- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
Are Dancers' Brains Wired Differently?
Dancers are masters of multi-tasking. Performing a series of steps on stage while portraying a character and making a split-second change from a single to a double pirouette is no problem, but no coincidence either. Dancers' brains appear to be programmed differently from non-dancers' brains.
Studies at the University of Maryland in partnership with the University of Houston during the past three years reveal that dancers use multiple areas of their brains simultaneously while dancing: one part controls movement without expressive intention, another part imagines movement qualities and these parts work to execute movement while also making higher-level decisions.
"When you see dancers who are dancing beautifully, their whole brain is being engaged," says Karen Kohn Bradley, associate professor emeritus and director of graduate studies in dance at the University of Maryland. "They are thinking about the sequence, focus, timing and qualities of lightness and strength all at once."
A dancer moving as data was collected from the University of Maryland/University of Houston collaborative study. Photo courtesy Karen Kohn Bradley
This research helps explain why professional dancers can process complex choreography in a split second. Cerebral synchronization makes dancers proficient at "enchainment"—the ability to remember chunks of steps and recognize their patterns. Bradley explains that the brain stores these patterns in lower parts (like the cerebellum), which opens up more room in the frontal lobe for expression and "creative reinventions on stage if something suddenly goes wrong," she says.
But are dancers born with these brain patterns and the ability to multi-task? According to Bradley, it's hard to say. Some dancers are innately wired like this; others have the propensity to develop these abilities over time.
Bradley believes that the information she and her colleagues have acquired is a useful approach to training people to be more expressive and more aware of the impact that this expressiveness can have on others. A trained movement analyst, she says it can be applied to many disciplines where movement and gestures matter in different contexts. Some of these are predictable, like theater or animation, and some are surprising, like diplomacy and deal-making.
Bradley's work also has huge implications for dance education. In class, dancers typically focus on the sequence or the technique. But this engages only one part of the brain. Bradley believes more studios need to give their dancers images that help them with expressive qualities. "We've all heard of the laser beam shooting out of the leg to improve battement technique," says Bradley. "But we also need imagery that evokes feeling. For example, 'That's honey…I want molasses.' " This training also translates to the idea of musicality: Bradley believes that dancers must be trained in being expressive with or without music, using simple images or pure qualities, such as "rise up," or "be more buoyant."
Examining the power of dancers' brains continues at UM, UH and MIT, as well. University researchers have linked individual brain electrodes on dancers' heads to different sounds, enabling the dancers to signal lighting and music with their brainwaves and the touch of their feet on the floor.
Will all of this technology make better dance? Bradley says it is reassuring to know that, "ultimately, it all still depends on the sophistication and beauty of the dancer."
There must be something in the water: Last week, we announced that Madonna is directing Michaela DePrince's upcoming biopic. And yesterday, we got wind of another major dance film: According to The Hollywood Reporter, Fox Searchlight has sealed the deal to make Ailey Ailey's life and work into a movie. Yes, please.
While some movies falter along their way to the big screen, we think this one's got legs (and hopefully a whole lot of lateral T's and hinges and coccyx balances, too). Why?
Back in 2012, after 14 years dancing with Mark Morris Dance Group, choreographer John Heginbotham ventured out on his own. Don't think of it as going solo, though.
Almost from the outset, Heginbotham has embarked on a series of fruitful collaborations with other artists, via his namesake company, Dance Heginbotham, and through a stream of independent projects. His creative partners have covered a range of talents and genres: illustrator Maira Kalman (in 2017's The Principles of Uncertainty), opera director Peter Sellars (for Girls of the Golden West, which debuted at San Francisco Opera in November), and contemporary-music luminaries such as Tyondai Braxton and Alarm Will Sound.
Here's What He Has To Say: About starting his company, his rehearsal process and why he's drawn to creative mash-ups.
Raise your hand if you've ever walked out of the studio with just one thought on your mind: a big, juicy cheeseburger. But raise your other hand if instead of getting that burger, you opted for a hearty salad or stir-fry.
While dancers need to fuel their bodies with nutrient-dense meals and snacks, plenty of foods get an unfair bad rap. "The diet culture in this country vilifies various food groups as being bad while championing others as good," says Kelly Hogan, MS, RD, CDN, clinical nutrition and wellness manager at the Dubin Breast Center at Mount Sinai Hospital in New York City. "But black-and-white thinking like that has no place when it comes to food."
Some foods have less nutrition than others, admits Hogan, but if you're eating what you crave and honoring your hunger and fullness cues, she says you'll probably get the variety of nutrients your body needs. Here are seven foods that can have a place on your plate—guilt-free.
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."
Ten years is a long time for a dance production to run, but Sidi Larbi Cherkaoui's Sutra, an athletic, meditative spectacle featuring 19 Shaolin monks and a malleable set of 21 wooden boxes (designed by Antony Gormley) is still striking a chord with audiences worldwide. To celebrate the milestone, Sutra is returning to Sadler's Wells, where it all began. March 26–28. sadlerswells.com.
Whether playing a saucy soubrette or an imperious swan, Irina Dvorovenko was always a formidable presence on the American Ballet Theatre stage. Since her 2013 retirement at 39, after 16 seasons, she's been bringing that intensity to an acting career in roles ranging from, well, Russian ballerinas to the Soviet-era newcomer she plays in the FX spy series "The Americans."
We caught up with her after tech rehearsal for the Encores! presentation of the musical Grand Hotel, directed and choreographed by Josh Rhodes and running March 21–25 at New York City Center. It's another tempestuous ballerina role for Dvorovenko—Elizaveta Grushinskaya, on her seventh farewell tour, resentfully checks into the Berlin hostelry of the title with her entourage, only to fall for a handsome young baron and sing "Bonjour, Amour."
When Andrew Montgomery first saw the Las Vegas hit Le Rêve - The Dream 10 years ago, he knew he had to be a part of the show one day. Eight years later, he auditioned, and made it to the last round of cuts. On his way home, still waiting to hear whether he'd been cast, he was in a motorcycle accident that ended up costing him half his leg.
But Montgomery's story doesn't end the way you might think. Today, he's a cast member of Le Rêve, where he does acrobatics and aerial work, swims (yes, the show takes places in and around a large pool) and dances, all with his prosthetic leg.
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
A flock of polyamorous princes, a chorus of queer dying swans, a dominatrix witch: These are a few of the characters that populate the works of Katy Pyle, who, with her Brooklyn-based company Ballez, has been uprooting ballet's gender conventions since 2011.
Historically, ballet has not allowed for the expression of lesbian, transgender or gender-nonconforming identities. With Ballez, Pyle is reinventing the classical canon on more inclusive terms. Her work stems from a deep love of ballet and, at the same time, a frustration with its limits on acceptable body types and on the stories it traditionally tells.
The latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.