#capstone work

Experts Talk Mental Health: Four Therapists Sound Off [Kathleen McGuire]

According to a survey Dance Magazine conducted, 81% of dancers believe the dance community is not doing enough about the mental health of its members. McGuire held an interview between four therapists who have worked with dance companies or are currently doing so. The questions cover the surface of mental health in the dance community and are opinion-based.

There are several challenges in addressing mental health in the community, the main issue being how young dancers often begin training to be successful. Each therapist was of the opinion that this is a unique challenge that seems to pile onto the struggle of being a success.

Young dancers (adolescents) are very likely to be struggling with mental health issues, especially. Not only are they going through the stress of puberty and growing up, but the perfectionist ideals are instilled and take root before they have had a chance to grow into themselves. While Dr. Nadine Kaslow understands these issues, for other young dancers, dance itself is said to help them as they work through anxiety and depression. Overall though, dancers are very likely to struggle with depression, anxiety, anorexia and other forms of mental illness because there is more pressure overall and less outlets (people, journaling, movement, etc..) for them to use. As someone who has struggles very similar to those previously listed that can be traced back to adolescent days in dance, how could this be prevented? Is it possible to prevent mental illness in general?

My recommended solution is to begin discussion around the age of eight or nine in the studio. This is when dancers begin seriously learning about the history and context of movement and the possibility of serious work is being discussed. I don’t believe there was a discussion about being healthy until a summer intensive when I was in high school. This isn’t a comment on my previous studio; merely a comment on the fact that it isn’t talked about enough and should be a common topic overall.

An interesting discussion brought up by McGuire was the possible resistance from dancers. I noted that accessibility was an important factor in how much the therapists were utilized. In smaller studios, it would not be possible to have an onsite therapist, but it is possible to discuss people and where to go. Larger institutions and companies should begin to utilize these doctors as much as they utilize physical therapists and other trainers. It was noted that dancers are very likely to go to their ‘teacher’ figures, or those that help them physically, with their mental health issues. The more open dancers were about seeing someone, the more others in the community felt comfortable enough to do so as well. With that in mind, should it be mandatory that dancers go to see a mental health expert at least once during their career? Or once a year? How can the stigma change to it being okay to seek help from those that have expertise?

Honestly, if an institution can afford it, it would be best for dancers to go in for a mental check every once in a while. Some things can manifest silently and then suddenly become a career ending issue. Overall, this might change the way people see getting help.

I have had to get help. I have severe anxiety and I’ve noticed a difference in my performance and movement quality from the moment I sought help. It’s easy to forget that dancers need to be open with each other about their struggles, which may be why this is relevant to my performance practice. I have anxiety and I do seek help. It’s mainly stress exercises and thought centering with a little medication, but it does help.

Dancing with risk: risk taking as a performance practice in contemporary dance [A theses by Gemma Dawkins]

Gemma tackles the concept of risk in contemporary dance and the affects of it on all those involved in the dance world. Her definition of risk (the purpose is to provide a thrill or potential for failure) sets boundaries to define risks taken. It is noted that risk in moderation can be beneficial for dancers and choreography, but is inconclusive as to the overall affects on those involved. 

Authenticity and investment were concepts that were repeated often in this theses by several professionals. For me, this made me wonder about my past experiences with these words brought up in rehearsals and what was meant. Just recently in acting we discussed the use of physical scores to complete an action/feeling in place of bringing up the emotions on a daily basis. How are dancers meant to stay authentic in the movement if the investment requires so much stress emotionally and done on a daily basis or practice?

I have a feeling this question may not be answered fully. I’ve always thought that art is really a personal investigation and finding the authenticity can happen in many ways. I don’t believe that each moment rehearsing a work needs to be filled and riddled with full emotion, but it is an idea to explore when creating. Onstage, I believe the distance from the audience and overall intimacy play a large part in how invested a person can be. And it may simply be investing in the music or score rather than the overall risk of emotions.

Since a happy medium of risk is suggested for authenticity for both audience and performer (and choreographer), but avoiding safe and known dance practices is an important idea, how is a happy medium found? Not all dancers have the time or the resources to learn and understand where the happy medium is, and it can be difficult especially as happy mediums are unique to each person. This makes me wonder even further, can every person be pleased when it comes to ‘risk’ content?

A happy medium can be found through experience. For those that don’t have the time or resources, maybe that is part of the risk and must be worked with. I don’t believe any audience, performer or choreographer is ever fully pleased with what is presented to them. Risk seems to be formed from looking for satisfaction of some sort, and is unique to each party.

I adore this theses and I believe it will take me several more readings to fully understand all of it even with a mass amount of note taking. But the real question is how this reading relates to my capstone work!

I am an anxious person. It often hinders me in the process of taking risks both in rehearsal and onstage. While this theses may not help me physically, it is calming to know that risk taking is still a debated and hot subjected in the performing arts universe. Risk can be something that is or something that is taken and it is a personal choice even if critics disagree. This paper has encouraged me to consider the risks I will be taking in rehearsals, both with the choreographer and personally.