Reflections on the Mirror in the Dance Studio
Sally A. Radell, MFA, MA
Reflections on the Mirror in the Dance Studio: What we know so far…
The research on the negative impact of the classroom mirror on a dancer’s body image is now well established. Body image is the image people have of their bodies in their minds. It is important because it is a central part of a dancer’s psychological health and well-being and can help or hinder their performance in the dance classroom. Research has now shown that:
· Students who train with mirrors feel worse about their body image.
· Students who train without mirrors or with partial use of mirrors feel better about their body image than those who train with full mirror access. This has been shown in both the ballet and modern styles.
· Ballet students who train without a mirror show more technical growth in the performance of an adagio phrase than students who train with a mirror.
· The potency of the mirror in the studio is so strong that education on the challenges of mirror usage may not be enough to avert the negative impact of its use.
· Dancers generally prefer having a mirror in the room. However, when it is not there, they begin to focus on the benefits of feeling movement and many report not missing the mirror.
· Students in non-mirrored or partially mirrored classes tend to describe taking class in terms of kinesthetic sensations rather than body parts, and discuss the importance of realizing what one’s body is doing - rather than having to look at it in the mirror.
· Students with full mirror access discuss their bodies differently. They tend to view their bodies as objects and compare themselves to the images they see in the mirror, rather than focusing on the sensations of movement in their bodies. The act of being aware of how the movement feels (proprioception) is a key ingredient in obtaining optimal technical growth.
· More mirror exposure may be related to dancers feeling less comfortable in their tight dance attire.
· Students who feel great about their bodies are less likely to be negatively affected by the mirror - whereas students who walk into the studio with a poor body image are likely to be more negatively impacted by the use of the mirror.
Moving Forward…
So how does a teacher begin to make the changes in the classroom to either greatly reduce or ideally eliminate mirror use all together? This can be a challenging pedagogical modification, especially if one has used a mirror in the classroom for the entirety of their training and teaching career.
· Start by familiarizing yourself with the literature on the topic so you can fully understand some of the underlying challenges of mirror use in the studio. Look for examples of unproductive mirror use in your class, including students who appear discouraged or disheartened while using the mirror. Redirect their facing to minimize negative evaluation. The better you can identify how students use the mirror and the potential problems it can create, the easier it will be to greatly reduce or totally stop using the mirror in your teaching.
· Do a little research of your own. If you have a studio with curtains that can be opened and closed, take two of your classes and change the conditions of the studio for each class. Have the mirrors covered for the first class as your students walk in and then for the second class have the mirrors fully available. Observe the differences between the two groups as the students ready themselves for class. I predict that in the first class, with mirrors covered, students will come in and prepare themselves by stretching, doing some strengthening abdominal core work, and will focus on any extra warmup that specific areas of their bodies require. In the second class, with mirrors fully available, I predict that many students will immediately go to the mirrors and check their hair, make sure their makeup is applied to their satisfaction, adjust their leotards, check out how their profile looks in the mirror, and perhaps compare themselves to others. Then, as a teacher, consider which of these options you want your students to choose to get ready for the most effective class possible. Your answer to this question has the potential to strengthen your resolve and provide anecdotal support for a decision to eliminate the use of mirrors in your classroom.
· Adopt alternative teaching techniques which can provide some of the benefits that the mirror seemingly provides. Use descriptive imagery in class rather than focusing on the use of the mirror. If a student has an anterior pelvic tilt, for instance, an excellent image to employ while teaching them how to attain optimal alignment is to encourage them to picture closing a zipper that starts at the top of their pubic bone and ends at the top of their sternum. Thinking about this image alone can instigate a holistic reorganization of their entire spinal alignment.
· Work to develop ways to teach movement that are not mirror-dependent. There are many somatic techniques (such as Alexander, Bartenieff, Feldenkrais Method, Franklin Technique) that with an investment of training, can provide valuable pedagogical resources that will give you skills that can potentially totally replace what the mirror seemingly offers.
· If you are not ready to eliminate the mirror entirely in class, start with small steps. Change the direction that the students in the room are facing, or move the mirror to a less prominent location in the room. You could also cover the mirror during the barre portion of class. You will likely notice that these students can greatly benefit from being able to fully focus on their proprioceptive sensations when they are learning and performing the material without the potential distraction of the mirror. If a mirror is not present in the classroom only about half of the students will miss it, and some will even be relieved it is not there.
Biography
Sally Radell is professor of dance at Emory University in Atlanta, Georgia. She holds a BA in dance from Scripps College in Claremont, California, an MA in dance from The Ohio State University, and an MFA in dance from Arizona State University. She came to Emory in 1987 to start a degree program in dance. The substantial growth of this program and success of this endeavor is one of her proudest professional accomplishments. Ms. Radell has been active as a researcher, choreographer, teacher, performer, administrator, somatic educator, and dance critic. Over the past thirty years she has conducted research on dancers, body image, and the mirror, and has published in professional journals including the Journal of Dance Education, Journal of Dance Medicine & Science, Perceptual and Motor Skills,and Research in Dance Education. Professor Radell has also presented nationally and internationally on this topic with different organizations including the American Association of Health, Physical Education, Recreation, and Dance and the International Association of Dance Medicine and Science. She is committed to the promotion of psychological wellness for dancers.
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