Burn-out is a condition that has been recognized in the business and sports world for many years. Considerable time and effort has been spent understanding the causes and effects of burn-out. However, only recently has burn-out been addressed in the performing arts. The significance of and concern over burn-out among dancers has received increasing attention as more and more performers are leaving dance for physical and emotional reasons.
Burn-out is characterized as a condition of physical, mental, and emotional exhaustion caused by the inability to adequately cope with persistent stress. This stress derives from dancers’ perceptions that the demands placed upon them exceed their ability to master those demands. Though some stress is experienced in all aspects of life, the performing arts is a rarified environment that accentuates the typical levels of stress that are often faced. First, dancers are placed in a dramatically visible setting. Moreover, particularly for principal dancers, this stress must be dealt with alone. Second, in the close environs of a dance company, personality differences and conflicts are magnified. Third, dance training, that includes classes, travel, and apparel, is costly. This burden on the parents is often transferred to the young dancer in the form of pressure to succeed. Finally, tremendous physical and emotional strain is incurred during the long hours of rigorous training.
It is important that parents and teachers remain cognizant of the amount of stress that dancers are experiencing and work to keep their stress within healthy limits. Without their awareness and involvement, this stress can become excessive and result in burn-out among dancers. Parents and teachers can be sensitive to warning signs of excessive stress that are exhibited by dancers.
These warning signs can be divided into four categories: physical, emotional, cognitive, and performance. Physical symptoms of stress include frequent illness, injury, and physical complaints, and sleeping and eating problems. Emotional signs consist of bad temper, inappropriate emotions, depression, moodiness, and irritability. Cognitive signs encompass excessive negativity and self-criticism, low self-confidence, extreme guilt, unrealistic or distorted evaluations and expectations, and social withdrawal. Performance symptoms include excessive nervousness, poorer dancing during performances than in rehearsal, lack of motivation, interest and enjoyment in dancing, loss of enthusiasm and interest in other areas, a tendency to give up too easily, and a drop in school performance.
Once signs of stress and burn-out have been identified, it is important to actively combat the symptoms and their causes. The philosophical perspective that parents and teachers hold about their dancers’ performances can influence significantly their physical and emotional condition. Four general philosophical rules can reduce the likelihood of stress and burn-out from occurring and can alleviate any that has occurred. First, performance should never be identified as the only acceptable goal for dance. Second, not getting particular roles and failure should not be connected in the minds of dancers. Third, getting the roles and success should not be connected in the minds of dancers. Finally, success should be found more in striving for improvement rather than in the performance itself.
There are also some practical ways to reduce stress and decrease the likelihood of burn-out. Teachers should be careful not to over-train their dancers and training should be fun not a chore. Instructors should emphasize the mastery of skills over the acquisition of roles. Teachers should also be positive and constructive rather than negative and critical. Parents and instructors should be supportive and caring. They should also be mindful of potentially stressful dancers and provide immediate help and encouragement (prevention is better than rehabilitation). Parents and teachers should have open lines of communication and should work together to address problems. Finally, appropriate professional referrals should be made if there is serious concern about the physical or emotional well-being of a dancer.
