The Playful Ways of the Performing Artist

2021 ◽  
pp. 442-448
Author(s):  
Anne L. Wennerstrand
Keyword(s):  
2009 ◽  
Vol 59 (4) ◽  
pp. 38-41
Author(s):  
Gerald Klickstein
Keyword(s):  

Rheumatology ◽  
2009 ◽  
Vol 48 (12) ◽  
pp. 1469-1470 ◽  
Author(s):  
H. A. Bird

2017 ◽  
Vol 32 (1) ◽  
pp. 61-62 ◽  
Author(s):  
Bronwen J Ackermann

Managing training practices in elite performance domains is recognised to play an important role in preventing musculoskeletal overload, and hence reducing the risk of overuse-related injuries. In international studies spanning four decades, the duration of playing, especially in combination with sudden increases in playing and inadequate rest breaks, remains one of the most common causes of injuries. With musculoskeletal performance in occupational and sports domains, both the work:rest ratio and the acute:chronic workload ratio are considered critical in making an approximate determination in the length of training sessions. However, there are many complex underlying mechanisms that interact with the duration of training and how long a performing artist may safely rehearse or practice. Instead of trying to set rigid timelines, particularly for personal practice/training, recognising mental and physical signs of fatigue may be more useful to inform the performing artist when to stop and rest rather than to persist.


Author(s):  
Paola Savvidou

This book offers applied music instructors a practical guide for supporting their students’ wellness by integrating holistic techniques into their pedagogy. The main argument in this book is that the mentorship dynamic within the applied studio situates pedagogues in a unique position to guide and mentor their students toward a healthy and satisfying artistic life. Wellness, as a relatively new dimension within health education for musicians, can be intimidating for applied instructors. Many teachers lack the training and confidence to enter conversations in this arena. Grounded in recent research, coupled with extensive in-person interviews with students, faculty, and healthcare professionals, this book demystifies the causes, challenges, and limiting factors around maintaining a healthy artistic practice, while revealing practical solutions for achieving and maintaining wellness as a performing artist. Each chapter includes a toolkit of practical exercises and activities that can be easily integrated within the applied lesson. Topics covered include injury prevention, alignment and the breathing mechanism, mental health, contemplative practices, Laban Movement Analysis, nutrition, and sleep.


2019 ◽  
Vol 34 (2) ◽  
pp. 120-121
Author(s):  
Michael C Singer

The celebrated meeting between Sigmund Freud and Gustav Mahler in 1910 was the first known instance of a performing artist seeking out the assistance of a psychotherapist who happened to know something about art. It marked the beginning of what has grown into a permanent relationship between psychotherapists and performing artists.


2019 ◽  
Vol 5 (1) ◽  
pp. e000453 ◽  
Author(s):  
Diana P A M van Winden ◽  
Rogier M Van Rijn ◽  
Angelo Richardson ◽  
Geert J P Savelsbergh ◽  
Raôul R D Oudejans ◽  
...  

AimWe investigated the extent and characteristics of injuries in contemporary dance students.MethodsDuring one academic year, 134 students of Bachelor dance and Bachelor dance teacher from Codarts University of the Arts (Rotterdam, the Netherlands) were prospectively monitored monthly, using the Performing Artist and Athlete Health Monitor which includes the Oslo Sports Trauma Research Centre Questionnaire on Health Problems.Results130 students were included in the analyses. The response rate of monthly completed questionnaires was 80%. During the academic year, 97% of students reported at least one injury, mental complaint or other health problem. The 1-year injury incidence proportion was 81%. Of these injured students, 58% were substantially injured (ie, problems leading to moderate or severe reductions in training volume or performance or complete inability to participate in activities). The monthly injury proportion (all injuries) ranged from 23% to 43% and for substantial injuries from 6% to 17%. The injury incidence rate per 1000 hours dance exposure was 1.9 (95% CI 1.7 to 2.2). Ankle/foot (30%), lower back (17%) and knee (15%) were the most common sites of injury.ConclusionContemporary dance students are at high risk for injuries. Injury prevention programmes among contemporary dance students should focus on the ankle/foot, lower back and knee.


Author(s):  
Ketu H. Katrak ◽  
Anita Ratnam

This chapter explores multiple dimensions of the reenactment of a thirteenth-century ritual dance-theater work, Kaisika Natakam, of South India. A collaborative effort by scholars, musicologists, and performing artist Anita Ratnam, the revival and reconstruction of this tradition has been performed annually since 1995 in Tirukurungudi village in Tamil Nadu, India. We theoretically distinguish reconstruction from reenactment. This ritual reenactment appeals to modern democratic impulses in that the story uniquely challenges the caste system; indeed it demonstrates that Nambudevan, Lord Vishnu’s devotee, though low-born is an honorable individual who keeps his word, even if that may lead to his death. The story reminds audiences of the significance of music and dance in Hindu worship, exemplified in Nambudevan’s devotional singing that plays a key role in transforming a demon into human form. The chapter also discusses gender issues such as male roles played by females in this ritual dance-theater.


Sign in / Sign up

Export Citation Format

Share Document