The Next Step in Embodied Trauma Work

There’s an intense and growing interest in embodied trauma work. Online conferences feature a coterie of excellent presenters—highly intelligent, well-researched communicators who have done pioneering work in their fields.

My only regret is that many of these respected voices seem to share a blind spot: they rarely mention dance. And yet, dance could play a hugely powerful role in complementing, augmenting and even transforming this work.

So on what basis do I make this claim?

The superstars of embodied trauma tend to focus on several key areas—each of which, interestingly, dance supports beautifully.

1. Calming and activating the vagus nerve.

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Dancing is one of the most natural and pleasurable ways to regulate the nervous system. Music, rhythm, and gentle movement invite a sense of safety and vitality all at once.

2. Somatic awareness.

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Because trauma often causes people to feel disembodied, numb, or detached from sensation, somatic work is essential. The combination of music and movement in dance awakens emotion, sensation, and presence—inviting us back into our own skin.

3. Parts work and Internal Family Systems.

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Through dance, we can embody different aspects of ourselves—different moods, roles, and inner voices—and explore them with compassion and curiosity. Movement becomes a language through which our “parts” can meet and converse.

4. Restoring social confidence.

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Dance is inherently relational. It builds trust, co-regulation, and joy in shared space. When the environment is safe and inclusive, movement with others becomes a gentle rehearsal for belonging.

5. Rebuilding coherence.

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One of trauma’s most painful effects is a loss of internal coherence—the sense that thoughts, emotions, and actions can flow together. Dance, like music, is rich in pattern and rhythm. It reawakens that inner sense of order and connection.

There’s solid peer-reviewed evidence that people living with Parkinson’s, Alzheimer’s, and the effects of stroke often show remarkable improvement through dancing and rhythmic movement.

Given all this, why is dance still so rarely mentioned in mainstream embodied trauma circles?

Perhaps this stems from association: for many, dance recalls the competitive, performative world of technique and judgement. Yet trauma-informed dancing is quite the opposite—cooperative, inclusive, and non-judgmental.

As we like to say in this field, there are no mistakes, only variations: a phrase I originally coined, and which has since been widely adopted internationally.

It’s high time to lift the lid on this buried treasure. Dancing holds profound and joyful keys to trauma healing. All indigenous and pre-industrial communities are aware of this and make full use of this powerful resource. Now the modern world needs to catch up!

-Stefan