Meg Nielsen was born and raised in Omaha, Nebraska. She earned a Bachelor of Arts in Dance from Brigham Young University, where she trained and performed in contemporary dance and collaborative choreography. She is currently pursuing her Doctorate in Occupational Therapy through Creighton University’s Phoenix Pathway.
Meg began dancing at the age of three and later competed with Nebraska Dance Company for six years. She was a member of the Elkhorn South High School dance team, earning four consecutive Nebraska State Championship Team Titles and two UDA national Top Ten finishes. During her undergraduate studies, she performed with Brigham Young University’s Contemporary Dance Theatre and DancEnsemble, where she collaborated with peers to create original student choreographic works and performed guest choreography.
Her dance education and performance experiences have taken her to New York City as well as internationally to Amsterdam (Netherlands), Vienna (Austria), and Bern (Switzerland). Meg is deeply passionate about expression through movement and expanding access to the language of dance as a tool for connection, regulation, and participation in daily life. She taught and choreographed at Chandler Dance Center during her first year of graduate school.
She completed her Level IIA fieldwork at Mayo Clinic Arizona in General Outpatient Rehabilitation and her Level IIB fieldwork at Summit Hand Therapy in Clinton, Utah. This curriculum guide represents the culmination of her Doctoral Capstone completed at Mayo Clinic Phoenix Outpatient Neurorehabilitation, integrating dance-based movement principles with occupational therapy practice.
An overview of the doctoral capstone work was featured by Brigham Young University’s College of Fine Arts and Communications.
Could something as simple as completing meaningful movement be preventative for progression of disease and aid in recovery for others? In my undergraduate work, I studied Laban Movement Analysis (LMA), encompassing interpretation of movement, and somatics, involving movement patterns and internal experiences one feels when moving. I believe there is a more technical way to create a comprehensive dance program incorporating both LMA and somatics to promote functional movement. A principle from somatics which continues to resonate with me is the concept of the body continually adapting to all kinds of changes from both the internal and external environment. Dance movement could possibly be one of the best ways to approach change because movement itself is change through space. As my knowledge in the principles of neuroplasticity have increased through graduate school, I recognize the essence of functional movement as this change - there is malleability of human body patterns through high consistency and repetition. For instance, I know through my years of physical embodiment as a dancer, old patterns of breath can change into new knowledge of efficient breath-inspired movement. Breath changes according to emotion, body position, pain, activity level, and disease which impact one’s movement patterns.