The current study highlights individual differences in the joint articulation strategies used by novices practicing a hip-hop dance movement, the wave. Twelve young adults, all naive regarding hip-hop dance performance, practized the wave in 120 trials separated into four blocks with the order of internal or external attentional focus counterbalanced across subjects. Various kinematic analyses were analyzed to capture performance success while exploiting the observed individual differences in order to establish the reliability of the proposed performance indicators. An external focus (...) of attention marginally facilitated the smooth transfer of a wave motion across neighboring limb segments as characterized by a constant propagation speed combined with large wave amplitudes. Systematic correlations between the success indicators were found, exemplifying the various degrees of joint articulation that novices prove capable of during an initial practicing session to try and perform a novel complex motor task. (shrink)

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. (shrink)