Body-Obsessed? Try This Experiment.

Dear dancers and parents,

Today I'm sharing a concept I have taught to many dancers over the years: how to shift your attention away from things that aren't providing good results and towards things that will.
 
I have heard dancers tell me they spend a lot of their class and rehearsal time staring in the mirror not at their young, able bodies moving through space doing impossible things, but at the parts of themselves they like the least. As if, by obsessing over those distasteful parts - knees, thighs, feet, shoulders, stomachs, or hips - they could will them away or at least into different states of being: that bent knees could be made straighter, thighs more toned, feet more arched, shoulders broader, stomachs flatter, hips narrower.
 
This self-scrutiny of the body has been part of the dance culture for a long time, but it's worth checking in on where you fall on the spectrum before dismissing it as "normal for dancers."

For many dancers, self-scrutiny can be so disruptive to the training process and their own sense of self that it can completely derail their efforts and progress. In some cases, it's the root of burnout and leaving the field entirely.
 
Over the years, I've asked dancers to quantify the amount of time and energy they pour into self-scrutiny during class and rehearsals. I've heard 50%, 75%, and 99.9%. So, of the 100% of mental energy allotted to them over a single day, some dancers spend between 50% and 99.9% actively worrying or obsessing over their body's inadequacies.
 
And yet, dance training is a complex undertaking. If you're doing it right - taking corrections, thinking about alignment, placement, dynamics, musicality, and on and on, you might have 5% of mental space left over for something else. But not 50% or more left over to criticize your arches or thighs.
 
While the aesthetic for ballet is a particular one, it's not just the aesthetic that makes a dancer. You are not models; you do not stand still and act as placeholders for tutus, tunics, and tiaras. You are athletes and artists; you are doing more than just looking the part. You actually have to do the dancing: lift your legs into arabesques and developes, throw your full weight into the air in a double tour, and spring onto your pointe shoes 16 times for a pique maneges.
 
Those moves require high levels of skill, which requires a lot of work, not standing still, looking right. So the "look" is only one piece of the larger puzzle. And it's worth mentioning that all of your dancing problems will not be solved by having a more perfect body for dance; many young dancers have the look and have their own list of struggles to make the body do the dancing.
 
So what if the calculus was different? What if you inverted the percentages and spent 80% + of your mental energy on the actual work of becoming a dancer, leaving less than 20% of your energy on trying to look like some other version of yourself?
 
Imagine 80% of your energy, focus, and intention spent on developing the technique, versatility, agility, flexibility, strength, artistry, dynamics, etc. that are required to be a seriously good dancer...Do you think that might make you a better dancer? (Spoiler alert: it will. My dancers have done this experiment and found it works.)
 
Instead of just imagining it, give it a try; experiment with shifting your energy towards all of the above and away from just looking at yourself. Try it for a week; then extend the experiment to 2 weeks. See how long you can keep your mental energy and focus shifted onto actions that will make a difference in your dancing.
 
Here are two challenges that may arise and ideas to help you get past them:
 
1. What do you do with teachers who focus obsessively over your less-than-perfect body?
 
Yes, they are out there and in fact, may be the root of your obsession with imperfections.  This is a case of needing to use your mental filter: let the constructive/helpful stuff in and keep the toxic/unhelpful stuff out. This is not easy, but it is manageable with practice. You'll want to review before class how you will use the filter and stay on track with your work, not obsessing over your image. It might help to have a mantra, such as "80% on what matters" or make up one that works better for you.
 
2. What do you do with your own mental habits that return to scrutinize your body?
 
This will also happen: changing a thought habit takes time. But creating boundaries around what you're willing to dedicate your class time to will help; like with a less-than-helpful teacher, be strict with yourself about what you choose to pay attention to even if it's your own brain that is saying the distracting things. Have a response ready like, "Thanks, brain, but I'm working now" or something that feels more authentically 'you.'
 
If you do this experiment, I'd love to hear how it goes. If you want support trying this, be in touch! I am coaching dancers at all levels of their training and might be a good fit for you. Our first phone session is free of charge and can be scheduled here.

Have a wonderful fall!

Be well,
Elizabeth