THE EFFECT OF TWO
LEARNING CONDITIONS ON A
DANCER’S TECHNICAL
ACCURACY AND CONFIDENCE
IN A SIMULATED
PERFORMANCE SETTING
AVERY LUX
MIRRORS IN THE CLASSROOM SETTING
Benefits of using Mirrors:
• Dearborn and Ross: better retention of movement when using the mirror (Ehrenberg, 2010)
• “Imitation is important in human development for learning motor skills” (Farthing et al. 2013)
• The Mirror Neuron System (MNS): sensory neurons and visual properties aid in motor learning
and cross-education
Limitations of using Mirrors:
• Limiting the use of mirror in beginners-– kinesthetically feel the movement and commit it to
muscle memory (Dearborn and Ross, 2006)
• Kinesthetically, dancers indicate they feel better without the mirror (Ehrenberg, 2010)
METHODS
• Five participants enrolled in advanced ballet
• Learned two ballet adagio combinations, with
similar technical demands
• Randomized learning condition (with or without
mirror)
• Simulated performance setting in lighting lab
• Faculty and participant evaluation (three-point
scale)
With Mirror
4
RESULTS
3
2
1
• Every Participant Varied in results
• Average score with mirror: 2.4
0
0
5
10
15
20
Participants
• Average score without mirror: 2.44
Without Mirror
25
30
Average: 2.4
4
3
2
1
0
0
5
10
15
20
25
30
35
PARTICIPANT 5
With Mirror
PARTICIPANT 1
Without Mirror
With Mirror
3.5
3
2.5
2
1.5
1
0.5
0
Without Mirror
3.5
3
2.5
2
1.5
1
0.5
0
Execution of
Technique
Proper
Alignment
Ability to
Balance
Confidence in Confidence in
Ability
combination
Execution of
Technique
FACULTY PARTICIPANT 5
Faculty With Mirror
Ability to
Balance
Confidence in Confidence in
Ability
combination
FACULTY PARTICIPANT 1
Faculty Without Mirror
3.5
3
2.5
2
1.5
1
0.5
0
Proper
Alignment
Faculty With Mirror
Faculty Without Mirror
3.5
3
2.5
2
1.5
1
0.5
0
Pelvic
Alignment
Ankle
Stability
Ribcage
Placement
Ability ot
Balance
Dancer's
Flow of
Appeared Movement
Confidence in
Combination
Pelvic
Ankle Stability Ribcage
Alignment
Placement
Ability ot
Balance
Dancer's
Flow of
Appeared
Movement
Confidence in
Combination
DISCUSSION
• Indications by majority of participants that there were limitations and benefits
to both
• Increased kinesthetic/ proprioceptive experience WITHOUT mirror
• Better understanding of combination with the mirror
• 3 participants indicated a better performance with the mirror, and 2
participants indicated a better performance without
• Additional Factors:
• Learning in a larger space with a marley floor
• Performing in a smaller space with a slippery floor
• The study was conducted on two different days
“I found I was able to see all of the teacher’s body, which helped with seeing total body placement
and port de bras.”
CONCLUSION
• Limited study, with a limited participation pool
• Could be repeated with a larger pool
• There are both benefits and limitations to learning with the mirror
• How can we look at this from a pedagogy standpoint?
• Learning with the mirror, while encouraging students to kinesthetically take note of how
the proper alignment feels
• Learning without the mirror while still being clear on arm pathways and directional facings
REFERENCES
• Karen Dearborn &Rachael Ross (2006) Dance Learning and the Mirror: Comparison Study of Dance
Phrase Learning with and without Mirrors, Journal of Dance Education, 6:4, 109-115, DOI:
10.1080/15290824.2006.10387323.
• Shantel Ehrenberg (2010): Reflections on reflections: mirror use in a university dance training
environment, Theatre, Dance and Performance Training, 1:2, 172-184.
• Jonathan P. Farthing, Tibor Hortobagyi, Glyn Howatson, Endre E. Kadar & Tjerk Zult (2013) Role of the
Mirror-Neuron System in Cross- Education, Sports Medicine, 44:159-178, DOI: 10.1007/s40279-0130103-2.