If you ask a dancer in which direction they prefer to turn, they almost invariably choose the side that coincides with their dominant eye. Eric Mandel, M.D. gives a simple test to determine which is your dominant eye: “Extend both arms in front of you at eye level and make a upright triangular opening between your hands by touching thumbs and forefingers. With both eyes open, sight an object about fifteen feet away through the triangle. Close one eye, then the other. If you are right handed and the object disappears when you close your right eye, you are same-side dominant. If the object disappears when you close your left eye, you are cross-dominant.” Many artists are cross-dominant and left-handed, thus activating to a greater degree the creativity center of the brain. While equal ability to turn to the left as well as the right is important to your technique, if you are a “lefty,” vision experts agree that there is some correlation and that you should turn to the left whenever possible. Ever notice how many male dancers do a manège (grand jetés in a circle) to the left? Tours à la seconde to the left? Is it just from practice? What about the importance of seeing a given combination and repeating it instantly? Eye-foot skills are measured three ways: foot quickness, accuracy in following a foot pattern from visual instruction and the reaction time of eye-foot response. ”If someone has quick feet,” says Mandel, “they are wired with quick neurological responses early on. They are talented, although in some cases, visual defects, rather than a slowness of comprehension is present. There are tests that can improve visual response, but my feeling is that it is more a questions of practicing a quick response than depending upon tests. What about the blindness that occurs when you are in the spotlight, then have to exit in darkness into a wing? Or work with a partner onstage in dim or dark illumination? It’s not always possible to have the friendly hand of the stage manager or his flashlight as a guide. You have to depend upon your depth perception. Here’s a way to improve your perception: In a well-lighted rehearsal room, start counting the distance from your partner, or the distance to the wing, by calling out the estimate in feet or footsteps. Your estimates will become more accurate. After blackness, it should take only a few seconds to make the transition from dark to light. If it takes longer, an eye exam is required. Contact lenses can be worn onstage with little discomfort. (See an ophthalmologist or an optometrist, a state-licensed professional who tests for eye health and prescribes eyewear.) When removing stage make-up, be sure to remove the lenses first and avoid using eye whiteners and lining inside the lower lid. From your first years in dance, you learn to “spot” to avoid dizziness and to direct the pattern of your turn. It involves focusing at a fixed point at every revolution, whether the corner of the room or straight front. An exercise given early in learning to turn involves putting your folded arms behind you, looking straight into the mirror a bit higher than eye level, turning slowly as you snap your head around to focus your eyes on the same spot. Gradually the speed of the turn increases until it is second nature to spot each turn. Spotting gives clear, crisp finish to each rotation when executing multiple tours, chaînés, fouettés, rond de jambe en tournant and grand fouettés en tournant as well as other turns. Peripheral vision helps you stay in a pattern in class or onstage especially when there are not guiding floor marks. As an exercise: in a darkened room, shine a flashlight on a distant wall and block out the sight of one eye while following the light with the other. Keeping your head stationary, move the light to the outer corners of your vision as far as possible. Repeat with the other eye. Increase the distance of the circumference each day, sided to side, up and down, diagonally and in circles. Do five minutes daily. Peripheral vision is of infinite help when you are one stage to check what you are doing compared to other dancers and to correct your spacing. (It is also a safety measuring when crossing the street). Visualization on a psychological level in important in the preparation of a role and in aiding memory. The neuromuscular system will respond as you visualize movements with your inner eye while sitting quietly and will correct movements in a positive way, never replaying errors. .Especially after an injury, it is important to replay your movements without including your injury or accident. See yourself doing your best each time All of these exercises can create awareness that will improve your performance. “The more you enhance your vision,” concludes Mandel, “the more you will enhance your performance. Absorbing more and more of what is around you, gives you that much more detail to your work.” Eric R. Mandel. M. D. is an internationally recognized and published corneal micro surgeon. He has participated in refractive laser research for the past 18 years, been a lecturer and authored the ophthalmic textbook, Atlas of Corneal Disease. Mandel is Board Certified and a fellow of the American Academy of Ophthalmology. •