from inside the body as embodiment of thought. Their collection of neurological research about the thought processes in learning and performing dance encompasses a vision of dance as creative art, communication, education, and life. The book informs neuroscientists, educators, and dancers about the complex interdependence of brain localities and networking of human neurology through an integration of physiology, cognition, and the art of dance. Chapters address observation, engagement, critical thought, emotion, memory, imagery and imagination, learning, problem solving, and 21st century skills. Finer components are explored through neurological networks, classroom pedagogy, dance, and movement experiences that provide: Description of the thought processes, their components, and their neurological functional needs. The neurological physiology that has been discovered in the cognitive process. How brain function can be applied to the educational classroom. Applications of the neurological research to dance education, the choreographic process, and dance performance. Movement explorations for readers to experience the thought processes through dance with neurological knowledge in mind.
shown that motor expertise and the expertise-dependent activation of the neurocognitive system are an important factor for the valid prediction of observed dance movements.9 These studies showed differences in the brain activation of ...
Bläsing, B. (2010) The Dancer's Memory: Expertise and Cognitive Structure in Dance. In Bläsing, B., Puttke, M., and Schack, T. (eds.), The Neurocognition of Dance: Mind, Movement and Motor Skills. New York: Psychology Press, 75–98.
Author: Vida L. Midgelow
Publisher: Oxford University Press
Category: Performing Arts
From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while it has long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets. Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency and collective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience, cognition, and technologies.
Cross, E. (2010), 'Building a Dance in the Human Brain: Insights from Expert and Novice Dancers', in B. Blåsing, M. Puttke & T. Schack (eds), The Neurocognition of Dance, London: Psychology Press, pp. 177–202.
Author: Jennifer Radbourne
Publisher: Intellect Books
Category: Technology & Engineering
The Audience Experience identifies a momentous change in what it means to be part of an audience for a live arts performance. Together, new communication technologies and new kinds of audiences have transformed the expectations of performance, and The Audience Experience explores key trends in the contemporary presentation of performing arts. The book also presents case studies of audience engagement and methodology, reviewing both conventional and innovative ways of collecting and using audience feedback data. Directed to performing arts companies, sponsors, stakeholders, and scholars, this collection of essays moves beyond the conventional arts marketing paradigm to offer new knowledge about how audiences experience the performing arts.
'Neurocognitive control in dance perception and performance', Acta Psychologica, 139(2): 300–8. Bläsing, B., Puttke, M., and Schack, T. (eds.) (2010). The Neurocognition of Dance: Mind, Movement and Motor Skills.
Author: Vicky Karkou
Publisher: Oxford University Press
In recent years, a growth in dance and wellbeing scholarship has resulted in new ways of thinking that place the body, movement, and dance in a central place with renewed significance for wellbeing. The Oxford Handbook of Dance and Wellbeing examines dance and related movement practices from the perspectives of neuroscience and health, community and education, and psychology and sociology to contribute towards an understanding of wellbeing, offer new insights into existing practices, and create a space where sufficient exchange is enabled. The handbook's research components include quantitative, qualitative, and arts-based research, covering diverse discourses, methodologies, and perspectives that add to the development of a complete picture of the topic. Throughout the handbook's wide-ranging chapters, the objective observations, felt experiences, and artistic explorations of practitioners interact with and are printed alongside academic chapters to establish an egalitarian and impactful exchange of ideas.
Neurocognitive control in dance perception and performance. Acta Psychol. 139, 3004308. Blasing, B., Puttke, M., and Schack, T. (2010). “The neurocognition of dance. Introduction,” in The Neurocognition of Dance: Mind, Movement and ...
Author: Joel Pearson
Publisher: Frontiers E-books
Our ability to be conscious of the world around us is often discussed as one of the most amazing yet enigmatic processes under scientific investigation today. However, our ability to imagine the world around us in the absence of stimulation from that world is perhaps even more amazing. This capacity to experience objects or scenarios through imagination, that do not necessarily exist in the world, is perhaps one of the fundamental abilities that allows us successfully to think about, plan, run a dress rehearsal of future events, re-analyze past events and even simulate or fantasize abstract events that may never happen. Empirical research into mental imagery has seen a recent surge, due partly to the development of new neuroscientifc methods and their clever application, but also due to the increasing discovery and application of more objective methods to investigate this inherently internal and private process. As the topic is cross hosted in Frontiers in Perception Science and Frontiers in Human Neuroscience, we invite researchers from different fields to submit opinionated but balanced reviews, new empirical, theoretical, philosophical or technical papers covering any aspect of mental imagery. In particular, we encourage submissions focusing on different sensory modalities, such as olfaction, audition somatosensory etc. Similarly, we support submissions focusing on the relationship between mental imagery and other neural and cognitive functions or disorders such as visual working memory, visual search or disorders of anxiety. Together, we hope that collecting a group of papers on this research topic will help to unify theory while providing an overview of the state of the field, where it is heading, and how mental imagery relates to other cognitive and sensory functions.
the 'person' aspect of dance deals with the re-creative potential of narrative dance and with the ability of dancers to play the role of characters and tell stories using ... The neurocognition of dance: Mind, movement and motor skills.
Author: Steven Brown
Publisher: Oxford University Press
What are the arts? What functions do the arts serve in human life? There has been a surge of cognitive, biological, and evolutionary interest in the arts in recent years, most of it oriented towards individual artforms. However, there has been virtually no bridging work to integrate the arts under a single theoretical perspective. This book presents the first integrated cognitive account of the arts that unites visual art, theatre, literature, dance, and music into a single framework, with supporting discussions about creativity and aesthetics. Its comparative approach identifies both what is unique to each artform and what they share, shedding light on how the arts can combine with one another to form syntheses, such as choreographing dance movements to music, or setting lyrics to music to create a song. While studies in the psychology of the arts tend to focus on perceptual processes and aesthetic responses alone, this book offers a holistic sensorimotor account that examines the full gamut of processes from creation to perception. This allows for a broad discussion of the evolution of the arts, including the origins of rhythm, the co-evolution of music and language, the evolution of drawing, and cultural evolution of the arts. Finally, the book unifies a number of topics that have not previously been fully related to one another, including theatre and literature, music and language, creativity and aesthetics, dancing and acting, and visual art and music. A unique volume providing a bold new approach to the integration of the arts, for academics or general readers of the arts, psychology, cognitive neuroscience, anthropology, and evolutionary studies.
Author: Malaika Sarco-ThomasPublish On: 2020-09-14
“Research and choreography—merging dance and cognitive neuroscience.” In The Neurocognition of Dance: Mind, Movement and Motor Skills, edited by Bettina Bläsing, Martin Puttke, and Thomas Schack, 203–234. Hove, UK: Psychology Press.
Author: Malaika Sarco-Thomas
Publisher: Cambridge Scholars Publishing
Category: Performing Arts
What happens when artists take touch as a starting point for embodied research? This collection of essays offers unique insights into contact in dance, by considering the importance of touch in choreography, philosophy, scientific research, social dance, and education. The performing arts have benefitted from the growth of an ever-widening spectrum of tactile explorations since the advent of contact improvisation (CI) in 1972. Building on the research proposal CI offers, partnering forms such as tango, martial arts, and somatic therapies have helped shape the landscape of embodied practices in contemporary dance. Presenting a range of practitioner and scholarly perspectives relevant to undergraduate students and researchers alike, this volume considers the significance of touch in the development of 21st century pedagogy, art-making, and performance philosophy.
Neurocognitive control in dance perception and performance. Acta Psychologica 139:300–8. Bläsing, B., Puttke, M. & Schack, T. (Eds.). (2010). The neurocognition of dance: Mind, movement and motor skills. New York: Psychology Press.
Author: Judith Lynne Hanna
Publisher: Rowman & Littlefield
Dancing to Learn: Cognition, Emotion, and Movement explores the rationale for dance as a medium of learning to help engage educators and scientists to explore the underpinnings of dance, and dancers as well as members of the general public who are curious about new ways of comprehending dance. Among policy-makers, teachers, and parents, there is a heightened concern for successful pedagogical strategies. They want to know what can work with learners. This book approaches the subject of learning in, about, and through dance by triangulating knowledge from the arts and humanities, social and behavioral sciences, and cognitive and neurological sciences to challenge dismissive views of the cognitive importance of the physical dance. Insights come from theories and research findings in aesthetics, anthropology, cognitive science, dance, education, feminist theory, linguistics, neuroscience, phenomenology, psychology, and sociology. Using a single theory puts blinders on to other ways of description and analysis. Of course, all knowledge is tentative. Experiments necessarily must focus on a narrow topic and often use a special demographic—university students, and we don’t know the representativeness of case studies.