(Dance with your Heart!

)
This piece is about a young boy searching for his purpose, encountering existence as ordinary
when he’s extraordinary. He then detects motive that escorted his passion to him, when
suddenly life had other distinct plans in store. It then began, the tackle of traumatic
experiences bestowed upon him, which led him into an unhealthy and depressive state. His
only way out to recovery was his burning desirable passion for dance in his fantasies.

(Choreographer: Teron Toussaint)

A born Trinbagonian age 25, raised in the western part of the island, eldest of four with a
humble yet dedicated motive for success. Timid and old-fashion, having a keen interest at a
young age for martial arts and a destined passion for the performing arts specifically dance.

(Dancer) Teron (Videographer)

Toussaint Chae Nicholas
Rayanne Ambrose
Shinell Mitchell
Skyla Springer (Video- editors)
Nkame Martin Teron Toussaint and Chae Nicholas

(Music)
1. “FORGOTTEN ODES” By: Eternal Eclipse
2. INSIDIOUS Scary Violin Song
3. Flute, Tabla and Tibetan Bowl, Pure Positive Vibes, Morning Meditation, Stress Relief
4. “Let If Go“ from Disney’s “Frozen”–Piano Cover Version For Ballet Class+Sheet Music
5. You’re Gonna Be Okay (Lyric Video) – Brian & Jenn Johnson / After All These Years
6. Better When I’m Dancing (Official Audio) – Mehgan Trainor
7. Shatta Wale – Freedom (Audio Slide
Role of Responsibilities - Costumes

For this senior thesis, we were given a role of being aware of every costume each student that

was doing senior thesis, were using for their film. Therefore, upon request, I was given the

information as follows:

○ Skyla Springer had her soloist wear white long-sleeved shirts, black and

yellow sweatpants and cream sneakers.

○ Monique Wiltshire-Moore had her female dancers wear a black leotard with a

red and black belle skirt while her male dancers were allowed to wear

whatever they were able to get.

○ Destiny Owen had 3 sections of dances with each having their own costumes.

In  the first section, the dancers each wore a white top and jeans. In the

second, the soloist wore a grey hoodie and black tights while in the third

section, the dancers wore black long-sleeved leotards and black stocking

tights..

○ Maria James had 2 sections in her thesis where her dancers wore black leotard

and black leggings for the first section, then black biker shorts and an oversize

t-shirt or hoodie in the second section.

○ Shinell Mitchell had her soloist wear a black and gold leotard and white, black

leotard and tights for the other dancers, and an iridescent two-piece outfit.

○ Jewelle Smith sewed her own costumes and gave her dancers shin length

corset dresses in different shades of blue and purple to wear.

○ Teron Toussaint had seven scenes in his thesis with the first scene having the

two wear a black leotard, black sweatshirt and dark grey sweatpants. A duet

took place in the second scene, where one dancer wore a black long sleeved
 jersey and black tights and the other dancer wore black long sleeved leotard,

black tights, black cloak hood and black shoes. In the third scene, the soloist

wore an orange and gold kurta and burgundy pants and ghungroos around his

ankles. In the fourth scene

○ For Niara Dickson, (Niara Dickson) brought baby blue t-shirts with a school

logo for four of her dancers/cast while they wore black tights with it. Another

dancer wore a business casual top with black tights and the other dancer wore

home clothing.

○ First scene- Teron in a black leotard, black sweat shirt and a dark grey sweat

pants and Rayanne is in a black T-shirt and a black and grey tights.

○ Second scene- Teron in a black long sleeve and black tights also Shinell in a

black long sleeve leotard, black long tights, black cloak hood and black shoes.

○ Third scene- Teron is in a orange and gold kurta and a burgundy long pants

with bells around his ankles.

○ Fourth scene- Rayanne white long sleeve leotard, white and pink too, white

stockings and pink ballet pointe shoes and Nkwame in a white long sleeve

leotard, black tights and white ballet shoes.

○ Fifth scene- Both Rayanne and Nkwame in white long sleeve leotards and

black tights, Qwame has on white ballet shoes while Rayanne have on a nude

dance shoe.

○ Sixth scene- Rayanne in white leotard, black shorts tights and nude dance sho

Seventh scene- Skyla in a white folk skirt with a green and orange skirt under, Nkwame in a
white pants, white shirt with green and orange and a scarf also Teron in a white turtle neck
with a long white pants.
Teron’s explanation for his changes in his thesis.
Name of my piece – I changed my name because of my health issues I
had to limit myself in the piece, when I was the main dancer certain
things had to change and how I was able to do much I felt like the
name had to change as well.

Dancers – Celene and Tamiya was excluded out my piece because she
couldn’t invest and devote her time. Nkame was added because he is
supposed to represent me of what I couldn’t do because of my condition.

Music – Songs were changed and deducted because of my incident

experience I detected a different melodic sound that I had to apply
inspired by my journey through recovery.

Location – I changed my locations because of access to facilities and to

find a studio that relates to story in all forms and stages
 UNIVERSITY OF TRINIDAD AND TOBAGO

BACHELORS OF FINE ARTS IN THE PERFORMING ARTS

DANC 4491 Senior Thesis and Performance 1

The Positive Outcomes of PTSD on Dancers

Dance with your Heart!

TERON TOUSSAINT

LECTURER: MS. SUSAN MOHIP

DUE: Friday 10th December, 2021.

 Table of Contents

Abstract

CHAPTER 1 Introduction

CHAPTER 2 Objectives

CHAPTER 3 Research Statement

CHAPTER 4 Literary Review

CHAPTER 5 Method

CHAPTER 6 Findings and Discussion

CHAPTER 7 Conclusion

CHAPTER 8 Reference/citation/appendix
 Abstract

Many dancers within the industry have experienced traumatic incidents causing them to

become victims of Post-Traumatic Stress Disorder ( PTSD ) Based on my research PTSD is a

psychiatric disorder that results from experiencing or witnessing traumatic or life threatening

events . PTSD has proven to be prevalent and has presented many challenges in our society.

Specifically for dancers, PTSD has caused many individuals to struggle mentally and

physically to pursue their careers , posing a setback in their attainment of success. Research

have shown that PTSD in dancers is significantly higher than that of the normal population.

After becoming aware of the disorder and it’s symptoms, dancers develop coping

mechanisms which enable them to become successful and motivated to pursue their career .

Through research this study aims to highlight the positives outcomes of PTSD such as

positive attributes namely a strong mindset, the will power to overcome challenges and

confidence in ones self . This thesis acknowledges the importance of positively as a coping

mechanism to deal with the difficulties a dancer experiences from the effects of PTSD

Keywords- post traumatic stress disorder, positivity, psychiatric disorder, will power,

motivation, success , dancers .

CHAPTER 1 Introduction

This thesis is focused on dancers experiencing traumatic events that resulted in Post-

Traumatic Stress Disorder (PTSD) and how it affected their normal dance life. The main

objective of this thesis is to bring awareness to the coping mechanisms of PTSD and the

positive outcomes of battling through the experience. “How do dancers cope with PTSD?”,

“What are the causes of PTSD?” and “Are there dancers who have given up on their craft due

to PTSD?” are questions that were considered to arrive to the conclusion and do proper

research on the topic.

Post-Traumatic Stress Disorder is a common condition experienced by many people

within the creative arts industry. Not all dancers fight for their careers, some give up.

However, the passion of certain dancers is what motivates them to battle through. PTSD

never goes away but there are healthy ways to manage and live with it. After successfully

battling PTSD and becoming an accomplished dancer, there are few positive outcomes that

reveal itself. Living with PTSD is not an easy thing, it’s requires great strength, confidence

and a strong support system. This battle helps you learn about your strength capabilities and

who are the people who truly support you. Many can say, after battling PTSD you are

considered a warrior and a mentally strong person.

Positivity is a key factor in changing a post-traumatic stress experience into a positive

one. Having a positive mindset keeps negativity out and it motivates you to continue pushing

forward. This also provides an inspiration for other dancers in similar situations. It shows

what you can accomplish despite obstacles and challenges.

This thesis shows the battle of maintaining positivity and how PTSD can be difficult

to pull yourself out of. On a daily basis dancers struggle with their creativity and expression

after having dealt with something traumatic from their past. The main objective is to not

focus on the negative aspect but on finding a way to push forward.

CHAPTER 2 Objectives

1. To become aware of the coping mechanism dancers use to deal with PTSD

2. To highlight the need for a positive mindset to cope with PTSD .

3. To inspire other choreographers and dancers

To use PTSD as a medium for self-growth

4. To relate to the challenges a dancer faces while experiencing PTSD

5. To create a choreography demonstrating of how the effects of PTSD can be overcome.

CHAPTER 3 Research Statement

Passionate dancers find ways to cope with PTSD and receive positive outcomes of living

such an experience.
CHAPTER 4 Literary Review

Post-Traumatic Stress Disorder from a Dancer’s Perspective

Despite the fact of PTSD being an incurable disorder, dancers are faced with the

challenge of finding coping mechanisms to excel within the performing arts industry. Ac-

cording to the Mayo Clinic, post-traumatic stress disorder (PTSD) is referred to as “a mental

health condition triggered by a terrifying event”. Human beings experience traumatic

experiences every day. Such an example highlights the creative world where professionals

experience trauma in many different forms including unfavourable childhood experiences,

physical accidents and many more sensitive issues along the lines of abuse either within the

industry or from prior experiences. This leads us to the fact that the study of PTSD in dancers

is significantly higher than that of the normal population.

After years of research and analysing, coping mechanisms have been developed for dancers

to achieve greatness within their art form. Among medical and mental health treatment

protocols, using positivity through healing processes as a form of motivation and

manifestation is great advice for a dancer as an individual battling PTSD. This can even be

referred to as “speaking things into existence”. Often dancers with disabilities and disorders

who achieve success in the art tend to reflect positivity upon his/her supporters. How- ever,

this can be difficult when there are varying symptoms with different forms strategies of

treatment that accompany the disorder.

Trauma flashbacks, lack of concentration and loss of joy are just a few components of PTSD

that can often hinder a dancer’s development in one way or another. These hurdles are seen

as setbacks and are not adequate for the dance floor. After time, dancers developed many

different ways to achieve success despite their unresolved emotions from traumatic

experiences. This literary review examines how positive mindset paired with strategic and

guided healing methods can contribute to minimizing stress with added exploration of

Normal Stress Response to prevent the epidemic of Post-Traumatic Stress Dis- order.

It is proven to believe that normal stress response is what occurs before PTSD be- gins.

However, it does not always lead up to the full blown disorder. Notwithstanding the horrors

of PTSD, there are beneficial aspects from the condition. In traumatic experiences it is

extremely difficult to cope, especially for a passionate dancer who has sustained a tragic
accident, either mentally, physically or even both. Comparing your abilities as a dancer be-

fore and after taunting experiences can become demotivating for an individual.

Emerging into a state of abstinence towards the arts industry to recover from physical and

emotional ailment for any period of time can be detrimental to one’s career. Devastating

situations of trauma can lead to so many emotions which reflect both positively and

negatively. An exploration on how dance/creative movement can have such an indisputable

impact on a humans life says that in order to achieve the positive outcomes, you must first go

through the regulations to definite results.

According to, Best Day Psychiatry and Counselling, formerly known as Fayetteville

Psychiatric Associates, initially, Post Traumatic Stress Disorder (PTSD) was learnt to be

something only the military service and veterans faced. Now, it is clearly known that stress

can occur to anyone, mainly the experience of those with an intense, regular life forbidding

event. It is proven to believe that there are 5 variations of the disorder with two being men-

tal disorders that eventually develop into PTSD. These two are Normal Stress Response and

Acute Stress Disorder. Normal Stress Response is what occurs before P.T.S.D begins. It is

important to note that not all responses become P.T.S.D. It is in fact natural for people to

react to stress and danger, we all deal stress in our own way. Accidents, illnesses, in- juries,

surgeries, abandonment or even unreasonable amounts of tension can all lead to a normal

stress response. Support from loved ones, individual talk therapy sessions and group therapy

is highly recommended as part of treatment.

Acute Stress Disorder is partially similar to PTSD. This happens when a person is revealed to

life-threatening experiences that involves; loss of a loved one, natural disasters, car accidents,

and other events with the risk of death. This disorder can become P.T.S.D if left untreated.

Medication, therapy and even more intensive treatments can all assist in recovery.
An article from New Dimensions Day Treatment Centres titled ‘Preventions of Trauma from

becoming PTSD’ advises the more that we can put words to what we experienced the less

power those events have over us. It is important to talk about the trauma even though it may

initially bring up a lot of emotions. Talking about what happened is an important part of the

healing process. Grieving is the normal process that we go through, when- ever we have loss.

Grief often includes feelings of numbness, sadness, hurt, anger and emptiness. Recognize that

these are normal feelings and that it takes time for the grieving process to be completed.

Allowing yourself to grieve is recommended. It is also helpful to remember that the more that

we can put words to our feelings, the more successful we tend to be in healing.

Victims are encouraged to manage traumatic thoughts. When a person experiences trauma,

they often have extreme thoughts of what occurred during the traumatic event. For example,

if your life is being threatened, it is normal to think “I am going to die.” When you make it

through the trauma, you may still have that thought imprinted in the brain. Without

recognizing it, you may start telling yourself repeatedly, “I am going to die.” If this thought

becomes “frozen” in the brain, it can lead to a constant state of fear, anxiety and depression.

To prevent this , it is helpful to identify the specific thoughts that happened during the

traumatic event and replace them with thoughts such as “I am going to make it” or “I am

going to recover.”

Learning to recognize triggers is another helpful prevention tip. People who experience

trauma may develop “triggers” that cause them to relive some of the thoughts or feelings that

happened during the trauma. For example, a loud noise or something that alerts the senses

could remind you of the event. The more that you can realize these activations, the more that

you can conquer them. We develop “triggers” because of the strong emotions we experience

during a traumatic event. Functioning through emotions entitles you to detach the triggers and

will assist in minimizing the risk of PTSD development.

Seeking therapy is another advised practice that fully ensures progress. Therapy can impart

you a safe space to deal with feelings that don’t always feel secure. Detect a therapist who is

familiar with trauma so that you can seek the assistance that you need to heal, so that you can

be on a positive road of recovering tremendously.

The researchers from a veterans law group wrote an article entitled ‘Positive Effects On Post

Traumatic Stress Disorder’ decided to probe the development of life skills after post-

traumatic stress disorder were intrigued by the idea that people learn from hardships. The

results of the study were not too surprising to the public. Throughout history, the idea that

people learn from these difficulties, make adjustments, and choose to focus on the brighter

side of things, has been a often known part of the human experience. Persons re- ported

positive changes after injuries or losing a loved one. For instance, it can be de- scribed as

their life came to a pause, a realization of gratitude acknowledging and cherishing the minor

things in life in order to grow and excel as well as noticing the major assets in life,

experiencing a greater appreciation for life, experiencing more personal strength and better

relationships and also greater levels of spiritual satisfaction. These persons were

able to find the strength to look for new abilities and possibilities for themselves. Only

storing nothing but refreshing thoughts in their system, aiming for a prosperous future their

lives. In order to overcome that you have to; admit to the past, live accordingly and carefully,

in the present and dream your future goals and aspirations to keep the soul ignited.
CHAPTER 5 Method

Introduction

This thesis is focused on dancers experiencing traumatic events that resulted in Post-

Traumatic Stress Disorder (PTSD) and how it affected their normal dance life. The main

objective of this thesis is to bring awareness to the coping mechanisms of PTSD and the

positive outcomes of battling through the experience. Qualitative data was used to gather

information on the dancers, setting, costume and musical aspects of the presentation before

final decisions were made. Data was also gathered through studying the dancers in terms of

their gracefulness, facial expressions, body language and ability to perform under pressure.

“How do dancers cope with PTSD?”, “What are the causes of PTSD?” and “Are there

dancers who have given up on their craft due to PTSD?” are questions that inspired the

choreographic method. Post-Traumatic Stress Disorder is a common condition experienced

by many people within the creative arts industry. Not all dancers fight for their careers, some

give up. However, the passion of certain dancers is what motivates them to battle through.

PTSD never goes away but there are healthy ways to manage and live with it.

Dancers

A total of five dancers were selected to dance in this thesis. Each dancer was chosen for a

specific reason based on their body type, dance style, technique, facial expressions and

presence. Teron is the main dancer of the piece, being the Choreographer with the artistic

vision, he was the best choice of dancer for this role to truly express how he wants his

audience to feel. Rayanne were selected to portray Teron’s passion and motivation to dance

as figments of his imagination. Consideration of their technique was crucial in selecting

dancers for these roles as the choreography required a ballet poise. Shinell was selected to be

both the physical and psychological representation of PTSD. She was chosen for this role
because of her dominance and boldness as part of her dance style. Skyla and Nkame was

chosen for her hip hop style and confidence.

Setting

The dance was filmed in a series of five different settings. The first scene at Percussions

Studios.

The second scene is set in an enclosed room with a bed. This scene alternates back to

Percussions Studios. The studio is an enclosed space with and orange wall with mirrors

within the dance area. The third scene is set on an open balcony area with greenery and

shrubs for ambience. The fourth and last scene is at percussions studios and Napa. Creating

an ambience of tranquillity.

Choreography

Title: Dance with your Heart!

The piece begins with Teron leaving home. He has reached a stage in his life where he is

trying to figure out his purpose and where his passion lies so he isn’t too excited about the

swimming practice he was going to. As the car drives by, he notices a group of dancers who

caught his attention from the dance class they were doing. He immediately hops out of the car

and attempts to copy them and realises that he enjoys doing so. They fall in and out of unison

as Teron falls in and out of happiness and uncertainty in his mind. This choreography was

chosen to represent confusion. He is at the center, terrified and confused about what is

happening and how to deal with his emotions. However, the dancers are trying to show him

where he truly belongs as a dancer by giving him a sense of comfort and welcome. This was
not received in that way. He breaks out and begins walking back to the car. As the car pulls

off he turns around because he misses the feeling he had just experienced. Teron realizes he

is next. At the last thud of the beat in the sound, he falls lifeless in the car and the sound of a

car crash is heard. This is the end of scene one. The dancers falling to the ground indicates

warning of traumatic experience that later on hinders his ability to dance. Psychologically it

shows the sudden pause and in Teron’s mindset of finding himself. It also shows the

introduction of PTSD.

Scene two begins in a bedroom setting where Teron is laying on a bed appearing to be

bedridden. He is struggling to cope with the accident he experienced. Throughout this scene

he experiences moments of insomnia and many sleepless nights which drain him both

physically and emotionally. Suddenly the physical representation of PTSD danced by Shinell

enters, she uses her body to portray torment towards Teron. Insomnia is a common symptom

of PTSD. After a prolonged period of insomnia together with other symptoms this is the

introduction of PTSD. Teron was caught in a negative spiral after waking up from the car

crash, to his foot being broken. He panics as PTSD creeps up on him. Rayanne appear as

Teron’s positive conscience. Nkame and Rayanne danced ballet contemporary movements to

help him win his battle with PTSD. This is a physical representation of his positive

personality and his deep passion for dance. There is a constant back and forth as Teron fights

the PTSD with his positivity. At the end of this scene Shinell curls up into a ball and the

dancers freeze. This represents the defeat of PTSD however its presence is still there. In

reality, Teron has learnt to regulate his emotions and not allow traumatic experiences to

hinder his ability to succeed.

The next scene begins with Teron sitting and meditating. This answers the question of how

dancers cope with PTSD from his experience. He uses mainly hand gestures and Kathak

movements to portray this scene. This is a coping mechanism for Teron that charges his
positive mindset which guides him through his journey. The hand gestures represent inner

peace and tranquillity. He wears kathak bells on his feet. The sound of the bells resonates

deeply with his soul as they chime and jingle. It produces rhythm as he dances and this offers

a sense of stability. Mediation relieves anxiety and gives you a better sense of your inner self.

After he does this self-healing process he is now ready to face the world. The last scene is

vibrant showing the successful victory of Teron managing his PTSD and becoming a

successful dancer. The dancers dance alongside him to celebrate and inspire others.

Costumes

Costumes were selected to represent themes of self-identity, good and evil. Teron wears a

black leotard with a dark grey sweat pants and Rayanne is in a black T-shirt and a black

&grey tights in the first scene to represent and lack of identity. The dancer who represented

his positive conscience wore white leotards with pink pointe shoes and a pink and white too

with white stockings. Shinell wore a black long sleeve leotard and a black long tights with a

black hooded cloak to represent PTSD. She wears the cloak over her head for most of the

piece to symbolize she is an enemy. Teron wears a orange and gold kurta with a burgundy

pants and bells around his ankles. Skyla wears a white folk dress with an under skirt with

green and orange and Nkwame wears a white shirt that matches Skyla’s green and orange

skirt with a scarf same color and white longs pants.

Music

SCENE 1 lost scene

“FORGOTTEN ODES” By: Eternal Eclipse“

End scene one with African drums to represent trauma and show the accident. This builds the

tension of the scene. These drums were chosen because the shrieking sound of each thud

builds on the emotion of fear and anxiety.

SCENE 2 recovery scene switches out with mental battle scene filmed at studio. Scary violin

instrumental.

“INSIDIOUS Scary Violin Song”

SCENE 3 Meditation

Flute, Tabla and Tibetan Bowl, Pure Positive Vibes, Morning Meditation, Stress Relief

“Let It Go“ from Disney’s “Frozen”–Piano Cover Version For Ballet Class+Sheet

Music

You’re Gonna Be Okay (Lyric Video) – Brian & Jenn Johnson / After All These Years

Better When I’m Dancing (Official Audio) – Meghan Trainor

Upbeat African song “Freedom” by Shatta Wale

The violin instrumental displayed lack of expression, boredom and desperation for some kind

of color towards personality an attempt to detect passion and desires.

The second scene with PTSD portrayed loud, aggressive and terrible sounds to display

configuration, weakness, inability and omission into the third scene with the peace angels

demonstrated grace and elegance to show a sense of patience, tranquillity, hope and faith.

The fourth scene displayed the fight with PTSD and The Peace Angels which portrayed

confusion, perplexity and chaos that engaged.

The fifth scene with kathak which represented stability, solidarity, resolution and meditation

of peace in the mind which guided him on the road into the powerful sound which created

vitality, energy and power in the sixth scene that resulted in the finale which demonstrated

An African rhythm of Triumph, relief, capability and happiness.

Choreographic methods
In scene one, Teron displayed lack of identity and uncertainty on a chapter of his life where

he is frustrated so much to the point of detecting his passion and destination, but he

constantly denied it, the dance class that he was fascinated by on the way to swimming

practice welcomed him. He then got involved in mirroring and canon movements with the

dancers, that indicated a high sense of what he is capable of but still is unsure of it because he

was unfamiliar to this part of himself always had that thought of boys weren’t allowed to be

dancers . In scene two Teron is hospitalise and injured he misses that feeling when he danced

he shows improvisation movements of depression that activated PTSD which showed

retrograde modern movements that reminded him of what happen in the accident which

caused him to be angry and devastated. Rayanne entered in unison with ballet point technique

movements with grace and humane to represent support, hope and peace that created

opposition and tension between PTSD which is Shinell and Rayanne represented peace they,

Teron detected a way of stability and tranquillity through hand gestures and kathak dance to

form meditation of his inner self and found his peace of mind, Rayanne and Nkwame

convinced Teron on a way out to happiness then they engaged in unison contemporary

movements that showed power and healing which lead him on the road to happiness not fully

defeating PTSD but controlled it to his extent. He then performed in the last scene after Skyla

and Nkwame portraying unison and folk steps that represented power and strength of defeat

towards PTSD which also involved great victory and happiness.

CHAPTER 6 Findings and Discussion

At some point in one’s life loss and trauma is experienced. Many people have heard of post-

traumatic stress (PTS), which leads to a normal response to an awful experience, but not

many recognize the struggles and hardships of trauma which can lead to opportunities for
self-growth. Post-traumatic growth (PTG) is a positive change you can experience as a result

of your struggle with a highly challenging life event. In fact, it’s just as common as

experiencing PTS. The benefits of post-traumatic growth are stronger relationships, greater

awareness of new possibilities, increased personal strength, spiritual enhancement, and

deeper appreciation for life. Post-traumatic growth is when you might not wish what you

experienced on your worst enemy, but you value how it has resulted in who you are now—

mentally, emotionally, and spiritually stronger. You find a “new normal” that’s different in a

positive way.

From doing research for this thesis, I have found articles that explains the struggle dancers go

through while fighting for their careers with PTS. Many give up, but few apply their passion,

determination and commitment to their craft which allows them to propel further.

There are a few role models who have walked this path in the industry and continue to excel

today. This goes to show that there is not one but many different ways of coping and

positivity can be applied to every strategy.

CHAPTER 7 Conclusion

This research paper draws grave concerns due to the increasing occurrences of PTSD in

dancers. PTSD has become prevalent in our society as this disorder presents a spectrum of

negative effects, hindering one’s success and progress in their dance career . The need for

determination and a strong mindset in dancers are highlighted as positive attributes to

overcome the challenges posed by PTSD . Although there are many ways to cope with PTSD,

positivity is the key factor in dealing with this disorder.

 Further research can be conducted to determine how dance could be used as an instrument

to cope and treat PTSD and its effects. Additionally the efficacy of dance therapy versus the

use of medicine to treat PTSD should be be examined and compared since the benefits of

dance are many and is more likely to help dancers identify with their inner ability and

promote self-growth.

CHAPTER 8 Reference/Citation/Appendix

SV;, T. P. (2015, September). Posttraumatic Stress Disorder and Psychopathology in

Dancers. Retrieved from https://pubmed.ncbi.nlm.nih.gov/ 26395617/

Qi, W., Gevonden, M., & Shalev, A. (2016, February). Prevention of Post- Traumatic Stress

Disorder After Trauma: Current Evidence and Future Directions. Retrieved from

https://www.ncbi.nlm.nih.gov/pmc/articles/PM- C4723637/

Parker, S. (2018). Moving On: An Investigation of Dance Movement Therapy in PTSD

Treatment. Retrieved from https://scholarsarchive.byu.edu/intuition/vol13/iss1/8/

Post-traumatic stress disorder (PTSD). (2018, July 06). Retrieved from

https://www.mayoclinic.org/diseases-conditions/post-traumatic-stress-dis- order/symptoms-

causes/syc-20355967

Big Little Secrets: Part II. (2019). Retrieved from https://www.thedancecur-

rent.com/column/big-little-secrets-part-ii

Zamora, W. (2020, September 11). The Power of Dance to Help Us Cope With Trauma.

Retrieved from https://www.dancemagazine.com/amp/dance- as-a-healing-art-2647439136

PTSD Has Surprisingly Positive Effects on Coping Skills. (2021, September 21). Retrieved

from https://www.veteranslaw.com/ptsd-has-surprisingly- positive-effects-on-coping-skills/