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WEST VISAYAS STATE UNIVERSITY
COLLEGE OF PESCAR
GRADUATE SCHOOL
Iloilo City
COPING STRATEGIES OF BACHELOR IN PHYSICAL EDUCATION STUDENTS IN A STATE

UNIVERSITY
A Master’s Thesis Presented to the
Faculty of the Graduate School
College of PESCAR
West Visayas State University
Iloilo City
In Partial Fulfillment
of the Requirements for the Degree
Master of Physical Education
(Dance)
by
Florie May S. Gonzaga
March 2013
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Approval Sheet
COPING STRATEGIES OF BACHELOR IN PHYSICAL EDUCATION STUDENTS IN A STATE

UNIVERSITY
A Thesis for the Degree
(Dance)
by
Approved by the Research Committee:
______________________________________________________
HILDA C. MONTAǸO, Ph.D., Outside Expert /Chairperson
______________________________________________________
EVANGELINE B. YBAǸEZ, Ed.D., Member
______________________________________________________
FELIX C. LARUSCAIN, Ph.D., Member
______________________________________________________
RYAN L. PULJANAN, M.P.E (Dance), Adviser
___________________________
EVANGELINE B. YBAǸEZ, Ed.D.
Dean
March 2013
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Acknowledgement
It would not have been possible to write this thesis without the help and support
of the kind people around me, to only some whom it is possible to give particular mention
here:
Dr. Evangeline B. Ybaṅez, dean of the College of PESCAR, for her encouragement
and valuable support;
Mr. Ryan L. Puljanan, research adviser, for his help, support and patience, not to
mention his advice and unsurpassed knowledge in preparing and finishing this study;
Dr, Hilda C. Montaṅo, outside expert, for allotting her time, patience and
suggestions that served as guides for the improvement of the study;
Dr, Felix C. Laruscain, research statistician, for meticulously interpreting the
research data;
Dr. Catherine O. Roces, Prof. Liberty R. Porras and Mr. Paulo C. Abrico, research
instrument validators, for their clear points of view regarding the study and for carefully
validating the research instrument;
Garcia College of Technology, STI Kalibo, Aklan Catholic College, for allowing me
to pilot test my questionnaire at the said school.
Prof. Cynthia Lee Morga, for patiently editing the manuscript;
Manduyog Dance Troupe from ASU-Main, Kiriwkiw Dance Troupe from ASU Ibajay
Campus, CIT-Dance Troupe from Kalibo Campus and DG-PESCAR Dance Toupe
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from New Washington Campus, respondents of the study, for their cooperation and
honesty;
Manduyog Dance Troupe, for the friendship, love and prayers,
ASU faculty and staff, Snack house Family especially to SAS family and BSHT
faculty for their prayers and unselfish love and support.
Dr. Danilo E. Abayon, Dr. Ersyl T. Biray, Dr. Anna Mae C. Relingo for their support,
guidance and understanding;
Dr. Benny A. Palma and Mrs. Medilina Palma and family, for their endless love,
care, support and prayers.
Mr. Mario Abayon and Mrs. Clyde Abayon and family for their unending support,
suggestions, guidance and prayer.
Mommy Mary Jean Reconquista, Sir Ramon Emmanuel, Lily Rose Espinosa, Cristian
dela Rama, Mheaya Buhat, Glea Joy Paulino, Johanna Mae Flogio, Ma. Salvi Rowan, Ryan
Lopez, Hine Marae Palma, for their friendship, encouragement and motivation;
PESCAR faculty and staff, MPE classmates, friends and fellow colleague, for you
friendship and bonding moments;
Gonzaga, Saladar, Penida and Mestidio family and relatives for their love and
prayers;
My husband Carlo Angelo P. Gonzaga and my beautiful daughter Maica Angelize
S. Gonzaga, for being my inspiration, for their unending love, personal support and
patience at all times;
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My in-laws Elizer P. Gonzaga, Esther P. Gonzaga and brother in-law Johann Paul
P. Gonzaga for their endless love, care, moral and financial support and spiritual guidance;
My brothers Herbert M. Saladar and Paul Robert M. Saladar, for their never ending
love, care and support.
My parents Dr. Roberto L. Saladar and Mrs. Hermelina M. Saladar, for all the
unendless love, care, unequivocal support, spiritual guidance, suggestions and financial
support; and
Above all, our omnipresent God Almighty, for answering my prayers for giving me
the strength to plod on despite my constitution wanting to give up and throw in the towel,
Thank you so much Dear Lord.
March 2013
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STAGE FRIGHT AND COPING MECHANISMS OF DANCE TROUPE MEMBERS
AND TRAINERS IN A STATE UNIVERSITY
A Master’s Thesis Presented to the
Faculty of the Graduate School
College of PESCAR
West Visayas State University
Iloilo City
In Partial Fulfillment
of the Requirements for the Degree
(Dance)
by
March 2013
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Gonzaga, Florie May S. Stage Fright and Coping Mechanisms of Dance Troupe Members
and Trainers in a State University. Unpublished Master of Physical Education (Dance
Stream) Thesis, College of PESCAR, West Visayas State University, Iloilo City, March
2013.
Abstract
This descriptive research aimed to determine the stage fright and coping
mechanisms of dance troupe members and trainers in a State University during the school
year 2012-2013.The respondents of the study were the 40 randomly selected dance
troupe members and 20 randomly selected trainers from Aklan State University. To
determine the degree of stage fright of dance troupe members and trainers a
questionnaire for Measurement of Multidimensional Sport Performance Anxiety in Children
and Adults: The Sport Anxiety Scale-2 (Smith, et. al., 2006) was adapted and a researcher-
made questionnaire was used to determine the coping mechanisms. Findings revealed
that the dancers and trainers encountered a slight degree of stage fright. It also showed
that dancers possessed a greater degree of stage fright than trainers. In terms of coping
mechanisms on stage fright, dancers showed ways differently compared to trainer.
Pearson’s-r test set at .05 alpha revealed that there is a significant relationship found
between the degree of stage fright and coping mechanisms of dancers and trainers.
TABLE OF CONTENTS
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Page
Title Page i
Approval sheet ii
Acknowledgment iii
Abstract vii
Chapter
1. INTRODUCTION OF THE STUDY 1
Background and Theoretical Framework of the Study 2
Statement of the Problem and Hypothesis 5
Significance of the Study 6
Definition of Terms 8
Scope and Delimitation of the Study 10
2. REVIEW OF RELATED LITERATURE 11
Stage Fright 11
Levels of Stage Fright 13
Anxiety 15
Performance Anxiety 16
Dance Training 19
The Psychology of Dance 19
Whole-Body Conditioning for the Artist 23
Approaches in Teaching Dance 25
Memory 29
Three-Stage Memory Model 30
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Imagery 32
Physical Preparation 33
Motivation 39
Source of Motivation 40
Importance of Motivation 41
Theories of Motivation 42
Cognitive Theory 43
Humanistic Theory 44
Coping Mechanism 47
Self Esteem as a Coping Resource 52
Social Support as a Coping Resource 53
Prayer as a Coping Mechanism 54
Social Support and Stress Management as Coping Mechanism 55
Summary 61
3. REASERCH DESIGN AND METHODOLOGY 65
Purpose of the Study and Research Design 65
Distribution of the Respondents 66
Data Gathering Instrument 67
Procedure 69
Statistical Data Analysis Procedure 70
4. RESULTS AND DISCUSSION 71
Descriptive Data Analysis 71
Inferential Data Analysis 79
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5. SUMMARY, CONCLUSIONS, IMPLICATIONS, AND
RECOMMENDATION 83
Summary of the Problems, Method, and Findings 83
Conclusion 86
Implications 89
Recommendations 90
REFERENCES 92
APPENDIXES 98
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LIST OF TABLES
Table Page
1. Distribution of the subjects 66
2. Means of Coping Strategies of Bachelor of Physical Education Students 74
3. T-Test Result of the Significant Difference on the Coping
Strategies of Physical Education Students. 81
4. T-Test Result of the Significant Difference of Stage Fright of
Dance Troupe Members and Trainers 78
5. Relationship Between the Degree of Stage Fright and Coping
Mechanism of the Dance Troupe Members and Trainers 82
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LIST OF FIGURES
Figure Page
1. Stage Fright and Coping Mechanism of Dance Troupe Members
and Trainers in a State University 5
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LIST OF APPENDIXES
Page
A. Letter to the President 99
B. Letter to Pilot Test 100
C. Letter to the Validators 101
D. The Instrument (For Dancers) 102
D1. The Instrument (For Dance Trainers) 105
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Stage Fright and Coping Mechanisms of Dance Troupe Members
and Trainers in a State University
Chapter I
Introduction to the Study
Chapter I is divided into five parts (1) Background and Theoretical Framework of
the Study, (2) Statement of the Problem and Hypothesis, (3) Significance of the study,
(4) Definition of terms, and (5) Scope and Delimitation of the Study.
Part one, Background and Theoretical Framework of the Study, presents basic
information about the study and the theories and concepts which serves as basis for the
framework of the research.
Part two, Statement of the problem and the hypotheses, enumerates the general
specific objectives of the investigation as well as the hypotheses for statistical testing.
Part three, Significance of the study, gives the relevance and importance of the
study in terms of the benefits of the findings might offer to certain groups or individuals.
Part four, Definition of Terms, gives the conceptual and operational meanings of
the important terms used in the study.
Part Five, Scope and Delimitation of the Study, specifies the Scope and coverage
of the investigation.
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Background of the Study and Theoretical Framework
It is the moment of looking forward for weeks with equal amounts of dread and
excitement. The preparation has gone well, but dancers wonder if they have done
everything they can to be ready and are concerned that they will make a mistake.
Waiting backstage, hearing the audience taking their seats and the eager buzz of
anticipation, dancers are going through their last minute preparations and the nervous
tension is building around them, standing in costume and worrying that the body is
responding in the usual ways. The heart is beating faster and faster, butterflies in
stomach, sweat forming on brow, and muscles tightening in anticipation. Worries turn to
fear as the signal comes to move into position.
Fear better known as “stage fright,” affects millions of people. People feel fear in
a state of anticipation. But the exaggerated symptoms of stage fright can be a disaster
that lead to canceled performances, poor performances, and wrecked careers. They
include nervousness, trembling, sweating, blushing, dry mouth, rapid heartbeat,
breathlessness, diarrhea, and nausea (Woods, 2012).
However, repetition can help dull the effects of stage fright. People continually
exposed to public performances may become slightly immune to the crippling influence
of stage fright. This exposure can be increased simply by volunteering more often to
dance or making a point to address groups of people.
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Dancers recognized that some anxiety can be beneficial. As stress hormones
pour into the blood, preparing the body for “fight or flight,” they sharpen the senses.
Stress may provide an “edge” for a better performance. (Woods, 2012).
Fear or stage fright can offer some benefits to public performances. When
people are nervous about a presentation they often spend more time with preparations
and pay closer attention to rehearsals. Fear can also heighten the senses and make
reflexes sharper.
As cited by Holland (1985,) specific fears of objects and situations may result
from conditioning. People were not born afraid of spiders, blood or heights; these are
learned fears, acquired through a history of interaction with the environment and with
other people. Sometimes a single dramatic and unpleasant experience can condition fear
reactions.
Since fear is learned through a conditioning process, the same process can be
applied to unlearn fear. Many fears gradually subside with time, as the initially
frightening experience fails to recur. The idea is to pair the feared object or situation
with some pleasant emotion or reaction so that the fear reaction will be replaced by
enjoyment (Holland, 1985).
Remarkably enough, each person can condition fears through their own
imagination. It can imagine the fears right away. The process depends upon the ability
to relax while imagining whatever is frightening. It has been shown that if this is done
over and over, it can probably face in real life whatever that is frightening, and
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remained relaxed. The less fearful response transfers from your imagination to real life
(Holland, 1985).
Zajonc’s (1965) theory of social facilitation claims that the effects of performing
in front of other people can be explained as resulting from increased arousal. Their
findings strongly suggest that self-reports of nervousness and tension can be taken as
measures of arousal, therefore the number and status of people in the audience is a
predictor of stage fright, as well as a predictor of one’s level of performance. Zajonc also
noted that being around other people is physiologically arousing; their presence
increases heart rates, quickens breathing, and so on. Zajonc also recalled that well-
known finding that people who are aroused are more likely to exhibit dominant
responses- familiar, well-learned behaviors (Spence, 1956), thus reasoned that the
presence of others, by simply arousing us, should lead us to exhibit dominant responses.
Numerous studies supports this theory of social facilitation, which means the presence
of others indeed improves performance on well-mastered, simple tasks hinders
performance on unmastered, complex task (bond and titus, 1983; Guerin, 1993). Being
around other people is arousing, and when we are aroused, we are likely to behave in
well-learned, familiar ways. These dominant response tend to be correct for well-
mastered, “simple” tasks when others are around. In contrast, dominant responses tend
to incorrect unmastered “complex” tasks. Consequently, we tend to perform more poorly
on unmastered tasks when others are around.
This study was also anchored on Bandura’s, (1977) situationism theory under
social learning theory. This compromise is so important to social learning theory that is
impossible to fully understand it without understanding its solution to the problem of
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situational influences. People are influenced by situations, it’s true, but different
individuals are influenced by the same situations in different ways.
Figure 1 presents the paradigm of the study.
Trainers Stage Fright
Dancers Coping Mechanism
Figure 1. Stage fright and coping mechanisms of dance troupe members and trainers.
Statement of the Problem and the Hypothesis
This study was conducted to determine the stage fright and coping mechanisms
of dance troupe members and trainers in a State University in the academic year 2012-
2013.
Specifically this study sought answers to the following questions:
1. What is the degree of stage fright of dance troupe members and trainers in a
state university?
2. What are the coping mechanisms on stage fright of dance troupe members and
trainers in a state university?
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3. Is there a significant difference in the degree of stage fright of dance troupe
members and trainers in a state university?
4. Is there a significant difference in the coping mechanisms of dance troupe
members and trainers when in a state university?
5. Is there a significant relationship between the degree of stage fright and coping
mechanisms of dance troupe members and trainers in a state university?
The following hypotheses were tested in the study:
1. There is no significant difference in the degree of stage fright of dance troupe
members and trainers in a state university.
2. There is no significant difference in the coping mechanisms of dance troupe
members and trainers in a state university.
3. There is no significant relationship between the degree of stage fright and coping
mechanisms on dance troupe members and trainers in a state university.
Significance of the Study
The study was conducted to determine the stage fright and coping mechanisms
of dance troupe members and trainers in a state university during the academic year
2012-2013.
The findings of this study may benefit the following:
The Parents. That they may also be benefited by the findings of this study for
they will realize the vital role of the family and the home as an environment so powerful
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in influencing their children acquire positive attitude, knowledge and skills towards
dance performances on stage. The obtained information from the investigation would
assist the parents in providing their children adequate support in the different stage
performances when stage fright arises.
The dance troupe advisers/trainers. They can be guided with the factors
affecting the stage fright on stage performance. With the insights, knowledge and
understanding gained in the investigation, trainers/ advisers may be more aware of their
duties and responsibilities in helping the students acquire knowledge, develop desirable
attitudes towards stage fright and enhance skills by carrying out and implementing
various programs, and proper training of dance troupe toward better stage performance.
Dance troupe members. The findings of the study would help them to realize the
importance of self esteem, and attitude, in reaction with their performance on or off the
stage. Moreover this study will also allow them to manage stage fright and coping
mechanisms.
This would serve as a guide to the members of the dance troupe to help them
update their mental, emotional, social and physical aspects, skills and attitudes
necessary to ensure good stage performances.
Moreover the result of this study will motivate dancers to be enthusiastic,
manage stage fright and knowing how to cope with those frights when performing on
stage.
Researchers. From this study, the researcher will be familiar with the factors
affecting the knowledge attitude and skills of the dance troupe members towards stage
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fright, and later on, as an adviser can design trainings and programs intended to improve
stage performance of the dance troupe.
Other researchers will be able to derive a sense of direction for the conduct of
studies similar to this investigation. The literature, which is reviewed in this study, will
provide them with guidelines on how to determine the factors affecting the stage fright
and how to cope with it.
Finally, the findings of this research would be of great use to future researchers in
the field of dance in designing training programs that could result in affective and efficient
performance. The result of this study might also serve as a springboard for future
researchers on coping mechanisms.
Definition of Terms
For the purpose of clarity, and better understanding of this research, the
following terms were given their conceptual and operational definitions:
ASU. The Aklan State University (ASU) is considered as one of the institutions of
learning in Western Visayas (ASU Manual, 2003).
In this study, Aklan State University refers to the institution where the
respondents are enrolled.
Coping Mechanism. Coping mechanism is an adaptation to environments stress
that is based on conscious and unconscious choice and that enhances control over
behavior or gives psychological comfort (Hall and Lindsey, 1978 in Tomol, 2010).
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In this study coping mechanisms refers to how the respondents manage with
their stage fright.
Dance Troupe. Dance troupe or dance company is a group of dancers and
associated personnel who work together to perform dances as a spectacle
(http://www.wordaz.com/troupe.html, 2012).
In this study, dance troupe refers to the student organization from different
campuses of Aklan State University, namely Kiriwkiw dance troupe from Ibajay Campus,
Manduyog dance troupe from ASU-main campus, ASU-CIT dance troupe from Kalibo
Campus, DG-PESCAR from New Washington Campus.
Members. A person who belongs to a group or organization ( New Webster
Dictionary, 2004).
In this study, member refers to the dance troupe members which are earning
scholarship from the university, and serve as respondents of this study.
Trainer. Someone or something that trains as a one that educates or teaches:
one that coaches athletes: one that trains animals for performances, shows or
competitions. (Meriam Webster Third New International Dictionary, 1986)
In this study, trainer refers to the person who handles the dance troupe as
adviser and the one who checks the dance troupes output.
Stage Fright. also known as performance anxiety, is the most common type of
social phobia in which it means fear of being seen negatively by others and humiliated in
public (Tulio, 2008).
In this study, stage fright refers to the level of anxiety felt by the respondents before
and during the performances.
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State University. A university maintained and administered as part of the state
public educational system (Webster 3rd New Edition).
In this study, State University refers to A.S.U where respondents of this study
are enrolled.
Scope and Delimitation of the Study
This study aimed to ascertain the stage fright and coping mechanisms of dance
troupe members and trainers purposively selected in a State University. The study was
conducted this second semester school year 2012-2013. The respondents of the study
were the 40 randomly selected dance troupe members and 20 randomly selected
trainers. The investigation focused on the stage fright and coping mechanisms of dance
troupe members and trainers in a State University.
The Mean and rank were used for descriptive statistic and t-test and Pearson’s r
were used for inferential statistics.
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Chapter 2
Review of Related Literature
This chapter presents literature and brings out studies pertinent to the existing
investigation. This section consists of conceptual investigation. First part: Stage Fright
Part two: Dance Training. Part three: Coping Mechanism Skills.
Part One, Stage Fright, tackles about fear and anxiety in performing on stage.
Part Two, Dance Training, cites about disciplines and explains the importance of
training to improve the performance and skills of the dancers.
Part Three, Coping Mechanisms Skills, sets down the importance of coping
mechanisms to reduce stage fright of the dancers.
Part Four, Summary, summarizes the content of this chapter.
Stage Fright
Waiting backstage, the familiar symptoms return. The palms moisten, the
stomach becomes queasy, the heart beats harder and faster, breathing becomes
shallower, and the knees feel weak. "Here we go again," a performer thinks to itself,
disgusted that the cycle is seemingly beyond its control. Is it possible to overcome the
body's natural defense mechanism and to use the surge of adrenalin in a positive way to
enhance instead of hindering a performance. It just takes some understanding and
practice (Latham, 2012).
Stage fright or performance anxiety is the anxiety, fear, or persistent phobia
which may be aroused in an individual by the requirement to perform in front of an
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audience, whether actually or potentially (for example, when performing before
a camera). In the context of public speaking, this may precede or accompany
participation in any activity involving public self-presentation (Anshel 2008 in Jover and
Barro 2010).
In some cases stage fright may be a part of a larger pattern of social
phobia or social anxiety disorder, but many people experience stage fright without any
wider problems. Quite often, stage fright arises in a mere anticipation of a performance,
often a long time ahead. It has numerous manifestations: fluttering or pounding
heart, tremor in the hands and legs, sweaty hands, diarrhea, facial nerve tics, dry mouth
(Woods, 2012).
According to Cyphert (2005), when someone starts to feel the sensation of being
scared or nervous they start to experience anxiety. According to a Harvard Mental
Health Letter, "Anxiety usually has physical symptoms that may include a racing heart,
a dry mouth, a shaky voice, blushing, trembling, sweating, and nausea" (Beyond Shyness). It
triggers the body to activate its sympathetic nervous system. This process takes place
when the body releases adrenaline into the blood stream causing a chain of reactions to
occur. This bodily response is known as the "fight or flight" syndrome, a naturally
occurring process in the body done to protect itself from harm. “...The neck muscles
contract, bringing the head down and shoulders up, while the back muscles draw the
spine into a concave curve. This, in turn, pushes the pelvis forward and pulls
the genitals up, slumping the body into a classic fetal position". In trying to resist this
position, the body will begin to shake in places such as the legs and hands. Several
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other things happen besides this. Muscles in the body contract causing them to be tense
and ready to attack. Second, "blood vessels in the extremities constrict". This can leave
a person with the feeling of cold fingers, toes, nose, and ears. Constricted blood vessels
also gives the body extra blood flow to the vital organs.
In addition, those experiencing stage fright will have an increase in blood
pressure, which supplies the body with more nutrients and oxygen in response to the
"fight or flight" instincts. This, in return, causes the body to overheat and sweat.
Breathing will increase so that the body can obtain the desired amount of oxygen for the
muscles and organs. Pupils will dilate giving someone the inability to view any notes they
have in close proximity, however, long range vision is improved making the speaker
more aware of their audience's facial expressions and non verbal cues in response to the
speaker's performance. Lastly, the digestive system shuts down to prepare for producing
energy for an immediate emergency response. This can leave the body with the effects
of dry mouth, nausea, or butterflies (Cyphert, 2005).
Levels of Stage Fright
According to the article of Redman (2012), although most commonly associated
with actors in live theater, stage fright can happen to anyone who has to make a public
appearance, perform or speak before others. Stage fright can even hit someone who is
going in for a one-on-one interview. The term "stage fright" applies to all levels of
nervousness, from butterflies in the stomach to abject terror.
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Butterflies in the Stomach. The most minor of stage fright levels, the butterflies
in the stomach describe the nervous feeling that a performer gets just before the
performance. Some artists say this low level of anxiety is actually a positive, motivating
factor as it demonstrates they care about performing well. This stage is typically
characterized by worry over the performance and a restlessness that may lead to
pacing, tapping one's foot or wringing one's hands.
Knocking Knees. This more moderate level of stage fright begins to take on more
physical symptoms. The person suffering this level of stage fright may find himself
trembling, palms sweating, experiencing nausea, his heart rate increasing, and his knees
and legs getting weak. A musician might experience dry mouth. This level of stage fright
can often interfere with performances because of the physical effects. If not curbed at
this point, stage fright can grow into the later and more severe levels.
Anxiety Attack. The third level of stage fright is quite serious and can affect the
performance of the individual experiencing it and everyone around her. It is
characterized by panicky thoughts, a cold sweat, a severe headache, vomiting and an
inability to focus. A person suffering an anxiety attack may have difficulty breathing and
be unable to perform until the anxiety attack passes.
Frozen in Terror. The final stage of stage fright is that of abject terror. The
person is unable to move and often unable to speak. The performer may faint or simply
disassociate psychologically from his surroundings. This level of stage fright usually is
brought on by a severe phobia and may require psychological or medical intervention to
overcome.
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Anxiety
Anxiety is an emotional state in which people feel uneasy, apprehensive, or
fearful. People usually experience anxiety about events they cannot control or predict, or
about events that seem threatening or dangerous. For example, dancers performing on
stage feel anxious because they predict what would the audience may react to their
performance.
People often use the words “fear” and anxiety to describe the same thing. Fear
also describes a reaction to immediate danger characterized by a strong desire to
escape the situation. it is also an emotional state in which person feel uneasy,
apprehensive or fearful. One experience anxiety over events that cannot be controlled or
threatening, dangerous, or unpredictable.( Bulk, Encarta, 2006 in Peṅa, 2010).
Considering the multidimensional nature of anxiety, there are two different ways
to consider, a trait component and a state component. Cox in Apruebo (2005), in
Ramos (2007), made a clear cut distinction between a trait anxiety and state anxiety;
and cognitive anxiety and somatic anxiety. Both trait and state anxiety are viewed to
have cognitive and somatic components.
Trait anxiety. Is a disposition to perceive certain environmental situations as
threatening and to respond to this situation with increased state anxiety. For example, a
dancer or trainer with a high level of performance anxiety would respond to an actual
performance with a high level of performance anxiety.
State anxiety. Is an immediate emotional state that is characterized by
apprehension, fear, tension, and an increase in physiological arousal. For example a
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trainer watches the performance of his dancer will a feeling of tension, due lack of
practice of the dancers. Trainer have the fear on what would the reaction of the
spectators towards the performance of the dancers.
Cognitive anxiety. Is a mental component of anxiety caused by such things as
fear of negative social education, fear of failure, and loss of self esteem. For example,
dancers and trainers have the fear of making mistakes during the performance.
Somatic anxiety. Is the bodily component of anxiety that forms the perception of
such physiological responses as increased heart rate, respiration and muscle tension. For
example, Seeing that there are so many crowd waiting for the program to start, you
body feels tense and shaky while the program is about to start (Apruebo 1999, in Ramos
2007).
Performance Anxiety
According to Carbonell (2009), performance anxiety in its various forms is the
most common phobia in the United States. It's often called "stage fright", but it doesn't
have to involve a stage. Anyone whose activity brings them to the attention of an
audience, however large or small, can experience performance anxiety. I use the terms,
stage fright and performance anxiety, interchangeably. Performance Anxiety is most
commonly experienced as a fear of public speaking. However, people whose career or
other interests require them to take the "stage" for other purposes, i.e., actors,
musicians, athletes, etc., will experience stage fright as an impairment of their own
particular activity. A mime, for instance, can experience performance anxiety, looking
timid and arthritic, even though no speaking is involved. Performance Anxiety is very
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treatable. However, many people just suffer with it, with all the limitations and negative
emotions it imposes. They either don't realize help is available; they fear they can't be
helped; or they think it will be too hard. While everyone’s situation will vary in some
ways. There are four general ways in which people experience stage fright (Carbonell,
2009).
Some people go to great extremes to avoid any possibility of being “on stage”.
There are others whose performance anxiety is less extreme. They don't let the fear
dictate their major career and life choices. But they do strive to avoid the occasional
presentation at work, the wedding toast, and the leadership of a civic group. They
usually keep their fear a secret, and try to find ways around it. As a result, they never
feel secure. The problem hangs over their head for lengthy periods of their life, even
though they rarely actually give a presentation. If you belong to this group, you
probably suffer considerable anticipatory fear or same. Then there are those whose
professional success has led them to the necessity of public speaking, even though they
would rather avoid it: the attorneys, engineers, architects, authors, doctors, teachers
and others whose work has become so successful, so much in demand, that they are
increasingly requested and pressed to present their talents and knowledge before an
audience. If you belong to this group, you must either develop the ability to face an
audience or cut short the successful arc of your career. And finally, there are people
with a passion for creative expression. In this group we find performing artists,
musicians, singers, dancers, actors, comedians, professional speakers and athletes.
None of them are immune to performance anxiety. If you belong to this group and
develop stage fright, you face a dilemma which cannot be avoided. Your spirit urges you
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to seek out the audience, even as your body warns you to stand back and you must
choose. The good news is that performance anxiety is common and treatable. But in
order to overcome it, you must first understand how it works (Carbonell, 2009)..
Zajonc’s (1965) theory of social facilitation claims that the effects of performing
in front of other people can be explained as resulting from increased arousal. In Study
1, a laboratory experiment, performance apprehension increased as a function of
audience size and status, but decreased as a function of number of performers. In Study
2, a correlation field study, performers in a university Greek Week talent show who
appeared as members of large acts reported less nervousness and tension than
performers who appeared in small acts. Their findings strongly suggest that self-reports
of nervousness and tension can be taken as measures of arousal, therefore the number
and status of people in the audience is a predictor of stage fright, as well as a predictor
of one’s level of performance. Zajonc also noted that being around other people is
physiologically arousing; their presence increases our heart rates, quickens our
breathing, and so on Zajonc also recalled that well-known finding that people who are
aroused are more likely to exhibit dominant responses- familiar, well-learned behaviors
(Spence, 1956), thus reasoned that the presence of others, by simply arousing us,
should lead us to exhibit dominant responses. Numerous studies supports this theory of
social facilitation, which means the presence of others indeed improves performance on
well-mastered, simple tasks hinders performance on unmastered, complex task (bond
and titus, 1983; Guerin, 1993). Being around other people is arousing, and when we are
aroused, we are likely to behave in well-learned, familiar ways. These dominant
response tend to be correct for well-mastered, “simple” tasks when others are around.
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In contrast, dominant responses tend to incorrect unmastered “complex” tasks.
Consequently, we tend to perform more poorly on unmastered tasks when others are
around.
Dance Training
Dance is physically demanding and involves many styles of movement (Clippinger,
2007 in Puljanan, 2011). The vocabulary of dances requires tremendous
versatility, strength, range of motion, balance, neuromuscular coordination, and
kinesthetic awareness. To measure a successful performance is difficult. It is not simply
a matter of how high a dancer jumps or how fast a dancer runs, but rather includes
elusive qualities such as expressiveness, movement connectivity and phrasing, aesthetic
demands for specific body segment positioning, dynamic versatility, and stage presence.
This is to say that the dancer is an artist as well as a technician. However, the human
body is still the instrument of expression, and some basic anatomical and biomechanical
principles apply to optimal performance.
The Psychology of Dance
Trainers spend many hours each week working with dancers on their physical
and technical development. Other instructors and dancers may consider mental
preparation as important or more important that physical and technical training. Yet,
most instructors and dancers actually devote little time to the impact of psychological
issues on dance performance (J. Taylor, & C. Taylor, 1995 in Puljanan 2011).
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The positive change formula. A fundamental tenet of Psychology of Dance is
that dancers must produce positive change in themselves to perform their best. Change
of any sort, whether physical, technical, or mental, does not occur easily or
automatically. Lasting and meaningful change requires three steps. The first step is
awareness that is, dancers recognizing what they are currently doing and the need for
change to improve their performances. This step requires assisting dancers to
understand the strengths and weaknesses in their dance. The second step is taking
active steps to control what they want to change. In this phase they are provided with
information and skills to assist them in making changes they seek. Third, positive
change becomes ingrained through repetition. This step requires that dancers expend
the time and effort to master their positive changes. By using this three-step formula
throughout training, dancers can develop the performing attitude (J. Taylor, & C. Taylor,
1995 in Puljanan 2011).
The performing attitude pyramid. In making changes to perform their best,
dancers develop a sound foundation of skills that lead to the performing attitude. These
skills influence each other in a particular order that is called the performing attitude
pyramid. At the base of the pyramid is high motivation, which ensures dancers’ total
preparation. Preparation leads to high self-confidence and truly believing in their ability
to perform their very best. Self-confidence in turn leads to an ideal level of intensity as
dancers begin a performance. Ideal intensity then produces focused concentration
during performance. The pyramid’s apex is the development of the performing attitude
and the ability to perform at the highest level (J. Taylor, & C. Taylor, 1995 in Puljanan
2011).
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Developing performance attitude. Dancers of all ages and abilities can benefit
from learning to use psychological skills (J. Taylor, & C. Taylor, 1995 in Puljanan 2011).
It is never too early or too late for dancers to start developing sound psychological skills.
Just as dancers work on physical and technical skills at an early age to develop to a high
level, they can begin to master psychological ones as well. By teaching sound thinking,
emotional, and behavioral skills early in dancers’ careers, many potential difficulties can
be avoided. On the other hand, dance psychology is a relatively young field, so
established professionals who are motivated can also benefit from an introduction to
these ideas. The only true prerequisite for developing the performing attitude is a desire
or commitment to perform better.
When working with dancers to develop the performing attitude, consider the
commitment, time, and motivation they have. Serious dancers who have high
aspirations may be more willing to commit time and energy to a sophisticated, multi
faceted psychological program for enhanced performance (PPEP). Dancers can be
helped to design and implement highly structured and in-depth PPEPs that involve
participation both within and outside the studio. Younger and less motivated dancers
may not be willing to commit their time to get involved in a program. They should not
be asked to implement a PEP outside of the studio time. In fact, these dancers may not
even realize that they are practicing psychological skills in the studio (J. Taylor, & C.
Taylor, 1995 in Puljanan 2011).
Explaining the intangible. Unlike physical and technical skills, psychological skills
are not tangible. Some dancers may tend to undervalue the importance of what cannot
be seen, touched, or directly measured. Also, anything that has not been a regular part
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of their traditional dance training may be viewed auspiciously. They may have
misconception about psychology, such as it being hocus-pocus or something that will
mess up their heads. As a result, dancers may have to be convinced of the importance
of preparing psychologically for their importance.
Several approaches can be of help to educate dancers. Well-known dancers has
described the benefits of psychological preparation, and have them make presentations
to dancers. These anecdotal descriptions can make a powerful impression on young
dancers. Talking with dancers in a group setting about what enables them to dance well
or cause them to dance poorly is also an effective way to provide evidence. By simply
expressing their ideas about the effect of psychology on dance performance, many
dancers become aware of how influential psychological factors are (J. Taylor, & C.
Taylor, 1995 in Puljanan 2011).
Trainers are also significant role models to dancers, who are often looked up to,
determine what is important.
A learning process. Developing the performing attitude is a learning. It is best
not to force dancers to use these techniques, but allow them to grow naturally and
gradually. It is better to start off small and increase the level of PPEP than to try to do
too much too soon. An overload of information and responsibility will inhibit rather than
encourage, involvement. Instead, when the opportunity arises, situations where
psychological issues are affecting performance must be pointed out. Simple and fun
strategies may be incorporated into dance training without labeling them as
psychological techniques process (J. Taylor, & C. Taylor, 1995 in Puljanan 2011).
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Ideally, awareness and appreciation for psychological issues begin early in the
dancer’s careers. Convincing dancers of the importance of psychological skill training is
not necessary. They should view it simply as another part of dance training that will
enable them to perform their best. If dancers have not had this early experience, they
should be given accurate information that is meaningful to their dancing and that allows
them to make an informed decision about to what extent they participate in the
psychological preparation for dance (Puljanan, 2011).
Whole-Body Conditioning for the Artist
As cited by Franklin (2004), in Puljanan (2011), exercises are often based on
habit rather than on what is really useful for the individual dancer and his skill level.
Nevertheless, in most classes, dancers get very strong, mostly because they are talented
and the fine-tune their bodies to a level that is unheard of in most other movement
disciplines. In addition, many dance teachers have intuitively recognized the need for
more balanced training and have updated their classes by combining traditional
exercises with current conditioning trends. They recognize that a dancer’s specific
conditioning needs are not. Covered by flexibility and strength training alone. Dance
conditioning also needs to achieve a highly developed sense of balance, timing, rhythm,
and orientation in space as well as a measure of cardiovascular fitness.
Every exercise affects the whole body. Exercise will not just affect the muscle or
part being trained, but the whole body. When changes are noticed and felt on the whole
body. When changes are noticed and felt on the whole body, training becomes more
effective .
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All elements of conditioning are interrelated. Alignment, balance, flexibility,
strengthening, and cardio respiratory endurance are interrelated (Franklin, 2004).
Change in one element will affect all the other, just a change in one joint influence all
the other joints.
State of the mind influences the effect of an exercise. The same exercise
performed with a different awareness-a different mental image-has a different effect on
the body. If, while doing stretching exercises, upcoming audition is worried, for
example, it will be difficult to relax enough to make the stretch effective. Calm breathing
is a key to effective, stretching, and a relax state of mind creates calm breathing.
Mental Presence and concentration. Mental presence and concentration are the
solid foundation of mind-body training. Being present in movement means experiencing
the moment-to-moment changes in shapes and dynamics in every part of the body.
During the whole exercise. The desire to be present in the movement helps to create a
more efficient movement. Because of the improvement in concentration and focus, there
is an increasing the awareness of the sensory feedback mechanisms of the nervous
system that leads to greater motor control. Though patterns are influenced by the
physical structures identified with. Stress, for example, is identified with certain state of
alertness in the nervous and endocrine systems. Similarly, every thought that crosses
the mind during exercise becomes a part of the overall mix of mental training. So every
thought can influence the result of exercise. Exercising is an ongoing dialogue between
mind and body. This communication can manifest itself through sensation, feeling or
imagery (Franklin, 2004).
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Every human being has the capacity to create dances that are meaningful
personal and important (Schrader, 1996 in Yecla, 2008). Learning about dance and
learning to dance can be approached from different angles. This may be in the form of
training from a single teacher without researching other styles, watching and following
dance steps as shown in the video recording or reading about dance and is related
information. Advanced three different approaches in the teaching of dances.
Approaches in Teaching Dance
The right-dive-in approach. This is usually the one used to pass down folk
dances, including the dances and individual performs and passed on friends. These are
studios that teach social dances, such as jitterbug, the mambo or the foxtrot, but the
contemporary dances are learned by doing, no-reading, no writing and special classes.
One performs the dance, and another dancer dive right in to follow what is being
performed. One normally finds this approach used in dances that have limited
movement vocabularies, or a limited selection of basic steps. Line dance for instance, is
based on eight to twelve basic steps that dancers modify according to their individual
styles. This type of dance is done for recreation and social purposes than for concert
performance. Although there that some dancers are attracted to the resources of the
creative movement approach to dance. Creative movement approach assumes no
previous dance training encourages innovation, and is an approach which honors the
experience and resources of individuals at whatever stage they arrive. However, dancers
must be careful not to get too comfortable with one mode of creating and moving if this
familiarity continues, everything a dancer creates will be very similar. Instead, structure
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push themselves to generate new solutions and refine these movements (Schrader,
1996 in Yecla, 2008).
The technical approach. Traditionally, learning about dance and learning to
dance require one to be a copycat. Dance choreographers call this the technical
approach because one copies a dance technique that has been identified and valued as
worthwhile for training. The technical approach to learning dance celebrates the history
and traditions of true-honored training-methods; it is devoted, to inventing new
movements, but not accurately repeating a syllabus of movements that has been
recognized as a style distinct from other methods. It is the dancer’s responsibility to
master the nuances of movement necessary to continue the historical tradition. To
achieve this goal, rigorously repeating specific movement patterns as strictly physical
skills is a must. Although a teacher might offer an image to help a student or class
understands a movement patterns as closely as possible to the way they have been
demonstrated. In many situations some aspect of the right-dive-in, creative movement
technical approaches will add variety to the learning process. A dance trainer works, it is
important to bear in mind that whatever style one is interested in pursuing, the dances
has a tradition and a history. Even the newest dance craze has its roots in some
movement in the history of dance. Reading and talking about that history are valuable
to a complete understanding of the art form, but most critical source of knowledge will
come from moving, doing and dancing.
These five fundamental movements are integrated whether a dance trainer
wants to break old habits, learns old pattern, or creates new ones. These include action
of the spine, locomotor, functional alignment and moving from the center (Schrader,
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1996, in Yecla 2008). Schrader also emphasizes that the spine can perform three
actions; bend twist or extend and these three actions are useful as either a strategy to
copy other people’s movement (as used in the right-dive-in approach) or applying the
three movement for creative effort (if a dancer trainer would like to make movement
patterns more visually interesting).
It is important that a dancer moves in the most balanced, relaxed manner. As a
dancer moves in different tempo, space and intensity, his/her dance, movement, the
joints are protected and that flexibility and strengths are most easily stressed.
Style. In dance, style is a product of an individual dancer and trainer’s effort and
essence. Style is a product of training. It is a product of integrating patterns, skills,
sensations and emotions and individual dance trainer confronts or invites. Regardless of
the approach employed by a dance trainer to dance, as a dance trainer, one’s effort to
become proficient will involve three processes; training, exploring and forming.
Integrating these three process will help dance trainer develop his/ her own style in
teaching dance.
In dance training, using Alexander Technique, Batson (2001) found out that the
dancer’s movement becomes freer when one focus on sensing the changing relationship
of the moving body not only on position or step option. Training is important if one
wants to achieve mastery in particular skills, but he must bear in mind that all of the
skills that are available to pursue through work in dance should be explored
(Schrader, 1996 in Yecla, 2008) classifies styles into three categories.
Training. To achieve mastery in particular skill, specifically those in dance,
training is important. Physical, emotional, social and spiritual growth is all part of
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learning to dance as well as learning about dance. Through physical training, the human
body which is the instrument for dance will have the possibility to physically realize a
great diversity of movement. Rigorous physical training is not a prerequisite be able to
enjoy dance or choreograph a dance, but an awareness and acceptance of the body’s
strengths and limits. Training involves observation, not only observing the dance
teacher, or other dancers, out watching other people as well who are considered the
best in their craft (Yecla, 2008). Porras (2003) also cited that to learn to dance well, one
must undergo training. As it is, Training is important if one wants to achieve mastery of
particular skills.
Exploration. In dance, exploration may mean repeating a movement pattern and
as one keeps on repeating the movement pattern, the dancer may explore by reaching a
little further from what the previous movement was. Exploration may mean also as
paying with tension one is working with or exploring the possibility of other forces aside
from what is currently employed. Exploration might mean that, given creative flexibility,
a dancer explore what is like to move more quickly than what is normally employed, as
well as taking the risk of succeeding or not in the movement executed.
Forming. Any artistic pursuit involves forming. While involved in dance without
prior exposure, a dancer will find that he/she starts from forming patterns and
sequences that have physical, social, emotional, and spiritual significance. Forming may
also come from training as well as exploration for the sake of an individual dancer’s
satisfaction which is the springboard of the art of dance.
Memory, Forgetting and Thinking. A considerable amount of learning is acquired
as the result of the human information processing- his memory and/or thinking ability.
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He is likely to search for information that serves as a basis for understanding,
communication and judgment. Conversely, a gradual decay of information would resort
in forgetting.
Memory
According to Paclibar (2011), to become a competitive dancer, one must master
the basic step before moving on to more advanced movers. Proper technique is the
foundation of every movement. Dancing requires techniques, or skills in executing
movement. A technical proficient dancer has complete control over the muscle of his
body. One must remember that transition are just as important as the big “wow” moves.
We all like to think that our brains can handle a lot of information at once. We're
good at what we do, we don't shy away from challenges, and we struggle with the
ability to tell someone no, I simply can't do that. The fact of the matter is (and I can
admit it, because it's happen to me) that sometimes our brains get overloaded with
information and we forget simple things like picking up bread on the way home or that
report that was due three hours ago. Being reminded of tasks that are due makes you
look cool and important. It also makes you feel motivated because being reminded of
something will make you want to tackle that task head on. It also prevents from having
to go back out once getting home from practice or rehearsal. Reminders help you keep
track of when tasks are due. Sometimes trainers will give deadlines on things and have
to be sure that it is accomplished by then. Reminders are a perfect solution (Gibson,
2011).
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Apruebo (2007) maintained the term memory as a total recall of prior learning
experiences. The retention of information over time is processed via encoding, storage,
and retrieval (Smith et al., 2003 and Feldman, 2002). Whatever has been learned
cannot be retrieved unless it is stored in memory, and the process of retrieval required
would depend on the information processing.
Warwick (2004) defined forgetting as the inability to retrieve information from
the memory due to a problem with encoding, storage, or retrieval. It suggests that
something has lost from memory, or memory is not accessible in a given time with
which it requires the proper clues. Santrock (2000), Coon (1998), and Myers (1995)
considered thinking as cognition as cognition as mentally processing information that
involves developing concepts, solving problems, making, decisions, and forming
judgment. The fundamental process that lead to thinking or cognition are sensation,
perception, ideation or conceptualization, problem solving and decision making.
Three-Stage Memory Model
Sensory Memory. The shortest memory that contains information from the
environment captured by the sense organs. Two type of Sensory memory: Iconic
memory, memory of information from vision, and Echoic Memory, memory of
information from audition. If information does not pass to short-term memory, it is
ceased for good. For instance, iconic memory seems to last less than a second, although
if the initial stimulus is very bright, the image might last a little longer. Echoic memory
typically fades within two or three seconds. Despite brief duration of sensory memory,
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its precision is high. Sensory memory can store an almost exact replica of each stimulus
to which it is exposed.
Short-Term Memory (STM). It is the memory store with which information first
has meaning, although the maximum length of retention is relatively short. In other
words, a memory has incomplete representational capabilities.
Rehearsal. The repetition of information has entered in short-term memory. It
enables a person to transfer the information into long term memory. Whether the
transfer is made from short to long term memory, it would seem to depend largely on
the kind of rehearsal that is carried out.
Elaborative rehearsal occurs when the information is considered and organized in
some fashion. The organization might include expanding the information to make it
match into a logical framework, connecting with another memory, turning it into an
image, or transforming it in some other way; Mnemonics. An organizational strategies
employed so that to improve the retention of information. They are formal techniques
for organizing information in a way that makes it more likely to be remembered;
Working Memory. An active “workspace” with which information is retrieved and
manipulated, and with which information is held via rehearsal. Working memory allows a
person to shortly maintain information in an active state so that he/she can do
something with the information. It has a central executive processor involving in
reasoning and decision making. It coordinates the two distinct storage-and-rehearsal
systems.
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Visual store. Concerning with visual and spatial information.
Verbal Store. Responsible for holding and manipulating material relating to
speech, words, and numbers.
Long-Term Memory (LTM). This memory retains information in a relative
extended period of time. There is a possibility of forgetting within a few minutes after
the information would reach long term storage. But it is normal for data in long term
storage to stay for days, weeks, months, or even years (Apruebo, 2007).
Smith et al (2003) elaborated long term memory LMT as the large repository of
information and is maintained all information available. LTM has three major
characteristics; It enters information via various kinds of elaborative processes from
short term store; it has size of long term that is unlimited; its information is acquired
from long term store via the process of retrieval and placed back into short term store,
where it can be manipulated and used to carry the task at hand.
Imagery
One way of the dance trainers to remind their dancers of the dance steps before
performing is by the use of imagery. In which imagery defines as using one’s senses to
re-create or create an experience in the mind. Research indicates that when individuals
engage in vivid imagery, their brains interprete, these images as identical to the actual
stimulus situation (Jeannerod, 1994 in Williams 2010.)
Through imagery we are able to re-create as well as to create experiences in our
mind. We can also use imagery to create new experiences in our minds. Although
imagery is essentially a product of memory, our brain is able to put the pieces of the
internal picture together in different ways. Using imagery immediately before
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performance can help dancers to perform better. Often, imagery is used just prior to
performing “psych up”, calm down, or focus on relevant aspects of task. It is also shown
that imagery is an effective part on one’s performance routines, in which involves a
planned sequence of thoughts and behaviours that lead to automatic performance
execution (Lidor and Singer, 2003 in Williams 2010).
Physical Preparation
According to Yecla (2008), to achieve mastery in a particular skill, especially
those in dance, training is important. Through physical training, the human body which
is the instrument for dance will have the possibility to physically realize a great diversity
of movement. Rigorous physical training is not a prerequisite to be able to enjoy dance
or choreograph a dance, but an awareness and acceptance of the body’s strengths and
limits. Physical training is crucial to competitive dance. Dance is a hard work, and peak
physical fitness will be one of the keys to success. Dance classes, practice, and
rehearsals are big part of keeping in top performance shape. Many believe that dancers
should start with a good foundation in classical technique before selecting a particular
style. Training varies with the type of dance. Training routine should place top focus on
honing the skills in executing the specific dances competition requires. During practice,
one must use technology like video to catch mistakes the quickest way. He/she should
watch the video and identify the need to work on and be the toughest critic of oneself.
Getting input from others is important and it should also be remembered to point out
what went well, and boost each other’s egos to build on success as well as correcting
failure.
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Muscle Memory. When doing a movement enough times, eventually muscle get
so familiar with it that able to do the movement without conscious thought. Brain and
body have an amazing capacity to “remember” movement patterns, Pathways, and
relationships. This is called “muscle memory” (sometimes referred to as motor memory).
Muscle memory is very important in dance, because the body has to be able to perform
complicated motions without taking the time to think about them. When the muscle
memory kicks in, one would be able to hear a certain phrase in the music and perform
the correct movement without needing the brain to consciously tell the body to do it.
Like all skills however, muscle memory seems to be learned and improved through
practice and experience. First thing to do is to repeat the movements learned enough
times to fix them in the muscle memory. Doing enough repetitions, the memory of the
movement will become strong enough to avoid the memory decline known as the
‘forgetting curve’. Second, using correct technique and alignment when doing the
repetitions will make muscles remember how to do the movement the right way, not the
wrong way.
Taking care of the body. The total physical well- being affects how the performer
presents oneself in performance. Paying high-quality attention to the body’s basic needs
is important. Eating sensible, balanced meals and not overeat. Eating several small
meals during the day is better than eating two/three large heavy meals. Drinking plenty
of water and getting lots of rest must be a priority. During training and rehearsal, proper
techniques must be used in order to prevent injury. Hot-and cold treatment should be
used and ice should be applied to key muscle groups. Then the whole body is plunged
into steaming hot water (2 minutes of icing, then 30 seconds of heat). The ice constricts
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the blood vessels, and the immediate application of heat hyper-dilates those. The
process decreases inflammation and clears toxins from the body while triggering the
release of melatonin, the body’s natural sleep-inducing hormone. Applying this simple
treatment the night before competition could help keep the muscles in peak
performance condition and help get the restful sleep needed.
Mental Preparation. By this very nature, competition creates mental stress. To be
relaxed is to be ready for the competition. Quality time and hardwork to practice until
completely ready will dissolve the stress away. One should practice fixing the
movements into the muscle memory for as long as they are needed. Practice makes
permanent, and there is no substitute for it. Mind directs actions; that thoughts precede
actions. Mental preparation can help dancers and a choreographer overcomes
distractions, fears, negative thoughts, poor motivation and so on. To deftly handle
performance, mental preparation is the key. Warming-up before rehearsal or
performance does not longer mean physical warm-up but should involve thought
processes, mind set and emotional state of mind too.
Confidence. The level of confidence reflects the belief in ones self-worth.
Exposure to different levels of competition helps confidence grow. Dance by definition
builds confidence because it requires coordinated movement that engages body. The
mind and the emotions all at once. Dance challenges people to move in a way that
draws judgment from others. Once they can let go of their fears about how others will
view them, their movements become freer and more expressive. It is important not to
tie success solely to winning. Few competitors win their very first competition. Yet, it is
important to measure the success by how much the skills improved, how much
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recognition and reputation have increased and by how the audience responds to the
performance. A competition must learn from the failures, and keep trying.
Practice Consideration. Often considered the single most important factor in the
control of learning is practice. In general, the greater the number of practice trials, the
better the learning. Current knowledge suggests that the necessary conditions for
reaching international-level performance in many different domains is at least 10 years
of effortful practice under optimal training conditions ( Ericsson, 1996,2003; Ericsson et
al., 1993).
Feedback. Chen (2001) suggests that feedback is the most critical form of
guidance that a trainer can provide to the dancer. After all, if people do not know how
they are doing, there is no reason for them to change their behavior. Furthermore, if they
arbitrarily make a change, there is no assurance that it will be in the right direction.
Feedback as reinforcement or punishment. Reinforcement is any event that
increases the likelihood that a specific action will occur again under similar
circumstances. Punishment is just the opposite; it is any event that decreases the
likelihood that a specific action will occur again. The reinforcing and punishing properties
of feedback operate according to Thorndike’s (1972) empirical law of effect, which
essentially says that actions followed by rewarding consequences tend to be repeated,
whereas actions followed by unpleasant, or punishing, consequences tent not to be
repeated.
Negative Side Effects of Punishments. There is clear evidence that punishment
and criticism can decrease unwanted behaviors. Unfortunately, the evidence is equally
compelling that punishment has certain undesirable side effects that can actually
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interfere with what a coach is trying to accomplish (Maag, 2003). First, punishment
works by arousing fear. If used excessively, punishment promotes the development of
fear of failure, and this is undoubtedly the least desirable form of motivation. If it
becomes the predominant motive for performance, it not only decrease enjoyment of
the activity but also increases the likelihood of failure. The second form of punishment,
response cost, involves depriving people of something they value. This form of
punishment has two distinct advantages over aversive punishment. First, even through
response cost may arouse temporary frustration or anger, it does not create the kind of
fear that aversive punishment does (Safrino, 2004). It is therefore less likely to cause
avoidance of the punisher or the punishing situation, and it may actually increase
the attractiveness of the withdrawn reinforce (which can then be used to reinforce
desired alternative behaviors). Second, the punisher is not modeling abusive aggression,
so there is less opportunity for learning aggression through imitation. For these reasons,
the response cost procedure is a preferred alternative to aversive punishment. In using
such punishment, it is useful to verbalize the contingency in a matter of fact fashion,
without expressing anger, for example, “ I don’t like to do this, but because you were
late for practice, it automatically means you get no performance after this”.
The Positive Alternative. Fortunately, there is an alternative to the negative
approach. As a means of influencing behavior, it can accomplish everything aversive
control does and much more-without the harmful side effects. The positive approach is
aimed at strengthening desired behaviors through the use of encouragement, positive
reinforcement, and sound technical instruction carried out within a supportive
atmosphere. From this point of view the best way to eliminate mistakes is not to try to
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stamp them out with punishment but to strengthen the correct or desired behaviors.
The motivational force at work here is a positive desire to achieve rather than a negative
fear of failure. Mistakes are seen not as totally negative occurrence but as, in the words
of John Wooden, “stepping stones to achievement” that provide the information needed
to improve performance
Positive Reinforcement: Getting Good Things to Happen. As noted earlier,
positive reinforcement is any consequence that increases the likelihood of a behavior
that it follows. For our present purposes, positive reinforcement can be viewed as
related to the more familiar concept of “reward,” as long as we keep in mind that a
consequence that may be rewarding from the perspective of one person may not
function as a reinforce for another person who is not motivated by the consequence.
Reinforcement can take many possible forms: verbal compliments, smiles or other
nonverbal behaviors that convey approval, increased privileges, awards, and so on.
During the initial stages of training, reinforcement is best given on a continuous
schedule. Once a behavior is learned, however, reinforcement should be shifted to a
partial schedule. Research has shown that behaviors reinforced on partial schedules
persist much longer in the absence of reinforcement than do those that have been
reinforced only on a continuous schedule (Skinner, 1969). Thus the key principle in
using schedules is to start with continuous reinforcement until the behavior is mastered,
then to shift gradually to partial reinforcement to maintain a high level of motivation and
performance (Martin and Pear, 2007).
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Motivation
The term motivation is derived from the Latin “movere,” meaning to move out. An
impulse leads to a directed action towards a goal. Apruebo (2006), Kasschau (2003),
and Lefton and Brannon (2003) maintained the definition of motivation as a condition
that innate, activates/energizes, or maintains a behavior and directs a goal. The
motivation process regulates a person to satisfy the need and drives him/her to action
towards the directed goal. It can be simplified in terms of existing need, taking action,
and achieve goal.
An internal condition with which it cannot be directly observed, but it can transform
into biological needs, drives or complex desires, such as the desire to help others, the
need for acceptance or the tendency for higher pay. Internal condition can be inferred to
external behaviors via goals, requires the individual to initiate, activate, energize, or
maintain his/her behavior. For example, a person wants to make good grades in college,
he/she would require to maintain class attendance, studying, and good test-taking
behaviors thus, motivation would generate a behavior of satisfied and
directed goal. In other words, a person initiates with a certain need to satisfy that
moves him to action in order to reach goal.
As a whole, motivation seems endless. People are motivated to satisfy the need
for food, air and water. They seek for pleasures. They look for affection, acceptance,
and affiliation. Others are motivated for money, praise, prestige, or power. The cycle of
motivation follows a three-part repetitive chain. (1) A need creates a drive; (2) Operant
responses (actions) are made as attempts to reached, relief from the motive condition
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follows. Often the relief is only temporary and the cycle begins again (Wittig and
Sinnett, 2002).
Wittig and Sinnett (2002) pointed out two major types of motives: Primary,
Unlearned, or Survival Motives. Motives are satisfied in order for an organism to
continue to live. The body processes that operate to satisfy unlearned motives as
automatic. The body regulates itself to maintain an internal physiological balance called
homeostasis. And the second motive is the Secondary, Learned, or Social Motives.
Motives are developed from social interactions. For example, the need for achievement,
it likely develops because of the social approval of success, or the punishment of failure;
the need for dominance or power, it is satisfied by being able to direct others’ behaviors
via persuasion, suggestion, command, or other means; the need for affiliation with
others via friendship or group membership; the need for dependency, or reliance on
others; and the need to relieve anxiety may serve as a motive condition, causing a
person to seek responses that will reduce anxiety, rather than seeking something
positive, an anxious person is motivated to get away from something negative.
Source of Motivation
Source of Motivation has four major categories as enumerated (cited in
Bernstein, et al, 2000),
Biological Factors. Basic need for food, water, oxygen, sex, shelter, temperature
regulation, and rest.
Emotional Factors. Panic, fear, anger, love, and hatred can be a risk to behavior
emanating from selfish giving to brutal murder. Emotions set priorities about what to do
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in any particular time. A person maybe motivated to eat, even moving toward food, but
a threatening noise in next room will changed that motivated behavior to another very
quickly (Lefton and Brannon, 2003).
Cognitive Factors. People often behave in a certain way because of their
perception of the world, their beliefs about what they can do, and their expectations
about how others will respond.
Social Factors. People as social beings are influenced by their motives to form
social attachments from reactions to parents, teachers, siblings, friends, peers, and
other social forces.
Importance of Motivation
Woodman (1992) in Tendencia, (1996) for instance, consider motivation as
representing the forces acting or within the person that causes a person to behave in a
specific goal-directed manner.
In the view of Robbins (1993) in Yotoko (2003), motivation is the person’s
willingness to exert high level of effort toward certain goals, condition by the efforts
ability to satisfy some individual needs Maslow (1970), in a similar context, considers
motivation as the condition responsible for the variations in the intensity, quality and
direction of ongoing behavior. Most motivation theorist assume that motivation is
involved in the performance of all learned responses; that is, a learned behavior will not
occur unless it is energized. The major question among psychologists, in general, is
whether motivation is a primary or secondary influence on behavior, that is change in
behavior better explained by principles of environment, ecological influences,
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perception, memory, cognitive development, emotion, explanatory style, or personality
or concepts unique to motivation more pertinent. A person’s behavioral tendency to
perform in activities is determined by at least of four variables, (a) availability, (b)
expectancy, (c) incentives, and (d) motives (Tendencia, 1996 in Yotoko, 2003).
Theories of Motivation
Instinct Theory. Kasschau (2003) in Apruebo (2007) instincts as the natural or
inherited tendencies of organism to make a specific response to certain environmental
stimuli without involving reason. Instincts had become meaningless labels that described
behavior without explaining it. For example, a person sings because of a singing instinct,
or dance because o dancing instinct. Since instincts do not explain behavior, but rather
they simply label behavior, Kasschau (2003) and Bernstein, et al (2000) described these
instinctual behaviors as fixed-action patterns with which they are unlearned, genetically
coded responses to specific “releaser” stimuli.
Drive Theory or Drive Reduction Theory. An explanation of behavior that
assumes that an organism is motivated to act because of a need to attain, re-
establishes, or maintains some goal. Stimuli such as hunger, thirst, and pain energize
and initiate such behavior.
Conflict. The possibility that a person can experience drives in both inward and
outward from certain goals can result in conflict. Conflict is the state or condition that
arises when a person must take a choice about two or more competing motives,
behaviors, or impulses.
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Aurosal Theory. Arousal is the activation of the central nervous system, and the
muscle and glands. Humans are motivated to maintain a comfortable level of arousal. If
they are under stimulated, they act to increase their arousal. If they are over stimulated,
they act to bring their level of arousal down. Organisms seek to maintain optimal levels
of arousal by actively varying their exposure to sensory stimuli.
Yerkes-Dodson Law (Lefton, and Brannon, 2003 in Apruebo, 2007 ) states that
performance is best when stimulation or arousal is intermediate. If arousal is too low,
performance suffers. Increasing the arousal level increases performance, but only up to
a point. When arousal reaches some optimal level, further increases lead to a decrease
in performance. For example a dancer may feel somewhat anxious just before the
performance. Such anxiety may be beneficial helping a dancer to concentrate on the
task at hand. Too much anxiety, however, will impair performance, making
concentration more difficult.
Cognitive Theory
Cognitive psychologists seek to explain cognitive processes underlying why people
behave as they do. Thus, Kasschau (2003) and Sternberg (2000) described motivation
as being either intrinsic or extrinsic.
Intrinsic Motivation means the reward that comes from within the individual,
such as the desire to satisfy curiosity such as engaging in activities because they are
personally rewarding or because they fulfill such beliefs and expectations. For example
spending long hours dancing because the person wishes to perform well, a person does
something because he enjoys doing it.
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Extrinsic Motivation is the rewards that come from outside the individual, such as
offers of money or treats of punishments. Engaging in activities that either reduce
biological needs or help person obtain external incentives. For example, spending long
hours dancing because the parents want their daughter to excel in dance. A person does
something because someone rewards or threatens her. Extrinsic motivation is associated
with reinforcement and punishment (Sternberg, 2000 in Apruebo, 2007).
Incentive Theory. Emphasizing the role of environmental stimuli that can motivate
behavior by pulling people toward them or pushing people away from them. Incentive is
the object that people seek or the result people are trying to achieve via motivated
behavior. Kasschau (2003) referred incentives as reinforces, goals, and rewards. While
drives push people to reduce needs incentives pull people to obtain them. People act to
obtain positive incentives and avoid negative incentives. Variations in behavior from one
person to another, or from one situation to another can be traced to the incentives
available and the value a person places on them at the time. Also, the value of an
incentive is influenced by biological as well as cognitive factors. The cognitive
expectations of humans also guide such behavior (Berstein, 2000 in Apruebo, 2007).
Humanistic Theory
Abraham H. Maslow (1908-1970), a famous humanistic theorist, who assumed that
people are a unique balance between biological and social needs and integrates many of
the motivational concepts. Maslow believed that people are naturally motivated toward
self-actualization, the highest level of psychological development, after basic needs for
food and security are fulfilled thus forming a hierarchy of needs.
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Physiological needs. These are biological needs. They consist of needs for oxygen,
food, water, and relatively constant body temperature. They are the strongest needs
because if a person is deprived of all needs, the physiological ones would come first in
the person’s search for satisfaction.
Safety Needs. When all physiological needs are satisfied and are no longer
controlling thoughts and behaviors, the needs for security can become active. Adults
have little awareness of their security needs except in times of emergency or periods of
disorganization in the social structure (such as rioting). Children often display the signs
of insecurity and the need to be safe.
Needs of Love, Affection and Belongingness. When the needs of safety and for
physiological well-being are satisfied, the next class of needs of love, affection and
belongingness can emerge. Maslow states that people seek to overcome feelings of
loneliness and aliation. This involves both giving and receiving love, affection and the
sense of belonging;
Needs for Esteem. When the first three classes of needs are satisfied, the needs for
esteem can become dominant. These involve needs for both self-esteem and for the
esteem a person gets from others. Humans have a need for a stable, firmly based, high
level of self-respect, and respect from others. When these needs are satisfied, the
person feels self- confident and valuable as a person in the world. When these needs
are frustrated, the person feels inferior, weak helpless and worthless;
Needs for Self-Actualization. When all of the foregoing needs are satisfied, then and
only then are the needs for self-actualization activated. Maslow describes self-
actualization as person’s need to be and do that which the person was “born to do.” “ A
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musician must make music, an artist must paint, and a poet must write.” These needs
make themselves felt in signs of restlessness. The person feels on the edge, tense,
lacking something, in short, restless. If a person is hungry, unsafe, not loved or
accepted, or lacking self-esteem, it is very easy to know what the person wants when
there is a need for self-actualization. Maslow explained that people will be frustrated if
they are unable to fully use their talents or pursue their true interest (Maslow’s, 1954).
According to Puljanan (2011), the dancer with formal dance training had
significantly better performance than those subjects without formal dance training.
Puljanan (2011) affirmed that formal dance training hones every bit of a dancer.
Furthermore, exposure to different activities could be considered as contributing factor,
knowing that the group is composed of dance enthusiast. Since these patterns of
movements are also basic dance transitions, during the training, they are already guided
by the techniques in order to create precise actions and smooth transitions. So when
told to perform at anytime they can easily recall the techniques from the back of their
mind and execute these with ease, grace, poise, and efficacy.
Thorndike’s Law of exercise which states that, those things most often repeated
are best remembered. Dancers often learn best and retain information longer when they
have meaningful practice and repetition in dance classes and trainings. It is clear that
practice leads to improvement only when it is followed by positive feedback. Feedbacks
are usually given after a pattern of movement is performed so as to give the dancer
time to analyze and apply what his trainer told him to correct and improve.
Adam’s closed-loop theory of learning (Shumway-Cook and Woollacott, 2001)
stressing that for retaining motor skill, it is essential to practice the same exact
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movement repeatedly to one accurate end point. The more time spent in practicing the
movement as accurately as possible, the better the learning.
In dance training, dancers are given the same exact patterns of movement
every session just to make sure thay every single part of the movement is mastered
with accuracy. These patterns of movement, just like ballet, when given enough time to
practice the technique could result the better learning (Puljanan, 2011).
Franklin (2004) in Puljanan (2011), cited that in dance training dancers do not
just need trainings in flexibility and strength, but also in balance, timing, rhythm, and
orientation in space as well as cardiovascular fitness. Trainers cannot just go directly
into those training without correcting the mode of doing the action first. Sometimes,
choreographers, prior to dance choreography, do not give an adverse effect to the
dancers who will have a hard time in learning and even executing the movement since
there are no conditioning activities done before.
Coping Mechanism
Coping mechanism is an adaptation to environmental stress that is based on
conscious and unconscious choice and that enhances control over behavior or gives
psychological comfort (Hall and Lindsey, 1978 in Tomol, 2010).
All species have developed means and mechanism to adapt to the life conditions
which confront them. Since adaptation is the very essence of life, it is not strange that
man, the most highly developed specie, has evolved not only anatomical adjustments
which protect him structurally or physiologically in respect to his environment, but also
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psychological devices which assist him in dealing with emotional needs and stress (Kolb,
1997, in Tomol 2010).
The following are commonly used coping mechanism as described by and
Coleman, et. Al. (1980 and Comer, 1998 as cited by Tomol, 2010).
According to Fabela (1998) in Urbano (2002) and Siason (2005), constant coping
is life by ward. To maintain it means to cope with the many complicated aspects of
modern living. When threatened by external events or negative feedback, people must
defend their sense of who and what they are. This suggests contending with stress or
using coping mechanism.
Wade and Travis (1996) in Siason (2005), cited that, coping is not a single
strategy that applies to all circumstances; people cope differently with hassles, losses,
dangers and challenges. The techniques they use change over time and the particular
situation. These techniques fall into three categories;
Solving the problem. Involves critical thinking and finding creative and
constructive ways of solving the problem, considering alternatives and resisting
emotional reasoning.
Rethinking the problem. Reappraising the situation to find meaning in the
experience, comparing oneself to others with the problem, finding the right balance
between vigilance and distraction in attending the problem and seeing the humor in the
situation.
Learning to live with the problem. Reducing the physical effects of stress through
relaxation, meditation, or exercise. The first deals with the stressor, the second involve
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the person’s interpretation of the stressor, and the third addresses physical effects of
stress.
One possible solution to performance anxiety could be that of reducing the
significance of the other person(s). While experiencing performance anxiety, we often
invest the others with imagined power, especially in their ability of to affect us through
their evaluation of our performance. Ways to reduce this imagined power is to increase
the sense of one’s own power, to perceive the vulnerability of others and to accept
oneself. Another possible solution to performance anxiety would be to eliminate the
imagination of negative possibilities. A negative outcome is always possible, but that
does not justify worrying about it before it occurs. Focusing one’s attention on the
present, rather than the future, is much more productive. A way to do this is monitoring
our own performance. A third solution to performance anxiety is holding the
performance in perspective by seeing its outcome as insignificant in relation to the
totality of one’s life. By realizing that nothing catastrophic is likely to occur, the need to
avoid failure may decrease and switch to a more positive goal. An example of a positive
goal would be to provide others with pleasure. Furthermore, it is helpful to focus on the
process, the moment-to-moment experience, rather than the results of a performance.
Additionally, it is important to concentrate on the enjoyable aspect of the process. The
stage fear in children can be cured by the following points: give more confidence by
showing them the items; don't make them panic; show them how others are performing
it.
Cyphert (2005) cited that there are many ideas on how to improve the effects of
stage fright. One would be as simple as being prepared. According to Lybi Ma with
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Psychology Today, “Being prepared is your first line of attack. You should be anxious if
you haven’t done your homework”. Cyphert gives many other types of solutions on how
to relieve anxiety. First, going for a brisk walk, doing jumping jacks, or performing any
other brisk movements to get the energy and excitement out of one's system. After that,
moderate stretching to try and calm and relax the muscles to release tension. Second,
taking deep breaths. Cyphert states that "as you force yourself to take a deep breath,
the oxygen/carbon dioxide balance is restored, and the body interprets the big sigh as
an "all clear" signal" This will cause the body to slow down and decrease stress levels.
Third, practicing any movements that one is aware of when nervous. Anything one can
do to make their body more aware of these nervous tendencies the less likely they will
be to repeat them when on the spot.
One ongoing debate on how to treat stage fright is the use of beta blockers. Beta
Blockers are a type of drug used to decrease the effects of stage fright. “Beta blockers
fit chemically into beta receptors present in the heart, lungs, arteries, brain, and uterus”.
This, in return, diminishes the effects on the sympathetic nervous system by blocking
out adrenaline canceling out the effects of the "fight or flight" symptoms. According to
one study, "beta blockade significantly inhibited an increase in heart rate when
performance was before an audience". The study used two groups of musicians: one
group was given a placebo, and the other a beta blocker. Beta blockers work best in the
time window of one to two hours after consumption. According to Suzanne Bryce at
Vanderbilt University, “The FDA has never approved the usage of beta blockers for stage
anxiety or fright” .The FDA's hesitancy in approving the use of beta blockers has to do
with the many side effects associated with their use, such as hallucinations, dizziness,
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nightmares, and drowsiness. Beta blockers should always be prescribed by a licensed
physician (Bryce, 2005).
In order to understand how people deal with stress, coping actions have been
grouped into bread band categories, Lazarus and Folkman (1984) in Tomol (2010)
introduced two categories: problem focused and emotional focused coping. The first is
seen as being action-centered in the sense that the troubled person-environment
relationship is changed by instrumental actions. These actions need root necessarily be
successful and may have been even detrimental side effects; however, it is the attempt
that counts. In contrast, the second kind of coping includes mainly cognitive coping
strategies that do not directly change the actual situation rather help the assign a new
meaning to it. They are not passive, but may require an internal reconstructing and may
cost considerable effort. Personality plays a role in coping. They argue that one’s
psychological resources can be a large part of the coping process, as one evaluates
them in secondary appraisal and may use them as a coping mechanism. Commonly
studied resources include health, energy, problem solving skills, commitments (one’s
expression of what is important), beliefs (especially when they are about personal
control or existence), social skills, social support, material resources and cultural
constraints. The importance of each resource can vary with each new situation;
however, they are a constant, more individual force in the coping process. Thus, when
looking at adjustment outcomes to a stressful situation, it will be important to examine
personal resources in addition to coping mechanism.
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Self Esteem as a Coping Resource
As described previously, the coping process involves more than the use of
particular coping mechanisms, it also involves the evaluation of one’s resources. Internal
resources are the parts of one’s personality and self that might help diminish stress
while external resources are parts of the environment or situation that might help
diminish stress. One such important internal resource is self esteem. Self esteem refers
to one’s evaluation of one self, abilities and importance. In terms of stress and coping,
those with high self esteem are able to maintain direction and a high evaluation of self,
even in stressful evaluations. In contrast, those with low self esteem are particularly
vulnerable to changes in the environment and stress (Chan, 1977 in Tomol 2010).
Appraisal level of coping. Making them feel more potent and in control. Therefore
they will perceive a lower level of stress than those with low self esteem for the same
situation. This lower level of stress will lead to lower anxiety over the situation, which
will, in turn, enable them to a better execute an appropriate and healthy coping
mechanism. Whether or not they have a history of successfully coping with past stress,
an individual with low self esteem will feel more vulnerable and less in control of the
situation, will perceive, it is a more stressful and will experience more anxiety and a
decreased ability to use coping mechanism (Chan, 1977 in Tomol 2010). Self esteem
could affect coping in the specific situation on stage performance.
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Social Support as a Coping Resource
In addition to internal resources, such as self-esteem, an individual relies on
external resources during times of stress. One of the most important of these is the
external resources is that of social support. Social support makes an individual feel cared
for, loved, esteemed, and that he or she is a member of a network. (Cobb, 1976, in
Tomol 2010).
Currently, the dominant theory of how social support works is the buffering
hypothesis, in which social support functions as a moderator of stress. This theory is in
contrast to the main effect hypothesis of social support always having higher well being.
According to the buffering hypothesis, social support improves well being, or prevents
declines in well being during stressful situations. Social support can buffer stress in one
of two ways. First, it can prevent the perception of stress in the first place. When an
event occurs and an individual makes his or her primary appraisal, social support may
seem like a valuable resource; one may realize they have others to help them with the
stressful situation and perceive a lower level of stress. The other possibility is that social
support may prevent a change in well being after the stress has occurred. One may
perceive a situation as stressful but knowledge of a social network available to assist
may prevent negative psychological outcomes. It is hard to determine which of these
possibilities (or both) is responsible for buffering in any given situation; however, there
seems to be monitoring evidence that social support do not necessarily have continually
higher well being, but they retract in a more positive way to stress ( Cohen and Wills,
1985, Koeske, 1991 in Tomol 2010).
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Social support is not only complicated due to uncertainty about how it functions,
it is also complicated because it can be defined and measured in many different ways.
The simplest way to define and measure social support is the size of one’s network, or
how many people an individual can get support from. Unfortunately, while this is easy to
measure, it seems to be insignificance for predicting outcomes. Another option is to look
at social support by type. Various theorists have outlined a variety of types and
categories such as esteem, informational, companionship and instrumental; however,
while these type are distinguishable. They are not entirely separate (Cohen and Wills,
1985).
Prayer as a Coping Mechanism
Coping with controlled and uncontrollable stresses allows us to make it to the
next moment and to live in this world, where a new series of choices and options
portend other positive or negative stresses. In times of everyday or mild stress, spiritual
people may turn to Zen practices, religious prayer, or other forms of other-worldly
comfort to gain self-knowledge and guidance for coping. For those who are religious and
spiritual, many would admit that meditation and prayer is as much about getting closer
to God or some spiritual center of as it is to gain insight into making personal choices.
But spiritual coping is like all coping options. It is ultimately about making it through the
day. Religious and spiritual belief is cognitive dissonance. Defined here as individuals
justifying, blaming or denying a set of circumstances or a particular reality on outside
influences. Or choosing to deny a new reality or way of thinking to avoid forsaking a set
of personal beliefs, values, set of attitudes or ideas which bring them short-term
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comfort, even though they may be intangible and may not provide any long-term relief
(http://www.paleolibrarian.info/2011/07/spititual-and-prayer-as-coping.html,2011).
Prayer and meditation can reduce physical symptoms of stress and can help you
cope. Recent studies had shown that prayer can decrease blood pressure for many
people and can be a source for internal comfort. It can have other calming effects that
are associated with reduces distress. It can also provide confidence to function more
effectively to rely reducing stresses associated with ineffectiveness in work and other
situations (https://public.rcas.org/hs/jsc/Documents/HEALTH%20and%20PE%20
.5%20Credit/PE%20and%20Health%2019.pdf,2011).
Social Support and Stress Management as Coping Mechanisms
Social support has been found to play an important role in coping with stress. It
has been linked to faster recovery from various medical procedures. Social support can
assist both active and passive forms of coping. Friend and family can provide very
concrete advice that can help solve a problem, and they can also provide moral support
and encouragement.
Social support can come from a variety of sources. This support can come from,
friends family member, clergy, a teacher, a coach, or a professional counselor. Different
individuals may provide different forms of support. The goal is to identify and nurture
relationships that can provide this type of support. This can be divided into three main
components: informational, material, and emotional. Informational (technical support)
refers to tips, strategies, or advice that can help a person get through a specific stressful
situation. For example, a co-dancer or a trainer may offer insight on how to once resolve
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a certain problem; Material support, refers to direct assistance to get a person through a
stressful situation. An example would be providing allowance for the day to help resolve
from hunger; lastly, emotional support refers to encouragement or sympathy that a
person provides to help another cope with a particular challenges. For some stressors all
three types of social support may be helpful; for others only one or two maybe needed
(https://public.rcas.org/hs/jsc/Documents.HEALTH%20and%20PE%20.5%20Credit/PE
%20and%20Health%2019.pdf).
Whaley (1982) in Siason (2005) introduced two ways of coping: reactive and
active. Fight or Flight is the basic device of reactive coping that often lead to the
frustration, self blame, annoyance, chronic fatigue, tension, depression and stress-
introduce illness. They may also lead to wets of self-indulgence-like overeating, drug
abuse, alcohol dependency, smoking or violence. Active ways of coping assume that one
control his own behavior and his patterns of interaction that it can decide what needs to
be changed and how to do it. This includes problem solving, relaxation techniques,
exercise, good nutrition, therapy and work.
Constant coping in life’s byword. To maintain it means to cope with the many
complicated aspects of modern living (Fabela,1988; Urbano, 2002 in Siason 2005).
When threatened by external events or negative feedbacks, people must defend their
sense of whom and what they are. This suggests contending with stress or using coping
mechanism. Dancers recognized that some anxiety can be beneficial. As stress
hormones pour into the blood, preparing the body for “fight or flight,” they sharpen the
senses. Stress may provide an “edge” for a better performance (Woods, 2012).
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Fear or stage fright can offer some benefits to public performances. When
people are nervous about a presentation they often spend more time with preparations
and pay closer attention to rehearsals. Fear can also heighten the senses and make
reflexes sharper. However, repetition can help dull the effects of stage fright. People
continually exposed to public performances may become slightly immune to the crippling
influence of stage fright. This exposure can be increased simply by volunteering more
often to dance or making a point to address groups of people.
As cited by Holland (1985) Using Psychology Principles of behavior and your life,
specific fears of objects and situations may result from conditioning. People were not
born afraid of spiders, blood or heights: these are learned fears, acquired through a
history of interaction with the environment and with other people. Sometimes a single
dramatic and unpleasant experience can condition fear reactions. Since fear is learned
through a conditioning process, the same process to be applied to unlearn fear. Many
fears gradually subside with time, as the initially frightening experience fails to recur.
The idea is to pair the feared object or situation with some pleasant emotion or reaction
so that the fear reaction will be replaced by enjoyment (Holland 1985).
Remarkably enough, each person can condition fears through their own
imagination. It can imagine the fears right away. The process depends upon the ability
to relax while imagining whatever is frightening. It has been shown that if this is done
over and over, it can probably face in real life whatever that is frightening, and
remained relaxed. The less fearful response transfers from your imagination to real life
(Holland 1985).
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Cumming (2009) cited that, once the music begins and the spotlight descends,
these symptoms will often disappear. The dancer will settle into your well-rehearsed
routine. On these occasions, view its nerves as a sign of readiness, necessary for to
perform at best. Indeed, being able to control nerves and use them as advantage is an
important part of becoming a dancer. It will not always be able to control its nerves,
however. Instead, the symptoms may spiral out of control, leading to become
distracted, lose timing, and make mistakes. In extreme situations, dancers may even
freeze and be unable to perform. Rather than let nerves get the better of it, it is
possible to learn to manage them. Dancers often access mental strategies, such as
imagery, to help learn new steps and rehearse their roles. Anyone can use these
strategies to increase confidence and control thoughts and feelings. When preparing
for upcoming performances, it might find it helpful to store and use this image. By
experiencing past success, it may feel more confident and find it easier to control
nerves. As well as this technique, other types of images will boost confidence and help
stay focused when it matters most. The key is to find images that work best. Try to
make images vivid, clear, and include helpful thoughts and feelings. Just like physical
skills and technique, the more practice using imagery, the better of using it. Might find it
helpful to write an imagery script – a description that aids imagination – to read or hear
whenever or wherever. To give an idea of how an imagery script might look, the
scenario described at the beginning of the article has been reworded to encourage a
more positive approach to handling the moments before stepping onto the stage.
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Regardless of whether it helps in coping with stage fright, memorize a new dance
sequence, understand a role, or recover from injury, conjuring simple, positive mental
images can help achieve goals and improve performance (Cumming, 2009).
Jahal (2000) cited that, Stage fright comes from within your own mind,
particularly if you are new to the performance arena. Self-confidence is a key element to
calming stage fright. The more you perform, the greater your self-confidence. Until you
have several successful shows under your belt, one of the best things you can do is
Practice, and be dedicated to your art. Learn as much as you can and practice at home,
not just in class. Listen to the music you selected for the program until you truly know
every nuance. Practice your routine until it feels like you could dance it blindfolded.
According to Cole (2011), there are three mental approaches to performance
enhancement you might find helpful in your own dance career.
Use Process Goals to Help You Focus. In an audition, competition or
performance, it is true that you either win or not, but there is actually more than that
going on. If you go into the event thinking you only will win or lose, that is too much
pressure. You want to set internal goals, called process or performance goals that buffer
the pressure from performing to win. Examples: Strive always to have a good time as
you perform. If not, why do you do it? Learn at least one new thing about yourself via
this performance. Use the performance as an opportunity to learn how to handle
pressure better and to perform better when the stakes are high. Now, even if you lose,
you win. Losing the audition or competition does not mean you wasted your time if you
learned something, improved, gave a good effort, or used performance goals to do
better next time.
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Reinterpret Your Stage Fright: Some stress symptoms are not specific indicators
that anxiety is present in a performance. Instead, they may show up as activation (also
known as arousal or an adrenalin dump). If you unfortunately focus on and worry about
these symptoms, and begin catastrophizing about a negative outcome to your
performance, then we call it stage fright. Consider renaming the nerves you feel as
excitement, passion, activation to perform, energy, adrenalin, and tell yourself that they
are indeed helping you get ready.
Recall Your Past To Ignite Your Present. You are a very successful dancer
already, with many excellent rehearsals, auditions, competitions and performances
under your belt. You can use your memories from these superb performances to prime
your present performance. Before any performance, close your eyes, relax and drift back
to one of your best performances. Recall it in as much detail as possible. Get into that
scene. Can you feel and hear what it was like? That is the zone. You want to enjoy it
and realize how GOOD you are, and that you can do this again. The zone is a place of
confidence. Use that burst of confidence before every performance.
So now you know three important ways to focus your mind with a mental
readiness system so you can keep performer's anxiety at bay. Everyone gets nervous
before performing, but it does not have to be debilitating. I want you to enjoy yourself,
perform better, and use each successful performance to launch yourself to the next level
in your career.
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When preparing for upcoming performances, it might find it helpful to store and
use this image. By experiencing past success, it may feel more confident and find it
easier to control nerves. As well as this technique, other types of images will boost
confidence and help stay focused when it matters most. The key is to find images that
work best. Try to make images vivid, clear, and include helpful thoughts and feelings.
Just like physical skills and technique, the more practice using imagery, the better of
using it. Might find it helpful to write an imagery script – a description that aids
imagination – to read or hear whenever or wherever. To give an idea of how an imagery
script might look, the scenario described at the beginning of the article has been
reworded to encourage a more positive approach to handling the moments before
stepping onto the stage. Regardless of whether it helps in coping with stage fright,
memorize a new dance sequence, understand a role, or recover from injury, conjuring
simple, positive mental images can help achieve goals and improve performance
(Cumming, 2012).
Summary
Stage fright may occur to anyone performing on stage whether before, during
and after performances. This also known as performance anxiety, is the most common
type of social phobia in which it means fear of being seen negatively by others and
humiliated in public (Tulio, 2008). It also implies to all the levels of nervousness, from
butterflies in the stomach, knocking knees, and anxiety attack to frozen in terror
(Bridgette, 2012).
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According to Yecla (2008), to achieve mastery in particular skill, specifically those
in dance, training is important. Physical, emotional, social and spiritual growth is all part
of learning to dance as well as learning about dance. Training involves observation, not
only observing the dance teacher, or other dancers, out watching other people as well
as well who are considered the best in their craft.
In preparing for a good performance, one must undergo dance training. In
psychology of dance, trainers spend many hours each week working with dancers on
their physical and technical development. Other instructors and dancers may consider
mental preparation as important or more important that physical and technical training.
Preparation leads to high self- confidence and truly believing in their ability to
perform their very best. Self-confidence in turn leads to an ideal level of intensity as
dancers begin a performance. The only true prerequisite for developing the performing
attitude is a desire or commitment to perform better. Talking with dancers in a group
setting about what enables them to dance well or cause them to dance poorly is also an
effective way to provide evidence (J. Taylor,& C. Taylor, 1995 in Puljanan, 2011).
Exercise will not just affect the muscle or part being trained, but the whole body.
Training becomes more effective when changes are noticed and felt on the whole body.
Mental presence and concentration are the solid foundation of mind-body training.
Exercising is an ongoing dialogue between mind and body. This communication can
manifest itself through sensation, feeling or imagery (Franklin, 2004 in Puljanan, 2011).
For a dance trainer, it is important to bear in mind that whatever style one is
interested in pursuing, the dances has a tradition and a history. Reading and talking
about the history are valuable to a complete understanding of the art form, but most
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critical source of knowledge will come from moving, doing and dancing. As a dance
trainer, one’s effort to become proficient will involve three process; training, exploring
and forming. Integrating these three processes will help dance trainer develop his/her
own style in teaching dance.
According to Siason (2005), to reduce stage fright of a performer, one must
know how to cope with it. The active ways of coping assume that one control its own
behavior and his patterns of interaction that it can decide what needs to be changed
and how to do it. This includes problem solving, relaxation techniques, exercise, good
nutrition, therapy and work.
In terms of stress and coping, those with high self esteem are able to maintain
direction and a high evaluation of self, even in stressful evaluations. In addition to
internal resources, such as self-esteem, an individual relies on external resources is that
of social support. Social support makes an individual feel cared for, loved, esteemed,
and that he or she is a member of a network ( Cobb, 1976, in Tomol 2010). Repetition
can also dull the effects of stage fright. People continually exposed to public
performances may become slightly immune to the crippling influence of stage fright.
This exposure can be increased simply by volunteering more often to dance or making a
point to address groups of people.
Cumming (2009) cited that being able to control your nerves and use them to
your advantage is an important part of becoming a dancer, rather than letting the
memorize a new sequence, understand a role, or recover from injury, conjuring simple
positive mental images can help achieve goals and improve performance.
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cope. Recent studies shown that prayer can decrease blood pressure for many people
and can be a source of internal comfort. It can have other calming effects that are
associated with reduced distress. It can also provide confidence to function more
situations (http://www.paleolibrarian. Info/2011/07spiritual-and-prayer-as-
coping.html,2011).
cope. Recent studies had shown that prayer can decrease blood pressure for many
On the other hand, social support has been found to play an important role in
coping with stress. It has been linked to faster recovery from various medical
procedures. Social support can assist both active and passive forms of coping. Friend
and family can provide very concrete advice that can help solve a problem, and they can
also provide moral support and encouragement. (https://public.rcas.org/hs/jsc/
Documents.HEALTH%20and%20 PE%20.5%20Credit/PE%20and%20Health
%2019.pdf).
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Chapter 3
Research Design and Methodology
Chapter three consists of three parts: Part One, Purpose of the study and
research design; Part Two, Method; Part Three, Statistical Data Analysis Procedure.
Part One, Purpose of the Study and Research Design, restates the problem, the
purpose of the study and the hypotheses, describes the research design, and the
variables used.
Part Two, Method, discusses the sampling method, the instrument used, and the
procedures followed in gathering the data.
Part Three, Procedure, discuss how the data was gathered.
Part Four, Data Analysis and Procedures, presents the statistical tools and the
analysis of the data.
Purpose of the Study and Research Design
The main purpose of the study was to determine the stage fright and coping
mechanisms of dance troupe members and trainers in a State University during the
school year 2012-2013.
The descriptive survey method was used in the study. This method presents
facts concerning the nature and status of the phenomenon studied: a group of persons,
a number of objects, a set of conditions, a class events, a system of thought, or any kind
of phenomenon one may wish to study (Morris, 1991).
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Researchers tend to have high regard as to the value of the descriptive survey
data as bases for inference in solving practical problems representing field conditions,
because the conclusion are drawn from the real or actual survey of the situation.
The Respondents of the study were the 40 randomly selected dance troupe
members and 20 randomly selected trainers from Aklan State University.
The members were classified into different campuses: College of Technology
(CIT), Kalibo, Aklan, College of Fisheries and Marine Sciences (CFMS), New Washington
Aklan, College of Hospitality and Rural Resource Management (CHARRM) Ibajay, Aklan,
and Aklan State University Main Campus, Banga, Aklan.
Of the 40 dance troupe respondents, 10 (25%) were from CIT, 10 (25%) from
CFMS, 10 (25%) CHARRM and 10 (20%) from Main Campus. For the trainers of the 20
respondents, 5 (20%) were from CIT, 5 (20%) from CFMS, 5 (20%) were from
CHARRM, and 5 (20%) from the Main Campus.
Table 1 shows the distribution of the subjects.
Table 1
Distribution of the Respondents
Category N %
Dancers 40 100%
Trainers 20 100%
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Data Gathering Instrument
After a thorough review of various materials and literature relevant to the
present study, a questionnaire for stage fright was adapted from Measurement of
Multidimensional Sport Performance Anxiety in Children and Adults: The Sport Anxiety
Scale-2 (Smith, et. al., 2006), and a researcher-made questionnaire for coping
mechanisms based on the related literature, other readings and experience were
constructed to gather the data on stage fright and coping mechanisms of dancers and
trainers. The instrument was divided into two parts:
Part I is on personal information which includes the respondent’s name, nature
of involvement, and tenure (length of membership as dancer/trainer).
Part II includes questionnaires on stage fright and coping mechanisms. There
were 15 questions on stage fright and 25 questions on coping mechanisms. The
instruments were subjected for content validation by a panel composed of three
experts: a psychologist, a PE teacher, and a dancer/choreographer. The panels were
given copies of initial draft of the instrument and to assess the relevance of each item
contained in the instrument.
The items assessed as very relevant and relevant were retained while items to
be assessed and found not relevant by the jury were eliminated. On the other hand,
items which were considered fairly relevant were revised and improved based on the
jurors’ suggestions and recommendations.
The questionnaire was pilot-tested to the 40 dance troupe members and 20
trainers of another College and University. According to Fraenkel and Wallen (in Tuazon,
2006), coefficient reliability of greater or equal to .70 indicates high reliability. Hence the
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adapted questionnaire from Measurement of Multidimensional Sport Performance
Anxiety in Children and Adults: Sport Anxiety Scale-2 (Smith, et. al., 2006) (r=.79) and
the research made questionnaire (r=.88), are reliable instruments to measure stage
fright and coping mechanisms of dance troupe members and trainers in a state
university.
The respondents of the study were asked to indicate their responses to the items
in the questionnaire by checking the box of their choices in the items on the following
responses.
The following responses and values were used for the questionnaire on stage
fright:
Value Responses
4 Very Much
3 Pretty Much
2 A little bit
1 Not at all
To facilitate statistical computation, the equivalent numerical weights that will be
given to the responses on stage fright of dance troupe members are as follows.
Scale Description
3.36-4.0 Very High degree of Nervousness
2.51-3.35 High Degree of Nervousness
1.76-2.50 Moderate Degree of Nervousness
1.00-1.75 Slight Degree of Nervousness
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The following and values were used for the questionnaire on coping mechanism:
Value Responses
3 Always Used
2 Sometimes Used
1 Never Used
To facilitate statistical computation, the equivalent numerical weights that will be
given to the responses on coping mechanism of dance troupe members are as follows.
Scale Description
2.34-3.00 Always used
1.67-2.33 Sometimes used
1-1.66 Never used
Procedure
The researcher first secured a permission to conduct the study among dance
troupe members and trainers at Aklan State University.
The questionnaire for stage fright that was adapted from Measurement of
Multidimensional Sport Performance Anxiety in Children and Adults: The Sport Anxiety
Scale-2 (Smith, et. al., 2006) and the researcher- made questionnaire were submitted
for content validation to field of experts. After the instruments were validated, they were
pilot tested among the dance troupe members and trainers from another College and
State University in Aklan. The time covered for conducting the study was about one
whole day. The pilot test also revealed that the questionnaire can quantify the main
purpose of the study. It showed that all items were reliable (r=.79, r=.88 respectively).
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After the questionnaires have been validated, the researcher gathered the
respondents and orient them of the purpose and procedure of the study. Different
terminologies were defined to give the respondents a clear interpretation of the study.
After orientation, each member and trainer were given time to answer the
questionnaire. Right after all the data were gathered, tallied, computed and analyzed for
statistical analysis and interpretation using the Statistical Packages for the Social
Sciences. The respondents’ quantitative description of stage fright and coping
mechanisms, both similarities and differences, were summarized to support the result.
Statistical Data Analysis Procedures
The data gathered for the present study were subjected to the following statistics.
Mean. The mean was used to determine the degree of stage fright and coping
mechanisms of dance troupe members and trainers in a State University.
Rank. Rank was used to determine the top preferred coping mechanisms of dance
troupe members in a State University.
t-test. To determine the significant difference of the degree of stage fright and
coping mechanisms of dance troupe members and trainers, t-test was used.
Pearson’s r. To determine the significant relationship between the degree of stage
fright and coping mechanisms, Pearson’s r was used.
The inferential statistics was set at .05 alpha.
Chapter 4
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Results and Discussion
This chapter consists of two parts; (1) Descriptive Data Analysis and (2)
Inferential Data Analysis.
Part One, Descriptive Data Analysis, discusses the descriptive data and their
respective interpretations.
Part Two, Inferential Data Analysis, reports the inferential data and their
respective data analysis and interpretations.
Descriptive Data Analysis
This section presents the descriptive data gathered on the stage fright and
coping mechanisms of dance troupe members and trainers of Aklan State University
during the school year 2012-2013.
Degree of Stage Fright of Dance Troupe Members and Trainers
Table 2 illustrates the degree of stage fright of dance troupe members and
trainers of the Aklan State University. Results showed that dance troupe members have
moderate degree of stage fright while trainers have a slight degree of stage fright with a
mean of 1.76 and 1.52, respectively.
Dancers encountered greater degree of stage fright than the trainers. This could
be due to the excitement which develops anxiety thus producing uncomfortable social
situation in different ways. Kaur (2010) stated that stage fright is experienced mostly by
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newer performer's however more experienced performers can get it from time to time.
There are many ways to lessen or even cure stage fright. Before a performance, singer,
actor, public speaker, dancer and other performers can express their nervousness in a
variety of ways depending on their personalities and egos.
Table 2
Means of the Degree of Stage Fright of Dance Troupe Members and Trainers
Category Mean Description
Dancers 1.76 Moderate

degree of stage fright
Trainers 1.5 Slight

degree of stage fright
Scale Description
3.36-4.0 Very High Degree of Stage fright
2.51-3.35 High Degree of Stage Fright
1.76-2.50 Moderate Degree of Stage Fright
1.00-1.75 Slight Degree of Stage Fright
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Coping Mechanisms of Dance Troupe Members and Trainers
The coping mechanism of dance troupe members and trainers as an entire group
is shown in Table 3.
Of the twenty five items in coping mechanism the top ten which were always
used were: Praying before the performance (M=2.93), rank 1, motivation and
confidence shown by other people (M=2.83), feeling excited when the group is ready to
perform on stage. (M=2.83), rank 2.5, visualization of the dance steps before
performance (M=2.78), memorization of the step (M=2.78), rank 4.5, teachers, adviser
and trainers encouragement (M=2.77), rank 6, well prepared for the performance
(M=2.75), rank 7, confidence show n by the trainers towards the presentation (M=2.73)
rank 8, performing well on the crowds shout and clap (M=2.70), rank 9, group perfectly
memorizes the dance steps (M=2.67), rank 10; and the least five coping mechanisms of
dance troupe members and trainers were: confronting fellow dancers to reduce tension
and stress (M=2.45),rank 21, seeing my families face that they are so proud of me
dancing (M=2.43),rank 22, having enough rest and sleep (M=2.39),rank 23, relaxing
before performing on stage (M=2.32),rank,24 and family is watching the performance
(M=2.18) rank 25.
The data suggest that these top ten coping mechanisms were always used by
the dance troupe members and trainers of Aklan State University to improve their stage
fright performance. The various coping mechanism used by the dance troupe members
and trainers were directly related to personality of individuals which play critical roles in
developing a coping mechanism as indicated in the related literature.
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Prayer and meditation can reduce physical symptoms of stress and can help
cope. Recent studies have shown that prayer can decrease blood pressure for many
Table 3 shows the data.
Table 3
Means of the Coping Mechanism of Dance Troupe Members and Trainers
Rank Mean Description
Top Coping Mechanisms
1 Praying before the performance. 2.93 Always used
2.5 Motivation and confidence by other people. 2.83 Always used
2.5 Feeling excited when the groups are ready to
perform on stage. 2.83 Always used
4.5 Visualization of the dance steps before
performance. 2.78 Always used
4.5 Memorization of the step. 2.78 Always used
6 Teachers, adviser and trainers
encouragement 2.77 Always used
7 Well prepared for the performance. 2.75 Always used
8 Confidence show n by the trainers
towards the presentation. 2.73 Always used
9 Performing well on the crowds shout
and clap. 2.70 Always used
10 Group perfectly memorizes the dance steps. 2.67 Always used
Encouragement of my partner to dance well. 2.52 Always used
Least Coping Mechanisms

21 Confronting fellow dancers to reduce
tension and stress. 2.45 Always used
22 Seeing my families face that they are so proud
of me dancing. 2.43 Always used
23 Having enough rest and sleep. 2.39 Always used
24 Relaxing before performing on stage. 2.32 Sometimes used
25 Family is watching the performance. 2.18 Sometimes used
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Scale Description
2.34-3.00 Always Used
1.67-2.33 Sometimes Used
1.00-1.66 Never Used
Coping Mechanisms for Dance Troupe Members
Table 4 illustrates the coping mechanisms of dance troupe members. The data
showed that out of the 25 items, the following coping mechanisms were the top ten
used by the dance troupe members: praying before the performance (M=2.90), rank 1,
motivation and confidence from other people (M=2.78), excited when the groups are
ready to perform on stage (M=2.78), rank 2.5, confidence shown by the trainer towards
the presentation, (M=2.72),memorization of the steps (M=2.72), rank 4.5, visualization
of the dance steps before performance (M=2.68) , teachers, adviser and trainers
encouragement (M=2.68), rank 6.5, well prepared for the performance (M=2.65),
looking presentable to the audience (M=2.65), rank 8.5, crowd is shouting and clapping
(M=2.58), the group perfectly memorizes the dance steps (M=2.58), rank 10.5; and the
least five coping mechanisms of dance troupe members were: many exposures on stage
performances (M=2.35),rank 21, confronting fellow dancers having problems to reduce
tension and stress (M=2.32), rank 22, Proud faces of the family (M=2.28), rank 23,
relaxing before performing on stage (M=2.18), rank 24, and family is watching the
performance (M=1.88), rank 25.
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Praying before performance was the first coping mechanism of dance troupe
members. According to Matto prayer can help dissipate fear, discouragement and
depression. When a person goes into sincere prayer concerning a situation they are
facing or if the bottom has dropped out of their lives, then prayer can begin to transfer
those feelings to Jesus Christ, who asks them to lay all their burdens on Him. Matto
further quoted Matthew 11:28 to 30 “Come unto me, all ye that labor and are heavy
laden, and I will give you rest. Take my yoke upon you, and learn of me; for I am meek
and lowly in heart: and ye shall find rest unto your souls”.
Table 4 shows the data
Table 4
Means of the Coping Mechanisms of Dance Troupe Members

Top Coping Mechanisms
1 Praying before the performance. 2.90 Always used
2.5 Motivation and confidence from other people. 2.78 Always used
2.5 Excited when the groups are ready to
perform on stage. 2.78 Always used
4.5 Confidence shown by the trainer
towards the presentation. 2.72 Always used
4.5 Memorization of the steps. 2.72 Always used
6.5 Visualization of the dance steps
before performance. 2.68 Always used
6.5 Teachers, adviser and trainers
encouragement. 2.68 Always used
8.5 Well prepared for the performance. 2.65 Always used
8.5 Looking presentable to the audience. 2.65 Always used
10.5 Crowd is shouting and clapping. 2.58 Always used
Least Coping Mechanisms

21 Many exposures on stage performances. 2.35 Always used
22 Confronting fellow dancers when there is a
problem to reduce tension and stress 2.32 Always used
23 Proud faces of the families 2.28 Sometimes used
24 Relaxing before performing on stage. 2.18 Sometimes used
25 Family is watching the performance 1.88 Sometimes used
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Scale Description
Coping Mechanism of Dance Troupe Trainers
Table 5 presents the coping mechanisms of dance troupe trainers. Of the 25
coping mechanism indicators, the top 10 which were always used by the trainers are:
recalling the steps by imagining it backstage (M=3.00), praying before the performance
(M=3.00), rank 1.5, encouraging dancers to perform well (M=2.95), Motivation and
confidence of other people (M=2.95), performing well when the crowd is shouting and
clapping (M=2.95), having continuous practice and rehearsal (M=2.95), group are ready
to perform on stage (M=2.95), crowd giving applause on every highlight performed by
the dancers (M=2.95), focusing on the performance of the dancers (M= 2.95). rank 6,
memorizing the sequence of the step (M=2.90), Memorization of the step (M=2.90),
Ready to perform (M=2.90), rank 10.5; and the least five coping mechanisms of the
trainers were: dancers warming up before performance (M=2.65), Arriving early to get
ready for the performance (M=2.65), rank 21.5, using imagery on the dance before the
performance (M=2.60), Adequate number of exposures by the dancers (M=2.60), rank
23.5, enough rest and sleep (M=2.35) rank 25.
The data show that the dance troupe trainers still remind their dancers regarding
the dance steps before they perform on stage.
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Similarly, the dance troupe trainer leads the prayer for the dance troupe
members before performing any activity as their coping mechanism to stage fright. This
means that trainers believe in the guidance of the Divine Providence and that the Lord
will answer their prayers. According to Portia (2004), in order to cope with extreme
anxiety, praying without ceasing and making sure that individuals are being taken cared
of are the bests coping mechanism for fright.
Table 5
Means of the Coping Mechanisms of Dance Troupe Trainers

Top Ten Coping Mechanisms
1.5 Imagining the steps backstage. 3.00 Always used
1.5 Praying before a performance. 3.00 Always used
6 Encouraging dancers to perform well. 2.95 Always used
6 Motivation and confidence shown by other
people. 2.95 Always used
6 Crowd is shouting and clapping. 2.95 Always used
6 Having continuous practice
and rehearsal. 2.95 Always used
6 Group is ready to perform on stage. 2.95 Always used
6 Crowd applauds on every highlight performed 2.95 Always used
6 Focusing on the performance of the dancers. 2.95 Always used
10.5 Memorization of the step. 2.90 Always used
10.5 Ready to perform. 2.90 Always used
Least Coping Mechanism

21.5 Warming up before performance. 2.65 Always used
21.5 Arriving early to get ready for
the performance. 2.65 Always used
23.5 Using imagery on the dance before
the performance. 2.60 Always used
23.5 Adequate number of exposures by
the dancers. 2.60 Always used
25 Enough rest and sleep. 2.35 Always used
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Scale Description
Inferential Data Analysis
Significant difference on the degree of Stage Fright of Dance Troupe Members and
Trainers
A significant difference existed in the stage fright of the dance troupe dancers
and trainers t-value=2.15, df=58, p=.036, significant, null hypothesis is rejected. This
means that the coping mechanism of the dance troupe members and trainers differed
This means that the degree of stage fright of the dance troupe members is
greater than that of the trainers. According to Woods (2012) quite often, stage fright
arises in a mere anticipation of a performance, often a long time ahead. This explains
that dancers compared to trainers possessed a greater degree of stage fright because
they are the main objects of the performance.
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Table 6
t-test Result on the significant difference of the Stage Fright of Dance Troupe Members
and Trainers
Category Mean t-value df Sig.
Dancers 1.76 2.15* 58 .036
Trainers 1.52
*P<.05
Significant Difference of the Coping Mechanisms of Dance Troupe Members and Trainers
No significant difference existed on the coping mechanisms of dance troupe
members and trainers, t-value=.497, df=58, p=.621, not significant, null hypothesis is
accepted. This means that the coping mechanisms of the dance troupe members and
trainers did not vary because trainers and dancers focus mainly on the same coping
mechanisms.
According to J. Taylor and C. Taylor (in Puljanan, 2011), talking with dancers in a
group setting about what enables them to dance well or cause them to dance poorly is
also an effective way to provide evidence. This explains that recent trainers and dancers
often express their coping mechanism for the group to perform at their best.
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Table 7
t-test Result of the Significant Difference on the Coping Mechanisms of Dance Troupe
Members and Trainers
Category Mean t-value df Sig.
Dancers 2.41 .497 58 .621
Trainers 2.35
*P<.05
Relationship Between the Degree of Stage Fright and Coping Mechanisms of Dance
Troupe Members and Trainers
A significant relationship existed in the stage fright and coping mechanisms of
the dance troupe members and trainers r=.348, p<.05, significant, null hypothesis is
rejected, this means that stage fright and coping mechanisms are associated with each
other. Stage fright and coping mechanisms are related to each other because coping
mechanism depends on the degree of stage fright encountered. If the degree of stage
fright is high then the tendency of coping mechanism will also differ. If the dancers or
trainers feel the stage fright, then they give attention to what they feel in order that it
will not to worsen or penetrate to the performance.
As stated by Redman (2012), stage fright has different levels, from butterflies in
the stomach to object terror. As the level goes higher, appropriate coping mechanisms
are used.
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Table 8
Relationship Between the Degree of Stage Fright and Coping Mechanisms of the Dance
Troupe Members and Trainers
Coping Mechanism
r Sig
Stage Fright .348 .006
*P<.05
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Chapter 5
Summary, Conclusion, Implications, and Recommendations
Chapter 5 contains four parts: (1) Summary of the Problems, Method, and
Findings; (2) Conclusions; (3) Implications; and (4) Recommendations.
Part One, Summary of the Problems, method, and Findings, restates the purpose
of the study and presents the important points and findings.
Part Two, Conclusions, draws inferences based on the findings of the study.
Part Three, Implications, relates the results of the present study to existing
theories, practices, and studies.
Part Four, Recommendations, offers some suggestions in terms of the
conclusions and implications.
Summary of the Problems, Method, and Findings
This current study aimed to determine the stage fright and coping mechanism of
dance troupe members and trainers in a state university in the academic year 2012-
2013.
Specifically this study sought answers to the following questions:
1. What is the degree of stage fright of dance troupe members and trainers in a
State University?
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2. What are the coping mechanisms on stage fright of dance troupe members and
trainers in a State University?
3. Is there a significant difference on the degree of stage fright of dance troupe
members and trainers in a State University?
4. Is there a significant difference on coping mechanisms of dance troupe members
and trainers when in a State University?
5. Is there significant relationship on the degree of stage fright and coping
mechanisms of dance troupe members and trainers in a State University?
The descriptive research design was employed in the study. The subjects were
the 40 randomly selected dance troupe members and 20 randomly selected trainers
of Aklan State University in the academic year 2012-2013. To measure the stage
fright of dance troupe members and trainers a questionnaire was adapted from
Measurement of Multidimensional Sport Performance Anxiety in Children and Adults:
The Sport Anxiety Scale-2 (Smith, et. al., 2006), and a researcher-made
questionnaire of dance troupe members and trainers was used for coping
mechanisms. The statistical tools employed to analyze data were mean, standard
deviation, rank, t-test, and Pearson’s r. Inferential statistics were set at .05 alpha.
Findings
The findings of the present study were as follows:
1. The degree of stage fright of dance troupe members was moderate degree while
that of the trainers was to a slight degree.
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2. The top coping mechanisms on stage fright of dance troupe members which
were always used are: praying before the performance , motivation and
confidence from other people, excited when the groups are ready to perform on
stage, confidence shown by the trainer towards the presentation, memorization
of the steps , visualization of the dance steps before performance , teachers,
adviser and trainers’ encouragement, well prepared for the performance , looking
presentable to the audience, crowd is shouting and clapping , the group perfectly
memorizes the dance steps, coming an hour before the performance, big crowd
watching the performance/show, warming up before the performance,
encouragement of the partner to dance well, applauds of the crowd on every
highlight of the performance.
For dance troupe trainers, the top coping mechanisms which were always
used were: recalling the steps by imagining it backstage, praying before the
performance, encouraging dancers to perform well, Motivation and confidence of
other people, performing well when the crowd is shouting and clapping, having
continuous practice and rehearsal, group are ready to perform on stage, crowd
giving applause on every highlight performed by the dancers, focusing on the
performance of the dancers , memorizing the sequence of the step, readiness to
perform, memorization of the dance steps, focusing before and during the
performance , applause of the crowd on every highlight of the performance,
coming an hour before the performances, dancers family is watching the
performance , eagerness to perform on stage, confidence shown by the dancers
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towards the presentation , support of the family/parents towards the
presentation, having team building and open forum a week before the
performance, dancers warming up before performance, Arriving early to get
ready for the performance, using imagery on the dance before the performance,
Adequate number of exposures by the dancers, enough rest and sleep.
3. There was a significant difference in the degree of stage fright of dance troupe
members and trainers in a State University.
4. There was no significant difference on coping mechanisms of dance troupe
members in a State University.
5. There was a significant relationship between the degree of stage fright and
coping mechanisms of dance troupe members and trainers in a State University.
Conclusion
In the findings presented, the following conclusions were drawn:
The findings of the study revealed that dancers encountered a moderate degree
of stage fright and slight degree of stage fright for trainers. This can be explained by the
fact that dancers are the bearers of the success of the performance which shows that
they possessed greater degree of stage fright compared to the trainers. However, they
did not show a high degree of stage fright because most of the respondents gained
greater experience as trainers and dancers. Stage fright mellows down as experience to
overcome this becomes effective. Most of the time, even well-trained dancers and
renowned trainers still feel stage fright despite their experiences but only to a lesser
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extent due to a long exposure in competitions and performances. Woods (2012) cited
that repetition can help the dull effects of stage fright. People continually exposed to
public performances may become slightly immune to the crippling influence of stage
fright.
As to coping mechanisms, praying before the performance was found to be on
top. As observed during competitions and performances, spiritual guidance through a
prayer always gives the group a sense of confidence. Trainers often lead the prayer and
dancers give their full concentration which somehow gives them focus on their selves
along with the feeling of nervousness. According to an article,
(https://public.rcas.org/hs/jsc/Documents/HEALTH%20and20%PE%20.5%20Credit/PE%20and
%20Health%2019.pdf), prayer and meditation can reduce physical symptoms of stress
and can help to cope. Recent studies had shown that prayer can decrease blood
pressure for many people and can be a source for internal comfort. It can have other
calming effects that are associated with reduced distress. It can also provide confidence
to function more effectively to rely reducing stresses associated with ineffectiveness in
work and other situations.
The findings also showed that dancers possessed a greater degree of stage fright
than trainers. This attests that trainers could have other concerns in their mind like
music, performance, unexpected events that may happen, results and audience’s
reactions that bother them prior, during and even after the performance. In contrary,
dancers who perform rather than being a spectator, given that they have ample time of
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preparation, focused themselves solely on their performance which gives them troubles
concerning their coaches, trainers, audience, judges, group mates, and even their own
selves. This findings was anchored to the theory of Bandura (1997), in which people are
influenced by situations, but different individuals are influenced by the same situations
in different ways.
In terms of coping mechanisms on stage fright, dance trainers showed ways to
conquer stage fright similarly to dancers mainly because of their mind set towards the
convenience and success of the group. They sometimes find it difficult to handle but
keeping it would give each of the group the feeling of assurance. Coping mechanisms of
dancers focused mainly on their own selves that eventually ease their nervousness,
whereas, trainers find means to be calm in many ways that could not affect the
readiness, performance and mind set of dancers. According to Holland (1985), each
person can condition fears through their own imagination. It can imagine the fears right
away. The process depends upon the ability to relax while imagining whatever is
frightening. It has been shown that if this is done over and over, it can probably face in
real life whatever that is frightening, and remained relaxed. The less fearful response
transfers from your imagination to real life.
There is a significant relationship found between the degree of stage fright and
coping mechanisms of dancers and trainers. It means that coping mechanisms depend
mainly on the degree of stage fright. When the degree of stage fright changes, the
coping mechanisms may also change. It is very evident on dance trainers and even
dancers that at first, when stage fright starts to penetrate, they tend to give little
attention to it. But when it starts to dominate them even other people could notice how
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they cope with it. Yerkes-Dodson Law (Lefton, and Brannon, 2003 in Apruebo, 2007 )
states that performance is best when stimulation or arousal is intermediate. If arousal is
too low, performance suffers. Increasing the arousal level increases performance, but
only up to a point.
Implications
The conclusion led to some implications:
For theory. The findings of the study indicate that stage fright may occur to
anyone whether performing on stage or just watching the performers on stage. This
affirmed the theory of Bandura (1997) which states that people are influenced by
situations, but different individuals are influenced by the same situation in different
ways. Dancers and trainers developed stage fright differently in the same situation,
thus, allowing them to build it accordingly and in addition, coping with it depends on
how they perceive it would affect them. Zanjonc’s (1965) theory of social facilitation
also affirmed to the result of this study in which if dancers and trainers claim that the
effects of performing in front of other people can be explained as resulting from
increased arousal, the presence of others indeed improves performance on well-
mastered; simple tasks hinder performance on unmastered tasks. Consequently
dancers tend to perform more poorly on unmastered tasks when others are around. For
this will hinders stage fright of both dancer and trainer towards lack of practice.
For practice. According to J. Taylor, & C. Taylor, (in Puljanan, 2011),
preparation leads to a high self confidence and truly believing in their ability to perform
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their very best. Conversely, stage fright develops in all instances in the lives of dancers
and trainers. It only differs on how they cope with it. Most dancers are afraid of
committing errors during performance; however, they deal with it by recalling the steps
through visual imagery and mental practice. Trainers, on the other hand, showed a
relaxed state despite the butterflies in their stomach just to show to their dancers the
feeling of confidence.
Recommendations
On the basis of the findings and conclusions, the following recommendations are
advanced:
Parents should realize their role as a family and the home as an environment so
powerful in influencing their children to acquire positive attitude, knowledge and skills
towards building self-confidence as a performer. This will somehow adequately support
their children when stage fright arises.
Dance trainers and advisers should possess a full understanding that stage fright
evolves naturally and could be addressed to appropriate coping mechanisms not to
distract the concentrations of dancers and even himself. Proper and quality training and
practice are recommended in order to produce dancers capable of overcoming stage
fright.
Dancers should be conscious enough on the effects of stage fright during their
performances. They should analyze and reflect on how to cope with it.
Researcher should conduct further study on stage fright and coping mechanism
in order to develop within dancers and trainers a balanced composure. Moreover, this
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study is recommended to be used to create baseline information on stage fright and
coping mechanism in other group of people.
Furthermore, researchers should conduct more studies not only on dancers but
in other related areas.
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References
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Andres, T. D. (2003), Organizing a training program: a manual, Philippines: New Day
Publisher.
Apruebo, R. A. (2007) The Science of Psychology, First edition, Manila: Educational
Publishing House. Pg. 281-316 and pg 302-334.
Biton A.P., (1997), Team relationship mentoring behavior, and leadership qualities as
correlates to productivity among secondary school administrators in Iloilo.
Unpublished Dissertation of Education-Educational Management. West Visayas
State University, Iloilo City.
Holland, M.K. (1985), Using psychology, principles of behavior and your life, Third
edition, Canada: Little brown and Company,161.
Jover, P.M., Barro, C.C. (2010), Influencing Factors on stage performance of Irong-
Irong Dance Company Members School year 2009-2010. Unpublished Master
of Arts in Education (Physical Education) Thesis. West Visayas State University.
Kenrick D.T et. al., (1999), Social Psychology Unraveling the Mystery. Pg.435-436.
Lahey, B. B. (2001), Psychology an introduction: Seventh edition, New York:
McGraw-Hill Companies Inc.
Porras, L. R. (2003), Sensory imagery in teaching dance through kinesthetic
listening and reflective writing. Unpublished Master of Arts in Education
(physical education) Thesis, West Visayay State University.
Paclibar W.M. (2011), Winning attributes of dinagyang festival contingents in Aliwan
Fiesta. Master of Arts in Education (Physical Education) Thesis. West Visayas
State University, Iloilo City
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Peṅa, C. (2010) “Butterflies in my stomach”: Relationship of language speaking anxiety
and performance. Unpublished Master of Arts in Education (Language Teaching
in English) Thesis. West Visayas State University, Iloilo City
Puljanan, P.L. (2011), Functional movement performance in dance. Unpublished
Masters of Physical Education (Dance) Thesis. West Visayas State University.
Ramos. D.R.,(2007), Sportsmanship attitude as influenced by state anxiety. A master of
arts in education (Physical Education) Thesis. West Visayas State University,
Iloilo City
Siason, A.T. (2005), Coping behaviors and family structure of high school students.
Unpublished Master Education (Guidance Counseling). West Visayas
State University, Iloilo City.
Tomol, S.H. (2010), Anxiety, stress, coping strategies and home adjustment of student
mothers: their correlation to school performance.
Tulio, Doris D. (2008), A breakthrough in school Guidance and Counseling, Kalayaan
Press Mktg. Ent., Inc. pg 91.
Villanueva, N.L. (2005), Grief expression and coping mechanism of selected women and
a phenomenon logical study. Unpublished dissertation of education (psychology
and guidance). West Visayas State Universitty, Iloilo City.
Williams, Jean M. (2010), Applied Sports Psychology, Sixth Edition, New York:
McGraw-Hill Companies, Inc. Pg.268-272
Yecla, Y. (2008). Winning edge, approaches of styles employed by dance trainers in
teaching folk dance for competition, Unpublished Master of Arts in Education
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(physical education) Thesis. West Visayas State University, Iloilo City.
Yotoko, R.S. (2003), Attitudes level of motivation and participation in dance activities of
the students as influenced by types of participation and parental involvement.
Unpublished Master of Arts in Education (Physical Education) Thesis. West
Visayas State University, Iloilo City.
Electronic Reference:
Batson, G. (2001). The Alexander Technique Role in Dance Training: Retrieved from
http://www.alexandertechnique.com/articles/dance/
Bryce, S. (2005). Beta blockers+other solution. Retrieved from http://swedeninthefall.
wordpress.com/2011/11/30/beta-blockers/
Brougham, R. et al, (2009). Stress, Sex Differences, and Coping Strategies Among
College Students. Retrieved from
http://www.springerlink.com/content/v202881m0l274285/
Buch, J.A. (2007). Coping mechanism and stress in a University population. Retrieved
from https://circle.ubc.ca/bitstream/handle/2429/27017/Thesis%20James%20A
%20Buch.pdf?sequence=1
Carbonell, D. (2009), Blocked by performance anxiety? Retrieved from http://www
.anxiety coach.com /performanceanxiety.html
Cole, William B. (2011), How Dancers Can Overcome Stage Fright And Perform To The
Top Of Their Abililities. Retrieved from
http://www.mentalgamecoach.com/articles/Dancers Overcome StageFright.html
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Cumming, J. (2009)Not scaring yourself silly: Effectively managing your stage fright.
Retrieved from http://works.bepress.com/jennifer_cumming/18/ January 2009
Cyphert, Dale (2005), Managing Stage Fright. Retrieved from
http://business.uni.edu/buscomm /Presentations/stagefright.html
Gibson, M (2011). The importance of reminders. Retrieved from http://all.pro/blog/the-
importance-of-reminders
Kaur T. S. (2010),What is stage fright and how can it be cured or lessened? How
relaxation exercises helps to make a performer less nervous. Retrieved from
http://suite101.com/article/a-how-to-guide-how-to-cure-stage-fright-a276613
Erickson, J.R.(2012), About stage fright. Retrieved from http://www.ehow.com/about_
4609623_stage-fright.html
Jahal, J. (2000), Surviving Stage Fright. Retrieved from
http://www.jasminjahal.com/ articles/art_surviving_stage_fright.html
Latham, L. (November 16, 2012), Stage Fright Management. Retrieved from http://
www.childrensmusicworkshop .com/resources/articles/stagefright/index.html:
Redman, B. (November 18, 2012), Different levels of stage fright: Retrieved from
http://www.ehow.com/info_8163426_different-levels-stage-fright.html
Smith, R.E, Smoll F.L., Cumming S.P., Grossbard J.R.(2006), Measurement of
Multidimensional Sport Performance Anxiety in Children and Adults:The Sport
Anxiety Scale-2. Retrieved from http://www.pgedf.ufpr.br/ESCALA%20
ANSIEDADE%20SAS% 20JS%201.pdf:
Woods, M. ( August 25, 2012). A cure for stage fright. Retrieved from http://news
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.google.com/newspapers? nid=1350&dat=19960930&id=1W4xAAAAIBAJ
&sjid=dAMEAAAAIBAJ&pg=5908,9612757
Stress Management, relaxation and time management (October 19, 2012). Retrieved
from https: Public.rcas.org/hs/jsc/Documents/HEALTH%20and%20PE%
20.5%20Credit?PE%20 and%20Health%2019.pdf
http://www.paleolibrarian.info/2011/07spiritually-and-prayer-as-coping.html,2011 (pg
367-368)
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APPENDIXES
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Appendix A
Letter to the President
January 14, 2013
DR. DANILO E. ABAYON

President
Aklan State University
Greetings
I am presently working on my master’s thesis entitled, Stage Fright and Coping

Mechanism of Dance Troupe Members and Trainers in a State University as a
requirement for my degree of Master in Physical Education Major in Dance at the
College of PESCAR Graduate School West Visayas State University.
In this regard, I would like to ask permission from your good office to allow me to
administer my instruments among the adviser/trainer and dancer of your school this
January 2013.
Your valuable assistance on this undertaking will help me achieve my evaluation

objectives and will be very much appreciated.
Thank you very much.
Very truly yours,
(SGD.) FLORIE MAY S. GONZAGA

Candidate, MPE
Noted:
(SGD.) RYAN L. PULJANAN

Thesis Adviser
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Appendix B
Letter to Pilot test
January 14, 2013
________________________
____________________________
____________________________
Sir/Madam:
Greetings!
I am presently working on my master’s thesis entitled, Stage Fright and Coping

Mechanism of Dance Troupe Members and Trainers in a State University as a
In this connection, may I ask permission from your good office to allow me to pilot test
my researcher-made instrument to the selected dancers and trainers of your prestigious
school this January 2013.

Thank you very much and more power.
Very truly yours,

Candidate MPE (Dance)
Noted:
(SGD.) RYAN L.PULJANAN

Thesis Adviser
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Appendix C
Letter to the Validators
January 17, 2013
_______________________
_______________________
_______________________
Sir/Madam:
Greetings!
I am presently working on my master’s thesis entitled, Coping Mechanism on Stage

Fright of Dance Troupe Members and Trainers at Aklan State University as a
Knowing your expertise, I would like to ask for your whole hearted support by validating
the instrument that I will be using in gathering the needed data for my study.
Attached is the copy of my research instrument.

Thank you very much
Very truly yours,

Researcher
Noted:
(SGD.) RYAN L. PULJANAN

Thesis Adviser
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Appendix D
The Instrument
(For Dancer)
“Stage Fright and Coping Mechanism of Dance Troupe Members and Trainers in a State
University”
Part I: Personal Data
Direction: Please fill in the necessary information written below.
Name (Optional)__________________________________________________________
Tenure (Length of Membership as Dancer/Trainer): Please check ( )

Dancer: Trainer:
( ) 2 years and below ( ) below 5 years
( ) more than 2 years ( ) 5 years and above
Part II: Questionnaire Checklist

Directions: The following are the possible stage fright and coping mechanism of dance
troupe members and trainers in a state university. Please read each question. Then,
check ( ) the column that best says how you USUALLY feel before or while you or
your dancers perform on stage. There are no right or wrong answers. Please be as
truthful as you can.
Note: We will assure you that your answer will be kept with confidentiality.
Responses for stage fright:

(4) Very Much = The statement considered as “ feeling very nervous”
(3) Pretty Much = The statement considered as “ feeling a lot of nervousness”
(2) A little bit = The statement considered as “ feeling a little bit nervous”
(1) Not at all = The statement considered as “ not feeling nervous”
Responses for coping mechanism:

(3) Always = The statement considered as factor is “always” used.
(2) Sometimes = The statement considered as factor is “sometimes” used.
(1) Never = The statement considered as factor is “not” used.
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Before or while I perform on stage Not at all A little bit Pretty Much very Much
1.It is hard to concentrate on the

performance. 1 2 3 4
2. My body feels tense. 1 2 3 4
3. I worry that I will not perform well. 1 2 3 4
4. It is hard for me to focus on what I am
supposed to do. 1 2 3 4
5. I worry that I will let others down. 1 2 3 4
6. I feel tense in my stomach. 1 2 3 4
7. I lose focus on my performance. 1 2 3 4
8. I worry that I will not perform my best. 1 2 3 4
9. I worry that I will perform badly. 1 2 3 4
10. My muscles feel shaky. 1 2 3 4
11. I worry that I will mess up during the 1 2 3 4
performance.
12. My stomach feels upset. 1 2 3 4
13. I cannot think clearly during the
performance. 1 2 3 4
14. My muscles feel tight because I am
nervous. 1 2 3 4
15. I have a hard time focusing on what my
trainer tells me to do. 1 2 3 4
Scoring Key. Somatic: Items 2, 6, 10, 12, 14; Worry: Items 3, 5, 8, 9, 11; Concentration
Disruption: Items 1, 4, 7, 13, 15.
Adapted from: Journal of Sports & Exercise Psychology, 2006, 28, 479-501
© 2006 Human Kinetics, Inc.
Ronald E. Smith, Frank L. Smoll, Sean P. Cumming,and Joel R. Grossbard (2006), Measurement
of Multidimensional Sport Performance Anxiety in Children and Adults:The Sport Anxiety Scale-2
http://www.pgedf.ufpr.br/ESCALA%20ANSIEDADE%20SAS%20JS%201.pdf:
Date retrieved, January, 2013
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I cope with my stage fright when…
3 2 1
1. the trainers show that they are confident towards the presentation.
2. I memorize the sequence of the steps.

3. I am motivated and confident by the encouragement/ social support
from other people.
4. I tend to perform well when the crowd is shouting and clapping.
5. I feel confident during rehearsals/practice when the group perfectly
memorizes the dance steps.
6. I have warmed up before the performance.
7. I focus on the presentation before the performance.
8. my partner encourages me to dance well.
9. I am well prepared for the performance.
10. I look presentable to the audience.
11. my family is watching my performance.
12. I feel relaxed before performing on stage.
13. I confront my fellow dancers when we have problem to reduce tension
and stress.
14. I prayed before the performance.
15. I feel excited when the groups are ready to perform on stage.
16. I focus on the dance, by visualizing the dance steps before
performance.
17. I get encouragement from the teachers and adviser and trainer.
18. I see on my families face that they are so proud of me dancing.
19. When there is a big crowd watching our performance/show
20. I feel that I meet the expectation of my adviser/trainer.
21. there is a reward after a good performance.
22. the crowd applauds on every highlight of the performance.
23. I come an hour before the performances.
24. I have so many exposures on stage performances.
25. I have enough rest and sleep.
104
COLLEGE OF PESCAR
GRADUATE SCHOOL
Iloilo City
Appendix D1
The Instrument
(For Dance Trainers)
“Stage Fright and Coping Mechanism of Dance Troupe Members and Trainers in a State
University”
Part I: Personal Data
Direction: Please fill in the necessary information written below.
Name (Optional)__________________________________________________________
Tenure (Length of Membership as Dancer/Trainer): Please check ( )

Dancer: Trainer:
( ) 2 years and below ( ) below 5 years
( ) more than 2 years ( ) 5 years and above
Part II: Questionnaire Checklist

Directions: The following are the possible stage fright and coping mechanism of dance troupe
members and trainers in a state university. Please read each question. Then, check ( ) the
column that best says how you USUALLY feel before or while you or your dancers perform on
stage. There are no right or wrong answers. Please be as truthful as you can.
Note: We will assure you that your answer will be kept with confidentiality.
Responses for stage fright:

(4) Very Much = The statement considered as “ feeling very nervous”
(3) Pretty Much = The statement considered as “ feeling a lot of nervousness”
(2) A little bit = The statement considered as “ feeling a little bit nervous”
(1) Not at all = The statement considered as “ not feeling nervous”
Responses for coping mechanism:

(3) Always = The statement considered as factor is “always” used.
(2) Sometimes = The statement considered as factor is “sometimes” used.
(1) Never = The statement considered as factor is “not” used.
105
COLLEGE OF PESCAR
GRADUATE SCHOOL
Iloilo City
Before or while dancers perform on stage Not at all A little bit Pretty Much Very Much
1. It is hard to concentrate on their performance. 1 2 3 4

2. My body feels tense. 1 2 3 4
3. I worry that they will not perform well. 1 2 3 4
4. It is hard for me to focus on what the
supposed to do. 1 2 3 4
5. I worry that they will let others down. 1 2 3 4
6. I feel tense in my stomach. 1 2 3 4
7. I lose focus on their performance. 1 2 3 4
8. I worry that they will not perform their best 1 2 3 4
9. I worry that they will perform badly. 1 2 3 4
10. My muscles feel shaky. 1 2 3 4
11. I worry that they will mess up during the 1 2 3 4
performance.
12. My stomach feels upset. 1 2 3 4
13. I cannot think clearly during their performance. 1 2 3 4
14. My muscles feel tight because I am nervous. 1 2 3 4
15. I have a hard time focusing on what my
dancers are doing. 1 2 3 4
Scoring Key. Somatic: Items 2, 6, 10, 12, 14; Worry: Items 3, 5, 8, 9, 11; Concentration
Disruption: Items 1, 4, 7, 13, 15.
Adapted from: Journal of Sports & Exercise Psychology, 2006, 28, 479-501
© 2006 Human Kinetics, Inc.
Ronald E. Smith, Frank L. Smoll, Sean P. Cumming,and Joel R. Grossbard (2006), Measurement
of Multidimensional Sport Performance Anxiety in Children and Adults:The Sport Anxiety Scale-2
http://www.pgedf.ufpr.br/ESCALA%20ANSIEDADE%20SAS%20JS%201.pdf:
Date retrieved, January, 2013
106
COLLEGE OF PESCAR
GRADUATE SCHOOL
Iloilo City
I cope with my stage fright when…
3 2 1
1. the dancers show that they are confident towards the presentation.
2. the dancers memorize the sequence of the step.

3. I am motivated and confident by the encouragement/ social support from
other people.
4. I feel confident when the dancers performed well when the crowd is
shouting and clapping.
5. the dancers memorize the dance steps.
6. I see the dancers having their warm up before performance.
7. the dancers have focus before and during the performance.
8. dancers use imagery on the dance before the performance.
9. I feel confident if the dancers have continuous practice and rehearsal.
10. the dancers arrive earlier than the call time in order to get ready for the
performance.
11. I feel inspired when the dancers family is watching their performance.
12. the dancers’ performing on stage have adequate number of exposures.
13. I tend to have team building and open forum a week before the
performance to ease the problems in the group.
14. We pray before a performance.
15. I feel excited when the groups are ready to perform on stage.
16. I tend to let the dancers recall their steps by imagining it backstage.
17. I encourage dancers to perform well.
18. the dancers’ family/parents are supportive towards their performance.
19. I feel excited when the crowd is giving applause on every highlight
performed by the dancers.
20. I see the dancers are eager to perform on stage.
21. I see the dancers are ready to perform.
22. the crowd are giving applause on every highlight that they performed.
23. the dancers come an hour before the performances.
24. I focus on the performance of the dancers.
25. the dancers have enough rest and sleep.
107
COLLEGE OF PESCAR
GRADUATE SCHOOL
Iloilo City
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WEST VISAYAS STATE UNIVERSITY

COPING STRATEGIES OF BACHELOR IN PHYSICAL EDUCATION STUDENTS IN A STATE

A Master’s Thesis Presented to the

Faculty of the Graduate School

West Visayas State University

of the Requirements for the Degree

Master of Physical Education

Florie May S. Gonzaga

COPING STRATEGIES OF BACHELOR IN PHYSICAL EDUCATION STUDENTS IN A STATE

A Thesis for the Degree

Master of Physical Education

Florie May S. Gonzaga

Approved by the Research Committee:

and valuable support;

suggestions that served as guides for the improvement of the study;

Dr, Felix C. Laruscain, research statistician, for meticulously interpreting the

validating the research instrument;

to pilot test my questionnaire at the said school.

Prof. Cynthia Lee Morga, for patiently editing the manuscript;

Manduyog Dance Troupe, for the friendship, love and prayers,

faculty for their prayers and unselfish love and support.

guidance and understanding;

care, support and prayers.

suggestions, guidance and prayer.

friendship and bonding moments;

My husband Carlo Angelo P. Gonzaga and my beautiful daughter Maica Angelize

patience at all times;

love, care and support.

Thank you so much Dear Lord.

Florie May S. Gonzaga

STAGE FRIGHT AND COPING MECHANISMS OF DANCE TROUPE MEMBERS

AND TRAINERS IN A STATE UNIVERSITY

A Master’s Thesis Presented to the

Faculty of the Graduate School

West Visayas State University

of the Requirements for the Degree

Master of Physical Education

Florie May S. Gonzaga

questionnaire for Measurement of Multidimensional Sport Performance Anxiety in Children

mechanisms on stage fright, dancers showed ways differently compared to trainer.

1. INTRODUCTION OF THE STUDY 1

Background and Theoretical Framework of the Study 2

Statement of the Problem and Hypothesis 5

Significance of the Study 6

Scope and Delimitation of the Study 10

2. REVIEW OF RELATED LITERATURE 11

Levels of Stage Fright 13

The Psychology of Dance 19

Whole-Body Conditioning for the Artist 23

Approaches in Teaching Dance 25

Three-Stage Memory Model 30

Self Esteem as a Coping Resource 52

Social Support as a Coping Resource 53

Prayer as a Coping Mechanism 54

Social Support and Stress Management as Coping Mechanism 55

3. REASERCH DESIGN AND METHODOLOGY 65

Purpose of the Study and Research Design 65

Distribution of the Respondents 66

Data Gathering Instrument 67

Statistical Data Analysis Procedure 70

4. RESULTS AND DISCUSSION 71

Descriptive Data Analysis 71

Inferential Data Analysis 79