The Psychology of the Injured Dancer

"A setback is a setup for a comeback" - T.D. Jakes

          Dancers spend so much time taking class, rehearsing and performing that experiencing an injury at some point in their training or their careers is almost inevitable.

          Injury rates among dancers have been reported to be as high as 97%, yet less than 50% of those injuries are treated by medical professionals.  Dancers tend to dance through any pain they feel because they worry about missing class and losing technique, losing their roles to other dancers and losing pay due to missed rehearsals and performances.

          However, injuries do occur, and there are times when dancers may be forced to stop dancing for a period of time. It is important for everyone in the dance field to know and understand that there are some psychological effects a dancer may likely experience when injured.


          A dancer may feel shocked and frustrated to discover that this body that he/she has spent year's training has betrayed him/her. If the injury forces the dancer to take time off, the frustration may soon turn to depression as the dancer begins to miss classes and/or rehearsals. It is important to note that this depression may not only be psychological but may have some of its roots in the fact that when we dance our bodies naturally release endorphins which promote a sense of euphoria. When dancers are forced to stop, the endorphins are not released, and they will not experience the sense of euphoria which is a normal state for them.

          Standard practice within the dance community is that injured dancers should attend classes and rehearsal when injured and observe. Although dancers can certainly learn by observing (see my post, about mental rehearsal), a 1996 study determined that watching class was related to an increase in  the injured dancer's feelings of guilt, anger and distress over being injured.

          As the injury begins to heal, the dancer will grow optimistic but may soon become pessimistic as he/she grows impatient with the amount of time necessary for the body to heal.

          Dance directors, educators and parents can help dancers cope with injuries in several ways. Very few dancers have enough anatomical knowledge to understand the nature of an injury and the body's recovery process. By educating dancers before injuries occur, we can eliminate the fear that often accompanies an injury.

          Dancers need to be reassured by everyone around them that injuries are temporary and that they will eventually be able to return to the technical level at which they were performing prior to the injury.

          It is equally important for an injured dancer to see a medical professional who understands the mentality of dancers. The doctor or physical therapist should understand that the primary goal is to get the dancer back in the studio as soon as possible and provide realistic rehabilitation exercises. Quite often, the rehabilitation exercises that are prescribed are less challenging than the exercises dancers do on a daily basis.

          Lastly, it is important that injured dancers who sit through class or rehearsals feel they have a purpose. A dancer with a leg injury can sit in a chair and perform all of the upper body movements, or the dancer may be asked to take notes for the teacher or rehearsal director so that he/she feels valued.

          While it is inevitable that injuries will occur in dance, psychological feelings of depression, fear, and anxiety may be avoidable or alleviated by the approaches of those surrounding the dancer. Their reassurances and kind gestures can help keep the injured dancer in a healthy psychological state while the body is given the chance to heal.

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Bowling, A.  (1989) Injuries to dancers:  prevalence, treatment and perceptions of causes. BMJ. 298:731-34.

Kerr, G., Krasnow, D., Mainwaring, L.  (1992) The nature of dance injuries. Medical Problems of Performing Artists. 7:25-9.

Macchi R, Crossman J. (1996). After the Fall: Reflections of injured classical ballet dancers, Journal of Sport Behavior. 19(3): 221-234. 

The Perfectionist Adolescent Dancer and a Happy New Year Giveaway!

            "Understanding the difference between healthy striving and perfectionism is critical..." - Brené Brown

          Adolescent dancers experience a growth spurt between the ages of 11 and 14 that can last from 1-2 years. As was discussed in the post Dancing Through the AdolescentGrowth Spurt, major physical changes affect how the body moves and can make dancing difficult. The body seems foreign to the dancer, and movements that were once performed easily may now seem impossible. It is also important for dancers, dance parents, and dance educators to understand and acknowledge the psychology of the adolescent dancer.

            Studies on dancers indicate that they tend to be perfectionists. Perfectionists are individuals who are overly critical of themselves, strive to achieve because they have an intense fear of failure, and look at most opportunities as risks for failure rather than chances for success.

            Perfectionism can be divided into three different categories:

                        self-oriented – An individual who wants to be perfect, 
                                    sets unrealistic/unattainable goals, focuses on flaws, is his/her worst 
                                    critic, and believes he/she is only as good as his/her performance.

                        other-oriented – An individual who judges others harshly, sets 
                                  unrealistic expectations for family, friends or peers, and has trouble 
                                  trusting others to follow-through with plans.

                                 socially-prescribed – An individual who becomes obsessed with
                                 trying to live up to others' standards or expectations.

          
          A 2014 study found that university age dancers showed significantly higher levels of self-oriented perfectionism than their peers. This tendency to be overly critical of themselves led them to feel negatively about themselves in general, made them feel they could not live up to the expectations of others, and resulted in high levels of socially prescribed perfectionism.

                       

            If dancers are normally hard on themselves and display perfectionist tendencies, it seems logical that these feelings would be amplified during adolescence.

            As dancers experience changes in body mass and shape which lead to decreased flexibility and difficulties with coordination and balance, they begin to feel defeated. It is not uncommon for adolescent dancers to feel that they should quit studying dance because they cannot perform as well as they once did. Although the physical effects are temporary, the adolescent will still struggle with a decrease in self-confidence.

            It is important for dance educators and parents to provide emotional stability and support during this time. While corrections should still be given, the educator should acknowledge that there are some areas, like flexibility and coordination, over which the adolescent dancer may have little or no control.

            Letting the dancer know that people understand what is happening validates everything the dancer is experiencing and can help relieve some of the psychological pressure. Encouraging adolescent dancers to be patient with themselves will help them realize that once the growth spurt is over, they will soon feel in control of their bodies once again and will no longer feel frustrated with their dancing.

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Eusanio, J., Thomson, P., & Jaque, S.V. (2014) Perfectionism, Shame and Self-Concept in Dancers as a Mediation Analysis. Journal of Dance Medicine and Science, 18:3.

Krasnow, D., Mainwaring, L., & Kerr, G. (1999) Injury, Stress & Perfectionism in Young Dancers and Gymnasts. Journal of Dance Medicine and Science, 3:2.

OUR GIVEAWAY!!

A new novel written by former ballerina and Pushcart Prize nominee Sari Wilson is a coming of age story that follows a young dancer on her quest for perfection in the cutthroat world of New York City Ballet.

It has been described as a cross between Black Swan and Lolita, and Harper Collins is offering one of our lucky readers a chance to win a copy of this book which will go on sale January 26 through the author’s website, www.sariwilson.com. To be entered for a chance to win between now and midnight on January 31, comment on this post letting us know what topics you'd like The Healthy Dancer to cover this year. You can also increase your chances of winning by tweeting about this blogpost.  Just follow the directions below!

a Rafflecopter giveaway

Oh no! My Child Wants To Major In Dance!!

            “Choose a job you love, and you will never have to work a day in your life.” ― Confucius

         As high school juniors begin to explore higher education choices, it is no secret that many parents hold their breath and hope their children will not choose to major in the arts.  Dance, music, art and theater are wonderful, but are they fields you can make a living in?  If someone majors in dance and it doesn’t work out, what will he or she have to fall back on?  Is going to college for something as “frivolous” as dance a waste of money?

            People tend to believe that majoring in dance simply means taking a myriad of technique classes for four years only to graduate and begin auditioning for a performing opportunity that may never come to fruition.

            The good news for college students who are passionate about dance, their parents, and everyone whose life has been touched by dance, is that this assumption could not be farther from the truth.

           

            As dance has grown and continues to grow, so has the number of possible dance careers.  Dancers will always have the option to audition for professional and regional companies, but there are also a multitude of other possible career paths available in the field of dance.

            Choreography:  College students who major in choreography spend time learning about dance composition.  They learn how to manipulate movement phrases in various ways, and they learn about different styles of dance, different choreographers, and gain a historical perspective on dance.  These students can go on to become company choreographers, free-lance choreographers, or musical theater choreographers and are also able to teach dance composition courses.

            Dance Education:  Students who major in this area will be required to take classes in educational philosophy and practice as well as dance courses.  Their courses may include dance history, music for dancers, anatomy for dancers, class and lesson planning, foundations of elementary education, foundations of secondary education and foundations of special education.  Many colleges also offer the option of state teacher certification to enable the graduate to teach in public schools.  These graduates can teach in private studios, private schools, or public schools.  A terminal degree such as an MFA would enable the dancer to teach at the college level as well.

            Dance Therapy:  Dance therapy combines the study of dance with psychology.  In order to be a practicing dance therapist, using dance as a form of psychotherapy, a graduate degree is necessary.  Dance therapists work in private practices, hospitals, schools and prisons.

            Dance Scholars:  Dance scholars study dance technique, dance history, and dance notation and can get jobs with dance companies, in the television or film industries, or in libraries and museums.  Their job is to preserve dance for future generations through research, writing, and recording dance.

            Dance Journalist:  A dance journalist combines dance studies with English classes.  Journalists get jobs writing about dance, editing books on dance, or as dance critics for magazines, newspapers and online publications.

            Dance Science:  Dance Science is a relatively new field of study.  It combines dance with the study of anatomy and kinesiology.  Dance scientists work with dancers to educate them about their bodies and healthy, efficient ways of dancing.  Those studying dance science often choose to pursue graduate courses in exercise science or physical therapy.  They may work with dance schools or companies, designing strength training programs, or in injury rehabilitation programs that work with dancers.

            Arts Management:  These students combine their love of dance with the study of business.  These majors graduate and become company managers, booking agents, grant writers, arts advocates, and community outreach activists.

               The career opportunities for dancers are numerous and all have one common denominator:  they require a love of dance.  A parent whose child decides to major in dance need not panic because dancers are not just performers anymore.  They are the people that keep the art form alive, and by doing so, they preserve a very important part of our culture.

                                   

When Visions of Sugarplums are Taken Away: Teaching Dancers to Deal with Disappointment

            “The getting back up is so much more important than the getting knocked down.” – David Dorfman on A Chance to Dance

            The school year has started, dance classes are now in full swing, and dance schools have begun to hold auditions for annual Nutcracker productions.  Students crowd into studios vying for coveted roles, knowing that there are many more parts for corps dancers than there are for soloists.  The auditions end, and the dancers go home and wait to find out which role or roles they will be dancing in this year’s production.

            Some students will be lucky and be given the roles they have pined for while others will be disappointed, and in some cases devastated, to learn that they will be dancing a corps part or a part they may have danced previously.

           

            Dance teaches much more than simply technique.  Dance teaches lessons of discipline, dedication, and responsibility, and dance teaches that sometimes life is not fair.  It is difficult for students to imagine that sometimes roles are not cast on the basis of talent or skill level.  Casting is quite often determined by available costumes, the number of students auditioning, dancers’ heights, and the amount of time necessary for costume changes.  Selecting a cast for large productions is often more a matter of logistics than skill levels.

            When the cast list is posted, there are going to be students who are disappointed.  Disappointment exists in dance and in life.  As the students get older, there will be bigger disappointments in their lives.  They will apply for scholarships that they do not receive, they will apply to colleges that do not accept them, they will have friends that prove to be disloyal, and there will be interviews or auditions for jobs they do not get.

            American psychoanalyst, teacher, and scholar, Heinz Kohut, believed that disappointment promotes growth because it motivates people to work harder and fight back.  Those who always receive what they want and hope for will be satisfied with the status quo and may not push themselves to improve, while those who are disappointed tend to push themselves harder, reach beyond previous boundaries, and grow as people.

            As logical and promising as that theory sounds, disappointment is still a very difficult part of life for both dance students and their parents.  A parent’s first reaction is to protect his or her child and try to speak with the director in an effort to “fix” the problem.  Intervening will not help build the child’s coping skills and will make the child believe that every disappointment can be fixed.

                       

            It is important for the student and his or her parents to acknowledge the disappointment and talk about it.  There will undoubtedly be feelings of anger, sadness, and frustration, which are all understandable.  Experiencing these feelings and working through them will help the students learn to cope with disappointments and setbacks in the future and make them stronger individuals.  After dealing with the initial feelings of disappointment, it is also important that the parent help the child focus upon his or her strengths and refocus the child’s energy on working toward future goals in dance.

            Not being cast in a coveted role is hard to accept, it is upsetting and frustrating, and it hurts.  However, standing back up, continuing to take pride in one’s dancing and working harder than before is how dancers grow and prepare themselves to be productive, mature adults who will persevere in spite of life’s obstacles.

Is a Dress Code Really Necessary?

 “The Dress Code is intended to allow dancers to work free of distracting or inhibiting clothing...to help teachers see and correct the students' bodies, and to train students in how to present themselves in dance in a professional-level manner.” – Peabody Institute

            As the dance school year begins in the United States, dancers and their parents descend upon dance supply stores to purchase shoes and appropriate dance attire.  Many schools have specific dress code requirements, and often parents and dancers question if this is a necessary part of dance training.

            Healthy dancing relies on the correct alignment and placement of the body and the ability to engage specific muscle groups for specific exercises. Fitted leotards, tights and dance pants allow teachers the see students’ bodies and properly evaluate their technique.

            Wearing proper dance attire also encourages dancers to work harder and stand taller.  Without baggy clothing to hide behind, dancers begin to take more pride in how they present themselves and work at optimal levels.  Bad alignment habits cannot be hidden, and it is obvious if certain muscles are not engaged.

            Dance is a field steeped in discipline, and a dress code adds to this discipline that each dancer must develop if he or she is going to improve and grow in the dance world.  Leotards and tights are expected attire in classes, rehearsals and auditions around the world, and dancers are recognized by their attire.

            Some schools also require specific colors of tights or leotards that should be worn to class.  This requirement creates a uniform look in class that reinforces the idea of unity that dancers will need when performing together, and it is helpful to the dance educator.  Without the distraction of differently colored or styled leotards, it is easier to determine which dancer in a group may be performing the exercise incorrectly.

            Dress codes discourage students concerns or pressure about what to wear to class.  They allow those from higher socio-economic groups and those from lower socioeconomic groups to dance together equally.  A dress code eliminates the need to purchase a new trendy leotard and reminds everyone that the important element is the art of dance and not how the dancer is dressed.

            Additionally, when differently colored leotards correspond to different class levels, a teacher or choreographer can easily determine the skill level of a dancer with a quick glance, and the colors begin to create a hierarchy within a school.  As dancers strive to reach the next level, they will eventually be rewarded with the opportunity to wear the coveted leotard color of the next level and have their achievements easily recognized by others.

            The goal of a dress code is not to discourage self-expression or imply strict training.  Dress codes promote hard work, healthy training, required discipline, a sense of unity, classroom focus, psychological health and a sense of pride.  A dance educator that requires specific classroom attire is not trying to be overly strict or elitist, but is simply doing his or her job.