Literature regarding supervision and related supervisory and training models applied within the field of sport, exercise, and performance psychology (SEPP) has grown exponentially as the field continues to define and redefine itself. A range of supervision models from mainstream psychology has been explored and applied within SEPP settings, with research indicating that regardless of the preferred model of supervision, a key component of effective supervision is the supervisor’s knowledge and skills related to the area of service delivery. Whilst the supervision of psychologists-in-training within performing arts settings presents similar challenges faced by those working in sport and exercise settings, the social, cultural, and artistic considerations embedded within these performance contexts necessitates a nuanced approach. The provision of supervision for psychologists within performing arts (e.g., dance, music, acting) requires scaffolded learning opportunities that assist the practitioner to gain an in-depth understanding of the context, including how to best tailor, translate, and communicate psychological concepts and skills to their clients that will address their unique challenges and meet their distinctive needs. Furthermore, clarity regarding the roles and responsibilities of the supervisee within the organizational context of an artistic setting is vital to ensuring that effective and ethical service delivery can be provided.
Kate F. Hays
Performance psychology addresses issues of optimal performance across a wide range of fields. Optimal performance can be enhanced via psychological methods; psychology also addresses the mental barriers and detriments to performance. One major performance arena is the performing arts. The performing arts include music, dance, and theatre arts. In some instances, people are performing live in front of an audience; in other situations, their performance is prepared for a future audience (e.g., movie, TV, or video). A number of psychological aspects need to be addressed to produce optimal performance: flawless performance, optimal arousal, focus maintenance, competition and perfectionism, and artistic expression. Much of the knowledge concerning the enhancement of performance is derived from the field of sport psychology. Some common concerns include the management of performance arousal, developmental issues in relation to early training, injury recovery, and transitions within or out of the performance arena. Although many concerns and expectations are similar with regard to the end “product” of excellent performance, there are also vast differences in such aspects as the culture of the performing arts, historical roots, purpose of the activity, resources and supports, and the place of the particular performance arena within the larger culture. Both research and practice opportunities are increasingly of interest to academicians, practitioners, and performing artists themselves.
There is intense contemporary public as well as professional psychological interest in bodily movement, gesture, and the subjective experience of movement. This has a background in knowledge that movements and the sensing of movements alike express the life of the whole person, whether in the arts, sports, and the pursuit of well-being, or in physiotherapies and psychotherapies of many kinds. The background of the numerous and varied areas of scientific research that contribute to this area has a long history in philosophy and cultural practices as well as in relations between different psychological and physiological topics. The significance of the sense of self-movement, kinesthesia, as opposed to the perception of moving objects, has not until recently been a central focus for research. To explain rising contemporary interest it is necessary to elucidate the usage of current terms—kinesthesia, proprioception, and haptic sense. This in turn leads to discussion of the historical background to modern research on kinesthesia and motor imagery, on phenomenology and sensed movement, on practice centered on kinesthetic appreciation, and on agency. All this is part of the field of inquiry into the psychology of performing and of appreciating dance.