Tsoukalas, George

Engl. 213

Professor Jeanette Novakovich

October 14 2010

Synthesis (Rough Draft): The Neuroscience of Dance

Humans have a distinct method of demonstrating their emotions whether it may be

through art, music or even dancing. Although dancing and its history is unclear of where it may

have originated, authors Steven Brown and Lawrence M. Parsons unfold the scientific and

biological mysteries regarding dance and the brain. According to the authors, a complex neural

encoding exists enabling most dancers to perform fluently, unlike common belief that claims:

“Practice makes perfect”. Similarly, other researchers such as Bachner-Melman et al compare

dancing and its movements to mankind’s ancestor the Homo sapiens, accepting a general

consensus involving innate ability to creatively dance. Recent studies show that the brain does in

fact stimulate a human’s body, but does this mean everyone can manage without ‘practicing’?

In the article The Neuroscience of Dance..., Brown et al state: “To hop on one foot...

requires calculations relating to spatial awareness, balance, intention and timing, among other

things, in the brain’s sensorimotor system,” this proves that there is an existing scientific

correlation between muscle contractions and a human’s brain. This particular experiment studied

a sample of 5 male and 5 female amateur tango dancers. A ‘positron-emission tomography’ was

used to record all cerebral activity while the performers executed various dance steps and

techniques; particularly, the crucial areas of the brain, which direct the dancer’s legs through

time and space, which are located in the parietal lobe’s ‘precuneus’ region (Brown et al 2008).

Such findings are specific indicators supporting the correlation between innate ability and the
process of retaining dance moves. The author later specifies how a dancer, while waltzing, plots

a mental path enabling him or her to perform at his or her own level. Although ambiguous at

times, performing synchronized and accurate dance manoeuvres can be extremely strenuous and

complicated for some; for others, this is simply part of their genetic makeup. In a supporting

study AVPR1a and SLC6A4 Gene Polymorphisms Are Associated with Creative Dance

Performance conducted by Bachner-Melman et al, the authors argue how only specific

individuals are in fact inherently endowed with the ‘genetic’ capacity to perform without having

to practice. Bachner-Melman establishes this point when he states: “Dance, as an expressive art

form, is often considered inherently creative, especially when compared with a ‘‘nonartistic’’

domain. It is also a cultural form that results from creative processes that manipulate human

bodies in space and time (‘‘embodiment’’)” (Bachner-Melman 2005).

Another important aspect highlighted in the first article would be an individual’s innate

mental ability of actually being able to skip the entire process of getting into a ‘rhythm’ and is

inherently able to do so. Two professors of University College London, Beatriz Calvo and

Patrick Haggard, confirmed this theory by conducting an experiment on ballet dancers, capoeira

dancers and non-dancers. The purpose of the experiment was to demonstrate a dancer’s mental

awareness when viewing his/her personal dancing style, in contrast to viewing a different style

unfamiliar to them. To find this out functional magnetic resonance scans were recorded, the

results showed a rise in ‘pre-motor cortex’ levels (Brown 2008). This proves how ‘some’ dancers

innately recognize or register their appropriate dance style or pattern and others simply can not.

This suggests how rhythm and style do in fact reside within the minds of ‘true’ dancers.

In the second article discussing the origins of man’s capacity to learn particular dance

moves and go on to react accordingly, the researchers suggest how such dancing patterns are a
result of levels of serotonin in our brains. He explains: “The serotonin transporter regulates the

level of serotonin, a brain transmitter that contributes to spiritual experience” such genetic

makeup benefits those who are able to secrete higher levels of ‘serotonin’ (Bachner-Melman). As

a result, certain people can dance better and quicker than others.

To conclude, dancing does have a complex neural code behind ones capabilities to

perform on stage or even do a backward flip in the air. Both articles confirm there is a relation

between cerebral activity, genetic makeup and one’s ability to dance. Also, innate capabilities are

identified as a process which only occurs with particular individuals. Although our modern

technology can help identify the particular areas involving the brain and kinaesthetic stimulation,

will humanity reach the point of actually being able to calculate an individual’s neural capacity

to excel in certain types of dance?

 Works Cited

Bachner-Melman R, Dina C, Zohar AH, Constantini N, Lerer E, et al. (2005) AVPR1a and
SLC6A4 Gene Polymorphisms Are Associated with Creative Dance Performance. PLoS Genet
1(3): e42. doi:10.1371/journal.pgen.0010042.

Brown, S. & Parsons, L. M. (2008). The Neuroscience of Dance: Recent brain-imaging studies
reveal some of the complex neural choreography behind our ability to dance. Scientific
American, INC. pp. 78-83.