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Friday, July 3, 2026

Self-Sabotage: How Perfectionism and Efficiency Nervousness Present Up within the Studio


It would sound dramatic, however being an artist can really feel like placing your coronary heart on a platter and ready for somebody to squash it. That’s the case for any artwork kind, however the performing arts require further vulnerability—it’s your bodily physique doing the artwork, in spite of everything. Add on the truth that performers are typically perfectionists and also you’ve acquired a recipe for critical nerves.

Efficiency nervousness is one thing Dr. Chelsea Pierotti, PhD, a sports activities psychology professor, psychological abilities advisor, and dance-team coach, sees usually in dancers. It’s characterised by an awesome nervousness surrounding efficiency, whether or not spurred by inner or exterior pressures, that will forestall the artist from working to the very best of their means. And it could possibly present up each day in rehearsal or class—not simply onstage.

So what causes that nail-biting, second-guessing tendency? And the way can dancers recover from it to permit themselves to carry out extra freely? Listed below are some pointers.

How Perfectionism and Efficiency Nervousness Go Hand in Hand

Pierotti says that perfectionism, like efficiency nervousness, is widespread in younger dancers. “They soak up data by comparability and can usually take that as a criticism of themselves,” she explains. Perfectionists maintain themselves to unachievably excessive requirements, which regularly manifests as detrimental self-talk. That may exacerbate efficiency nervousness: “Should you can’t let go of that detrimental self-talk, it exhibits up in your dancing—coronary heart racing, sweating, dashing by motion—each onstage and in rehearsal.”

In a high school classroom, a group of dance team members stand in the middle of a large circle of desks. Dr. Chelsea Pierotti addresses them in front of a whiteboard.
Dr. Chelsea Pierotti teaching Standley Lake Excessive College’s dance group. Photograph courtesy Standley Lake Excessive College.

Pierotti says that within the studio, efficiency nervousness usually manifests as a worry of going full-out or making errors. “The dancer remains to be ‘performing’ for his or her friends and administrators,” she says. “They may maintain again—say they’ll observe at dwelling and never strive once more, or battle to observe the emotional a part of a efficiency as a result of they fear an excessive amount of about who’s watching them.”

Annie Cox, a Brooklyn-based dance-theater artist, used to let body-image–associated efficiency nervousness get in the best way of her coaching. “I by no means had the stereotypical dancer’s physique and was at all times made conscious of it,” she says, whether or not by inner self-comparison or outright feedback from others. After receiving one notably hurtful remark from a instructor, and being positioned in a lower-level dance class than her friends, she tried to mix into the background. She stopped auditioning for solos or featured components, and she or he almost discarded her desires of dancing professionally. “I by no means took up area and actively prevented performing on my own,” she says. Because of this, Cox felt her technical abilities regressing, which pushed her even additional towards the sidelines.

Mindset Issues

A dancer’s coaching surroundings usually contributes to how perfectionism and efficiency nervousness manifest within the studio. Christine Flores, knowledgeable business and concert-style dancer, remembers feeling like a small fish in a giant pond at her competitors studio. She was celebrated when her expertise resulted in a win, not a private greatest, which made it really feel like she was at all times competing. That mentality, she says, transferred to her personal harsh judgment of herself.

Pierotti explains that when leaders solely reward dancers for profitable outcomes, and never for his or her effort or individuality, it reinforces a dangerous message: “You be taught that you just’re solely price it if you happen to’re the very best, within the entrance, the winner,” she says. Environments that commemorate small enhancements create dancers with a wholesome development mindset, which helps them fight perfectionism and efficiency nervousness.

Onstage in front of a background with light yellow on the left and dark blue on the right, three dancers perform wearing orange, yellow, and red flowy pantsuits. In front, one dancer lunges forward with one arm tucked behind and the other extended in front. Behind, two dancers face each other—one lunging sideways and the other standing in parallel—each with one arm lifted.
Christine Flores (entrance) with Anson Zwingelberg and Marc Crousillat in Pam Tanowitz’s Pastoral. Photograph by Maria Baranova, courtesy Flores.

Pierotti emphasizes the significance of growing a development mindset from inside. She recommends what she calls the “three Rs,” impressed by the late sports activities psychologist Dr. Ken Ravizza:

  • Launch: Shake out your nerves and transfer your physique. Rigidity breeds additional nervousness.
  • Reset: Take a grounding motion to deliver your self again to the current second, like a deep breath.
  • Refocus: Discuss to your self, and ask your self what’s essential proper now. Take it one step, correction, or second at a time.

Pierotti says that training the three Rs may help dancers resist a perfectionistic mindset and enhance their efficiency onstage—wanting inside themselves for validation and confidence as a substitute of their exterior surroundings.

Progress, Not Perfection

As she’s moved into the skilled world, Cox has discovered success in cultivating confidence inside herself. “I don’t have to match myself to individuals round me,” she says. “I’ve discovered that my worth doesn’t come from mixing in. I can transfer in a approach nobody else can and that, in itself, has worth.”

Flores agrees, although she says that her emotions of perfectionism are a little bit of a “puzzle” she’s nonetheless piecing collectively, at the same time as knowledgeable. “I simply attempt to concentrate on being higher, not good,” she says. “Should you get caught up in all the pieces that’s alleged to be ‘proper’ whilst you’re dancing, you’ll be paralyzed. I attempt to simply enhance one factor at a time.”

Two dancers in light green costumes with tulle pose in bridge positions, with their upper bodies and thighs parallel to the floor, arms and lower legs perpendicular for support. They close their eyes with their faces upward. One dancer is positioned in front of the other.
Annie Cox (entrance) and Tabitha Stewart in RACHEL:dancers’ Why Do I Maintain Betting on a Dropping Canine?. Photograph by Rachel Keane, courtesy Cox.

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