​Understanding the brain circuits involved in dance and dance learning in humans poses significant practical challenges, as traditional brain imaging techniques require subjects to either lie down in a scanner (e.g., functional Magnetic Resonance Imaging; fMRI) or remain still (e.g., traditional electroencephalography; EEG). To address this, Constantina is conducting a series of experiments that include choreographing dance pieces to be performed in an fMRI scanner and optimizing methodologies for mobile EEG.

Regarding mobile EEG, the initial focus of the team has been on devising protocols for synchronous brain activity recording from multiple subjects during dancing —a feat they achieved for up to five dancers simultaneously, surpassing the prior research record of two (read article here). This technology, paired with a brain computer interface, has enabled them to visualize in real-time the interbrain synchrony of five dancers performing on stage, an advancement that has been featured in The New York Times and Dance magazine.

Constantina’s interest in the neurobiology of dance draws from her training background in studying the neural pathways of singing behavior in avian species during her graduate work. In the birdsong field, research indicates an intriguing correlation: that humans and parrots, the only species capable of synchronized body movements to a beat, an important component of what we call “dance”, are also the ones that possess the most advanced vocal learning abilities in the animal kingdom. This insight has led to hypotheses by Constantina and others proposing a close relationship between the evolution of advanced vocal learning and beat synchronization abilities (read relevant article here), which she is now testing in humans.

Her interest in the neurobiology of dance also draws from her flamenco dancing background. You can find more about her dancing bio here.