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Psychology of dance / Jim Taylor, Ceci Taylor.

Taylor, Jim.
Contributor(s): Taylor, Ceci.
Material type: materialTypeLabelBookPublisher: Champaign [Illinois] ; Leeds : Human Kinetics, c1995Description: viii, 155 p. : il. ; 23cm.ISBN: 0873224868.Subject(s): Dance -- -Psychological aspects | Dancers -- -Psychology | Danza moderna -- PsicologíaDDC classification: 792.801
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Item type Home library Call number Status Loan Date due Barcode Item holds
Monografías 02. BIBLIOTECA CAMPUS PUERTO REAL
792.8/TAY/psy (Browse shelf)   Shelving location | Bibliomaps® PREST. LIBROS 3740038666
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Enhanced descriptions from Syndetics:


Psychology of Dance is the long-awaited guide to helping dancers of all ages and abilities reach their fullest artistic potential. This first-of-its-kind reference not only gives you an understanding of the psychological issues that most influence dance performance, but also provides easy-to-use techniques that help you meet the psychological needs of your dancers.

With Psychology of Dance , you'll learn how to design, implement, and maintain a Psychological Program for Enhanced Performance (PPEP). This comprehensive mental training program will enhance each dancer's performance as it:
-builds motivation and develops self-confidence;

-presents techniques for maintaining optimal performance intensity;

-shows how to improve concentration and use dance imagery;

-provides strategies for overcoming slumps and avoiding stress and burnout; and

-helps the injured dancer through the physical and psychological rehabilitation process.
The book also features a special format that follows the progression of a dance performance. Each chapter begins with a quote from a famous dancer that sets the mood. Then "Dress Rehearsal" describes a common scenario related to the topic at hand and asks how you might handle the situation. "Center Stage" appears in each chapter to highlight and suggest possible applications of the information covered, and "Encore" revisits key points in the chapter. The authors also include inventories that help both you and your students identify their strengths and areas of concern.

Whatever the age and ability level of your dancers, Psychology of Dance provides the essential concepts and practical applications you can use to enrich their performance and personal and artistic growth.

Referencias bibliográficas e índice.

Table of contents provided by Syndetics

  • Chapter 1 Motivation
  • What Is Motivation?
  • Identifying Individual Motivation
  • Symptoms of High and Low Motivation
  • Developing Motivation
  • Encore
  • Chapter 2 Self-Confidence
  • Problems of Low Self-Confidence
  • Benefits of High Self-Confidence
  • Developing Self-Confidence
  • Additional Strategies to Build Self-Confidence
  • Encore
  • Chapter 3 Intensity
  • What Is Intensity?
  • Symptoms and Causes of Intensity
  • Identifying Optimal Intensity
  • Controlling Over-Intensity
  • Controlling Under-Intensity
  • Preperformance Routines
  • Encore
  • Chapter 4 Concentration
  • What Is Concentration
  • Understanding Concentration Styles
  • Enhancing Concentration
  • Encore
  • Chapter 5 Dance Imagery
  • Understanding Dance Imagery
  • When to Use Dance Imagery
  • Developing a Dance Imagery Program
  • Encore
  • Chapter 6 Slumps, Stress, and Burnout
  • What Is a Slump?
  • Finding the Causes of Slumps
  • Preventing Slumps
  • Slumpbusting Plan
  • Stress and Burnout
  • Encore
  • Chapter 7 Psychology of Dance Injury Rehabilitation
  • Psychological Factors in Injury Rehabilitation
  • Psychological Rehabilitation Program (PReP)
  • Encore
  • Chapter 8 Developing a Psychological Program for Enhanced Performance (PPEP)
  • Designing a PPEP
  • Implementing a PPEP
  • Maintaining a PPEP
  • Encore

Reviews provided by Syndetics

CHOICE Review

This is one of the first books to address the psychological aspects of training, performing, and injury rehabilitation for dancers. Heretofore, dancers wishing to focus on attitudinal factors such as motivation, self-confidence, intensity, and concentration have had to rely on the anecdotal narrations of dancers or on research reports directed to athletes. The authors, trained in both psychology and dance, try to bridge the gap between sport psychology and dancers' artistic sensibilities. The eight chapters of dense psychological theory are packaged for dancers, with eye-catching dance photos and thoughtful dance quotes throughout. Although the text tends to be repetitive and confused by multiple charts and formulas, the book provides a wealth of concrete mental exercises designed to help dancers optimize performance. Geared more toward the aspiring professional dancer than the recreational dancer, this thorough and well-referenced book is recommended for both academic and public collections. E. F. Gelbard; formerly, University of Mississippi

Author notes provided by Syndetics


Jim Taylor, PhD , is a psychologist recognized for his work in the psychological aspects of performance in sport and the performing arts. He has implemented a psychological services program for the Miami City Ballet, lectured at the Hartford Ballet Company, and served as a consultant and member of the faculty at the DanceAspen Summer School. A former associate professor at Nova University in Ft. Lauderdale, Dr. Taylor has published more than 140 scholarly and popular articles, including a series of articles in Dance Teacher Now , and presented more than 150 workshops internationally. Jim is a former dancer and world-ranked Alpine ski racer and holds a second-degree black belt in karate.

Ceci Taylor's 40 years of experience as a professional dancer, professor of dance, and dance counselor have given her unique insight into the psychological demands of dance. With master's degrees in both dance and counseling, she has used her rich background to lecture and write about the psychological issues of dance, including coauthoring a column in Dance Teacher Now . A professor emeritus at St. Joseph College (Hartford, CT) and counselor to the Hartford Ballet, Ceci hopes this book will inspire other instructors to recognize the need to address the spirit as well as the body of the dancer.

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