Introducing: Matthew Wyon

In the world of dance science, few names stand out as prominently as Professor Matthew Wyon. With a background in both exercise physiology and dance research, Wyon has dedicated his career to understanding the physical demands of dancers and how training methodologies can be improved to enhance performance and longevity. He has made a significant impact through his research; bridging the gap between sports science and dance, and advocating for structured periodization, better injury prevention, and greater accessibility to dance science education. We spoke with him about his journey, his research, and his vision for the future of dance training.

“Training needs to be about building a foundation that not only makes them technically strong, but also prepares them for a long, healthy career”

Can you tell us where your passion for dance came from and how you got involved in dance science?

“I’m not entirely sure —I just went to the local ballet school. At first, there were two boys, but eventually, it was just me. Since I attended an all-boys school for my regular education and played lots of sport, no one there even knew I was doing ballet. At one point, I considered a career in dance. But with every exam, my scores dropped, and eventually, I got the message. I realized that dance was not a viable career option for me. But I still loved it, so I stayed connected to the world of dance.”

“That’s when I shifted my focus to sport science and later, to the science behind dance. During my undergraduate studies, I conducted my first research project with students from a Rambert Dance School. This led to further collaborations during my master’s degree and later with the English National Ballet and several other companies and schools, offering strength and conditioning coaching and giving lectures through (One) Dance UK.”

“Many dancers achieve incredible performances despite their training, not because of it”

What motivated you to pursue this field?

“I always thought dancers could be trained better. They achieve incredible performances despite their training, not because of it. When you look at how dancers train, you realize that much of what they do is actually having a negative impact on their performance. Their bodies often seem held together with sticking tape, metaphorically speaking, and I thought: there must be a better way.”

You have been researching dancers for quite some time now. Could you share your experiences working in the Netherlands?

“I have been conducting research on dancers since around 1990. Over the years, I’ve spent a lot of time in the Netherlands, collaborating initially with Margot Rijven at the Theatre School in Amsterdam and later with Gaby Allard at ArtEZ, where I was involved for about ten years during her time as artistic director (2006-2019).”

“By the time I joined ArtEZ, I had written an article about periodizing vocational dance training or pre-professional dance training. Traditional dance education follows a tight one-year cycle, with key performances dictating the schedule. However, I argued that a longer-term approach was needed to optimize dancer development.”

“From our research with One Dance UK, particularly the Fit to Dance surveys, we saw limitations in existing training programs. I proposed a more structured approach to periodization, but finding a school willing to take that risk was challenging. Gaby Allard, the artistic director at ArtEZ, was the first to implement these ideas. Others were too worried about the potential consequences: What if it doesn’t work? After all, they were the ones whose reputations were on the line. Gaby took a significant professional risk to change the way dancers were trained, and the results were remarkable.”

“Many dancers are simply surviving rather than thriving”

What makes periodization such a key component in a dancer’s development?

In dance training, new elements are constantly being added to the curriculum, but nothing is removed. Gaby once said: “I spend so much time selecting my dancers during auditions, but often, it’s not the most talented ones who survive—it’s the ones who manage to make it through.

This realization was crucial. Many dancers are simply surviving rather than thriving, which is wrong. We needed to challenge and stimulate dancers without overloading them. Our approach emphasized quality over quantity—fewer classes but with greater technical focus, especially in the early years. Instead of pushing students into performances too soon, we concentrated on strengthening their foundations. As they progressed, the focus shifted towards creativity and crafting their artistry. So, by the time they reached their final years, they were strong and solid in their technique and ready for more practical, performance-oriented work.”

We also made sure to involve the students in the process. We brought them along, helping them understand the reasons behind what we were doing. In academic settings, the goal of the lesson is always clear – students know they’re aiming for ‘XYZ.’ But in dance, we often say things like, ‘Feel it,’ or, ‘It’ll come to you.’ We made a shift by telling them directly what the goal was. Once they understood the purpose behind the training, everything clicked into place.”

“The biggest obstacle was getting dance teachers on board. We had to challenge the idea that every class had to be physically exhausting”

How did the teachers respond to this new approach?

“The biggest obstacle was getting dance teachers on board. We asked them to list everything they believed a dancer should learn and then prioritize it. We also challenged the idea that every class had to be physicallyexhausting. There was this belief that if the dancers weren’t completely wiped out after a class, it wasn’t a good one. We changed that perspective by encouraging teachers to vary the intensity. Sometimes a class might be physically easy, but technically difficult, and that could still be an incredibly valuable experience.”

“One of the teachers at ArtEZ really embraced this approach. She would say, “Today, we’re going to focus solely on tendu. I don’t care about your upper body—just nail the footwork.” This allowed the dancers to really focus on one thing at a time, and sometimes they could rest after 50 minutes of class if they felt they needed it. It gave them the autonomy to decide when they’d had enough, which was a powerful shift.” Over time, teachers saw the benefits and they felt safe to experiment, knowing that Gaby supported them in that process. It wasn’t just about teaching them a set of routines—it was about developing well-rounded, strong dancers who were ready for the long haul. And the result was that the dropout rate at ArtEZ significantly decreased. It was clear the students were stronger, healthier, and better prepared for professional careers.”

Are other schools or companies using this system?

“Yes, we’ve implemented similar approaches elsewhere. For example, we worked with a ballet school in Portugal that integrates academic education with dance training. Currently, we are introducing it at Elmhurst Ballet School in Birmingham to optimize performance while minimizing injury risks.”

That sounds like a successful program, yet it hasn’t been widely adopted by dance schools and companies in the Netherlands. Why do you think that is?

“It must be the artistic director who’s willing to take that risk. I suppose Gaby was a bit ahead of her time doing so. I believe that as younger generations who train with these methods become teachers and directors, we will see a broader shift in the dance world. Changes takes time.”

Do you think there is enough awareness about proper training and injury prevention in dance? If not, how could the European Dance Medicine Initiative help improve this?

“No, definitely not. In sports, national governing bodies establish structured coaching pathways, ensuring coaches meet specific qualifications. In dance, however, there is no equivalent system. You can become a contemporary dance teacher without any formal qualification, which is alarming.”

“To help address this, we have been developing a Charter for Dance Schools and Companies, focusing on key areas such as teaching qualifications, safeguarding, nutrition, and injury prevention. Schools can earn bronze, silver, or gold status, which they can use to attract students and reassure parents. While we can’t enforce it, we hope schools recognize the value and voluntarily adopt these standards.”

“At the same time, there’s also a need for specialized training in dance medicine. A few years ago, Joost van Megen, Tom Brandon, and I started out discussing how to bridge this gap. Tom pointed out that sports medicine in the Netherlands offers tailored training for specific disciplines like diving, and we thought—why not create something similar for dance? This led to the launch of the European Dance Medicine Initiative (EDMI) with a two-day course. After a successful pilot, we’re now expanding internationally, hopefully with upcoming courses in Spain and Greece. By bringing together experts from different regions, our goal is to develop a more standardized approach to dance science education.”

How can we make dance medicine and science more accessible for dancers?

“It starts with integrating science into training from an early stage. At Birmingham Royal Ballet, for example, we research issues like relative energy deficiency, but we also ensure dancers receive personalized feedback so they understand its relevance. The challenge is to get them to realize earlier on that these issues do affect them, even if they don’t notice it yet. The earlier they understand this, the more they can carry it into their professional lives. That’s why it’s so important to make this knowledge part of their training—if it becomes normal during their training, it’ll be normal once they enter the professional world.”

“Another important aspect is involving artistic staff in CPD (continuing professional development) programs. When artistic directors engage in these sessions, it signals to dancers that their well-being is a priority. And they also need to be involved, actively listening and learning along with the dancers. This helps break down the “teacher as god” mentality and makes it clear that we’re all learning together.”

What advice would you give to young dancers regarding their physical and mental health?

“Dance training is about quality, not quantity. If you train hard, you need to rest hard as well. Just enjoy it! It has to be fun. If it’s not fun, don’t do it.’’

Are you a dance teacher or (artistic) director? Here are the key takeaways for using dance science to optimize dancer development:

Structured Periodization: Shift from a rigid annual cycle to a long-term training approach, focusing on strong technical foundations before performance.
Quality Over Quantity: Reduce overload by prioritizing focused, high-quality training rather than excessive class hours.
Effective Teaching Methods: Not every class needs to be exhausting—vary intensity and break down movements for deeper learning.
Empowering Dancers: Clearly communicate training goals and encourage autonomy in managing workload and recovery.
Injury Prevention & Well-being: Integrate dance science principles to enhance longevity and reduce injuries.
Professional Development: Artistic staff should engage in ongoing education, fostering a culture of continuous learning.
Cultural Shift: Lasting change in dance training requires leaders willing to challenge traditional methods and embrace evidence-based approaches.