I recently wrote an article on the euphoria and reward-activating brain activity caused by listening to certain songs. It would be a great omission on my part not to mention the recently resurfaced attention on Richard Wagner's compositions and their assumed connection to "hysteria, depression and nervous conditions." A recent article published in the Guardian briefly mentions how the production of a German-Nazi themed opera called Tannhäuser reportedly caused audience members to feel physically and emotionally ill. 

Psychology of music literature also suggests that Richard Wagner himself may have experienced symptoms of bipolar disorder. Music historians document how Wagner's music was blamed for nervousness, heart palpitations and melancholy. It would be fascinating, let alone scientifically sound(!), to explore the connection between types of music and negative emotional states in the same way that previous scientific literature has explored the connection between songs we choose and dopaminergic brain activity. 

Here's Richard Wagner's "Tristan und Isolde", Prelude. 

Many people believe that self-esteem has a lot to do with "being great" or "the best at something" or "recognized for something important." The assumption is that one's self-esteem will go up once he/she has perfected something about their appearance, their skills, their personality and so on. In doing so, the person internalizes the message that there is something wrong with what's already there. That the only way one will like himself/herself is if they change and become perfect. 

However, this is not what having "high self-esteem" is all about: Self-esteem has to do with self-acceptance and self-love. It is a long-lasting, positive relationship with myself, that exists despite knowing that I'm not perfect. Despite acknowledging that there might be room for growth in many areas of my life (my appearance, my behavior, my performance in certain skills etc). 

Self-acceptance is the notion that my worth as an individual does not depend on my talents, my skills, the color of my hair, the size of my nose, the number of degrees I have, etc. My worth is an absolute, constant factor and is the foundation onto which I build my efforts to improve. Many clients wonder "does self-acceptance mean I accept things I dislike about myself without trying to improve?" No. Self-esteem that is based on self-acceptance leads me to want to improve BECAUSE I love myself, not IN ORDER to love myself. However, when it's the other way around and when my self-love depends on how good I am at something, I will always find myself seeking to perfect something even though perfection is unattainable.

Once I've developed a strong sense of self-worth, that is solid and constant, I will find myself wanting to become better, to take care of my appearance, to learn more things, BECAUSE I love myself and want what's best. 

Therefore, when working on improving self-esteem, the most important thing is to start by working with the idea of self-acceptance, self-love and self-worth. 

Many performers ask me about ways to balance out their naturally shy, introverted disposition with their desire to be in the spotlight when on stage.  There seems to be a perceived dichotomy between the image of a confident, dynamic performer and the quiet individual who does not crave interpersonal interaction off-stage. 

First off, lets begin by acknowledging that this is NORMAL. Just because a performer wants to be looked at or listened to while they are showing their skills or character, this does not mean that he/she wants to connect on a personal or social level with others.  

Secondly, I encourage my clients to start off by ACCEPTING that this dichotomy may occur, and to avoid fighting it. For example, a singer may feel like he/she is portraying a role when performing; that the equipment, the stage, the performance outfits and the lights are all some type of "mask" behind which he/she hides. Coming to terms with the fact that this "mask" comes off only to reveal a different but equally valuable persona, will relieve the stress of feeling like the confident performer has to exist in day-to-day life as well. A person learns to accept both sides as equally genuine and powerful without feeling like there has to be an amalgam of the two, or that one is better than the other.

Thirdly, we work on identifying and EXPLORING the extent to which shyness affects the performer. If it's shyness which translates into anxiety while on stage, then we work on stage fright management skills. Shyness is one thing; debilitating fear of being negatively evaluated is another!

Finally, my clients and I spend some time incorporating their "true nature" into their artistic IDENTITY. If what one truly wants to do is to perform contemporary dance pieces in an intimate setting, there is no need to push an identity of someone who likes to dance jazz pieces in front of thousands of guests. Of course, one would have to take practical concerns into consideration (how easy it is to turn down jobs nowadays?); however, being able to use one's perceived shyness as a tool that gives them artistic uniqueness rather than an enemy that needs to be fought off, can also pay off emotionally and artistically.