This document provides an overview of a primer on performance psychology for practitioner psychologists. It begins with a brief history of performance psychology from the 1990s to the present. It discusses how concepts from sport psychology can be applied to other performance domains like dance. It outlines a model for developing competence in performance psychology, including foundational skills, common characteristics across performance domains, and developing contextual intelligence. The document then covers several talks from a performance psychology workshop that discuss translating concepts from athletes to dancers, highlighting the unique culture and language of ballet, occupational stresses dancers face, and engaging dancers in treatment. It also presents a detailed case study of a 28-year old company dancer.

2. A Primer in Performance Psychology
for Practitioner Psychologists
The Culture of Ballet
August 7, 2016

3. Acknowledgment:
Discussant
Dr. Nadine Kaslow,
past president of APA,
for her unwavering
support of dance.
The Ailey School’s weekly workshop on
dancer stress run by Linda Hamilton, with
renowned guest Nadine Kaslow, 2015.

4. Translations from Athletes to Dancers:
What Works and What Doesn’t
Kate F. Hays, Ph.D.
The Performing Edge
Toronto
August 7, 2016
Denver, CO

5. Outline
• A brief history of “performance psychology”
• The sport-->performance psychology
connection
• Model of practitioner development in
performance psychology
– Applications to dance

6. A very brief history of performance
psychology—1990s
• “Performance psychology” term first used
• L. Hamilton: The Person Behind the Mask:
A Guide to Performing Arts Psychology
• Positive psychology
• Umbrella perspective in sport psychology
• although AAASP rejects re-naming to include “performance”

7. A very brief history of performance
psychology—2000s
• Term gains traction
• Army “Ready & Resilience” training applying sport
psychology to military
• Definitions, books, articles, conference programming
• Div. 47 Practice Committee: “Defining the Practice of Sport and
Performance Psychology “

8. A very brief history of performance
psychology—2010s
• Language of discourse
• Division 47:
• Journal: Sport, Exercise, & Performance Psychology
• Recent name change
• Section on Performance Psychology
• Books, courses, workshops
• M.A. degrees in Performance Psychology
• ACSM-sponsored: www.athletesandthearts.com

9. From sport psychology
performance psychology
• Mental Skills
• The Body-Mind Connection
• Relevant Research Base
• Direct Applications: Translations from sport to
performance

10. Developing Competence in
Performance Psychology
Hays & Brown, in preparation

11. Foundational skills for performance
psychology [Tier 1]
• Relationship or clinical/counseling skills
• Change skills
• Knowledge of performance excellence
• Knowledge of the physiological aspects of
performance
• Knowledge of systems and systems
consultation

12. Common Characteristics
across Performance Domains [Tier 2]
• Mental preparation
• Pre-performance/performance arousal
• Striving for perfection
• Competition [explicit/implicit]
• Performance limits [overtraining, burnout,
injury, retirement]
• Individual in context [coach/teacher/supervisor,
team, organization, societal assumptions]
• Confidence

13. Domain-Specific Issues re Dance [Tier 2]
• “Butterfly” profession
• Early start
• Away from home
• Identity foreclosure
• Retirement
• History, tradition
• Perfectionism
• Closed shop
• Physicality/physical intelligence
• Weight/eating
• Substance use
• Injury
• Competition
• Aesthetic judgment

14. Contextual Intelligence [Tier 3]
(Brown, Gould, & Foster, 2007)
• Language re dance x locale
• Merde
• Break a leg
• Chookas!

15. Kate F. Hays, PhD, CPsych, CC-AASP
The Performing Edge
Toronto, ON, Canada
www.theperformingedge.com
drhays@theperformingedge.com

16. Performance Psychologists:
Understanding the Culture and Language
of Ballet
Linda H. Hamilton, Ph.D.
New York City Ballet Wellness Consultant
August 7, 2016
Denver, CO

17. • To highlight ballet’s unique culture & mindset
• To provide language that reflects this
knowledge
• To help psychologists engage dancers in
treatment
Objectives:

18. The Ballet Culture*
Selects perfectionists for 9 years of disciplined
training (similar to the military), starting at 8yo.
Creates a hierarchy, based on constant competition
for elite schools, jobs, roles and promotions.
Prizes stoicism in the face of physical & mental
stress, equating problems with weakness.
*Hamilton & Robson, 2007; Hays & Brown, 2004

19. The Ballet Dancer’s Mindset*
Dancers, who spend thousands of hours developing
this expertise, feel passionate about their work.
They often report substantial periods of ‘flow’ that
override typical needs, such as pain & fatigue.
An all-consuming work ethic prevails despite failure:
65% are not hired, although 90% aspire to this goal.
*Hamilton, 1997, 1998

20. • Injuries
• Burnout
• Mental Stress
• Weight Management
• Performance Anxiety
• Maladaptive Perfectionism
Occupational Stresses*
*Hamilton & NYCB, 2008

21. Dancers’ Tendinitis: A Common Overuse Injury
Chronic tendinitis may cause a “Trigger Toe”

22. Dancers’ tendonitis often
requires surgery to release
the sheath surrounding the
FHL tendon so the lump
doesn’t catch while
moving.
©William Hamilton, M.D.

23. Language Reflects Knowledge of Ballet
Injuries: “Being ‘out’ is tough, but medical help gives you
a competitive edge to cross-train & focus on your artistry.”
(caters to dancers’ need to excel)
Weight Management: “Your potential dance wt requires a
unique program of aerobics, wt training & nutrition.”
Burnout: “You can your strength, stamina, memory &
reaction time with > 8 hrs. of sleep & 1 day off p/wk.

24. Language (continued)
Performance Anxiety: “Nerves are normal; you need a
moderate amount of arousal to “dance.”
Maladaptive Perfectionism: “No one is perfect; yet
you never lose by learning from mistakes.”
Stress Management: “Fight-or-flight” hormones can be
controlled by using tools similar to Olympic athletes.”

25. • Interactive
• Educational
• Solution-Oriented
• Emotional Support
• Focus on Strengths
• Mental Skills Training
Engaging Dancers in Treatment*
*Hamilton & Robson, 2007; Hays & Brown, 2004

26. • International Assoc. of Dance Medicine & Science
(membership, position papers, referrals; iadms.org)
• American Dietetic Association
(dietary guidelines, tips, referrals; eatright.org)
• Renfrew Center Eating Disorder Treatment Facility
(nationwide programs, referrals; renfrewcenter.com)
• Career Transition for Dancers
(testing, counseling & grants; careertransition.org)
Resources

27. Thank You
www.drlindahamilton.com
talk2me@wellness4performers.com
©Paul Kolnik

28. From Butterflies to Bouquets to Resumés
Sharon A. Chirban, Ph.D., CC-AASP
Consultant, Boston Ballet
Clinical Sport Psychologist,
Boston Children’s Hospital/Harvard Medical School
August 7, 2016
Denver, CO

29. Goals For This Talk
• Reiterate ubiquitous dancer traits that relate to
both success and challenge for the dancer from
youth ballet through principal
• Issues related to seeking treatment for injuries
(Krasnow, Kerr, & Manwaring, 1994)
• Psychological risk factors associated with injury
• High Commitment Eating vs. Eating Disorder
• Harmonious vs. Obsessive Passion
• Present a detailed case

30. • Excellence vs. Perfectionism
• Anxiety about time away due to
injury (12 y old example)
• Concerns about body composition
and ballet biomechanics
• High Commitment Eating vs. Eating
Disorder (19 y old example)
• The rewards and disadvantages of
compliance (20 y old example)
• Performance anxiety
Ubiquitous Traits

31. Case Presentation
28 year-old Company Dancer
• Career Achievement – 10 years Boston
Ballet
• Stakes of proving oneself
• “I have what it takes, no, maybe I don’t”
• Stress of learning choreography and
remembering it under pressure
• Navigating the marathon of the
Nutcracker Season
• New challenges with body image and
body comparison on a national stage
• Navigating Haglund’s deformity/achilles
tendon surgery and management of post-
op pain
• Graduated from college – B.S. Sociology

32. • When is it time to stop?
• Not having fun anymore
• If I stop what do I do next…. I know I will do something
meaningful, but what?
• I’m tired of the pain
• If I am not a Boston Ballet ballerina, who am I?
• Will my boyfriend still want to be with me, if I am no
longer a professional ballet dancer?
• Eat/Pray/Love trip
Case Continued

33. Harmonious Passion
passion is defined as a strong inclination toward a self-defining activity
that people like (or even love), find important, and in which they invest
time and energy on a regular basis
Obsessive Passion
characterized by intra- or interpersonal pressures that push obsessively
passionate people to partake in their activity
OP not expected to produce positive effects and may facilitate negative
affect, conflict with other life activities, and psychological ill-being
Vallerand, et al. (2003).On Obsessive and Harmonious Passion Journal of Personality and Social
Psychology, Vol. 85, No. 4, 756-767

34. Dance Medicine
• A high prevalence of lower extremity and back injuries, with soft
tissue and over use predominating
• Lifetime prevalence injury in professional ballet dancers ranged
between 40% and 85% (Hincapie, et al)
• Adolescent dancers account for most of the ballet injuries
• Haglund deformity is chronic irritation from the shoe on the
posterosuperior surface of the calcaneus (training relevé and
jumps)
Weber, B. (2011). Dance Medicine of the Foot and Ankle: A Review Clin
Podiatr Med Surg 28, 137-154.

35. Sharon A. Chirban, PhD, CC-AASP
Consultant, Boston Ballet
Clinical Sport Psychologist, Boston Children’s
Hospital/Harvard Medical School
Amplifying Performance Consulting, LLC
www.amplifyingperformance.com

36. Discussant: Dr. Nadine Kaslow