Time flies by!!

Well its been a few weeks now since the Oral presentation but I haven't found the time to blog about my experience. I was so nervous going to campus for the first and last time and to put faces to the people I had been communicating with for the past 15 months. I was very fortunate to be giving my presentation to a friendly and supportive group of people and this helped me to feel a lot more at ease.

I found it challenging to communicate everything I had learnt in 15 months into a 10 minute presentation and was not sure if my oral presentation would be sufficient.

If I have any tips for future BAPP students it would be:

• Consider presentation tools such as powerpoint or prezzi (my personal choice) - what communicates your journey and research best?

• Distinguish between your artefact and oral presentation - If you have a slideshow or powerpoint as your artefact, make sure it is different to your oral presentation

• Read the additional reading about delivering an effective presentation - They helped me to think about how I stood, how I spoke and delivered the presentation. (I noticed I had a very bad habit of saying "erm..." and rocking back and forth!)

• Read your presentation aloud and time it

• Write out prompt cards to help you in case you loose track but DO NOT look down and read of them for the whole 10 minutes!

• Pick the most important information and cut anything superfluous 

• DO NOT overload the slides with too much text and small fonts. Make it clear, readable and engaging

• Relax, breathe and speak at a steady pace

Below is the link to my presentation - Hope it helps! x

Oral Presentation Prezzi

Oral Presentation Panic!

Although it was a relief to hand in all the written work, oral presentations are tomorrow!

I am more nervous to stand up in front of a classroom and deliver a presentation than to perform on stage to a full auditorium!

Despite reading the handbook and blogs over and over I am still unsure as to whether my presentation will be what is required. Despite discussing with my tutor - I struggle to put across what I want to!!

I plan to blog about the presentations after so that others can learn from my experience.

Good luck to everyone!

Interview Questions and Answers

Interview Questions and Answers- Anonymous


The Interview Questions and Answers were sent to the gatekeeper/interviewee for approval before being used as an informative source in the inquiry.

Methods of data collection

Whilst working professionally as a dance teacher I have found how time consuming preparation is. Daily I am drafting class plans, assessing, choreographing, preparing for shows and exams, learning new syllabi, updating playlists, printing scripts... the list goes on.

This on top of my BAPP work has been very challenging and although I am used to working to time constraints within my professional practice, when the work load was increased it was essential for me to adapt to the timescale and consider the tools planned for my inquiry.

Although I had planned to record interviews and transcribe. I found myself taking down notes in the interview so that I had answers in front of me there and then. This was extremely useful as I was able to look through my notes towards the end of the interview to see if any responses needed further detail. Had I simply just recorded the interview I may not have picked up on any unclarified questions.

It was also quicker to type up my notes, relay them back to the interviewee in an email for approval. Although using an unplanned recording method, I was still able to revert back to the interview if needed.

I had also originally planned to conduct my interviews face to face. Unfortunately an interview with the schools Injury Therapist could not go ahead due to unforeseen circumstances. Due to my own busy schedule and also that of the working professional, I conducting my interview via email and telephone. Although I was worried about not meeting the interviewee/participant in person, the answers provided were very honest and detailed. I felt as though the data collected was unhinged by my own interpretation or bias, in a sense the words came direct from the source.

The experience gained from conducting Interviews and Questionnaires has been invaluable. I feel confident in interacting and collaborating with other professionals, in charge of my own learning and development and have the knowledge of how to carry out a work-based inquiry. The process has taught me how important it is to take action and the importance of contributing to research. This kind of learning is critical within my place of work as the research implicates my professional practice.

Reflective writing - Journal entry

Whilst researching injury support systems, I found that many sportsman, dancers, actors and singers use reflective writing as a kind of therapy. This made me think about how I have used my own personal journal throughout BAPP.

My journal has not been shared with others on my blog but instead has been a personal learning resource throughout the course. I decided to reflect upon my journal experience and looking back to Module 1, I can see my journal began more factual and after moving on towards Module 2 and 3, my entries became more descriptive. How I felt about what had happened, what thoughts were provoked from my experience that day or week.

I feel this progression is reflected in my work and learning. When I first started blogging, I shared blogs that were outlined in the course handbooks and used blogger solely to post my task as required. In Module 2, I can see that my blogs then begin present a sense of confidence and description. I began sharing posts not only required by the course but that explain my journey, how I have felt, what I had achieved and what interested me from my research. Moving on to Module 3, I enjoy blogging, commenting on peoples post and enjoy when people post comments on my own blog. I use my own blog and other peoples blogs to increase my knowledge, advance my learning and for inspiration in teaching and career opportunities. It is fulfilling to know my blogs and opinions are of use to others... knowledge should be shared!

Below is an entry from my journal February 2015-

"Today I spent 4 hours researching injury support systems and have found some really interesting information. It has bought back memories from my own training and injuries. I know how I felt and would like to help others who too are suffering with injury. Hopefully my inquiry can do this but I am also considering looking at a Dance Therapy course. As I typed in Dance Therapy into google, I discovered a girl I danced at sixth form with has recently graduated from London Met with a Bsc Dance and Sports Therapy so I have sent her a private message on Facebook to hear all about her experiences. I spoke to a close friend about my thoughts and feel really motivated to move forward into Dance Therapy. Apparently "I'll be good at it!"..... I really hope so!"

This journal entry marks a turning point in my career aspirations and how the work-based inquiry has had a part to play in that. I want to further my career so that I can continue to teach but also become a qualified dance therapist. When I feel unsure about certain situations or taking steps in my career I look back towards my reflective journal for guidance. Sometimes it can be motivating and my own words encourage me to keep going!

Linked In

I decided to join linked in after a member of my SIG commented about some interesting discussions she had read on linked in surrounding my topic of Dance Injury.

I had been sceptical to join as I do not like posting personal information online and to have an interesting and professional profile it is recommended that you complete places of study and employment. Once I set up a basic profile I could see that I was able to manage all of the information and this gave me confidence to join groups and begin my networking on the site.

In a similar way, at the start of Module 1 I was sceptical about using Blogger but now have great confidence in interacting with others through blogs and SIGS. I have seen the benefits that joining a professional network can have particularly for employment opportunities, project research, and general discussions with others working in the Dance/Performing Arts sector.

Below is a link to my page. I plan to build up my professional profile through increasing my involvement in the social network.

Linked in

Had it not been for the BAPP course, I never would have stepped out of my comfort zone and joined the realm of networking. I will continue to improve my practice and develop as a professional by taking these steps in the future. I have been surprised by the influence networking has already had to my practice. I feel I have more knowledge, learnt new teaching skills and also recognised how important it is to keep learning. The course has encouraged me to find my real interests and has influenced decisions for my future. I am currently looking into Dance Therapy courses for after graduation and this may not have come to light had I decided not to further my education.

Video from Dance UK

Sarah Blanc and Lucy Field talk to leading dance voices about the health and wellbeing issues that face the sector and how to deal with them.
Dancers health and wellbeing video

Literature review - 'Fit to Dance 2' by Helen Laws

This literature review covers how I found the resource, its compilation, an assessment of its validity and possible limitations and how the resource has increased my knowledge.

 

Fit to Dance 2 by Helen Laws (2005)

I found the study on Dance UK’s website followed by a discussion with my tutor who mentioned that ‘Fit to Dance 2’ might be useful for my research.

It is a report of the second national inquiry into dancer’s health and injury in the UK by Dance UK. This 2002 inquiry shows comparisons to the previous survey carried out in 1993. It focuses on dancer’s health and wellbeing, injuries and dance training and the survey included professional dance students and dance teachers. It shows how the industry has changed and provides recommendations from the findings for the future.

The report consists of:

Foreword

Acknowledgements
Introduction
Notes on statistical terminology
Methodology
Questionnaire responses from Dancers and Managers
Questionnaire responses from Teachers
Interview findings
How far have we come?
Recommendations
Appendices
Further Reading
Useful Organisations

Assessing validity? Reasons why I believe the report to be a legitimate source to my research:

• The research is quantitative (statistical) and participants include 52 dance companies, 23 vocational dance schools, 10 West End shows, 4 Key South Asian dance training establishments.

• Dance UK's has been running since 1982 and has initiated a healthier dancer programme to promote the health and well-being of dancers.

• Dance UK is “the national voice for dance, Dance UK advocates and lobbies government and the cultural industries to promote the importance of dance and needs of dancers. We work to create a diverse, dynamic and healthy future for dance. Dance UK has over 1000 individual members including dancers, teachers, students, choreographers, managers, dance medics and scientists, and over 230 corporate members including the leading dance companies, theatres and vocational colleges, ranging from Sadler’s Wells and the Royal Ballet Company to the National Dance Company of Wales and Akademi, South Asian Dance UK. Dance UK is also currently in a strategic alliance with the Association of Dance of the African Diaspora (ADAD).” Dance UK therefore has support from established and professional dance companies which promotes its legitimacy.
  

‘Fit to Dance 2’ has increased my knowledge of injury support systems and closely related topics. The report looks into dancer’s health and injury in the UK , it demonstrates the positive steps that have been taken since the first ‘Fit to Dance’ inquiry and also highlights areas that still need work. My inquiry will relate specifically to ‘injury support systems’ – the effects of injury, why we need support systems, awareness of support systems, and how teachers can integrate many of the support systems into their teaching.

From questionnaires, surveys and interviews, the report shows figures into the cause and effect of injury. Most influential to my research is the section concerning outcome of injury; the physical and psychological effects. Secondly the recommendations section which suggests ways to improve or encourage the current health and injury situation for dancers.

Dance UK’s ‘Fit to Dance 2’ study suggests the need for “continued effort on the part of the dancers, teachers, choreographers, managers, directors and health practitioners to ensure that dancers’ health and well-being is fully embedded into everyday practice.”  This demonstrates a responsibility and duty of care for professionals working in the Performing industry to show concern for the well-being of their students.

The study reports that “dancers psychological needs should always been considered alongside their physical ones” (Laws, Helen).  This establishes that there should be psychological support systems such as counselling in place alongside the physical ones such as physiotherapy. Although not every vocational school will have access to an onsite counsellor or psychologists, teacher should be able to recognise the signs and advise the student on outside help available. Fit to Dance 2 advises companies and schools to ensure “that all members of staff learn some basic anatomy, physiology, and kinesiology” and organise regular refresher talks, “workshops, seminars or conferences to keep anatomical, physiological and kinesiological knowledge up to date”. Therefore teachers must keep their “knowledge up to date”. Teachers can also use encouraging language within the class to promote a positive mind. They should “remember that each dancer is different and individual” and “be aware of how much negative and how much positive criticism is being given, trying wherever possible to emphasise the latter.” A Teacher should offer constructive criticism.

In the study, Dance UK found that the most commonly perceived cause of injury was ‘overwork’. With pressure for dancers to be a triple threat in today’s industry, workloads are increasing and rest or recovery time is reduced therefore making the risk of injury higher. Furthermore, the study reveals that overall “dancers had an average number of 3.2 injuries each in the previous 12 months”. Consequently, improvement of injury support systems is critical.

According to the ‘Fit to Dance 2’ report by Helen Laws, it is essential for dancers to “Understand the underlying principles of warming up and cooling down and keep up to date with the current thinking behind effective warming up and cooling down…Monitor the effectiveness of personal regime and adapt if necessary… Incorporate both into daily routines until they become second nature”. Teachers can support this by “ensuring there is adequate time and space available for dancer’s” to warm and cool down (Law, H 2005 Fit to Dance 2, Dance UK).

Furthermore, Fitness assessments should be set up to identify “individual strengths and weaknesses in order to devise individual training programmes”. Companies and schools should “enable the individual’s fitness profile to be monitored at regular intervals in order to measure progress and adapt programmes where necessary” (Laws H, 2005; ‘Fit to Dance 2’ Dance UK).  Assessments and monitoring are one of many injury support systems that can easily be adopted by teachers. If a teacher can devise individual training programmes then each dancer can track their achievements and any detriments to their progress. This may help students to receive the help or advice they need before it is too late.

A possible limitation to the resource that I must consider is that the survey was carried out in 2002, 13 years ago. Whilst Dance UK has taken every effort to “ensure the accuracy and relevance of information provided, it is recognised that legal changes and new developments in knowledge, understanding and practice may occur”.

In the further reading section, ‘The student dancer’ by Julia Buckroyd was recommended. ‘The student dancer’ has also helped to inform my inquiry.

Summary of main project findings

Main project findings .... In a little more than 100 words!

The Inquiry

• Theories and professional opinions on 'Injury' and 'Support systems'  
• Insightful and thought provoking literature
• Deeper understanding of Injury support systems - Why they are needed and how to embed them into teaching.
• A greater awareness is needed towards injury support systems in vocational dance schools
• Teaching methods - Using imagery, language, relaxation

My practice

• How to carry out a work-based project
• Inspiration to do further research
• Professional development
• Learnt about myself as a Teacher - My role and duty, approach, professionalism
• Importance of staying up to date with what is going on in the 'Dance World'.
• Found about new injury support systems
• Discovered ways to integrate injury support systems into my Teaching
• Significance of collaboration - using web 2.0 and professional networks

Personal development

• Greater confidence in participating in professional networks
• Experience of carrying out a work based project
• New/Increased knowledge -  from research
• Importance of reflection
• Self learning
• A continuous learning journey -  does not stop after a degree
• Creating own blog
• IT skills- uploading material to media sites
• Responsibility - your learning is down to you!

Evaluation of processes of the Inquiry

Below are the 10 main processes of my Inquiry and evaluation of each:  

Research

• It is essential to do plenty or research. Read literature, watch videos, visit blogs and websites...
• The research should be broad to start with, find what interests you, what is significant to your practice and a topic that is relative - research that you think is missing or needs further exploration.
• Share ideas with others through a professional network or social media to see what more you can find out. 'Everyone you meet knows something you don't' - They might know something useful to you and your inquiry.

Evaluation - Research and literature reviewing has been the most influential contributor to my inquiry. The process has inspired interests and has made me passionate about so many topics related to my practice. Sometimes I can got lost in an overload of information but once I had multiple sources and found a real interest in a topic, it becomes easier to chose a line of inquiry later on.
My tutor helped me realise how important it is to not limit your research. For example, when looking into dance injury as a topic, I was able to collaborate literature from sporting professionals, health professionals, dancers, teachers, academics and psychologists.

Plan

• Make a step by step plan -  What do I want to find out? What do I need to do?
• Make sure it is realistic and therefore achievable
• Set a schedule
• Consider Ethics
• Context

Evaluation- I found planning the inquiry quite difficult and I think I would have benefitted from further research in order to narrow down my inquiry. I had chosen a very broad topic and not refined it enough so I wouldn't have been able to produce a sufficient inquiry. I realised this after my Module 2 hand in, so I guess a little too late. On the other hand, after reflecting upon my feedback I was able to give my inquiry a new direction and focus.

Pilot

• Consider different tools - What will work best? A Questionnaire? An interview? A focus group?...
• Create a draft/dummy version
• Try out tools - Pilot test the tools

Evaluation- I enjoyed piloting the tools and found out there's much more to creating a questionnaire than compiling a list of questions. From evaluating the tools and testing the sufficiency, I was able to confirm 2-3 tools that I would use for my actual Inquiry. Sometimes the only way to truly know if something works or not is to test it.

Analyse and evaluate pilots

• What worked best?
• What went wrong or did not work?
• What yielded the best results?
• What did the participants think of your pilot? Feedback
• Decide on 2-3 tools that you are going to use

Evaluation- When looking back at my pilot results I realised I had collected data which was not entirely relevant to my inquiry. I therefore looked for the reasons why and shared my concern with others. After much deliberation I felt confident that I chose the most suitable tools for my inquiry.

Share and collaborate

• Others opinions/thoughts?
• What could you improve?
• Is there anything you are missing?

Evaluation- I shared my questions in my SIG via google+ and also on blogger to receive feedback from my peers. Other students and peers helped me to refine my questions and cut them down to a more acceptable length. 

Draft tools

• Type up questionnaires/interviews/plans for focus groups etc
• Review from peers - does anything need adapting?

Evaluation- Creating my questionnaires and interview questions felt very rewarding. After much research and testing I felt ready to begin preparation for the data collection. I re-drafted my questions multiple times until I was happy they looked and sounded professional and concise. I also sent drafts to my gatekeeper for review which ensured that both parties were happy and confident.

Literature review

• Narrow down research
• Find literature that is relevant to your inquiry
• Review - does it have limitations? Is it from a reliable source? Professional?

Evaluation- The Literature review felt rather arduous and became very time consuming. I did however understand how essential it was to review the validity, limitations and professionalism of my selected literature. After all this could effect the success of my inquiry. I knew I had collected some interesting data from my questionnaire and interview and this inspired me to find the documentation to support it.

Carry out inquiry

• Refine plan after any changes/alterations 
• Execute tools eg. interviews
• Review schedule
• Collect data

Evaluation- I enjoy learning and developing as a professional so carrying out the inquiry made me feel like I was achieving something. All the paperwork had suddenly come to life and I enjoyed collaborating with other professionals.

Analyse and evaluate data

• Interpret data - graphs, charts, images
• Relate to literature and findings - who/what supports your analysis?
• What your results mean? - change needed? improvements?
• Include anything that have influenced your results
• Type up notes

Evaluation- Although I had planned how I wanted to represent my data I struggled to keep my analysis under 2500 words. I am in the process of editing  my analysis by cutting any superfluous data. 

Reflect

• Why is the inquiry important?
• How has this developed your practice? practice of others?
• Professional scope
• Inspirations for future inquiries?
• What have I learnt?
• How have I learnt?

Evaluation- I am pleased with the data I have collected and it has been thought provoking towards other areas of potential inquiries. I have learnt a lot about my topic of 'injury support systems' but also a lot about myself. My research has influenced my practice as a teacher and carrying out the inquiry has developed my ability to undertake professional work based projects.

List of Injury support systems sourced from exisiting literature

 

Injury support systems research from existing literature

 

 

I have made a list of the injury support systems which I have discovered through reading existing literature. This will help me with my artefact and clarifies the main injury support systems that I will cover in my inquiry. I have split them into 3 categories.

 

1. Injury support systems which teachers can integrate into class within vocational training

2. Injury support systems that teachers can advise the students to practice in and out of class time

3. Injury support systems that teachers should be aware of and be able to recommend (includes support external to the facility).

 



Here is my research: 

Teachers can do in class -

• Imagery
• Somatic and cognitive relaxation techniques
• Monitoring
• Sports psychology-performance enhancement program
• Goal Setting
• Language

Teachers can advise on the following, to practice in/out of class -

• Passive/Active recovery
• Self assessment
• Reflective log books/journals
• Emphasis on supportive social relationships
• Self talk
• How to go about receiving physical treatment
• How to go about receiving mental and emotional support/rehabilitation

Teachers should be aware of and be able to recommend-

• Passive/Active recovery
• Injury clinic - NHS
• How to go about receiving physical treatment
• How to go about receiving mental and emotional support/rehabilitation
• Internal and external help
• Injury policy and procedure

Literature review- 'Promoting health and well-being in young dancers & musicians'

Music and Dance Scheme - Promoting health and well-being in young dancers and musicians

Beyond physical practice

Terry Clark, Sanna M Nordin & Imogen J Walker, Trinity Laban 2009

Psychological skills to boost training and performance

I found this resource thanks to my inquiry gatekeeper who works as Head of Dance and Course Leader at a vocational dance school.

In order to assess the validity of the resource I researched into the provider, South West Music School. Having a recognised level of tuition and support from the Department of Education I decided the resource will provide insight into support systems and applying them to injured dance students.

"South West Music School encourages the copying, reproduction and distribution of this document to promote health and wellbeing, provided that South West Music School is acknowledged."

"South West Music School is part of a national network of Centres of Advanced Training supported by the Department for Education Music and Dance Scheme for exceptionally talented young musicians aged between 8 and 18. Funding provided by the Department for Education ensures that each student has adequate resources to undertake the scheme and that all costs are met according to need."

Below is a summary taken from Music and Dance Scheme- Promoting health and well-being in young dancers and musicians.

"Training and performing in the arts is demanding: physically, mentally, and emotionally. Not only must musicians and dancers execute a series of precise movements in order to convey their expressive ideas to an audience, they must also maintain an appropriate focus while not allowing pressure and expectations to distract them. In order to cope with these demands, performers benefit from having a range of physical and psychological skills at their disposal, developed through years of practice and experience. Psychological skills can speed up learning, boost performance and help you feel better about yourself, too. Remember psychological skills, like other skills, need to be practiced to gain their full benefit. Top performers find ways of incorporating psychological skills practice into their daily training and practice activities. Younger performers need training on how to develop psychological skills, as well as how best to incorporate them into their regular practices. Here we introduce some of the key psychological skills"

When looking into the effects of injury I must consider the physical, mental and emotional demands. I must also research systems of support such as psychological and physical skills which can be incorporated into training, as outlined above.

A limitation of this resource is that it was produced in 2009 and practice will have certainly developed since then with new research being compiled on a daily basis. Secondly, although it relates across 'The Arts', the paper is not specifically aimed at dance students in vocational training neither is the advice given for improving psychological and physical skills directed towards dealing with injury.

Introduction

My inquiry will be looking into the physical and psychological support available for injured dancers in professional dance training. To understand the need for support and why dancers can be affected both physically and mentally by injury provides huge scope for research including opinions from psychologists, professional teachers, dancers themselves, health specialists and therapists. In attempt to inform my own practice as a teacher for dancers in vocational training I will look into how teachers can support their injured students. This paper looks into promoting health and well-being in young dancers and subsequently has informed my research into support techniques.

Analysis of Literature

Defined in this paper is how psychological skills can be used to boost training and performance. It is suggested that  psychological skills, like other skills, need to be practiced to gain their full benefit. "Young performers need training on how to develop psychological skills, as well as how best to incorporate them into their regular practices."

Four  main skills are outlined:

Goal Setting-

• Provides direction and focus
• Allows performer to monitor and chart progress
• Create and maintain motivation
• Develop consistency in practice and performance behaviour
• Foster the patience needed for long term development

1. Process Goals-
How you go about doing something (eg. relaxed technique, positive attitude through injury rehab).
Using process goals helps focus, boost confidence and reduce anxiety by putting the performer in charge and allowing them to feel in control.

2. Performance Goals-
Quality of performance with reference to oneself. Performance goals are self-referenced in order to improve own skill or ability.

3. Outcome Goals-
Win/Loose goals. Outcome goals rely on the behaviours, decisions and actions of others (eg. audition outcome) and therefore are the most unstable out of the 3. Outcome goals however can be highly motivating for example if a student is made head girl or boy, dance captain or given the lead role. These goals have been decided by others and unfortunately performers may not only face failure to meet goals but also high anxiety levels which can be very problematic.

SMART goals -

Specific
Measurable
Actioned
Realistic
Timed

Dance example:

S - "I would like to achieve higher legs, whilst maintaining good technique, in the grand battement exercise at the barre"

M- "I will use my own kinaesthetic awareness of how high my legs feel and the ease of flexibility. I will also ask my teacher and other students to monitor the progression of height in my grand battements"

A- "I will set process goals as steeping stones to achieving my goal of higher grand battements. I will improve my flexibility by stretching my hamstrings and also work on using the pressure of the floor"

R- "I can check my goals are realistic to my ability with my teacher and also refer to my own progression notes to see my personal rate of development"

T- "I will not aim to achieve this overnight. I will set a deadline which may not necessarily be a deadline for which I must achieve my goal by but a deadline for reflection of my progress." 

Goal setting is regularly used in the sporting world and is becoming more significant in the dance sector. Teachers could foster this skill into their classes and assessments in order to encourage focus, motivation and development. This could also work for injured dance students- recovery goals or processes of physiotherapy. If students set such rehabilitation goals and track progress it can give them direction to a positive recovery.

Imagery-

"Cognitive or imaginary rehearsal of a skill or situation without overt muscular movement."

The paper suggests that imagery should be multisensory like we experience in the real world, so although we are only imagining we must use all our senses - visual, touch, audio, emotion.

The imagery process consists of 3 main skills:

1. Creating an image of a desired performance goal
2. Creating an image to reflect current performance
3. Creating an image in terms of it's production aspects - what you need to do physically to achieve.

The goal of practice and preparation is to develop these 3 images to as vivid a state as possible, striving to bring the 1st and 2nd in line with each other, using the 3rd as a means of doing so.

Often there are two kinds of imagery, 'Metaphorical' (Given images and metaphors) and 'Idiosyncratic' (Developing own types of images).

Imagery is used in the dance sector as a form of rehabilitation for injured dancers. A Dancer may be told to imagine their injury on their right foot as thorns and tangled weeds, but the left uninjured foot as a light cloud. Through a process of imagery training soon they will be trained to see their injured foot as the same as the uninjured foot, a light cloud. In some cases, the physical injury is healed but mentally or psychologically the injury is still affecting the dancers performance. Imagery can help alleviate this negative imagery left after injury and allow the dancer to realise that the injury had become in their mind not on their body. Hence, imagery can be seen as a support technique.

Arousal control & Relaxation-

How do you want to feel? What can you do to help yourself feel that way?

• Focused breathing
• Progressive muscle relaxation

Both of these techniques have been incorporated into professional dance training but are they encouraged enough? Are students and teachers aware of the benefit of relaxation?

Self Talk-

Self talk is whereby an individual produces instructions or reinforcements, states convictions and interprets feelings/perceptions.

Sometimes performers may be struggling with unintentional negative self talk which can undermine confidence and induce greater levels of anxiety. It is therefore recommended that performers should design self talk statements for oneself deliberately; this way they are more likely to be positive, constructive and helpful. Positive imagery can enhance feelings of confidence and self worth and also to develop and maintain focus.

Self talk is a technique which could be encouraged by teachers and particularly recommended for students who are experiencing difficulties in their training.

 Conclusion

This literature has influenced my research and knowledge into support techniques and coping strategies. The techniques discussed could be easily incorporated into vocational dance training if the teacher is aware of their impact and benefit. My inquiry seeks to look into the awareness and use of support techniques for injured dancers and how the teacher can encourage and incorporate these into their teaching.

Literature Review- "A sports psychology-performance enhancement program"

"A sports psychology-performance enhancement program" Health and Fitness, Friedman, M 2005

I found this resource when researching sports-psychology. Although found during a broad search and not specifically related to dance psychology I have found much insight into ways of improving motivation, emotional control and positive self talk, all which can have a profound affect on a performer.

A limitation of this resource is that it is not specific to dancers. On the other hand it relates to 'performers' and the skills which can be developed through supportive and encouraging practice.
It is important to note that it was also written in 2005 and therefore the knowledge could be considered out dated. Despite this, there is currently much support and research into the mentioned skills - Imagery, Simulation, Emotional control, Tracking progress, Etiquette and Working with coaches.

"Dr Friedman is a recreational skater, licensed psychologist, certified school psy-chologist, a professional member of U.S.Figure Skating 's Spons Medicine Society and a dance and singles/pairs test judge. He holds a Certificate of Professional Qualifications from the Association of State and Provincial Psychology Boards and is listed in the National Register of Health Service Providers in Psychology." The author is therefore experienced in his topic and has relevant qualifications to support the legitimacy of the paper.

Introduction

My inquiry will be looking into the physical and psychological support available for injured dancers in professional dance training. To understand the need for support and why dancers can be affected both physically and mentally by injury provides huge scope for research including opinions from psychologists, professional teachers, dancers themselves, health specialists and therapists. In attempt to inform my own practice as a teacher for dancers in vocational training I will look into how teachers can support their injured students. This paper looks into a sports psychology program which aims to improve skills in focusing, motivation, emotional control, imagery and positive self-talk". These are coping methods practiced by other athletes and training facilities and therefore this paper holds great relevance to my inquiry.

Analysis of Literature

The paper highlights six main methods which are integral to the 'Off Ice program at the Ice Zone Boardman Ohio'. This program is aimed at skaters but believed to be of "great assistance to all athletes and their coaches."

Some may have the opinion that dancers are not the same as athletes however for the purpose of this literature review, I will base my analysis upon the view that dancers can be considered athletes.

Imagery skills-
Dancers are taught to see correct movements in their minds, feel those movements and later do these movements. In this program, skaters learn the phrase "see it, feel it, do it". To complement this, progressive relaxation is seen as an "integral part of imagery training and emotional control" through which fantasy guides their entire body. Skaters will practice relaxation sitting or standing and subsequently in a skating position. The same kind of imagery training has been used by dance therapists and teachers as part of psychological support. From speaking to the Head of Dance at a vocational dance school it seems that "the power of imagery is underestimated". Imagery is a way to overcome physical and emotional aspects of dance injury and has been used by many professional dancers, particularly ballerinas. Maybe imagery is a technique teachers could use more or promote in vocational dance training?

Simulation-
Skaters will be given experiences that approximate what they are about to do, possible anxiety, imagining announcements, visualising their performance from within and from a distance, feeling their performance and all the inherent stimuli. Similar to the dance world, performers can prepare for a performance, show, exam or audition in the exact same way. Dancers are often familiar with the phrase "fail to prepare, prepare to fail". If a dancer can visualise and analyse a situation before they face it there is a higher chance the dancer will be prepared for what is to come and have prepared a way to overcome any hurdles they may face.

Emotional control-
It is essential for the skaters to control their emotions both positive and negative to optimise practice time. The program promotes use of positive self talk for self motivation such as "I think, I can, I am, I will..." which is used by the skater, psychologist and the coach. This is another technique which can be adopted by the dance profession. Studies have shown that use of positive and inspiring language is essential for encouragement and progression. This is something teachers themselves could practice in the studio and also incorporate into feedback/assessments.

Tracking progress-
The Skaters are advised to use a notebook to keep track of goals and emotions. Goals should be realistic and reappraised with the coach and by the individual. It is essential that goals are redefined when setbacks occur. This kind of tracking will enable the skater to see their progress and also allow the skater to reflect upon their emotions to see if they are still enjoying skating, feeling accomplishment and having fun. The notebook can also be used as a checklist of preparation procedures including pre practice or pre competition rituals (aerobic activities, stretching, relaxing, imaging, and positive self talk). This method could also be used by dancers in vocational training for the exact same reasons, tracking progress and emotional wellbeing. Pre practice or pre show rituals would also be a useful way to prevent injury as when the mind is focused and the body is physically ready, a higher level of performance is achieved.

Etiquette-
The skaters are taught to behave in an appropriate manner on and off the ice. Respect towards others is of utmost importance and skaters could jeopardise their progression in the skating community if they do not show respect. In my own vocational dance training I was told that I should always respect the teacher, whether they are someone you like or do not particularly like. "You never know who could be on the audition panel" is a phrase I used to hear often.  Although respect was emphasised I do not think that etiquette as a whole was emphasised enough. Sometimes in the theatre or hired venue, there can be tensions between the dance company and the theatre staff if company members are not following the rules and etiquette required in a theatre or venue. Etiquette is very important for the company and for the individuals reputation and bad behaviour could have long term effects on a dancers career. Behaviour can also effect the safety of the individuals and others.

Working with the coaches-
Psychologists not only work with skaters but also with the coaches/teachers. Teachers are taught how they can interact with their students in order to "enhance coaching experience with psychological approaches and advice". The same method could be incorporated into vocational dance training. Teachers play a huge part in the students progression and should be able to support their students physically and psychologically. From my own research it appears that teachers are not always offered training and sadly if they are not made aware of psychological pressures, how are they supposed to know what support to offer to the student. The interaction between student and coach./teacher is an area I will be looking into in my inquiry as I research into how teachers can support an injured student.

Conclusion

Although not directly discussing methods used by the dance sector the paper suggests that a sports psychology-performance enhancement program can be of great assistance to all athletes and their coaches. These support methods could successfully be integrated into vocational dance training and it is from these programs used in other sports that we can see the effect and success that they have. With regards to an injured dance student, imagery skills, simulation, emotional control, tracking progress and working with the coaches are all techniques which will provide the emotional/psychological support which is necessary alongside the physical treatment. This paper therefore has influenced my inquiry research and will assist me in creating my artefact - A Teachers guide to providing support for injured students in vocational dance training.

More thoughts on context!

At various stages throughout Module 2 and 3 I seemed to find myself confused with the context of my inquiry. I think I now understand why!

The transition from dancer to teacher was a significant change in my life. After suffering reoccurring injuries I had to come to understand that physically and emotionally I would not be able to continue dancing. I think as this transition happened earlier in my career than planned I wanted to look into support for injured dancers in training.

A few weeks back I wrote question ideas for both the interviews and questionnaires I would carry out. I sent these to my tutor and also posted some of them on my SIG. From feedback I realised that my questions would not inform my work as a teacher and therefore my inquiry research would not be relevant to my current practice.

I  included a lot of medical and psychology influenced questions which is an area that I am not qualified in and would therefore not give me the authority to draw conclusive or informed opinions on. I also included questions ABOUT the injury rather then EFFECTS OF, and my questionnaire appeared more as a monitoring form rather than looking into how injury actually affects students in vocational training. Ultimately my data would be near useless to my inquiry!

My tutor, Paula commented:

"Your inquiry is about improving your teaching role and adding to your knowledge about how your students think about injury? Will the questions you ask in the questionnaire lead to you being able to improve your teaching performance ? How? It is not about monitoring injury for the dance school – it is about your being more informed?"

I can see now that I was not looking at how the information linked back to my learning – to  my role as a teacher in the school, THE CONTEXT!

I must remember that the purpose of my inquiry is to inform my practice as teacher and that this part in the BAPP programme will give me the knowledge of how to carry out an inquiry further down the line in my career. I want to improve my teaching, expand my knowledge, and in turn the experience for my students. This is my context and why I want to look into how TEACHERS can support their injured dance students.

Finalising questionnaires with the gatekeeper- Feedback

On Friday I had a really great experience meeting with the Head of Dance and my 'gatekeeper' to show a copy of the questionnaire which will be handed out next week in student tutorials.

I wanted to share the questionnaire and cover sheet with the school to receive their feedback, see if there were any questions which could cause ethical concern, and also to see if there were any additional questions they would like in the final copy of the questionnaire.

They were very happy with the questionnaire and commented on the professionalism of the cover sheet which was provided to explain what the inquiry was and why, what it involves for the student as participant, ethical concerns, confidentiality and definitions of terms used within the questionnaire. Pheww!
I can now appreciate all the feedback and interaction with peers and my tutor in what seemed like never ending road to the finalised questionnaire.

I made notes on the draft questionnaire and highlighted any changes, mainly enlarging comment boxes and a couple of questions which we collectively re-phrased.

One question I re-phrased was the final one which was designed to allow participants to express their own opinions/comments to further support some of the tick box questions. Originally it read 'What more (if anything) do you think could be done to support injured dancers whilst they are still in professional training?' Although not asking directly about the school they are training in, I had not intended for this question to allow negative comments about what is potentially NOT being done to support them in their current training. I expressed this to the Head of Dance as I did not want my questionnaire to look into what is not being done but instead into what more could be done to support injured dancers. We discussed this and decided to rephrase the question as 'If you were to provide vocational dance training how would you approach support for injured dancers in training? What support systems would you use?'. This way, the feedback and opinions are not directly aimed at the school itself.

Collaborating in this way, with peers and professionals from the workplace, has been undeniably beneficial to my inquiry and also my practice. I feel much more confident in my research and the support from my gatekeeper has been encouraging. I am very appreciative for their involvement in my inquiry research.

Since Friday, it has been a quick turn around especially as I have been teaching over the weekend. We agreed that I would get the finalised questionnaires to the Head of Dance on Monday morning so that she could hand them out personally in tutorials and collect them in again before the Easter break. We believe that if the questionnaires are given out formally I will achieve a much higher response rate. Fingers crossed!

I have prepared the cover sheet and questionnaires into an unsealed envelope so that they can be returned to their tutor or Head of Dance anonymously.

Now to look further into the analysis requirements of the inquiry and await questionnaire responses!

Adesola's BAPP blog: Watch this film

Adesola recently posted this video and it has been really thought-provoking. Click on the link to also read comments from myself and other BAPP students.


The video discusses interesting thoughts on education systems, their effectiveness and relevance in todays society. It also makes reference to 'The Arts'.


It has inspired thinking about recognising 'different learners'. How do we accommodate for different learners? What is nurturing and encouraging to a certain a individual? How does that compare to another student's idea? How do we learn? Are systems working? Do we need to change old fashioned concepts? What influence does education have on a students growth and development?


"I think it is important to find the time to try different ways of learning that suit different people. Not everyone is the same."  Lisa Meiklejohn March 03, 2015


Adesola's BA PP blog: Watch this film

Research inspires thinking!

When researching different effects of dance related injury I found an article discussing stress.

Stress can induce many different physical and emotional stressors on the body and mind and will effect people differently dependant on their personality.

"People have different ways of reacting to stress, so a situation that feels stressful to one person may be motivating to someone else."

I think this quotation from the NHS website is closely linked to my own practice and teaching within dance. I think it is essential that dance students are treated as individuals and personalised teaching methods applied to promote the dancer's well-being. By adapting teaching methods for the individual you can begin to support your student in a way which is beneficial to their learning. Not all dancers learn the same, as the quotation from the NHS points out "a situation that feels stressful to one person may be motivating to someone else". Some people work well under pressure and can take criticism constructively for other people who may be feeling slightly less confident about themselves or their ability, asserting more pressure and criticism to their own disbelief can speaking colloquially, 'crush them'.

I would definitely be interested at looking into how teachers can apply individualised teaching methods within a dance class. Maybe a next inquiry!?

NHS online

Informal interview confirmed

Today, I have confirmed a day and time for an informal interview with the Head of Dance. I think I will be able to gain lots of insightful answers and feedback from someone in this authoritative position, as almost all happenings in the school are run by and checked with the head of department.

I have prepared some questions which I will need to further cut down/combine but for now I wanted to write down anything I could think of appropriate and useful for my inquiry research, so that I did not miss anything crucial. By doing this, I now have a week to narrow them down and also receive feedback from my tutor and other BAPP colleagues.

I will show a copy of my questionnaire to the Head of Dance for approval and also to check if the school would like to add any questions to benefit my research or for their own research. I think that this co-operation and process of working together to draft a questionnaire both myself and my employer is happy with will help instil a sense of confidence and trust between the gatekeeper and I.

I am looking forward to this next step on my inquiry.

Please share your opinions or thoughts on the below questions - they are still a work in progress!

 

Interview questions for Head of Dance

  

The Teacher

• What is your role/duty as Head of Dance?
• Are teachers sufficiently and regularly trained? What training is available?
• In the studio, are support and ‘coping’ techniques being embedded into training? What support systems are used?
• How can I (as a teacher) do a better job? What more can teachers do to support their students?
• What advice can I offer my students when they are injured?
• What support organisations are you aware of for injured dancers? (List provided)

The Student

• Are students assessed and observed? Notes shared with other teachers?
• Do you think dancers are given adequate recovery/rehabilitation time? Who decides when a student can return to training?  
• What are the types of injuries that students sustain? Why do you think that is?
• How are students made aware of injury procedure and the help they can receive?
• Who pays for treatment? 

The School

• What policies are in place for injured dancers at your dance school?
• Does the school record injuries? How?
• What is the usual routine/action taken for dancers who become injured?
• What help/support/treatment is available to your dancers internally and externally? Type most frequently used? Why do think this is?
• Do you provide or advise on both physical and emotional support?

Comments

• If you had the time, opportunity, and funding, what more would you do to support injured dancers?
• Compared to 5 years ago, do you think dancers are now…(From Dance UK)

a) Better prepared for full time dance training?

b) More knowledgeable about health and injury issues?

c) Experiencing less incidence of injury?

d) Expected to have greater physical facility/prowess?

d) Better prepared for a dancing career?

 

 

NIDMS Launch Event Birmingham Hub - November 2013

"On Friday 29 November 2013 the partners of the ground-breaking National Institute of Dance Medicine and Science (NIDMS) announced an agreement to establish the second ever NHS specialist dance injury clinic in Birmingham following the success of the London clinic at the Royal National Orthopaedic Hospital. The new clinic is being made possible by an additional generous donation of £10,000 by the world's leading dance floor manufacturer, Harlequin Floors.

This dance industry led initiative is important because research has shown 80% of professional dancers suffer an injury that stops them working each year, so fast, affordable, specialist healthcare is critical to keeping dancers in employment."

Launch of NIDMS April 2012

"On 30 April 2012 over 200 dance professionals joined dance medicine and science leaders at the Royal Society of Medicine to celebrate the opening of the National Institute of Dance Medicine and Science. NIDMS aims through shared expertise and a network of multidisciplinary hub-sites and partners, to provide access for all dancers to high quality, evidence-based, dance specific healthcare and dance science services. It will:

- offer fast, affordable, specialist treatment for dancers, including the first NHS based dance injury clinic accessible FREE via GP referral
- be a focus for cutting edge research into dancers' health, injury and performance, co-ordinating research nationally which will lead to more effective injury prevention
- provide education for dancers, teachers, scientists, healthcare and medical practitioners

This initiative is the result of a partnership between  Dance UK, Birmingham Royal Ballet's Jerwood Centre for the Prevention and Treatment of Dance Injuries, Trinity Laban Conservatoire of Music and Dance, University of Wolverhampton, University of Birmingham and the Royal National Orthopaedic Hospital. The creation of NIDMS has been made possible by major donations by the Jerwood Charitable Foundation and British Harlequin plc, and many donations from individual dance supporters." (Harlequin Floors and NIDMS website)

This video provides insight into the work of NIDMS and their vision to provide high quality dance specific healthcare.  There are many high profile figures commenting on the vision and promoting the importance of free NHS healthcare for dancers. Wayne Sleep describes injury as "career threatening" and mentions the need for "counselling" and aftercare for injured dancers. Kate Prince, Artistic Director also supports this, NIDMS work helps "treat dancers quickly, efficiently, it's on the NHS so it's free and psychological aftercare of injury" she describes how "once injured you don't trust your body anymore and are full of fear and panic". Principle Dance and Artistic Director Designate Tamara Rojo confirms "we must fight for it because we need it... Our art form relies on it for our future".

The numerous viewpoints from leading professionals in the industry helps legitimise what NIDMS is communicating through their video and supports the collaborative research and practice.

It is extremely beneficial to my inquiry to hear from leading professionals their views on injury and healthcare for dancers. The video also provides insight into what is currently being done to help support injured dancers and the organisations which have come together to support the cause.

Redrafted Inquiry Questions

• What are the pressures faced by dancers in vocational training?
• What affect does injury have on a dancers physical and psychological well being?
• What are the main injuries dancers obtain? why?
• How does a dancer in training cope with injury?
• What help to they seek? Professional help?
• What support could a dancer in training seek? Internally, within their training facility? Externally, outside of their training facility?
• Are dancers aware of the help and support out there for injured dancers?
• What more can be done to help injured dancers?
• Are dancers in training given adequate recovery time?
• Are teachers sufficiently trained?
• What more can teachers do to support their students?
• How can I (as a teacher) do a better job?
• What advice can I offer my students when they are injured?
• Is the importance of safe practice being embedded into training?
• How could we improve and increase awareness surrounding topics of dance related injury?
• What is currently being done to improve dancers well-being?
• Is there a balance of physical and psychological help available?
• Are dancers paying for treatment? Are dancers not seeking treatment/rehabilitation due to financial difficulty?
• Are dancers in training adhering to advice given by professionals/teachers? (Help seeking behaviours)
• Is there short term and long term help available for injured dancers?
• Implications on future career if a dancers is not aware of or pro-active in their well-being and health?

Hypnotherapy - A support or 'coping' therapy for Performers?

Hypnotherapy - A support or 'coping' therapy for Performers

Having spent some time reading other peoples progression on the course via their blogs I have come across some really interesting research which will benefit my own inquiry.

Heather Smith recently posted a blog regarding 'Hypnotherapy' for performers as support or 'coping' mechanism for dancers dealing with pressures of the industry.

"Hypnotherapy is a type of complementary therapy that uses hypnosis, which is an altered state of consciousness." (NHS online)

"HYPNOTHERAPY is the application of psychotherapeutic techniques in such a way as to bring about positive therapeutic benefits for the client, whilst the client is in a relaxed and comfortable state referred to as a hypnotic trance. A Therapist acts a guide enabling the client to activating their inner resources in order to achieve therapeutic goals." (Walsall mind and body centre)

Having read her blog, I decided to do my own reading on this and have highlighted below some of the main benefits of Hypnotherapy for dancers.

• Reduce stress - stress can be related to other health conditions such as heart disease, high blood pressure, obesity, diabetes and sleep disorders so in turn could potentially reduce risk of such awful health conditions.
• Relaxation
• Meditative state
• Recuperate mind and body
• Body to repair and heal itself - body needs to be in a relaxed state in order to repair

According to Walsall mind and body centre which offers 'Hypnotherapy' treatment. Hypnotherapy can help with:

• Weight control
• Eating disorders
• Anorexia Nervosa
• Bulimia
• Stress
• Anxiety
• Depression
• Sport
• Confidence
• Self-esteem
• Sleep problems
• Panic attacks
• Headaches
• Pain
• Fear
• Relaxation
• Concentration
• Motivation
• Personal growth
• Fulfilment

Heather comments "I came across a useful webpage which offers Hypnosis for Creatives, Actors, Singers, Dancers, Directors and Artists. 'Howes, Graham' (Online) Howes recognises that performers do struggle from stresses and strains and that hypnotherapy can be a beneficial coping strategy.

Howes has experienced 38 years as an Actor, Theatre Director, Writer and Singer so he is an Expert in the performing arts world as well as having experience working in Harley Street as a Hypnotheapist specialising in Perfomer's Problems, he mentions, 'Stress and Depression, Suicidal Thoughts, Anger Management, Panic Attacks Worry and Anxiety are very real problems for Performers'

In his sessions he teaches a number of tried a tested strategies. I was interested to read that there are specialists hypnotheapists for performers and i feel performers may feel they can relate to Howes as he has experience of being a performer himself."

This sparked interest in me to find out if there are other Hypnotherapists which deal directly with dancers and performers. I came across the works of Kirsty Hanly.

Kirsty is a fully qualified Coach and Cognitive Hypnotherapist Master Practitioner, writer and speaker. She previously studied Stage Management and Theatre Production at the Royal Academy of Dramatic Art (RADA) and then went on to attain a degree in Arts Management at the University of Greenwich. Evidently Kirsty has had her own professional training in 'The Arts'  and therefore I believe holds the experience required to understand the pressures of training and the industry first hand. I believe sometimes it is hard to believe someone understands when they have not gone through it themselves. Not to say every performer suffers the same pressures or amount of but I do feel that having gone through professional training you experience or witness the types of pressures that affect performers and for me personally, that therapist then holds more credibility and experience.

Kirsty comments "Over a number of years spent working in the creative industries I developed a strong interest in self development and in what it takes for people to achieve their full potential. Through my own personal development path I discovered Cognitive Hypnotherapy and Coaching and was amazed at the positive changes that it can bring about."
From this I seem to have the impression that Kirsty too thinks her experience in 'The Arts' has informed her practice. I have included the following quotation as I think it is an important description of why and how Hypnotherapy can help.

"I have a passion in helping people to get more out of their lives, to discover their true potential and to start to live to their dreams. People who have worked with me often say that their lives have completely turned around career-wise, in their relationships and in the way they feel about themselves, often going on to create things in their lives that they previously hadn’t thought possible.

I work with my clients on how to deal with stresses, anxiety and confidence issues and what they can do once they are able to release limiting beliefs and blocks to success. I also specialise in working with people in the performance and entertainment industries, including helping them with stage fright, audition technique and in breaking through any blocks they might have to being the best they can be at their craft."

Heather also shares on her blog, information about The National Council for Hypnotherapy (NCH). She explains how it "offers information on local hypnotherapists in your area, you can enter your location and it will show up specialists in your area. It holds one of the largest registers of independent Hypnotherapists in the UK." I think this is a very useful website for a generalised search however the results will not pin point hypnotherapists which specialise in the therapy for Dancers or Performers. As Heather points out however, "some performers may feel more relaxed if they have an outside view away from the performing arts 'bubble'."

As I am currently in the process of improving and amending my questionnaire, I will add 'Hypnotherapy' to question whether any dancers is vocational training have tried this kind of therapy or if they are aware that it exists.

I am continually finding out new information on the support available for dancers and I hope through my inquiry that I will be able to increase awareness of the help out there. It could also lead to further inquiries to see whether awareness actually improves practice/training conditions and experiences for Dancers. Furthermore, in the near future to compare what was available in the past in terms of support and what is available now.

Bibliography

Connect Hypnotherapy: Online. Available at: http://connecthypnotherapy.com/10-benefits-of-hypnotherapy (Accessed 10th March 2015)

Howes, Graham. Online. Available at: http://www.hypnotherapy-colchester-ipswich.com/wp/171-2/ (Accessed 10th March 2015)

National Council for Hypnotherapy: Online. Available at: http://www.hypnotherapists.org.uk (Accessed 10th March 2015) 

NHS. Online. Available at:http://www.nhs.uk/Conditions/hypnotherapy/Pages/Introduction.aspx (Accessed 10th March 2015)

Smith, Heather. Online.  Available at http://heathersophiesmith.blogspot.co.uk/2015/01/hypnotherapy-for-performers.html?showComment=1425980005640#c1962027209684118886 (Accessed 10th March 2015)

Walsall mind and body centre. Online. Available at http://walsallmindandbody.co.uk/our-services/hypnotherapy/ (Accessed 10th March 2015)


 

Dance UK

Just thought I would share this with you all for anyone who is looking into Dancer's health or wellbeing.

Dance UK is a great source for information, research and is continually up to date with live happenings in the dance world.

Some articles are available online however I would also recommend looking at their shop. I have recently bought two books, 'Dance Teaching Essentials' and 'Fit to Dance 2' which have really helped inform my inquiry.

Click on the link below to access!

Dance UK 'Healthier Dancer'

Phone call with Paula - What is Context?

Yesterday I had a conversation with Paula concerning my feedback, changes to my inquiry and next steps.

Paula began to ask about the context of my inquiry to help focus my plans. What does the inquiry mean to me? Why am I looking into support for injured dancers? Something inspired that topic?
I actually struggled to answer some of Paula's question and she admitted it can be awkward to answer when somebody asks "what's the context?"...what does that even mean?!

I began to think, why is this the inquiry topic I have chosen? I am not doing this because I have to or it is a requirement of the degree, I was doing this because it interests me and is something close to my heart. It made me question was I currently able to support the dancers I teach? Did I feel like I had to know more about it before I could support my dancers and workplace? I think the answer to that is Yes, that's exactly the reason. Having researched literature and specifically injury related documentation I have already uncovered many things I didn't know before. For example, in London there is a specific NHS clinic for dance injuries and if you ask your GP to be referred there as a training or already professional dancer you can receive free professional treatment by doctors, physiotherapists, psychologists and health experts etc. I wish I had known this in my training and I'm sure this knowledge would benefit future dancers.

During my own training, I had numerous injuries due to hypermobility in certain body parts and stiffness in others. I felt that I had just recovered from one injury and then would suffer from another. Maybe I didn't give myself a realistic recovery time which is an area that really interests me and I am going to look into further. My injuries soon became worse psychologically than physically when I kept doubting if I would ever survive in this industry. If my body could cope with the intensity.  And how frustrating it must be for the teachers that I had to sit out or miss class.

Ultimately I want to make a difference to my teaching, my workplace and also the wider dance community. Firstly in terms of my own teaching I would like to be able to recognise signs of distress or lack of coping and be able to advise on support available. Also adopt some of the skills which can be integrated into teaching such as offering praise, constructive criticism and feedback. Secondly, within my workplace, I would like to promote the importance of having support in place and making sure the dancers know about it. Lastly in the wider community, my inquiry has inspired to look further into becoming trained in some form of dance therapy so that I can offer a service and make a difference to dancers both in vocational training and working professionally.

Task 7a part 1- Module 2 Feedback on Feedback!

Here are my notes on Paula's feedback for Module 2 and the next steps I am going to take. Thought I would share as I have read some very interesting feedback notes from others which I can also apply to my own inquiry.

Module 2 Feedback

Module 3 Planning - Smartsheet

For Module 3, I have used smart sheet to keep track of deadlines/completion dates and also the progress of my inquiry. Below is a link to my plan. I can attach documents such as my questionnaires and interview questions and also the Module 3 Readers. So far it has been a useful way to organise my inquiry.

Planning and Inquiry Deadlines

Literature Review - Stressors, Recovery Processes & Manifestations of Training Distress in Dance

Stressors, Recovery Processes & Manifestations of Training Distress in Dance

Grove, J Robert; Main, Luana C; Sharp, Lucinda     

 

Journal of dance medicine & science : official publication of the International Association for Dance Medicine & Science, 2013, Volume 17, Issue 2

 

I came across this resource when using Middlesex University's Summon. I wanted to find out more about the pressures a dancer faces so that I could understand why some students face physical and psychological affects after injury.

 

The Journal of Dance Medicine and Science focuses on the current results of clinical and experimental research. The aim of the Journal of Dance Medicine & Science is to provide one source for up-to-date information. Featured articles are drawn from the fields of:

• Anatomy and Physiology
• Biomechanics
• General Medicine
• Sports Medicine and Surgery
• Physical Medicine and Rehabilitation
• Physical Therapy
• Dance Education
• Kinesiology
• Psychology
• Nutrition and Diet

The journal has been a significant contributor to my research and knowledge throughout my inquiry.
Published by The International Association for Dance Medicine & Science (IADMS) that was formed in 1990 by an international group of dance medicine practitioners, dance educators, dance scientists, and dancers.  "IADMS enhances the health, well-being, training, and performance of dancers by cultivating educational, medical, and scientific excellence." (IADMS mission statement)

Under legal notice, "IADMS presents the information on this website as an educational service to the public and to our members. While the information on this site is about health care issues and dance medicine, it is not medical advice. Persons seeking specific dance medicine advice or assistance should consult a health care practitioner."

A limitation to this journal is that the information is considered educational towards health care issues and dance medicine rather than medical advice. Despite this the information is sill relatively current and up to date having been published in 2013. IADMS also has support from high profile people working in the Arts industry, Paola Cantalupo, Peter Boal, Christopher Wheeldon, Bill Evans, Li Cunxin and Darcey Bussell.
 

Introduction

My inquiry will be looking into the physical and psychological support available for injured dancers in professional dance training. To understand the need for support and why dancers can be affected  both physically and mentally by injury provides huge scope for research including opinions from psychologists, professional teachers, dancers themselves, health specialists and therapists. This journal looks into "persistent fatigue, psychological distress, performance decrements and injury" and therefore holds great relevance to my inquiry.

 

Analysis of Literature

It is suggested that through athletic preparation which often involves overreaching and overtraining, there are negative consequences such as staleness, overtraining syndrome and burnout which can lead to feelings of reduced accomplishment and devaluation or resentment.
 

Furthermore "physical stress and psychosocial stressors exert a negative influence on the physical state, mental state and as a consequence, readiness to perform." The journal proposes that a counterbalance between active recovery and passive recovery are essential to reduce negative stressors ie. stress, negative mood states and poor sleep quality.
 

Wyon discusses how 'heavy physical workloads' are increased further when close to exams, assessments, performances and questions what changes are made to dancers recovery time or 'down time'? Are they increased too? I think the most prominent answer to that question would be, no often dancers are not given an increased rest or recovery period even when their workload is heightened. Also mentioned is the greater physical stress when dancers have to adapt to a different choreographic style other than their preferred genre or style which suits their physicality.
 

It is also imperative to consider psychosocial stressors:

Ambient stressors- environmental conditions impose persistent demands

Daily hassles- financial difficulty, misunderstandings or arguments

Role stressors- lack of autonomy and control, inadequate direction, poor support

Major life events- death, relationships, serious injury
 

Hannah & Hamilton talk about job related stress within dance and outline 5 contributors. Firstly, 'Perfectionism'  which can be "pervasive and particularly problematic in dance". Perfectionism requires time, energy and resources and can often cause financial uncertainties, relationship difficulties, restricted social support and feelings of isolation or loneliness. Perfectionism can also cause you to worry about making mistakes, self-doubt, criticise you and others and spur on anxiety.

As a dancer you are continuously striving for perfection, to be the best, however a dancer is subject to scrutiny and criticism from peers, teachers and other dancers and this can often result in increased stress levels. Secondly, 'Competition' which is taken very seriously as it ultimately impacts a dancers career. The selection process during competition/audition often offers little or no feedback to take away as motivation and usually dancers are left to feel like they are just not good enough. I have recently been thinking about how important feedback is. Whether it be during a class or after or a written report at the end of term, I think it is essential to give the dancer praise, offer target areas for improvement and most importantly show to the student that you are taking time to interact personally with them. After all, each student is on their own individual journey and as a teacher you are their to support and guide them on that journey. In the 'real world' so to speak, not a 'dancers world', the majority of the time unsuccessful applicants after an interview will receive feedback or can request it. Why should this not be more prominent in dance? Is it time, money, too much effort? Another stressor can be labelled as 'Performance Expectations'. Initially casting decisions can have huge impact on a dancers career and also respect. In a ballet company for example, the prima ballerina is looked up to the with great respect and admiration from the other dancers. This role however could endure more physical and psychological demands and heightened role related stress. Additionally, 'Weak Social Support' can influence a dancers wellbeing. Often a dancer has to move away from home, either for training purposes on when working professionally, this can be short or long term. Sometimes dancers can feel unsettled keep moving around without a close knit group of friends or family. Lastly Hannah & Hamilton suggest 'Nutrition' as a stressor. As an athlete dancers must watch what they eat. Not only for their image but for their health and recovery also. It is vital that the body has the protein and energy it needs to heal and perform. A dancer can often feel judged by what they eat.

 

The article reiterates that both 'Passive' and 'Active' recovery are essential.

 

Passive - Rest, avoid continual overload of specific muscle groups, good sleep habits, mental disengagement form performance related thoughts or concerns.

 

Active - Post exercise fluid & electrolyte replacement to avoid dehydration, replenish glycogen stores & stimulation of protein synthesis, antioxidant supplementation, vitamin C & E to reduce muscle damage, massage to reduce muscle soreness, cognital-behavioural-strategies to moderate stress responses and facilitate recovery, self-monitoring, self-reflection.

 

I found the following quotation from the article very interesting especially in relation to what I have learnt on the BAPP course so far.

 

"The subjective nature of performance assessment in dance & associated need to rely on others for feedback can sometimes limit self-awareness, in which case the use of log-books and expressive writing in journals may serve both to reduce stress & stimulate coping behaviours."

 

I completely agree, I think often we are so reliant that we must learn from our teachers that we forget that we can also learn from ourselves. If we evoke our self awareness and reflect upon past experiences then we can evaluate our performance and subsequently improve it. Self assessment is another tool which dancers could use or teachers could implicate to support mental and physical well being.

 

Other tools which the article illustrates are:

 

Somatic & Cognitive relaxation techniques:

• Abdominal breathing
• Progressive muscular relaxation
• Meditation
• Imagery

Supportive Social Relationships:

• Express concerns
• Feedback
• Perspective
• Maintaining balance (work/play)

It is advised that 'Perceived Stress' should be monitored as there are "significant relationships between perceived stress, immune system functioning & fatigue/exhaustion among athletes" (Main & Associates). Additionally, 'Mood Disturbance' whereby depressive effect is often accompanied by increase in fatigue and decreases in perceived energy. Raglin states the "magnitude of training-induced changes in vigor & fatigue relative to those for depression". Also to be monitored are 'Somatic 'Physical' Symptoms' such as muscle soreness, stiff/sore joints, heavy feeling in arms and legs, minor illness. (Accute inflammatory responses associated with exercise-induced muscle damage and suppression of immune system functions). Furthermore, 'Motivational Changes' which  could be a precursor to 'Burnout'. "Lonsdale and Hodge have shown that amotivational tendencies ("Do I have to do this? Is it worth it?") are particularly strong predictors of burnout risk" and they are the "kind of tendencies that are likely to be evoked by long term training overload without adequate recovery". I think 'adequate recovery' is an interesting remark, could the more serious physical and psychological effects be minimised if dancers were offered sufficient recovery time? Lastly, 'Sleep Difficulties' which although a good determinant of stress/anxiety can be difficult  to monitor. I think a referral may be necessary to monitor sleep by a professional in more severe cases.


Conclusion
Ultimately the journal seeks to safeguard performers physical and mental health and therefore holds significant relevance to my research and literature selection for my inquiry. Through my inquiry I hope to improve my own teaching by becoming more aware of physical and mental problematic signs and knowing the therapies and support techniques available to offer either in the workplace or in the local area. In each literature I am looking for supportive methods to add to my list in preparation for my leaflet/advice booklet. From this journal I can add:

1. Passive recovery
2. Active recovery
3. Self Assessment
4. Reflective log books and journals
5. Somatic and cognitive relaxation techniques
6. Emphasis on supportive social relationships
7. Monitoring - perceived stress, mood disturbance, somatic/physical symptoms, motivational changes, sleep difficulties