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

 

 

Literature Review - 'Injury, Imagery & Self-esteem in Dance'

Injury, Imagery & Self-esteem in Dance
Healthy minds in injured bodies?

Sanna M. Nordin-Bates, Ph.D., C.Psychol., Imogen J. Walker, M.Sc, Jo Baker, M.Sc, Jocelyn Garner, Ph.D., Cinzia Hardy, M.Sc, Sarah Irvine, M.Sc, Corinne Jola, Ph.D., Helen Laws, B.A., and Peta Blevins, M.Sc.

Journal of Dance Medicine & Science, 06/2011, Volume 15, Issue 2

I found this journal using Middlesex University's Summon. From previous research I had heard about Imagery and is benefits for injured dancers. I typed 'Imagery in Dance' into Summon to find out more.

This particular journal has many contributing authors and many of them I have heard of through other research, such as Helen Laws who wrote 'Fit to Dance 2', and Peta Blevins who is a freelance dance teacher, lecturer and researcher specialising in Dance Psychology and Safe Dance Practice. I first came across Peta Blevins research through Trinity Laban.

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 Injury, Imagery and Self-esteem in Dance. I have particularly drawn insight from the findings surrounding injury and also the concept of imagery as a supportive and rehabilitative procedure.

I found this journal having used Summon on the MDX Unihub and researching 'Dance Injury'. This will be part of a selection of literature that will aim to inform and support my inquiry. It is essential for me to look into the cause of dance related injury to understand how to prevent injury as well as define what support is appropriate and most effective post injury.


Analysis of Literature
The literature suggests that dance has a "culture of tolerance" and "dancers are often resistant to altering their training frequency" when injured (Lai & Associates). It is stated that in a survey a large number of dancers continued to dance when injured suggesting that "psychological issues such as pressure, fear, motivation, or low self-esteem may be implicated."

Reports show high percentages of dancers carry on as normal when injured. It suggests that this may be due to fear of losing work, lack of reasonably priced treatments or negative perceptions of health professionals. "Air established that when dance specific health care is free, access is higher".

The journal uses the 'Anderson & Williams injury model' to discuss injury, imagery and self-esteem.



Noh and Colleagues comment on  the 'psychological aspects of dance injury' and the literature illustrates the relationship between negative stress and injury duration.  In short, the more stress = longer injury duration. Next the journal discusses how to decrease the time spent injured and suggests training in the effects of imagery, self-talk and autogenic training (type of relaxation) will significantly improve dancers coping skills and ultimately decrease time spent injured. This highlights the relevance of psychological skills in helping dancers to prevent and cope with injury.

As research shows, in terms of dance rehabilitation for injury, offering imagery training can increase "self confidence and lower anxiety". It also enhances "coping skills" for dancers. Imagery training focuses on facilitative and debilitative thoughts.

"An example of a facilitative image may be seeing and feeling oneself dancing well, while a debilitative one may be imagining oneself falling over while performing. Comparing facilitative and debilitative imagery is of interest because, although dancers experience both types, there is a lack of quantitative data to indicate how often this occurs. As injury is related to a host of negative psychological experiences and mind states, the present study also examined whether those dancers currently suffering from an injury experience debilitative imagery more frequently than those unaffected by injury."

Imagery can encourage dancers to see "injury rehabilitation as a time to work on their dance skills through observation, mental practice and similar supplementary work...dancers prove to struggle with what they may perceive to be a period of non-constructive passivity." Healing imagery for pain management and recovery has therefore been depicted as "a facilitative tool in both sports and dance rehabilitation."


Conclusion
This journal is consequently relevant to my inquiry in support of the need for greater understanding of the psychological status of dancers suffering with injury and the improvement of treatment and training. The journal also offers insight into the power of imagery as a rehabilitative and preventative technique for injury. I will add 'Imagery' to my list of support available.

'Injury, Imagery and Self-esteem in Dance' also mentions the prevalence of dance science and psychology based training in vocational schools. With advances in medical science and wider acknowledgement of the importance of this type of training, more and more vocational dance schools are taking action to provide physical and psychological support for their students. I hope that my inquiry will evoke action for schools which do not offer this support.

I will need to do further research into types of physical and psychological support and review each one to ensure they are beneficial, applicable and achievable.

Literature Review - 'Basic Psychological Need Satisfaction, Stress-Related Appraisals, and Dancers’ Cortisol and Anxiety Responses'

'Basic Psychological Need Satisfaction, Stress-Related Appraisals, and Dancers’ Cortisol and Anxiety Responses'

Eleanor Quested, Jos A. Bosch, Victoria E. Burns, Jennifer Cumming, Nikos Ntoumanis, and Joan L. Duda University of Birmingham

Journal of Sport & Exercise Psychology, 2011, 33, 828-846 © 2011 Human Kinetics, Inc


Introduction
My inquiry will be look 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. Although this literature I have selected is not injury related I have found it to provide great relevance to my inquiry through the relationship discussed between psychology and dance.

I found this journal having used Summon on the MDX Unihub and researching 'Dance psychology'  and 'Psychological stressors in Dance'. The Human Kinetics Journals website states that they are "An Official Publication of the North American Society for the Psychology of Sport and Physical Exercise".


Analysis of Literature
The report suggests that "Basic Psychological Need Satisfaction (BPNS) is essential for optimal functioning and health.... and emotional and hormonal homeostatis" (Deci & Ryan, 2000).

Psychological and biological stress can be caused by anticipation and undertaking of athletic artistic feats such as dance training/dance performance.

Basic Needs Theory supports 3 basic psychological needs; autonomy, competence and relatedness. (Cognitive, Emotional and Behavioural responses).

Autonomy - Self directed. Actions derived from personal choices opposed to external control or pressure.

Competence - Feeling capable of meeting task demands effectively (Decharms 1968)

Relatedness - Mutual and meaningful care (Baumeister & Leary 1995)

Studies support the role of BPNS as a central determinant of an athletes psychological health (Gagne & Blanchard, 2007). The article suggests that repeated exposure to situations perceived as excessively stressful may have metabolic and immunological effects (Raison & Miller 2003) as well as long term physical (Burns 2006) & psychological (Raedeke & Smith 2004) health implications.

The "health status of dancers is often recognised to be compromised" (Laws 2005) and the study suggests that teachers should foster BPNS and offer threat appraisals to decrease student anxiety and stress levels.

The study adopts a scientific understanding towards BPNS and is particularly aimed at dancers and athletes. I believe it will be beneficial for my research to provide evidence of psychological effects and most importantly offers an approach which can be practiced in vocational training.  Fostering BPNS and realising what it is students need for optimal psychological health I believe is essential for teachers and faculty at a vocational dance school.

This literature has added one method to my list of support/supportive techniques available and from further reading I hope to add to that list. I am considering preparing leaflets or advice booklets with all the supportive methods I reveal during my inquiry to give to dance students and teachers in hope that this will help the student if they are struggling physically or psychologically with the demands and pressure asserted to them.  I feel very passionate about this as I know during my training I probably needed support but did not look for it or try to find out to whom or where I could talk. Simply by talking to friends who are either performing, ex performers or have transitioned into teaching I have revealed a great deal of sufferings that they went through in silence because they were too ashamed or embarrassed to discuss. It surprised me that people I knew and saw every day were keeping these depressive thoughts so well hidden!! Some say that 'a problem shared is a problem halved' and recently I find great truth in this. Most of the people I spoke to said they did not speak to anyone about their struggles until after it had past and in some cases after it was too late and the 'damage was done', whether that be physically or mentally, and went on to say that they wished they had spoken out sooner.


Conclusion
Overall the article provides a background as to why support is needed for dancers and offers a technique (BPNS) that teachers can adopt to decrease the risk of psychological harm. It is  however, unrelated to injury - prevention, the effect of injury, and support/treatment and so I will use this literature to support certain aspects of my inquiry but will need to combine it with more specific literature to create a strong legitimate report. The areas I will further research are:

• Support available (pre, during and post professional training)
• Rehabilitation/recovery
• Future proposals for dance injury (questioning past practice, medical advances, future)
• Dance psychology
• Physical and mental effects from injury
• Dance related injuries
• Teaching techniques
• Health care