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This episode features Twyla Tharp, world-renowned choreographer and dancer, sharing her insights on the creative process and building elite performance habits. At 84, Tharp continues her daily 5 AM gym routine and has spent over 60 years mastering her craft. (03:28)
Twyla Tharp is a world-renowned dancer and choreographer whose works easily place her among the top tier of all creative artists past and present. She has worked with legends like Mikhail Baryshnikov and created iconic pieces including collaborations with Philip Glass. Even at 84, she maintains an extraordinary work ethic, still going to the gym at 5 AM for two hours daily and continuing to choreograph and create. (01:01)
Andrew Huberman is a professor of neurobiology and ophthalmology at Stanford School of Medicine and host of the Huberman Lab Podcast. He brings a scientific perspective to discussions of performance, creativity, and human potential, particularly interested in the neuroscience of movement and its relationship to cognition and creativity.
Tharp's concept of the "spine" is about establishing the central focus of any creative work before beginning. (04:35) The spine represents both physical and intellectual center - just as your body needs a center to coordinate movement, creative work needs a central organizing principle. Without this focus, you become scattered across multiple directions with no clear path forward. Tharp emphasizes that until you know where you're grounded and feel confident in your center, you're essentially lost at sea without navigation.
When asked about her decades-long 5 AM gym routine, Tharp was direct: "It's not a ritual, and I never enjoyed it. It's a reality." (37:58) She explains that you do it because you need an instrument you can challenge, and her philosophy is simple: "If you don't work when you don't want to work, you're not going to be able to work when you do want to work." (38:59) This approach prioritizes consistent daily action over motivation or enjoyment, creating the foundation for sustained creative output.
Tharp strongly advocates for classical training as fundamental preparation, comparing it to music theory. (46:18) She states: "You want to be a musician and not understand the circle of fifths? Ballet is a format for the human body moving in space that has evolved over many centuries and has got a head start on us." Even if you ultimately move beyond classical forms, the foundational training provides essential body knowledge and control that can be referenced and built upon throughout your career.
Tharp argues that movement is the most fundamental human capacity, noting "you don't make any sound until you can move parts of you. You don't feed yourself until you can move that hand." (54:38) She believes that as people age and move less, their curiosity and cognitive abilities decline correspondingly. The solution is maintaining movement across all aspects of life - not just more movement, but movement with degree and fearlessness, continuing to reach for boundaries rather than pulling back from them.
Tharp distinguishes between working for intrinsic versus extrinsic motivation, particularly when discussing young competitive dancers. (122:34) She prefers dancers trained "the hard way" because "a performer who has done it the hard way has more range." When people work primarily for external validation, points, or social media responses, they tend to choose easier paths that limit their ultimate capability. The most interesting artists and performers are choice-makers, and those choices emerge from deep internal commitment to the craft itself.