Enhancing dance learning by optimising instructional perspective: A preregistered study on the effect of dancers’ viewing perspective, cognitive load and expertise
10 affiliations
- 1School of Biological and Behavioural Sciences, Centre for Brain and Behaviour, Queen Mary University of London, London, United Kingdom
- 2Sports and Exercise Medicine, William Harvey Research Institute, Queen Mary University of London, London, United Kingdom
- 3Trinity Centre for Global Health, School of Psychology, Trinity College Dublin, Dublin, Ireland
- 4Faculty of Health and Medical Sciences, Novo Nordisk Foundation Center for Protein Research, University of Copenhagen, Copenhagen, Denmark
- 5The English National Ballet School, London, United Kingdom
- 6The Royal Ballet School, London, United Kingdom
- 7Trinity Laban Conservatoire for Music and Dance, London, United Kingdom
- 8Faculty of Fine Arts and Music, Victorian College of Arts, University of Melbourne, Melbourne, Australia
- 9Department of Drama, School of the Arts, Queen Mary University of London, London, United Kingdom
- 10Physiotherapy Department, Mile End Hospital, Barts Health NHS Trust, LondonUnited Kingdom
Abstract
While movement sequences in choreography are often taught through instructor demonstrations, the influence of visual perspective on learning outcomes has received limited attention. Drawing on cognitive load theory, we investigated how the requests imposed by different instructional perspectives affect learning and performance. We compared the effects of Back view (first-person), Front mirror view (third-person mirrored), and Front opposite view (third-person) between dancers. We hypothesized lower cognitive load and better performance in the Back view, particularly for less experienced dancers. After preregistering the study, 32 dancers with varying levels of experience learned a moderately complex choreography from pre-recorded videos, in the three perspectives. Five dance experts assessed movement accuracy, spatial skills, and rhythm/dynamics using a validated scoring system and a new open-source digital tool. The Back view consistently yielded superior outcomes, especially among less trained dancers. No significant differences emerged between the two third-person views, possibly due to sample size or dancer background. These findings suggest that first-person perspectives may support motor learning, with performance patterns consistent with reduced cognitive load. Practically, camera perspective should be considered in online instruction, while first-person views may benefit early in-person training. Our results highlight the role of visual perspective in learning choreography and complex motor routines, offering both theoretical and applied contributions, including validation of a novel digital assessment tool.
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BibTeX
@article{versace2026enhancing,
title = {{Enhancing dance learning by optimising instructional perspective: A preregistered study on the effect of dancers’ viewing perspective, cognitive load and expertise}},
author = {Elisabetta Versace and Manuela Angioi and Kristin Hadfield and Vincent Gallo and Lars Juhl Jensen and Juncal Roman and Karen Sheriff and Emma Redding and Frances Clarke and Julian Deering and Dylan Morrissey and Stephen Buckingham},
journal = {PLOS One},
year = {2026},
month = sep,
doi = {10.1371/journal.pone.0355860},
url = {https://doi.org/10.1371/journal.pone.0355860},
note = {CC BY 4.0},
}
RIS
TY - JOUR
TI - Enhancing dance learning by optimising instructional perspective: A preregistered study on the effect of dancers’ viewing perspective, cognitive load and expertise
AU - Elisabetta Versace
AU - Manuela Angioi
AU - Kristin Hadfield
AU - Vincent Gallo
AU - Lars Juhl Jensen
AU - Juncal Roman
AU - Karen Sheriff
AU - Emma Redding
AU - Frances Clarke
AU - Julian Deering
AU - Dylan Morrissey
AU - Stephen Buckingham
PY - 2026
DA - 2026/09/16
JO - PLOS One
DO - 10.1371/journal.pone.0355860
UR - https://doi.org/10.1371/journal.pone.0355860
AB - While movement sequences in choreography are often taught through instructor demonstrations, the influence of visual perspective on learning outcomes has received limited attention. Drawing on cognitive load theory, we investigated how the requests imposed by different instructional perspectives affect learning and performance. We compared the effects of Back view (first-person), Front mirror view (third-person mirrored), and Front opposite view (third-person) between dancers. We hypothesized lower cognitive load and better performance in the Back view, particularly for less experienced dancers. After preregistering the study, 32 dancers with varying levels of experience learned a moderately complex choreography from pre-recorded videos, in the three perspectives. Five dance experts assessed movement accuracy, spatial skills, and rhythm/dynamics using a validated scoring system and a new open-source digital tool. The Back view consistently yielded superior outcomes, especially among less trained dancers. No significant differences emerged between the two third-person views, possibly due to sample size or dancer background. These findings suggest that first-person perspectives may support motor learning, with performance patterns consistent with reduced cognitive load. Practically, camera perspective should be considered in online instruction, while first-person views may benefit early in-person training. Our results highlight the role of visual perspective in learning choreography and complex motor routines, offering both theoretical and applied contributions, including validation of a novel digital assessment tool.
SN - 1932-6203
ER -