Action and perception: Neural indices of learning in infants

Early human development offers a unique perspective in investigating the potential cognitive and social implications of action and perception. Specifically, during infancy, action production and action perception undergo foundational developments. One essential component to examine developments in action processing is the analysis of others’ actions as meaningful and goal-directed. Little research, however, has examined the underlying neural systems that may be associated with emerging action and perception abilities, and infants’ learning of goal-directed actions. The current study examines the mu rhythm—a brain oscillation found in the electroencephalogram (EEG)—that has been associated with action and perception. Specifically, the present work investigates whether the mu signal is related to 9-month-olds’ learning of a novel goal-directed means-end task. The findings of this study demonstrate a relation between variations in mu rhythm activity and infants’ ability to learn a novel goal-directed means-end action task (compared to a visual pattern learning task used as a comparison task). Additionally, we examined the relations between standardized assessments of early motor competence, infants’ ability to learn a novel goal-directed task, and mu rhythm activity. We found that: 1a) mu rhythm activity during observation of a grasp uniquely predicted infants’ learning on the cane training task, 1b) mu rhythm activity during observation and execution of a grasp did not uniquely predict infants’ learning on the visual pattern learning task (comparison learning task), 2) infants’ motor competence did not predict infants’ learning on the cane training task, 3) mu rhythm activity during observation and execution was not related to infants’ measure of motor competence, and 4) mu rhythm activity did not predict infants’ learning on the cane task above and beyond infants’ motor competence. The results from this study demonstrate that mu rhythm activity is a sensitive measure to detect individual differences in infants’ action and perception abilities, specifically their learning of a novel goal-directed action.

Afro-Cuban Bata Drum Aesthetics: Developing Individual and Group Technique, Sound and Identity

The Lucumi religion (also Santeria and Regla de Ocha) developed in 19th-century colonial Cuba, by syncretizing elements of Catholicism with the Yoruba worship of orisha. When fully initiated, santeros (priests) actively participate in religious ceremonies by periodically being possessed or "mounted" by a patron saint or orisha, usually within the context of a drumming ritual, known as a toque de santo, bembe, or tambor. Within these rituals, there is a clearly defined goal of trance possession, though its manifestation is not the sole measure of success or failure. Rather than focusing on the fleeting, exciting moments that immediately precede the arrival of an orisha in the form of a possession trance, this thesis investigates the entire four- to six-hour musical performance that is central to the ceremony. It examines the brief pauses, the moments of reduced intensity, the slow but deliberate build-ups of energy and excitement, and even the periods when novices are invited to perform the sacred bata drums, and places these moments on an equal footing with the more dynamic periods where possession is imminent or in progress. This document approaches Lucumi ritual from the viewpoint of bata drummers, ritual specialists who, during the course of a toque de santo, exercise wide latitude in determining the shape of the event. Known as omo Ana (children of the orisha Ana who is manifest in drums and rhythms), bata drummers comprise a fraternity that is accessible only through ritual initiation. Though they are sensitive to the desires of the many participants during a toque de santo, and indeed make their living by satisfying the expectations of their hosts, many of the drummers' activities are inwardly focused on the cultivation and preservation of this fraternity. Occasionally interfering with spirit possession, and other expectations of the participants, these aberrant activities include teaching and learning, developing group identity or signature sound, and achieving a state of intimacy among the musicians known as "communitas."