The Psychological Effects of Ballet and Contemporary Dance on Female Dancers: An Embodiment Perspective

Kaylee Allison Yen

doi:10.54254/2753-7064/2025.LC26419

Communications in Humanities ResearchOpen access

The Psychological Effects of Ballet and Contemporary Dance on Female Dancers: An Embodiment Perspective

Research Article

Open Access

The Psychological Effects of Ballet and Contemporary Dance on Female Dancers: An Embodiment Perspective

Kaylee Allison Yen ^1*

¹ The Bishop's School

^*Corresponding author: kayleeeyen@gmail.com

Published on 3 September 2025

CHR Vol.76

ISSN (Print): 2753-7072

ISSN (Online): 2753-7064

ISBN (Print): 978-1-80590-146-4

ISBN (Online): 978-1-80590-284-3

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Abstract

:This comparative study explores the psychological effects of classical ballet and contemporary dance on female dancers, drawing on embodiment theory to explore how movement, aesthetic ideology, and training environments shape female dancers’ body image, self-esteem, and overall mental well-being. While dance is widely recognized for its psychological benefits, existing literature often treats it as a monolithic practice, overlooking the genre-specific pressures and affordances that influence dancers’ well-being. Through an in-depth theoretical and empirical analysis, this study examines the differential impact of classical ballet and contemporary dance on dancers’ psychological well-being. Ballet’s codified aesthetic ideals, hierarchical pedagogical structures, and culture of perfectionism have been linked to increased risk of body dissatisfaction, disordered eating, conditional self-worth, and psychological distress, particularly in relation to injury and identity development. In contrast, contemporary dance, characterized by its emphasis on individuality, somatic awareness, and expressive authenticity, appears to support greater psychological flexibility, body acceptance, and emotional resilience. Injuries are common in both styles but are processed differently: ballet injuries often disrupt identity and lead to emotional withdrawal, while contemporary dancers approach recovery as embodied adaptation. Contemporary dance supports more adaptive coping strategies through its emphasis on improvisation, collaboration, and personal agency, while ballet’s rigid structure, perfectionism, and limited emotional autonomy often result in less flexible coping mechanisms. This study not only addresses a significant gap in the literature but also offers practical insights for educators, psychologists, and dance institutions aiming to understand and support female dancers’ mental well-being.

Keywords:

Classical Ballet, contemporary dance, psychological wellbeing, Embodiment Theory, female dancer

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