2026-10-14T11:40:30Z https://api.figshare.com/v2/oai

oai:figshare.com:article/33865562 2026-09-16T17:30:15Z category_146 category_15 category_45 category_734 category_931 category_122 portal_5 item_type_3 month_year_09_2026

<p>Dataset: Support dataset.</p> Elisabetta Versace (3349964) Manuela Angioi (24998573) Kristin Hadfield (6990035) Vincent Gallo (24998576) Lars Juhl Jensen (850) Juncal Roman (24998579) Karen Sheriff (24998582) Emma Redding (3756265) Frances Clarke (22623593) Julian Deering (24998585) Dylan Morrissey (7245599) Stephen Buckingham (24998588) Space Science Neuroscience Sociology Biological Sciences not elsewhere classified Information Systems not elsewhere classified Mental Health validated scoring system source digital tool significant differences emerged received limited attention complex motor routines front opposite view enhancing dance learning reduced cognitive load cognitive load theory less experienced dancers dancers &# 8217 optimising instructional perspective person mirrored ), performance patterns consistent moderately complex choreography expertise </ p cognitive load learning outcomes learning choreography back view 32 dancers visual perspective viewing perspective camera perspective xlink "> varying levels three perspectives spatial skills sample size results highlight requests imposed recorded videos possibly due person views person training online instruction often taught new open movement sequences instructor demonstrations including validation findings suggest experience learned dynamics using dancer background better performance applied contributions <div><p>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.</p></div> 2026-09-16T17:30:11Z Dataset Dataset 10.1371/journal.pone.0355860.s002 https://figshare.com/articles/dataset/_p_Dataset_Support_dataset_p_/33865562 CC BY 4.0