“When you do dance, I wish you a wave o’ the sea, that you might ever do nothing but that.” Florizel to Perdita, The Winter’s Tale, Act IV Scene IV
A close friend of ours was performing. That was the reason we went. There was no other reason, and it took me not long to work out that the absence of a reason was the point.
Look at the last few months in our house and you will find nothing that was not work. The jobs. The move. My daughter’s tennis. Every hour was allocated to something with a result attached to it. Our happiness came from work. Our pressure came from work. When the source of your joy and the source of your strain are the same object, you have built something efficient and you have built something brittle. We did not notice. People in that state never do.
So we went to watch dancing. No score. No ranking. Nothing to be measured afterwards.
I want to set out five things in this post.
- What the evening actually was, and the distinction I think it turns on.
- What I saw on my daughter’s face, and why it took me by surprise.
- What a treatise worked out about audiences two thousand years before anyone was put in a scanner.
- What the research does and does not establish about dancing and about watching.
- Where I fall short of the standard I am about to set out.
Acknowledgements
Before the argument, the concessions.
I cannot dance. Not modestly, not badly. Not at all. Whatever I am about to say about the pleasure of watching is said by someone with no access to the pleasure of doing.
I have no expertise in neuroscience, and the studies I cite below are small, mostly conducted on Western undergraduates, and in several cases contradict each other. I will say where.
The performance I watched was amateur. Children and mothers, not a company. That matters, and I will come back to it, because almost nothing in the literature is about people like them.
And I am an anti theist writing approvingly about a text embedded in a devotional tradition. I am taking the aesthetics. I am leaving the temple, the priest and the caste order that carried the manuscript. The Natyashastra is a piece of thinking. It is not a reason to respect the apparatus that preserved it.
Expression against achievement
The pair at the centre of this is performance against achievement, and almost everyone blurs them.
My daughter performs on a tennis court. Every stroke is evidence, submitted for judgment, resolved into a number by the end of the afternoon. A woman on a stage in a suburban hall is also performing. Nothing she does resolves into a number. Nobody leaves knowing who won.
Both are called performance. They are opposite activities. One converts effort into a verdict. The other converts effort into expression and stops there. We have taken a word that once meant “to carry through” and let the corporate and sporting sense of it, performance as measured output, colonise the artistic sense entirely. When a parent says their child performs well, nobody thinks of a stage.
The evening had no outcome of significance. That is precisely why it did something to us that months of successful, outcome laden work had not.
What my daughter’s face gave away
My daughter smiled. That is the entire event.
Not a polite smile. Not the smile at the end of a match, which is a smile about a result and evaporates when the result is examined too closely. This was a face with nothing behind it. No friction. No calculation of what the smile would cost her if the next point went badly.
I looked at it and felt something closer to indictment than to joy. Because I could not remember when I had last seen it.
I hold that free will is an illusion, and this is one of the places where that view does real work rather than sitting decoratively in an argument. She did not decide to be free that evening. Nothing in her chose it. We had removed the conditions that were producing the friction, and the friction stopped. That is all. Which means the friction the rest of the time is not her character and not her attitude. It is our engineering. We built the environment that produces the guarded face, and we can dismantle it, and until that evening it had not occurred to me that it was ours to dismantle.
Blaming a child for a tight jaw is like blaming water for the shape of the glass.
Bhava and rasa, two thousand years early
The Natyashastra separates two things that English collapses into “emotion”.
Bhava is the state the performer enacts. Rasa is what arises in the person watching. They are not the same substance and the second is not a copy of the first. The theory is explicit that the spectator is not a receiver: the rasa experience is co created between performer and an audience capable of receptivity, and the word for that audience member, sahrdaya, means one who has heart. The stated purpose of performance is catalytic. It provokes an emotion already present in the person watching.
Catalytic. That is the word I was missing.
I had wanted to say that the fun in the room was not conserved, that it multiplied instead of being divided. That is a nice line and it is bad physics, and someone would have told me so in the comments. Fun is not a conserved quantity because it is not a quantity. The honest description is catalysis. The dancer does not transfer joy to me. She lowers the activation energy for something that was already sitting in me, unreacted, since the last time I let it move.
The mothers on that stage were not giving me anything. They were making it cheap for me to feel what I had been too busy to feel.
What the evidence shows
Here is the part where I have to be careful, because this material is quoted badly everywhere.
The strongest finding is not about watching at all. It is about moving in synchrony with other people. Tarr, Launay, Cohen and Dunbar separated exertion from synchrony in a single design and found that each independently raised pain threshold, used as a proxy for endorphin release, and each independently raised reported bonding. The replication sharpened it: people who danced in synchrony showed elevated pain thresholds, while partial synchrony and asynchrony produced no analgesic effect at all.
Then they tested the mechanism by breaking it. Strangers danced in synchrony after receiving either a placebo or naltrexone, which blocks opioid receptors, with neither the participants nor the researchers knowing which. The naltrexone group showed significantly increased pain sensitivity. Block the opioid system and the effect disappears. That is as close to a demonstrated mechanism as this field offers.
For watching rather than doing, there is one good experiment. Dunbar and colleagues found that people who watched an emotionally arousing film had higher pain thresholds and a greater sense of group bonding than people who watched a neutral one.
| Claim | What it rests on |
|---|---|
| Dancing in synchrony triggers endorphin release | Replicated, and confirmed by blocking the receptors |
| Dancing in synchrony makes people feel closer | Established, but self reported |
| Dancing in synchrony makes people behave better | Tested in an economic game and not found |
| Dance improves balance and motor symptoms in Parkinson’s | Sixteen randomised trials, 636 participants, moderate quality |
| Dance therapy reduces depression and anxiety | Small and consistent in the tighter subset, d = 0.30 |
| Watching arousing performance raises pain threshold | One good experiment, on film rather than live dance |
| Mirror neurons explain why audiences feel it | Contested, and weaker than the popular accounts admit |
| Dancing cuts dementia risk by 76 percent | Not supported at anything like that strength |
Two of those rows deserve their own paragraph, because they are the rows where people I am otherwise aligned with are cheating.
The 76 percent figure appears in newspapers as recently as this January. It comes from a cohort study of 469 people over 75, followed for a median of 5.1 years, in which the hazard ratio for physical activity was exactly 1.00. The 76 percent is not in the paper. It comes from a dance instructor’s summary of a frequency table, and it survives because everybody wants it to be true. It also has an obvious problem that nobody quoting it mentions: people in the early years of dementia stop going out dancing. The arrow may well point the other way.
The mirror neuron story is the second. Hickok’s critique is that there is no monkey data directly testing the action understanding theory, and that the missing evidence is any demonstration that damaging the system causes deficits in understanding. He does not deny the cells exist. He denies the leap. The sentence “mirror neurons make us feel the dance” is not a finding. It is a press release with a paper stapled to it.
What the evidence does not show
My central question was why people who cannot dance feel released watching people who can. The literature has failed, so far, to answer it, and has failed in an interesting direction.
Calvo-Merino and colleagues scanned ballet dancers, capoeira dancers and non dancers. Expert dancers showed greater activation in premotor cortex and related regions when watching movements they were trained to perform than movements they were not. On that finding, I should get less from watching, not more.
Cross and colleagues found close to the opposite. People with no dance training showed stronger parietal engagement for movements they rated as both highly enjoyable to watch and extremely difficult to reproduce. Other studies find liking tracks how well people believe they could reproduce a movement.
So the field has good evidence that we like what we can do and good evidence that we like what we cannot. Nobody has resolved it. I find this more useful than a clean answer would have been, because the clean answer would have been imported from somewhere and would have been wrong.
There is a larger absence. Almost every study here uses professionals, undergraduates in laboratories, or clinical populations. What I actually watched was mothers and children of mixed ability performing in front of an audience that knows them personally. The mothers dancing are not in the data. The single most common form of live performance on earth, the amateur recital in a local hall, is close to unstudied.
And group dance appears in every human culture that has been looked at. The endogenous opioid system it runs on is shared with other primates and predates our species by a long way. Whatever happened in that hall was old before there was anyone to write it down, and the research literature on it is forty years deep and mostly conducted on people who signed up for course credit.
What I did with it
Here is where I fail my own standard, and it is worse than usual.
I went to an evening chosen specifically because it had no outcome. I sat there and watched people do something with no result attached. And within about seventy two hours I had turned it into a research project, a reading list, an argument about a misquoted statistic, and this post. I converted the one thing in months that was not work into work. That is not a charming irony. That is the exact pathology the evening was supposed to interrupt, reasserting itself immediately and using the evening as raw material.
I do not think I know how to stop doing that. I am not going to end on a line about learning to be present, because I have not learnt it and I would be lying to you in the last paragraph of an essay about being honest.
What I can say is smaller. Somebody else’s daughter, mother, wife, sister had practised for months for an evening that produced what we saw, and my daughter’s face changed because of it. The people who make that possible are not compensated in anything I can measure, which is the whole point and also the reason the rest of us keep failing to value it properly. I am grateful to them. I am aware that gratitude expressed in an essay is the cheapest form available, and that the more useful response would have been to show a form of patronage. Hopefully, that day will come too.
References
- Tarr B, Launay J, Cohen E, Dunbar R. Synchrony and exertion during dance independently raise pain threshold and encourage social bonding. Biology Letters, 2015. https://doi.org/10.1098/rsbl.2015.0767
- Tarr B, Launay J, Dunbar R. Silent disco: dancing in synchrony leads to elevated pain thresholds and social closeness. Evolution and Human Behavior, 2016. https://pubmed.ncbi.nlm.nih.gov/27540276/
- Tarr B, Launay J, Benson C, Dunbar R. Naltrexone blocks endorphins released when dancing in synchrony. Adaptive Human Behavior and Physiology, 2017. https://bura.brunel.ac.uk/bitstream/2438/14588/1/Fulltext.pdf
- Dunbar R et al. Emotional arousal when watching drama increases pain threshold and social bonding. Royal Society Open Science, 2016. https://doi.org/10.1098/rsos.160288
- Calvo-Merino B, Glaser DE, Grèzes J, Passingham RE, Haggard P. Action observation and acquired motor skills: an fMRI study with expert dancers. Cerebral Cortex, 2005. https://discovery.ucl.ac.uk/3041/1/1243.pdf
- Cross ES, Kirsch L, Ticini LF, Schütz-Bosbach S. The impact of aesthetic evaluation and physical ability on dance perception. Frontiers in Human Neuroscience, 2011. https://doi.org/10.3389/fnhum.2011.00102
- Hickok G. Eight problems for the mirror neuron theory of action understanding in monkeys and humans. Journal of Cognitive Neuroscience, 2009. https://pmc.ncbi.nlm.nih.gov/articles/PMC2773693/
- Carapellotti AM, Stevenson R, Doumas M. The efficacy of dance for improving motor impairments, non motor symptoms and quality of life in Parkinson’s disease. PLOS One, 2020. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0236820
- Koch SC et al. Effects of dance movement therapy and dance on health related psychological outcomes. A meta analysis update. Frontiers in Psychology, 2019. https://doi.org/10.3389/fpsyg.2019.01806
- Verghese J et al. Leisure activities and the risk of dementia in the elderly. New England Journal of Medicine, 2003. https://www.nejm.org/doi/full/10.1056/NEJMoa022252
- Powers R. Dancing makes you smarter. Stanford, 2010. https://socialdance.stanford.edu/syllabi/smarter.htm
- Bhava. Encyclopedia of Art, Impart. https://imp-art.org/articles/bhava/
- The Rasa theory of Bharata. INFLIBNET. https://ebooks.inflibnet.ac.in/icp04/chapter/the-rasa-theory-of-bharata/

