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When joining LCDS in September, I was introduced to a completely new style of education. In this I was introduced to the idea of periodisation, 'Periodization training is the deliberate manipulation of training variables to optimize performance for competition, prevent overtraining, and progress performance'(Edwards, 2021). With this I was introduced to the idea of looking after my mind and body effectively, rather than just focussing on more training and pushing myself as hard as I can. This developed an interest in looking after my mental health in relation to dance. I have previously struggled with mental health issues in the past alongside moving to a completely new city around new people, for this reason I have chosen to look at positive psychology and performance anxiety. In addition, inspired by periodization I have also chosen to look at rest and recovery.

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Within my own study I wanted to focus on developing a positive psychology when it comes to dance. I can often find myself falling into thought patterns of having a negativing sense of self when it comes to my own dance ability. I find that when I develop these patterns it can lead to me becoming burnt out easily and experiencing performance anxiety, which can lead to underperforming. For me my mind and body becoming intrinsically connected, when my psychological state and motivation is in a bad place, I find my body feels physically weak.

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Previously in dance training, I had never thought about the importance of rest and recovery for dancers. I knew that I did take rest time, however I had never put much thought into it. When first being introduced to periodisation we were introduced to the philosophy of how proper recovery can prevent burnout. For me this was a concept I hadn’t thought deeply into and is the reason I chose to research and implement it into my practices further.

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Rest is extremely important for both the physical and mental wellbeing of a dancer, therefor improving the overall ability, “Quality of training is more important than hours danced. Optimal learning occurs when dancers are not tired, and therefore rest is a fundamental training strategy” (Matt Wyon, Professor of Dance Science, University of Wolverhapton). ‘There are two main forms of rest this can be short term and long term. Short term rest occurs hours after exercise’ (Janine Bryant, Rest and recovery for the dancer-athlete 2014) According to Janine Bryant when looking to create effective short-term rest: ‘Dancers should think of proper cool down, hydration and the right post exercise foods so that energy stores and fluids are replaced as well as the protein content of muscle cells’. (Janine Bryant, Rest and recovery for the dancer-athlete 2014)

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Within my own practice and research, I’ve decided to focus on the idea of short-term rest. Our timetables at university are based around the concept of periodisation, one feature of this, is that we have a 20-minute break between each of our lessons. This gives the perfect opportunity to take proper short-term rest within these breaks. In order to do this, I’ve been looking at the most effective ways to perform cool-downs and stretches. ‘When cooling down the most important thing to remember is not to stop suddenly following exercise but to keep moving, bringing the intensity down gradually’ (Laws et al., 2012) For this I have found that taking elements of my Pilates class to be most helpful. In Pilates we practice a yoga flow movement, where the stretches follow a continues pattern. When doing this, it allows my body to physically stretch while slowing warming down. This has created a great rest period for between my lessons as I choose to perform, low intensity stretches. In addition, this provides links to performance anxiety as the stretches often become a state of mindfulness for me, bringing my awareness into my body and decreasing somatic symptoms of anxiety.

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There are different mental skills that can be used in order to optimise a dancer’s ability to maintain ‘peak performance and well-being through the regulation of thoughts, emotions and behaviours’ (Vealey R. S. 2007). There mental skills are defined into four main areas: ‘foundation skills, including self-awareness and self-confidence; performance skills’(Vealey R. S. 2007). One area I particularly want to focus on within myself is the idea of self-awareness. Upon reflecting on my previous idea of self-awareness, I can often become overly aware and critical of my dance performance.

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Another topic of psychology I have been focussing on, is managing my anxiety, my reason for this, is that for a long time I have experienced anxiety and panic attacks. Looking at the connection between my anxiety and dancing, I often find that my anxiety attacks can prevent me from being in class. Within our ground-based foundations class, we perform in focus groups. I can find that I develop an element of anxiety. This anxiety can often prevent me from truly exploring my movement, instead wanting the task to be over.

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When delving into this research, I wasn’t previously aware of there being a difference between somatic and cognitive anxiety. Cognitive anxiety defines the way in which anxiety can manifest into our thought and mental processes, whereas somatic anxiety defines the way anxiety can manifest into physical symptoms of anxiety (Brown, What are the differences between somatic anxiety and cognitive anxiety? 2021). In a study undertaken by Walker IJ Nordin-Bates SM, 15 professional ballet dancers were interviewed about performance anxiety. It found that ‘Results revealed that cognitive anxiety was more dominant than somatic anxiety’ (Walker IJ, Nordin-Bates SM. Performance anxiety experiences of professional ballet dancers). This could suggest that thought patterns can often be the reason for performance anxiety, in dancers. ‘Often, the fear is tied to the potential humiliation or rejection that might result from a failed performance.’ (Letara)

If there are two forms of anxiety, it is important to understand how to recognise which type of anxiety is being experienced and how to manage the anxiety, depending on this. Cognitive symptoms of anxiety are often defined by ‘Fear, unease, repetitive negative thoughts, difficulty concentrating, confusion, depersonalization’. Whereas somatic anxiety symptom of present as 'physical symptoms associated with a state of autonomic arousal, such as sweating, dizziness, and shortness of breath (most notable in patients with panic attacks)’ (Brown, What are the differences between somatic anxiety and cognitive anxiety? 2021)

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When researching ways in which to manage cognitive anxiety I looked at the CBT, ‘Hot Cross Bun model’. According to Sam Owen, these thoughts often lead to self-sabotage ‘Positive Thoughts Serve You, Negative Thoughts Sabotage you’. (Owen, Create Self Serving Positive Thoughts 2018) Owen describes how you can ‘Retrain your brain’ into changing our negative thought patterns into positive ones. In reflection I wrote out my negative thoughts in relation to performing and re wrote sentences to take a different perspective. I found this to be an effective way of looking at my dancing within focus groups as a time for me where I’m allowed to mess up, this intern took the pressure of and decreased my anxiety.

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Somatic anxiety presents itself as physical symptoms, meaning that the way to treat these symptoms is through physically treating the symptoms. Suggested treatments include massaging as ‘Massages decrease somatic anxiety by relaxing muscles and relieving built up tension that can cause muscle aches’(Brown, What are the differences between somatic anxiety and cognitive anxiety? 2021) In my own practice I have found this incredibly helpful to perform an element of breathing exercises alongside massages. For this I will focus on self-massaging the areas that feel the tensest. Often, I find that massaging the areas surrounding my chest and face relieve the most anxiety. In addition, these massages link greatly into my physical recovery between class.

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In this I found it particularly difficult to collect evidence and videos, my plan was originally to film myself when I’m experiencing performance anxiety and to compare it to videos where I felt I wasn’t experiencing anxiety. However, in those moments where I was feeling anxiety the thought of filming what I look like seems far too difficult. In reflection a progression can be found in the fact I was able to film myself.

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Within my journals I looked at taking a positive Psychology perspective, looking at my progress of developing the backwards roll. Instead looking at ways where I am achieving and how I can improve.

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Over time I have been journaling to develop positive psychology. Instead of letting myself spiral when I find myself falling into negative thought patterns, I have started writing down, instead taking a kinder approach to myself. Within this journal I looked at how I was getting panic attacks in class, I often find myself feeling very angry at myself when this happens. However, journalling I found I could step back outside of my brain and not be so harsh to myself.

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I found that journalling meant that i could look at how to develop this roll in order to perform it correctly, without being overly critical. In addition, it provides evidence that i can look back on, if I am ever struggling again.