That’s where trust comes into play – in ourselves and others. The difficult part for us, as voice teachers, is basically to help the student lose their inhibitions (or, one step further, to practise in an uninhibited way ourselves). Why Am I Telling You This?īecause higher activity in our medial prefrontal cortex is also linked to “flow”, and being in a highly creative state (you might want to read Mihaly Csikszentmihaly’s work on flow if you are interested). When we’re uninhibited, “ugly” emotions included, this part of our brain becomes less active, and we have more activity in the medial prefrontal cortex. If we are trying to mask negative emotions with false positivity, we can very much get into a cycle of emotional avoidance and thus coping strategies that aren’t very beneficial to our mental and physical wellbeing.įor performers, there is another problem: As soon as we begin to censor ourselves, or our inner critic “goes online”, and we experience higher activity in our dorsolateral prefrontal cortex. However, censoring our emotions is problematic in more than one way. We so often talk about “negative emotions” and consequently try to get on top of them, or eliminate them altogether in a bid to have a “more positive” outlook. As singers, we probably all know one thing: Feeling isn’t hard (we do it all the time), but being at ease with our feelings, and allowing ourselves to be vulnerable, is. I’d like to talk about one of my favourite teaching and coaching tools today: Plutchik’s Wheel of Emotions.
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