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Journal articles on the topic 'Performing arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Schreiber, Falk. "performing arts." tanz 14, no. 2 (2023): 55. http://dx.doi.org/10.5771/1869-7720-2023-2-055-2.

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2

Manchester, Ralph A. "Toward a Performing Arts Medicine Definition of Performing Arts." Medical Problems of Performing Artists 24, no. 3 (September 1, 2009): 101–2. http://dx.doi.org/10.21091/mppa.2009.3022.

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As the Performing Arts Medicine Association (PAMA) celebrates its 20th anniversary this year, it seems to be a good time to discuss a definition of what the field includes—and, by extension, what it doesn't include. Some may think that this might not be the best use of our time, since we have done pretty well so far without a written definition of the performing arts. However, a presentation at the 27th Annual Symposium on the Medical Problems of Musicians & Dancers on health issues of circus performers and some recent articles in Medical Problems of Performing Artists on artistic and rhythmic gymnasts have helped us broaden the scope of our field. While I find this exciting and another indication that performing arts medicine is a vibrant, essential specialty within the universe of health care, it also makes me wonder what else ought to be included in the field and what shouldn't.
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3

Brandfonbrener, Alice G. "Performing Arts Medicine." Music Educators Journal 77, no. 5 (January 1991): 37–41. http://dx.doi.org/10.2307/3397861.

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4

Khoury, Stéphanie. "Cambodian performing arts." Ethnomusicology Forum 25, no. 1 (January 2, 2016): 141–42. http://dx.doi.org/10.1080/17411912.2016.1139463.

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5

Maran, A. G. "Performing arts medicine." British Journal of Sports Medicine 32, no. 1 (March 1, 1998): 5. http://dx.doi.org/10.1136/bjsm.32.1.5.

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6

Russell, Jeffrey A., Laura Santos, David A. Wilkenfeld, and James R. Scifers. "Performing Arts Medicine." Athletic Training & Sports Health Care 11, no. 4 (July 1, 2019): 157–60. http://dx.doi.org/10.3928/19425864-20190605-02.

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7

Barratt, H. "Performing arts medicine." BMJ 326, no. 7381 (January 18, 2003): 21S—21. http://dx.doi.org/10.1136/bmj.326.7381.s21.

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8

Hamilton, J. R. "The Performing Arts." British Journal of Aesthetics 52, no. 2 (January 4, 2012): 216–19. http://dx.doi.org/10.1093/aesthj/ayr053.

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9

KEMBER, JANE. "Performing Arts Medicine." Physiotherapy 77, no. 11 (November 1991): 750. http://dx.doi.org/10.1016/s0031-9406(10)62056-1.

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10

Currey, Jovauna, Dana Sheng, Alyssa Neph Speciale, Camilla Cinquini, Jorge Cuza, and Brandee L. Waite. "Performing Arts Medicine." Physical Medicine and Rehabilitation Clinics of North America 31, no. 4 (November 2020): 609–32. http://dx.doi.org/10.1016/j.pmr.2020.08.001.

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11

Lederman, Richard J. "Performing Arts Medicine." New England Journal of Medicine 320, no. 4 (January 26, 1989): 246–48. http://dx.doi.org/10.1056/nejm198901263200410.

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12

Dunlop, Rachel, Dominic Moody, Adrienne Muir, and Catherine Shaw. "The performing arts." Cultural Trends 7, no. 26 (January 1995): 1–25. http://dx.doi.org/10.1080/09548969509365003.

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13

JAMES, I. M., and C. B. WYNN PARRY. "PERFORMING ARTS MEDICINE." Rheumatology 31, no. 12 (1992): 795–96. http://dx.doi.org/10.1093/rheumatology/31.12.795.

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14

Arjmand, Susan. "Performing Arts Medicine." JAMA 306, no. 23 (December 21, 2011): 2621. http://dx.doi.org/10.1001/jama.2011.1848.

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15

Stone, Scott. "Performing Arts Libraries." Notes 80, no. 2 (December 2023): 280–88. http://dx.doi.org/10.1353/not.2023.a912341.

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16

N, Deepa Saravanan. "Paavaikkuutthu in Performing arts." International Research Journal of Tamil 1, no. 4 (October 11, 2019): 23–28. http://dx.doi.org/10.34256/irjt1943.

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'Paavaikkuutthu in Performing arts’ Kuutthu one among the various folk arts. ‘Thol paavaikkuutthu’ is one, which is at the verge of extinction in the modern era of development. People who did not have any other outlet for entertainment, along with nurturing the ancient Tamil tradition gave life to many new art forms. ‘Thol paavaikkuutthu’, which was popular in Tamilnadu and other States as well is highlighted in this article.
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17

Globerman, Steven, and Edwin G. West. "Subsidizing the Performing Arts." Canadian Public Policy / Analyse de Politiques 13, no. 1 (March 1987): 109. http://dx.doi.org/10.2307/3550553.

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18

Klakegg, Ole Jonny. "Kilden Performing Arts Centre." International Journal of Project Management and Productivity Assessment 10, no. 1 (January 1, 2022): 1–27. http://dx.doi.org/10.4018/ijpmpa.2022010103.

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Most texts on project governance and project management portrays the organization as populated by anonymous people in abstract roles like ‘project manager’, ‘sponsor’, ‘team member’. This paper takes the contrasting position that the project organization is developed by individuals with a specter of competences, strong and weak sides and relations to other people and organizations. The storyline presents a case study from a real-life project developing a new culture institution in Norway over a period of 10 years. Data was gathered ex-post by two researchers through interviews and document studies. The paper first defines key concepts and then presents an analytical framework for the purpose of analyzing the roles in this case story. It gives new insight to the roles as project manager and project executive. The story illustrates the importance of continuity and persistence in the role as project executive. These issues are relevant in future projects given the growing size and complexity seen in projects and the focus on stakeholder value that is prominent in project literature.
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19

Shaomian, Armen. "Performing Arts Center Management." Journal of Arts Management, Law, and Society 48, no. 3 (November 10, 2017): 221–22. http://dx.doi.org/10.1080/10632921.2017.1391728.

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20

Mackerras, Colin. "Traditional Uygur Performing Arts." Asian Music 16, no. 1 (1985): 29. http://dx.doi.org/10.2307/834012.

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21

Kirkegaard, R. Lawrence. "Portland Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2478. http://dx.doi.org/10.1121/1.4782568.

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22

Brown, Ralph. "Performing Arts Creative Enterprise." International Journal of Entrepreneurship and Innovation 6, no. 3 (August 2005): 159–67. http://dx.doi.org/10.5367/0000000054662836.

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The UK government has recently established the National Council for Graduate Entrepreneurship (NCGE) to promote entrepreneurship in higher education, across all subject disciplines. This article considers the UK government's policy initiative from the perspective of a new project supporting tutors in the performing arts sector, who are working to ‘bridge the gap’ between arts education and professional artistic practice. The article explores, in particular, fundamental issues such as: what is distinctive about cultural entrepreneurship and how can it be taught? It also discusses the role of higher education institutions in developing relationships with the creative industries sector and in developing training and support systems for aspiring professional artists.
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23

Hwang, Seong-Un. "Study on Invigorating Performing Arts Tourism through Analyzing Price of Performing Arts Products." Journal of Korean Dance 33, no. 3 (December 2015): 417–39. http://dx.doi.org/10.15726/jkd.2015.33.3.016.

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24

Ruastiti, Ni Made. "Tourist Performing Arts: Balinese Arts-Based Creative Industry." Mudra Jurnal Seni Budaya 25, no. 3 (September 30, 2010): 293–301. http://dx.doi.org/10.31091/mudra.v25i3.1567.

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Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the implementation of the local people’s creative industry in developing their artistic life sustainably. They are packaged as the local traditional performing arts.
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25

Manchester, Ralph A. "Certification in Performing Arts Medicine." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 117–18. http://dx.doi.org/10.21091/mppa.2013.3024.

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The idea of specialty certification in performing arts medicine (or performing arts healthcare) has been discussed for a long time among professionals in the field. An article by Pascarelli and Bishop published nearly 20 years ago mentioned the perceived need for certification and some of the obstacles to creating it. The Performing Arts Medicine Association (PAMA) took a step in this direction at the 31st Annual Symposium on the Medical Problems of Performing Artists by offering a preconference workshop, “The Essentials of Performing Arts Medicine Course: From Classroom to Stage.” This full-day educational session was attended by several dozen performing arts medicine professionals and led by experts from several disciplinary backgrounds in both music and dance. While PAMA has no plan in place currently to offer specialty certification in performing arts medicine, educational offerings such as this one are often part of the requirements to become certified in an interdisciplinary specialty area.
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26

Brandfonbrener, Alice G. "Globalization in Performing Arts Medicine." Medical Problems of Performing Artists 16, no. 1 (March 1, 2001): 1–2. http://dx.doi.org/10.21091/mppa.2001.1001.

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Two years ago I reported on the 6th European Congress on Performing Arts Medicine and the Physiology of Music Making, which took place in Berlin in October 1998. At that time I commented on the high quality of papers at the meetings, but even more important, I celebrated the stimulation that comes from meeting a wide spectrum of people who share interests and commitment. Recently I have twice again traveled to Europe where I participated in two meetings; the first in Finland where the Savonlinna Arts Medicine Symposium was held in late July, and the second in Mainz, Germany, this year’s site of the now 8th European Congress. These opportunities reinforced my previous enthusiasm, not only for travel but once again for attending high-level performing arts medicine meetings to re-energize one’s intellectual engines with fresh ideas.
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27

Winspur, Ian. "Performing Arts Medicine in Britain." Medical Problems of Performing Artists 17, no. 4 (December 1, 2002): 183–85. http://dx.doi.org/10.21091/mppa.2002.4029.

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Britain provides universal health coverage free at the point of delivery for its citizens (and most visitors) provided by the National Health Service (NHS). The NHS was established in 1947 in the flush of post-World War II idealism and was planned and structured along contemporary socialist economic and management principles--a large centrally funded and run government monopoly. It is huge, for it employs currently 1.5 million people and it remains one of the last and certainly the largest bastion of such economic thinking and planning in Britain and in Europe. In its 50 years of existence, it has at times provided excellent care for the British nation. But at this point in time, top-heavy with management and administration, chronically underfunded and understaffed, unresponsive to the rapidly changing needs of society and of developing medical technology, it is on the verge of crumbling. Inherent in such a system is the lack of recognition of individuality or of an individual patient’s special needs, and no group of patients feels this more acutely than performers.
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28

Manchester, Ralph A. "Globalization of Performing Arts Medicine." Medical Problems of Performing Artists 22, no. 4 (December 1, 2007): 133–34. http://dx.doi.org/10.21091/mppa.2007.4029.

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Performing arts medicine has had a global reach since the early days of the field, but there are ample indicators that we are increasing our impact around the world. In this editorial, I take a brief look at the formative years of our specialty and then jump ahead 25 years to assess the progress to date.
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29

Manchester, Ralph A. "Progress in Performing Arts Medicine." Medical Problems of Performing Artists 25, no. 3 (September 1, 2010): 93–94. http://dx.doi.org/10.21091/mppa.2010.3020.

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The announcement last month that Medical Problems of Performing Artists will now be indexed in Medline/PubMed is truly an important development for the field of performing arts medicine. While many of us wish that this had happened sooner, we should all be proud of our combined efforts that made it possible. In addition to the publisher Mike Bokulich, who has labored tirelessly to reach this goal, I also want to publicly thank (again) Alice Brandfonbrener, the founding editor of MPPA. Without her 20 year labor of love, we would not have been in a position to be included in Medline now.
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30

Manchester, Ralph A. "Research in Performing Arts Medicine." Medical Problems of Performing Artists 30, no. 1 (March 1, 2015): 66–67. http://dx.doi.org/10.21091/mppa.2015.1011.

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The field of performing arts medicine has grown significantly over the last few decades. While we still have a long way to go before we can confidently state that we know how to prevent and treat the maladies that interfere with artistic performance, we are making progress on several fronts. In preparation for giving one of the keynote addresses at the 2015 University of South Florida--Performing Arts Medicine Association Conference titled Caring for Artists and Arts that Heal, I reviewed the types of articles that have been published in Medical Problems of Performing Artists over the last 10 years. I also did a comparison of those articles to articles published in the Journal of Dance Medicine and Science and in the American Journal of Sports Medicine. In this editorial, I will present my findings.
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31

Bergamini, Michela Laura, Ward Van de Velde, Bart Van Looy, and Klaasjan Visscher. "Entrepreneurship in the performing arts." Academy of Management Proceedings 2016, no. 1 (January 2016): 11733. http://dx.doi.org/10.5465/ambpp.2016.11733abstract.

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32

Todi, Cristina. "The Metamorphosis of Performing Arts." Theatrical Colloquia 9, no. 1 (June 1, 2019): 173–86. http://dx.doi.org/10.2478/tco-2019-0004.

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Abstract This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this article integrates a few contemporary tendencies of intersection in performing arts, mainly the pervasive presence of ballet and theatre. Subsequently, in considering live performance, the impact on the audience is also assessed, as well as the harmony of perception created between the performer and the public. Further on, the paradigm development in performing arts is determined due to the augmenting of the new technological tools being used. The aim of using these tools is to create special effects that emphasize the quality of the performance. In addition to a comprehensive influence, this article explains how contemporary social and political changes, scientific and technological progress have determined more changes in the performing arts than they had in the previous centuries.
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33

Manchester, Ralph A. "Diversity in Performing Arts Medicine." Medical Problems of Performing Artists 21, no. 2 (June 1, 2006): 45–46. http://dx.doi.org/10.21091/mppa.2006.2010.

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As the diverse populations of the planet interact on a more frequent and intense basis, it becomes increasingly important for every individual and organization to examine its own approach to this vital issue. The field of performing arts medicine should pay particular attention to diversity for a number of reasons, some of which will help to advance our specialty and improve the lives of performing artists, while others may help save the world.
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34

Manchester, Ralph A. "Epistemology and the Performing Arts." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 41–42. http://dx.doi.org/10.21091/mppa.2007.2010.

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Epistemology is the branch of philosophy that studies the nature of knowledge, its presuppositions and foundations, and its extent and validity. It is as relevant to performing arts medicine as it is to any other area of human inquiry, and the article by Wu in this issue is a new brick in the foundation of what we know about risk factors for musculoskeletal injuries in musicians. In this editorial I will attempt to put Dr. Wu's systematic review of the literature on this subject in context. Readers should be aware that I was a coauthor of one of the articles reviewed by Wu and the author of others that apparently did not “make the cut.”
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35

Dhakal, Bharat Raj. "Gandharva: Origin and Performing Arts." Journal of Development and Social Engineering 3, no. 1 (December 2, 2017): 59–64. http://dx.doi.org/10.3126/jdse.v3i1.27960.

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The prime objective of this research article is to explore the different forms of arts performed by the ‘Gandharvas’ along with their historicity of social and sacred religious origin towards which the mainstream Nepali society is indifferent. In the social context of Nepal, they are regarded as the musician caste. They are also treated as the so-called lower caste people, the ‘dalits’ and are also denied the prestigious position in the society as well as in the pages of history. Although neglected in the society as well as in the history, they have got a pious origin as mentioned in the Hindu religious scriptures and beliefs. Their performing arts and musical instruments also have the religious significance. They have made a great contribution for nation through their performing arts. But the paradox is that they have not got the true recognition in Nepali society even though they share the sacred lineage like other groups. Although they have sacred place in religion, their position is downtrodden in society.
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36

Cohen, Matthew Isaac, Alessandra Lopez Y. Royo, and Laura Noszlopy. "Indonesian Performing Arts across Borders." Indonesia and the Malay World 35, no. 101 (March 2007): 1–7. http://dx.doi.org/10.1080/13639810701233672.

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37

Rouse, W. B., and R. K. Rouse. "Teamwork in the Performing Arts." Proceedings of the IEEE 92, no. 4 (April 2004): 606–15. http://dx.doi.org/10.1109/jproc.2004.825880.

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38

Green, Martin. "Older people's performing arts awards." Working with Older People 6, no. 3 (September 2002): 16–17. http://dx.doi.org/10.1108/13663666200200029.

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39

Trayes, Jan, Niki Harré, and Nickola C. Overall. "A Youth Performing Arts Experience." Journal of Adolescent Research 27, no. 2 (September 7, 2011): 155–82. http://dx.doi.org/10.1177/0743558411417867.

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40

Murnik, Maja. "Performing arts and virtual bodies." Maska 29, no. 165 (December 1, 2014): 220–23. http://dx.doi.org/10.1386/maska.29.165-168.220_5.

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41

Colvin, Jenny. "GloPAD (Global Performing Arts Database)." Music Reference Services Quarterly 15, no. 4 (October 2012): 275–76. http://dx.doi.org/10.1080/10588167.2012.728086.

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42

Amałowicz, Paweł. "Multiple-use performing arts halls." Czasopismo Techniczne, no. 11 (2019): 5–22. http://dx.doi.org/10.4467/2353737xct.19.112.11328.

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43

Gotou, Shinpei. "Stage Equipment for Performing Arts." Journal of the Society of Mechanical Engineers 101, no. 955 (1998): 456–58. http://dx.doi.org/10.1299/jsmemag.101.955_456.

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44

Schutt, Ann H. "Textbook of Performing Arts Medicine." Mayo Clinic Proceedings 67, no. 8 (August 1992): 813. http://dx.doi.org/10.1016/s0025-6196(12)60811-8.

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45

Pausch, Oskar. "Apropos of Performing Arts Collections." Museum International 49, no. 2 (April 1997): 4–6. http://dx.doi.org/10.1111/1468-0033.00083.

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46

Brooks, Todd L. "Fox Cities Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2480. http://dx.doi.org/10.1121/1.4782644.

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47

Oguchi, Keiji, and Katsuji Naniwa. "Kitakyusyu Performing Arts Center, Theatre." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2480. http://dx.doi.org/10.1121/1.4782667.

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48

Pavis, Patrice. "Aging in the performing arts." Studies in Theatre & Performance 31, no. 1 (February 2011): 47–59. http://dx.doi.org/10.1386/stap.31.1.47_1.

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49

Moyle, Gene. "Special issue on performing arts." Performance Enhancement & Health 4, no. 1-2 (March 2016): 1–2. http://dx.doi.org/10.1016/j.peh.2016.03.001.

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50

Gruzelier, John. "Neurofeedback and the performing arts." Neuroscience Letters 500 (July 2011): e15. http://dx.doi.org/10.1016/j.neulet.2011.05.106.

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