What Happens in a Dancer’s Brain During Ballet?

Introduction: Why Is Brain Activity Important in Dance Performance?

Ballet is not just beauty in motion—it’s neuroscience in action. Every graceful jump or turn begins with a foundational move: the demi-plié. But what’s going on in a dancer’s brain during this seemingly simple movement?

A groundbreaking EEG study from the University of Lisbon examined the cortical activity of dancers performing a demi-plié, both in isolation and as preparation for other movements like sautés, sissonnes, and pirouettes. The findings revealed surprising differences in brain activation based on what the dancer was preparing to do next. Here's what the science of movement tells us about the inner world of dancers' minds.

How EEG Reveals the Brain’s Role in Ballet Technique

Using Neuroelectrics’ Enobio EEG system, researchers measured real-time brain activity in 12 classical dancers across three key brain areas: the primary motor cortex (M1), premotor cortex (PMC), and supplementary motor area (SMA).

Wavelet spectrograms allowed them to visualize how dancers' brains responded across different frequency bands—alpha (relaxed readiness), low-beta (active motor processing), and high-beta (cognitive effort and coordination). The goal? To understand if and how the brain’s motor network behaves differently when a demi-plié is a standalone move versus a launching pad for more complex ballet sequences.

Does a Dancer’s Brain Prepare Differently for Jumps and Spins?

Yes—and dramatically so. When dancers performed a demi-plié before executing movements such as sautés, pirouettes, or sissonnes, brain activation increased in regions responsible for planning, control, and coordination.

Key findings included:

• Higher high-beta activity when the plié preceded a jump or turn—indicating more complex cognitive preparation.

• Alpha wave dominance in pliés before pirouettes, suggesting a calm, focused readiness.

• PMC and SMA activity varied significantly depending on the complexity of the upcoming move.

  
  

Even though all dancers performed the same basic plié movement, their neural choreography changed based on their intent—a reminder that the brain is always planning ahead.

Inside the Dancer’s Mind: Alpha, Beta, and Motor Coordination

The study focused on three types of brainwaves:

• Alpha (8–12 Hz): Seen most in relaxed but alert states—more active when dancers were mentally prepared but not under pressure.

• Low-beta (13–18 Hz): Linked with motor control and anticipation—spiked when dancers readied for jumps.

• High-beta (18–30 Hz): Reflects cognitive intensity and precise control—strongest before complex movements like pirouettes.

  
  

In short, the dancer’s brain activates differently depending on the physical and cognitive demand of the movement being prepared, especially in M1, PMC, and SMA.

Why the Right Brain Matters in Left-Leg Dominant Movements

All dancers in the study were right-side dominant. Yet, most of their high-activation zones were in the right hemisphere, which controls the left leg. Why?

Because ballet often requires symmetrical movement, the non-dominant side must work harder to match the dominant one. This may explain why the brain's right side was more engaged—especially in moves requiring balance or lateral displacement (like sissonnes and pirouettes).

This lateralization insight opens up potential strategies for strength and balance training tailored to each dancer’s neural patterns.

What Can Dance Teachers Learn from This Brain Study?

This research has real-world applications beyond the lab:

• Training smarter: Teachers can tailor warm-ups or sequences to balance cognitive load and physical demand.

• Injury prevention: Recognizing when one hemisphere is overcompensating can help reduce overuse injuries.

• Motor learning: Students might benefit from alternating “simple” pliés with prep-movement pliés to develop both neural efficiency and movement memory.

  
  

Understanding how a dancer's brain engages based on movement context can change how dance is taught, rehearsed, and optimized.

Conclusion: A Dancer’s Brain Is Always in Motion

This study reveals that a demi-plié isn't just a physical bend—it's a mental rehearsal. Whether preparing for a leap or a spin, a dancer's brain adjusts its motor and cognitive strategies depending on the movement goal. The findings highlight the immense neuroplasticity and planning involved in classical dance.

As science continues to uncover the links between body and brain, one thing becomes clear: every plié is a performance of both muscle and mind.

Curious how EEG can illuminate athletic and artistic performance? Explore how our Enobio EEG headset empowers researchers and professionals to monitor and enhance brain activity in real-time—on and off the stage.

Reference

Quadrado, V. H., Passos, P., & Ferreira, H. A. (2025). Brain activation of the sensorimotor cortex during the performance of the demi-plié movement in its different roles in classical ballet. University of Lisbon. https://doi.org/10.22541/au.174112051.18908390/v1