 Montero’s view (2012) is that trained dancers have enhanced and more nuanced kinaesthetic responses than do persons with no dance training, something that she believes can contribute to a richer appreciative evaluation of dance (see Bresnahan 2017b for a fuller discussion of this view). Conroy agrees that Montero’s evidence shows that trained dancers might be able “to identify subtle discrepancies between multiple performances of canonical movement types” but denies that this necessarily translates into better appreciation of dance qua dance as art, where what matters is appreciation of aesthetic properties which may or may not depend on the kind of perception Montero’s evidence identifies in every case (2013: 205). McFee, as mentioned in  Section 3.2,  disagrees that dance training is ever relevant to the understanding of dance as art, which he seems to equate with critical appreciation. Van Camp (2019) lends support for this view. 