Dance Images—Do They Really Work or are We Just Imagining Things?

Teaching Strategies—The Application of Found Images in Dance and Sport

“…Its uses are varied, and its facilitating role in sports learning environments and dance has increasingly gained more and more significance (Hanrahan, 1990;Nideffer, 1985). Words like mental rehearsal, positive thinking, success visualization, and imagery have all been used to describe procedures for altering thoughts, feelings, attitudes, and [actual] performance (Nideffer,p.…”

“…Woolfolk, Murphy, Gottesfeld, and Aitken (1985) found that briefly imagining the successful outcome of a performance immediately prior to performing that activity has the greatest influence on subsequent performance. In dance while empirical research into the effectiveness of imagery on performance remains a paucity (Hanrahan, 1990), Christine Hanrahan found that the use of imagery during performance of dance movement was found to be significantly effective for one type of imagery only, suggesting the characteristics (such as quality, nature, and di- Most significantly for the intentions of this article, Fairweather and Sidaway (1993) found that ideokinetic imagery had a positive effect on the spinal column and on low back pain, and they supported the use of ideokinetic imagery as an inexpensive and noninvasive technique to improve poor posture. Alone, relaxation and/or abdominal strength did not improve posture; rather, they found it was the interaction of these with ideokinetic imagery and kinesthetic awareness exercises that caused postural change.…”

Unfurling the wings of flight: clarifying ‘the what’ and ‘the why’ of mental imagery use in dance

“…There is a small but growing body of research that supports the claim that application of images, acquired through knowledge of the world, enables dancers to refine their technical and performance skills (for example Bläsing et al 2012;Hanrahan and Salmela 1990;Heiland and Rovetti 2013). Analogising is so central to human thought that pertinent images often arise instinctively and instantaneously but teachers can also spend time crafting rich and well-fitting analogies and images with specific goals in mind related to performance enhancement (technical and aesthetic), injury prevention and rehabilitation.…”

Dancing With Your Head On: Mental Imagery Techniques for Dancers

“…Without practice, repeated exposure, and feedback, dancers do not learn to use images most adeptly. 14 …”

“…The authors speculated that, "it is however possible that a finely tuned expert observation might have detected a difference in the artistic or aesthetic quality of her performance." 14 The authors emphasize the importance of dancers' subjective experiences and at the same time point out the need for objective feedback from teachers, mirrors, audience, and critics in order to know how the are actually performing. Mental imagery research, looking a skill level, learning style, personal preferences, and quality of movement can guide educators in selecting helpful images for students.…”