Experts Talk Mental Health: Four Therapists Sound Off
When Dance Magazine surveyed our readers last summer, 81 percent said the field wasn't doing enough to support mental health. We sat down with four mental health professionals, each with more than a decade of experience working with dancers, to find out their thoughts on how mental health is being addressed in the dance community today, and what makes it so challenging.
Who We Talked To:
Dr. Bonnie E. Robson, a retired performance psychiatrist in Toronto, began her work with dancers at the National Ballet of Canada in 1983.
Dr. Nadine J. Kaslow, a clinical psychologist in Atlanta, consults with dancers at Atlanta Ballet.
Dr. Brian Goonan, a sports psychologist in Houston, was a consultant to the Houston Ballet Academy from 2009 to 2017.
Dr. Toby Diamond, a general psychologist in Seattle, consults with Pacific Northwest Ballet School.
The opinions of each are their own and do not represent those of the dance institutions they work with.
What makes treating dancers unique?
Dr. Kaslow: They have to decide how seriously they want to pursue it much younger than other artists. The developmental pressures are different for things like socializing and dating. There's much more homeschooling. I also think that the level of perfectionism demanded is different, and if you can't handle the perfectionism pressures, I think that you can't stay.
Dr. Goonan: They are so young. They don't have a lot of good coping mechanisms yet to deal with that level of perfectionism on top of everything else a teenager goes through.
Dancers have to decide whether to pursue this field much younger than other artists, which can put outsized pressure on students. Photo by Ilona Virgin/Unsplash
Do you think dancers are more likely to experience a mental health challenge than the general population?
Dr. Diamond: Adolescents in general experience depression at a very high rate. I think the problem with ballerinas is that their career starts when they are still adolescents, so they don't have the long view. They haven't achieved peace of mind to know that over time things can change and get better and all the things that we learn from maturity.
Dr. Robson: An important issue is social isolation, which is one of the biggest factors leading to anxiety and depression.
Dr. Kaslow: Ballet dancers are three times more likely to have an eating disorder than the general adolescent population. But there is also data that shows that dance can improve depression and anxiety in adolescents.
Dr. Goonan: I have to wonder how much of the data relies on self-report. It is certainly more acceptable in high school to self-report depression than in the dance world, where you are supposed to present that everything is fine. Personally, I would argue there are more stresses and more pressure than the average student undergoes and without the same kind of outlets.
Have you experienced resistance from dancers?
Dr. Diamond: They go to doctors and PTs for help much more willingly than mental health professionals.
Dr. Goonan: But there is not resistance to seek support indirectly. So, often they will talk to the physical therapist or the Pilates instructor.
Dr. Robson: I know that at one prominent ballet company in Europe, the psychologist had an office in the building, and as soon as they moved the office off site, they got more referrals and more dancers used the services.
Dr. Kaslow: For me, it's changed over the years. Initially I had that experience and I don't anymore. I take class still every day and they see me there. There are also a couple dancers who have been very public about coming to therapy with me, and that seems to have shifted the culture.
Do you think the dance world does enough to address mental health?
Dr. Diamond: Some institutions are doing a pretty good job. Others are not. That could have something to do with the director or in-house services not being affordable.
Dr. Robson: I am part of Dance/USA's Task Force on Dancer Health, and the executive board of Dance/USA are leaders from all over the United States and Canada. Gradually over the last 10 years they have begun to talk much more on mental health issues, asking more in-depth questions. "Tell us about mindfulness." "Tell us about how we can get people to come forward earlier with problems." They are recognizing that this is a dollars-and-cents issue, and that is a significant change.
Dr. Goonan: We typically see dancers when the wheels have already fallen off the wagon, and now there is more interest in prevention.
In a Dance Magazine survey, 81 percent said the dance world is not doing enough.
Dr. Kaslow: I would agree.
Dr. Diamond: Perhaps the professionals are doing something about it, but the students aren't doing the front-loading, the preventive mental health exercises. They have very limited hours to sleep or do healthful things. Preventive care is the bottom of their list.
Dr. Goonan: There is verbal homage paid. It's kind of like equal wages: You can say that gender equality is important, but is it actually getting done? And that may be the difference between what you are hearing from an executive perspective saying "Yes, we need to do more about this" versus the survey that says "Yeah, but they are still not doing anything about it."
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
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Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.