Well-being is increasingly viewed as a multidimensional construct encompassing psychological, emotional, and social dimensions with a combination of both hedonic (feeling good) and eudaimonic (functioning well) aspects ( Ryff & Keyes, 1995; Diener et al., 1999). At the tertiary level, teacher well-being is not only a personal strength but also a professional necessity that affects classroom environment, student outcomes, and institutional quality ( Arslan, 2018; Mercer & Gregersen, 2020). Studies show that well-being sustains engagement, resilience, and self-efficacy, but its absence is related to burnout, reduced motivation, and lower teaching effectiveness ( Acheson et al., 2016; Klusmann et al., 2016; Leng & Zhang, 2024). Yet, lecturers often encounter persistent issues, such as heavy workloads, administrative demands, large classes, and limited autonomy, that heighten stress and emotional labor, undermining satisfaction and fulfillment ( Agudo & De Dios, 2018; Fontinha et al., 2019; Ghafar, 2024). Although teachers find meaning in student progress and colleague recognition, the gap between high commitment and limited accomplishment increases risks of disappointment ( Leng & Zhang, 2024). Recent scholarship calls for culturally sensitive interventions such as mentoring, reflective practice, and flexible work policies, together with institutional structures that promote “virtuous cycles” of well-being and teaching excellence ( Whittet, 2021; Golab et al., 2025). In Vietnam, lecturer well-being reflects these global concerns but is also shaped by institutional and cultural circumstances. Vietnamese lecturers report moderate to high subjective well-being, supported by institutional autonomy and recent educational reforms ( Tran et al., 2021). However, variation exists between public universities, private institutions, and language centers, where workload, administrative tasks, and resource constraints create uneven experiences ( Nguyen, 2025). Collective harmony and professional values strengthen the connection between self-efficacy and well-being, making institutional support and collegiality central to lecturer identity and resilience ( Phan, 2018; Nguyen, 2025). Demographic factors such as age, education, and rank are positively associated with well-being, but higher income does not always guarantee higher satisfaction due to rising responsibilities ( Tran et al., 2021). It is suggested that enhancing lecturer well-being in Vietnam requires both structural measures (workload management, mentoring, and work-life balance), and culture-sensitive professional development that builds pedagogical competence and psychological resilience.

Artistic performance, particularly singing and dancing, has been linked to well-being across physical, psychological, and social domains. Studies show that singing can enhance respiratory and immune function, lower cortisol levels, reduce stress, and build resilience ( Fancourt et al., 2015; Kang et al., 2018). Collective practices such as choirs and dance groups further strengthen social bonds and belonging, offering protection against loneliness, depression, and burnout ( Cruz-Ferreira et al., 2015; Sun & Buys, 2016; Stewart & Lonsdale, 2016). These benefits are increasingly recognized in higher education. Faculty and staff members describe creative pursuits as an essential counterbalance to productivity-driven settings, helping to ease stress, reduce emotional exhaustion, and support overall mental well-being ( Smeltzer et al., 2024). Process-focused participation, rather than outcome-oriented performance, is especially valued for fostering emotional regulation, self-expression, and empathy ( Martínez-Vrez et al., 2024). Evidence from participatory arts programs, including drumming, dance, and improvisation, confirms these effects, reporting reductions in stress and depression among students, besides notable gains in creativity, resilience, and unity ( Agres & Chen, 2025). For lecturers, whose workloads are often shaped by performance metrics, structured opportunities for collaborative and interdisciplinary artistic engagement could play a vital role in maintaining their well-being. Such initiatives not only strengthen academic communities but also foster joy and intellectual curiosity ( Plotnikof & Utoft, 2022). Therefore, scholars argue that the arts should be integrated into institutional well-being strategies, co-designed with arts educators, and evaluated for long-term impact ( Moar et al., 2024). This approach reflects broader international recommendations from UNESCO and WHO, which highlight the role of the arts in promoting mental health and social-emotional development ( Martínez-Vrez et al., 2024). All things considered, the evidence points to the transformative potential of artistic practices for supporting lecturer well-being in higher education.

The PERMA model, introduced by Seligman (2011), is one of the most frequently applied frameworks for well-being in positive psychology. It views flourishing as a combination of five elements: Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment, which are definable and measurable ( Seligman, 2011; Butler & Kern, 2016). Positive Emotion associates to experiences such as joy, pride, gratitude, and contentment, which build cognitive and emotional resources and foster resilience ( Donaldson et al., 2022). Engagement refers to a deep level of absorption or flow in tasks, which involves cognitive, affective and behavioral engagement, and is often linked to creativity, intrinsic motivation, and coping with workload ( Qin et al., 2024; Fitzsimons et al., 2025). Relationships emphasize the importance of supportive social connections, including teacher-student and colleague relationships, which provide an environment of emotional safety, trust, and motivation ( Ibrahim et al., 2021). Meaning pertains to the sense of purpose derived from contributing to something larger than oneself. In education, this conveys making an impact on future generations and promotes sustained commitment even in demanding conditions ( Seligman, 2011). Accomplishment captures achievement, mastery, and progress toward goals, enhancing self-efficacy, perseverance, and professional well-being ( Sun et al., 2022). Even though these components are empirically interrelated and often highly correlated rather than fully discrete ( Goodman et al., 2018), their conceptual separation provides practical value by allowing interventions focused on specific domains of well-being ( Bolier et al., 2013; Seligman, 2018). Despite critiques regarding overlap with existing constructs of subjective well-being and a lack of theoretical coherence ( Goodman et al., 2018; Donaldson et al., 2022), PERMA model has been applied successfully through tools such as the PERMA-Profiler ( Butler & Kern, 2016) and extended in models like PERMA4, which incorporate additional domains including physical health, mindset, environment, and security ( Donaldson et al., 2022). Furthermore, its implementation in education is particularly influential, with teachers reporting higher PERMA profiles associated with job satisfaction, teaching effectiveness, and resilience against burnout ( Dreer, 2024; Fitzsimons et al., 2025). Moreover, in arts and music education, PERMA has been used to reconceptualize learning as an embodied and relational experience of holistic well-being ( Habron-James, 2024). Overall, PERMA is best considered a heuristic framework rather than a comprehensive theory, but it has been a powerful tool for exploring and enhancing well-being in educational and professional contexts.

Prior research on teacher well-being through the PERMA model has been carried out in a range of contexts. In China, Qin et al. (2024) showed that well-being and teaching effectiveness independently predicted life satisfaction among foreign language lecturers, while Leng and Zhang (2024) emphasized the importance of emotions, engagement, and relationships in sustaining motivation, with meaning and accomplishment playing a secondary part. In Malaysia, Shanmugam and Hidayat (2022) found that PERMA elements, especially engagement, were predictors of grit and well-being among ESL teachers. In European nations, Fitzsimons et al. (2025) reported that teacher educators in Ireland and the UK relied on mindfulness, supportive relationships, and work-life balance to mitigate stress. Dreer (2024) in Germany identified positive emotions and achievement as the strongest predictors of job satisfaction, while in Turkey, Uzun and Özdemir (2025) provided experimental evidence that a PERMA-based program significantly boosted special education teachers’ well-being. In another context, Golab et al. (2025) in Australia illustrated the tension between well-being and teaching excellence, calling for PERMA to be expanded to include vitality in light of increasing workload pressures. Vietnamese literature on this topic is still underdeveloped. Ngô (2025) examined English lecturers at Can Tho University and demonstrated that relationships, emotions tied to student success, and professional accomplishments supported well-being, but also noted limited institutional support. At the school level, Nguyen-Thi et al. (2024) highlighted demographic factors such as age and gender influenced teachers’ happiness, with professional learning opportunities and self-confidence as key predictors. Altogether, most of these studies have remained within the boundaries of teaching-related experiences, institutional conditions, or demographic factors. Little is understood about how lecturers’ sustained engagement in artistic practices such as singing or dancing shapes their well-being. This study attempts to bridge this gap by examining Vietnamese lecturers’ well-being through PERMA in relation to their long-term pursuit of artistic performance, moving beyond conventional academic frames toward a more creative and holistic view of lecturer flourishing.

This study employed a qualitative descriptive approach to capture participants’ experiences in their own everyday language ( Sandelowski, 2000). Data were collected through a single in-depth focus group, a method well-suited for generating rich and contextual insights through structured group discussion ( Gundumogula, 2020). This design was chosen to examine how lecturers’ sustained engagement in artistic activities influences their personal and professional well-being. The analysis was guided by the PERMA model of well-being by Seligman (2011), which provided an initial thematic framework for coding. At the same time, attention was given to emerging sub-themes that expanded and refined the core PERMA dimensions.

The study involved six university lecturers recruited through purposive sampling. The main criterion for selection was their recent and active participation in artistic performances and competitions at the institutional level, particularly in areas such as singing and dancing. This sampling strategy was used to ensure that participants could share rich and relevant perspectives on the core focus of the research, the relationship between artistic practice and lecturer well-being. By focusing on information-rich cases, the study aimed to gain a deep understanding of the experiences rather than to generalize findings statistically. Table 1 presents the participants’ demographic and artistic profiles, including their pseudonyms, gender, age, and specific artistic pursuits, to provide essential context while protecting anonymity.

The primary research instrument was a semi-structured focus group protocol designed to foster open yet focused discussion (Extended data available at Zenodo, 10.5281/zenodo.17529677). This approach, involving a moderated group interview, was selected for its ability to capture diverse perspectives and generate rich data in a social context ( Gundumogula, 2020). To ensure clarity and cultural appropriateness, the semi-structured interview questions were piloted with five lecturers who were not part of the main study, and their feedback was subsequently used to refine the wording and flow of the questions. Later, the session was conducted in Vietnamese to allow participants to speak with nuance and comfort. It was video-recorded to capture both dialogue and non-verbal cues, transcribed verbatim, and later translated into English for analysis.

The discussion was guided by a protocol featuring key open-ended questions aligned with the research aims. To address RQ1, which explored the broader impact of artistic activity on well-being, participants were first asked “Can you describe a recent artistic experience that was particularly meaningful or memorable for you?”. For RQ2, which examined specific dimensions of well-being through the PERMA model, a series of targeted questions were posed and aligned with five components of the PERMA model, including “What feelings does participating in your art typically bring up for you? Where does the joy or fun lie?” (Positive Emotion), “Can you describe a time you were so absorbed in a performance or rehearsal that you lost track of time or your surroundings?” (Engagement), “How has your artistic pursuit affected your relationships with others, both inside and outside the university?” (Relationships), “What does this artistic part of your life mean to you? How does it connect to who you are as a person or a lecturer?” (Meaning), and “What does success look like in your art? Can you describe a moment when you felt a real sense of achievement?” (Accomplishment). The discussion then linked personal and professional well-being through a bridging question “How does this artistic part of your life spill over into your work as a lecturer?”. Finally, a closing reflection invited participants to contribute perspectives beyond the structured framework “Is there anything else about the role this art plays in your overall well-being that we haven’t discussed?”.

This sequence combined structure with flexibility. The initial inquiry encouraged openness, the PERMA-based probes provided systematic coverage of well-being, and the closing prompt allowed space for unanticipated insights. Together, these features ensured rigor while maintaining the conversational flow essential for qualitative depth.

In the present study, a qualitative descriptive design was applied to explore lecturers’ experiences of artistic performance as well as their impact on lecturer well-being. Initially, ethical approval was secured before data collection. To prepare for a focus group discussion, the semi-structured interview questions were piloted with five lecturers who were not involved in the main study. Their feedback helped refine the wording, sequence, and cultural appropriateness of the questions, ensuring they would generate a meaningful discussion. A single focus group was then conducted in Vietnamese with six participants, lasting about 90 minutes. The session was video-recorded to capture both verbal exchanges and non-verbal expressions, transcribed verbatim, and translated into English for analysis.

The analysis followed a thematic approach, using the PERMA model ( Seligman, 2011) as a guiding framework. The transcript was read several times for familiarization before being coded line by line to identify initial concepts. These codes were organized under the five dimensions of PERMA (Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment), while also leaving space for new emerging sub-themes that extended or nuanced the framework. To strengthen trustworthiness, the coding process was reviewed through peer debriefing with a fellow researcher, and participants were also invited to confirm the thematic summary through member checking. These steps provided a systematic but flexible procedure that linked the structured elements of the PERMA model with the realistic complexity of lecturers’ artistic engagement.

This study was conducted in alignment with the ethical principles outlined in the Declaration of Helsinki ( World Medical Association, 2013). Formal ethical approval was not required under the regulations of the School of Foreign Languages, Can Tho University, given that the inquiry entailed minimal risk and the voluntary engagement of adult educators in non-sensitive discussions. All ethical standards for research with human participants were strictly observed. Prior to their participation, each lecturer was provided with comprehensive verbal information about the study’s objectives, methodology, data use, and their right to withdraw at any time without consequence. Participation was entirely voluntary, and verbal informed consent was secured and audio-recorded with participants’ permission. This approach was culturally appropriate and generated comfort during the group focus interviews. No minors were involved in this study accordingly. Pseudonyms were used in all transcripts and data reports to preserve anonymity and privacy.

The lecturers described their artistic engagement as a powerful contributor to their overall well-being, extending beyond leisure into professional identity and resilience.

Bob reflected on performing at an international conference: “It proved age is not a barrier. I felt full of energy and courage, and my younger colleagues respected me more” (Bob, 51). For him, art became a source of vitality and inter-generational connection.

Anna recalled her success in a singing competition: “That moment made me proud of who I am. My students told me they admired my singing, and I think they saw me differently after that” (Anna, 39). Artistic participation not only generated pride but also enhanced her professional credibility.

Several participants highlighted the collective impact of artistic activities. Christine described the effect of performing in a faculty choir: “We felt harmony, not just in music but in our relationships. It brought warmth and confidence to our faculty” (Christine, 30). Similarly, Tina emphasized the emotional depth of a group singing performance: “When we sang about the teaching career, I cried. It reminded me why I chose this profession, and it really connected us as colleagues” (Tina, 26).

Art also encouraged vulnerability and growth. Louis explained: “At first I was kind of introvert, but that made me more open with colleagues and even my students. Dance gave me humility, and I brought that into my teaching” (Louis, 34). Henry emphasized the value of persistence: “Winning first prize wasn’t just about the competition. It showed me that persistence and discipline in art are the same values I need in teaching” (Henry, 48).

Positive emotion

All lecturers associated artistic practice with strong positive emotions. Anna noted: “When I sang patriotic songs, I felt pride and inspiration. It reminded me of something bigger than myself” (Anna, 39). Tina described: “I felt joy and tears at the same time. It was pride in teaching, pride in us” (Tina, 26). Louis added: “Dance gave me excitement, freedom, and even vulnerability but it was joyful” (Louis, 34).

Engagement

Participants consistently reported experiences of deep absorption. Christine recalled: “I was completely engaged. Time passed and I didn’t notice” (Christine, 30). Henry reflected: “Despite my heavy workload, I lost myself in practice. I felt renewed energy through the focus” (Henry, 48). Louis also stated: “I forgot everything else. Time, stress, everything disappeared” (Louis, 34).

Relationships

Artistic activities strengthened collegiality and inter-generational ties. Christine emphasized: “The choir gave us empathy. We didn’t just perform, but we understood each other better as colleagues” (Christine, 30). Bob highlighted: “They saw me differently, not as older but as part of their team” (Bob, 51). Anna noted how art shaped her bond with students: “My students told me they saw my passion. That made our relationship closer” (Anna, 39).

Meaning

Art provided participants with renewed purpose and identity. Tina reflected: “It reminded me of my calling as a teacher. Art brought me back to why I started this job” (Tina, 26). Anna added: “It showed me I’m more than a lecturer. I can be a role model through art” (Anna, 39). Bob explained: “It changed how I see aging - not decline, but growth and vitality” (Bob, 51). Henry highlighted: “Art connected persistence with professional purpose. It gave me discipline” (Henry, 48).

Accomplishment

Artistic achievements were described as moments of validation. Henry stated: “Winning first prize confirmed the effort was worth it. It was discipline and persistence paying off” (Henry, 48). Christine highlighted: “It wasn’t just me, it was all of us. That accomplishment gave our faculty pride” (Christine, 30). Louis said: “For me, just finishing the performance successfully was a win. I had never done it before, so it was a personal victory” (Louis, 34). Anna added: “Winning third prize felt like my peak achievement and inspired my students” (Anna, 39).

Overall, the results indicate that artistic performance supported lecturers’ energy, resilience, and authenticity, while strengthening social ties and shared pride. Their experiences, aligned with the PERMA framework, showed how long-term artistic engagement fosters lasting well-being in both personal and professional life.