ORIGINAL PAPER
How does the amount of movement and observer expertise shape the perception of motion aesthetics in dance?
1
Institute of Sport Science, Georg-August-University Göttingen, Göttingen, Germany
2
Faculty of Sport Science, Leipzig University, Leipzig, Germany
Submission date: 2020-07-01
Acceptance date: 2020-11-24
Publication date: 2021-10-26
Hum Mov. 2022;23(2):46-55
KEYWORDS
empirical aestheticsLikert scalemarkerless motion capturingmotion perceptionstick-figure video sequences
TOPICS
ABSTRACT
Purpose:
Research on empirical aesthetics suggests that specific kinematic parameters are related to the perception of motion aesthetics. Furthermore, an observer’s expertise seems to be related to the perception of motion aesthetics when complex biological motion stimuli are present. The central aim of this study was to investigate whether the amount that specific body parts moved during a complex motor skill was related to the perception of motion aesthetics in observers with different levels of sensory-motor expertise.
Methods:
Overall, 36 participants divided into 2 groups (18 dancers and 18 non-dancers) were asked to indicate their perceived motion aesthetics when they watched stick-figure video sequences of 3 different semi-standardized dance skills. The stick-figure video sequences were generated from original motion stimuli, and motion aesthetics were measured via Likert scales.
Results:
The perception of motion aesthetics in relation to the amount that specific body parts move is skill- and expertise-specific. Dance poses are perceived similarly by dancers and non-dancers, but motion aesthetics during dance jumps and turns are perceived differently. Furthermore, the amount that specific body parts move affects whether the observer perceives the motor skills as more or less aesthetic.
Conclusions:
The observer’s sensory-motor expertise regarding the observed motor skills can shape their perception of motion aesthetics. The findings of this study demonstrate that there is a skill- and expertise-specific relationship between motion kinematics and motion aesthetics.
Research on empirical aesthetics suggests that specific kinematic parameters are related to the perception of motion aesthetics. Furthermore, an observer’s expertise seems to be related to the perception of motion aesthetics when complex biological motion stimuli are present. The central aim of this study was to investigate whether the amount that specific body parts moved during a complex motor skill was related to the perception of motion aesthetics in observers with different levels of sensory-motor expertise.
Methods:
Overall, 36 participants divided into 2 groups (18 dancers and 18 non-dancers) were asked to indicate their perceived motion aesthetics when they watched stick-figure video sequences of 3 different semi-standardized dance skills. The stick-figure video sequences were generated from original motion stimuli, and motion aesthetics were measured via Likert scales.
Results:
The perception of motion aesthetics in relation to the amount that specific body parts move is skill- and expertise-specific. Dance poses are perceived similarly by dancers and non-dancers, but motion aesthetics during dance jumps and turns are perceived differently. Furthermore, the amount that specific body parts move affects whether the observer perceives the motor skills as more or less aesthetic.
Conclusions:
The observer’s sensory-motor expertise regarding the observed motor skills can shape their perception of motion aesthetics. The findings of this study demonstrate that there is a skill- and expertise-specific relationship between motion kinematics and motion aesthetics.
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