Emotional labor mediates the associations between self-consciousness and flow in dancers.

Emotional labor has been a focal point in occupational well-being literature, but studies have long overlooked an important group of emotional laborers: performers. This research represents a pioneering effort to examine dancers' adoption of emotional labor strategies, their antecedent of self-consciousness, and the outcome of flow experience. We explored these elements both in the traditional setting of stage dancing and in the novel context of online dance classes without on-site spectators during the COVID-19 pandemic. The results revealed that dancers employed all three common emotional labor strategies: surface acting, deep acting, and expression of naturally felt emotions, with deep acting being the most frequent. In the traditional setting, only the expression of naturally felt emotions mediated the positive effect of private self-consciousness and the negative effect of public self-consciousness on flow experience. In contrast, in the online setting, only private self-consciousness impacted flow through the mediation of deep acting and expression of naturally felt emotions. This exploratory study bridges dramaturgy-originated theories of emotional labor with empirical performing arts research, preliminarily advancing knowledge in the relevant fields of dance education, self-presentation, and flow studies.

The Effects of Emotional Labor on Work Strain and Nonwork Strain Among Dancers: A Person-Centered Approach.

Introduction: Emotional labor is an important research area, but four key gaps remain regarding outcomes of nonwork strains, explanatory frameworks beyond the conservation of resources theory, adoption of person-centered approaches, and subjects of performers. Methods: By surveying 183 Chinese dance students, we employed cluster analysis to examine the adoption of emotional labor strategies (ie, surface acting, deep acting, and expression of naturally felt emotions) and to explore the outcomes on work strain (ie, emotional exhaustion and reduced flow experience) and nonwork strain (ie, depression and anxiety) with introducing the allostatic load theory as an analytical basis. Results: Four types of emotional workers were identified, namely, flexible regulators (33.33%), authentic regulators (15.85%), display rules compliers (39.34%), and non-regulators (11.48%). Authentic regulators had the lowest emotional exhaustion. Non-regulators had the lowest flow. No differences emerged in depression or anxiety across clusters. Discussion: Findings partially align with past research showing risks of surface acting in terms of emotional exhaustion. However, all three strategies enhanced flow states. Moreover, dancers' work strains did not extend to psychological problems, unlike other professions. Possible explanations include training in emotional regulation and flow states in performing. Practical implications exist for training emotional regulation and fostering flow at work.