Publication

Ballet as a movement-based contemplative practice? Implications for neuroscientific studies

van Vugt, M., 17-Jul-2014, In : Frontiers in Human Neuroscience. 8, 4 p., 513.

Research output: Contribution to journalArticleAcademicpeer-review

APA

van Vugt, M. (2014). Ballet as a movement-based contemplative practice? Implications for neuroscientific studies. Frontiers in Human Neuroscience, 8, [513]. https://doi.org/10.3389/fnhum.2014.00513

Author

van Vugt, Marieke. / Ballet as a movement-based contemplative practice? Implications for neuroscientific studies. In: Frontiers in Human Neuroscience. 2014 ; Vol. 8.

Harvard

van Vugt, M 2014, 'Ballet as a movement-based contemplative practice? Implications for neuroscientific studies' Frontiers in Human Neuroscience, vol. 8, 513. https://doi.org/10.3389/fnhum.2014.00513

Standard

Ballet as a movement-based contemplative practice? Implications for neuroscientific studies. / van Vugt, Marieke.

In: Frontiers in Human Neuroscience, Vol. 8, 513, 17.07.2014.

Research output: Contribution to journalArticleAcademicpeer-review

Vancouver

van Vugt M. Ballet as a movement-based contemplative practice? Implications for neuroscientific studies. Frontiers in Human Neuroscience. 2014 Jul 17;8. 513. https://doi.org/10.3389/fnhum.2014.00513


BibTeX

@article{f92b57ff45924241b7adfa1ec600aa64,
title = "Ballet as a movement-based contemplative practice? Implications for neuroscientific studies",
abstract = "There is a rising scientific interest in the neuroscience behind contemplative practices (see e.g., Vago and Silbersweig, 2012 for a review), including movement-based practices such as yoga and tai chi. Given that, it becomes important to ask how such contemplative practices differ from Western movement practices such as dance. In both dance training and contemplative movement, one learns to control the body very precisely, and this requires an assortment of mental skills as well. As a practitioner of both classical ballet and contemplation, and as a neuroscientist who studies contemplation, I will examine how the neural and mental causes and consequences of movement training differ between dance and contemplation. Ballet, rather than modern dance, serves as a good contrast for contemplative practice, because modern dance itself has been influenced substantially by contemplative practice (Hay, 2000). I will compare classical ballet and movement-based contemplative practice on the dimensions of (i) cultivation of attention, (ii) development of interoception, (iii) cultivation of meta-cognition, and (iv) emotion regulation. To date, there are limited studies of movement-based practices, for the obvious reason that movement tends to create artifacts in neuroimaging and EEG measures (e.g., Gwin et al., 2010). I will point out important gaps in our neuroscientific understanding of these phenomena. The results have implications for how we conduct studies of contemplative practitioners and dancers.",
keywords = "Emotion, Interoception, Meditation, Metacognition, Mindfulness, Yoga, attention, ballet, body movement, dancing, decision making, emotionality, human, human activities, movement perception, neuropsychology, neuroscience, note, perception, psychomotor performance, thinking, training, EXPERIENCED MEDITATORS, BRAIN, ATTENTION, INTEROCEPTIVE AWARENESS, PRACTITIONERS, EMOTION",
author = "{van Vugt}, Marieke",
year = "2014",
month = "7",
day = "17",
doi = "10.3389/fnhum.2014.00513",
language = "English",
volume = "8",
journal = "Frontiers in Human Neuroscience",
issn = "1662-5161",
publisher = "Frontiers Media S.A.",

}

RIS

TY - JOUR

T1 - Ballet as a movement-based contemplative practice? Implications for neuroscientific studies

AU - van Vugt, Marieke

PY - 2014/7/17

Y1 - 2014/7/17

N2 - There is a rising scientific interest in the neuroscience behind contemplative practices (see e.g., Vago and Silbersweig, 2012 for a review), including movement-based practices such as yoga and tai chi. Given that, it becomes important to ask how such contemplative practices differ from Western movement practices such as dance. In both dance training and contemplative movement, one learns to control the body very precisely, and this requires an assortment of mental skills as well. As a practitioner of both classical ballet and contemplation, and as a neuroscientist who studies contemplation, I will examine how the neural and mental causes and consequences of movement training differ between dance and contemplation. Ballet, rather than modern dance, serves as a good contrast for contemplative practice, because modern dance itself has been influenced substantially by contemplative practice (Hay, 2000). I will compare classical ballet and movement-based contemplative practice on the dimensions of (i) cultivation of attention, (ii) development of interoception, (iii) cultivation of meta-cognition, and (iv) emotion regulation. To date, there are limited studies of movement-based practices, for the obvious reason that movement tends to create artifacts in neuroimaging and EEG measures (e.g., Gwin et al., 2010). I will point out important gaps in our neuroscientific understanding of these phenomena. The results have implications for how we conduct studies of contemplative practitioners and dancers.

AB - There is a rising scientific interest in the neuroscience behind contemplative practices (see e.g., Vago and Silbersweig, 2012 for a review), including movement-based practices such as yoga and tai chi. Given that, it becomes important to ask how such contemplative practices differ from Western movement practices such as dance. In both dance training and contemplative movement, one learns to control the body very precisely, and this requires an assortment of mental skills as well. As a practitioner of both classical ballet and contemplation, and as a neuroscientist who studies contemplation, I will examine how the neural and mental causes and consequences of movement training differ between dance and contemplation. Ballet, rather than modern dance, serves as a good contrast for contemplative practice, because modern dance itself has been influenced substantially by contemplative practice (Hay, 2000). I will compare classical ballet and movement-based contemplative practice on the dimensions of (i) cultivation of attention, (ii) development of interoception, (iii) cultivation of meta-cognition, and (iv) emotion regulation. To date, there are limited studies of movement-based practices, for the obvious reason that movement tends to create artifacts in neuroimaging and EEG measures (e.g., Gwin et al., 2010). I will point out important gaps in our neuroscientific understanding of these phenomena. The results have implications for how we conduct studies of contemplative practitioners and dancers.

KW - Emotion

KW - Interoception

KW - Meditation

KW - Metacognition

KW - Mindfulness

KW - Yoga

KW - attention

KW - ballet

KW - body movement

KW - dancing

KW - decision making

KW - emotionality

KW - human

KW - human activities

KW - movement perception

KW - neuropsychology

KW - neuroscience

KW - note

KW - perception

KW - psychomotor performance

KW - thinking

KW - training

KW - EXPERIENCED MEDITATORS

KW - BRAIN

KW - ATTENTION

KW - INTEROCEPTIVE AWARENESS

KW - PRACTITIONERS

KW - EMOTION

U2 - 10.3389/fnhum.2014.00513

DO - 10.3389/fnhum.2014.00513

M3 - Article

VL - 8

JO - Frontiers in Human Neuroscience

JF - Frontiers in Human Neuroscience

SN - 1662-5161

M1 - 513

ER -

ID: 13776274