Dance as mindful movement: a perspective from motor learning and predictive coding.

Summary

Dance in a broad sense can be defined as "mindful movement"—a form of expressive movement characterized by a specific type of conscious awareness. This proposal reframes dance beyond rhythmic movement to music, including improvisation, pantomime, tai chi, and butoh. The authors ground this definition in predictive coding and procedural learning theory: mindful movement involves a suspension of automatization. When learning a motor skill, conscious awareness is high, but overlearning suppresses it. In mindful movement, this process is inverted, reactivating unconscious movement details in conscious awareness and enabling renewed aesthetic attention. This perspective suggests potential animal analogs of dance and opens experimental avenues.

Study at a glance

Abstract

Defining "dance" is challenging, because many distinct classes of human movement may be considered dance in a broad sense. Although the most obvious category is rhythmic dancing to a musical beat, other categories of expressive movement such as dance improvisation, pantomime, tai chi, or Japanese butoh suggest that a more inclusive conception of human dance is needed. Here we propose that a specific type of conscious awareness plays an overarching role in most forms of expressive movement and can be used to define dance (in the broad sense). We can briefly summarize this broader notion of dance as "mindful movement." However, to make this conception explicit and testable, we need an empirically verifiable characterization of "mindful movement." We propose such a characterization in terms of predictive coding and procedural learning theory: mindful movement involves a "suspension" of automatization. When first learning a new motor skill, we are highly conscious of our movements, and this is reflected in neural activation patterns. As skill increases, automatization and overlearning occurs, involving a progressive suppression of conscious awareness. Overlearned, habitual movement patterns become mostly unconscious, entering consciousness only when mistakes or surprising outcomes occur. In mindful movement, this automatization process is essentially inverted or suspended, reactivating previously unconscious details of movement in the conscious workspace, and crucially enabling a renewed aesthetic attention to such details. This wider perspective on dance has important implications for potential animal analogs of human dance and leads to multiple lines of experimental exploration.