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