- The Oxford Handbook of Dance and Wellbeing
- About the Companion Website
- The Dancing Queen: Explanatory Mechanisms of the ‘Feel-Good Effect’ in Dance
- Dance in the Body, the Mind, and the Brain: Neurocognitive Research Inspired by Dancers and their Audience
- Subjective and Neurophysiological Perspectives on Emotion Perception from Dance
- Evidence-Based BIODANZA Programmes for Children (TANZPRO-Biodanza) in Schools and Kindergartens: Some Effects on Psychology, Physiology, Hormones, and the Immune System
- Dancing to Resist, Reduce, and Escape Stress
- Body Memory and its Recuperation through Movement
- Listening to the Moving Body: Movement Approaches in Body Psychotherapy
- Authentic Movement as a Practice for Wellbeing
- Authentic Movement and the Relationship of Embodied Spirituality to Health and Wellbeing
- Reimagining Our Relationship to the Dancing Body
- A Greater Fullness of Life: Wellbeing in Early Modern Dance
- Therapeutic Performance: When Private Moves into Public
- Portals of Conscious Transformation: From Authentic Movement to Performance
- Butoh Dance, Noguchi Taiso, and Healing
- Flow in the Dancing Body: An Intersubjective Experience
- Common Embrace: Wellbeing in Rosemary Lee’s Choreography of Inclusive Dancing Communities
- Wellbeing and the Ageing Dancer
- Being in Pieces: Integrating Dance, Identity, and Mental Health
- Writing Body Stories
- (Im)possible Performatives: A Feminist Corporeal Account of Loss
- Provoking Change: Dance Pedagogy and Curriculum Design
- Pedagogies of Dance Teaching and Dance Leading
- Creative Dance in Schools: A Snapshot of Two European Contexts
- Moving Systems: A Multidisciplinary Approach to Enhance Learning and Avoid Dropping Out
- Dance/Movement and Embodied Knowing with Adolescents
- Movement Therapy Programme with Children with Mild Learning Difficulties in Primary Schools in Saudi Arabia: Links between Motion and Emotion
- Dance Movement Therapy, Student Learning, and Wellbeing in Special Education
- The Wellbeing of Students in Dance Movement Therapy Masters Programmes
- Cultivating the Felt Sense of Wellbeing: How We Know We Are Well
- Free To Dance: Community Dance with Adolescent Girls in Scotland
- Methods of Promoting Gender Development in Young Children Through Developmental Dance Rhythms: A Kestenberg Movement Profile (KMP) Dance/Movement Therapy Approach
- Together We Move: Creating a Laban-Style Movement Choir
- Touching Disability Culture: Dancing Tiresias
- Building Relations: A Methodological Consideration of Dance and Wellbeing in Psychosocial Work with War-Affected Refugee Children and Their Families
- Reconstructing the World of Survivors of Torture for Political Reasons through Dance/Movement Therapy
- Haunted by Meaning: Dance as Aesthetic Activism
- Cultural Adaptations of Dance Movement Psychotherapy Experiences: From a UK Higher Education Context to a Transdisciplinary Water Resource Management Research Practice
- Capoeira in the Community: The Social Arena for the Development of Wellbeing
- The 5Rhythms® Movement Practice: Journey to Wellbeing, Empowerment, and Transformation
- Dance Movement Therapy in Healthcare: Should We Dance Across the Floor of the Ward?
- Dance as Art in Hospitals
- The BodyMind Approach: Supporting the Wellbeing of Patients with Chronic Medically Unexplained Symptoms in Primary Healthcare in England
- Dance Therapy: Primitive Expression Contributes to Wellbeing
- Dance Movement Therapy: An Aesthetic Experience to Foster Wellbeing for Vulnerable Mothers and Infants
- Dance Movement Therapy and the Possibility of Wellbeing for People with Dementia
- Emotions in Motion: Depression in Dance-Movement and Dance-Movement in Treatment of Depression
- (Dis-)Embodiment in Schizophrenia: Effects of Mirroring on Self-Experience, Empathy, and Wellbeing
- Dance/Movement Therapy and Breast Cancer Care: A Wellbeing Approach
- Attending to the Heartbeat in Dance Movement Psychotherapy: Improvements in Mood and Quality of Life for Patients with Coronary Heart Disease
Abstract and Keywords
Emotional engagement and aesthetic appreciation can be prime motivations for engaging with dance. Dance can therefore offer a valuable tool for the neuroscientific study of emotion processing. This idea underpinned the project Watching Dance, which investigated the neural correlates of subjective emotional response. Participants watched a four-minute video of contemporary dance involving two dancers and three music segments. Subjective emotional response was measured by continuous rating with a slider on an analogue scale, and structured interviews prompted participants to reflect on their ratings. The neural correlates were measured using functional brain imaging complemented by a brain interference study to investigate a causal link between regional brain activity and the subjective emotional response. A pattern of emotional rating emerged that was strongly influenced by both music and movement, as confirmed by the qualitative investigation. A direct link was established between posterior parietal cortex activity and emotional reaction to dance.
Marie-Helene Grosbras, PhD, holds the research chair of Laboratoire de Neurosciences Cognitives at Aix Marseille University. Her research interests include the relationships between the control of action and the control of perception, with a particular interest in social perception. More precisely, she studies how the brain mechanisms involved in those processes can change as a function of experience, brain damage, or development. She uses a variety of psychophysics and brain-imaging techniques in healthy humans (functional magnetic resonance imaging, electroencephalography, and non-invasive brain stimulation).
Matthew Reason is Professor of Theatre and Performance at York St John University, UK. His research engages with theatre and dance audiences, theatre for children, performance documentation, and photography. His publications include Documentation, Disappearance and the Representation of Live Performance (2006) and The Young Audience: Exploring and Enhancing Children’s Experiences of Theatre (2010), and he co-edited, with Dee Reynolds, Kinesthetic Empathy in Creative and Cultural Contexts (2012).
Haodan Tan is a PhD student in human–computer interaction design programming at the School of Informatics, Indiana University. Previously, she obtained her MSc (Psychology, University of Glasgow) and MDes (Hong Kong Polytechnic University). With an interdisciplinary background, her research interests lie in the social and cultural aspects of computing, with an emphasis on the emotional and aesthetic experiences. More specifically, her work includes understanding people’s emotional attachments with objects through the lens of heritage perspective, and the implication for HCI and interaction design.
Rosie Kay trained at London Contemporary Dance School, and after a career as a performer formed the Rosie Kay Dance Company in 2004. She has created award-winning theatre work that includes ‘Soldiers: The Body Is The Frontline’ (2010 + 2015), based on extensive research with military, which toured the UK and internationally, ‘Sluts of Possession’ (2013), in collaboration with the Pitt Rivers Museum, ‘There is Hope’ (2012), exploring religion, and ‘Double Points: K’, in collaboration with Emio Greco|PC. Site-specific works include ‘Haining Dreaming’ (2013), ‘The Great Train Dance’ (2011), on the Severn Valley Railway, and ‘Ballet on the Buses’. Kay was the first Leverhulme Artist in Residence at the School of Anthropology and Museum Ethnography, ↵University of Oxford, and is a former Rayne Foundation Fellow and Associate Artist of DanceXchange, Birmingham.
Frank Pollick, PhD, is Professor of Psychology at the University of Glasgow, and has previously worked as a research fellow at Advanced Telecommunications Research (ATR) in Kyoto, Japan. His research explores how we experience the sights and sounds of human actions. This includes using behavioural experiments to understand the boundaries of human perception, and brain imaging experiments to understand how brain systems process audio and visual information. He is interested in how experience ↵and development influence the ability to understand actions, and has studied brain mechanisms of action recognition in dancers, drummers, and individuals on the autism spectrum.
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