The generation of complex movements such as dance might be possible due to the utilization of movement building blocks, i.e., movement primitives. However, it is largely unexplored how the temporal structure of a movement sequence and the recruitment of these primitives change with experience. Therefore, we obtained a representation of primitives with the temporal movement primitive model from the motion capture data of dancers with varying experiences, both for improvised and choreographed movements (elements from contemporary/modern/jazz) with different qualitative expressions. We analyzed differences between movement conditions regarding the number of temporal segments and the number of primitives, as well as their association with dance experience. Especially for the choreography with a neutral expression, the results indicate a negative association between experience and the number of segments and a positive association between experience and the number of primitives. The variation in the recruitment of these primitives suggests an increased consistency of modular control with experience, particularly for improvised dance. A prerequisite for the meaningful interpretation of these results regarding human movement production is that the model can generate perceptually valid dance movements. This was confirmed in a subsequent experiment, although the validity was slightly impaired for improvised movements. Overall, the results of the choreographed movement sequences suggest that experience is associated with an increase in motor repertoire that might facilitate fewer and longer temporal segments.NEW & NOTEWORTHY This study demonstrates that a temporal movement primitive model, trained with movements performed by dancers with different levels of experience, is able to generate natural-looking dance movements. The results suggest that motor experience in dance is associated not only with fewer temporal segments but also with an increase in the number of underlying movement building blocks. The recruitment of these primitives, which might be used to simplify movement production, additionally seems to become more consistent with experience.
Keywords: biological movement perception; dance experience; dimensionality reduction; event segmentation; movement primitives.