• Contributors
    • Catherine L. Tully, Owner/Editor
    • Dance Writers
      • Rachel Hellwig, Assistant Editor — Dance
      • Jessika Anspach McEliece, Contributor — Dance
      • Janice Barringer, Contributor – Dance
      • José Pablo Castro Cuevas, Contributor — Dance
      • Katie C. Sopoci Drake, Contributor – Dance
      • Ashley Ellis, Contributor — Dance
      • Samantha Hope Galler, Contributor – Dance
      • Cara Marie Gary, Contributor – Dance
      • Luis Eduardo Gonzalez, Contributor — Dance
      • Karen Musey, Contributor – Dance
      • Janet Rothwell (Neidhardt), Contributor — Dance
      • Matt de la Peña, Contributor – Dance
      • Lucy Vurusic Riner, Contributor – Dance
      • Alessa Rogers, Contributor — Dance
      • Emma Love Suddarth, Contributor — Dance
      • Andrea Thompson, Contributor – Dance
      • Sally Turkel, Contributor — Dance
      • Lauren Warnecke, Contributor – Dance
      • Sharon Wehner, Contributor – Dance
      • Ashley Werhun, Contributor — Dance
      • Dr. Frank Sinkoe, Contributor – Podiatry
      • Jessica Wilson, Assistant Editor – Dance
    • Dance Wellness Panel
      • Jan Dunn, MS, Editor
      • Gigi Berardi, PhD
      • James Garrick, MD
      • Robin Kish, MS, MFA
      • Moira McCormack, MS
      • Janice G. Plastino, PhD
      • Emma Redding, PhD
      • Erin Sanchez, MS
      • Selina Shah, MD, FACP
      • Nancy Wozny
      • Matthew Wyon, PhD
    • Music & Dance Writers
      • Scott Speck, Contributor – Music
    • Interns
      • Intern Wanted For 4dancers
    • Contact
  • About
    • About 4dancers
    • Advertise With 4dancers
    • Product Reviews on 4dancers
    • Disclosure
  • Contact

4dancers.org

A website for dancers, dance teachers and others interested in dance

Follow Us on Social!

Visit Us On YoutubeVisit Us On TwitterVisit Us On PinterestVisit Us On FacebookVisit Us On Instagram
  • 4dancers
    • Adult Ballet
    • Career
    • Auditions
    • Competition
    • Summer Intensives
    • Pointe Shoes & Footwear
      • Breaking In Shoes
      • Freed
      • Pointe Shoe Products
      • Vegan Ballet Slippers
      • Other Footwear
  • 4teachers
    • Teaching Tips
    • Dance History
    • Dance In The US
    • Studios
  • Choreography
  • Dance Wellness
    • Conditioning And Training
    • Foot Care
    • Injuries
    • Nutrition
      • Recipes/Snacks
  • Dance Resources
    • Dance Conferences
    • Dance Products
      • Books & Magazines
      • DVDs
      • Dance Clothing & Shoes
      • Dance Gifts
      • Flamenco & Spanish Dance
      • Product Reviews
    • Social Media
  • Editorial
    • Interviews
      • 10 Questions With…
      • Dance Blog Spotlight
      • Post Curtain Chat
      • Student Spotlight
    • Dance in the UK
    • Finding Balance
    • Musings
    • One Dancer’s Journey
    • Pas de Trois
    • SYTYCD
    • The Business Of Dance
    • Finis
  • Music & Dance
    • CD/Music Reviews

What Makes A Dance? The Brain As Choreographer, Dancer And Spectator

July 5, 2016 by 4dancers

head-1058432_640

Aloha to All –

We are very pleased to have as our next Dance Wellness guest contributor Judith Lynne Hanna, PhD. Dr. Hanna is a longtime dancer and anthropologist whose work spans many years. Reading reviews of her recently published book, “Learning to Dance: The Brain’s Cognition, Emotion, and Movement”, spurred me to contact her to see if she would write an article for us concerning the new research on dancers’ brains, and how growing up in dance really does change us. The new science of Neuroplasticity (also called brain plasticity, is the process in which your brain’s neural synapses and pathways are altered as an effect of environmental, behavioral, and neural changes) is fascinating – and there are now more than 400 studies related to interdisciplinary neuroscience that reveal the hidden value of dance.

Many of us in the dance world have grown up feeling / knowing that we were  somehow “different” from non-dancers, but only recently has science been learning how and why. I found Dr. Hanna’s article to be a clear explanation of all this new research, and am so pleased to share it with you.
Enjoy! (and don’t stop dancing–ever!)

Jan Dunn, MS, Dance Wellness Editor


by Judith Lynne Hanna, PhD

At times during their careers, dancers may want to explain what dance is about to family, friends, students, schools, spectators, and the media. After all, knowledge about dance is new and limited compared to the other arts.

My journey toward understanding dance began as a child in 1946, and the odyssey hasn’t stopped. A pediatrician told my parents that ballet would make my feet strong. So I studied ballet. Dancing didn’t do much for my feet, but dancing has made me stronger physically and mentally. Alicia Markova’s experience with flat feet was different than mine. Critic Clement Crisp reports, “The sublime artist Alicia Markova was taken to ballet as a child because her flat little feet left sad imprints in the sand during a seaside holiday. Ballet, said a doctor, would cure that. And it did. She grew into an astounding artist whose ‘intelligent’ feet and legs were the envy of the ballet world.”

Fascination with dance led me beyond ballet to explore other dance genres (e.g., modern, Afro-Caribbean, Latin American, African, flamenco, Middle East, jazz, hip-hop, swing, ballroom, and folk). Curiosity led me to conduct dance research in villages and cities in Africa and then in theaters, school playgrounds and classrooms, and cabarets in the United States.

As an applied anthropologist I study human behavior, including many forms of dance and culture, past and present, and draw upon the work of different disciplines. I was surprised that at the 2008 annual meeting of the Society for Neuroscience annual meeting, more than 6,800 attendees paid rapt attention to renowned choreographer Mark Morris as he answered questions about the relationship between creativity and dance. Neuroscientists interested in dance? I wanted to know why.

ballet-1376250_640

The Attraction of Dance

Scientists are turning to dance because it is a multifaceted activity that can help them demystify how the brain coordinates the body to perform complex, precise movements that express emotion and convey meaning. Dancers possess an extraordinary skill set—coordination of limbs, posture, balance, gesture, facial expression, perception, and action in sequences that create meaning in time and space and with effort. Dancers deal with the relationship between experience and observation.

The brain hides from our sight the wondrously complex operations that underlie the feat of dance. Although there are many secrets to unravel about the power of the brain and dance, advances in technology—29 at my last count, such as brain scanning techniques and the experiments using dancers, dance makers, and dance viewers–reveal to us the unexpected.

Misconceptions that dancers shouldn’t think, just dance, or that dance is merely physical or emotional expression, are challenged by reality. Research shows that dance activity also strongly registers in regions of the brain responsible for cognition. Hidden processes reveal that the brain is choreographer, dancer, and spectator. Dance is what the brain does.

The Choreographing Brain

[Read more…]

Filed Under: Dance Wellness Tagged With: Alicia Markova, Antonio Damasio, Ballet, choreography, choreography and the brain, Dance and Health, dance and the brain, dance science, dance wellness, defining dance, Judith Lynne Hanna, making dances, mark morris, neuroplasticity, neuroscience, science and dance, university of maryland, what is dance

Yes, Virginia, There Is A Holiday Ballet Besides The Nutcracker

September 14, 2012 by 4dancers

by Risa Gary Kaplowitz

A few days ago, I asked my students at the first ballet class ever held at The College of New Jersey if any of them had ever seen a ballet before. A few of the females raised their hands. “Which one?” I asked. Three of them said almost in unison, “The Nutcracker.” Then one rolled her eyes and added, “of course.”

I had expected that answer. What other performing arts field has a website devoted entirely to one theatrical story such as the one titled, “Nutcracker Ballet”? The site’s 2011 listing for New Jersey shows at least forty-two productions of Nutcracker. And that doesn’t include productions in the Philadelphia area or in New York City, which are close enough for us Jersyians to easily attend.

The start of the Nut season (as it’s affectionately or not so affectionately called by the dancers who must perform it morning, noon, and night for days on end) is officially upon us. My inbox is filled with “Get Your Nutcracker Seats Now!” pleas, audition announcements, and unsolicited queries from unemployed professional ballet dancers looking to perform in a Nutcracker.

The deluge prompts me to ask a question. With American ballet company directors and boards lamenting the low status of ballet in the minds of the general public, I wonder what would happen if our ballet companies offered more options during the holiday season—the one time of year when both balletomanes and new patrons spend money to see shows. How on earth did we get ourselves trapped in a can of Nuts?

Nutcracker was first performed in Russia in 1892. Based on E. T. A. Hoffmann’s, The Nutcracker and The Mouse King, its premier was not a success. But by the second half of the twentieth century, The Nutcracker had spread from two successful American productions: Willam Christensen’s 1944 production for San Francisco Ballet and George Balanchine’s for New York City Ballet in 1954.  Considered the bread and butter of nearly every ballet company, Clara’s journey to the Land of the Sweets brings in the funds to keep ballet companies and their more obscure offerings afloat.

But like real bread and butter, the ballet—of which there are hundreds of versions— is easy to digest but usually offers little substance. Indeed, most audience members leave a Nut performance satiated with enough sugary dancing to last a whole year before needing to see another ballet performance, which is usually The Nutcracker again.

Yet, there have been some interesting versions of late, which may entice their viewers to return to the theater for more ballet sooner rather than later. Septime Weber’s version for The Washington Ballet casts George Washington as the Nutcracker. Those lucky enough to have made it through snow storms to the Brooklyn Academy of Music may have seen Alexei Ratmansky’s magical version for American Ballet Theatre or Mark Morris’ telling of a different part of the original story, The Hard Nut:

[Read more…]

Filed Under: 4dancers, Editorial Tagged With: american ballet, american ballet theatre, Ballet, battle of the nutcrackers, dancevision, george balanchine, mark morris, new york city ballet, nutcracker ballet, ovation tv, san francisco ballet, susan jaffe, the hard nut, the nutcracker, the snow queen, the washington ballet

Never Stand Still – A Jacob’s Pillow Documentary

August 14, 2012 by 4dancers

by Catherine L. Tully

Never Stand Still is a documentary about Jacob’s Pillow, home of the longest-running international dance festival in the United States. Affectionately dubbed “The Pillow,” this national historic landmark has a complex and fascinating history which is illuminated quite well by Director Ron Honsa through a combination of historical photographs, videos and narrative. Interviews with dance luminaries such as Merce Cunningham, Mark Morris, Judith Jamison and Paul Taylor punctuate the documentary with interesting anecdotes and observations from their own work, adding to the breadth and depth of the film.

Viewers are expertly guided through the history of the venue through rich narration provided by a well-known figure in the dance world–Bill T. Jones. Highlights include dancer Frederic Franklin remembering his early days on the property with Ted Shawn (modern dance pioneer and founder of Jacob’s Pillow) and Suzanne Farrell reminiscing about her time there.

The footage does a wonderful job of showcasing the natural surroundings at The Pillow–163 acres of green space in the Berkshires, dotted with rustic farmhouse buildings and an outdoor stage. The property really has a “vacation getaway” feel to it, and indeed it is known as an intimate venue that some in the dance world even refer to as a “sanctuary”.

The release of this film coincides with the 80th anniversary of the Festival, and it does much to convey the diverse heritage of the annual event. Inspiration and collaboration are highlighted through interviews with Tony Award-winner Bill Irwin and dancer Rasta Thomas, and a multitude of dance clips give viewers a sampling of the range of movement styles represented throughout the Festival each year.

Never Stand Still is a tribute to Jacob’s Pillow–a testament to our tradition and roots in movement. It succeeds in its attempt to convey the mood and emotion that can exist in a physical place where so much passion, talent and excitement have come together throughout the years. There is a reverence for this piece of land in the dance world; both for its history and for what it has become today–a place for dance that really has no equal.

Here’s an extended preview for those of you who are interested in getting a glimpse of what this film looks like:

Filed Under: 4dancers, DVDs Tagged With: bill t. jones, dance movie, frederic franklin, jacob's pillow, judith jamison, mark morris, merce cunningham, never stand still, paul taylor, rasta thomas, suzanne farrell, ted shawn

10 Questions With…Ryan Wenzel

October 17, 2011 by 4dancers

Today on 10 Questions With… we welcome dance blogger Ryan Wenzel…

Ryan Wenzel

1.     How did you become involved with dance?

Completely by accident. I never danced or saw any professional dance when I was growing up in Green Bay, Wisconsin. A friend of mine in New York has been a fan of New York City Ballet for years and convinced me last year to join him at a weekend matinee. It was an all-Robins program: Dances at a Gathering and West Side Story Suite. I didn’t love it at the time – I was intimidated by it – but I was intrigued, so I bought books about Robbins and George Balanchine and devoured them. By the end of New York City Ballet’s next season, I was hooked, and I started seeing other types of dance as well.

2.    What are you currently doing in the field?

I write Bodies Never Lie, a blog mostly about the New York dance performances I see. I also work full-time as the online communications manager for Henry Street Settlement, a nonprofit organization on Manhattan’s Lower East Side that includes the Abrons Arts Center.

3.    Would you share your thoughts about where you think dance is headed as an art form?

I have no idea. At this point I’m working overtime just to figure out where dance has been!

4.    What gave you the idea for your blog? [Read more…]

Filed Under: 10 Questions With... Tagged With: Abrons Arts Center, christopher Wheeldon, george balanchine, jerome robbins, mark morris, merce cunningham, new york city ballet, nycb, paul taylor

10 Questions With…Winifred Haun

March 2, 2011 by 4dancers

Today we have Winifred Haun with us for our feature…   

Winifred Haun

1. How did you become involved in dance? 

When I was 5 years old, I attended a little private school on Chicago’s north side. As an alternative to gym, they offered ballet classes on Fridays to the girls. I loved it, and sort of knew then that I would be a dancer for the rest of my life. When I was 10 years old, I started taking classes at the Ellis-DuBoulay School of Ballet. I think I received the best possible training in the city. Mr. and Mrs. ‘E’ trained not only our bodies but our minds. A lot of really successful Chicago dancers trained with them (Lou Conte is probably their most famous student). I also credit Harriet Ross for teaching me everything I know about modern technique. She also taught me how to perform and she and Randy Duncan encouraged me to choreograph.

2. What are you currently doing in the field? 

I have my own dance company, Winifred Haun & Dancers. I started it in 1991 because I wanted to put together a group of artists who could help me create my work. My latest work, “Bento,” premieres March 17 & 18 at Hamlin Park Theater. I also teach modern dance at Hubbard St. Dance Center, and at Legere Dance Center in River Forest. 

3. Can you share a special moment from your career? 

One my favorite moments was when, as a member of the Joseph Holmes Dance Theater I first performed “Love Not Me,” choreographed by Randy Duncan, at the New Regal Theater in 1989. I had actually performed it a few times on tour, so it was really rehearsed. Despite all the preparation (I had great coaching from Harriet Ross), I felt terrible right after my performance, but I had a really quick costume change, so I didn’t have time to cry. After the show was over, the response and quick congratulations from Randy, Harriet, and my fellow dancers was so wonderful and so positive, that I still didn’t have time to cry or really be upset! 

4. What advice would you offer other dancers? 

Don’t worry about what others are doing or who’s getting what parts or into what company. Concentrate on yourself and make yourself into the best possible dancer you can. Take class as often as possible, listen to your teachers. Audition and then perform work for anybody who wants you. You never what will lead to what. 

“Bento” by Winifred Haun

5. What have you had to struggle against in dance? 

As a dancer, I always felt that being tall (I’m 5’ 9”) was a challenge. Most of the lead roles go to women who are shorter (they’re easier to partner). As a choreographer, just being a woman in a field where the top jobs are all held by men is a challenge. Women just don’t get the recognition for their work that men do. (I think women in all careers probably struggle with this…) Which is kind of ironic, given that the field is about 80% women.    

6. Do you have a favorite dancer or choreographer? If so, what is it about them that makes them stand out? 

One of my all time favorite dancers is Claire Bataille. I loved her stage presence and her control of her technique. Watching her in class, in rehearsal, and on stage was inspiring. My favorite choreographers are: Merce Cunningham, Trisha Brown, Ohad Naharin, Eiko & Komo, William Forsythe, Randy Duncan, and Mark Morris. I love the risks that these artists take and how alive and individual they are. In my latest work, Bento, I honor some of these choreographers by purposely imitating their choreography. (Some have even “donated” 32 counts.) 

As for young, local choreographers, my favorites are Jackie Stewart and Jessica Miller Tomlinson. I’m sharing a concert with them in March 2012 at the Ruth Page Center. (We just received a MetLife New Stages for Dance grant for this project!) I saw a concert that Jackie and Jessica shared a concert last year and it was amazing. 

7. What is the best advice you have ever received regarding dance? 

Hold your stomach in and move from your center. And don’t take yourself too seriously. Those are good life skills also!    

Winifred Haun

8. Where do you think dance is going as an art form? 

I think choreographically dance is moving away from ballet. In her amazing book “Apollo’s Angels,” Jennifer Homans, says that ballet is a dying art form, and I reluctantly agree with her. No one is moving the form forward and without constant re-invention, it will eventually not be an art. Ballet will always be a great technique with lots to offer any dancer who studies it. But, as an art form, dance is moving away from ballet. (Lots of my friends, teachers and colleagues will heartily disagree with me. To them I say, let’s have coffee and talk about it 🙂 ) 

I also think we are living in a great time for dance. I think more than ever are aware of dance as an art form. We have the current dance TV shows and the internet to thank for that!9. What is it about dance that you love so much? 

I don’t know what it is but, I love watching dance, whether its a class, rehearsal, performance, or even my kids’ recitals. I love taking class, teaching class or coaching. I love all forms of dance: ballet, modern, jazz, tap, hip-hop, ballroom, etc. And I love making dances. Many times I have tried to live without making dances (my life would so much easier if I wasn’t a choreographer…). I’ve formally “quit” the dance field twice only to return for reasons I can’t quite articulate. I guess, for me, dance is kind of a calling. I feel like ideas for dances “seize” me and won’t let go. Its like I can’t not make dances. And I feel the most alive when I’m choreographing. 

10. What is next for you? 

Saturday, March 12 Winifred Haun & Dancers is performing at the Regional Alternative Dance Festival in Kalamazoo, MI. On Thursday and Friday, March 17 & 18, we’re premiering Bento in program of 6 works at the Hamlin Park Theater.

Filed Under: 10 Questions With..., 4dancers, 4teachers, Studios Tagged With: apollo's angels, bento, claire bataille, Eiko & Komo, Ellis-DuBoulay, Harriet Ross, hubbard street dance, Jennifer Homans, joseph holmes, legere dance, lou conte, mark morris, merce cunningham, Ohad Naharin, randy duncan, trisha brown, william forsythe, winifred haun

Dance Artwork

Get Your Dance Career Info Here!

Dance ebook cover

Podcast

Disclosure – Affiliate & Ad Info

This site sometimes features advertising, affiliate marketing, or affiliate links, such as Amazon Associate links and others. When you click on these links, we get a small sum that helps to support the website operations. Thank you! There’s more detailed information on ads and our disclosure policy under the About tab in our navigation at the top of the site. We clearly mark any and all posts that contain these features.

Copyright Notice

Please note that all of the content on 4dancers.org is copyrighted. Do not copy, utilize, or distribute without express permission. We take cases of infringement seriously. All rights reserved ©2022.

Copyright © 2025 · Metro Pro on Genesis Framework · WordPress · Log in