{"id":328,"date":"2022-12-04T20:38:00","date_gmt":"2022-12-04T21:38:00","guid":{"rendered":"https:\/\/bigrecipes.net\/?p=328"},"modified":"2024-05-31T17:31:03","modified_gmt":"2024-05-31T17:31:03","slug":"injured-and-pining-to-dance-4-approaches-for-how-to-cope","status":"publish","type":"post","link":"https:\/\/bigrecipes.net\/index.php\/2022\/12\/04\/injured-and-pining-to-dance-4-approaches-for-how-to-cope\/","title":{"rendered":"Injured and pining to dance: 4 approaches for how to cope"},"content":{"rendered":"

You\u2019re sitting in a grand theater, watching your peers perform beautifully. Or maybe you\u2019re scrolling Instagram and their opening night pictures fill your feed. You\u2019re not with them \u2013 because you\u2019re injured<\/a>. All of you wants to dance, but it\u2019s just not physically possible right now \u2013 or if you tried you could make your recovery more prolonged (and maybe even less successful). <\/p>\n

Apart from that plain old FOMO, you think about things like how you might fall behind your fellow dancers \u2013 and even who you are and what you\u2019re worth if you\u2019re not dancing. You try to not sulk, but you don\u2019t feel great. Dear reader, maybe you\u2019ve been there, maybe you haven\u2019t, maybe (knock on wood) you\u2019ll be there someday. Wanting to dance but being unable to, because of injury, is a (sadly) fairly common experience amongst dancers<\/a> \u2013 and it\u2019s nothing like easy. <\/p>\n

\n
\"Chelsea<\/a>
Chelsea Pierotti. Photo by Pauline Fortuna Photography.<\/figcaption><\/figure>\n<\/div>\n

In order to learn more about this experience, as well as to come away with some concrete tips and tools for how to get through it more easily, Dance Informa speaks with two mental health professionals: Sports Psychology Consultant for Dancers Dr. Chelsea Pierotti, and Natiya Lozano (MS, LCPC, R-DMT, BC-TMH, RYT-200<\/a>). We also speak with Lauren Difede, a dancer with Newport, RI-based Island Moving Company, who is toward the end of the recovery period for a labral tear (she\u2019s been there, done that, and quite recently). <\/p>\n

#1. Addressing identity: “Who am I if not \u2018dancer\u2019?\u201d<\/strong><\/p>\n

Both Dr. Pierotti and Lozano bring up \u2013 right off the bat \u2013 identity<\/em> as a crucial aspect of this dynamic. Dr. Pierotti notes how when being a dancer is your whole identity, if you\u2019re not dancing, you can all too easily wonder just who you are.<\/em> \u201cIt\u2019s comforting to have a label, and when you don\u2019t have that, what happens?\u201d <\/p>\n

She notes how all of that can be even more challenging for teens and pre-teens. Simply by (mostly) universal human development, identity is being formed at this time of life \u2013 so it can already <\/em>be fluctuating and turbulent. It can also be all-too-easy to only see the short-term at that age, with longer-term impacts \u201chard to wrap your head around,\u201d Dr Pierotti explains — in other words, dancing, even when it might mean worsening and\/or prolonging the injury, in order to get that \u201cshort-term fix\u201d of staying connected with one\u2019s dancer identity. <\/p>\n

Lozano argues, however, that you still are <\/em>a dancer, even if you can\u2019t dance at this time \u2013 and <\/em>so much more. \u201cDance is a part of you, but you are made up of many parts,\u201d she affirms. Lozano also acknowledges the creative drive that might be part of that \u201cdancer\u201d identity dynamic. The good news is that there a plethora of ways to satisfy and exercise that creative urge! <\/p>\n

\n
\"Natiya<\/a>
Natiya Lozano. Photo by Darren Breen Photography.<\/figcaption><\/figure>\n<\/div>\n

\u201cHonor your creative self by using this time to connect with other creative outlets that make you you<\/em> — singing, writing, choreographing, making [visual] art, et cetera,\u201d Lozano recommends. She also suggests visualization as a way to stay connected with your dance artistry \u2013 perhaps visualizing the sort of more athletic, technical movement that\u2019s not possible and\/or advisable during your recovery period. You can find a calm, comfortable position, soften your gaze or close your eyes, and turn on music, she describes. \u201cAllow your mind to visualize you performing a dance, or even improving.\u201d<\/p>\n

Difede, for her part, doesn\u2019t directly reference identity in her recovery story.<\/a> She does, however, describe a deep drive to be performing with her company \u2013 coming from a profound part of her. She was recovering, and therefore not performing, while her company presented two different programs. She sat in on rehearsals for those programs, and just couldn\u2019t watch the pieces in which she\u2019d performed \u2013 despite sincerely wanting to be supportive of fellow dancers taking over roles that she had danced. She had to leave the room. <\/p>\n

It was one of those moments that made Difede more aware of where she was and what she needed (and didn\u2019t need), mentally and emotionally, at that time. She\u2019s enjoyed being able to watch the company\u2019s programs and cheer on her dancing colleagues \u2013 but, of course, \u201cyou want to be doing the thing, not watching the thing. You don\u2019t want to stop!\u201d she affirms. <\/p>\n

#2. Being intentional and mindful, but keeping connected: Discretion and connection<\/strong><\/p>\n

Difede wasn\u2019t alone in those feelings, thankfully. She shares how it was immensely helpful to have the support of dancers in the company who had gone through similar experiences. \u201cNo one really knows what it\u2019s like until they go through it,\u201d she notes. Even if through signs of support as simple and seemingly small as a gentle hand to her shoulder in tough moments, it helped Difede to know that she wasn\u2019t alone in what she was going through. \u201cOtherwise, it\u2019s like a little island. Accept the support, and know that it\u2019s okay to feel how you feel,\u201d she advises.  <\/p>\n

Lozano echoes that sentiment. \u201cHonor your feelings and emotions as they surface. Not doing the thing that you love to do at the moment is tough!\u201d She encourages dancers in these situations to, as best they can, give themselves grace and understanding for their current emotional landscape. \u201cBe your biggest cheerleader in understanding that this is<\/em> tough, and <\/em>that you can do tough things!\u201d <\/p>\n

Dr. Pierotti, for her part, underscores the importance of maintaining social connection during recovery periods. Often, dancers\u2019 social circles are mostly other dancers, so not going into the studio and theater comes with a big risk of social isolation \u2013 on top of <\/em>the all of the mental and emotional challenges that come with a non-dancing recovery period. For quality of life, as well as for better recovery outcomes, it\u2019s vital to maintain those social ties in some way. Dance companies and teams can keep injured peers involved through things like finding non-dancing ways for them to be involved and to contribute, for example. <\/p>\n

On the flip side of that, it also helped Difede to have some discretion when it came to what, when, and with whom she shared information about her injury and recovery. The most recent program in which she performed was in March of this year. She made the conscious choice to not tell her fellow company members \u2013 apart from a few very close friends in the company \u2013 about the whole situation (the injury, surgery and recovery period) until after that run. Difede also only divulged information about her injury on social media when she sort of had to<\/em> \u2013 when questions out there began to be unavoidable and she had to address it all. <\/p>\n

\n
\"Lauren<\/a>
Lauren Difede. Photo by Peter Mellekas.<\/figcaption><\/figure>\n<\/div>\n

There were sensitive aspects at hand, both medically and socially, she explains. \u201cIt would have been really easy [for my castmates] to get overly concerned, and all I wanted for that last show [before my surgery and recovery] was to be present and have a great experience with my company and choreographers.\u201d <\/p>\n

#3. A holistic approach: Addressing the mind to help heal the body, and vice versa  <\/strong><\/p>\n

Difede had a sense that she needed protect her mental and emotional space during that challenging time \u2013 and Dr. Pierotti affirms that addressing the needs of the mind and spirit is indeed crucial in these cases. She notes that through injury and recovery, the focus tends be on the physical, medical and technical: what needs to be done to get back the dancer\u2019s body back to performing full-out again, as soon as possible. <\/p>\n

Yet, without addressing a recovering dancer\u2019s mental and emotional needs, recovery won\u2019t be as quick and smooth as it could be (apart from a better subjective quality of life for the dancer, of course). With clients in these situations, Dr. Pierotti uses Cognitive Appraisal \u2013 a \u201cstep back\u201d to check in with what\u2019s really happening, as she describes it: the facts of the situation, how the dancer is feeling about it, and the like. <\/p>\n

\u201cIf your cognitive space is \u2018this is all over, it\u2019s terrible,’ your emotional response will be anger and grief. The response to that might be things like disconnecting from peers and skipping physical therapy. If we can shift that [cognitive space], then we can we can shift the behaviors\u201d \u2013 to those actions that lead to better recovery outcomes, Dr. Pierotti explains. \u201cWhen you have a mental and physical approach to rehab, that\u2019s when you can get to that place.\u201d <\/p>\n

\n
\"Chelsea<\/a>
Chelsea Pierotti. Photo by Bree Vinston Photography.<\/figcaption><\/figure>\n<\/div>\n

With clients recovering from injury, she also breaks down concrete goals: both physical (such as hitting benchmarks in physical therapy) and social\/emotional (for instance, making efforts to stay connected with dance friends). She also notes that patience with the physical therapy process is important; it\u2019s crucial to accept that physically and technically speaking, you won\u2019t be able to do what you did pre-injury right away. It\u2019ll take the time that it takes. <\/p>\n

To her sincere credit, Difede has demonstrated this sort of perspective. She\u2019s been diligent about her physical therapy, and has taken genuine pride and pleasure in \u201csmall victories\u201d like getting her extension just a bit higher. \u201cToday was the first day I did big jumps in class, and it was fine. Every tiny little step is a huge win!\u201d she shares joyfully. <\/p>\n

Lozano also underscores the importance of patience with the recovery process. \u201cLet go of your time limits for, and expectations of, your recovery.\u201d Applying unrealistic expectations can only set you up for disappointment and frustration, she notes. \u201cGrant yourself permission to let go of the \u2018I need to be healed by this time or I need to be ready by this show,\u2019 et cetera. Allow your body to take all of the time it needs.\u201d <\/p>\n

At the same time, as Difede has illustrated, be diligent about your PT and other recovery work. \u201cTreat your healing journey<\/a> the same way you would treat preparing for an upcoming performance or dance competition: with time, dedication, practice and persistence,\u201d Lozano recommends.<\/p>\n

Lozano also says that this situation can be an opportunity to truly reconnect with your body and how it <\/em>wants to move. \u201cCan you deepen the inner voice that tells you how it that feels good to you [to move] and honors where your body is right now<\/em>?\u201d she asks. As potential vehicles for that kind of exploration, she suggests gentle, mindful movement such as stretching, yoga and walking (all with a doctor\u2019s permission, given where a dancer might be in their recovery). <\/p>\n

#4. Post-injury growth: Coming out stronger <\/strong><\/p>\n

The idea of \u201ca silver lining\u201d could understandably ring hollow to dancers recovering from injury \u2013 in the sometimes agonizing space of wanting nothing more than to dance and not being able to. Yet, for Difede, such a silver lining has been real. \u201cMy injury and recovery honestly kind of gave me a different outlook. I\u2019ve found myself backing away from any kind of pettiness in the room,\u201d she shares. <\/p>\n

\n
\"Natiya<\/a>
Natiya Lozano. Photo by Darren Breen Photography.<\/figcaption><\/figure>\n<\/div>\n

After the kind of situation that she\u2019s been through with her injury, \u201dyou still absolutely love the studio, but whether or not you\u2019re right about count five…that petty stuff doesn\u2019t matter; it\u2019s the bigger picture,\u201d she asserts. Even physically, her physical therapy has made her physically stronger and kinetically aware, she notes. <\/p>\n

In agreement, Dr. Pierotti is firm: \u201cYou\u2019re going to come out stronger,\u201d she says with a smile. She does impart that idea to clients in injury recovery, although how she does so depends on age. Younger dancers most often need a clear real-life example (either from their own life or that of someone close to them) of being resilient through adversity, and coming out of it changed for the better. High school and college-aged dancers, however, can hear and understand the idea of \u201cout of adversity comes opportunity\u201d without such a concrete example (although that never hurts). <\/p>\n

Having gone through the process, Difede is also clear on the power of prevention \u2013 through PT and modifying technique when needed, for example. She also emphasizes the key place of the support structure in a dancer\u2019s corner: parents and teachers for younger dancers, choreographers, company leadership, and a medical team (surgeons, physical therapists, et cetera as needed) who really \u201cknows you.\u201d <\/p>\n

With such a base of support, particularly with respect to her employers, Difede \u201cfelt confident that I would have a career to return to when I was ready. I was able to focus on myself and recovery, without fear that I wouldn\u2019t have something to come back to when that time came,\u201d she shares.<\/p>\n

If we want injured dancers to get back to the studio and the stage as soon and with as little turmoil as possible, doing what they are driven to do (and are lovely doing), it has to be all hands on deck. Everybody has to be doing their part with intention, care and truthfulness. \u201cWe\u2019re past the age of ignoring problems and stuffing them under the rug,\u201d Difede affirms. <\/p>\n

By Kathryn Boland of Dance Informa.<\/a><\/p>\n

The post Injured and pining to dance: 4 approaches for how to cope<\/a> appeared first on Dance Informa Magazine<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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