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August 21, 2006
Enhancing Self-Esteem in the Performance Arts
Although this article is about dancers, many items relate to musicians.
Enhancing Self-Esteem in the Performance Arts
By Dr. Patrick J. Cohn
Many athletes and performers I work with often wrongly determine their self-worth by how successful they feel about their career. When an athlete performs well or feels successful, he or she can feel good about him or herself. But the opposite is also true: despair and low self-esteem results when this person does not perform well or view him or herself as a failure. Self-esteem is a core issue in my work because it affects every aspect of your life, not just dancing.
Ballerinas are especially vulnerable to this problem of attaching self-esteem to one’s performances because you are judged by how you look and how well you perform. However, society sends subtle signals that you must achieve in your career to feel worthy as a person and that is the trap that many athletes fall into. In addition, if you are perfectionistic, it doesn’t help your self-esteem because you have such high expectations and are always so critical and hard on yourself.
If you fall into this trap, your emotions and how you feel about yourself are heavily influenced by the perceptions of your performance, which can naturally vary from day to day. Thus, one day you have self-esteem and the next day it erodes due to what you think is a poor performance or practice. One girl in my seminar stated: “Even if I felt I had a flawless performance, if I did not get a good audience reaction or the reaction I was looking for, I feel like a failure.” This statement highlights how out of control one can feel about his or her success or failure in dance, and thus make negative judgments about one’s performance.
What is self-esteem? Self-esteem is the regard you hold for yourself. All of you have a concept of your person (self-concept). If you like your self-concept (who you think you are), then you have self-esteem. Self-confidence is different. Self-confidence is the belief in your ability to perform a task—it is not a judgment. You can have self-confidence, but not self-esteem, and vise versa. Optimally, you want both—high self-confidence in your abilities and self-regard.
Self-esteem should be based on who you are as a person instead of how well you can perform in dance or how high you go in a dance career. Think about this: if you take away the part of you who is a dancer, how would you describe yourself? What are your personal characteristics that describe you? This is what self-esteem should be based on. If you feel like you struggle with self-esteem, have hope. Here are some other ideas about gaining self-esteem:
Assume the Role.
When you are dancing, you are in the role of the ballerina. You want to be into that role fully when practicing and performing, but when you leave the studio or stage, it’s time to switch roles into other parts of your life and let go of judgments. Don’t superimpose the role of a dancer (or how well you can perform) into other areas of your life.
True Friends.
People, who are your true friends and family members, love you for who you are as a person first. They don’t judge you based on your performance or change their view of you because of how well you can dance. If they do, they are not your true friends. They like you for what you bring to a relationship as a person, not as a ballerina.
Stop the Comparisons.
You do yourself harm by making comparisons to other dancers who you think are better or more talented than you. This only serves to hurt your self-esteem and confidence because you put others on a pedestal and criticize your faults. Everyone is unique. Think about how well you did compared to your last performance instead of making comparisons to others.
Accept Your Body Image.
I know many dancers worry about their body not being the perfect type for ballet. No one can be perfect or has the perfect body for ballet. Some people are born with more hand-eye coordination, stamina, or balance, but that’s what makes us unique. Accepting your body image is the first step to gaining self-esteem. Make the best of what you have by focusing on your strengths and capabilities as a dancer!
Balance in Life.
If your life is dance, you are at greater risk for self-esteem problems because you have “all your eggs in one basket” and can’t separate the different roles in you life. Strive to find a balance in your life with your family, school, dance, friends, and other career aspirations. This will help take the pressure off your dance and allow your self-esteem to grow.
Be Your Own Best Coach.
You are your own worst critic and your best friend wrapped into one. We are often harder on ourselves than we are on our best friends. What would you say to a best friend that is feeling down? Can you be at least that supportive of yourself? Always give yourself words of encouragement and reward after a performance or practice. Pretend you have the most positive coach on your shoulder giving words of encouragement.
Define Your Self-Concept Outside of Dance.
A good exercise is to define who you are outside your dance career. Use only descriptions that apply to your personal characteristics that you bring to every aspect of your life. Make a list of these positive characteristics and review them every day. Do you like what you see? If so, you have self-esteem. Is there something you don’t like? Is so, work to change that aspect of you.
Dr. Patrick J. Cohn is a master mental game coach who works with athletes of all levels including amateur and professionals. Visit Peaksports.com to gain access to over 500 exclusive mental game articles, audio programs, and interviews with athletes and coaches to enhance your athletic potential: http://www.peaksports.com/membership or call 888-742-7225.
Article Source: http://EzineArticles.com/?expert=Dr._Patrick_J._Cohn
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Maine Highland Games
This was my second solo competition of the season. I had to get up at 4:30 AM so I could get myself awake and drive by 5:30. I arrived at Thomas Point Beach by 7:30 and made my way (long walk) to the registration tent. I got my number and walked back to the car to get dressed. The morning was cool and it seemed like I was the last piper to be warming up for my event.
This was my very first entry in piobaireachd. Piobaireachd is often described as classical music for bagpipe, but it's basically a very long theme and variations and the theme is open to interpretation and has not set tempo or rhythms. In my grade, we only have to perform the Ground (theme). I chose an easy one, Glengarry's Lament and found a recording of a gold medal performance to figure out what I should do. This was also the first time I played my pipes for Nancy Tunnicliffe. I had taken a lesson or two with her over the winter, but she only heard my practice chanter, and she certainly never heard me play a piobaireachd.
I was concerned because my pipes kept going out of tune when I wasn't playing. Even if I wasn't playing for 30 seconds. So I tried to keep them going and keep everything warm. When it was my turn, I took my time and got my drones in tune, then played. I think I repeated something I wasn't supposed to, but Nancy didn't say anything about it afterwards. She only mentioned right away that I was adding a low G gracenote, then pulled out her book and showed me. Sure enough. . .
Her comments:
Nicely played tune on a nicely tuned pipe. You are adding a low G gracenote in the B grip phrase. Don't cut C->E so much.
Score = 92, Place = 3rd, Above Grade Level
I was very surprised to place 3rd in my first self-taught piobaireachd. Unfortunately, the 2/4 march was the complete opposite.
I played the 2/4 much better than at Round Hill. I thought it was clean and steady. I was overblowing the High A during the first couple of parts, and I knew it. I had corrected by the end.
The judge thought it was steady and musical.
His Comments:
Careful of blowing top hand. Chanter is a bit thin.
Crossing noises at times on hand changes.
Solid embellishments.
Tune Very Musical.
Overall - nice playing (quite musical) but the chanter needs improvement and you must get rid of the crossing noises.
Score = 83
I once again tied for last (well almost last, one person broke down after tripping over a root). . very frustrating as I know how much better I played than last time.
I think I'm going to start recording myself on the pipes, as I thought I had my crossing noise problem abated. I'm hoping it will be better at Albany.
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