The current study highlights individual differences in the joint articulation strategies used by novices practicing a hip-hop dance movement, the wave. Twelve young adults, all naive regarding hip-hop dance performance, practized the wave in 120 trials separated into four blocks with the order of internal or external attentional focus counterbalanced across subjects. Various kinematic analyses were analyzed to capture performance success while exploiting the observed individual differences in order to establish the reliability of the proposed performance indicators. An external focus (...) of attention marginally facilitated the smooth transfer of a wave motion across neighboring limb segments as characterized by a constant propagation speed combined with large wave amplitudes. Systematic correlations between the success indicators were found, exemplifying the various degrees of joint articulation that novices prove capable of during an initial practicing session to try and perform a novel complex motor task. (shrink)

This paper provides evidence for a radically enactive, embodied account of remembering. By looking closely at highly context-dependent instances of memorizing and recalling dance material, I aim at shedding light on the workings of memory. Challenging the view that cognition fundamentally entails contentful mental representation, the examples I discuss attest the existence of non-representational instances of memory, accommodating episodic memory. That being so, this paper also makes room for content-involving forms of remembering. As a result, it supports the duplex vision (...) of mentality advanced by the REC framework. Building on research on the enactive imagination, I suggest that contentless forms of remembering act below content-involving forms. In addition, contentless and contentful forms of remembering a movement are revealed as the product of culturally scaffolded engagements with others and the environment, in which direct perception and mirroring play a fundamental role. It is argued that many of the practices of remembering a movement are best explained as enactments or re-enactments of such direct ecological perceptions. In the process, the dance studio proves to be a paradigm of the extensive mind. This paper is also intended as an invitation to the REC framework to extend the family and explicitly embrace research on sociocultural practices as an equal partner, including dance studies. Given the fundamental role that sociocultural practices play in REC’s understanding of cognition, it is only natural that further radicalization goes along those lines. (shrink)