From Vision to Performance- Exploring the 4 Ws of Imagery in Ballet Dancers from Split: Qualitative study

Abstract

Aim:
This study aimed to characterize and describe the imagery practices of professional female ballet dancers from Split using the 4 Ws (+H) framework, which examines Where, When, What, Why, and How imagery is used.

Methods:
A qualitative study design with a pragmatic focus was used. Seven professional female ballet dancers from the Croatian National Theatre in Split participated. Semi-structured interviews based on the 4Ws+H framework were conducted, audio-recorded, and transcribed verbatim. Meaning units were identified and deductively coded. Hierarchical categorization was developed to capture key themes. Credibility was supported through investigator discussion and illustrative quotations.

Results:
Imagery use was found to be multidimensional and interconnected across sensory, cognitive, and emotional domains. Dancers predominantly used visual and auditory imagery, while kinesthetic imagery was also common. Imagery supported learning and skill acquisition, confidence building, emotional regulation, acting and character portrayal, motivation, and mental preparation. Dancers reported using imagery across various contexts: before and during performance, in training, throughout daily life, and occasionally even during holidays. Imagery practices evolved over time, becoming more structured and intentional with professional experience.

Conclusions:
Imagery is a valuable psychological tool in the daily artistic and professional functioning of ballet dancers. Dancers use imagery for various reasons, and it helps them in managing different cognitive and behavioral aspects of their everyday professional lives. Different types of imagery provide professionals with different benefits, and personalizing imagery is recommended for optimal effect. Regularly updating psychological training programs provide dancers with a mental and creative advantage, supporting both performance and well-being. Future research may benefit from examining how these imagery practices evolve, and how dance educators might incorporate structured imagery training to support performance enhancement and dancers’ psychological well-being.