Dance seen through a “Neurological Lens”

Recently, I found myself in Germany, sitting quietly in the corner of a dance studio, watching a rehearsal for a contemporary piece in development. The energy in the room was palpable, the dancers’ movements sharp and fluid, each one embodying the story they were trying to tell. Although I’ve never been a dancer, my work choreographing fight scenes for European stage productions since the early 1990s has given me a unique understanding of movement. Over the years, I’ve had the privilege of collaborating with many gifted dancers, starting with my work on the original ‘Lord of the Rings’ musical in Berlin in 1998 and ‘Saturday Night Fever’ in Cologne in 1999, alongside Dame Arlene Phillips. More recently, I toured North America with the dance company WangRamirez and their acclaimed piece Borderline. As a performing rigger, I was responsible for the intricate wirework the company is known for.

As I sat there, watching the dancers glide across the floor, I couldn’t help but view their movements through the lens of my own experience. In the past decade, my understanding of movement has been profoundly influenced by my study of neuro-centric approaches. Initially, I turned to these methods out of necessity—my stunt career had taken a significant toll, and as I approached my late thirties, chronic pain became a constant companion. Learning to modulate the signals within my nervous system provided me with the relief I desperately needed and opened my eyes to the intricate ways our brains control every aspect of movement.

This newfound understanding changed the way I perceived physical performances. Now, whether I’m watching a sports event or a dance rehearsal, my mind immediately starts analyzing the movements, asking, "How could I refine this performance using applied neurology?". That day in Germany, as I observed the dancers, I saw opportunities—ways in which a neurological approach could enhance their artistry and precision. Little did I know, I was about to witness something that would deepen my appreciation for the intersection of dance and neuroscience.

What Dance Revealed

As the rehearsal continued, my observations became more focused. The piece being rehearsed was rooted in classical ballet, and although I’m not a dance choreographer, I could distinguish between the choreographer’s intent and the technical errors that occasionally crept in. The more I watched, the more I realized that these talented dancers, despite their skill, could benefit immensely from an understanding of how the brain and nervous system craft movement.

?? One of the first things I noticed was the dancers’ breathing patterns. Losing control of breath, especially during intense sequences, isn’t just about stamina—it’s also a neurological response. When dancers lose their breath, it generally leads to a breakdown in form and increases the risk of injury. By practicing habitual breathing patterns and enhancing respiratory metabolic flexibility, dancers can maintain better control, allowing them to perform at their peak longer and more safely.

?? Another critical aspect was the focus of attention. In the early stages of rehearsal, dancers often rely on an internal focus, evaluating the quality and rhythm of their movements. This is crucial for mastering technique, but won’t always be a suitable key. The use of mirrors, while helpful, adds an additional layer of visual information that can overwhelm the dancer’s neurological system. Filming and reviewing performances can be more effective, particularly in the later stages of rehearsal when external focus becomes paramount. Elite dancers naturally shift between these focuses, but clear guidance from the choreographer can further enhance their performance, ensuring that every movement aligns with the narrative of the piece.

?? Balance and turning were other areas where the neurological perspective came into play. Most dancers have a preferred direction for turning, but achieving equal proficiency in both directions is essential. Balance relies on a combination of vestibular (internal), visual (external), and proprioceptive (body in space) information. When a dancer loses balance, it can be a sign of a deficiency in one of these systems—perhaps due to an injury or a lack of balance stamina. Directly addressing these deficiencies at a neurological level will significantly improve a dancer’s stability and fluidity in their movements.

As the rehearsal drew to a close, I couldn’t help but marvel at how even the smallest adjustments—ones rooted in an understanding of the nervous system—could lead to substantial improvements in performance. The dancers, already impressive, could elevate their performance from good to exceptional, or in the eyes of the audience, from merely 'interesting' to truly 'thrilling'.

A Call for Evolution

Leaving the rehearsal, I was struck by the potential for a paradigm shift in the world of dance. Every high-level performing artist seeks continuous improvement, and the brain—the central control system for all movement, thought, and emotion—is the key to unlocking that potential. By focusing on neuro athletic training, dancers can refine their technique more efficiently, achieve greater consistency, and reduce the risk of injury.

The observations I made during the rehearsal weren’t critiques but opportunities for growth. Each dancer has unique neurological patterns that influence their movement, and understanding these patterns can lead to more personalized and effective training. Individualization is the key to deliberate and successful dance education. By assessing the nervous system in real-time and identifying the competencies that need strengthening, dancers can accelerate their development and reach new levels of performance.

?? As I reflect on that day in Germany, I’m reminded of the power of interdisciplinary thinking. The integration of neuroscience into dance education is not just a possibility—it’s a necessity for those who are serious about their craft. The time has come for a new angle in how we approach dance training, and I’m excited to see how this evolution will unfold.

For dancers, choreographers, and educators ready to embrace this change, the possibilities are endless. The stage is set, the curtain is rising—now it’s time to dance with the brain as your guide.

mazzdance

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