![]() ![]() In the present study, we address how observers’ aesthetic evaluation of dance is related to their perceived physical ability to reproduce the movements they watch. Moreover, it is ideally suited to explore the embodied simulation account of aesthetic experience, which posits that activation within sensorimotor areas of the brain, known as the action observation network (AON), is a critical element of the aesthetic response. Though less studied than the neuroaesthetics of visual art, dance neuroaesthetics is a particularly rich subfield to explore, as it is informed not only by research on the neurobiology of aesthetics, but also by an extensive literature on how action experience shapes perception. The field of neuroaesthetics attracts attention from neuroscientists and artists interested in the neural underpinnings of aesthetic experience. We suggest that future work within the fields of dance neuroscience and neuroaesthetics have the potential to provide mutual benefits to both the scientific and artistic communities. In the present paper, we discuss how recent advances in neuroscientific methods provide the tools to advance our understanding of not only the cerebral phenomena associated with dance learning and observation but also the neural underpinnings of aesthetic appreciation associated with watching dance. ![]() Because of this, social scientists and neuroscientists are turning to dance and dancers to help answer questions of how the brain coordinates the body to perform complex, precise, and beautiful movements. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status.
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