Journal articles: 'Therapy for performing artists'

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Prokop, Lawrence L. "Upper Extremity Orthotics in Performing Artists." Physical Medicine and Rehabilitation Clinics of North America 17, no. 4 (November 2006): 843–52. http://dx.doi.org/10.1016/j.pmr.2006.08.002.

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Russell, Jeffrey A., Lauren McIntyre, Lori Stewart, and Tina Wang. "Concussions in Dancers and Other Performing Artists." Physical Medicine and Rehabilitation Clinics of North America 32, no. 1 (February 2021): 155–68. http://dx.doi.org/10.1016/j.pmr.2020.09.007.

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Bracegirdle, Hazel. "Book Review: Psychology for Performing Artists: Butterflies and Bouquets." British Journal of Occupational Therapy 58, no. 3 (March 1995): 133. http://dx.doi.org/10.1177/030802269505800324.

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Gamboa, Jennifer M., Marshall Hagins, and Tara Jo Manal. "An Analysis to Define the Clinical Practice of Physical Therapy for Performing Artists." Journal of Dance Medicine & Science 9, no. 2 (June 2005): 41–55. http://dx.doi.org/10.1177/1089313x0500900201.

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The Performing Arts Special Interest Group of the American Physical Therapy Association performed a study to describe the unique knowledge and responsibilities of physical therapists’ management of performing artists. This was a survey study using a non-experimental descriptive research design and a sample of convenience. A national advisory group (NAG) of subject matter experts created a list of 144 knowledge (foundational content) and responsibility (skills and abilities) items for inclusion in the survey. The final survey items were rated on frequency, critical-ity, and level of judgment. The survey was sent to 650 subjects who belonged to one of three major organizations with missions to advance health outcomes in performers. The response rate was 13%. The majority of respondents had between four and ten years of experience treating performing artists. In terms of frequency, almost all responsibility items within the survey occurred at least monthly. In terms of criticality, no item was ranked as low or minimally critical. Based on the generally high scores of all items, the NAG consensus was to include all items in the final description of specialized practice. The results of this survey study describe the core competencies for the specialized practice of physical therapy for performing artists. These competencies can be used to guide the development of continuing education opportunities, post-professional educational curricula (e.g., residencies or fellowships), future research endeavors, and credentialing efforts in the subspecialty of physical therapy for performing artists.

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Collins, Evan D. "Effective Hand & Upper Extremity Treatments for Performing Artists and Musicians: Evidence Based Research." Archives of Physical Medicine and Rehabilitation 99, no. 10 (October 2018): e115. http://dx.doi.org/10.1016/j.apmr.2018.07.409.

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Manchester, Ralph A. "The Biopsychosocial Model and Performing Arts Medicine." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 121–22. http://dx.doi.org/10.21091/mppa.2011.3020.

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The article by Schneider and Chesky in this issue of MPPA presents an interesting look at how social support affects performance anxiety. Performance anxiety is one of the most discussed topics in performing arts medicine, in part because it is a multifaceted phenomenon with medical, psychological, and academic/financial aspects. This has led to considerable controversy about the best way to manage "stage fright," ranging from pharmacologic intervention to various types of psychotherapy to a variety of homespun approaches. Some of the fiercest arguments among those who are concerned about the well-being of musicians (and other performing artists) focus on the appropriateness of treating performance anxiety with medications that target the physical symptoms versus using some type of talk therapy.

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Hansen, Pamela A., and Kristi Reed. "Common Musculoskeletal Problems in the Performing Artist." Physical Medicine and Rehabilitation Clinics of North America 17, no. 4 (November 2006): 789–801. http://dx.doi.org/10.1016/j.pmr.2006.08.001.

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Stornaes, Annett Victoria, Gunn Pettersen, Jan H. Rosenvinge, and Jorunn Sundgot-Borgen. "Too “Perfect” To Be Healthy? A Study Among 14-15 Aged High-ability Athletes And Performing Artists." Medicine & Science in Sports & Exercise 54, no. 9S (September 2022): 415. http://dx.doi.org/10.1249/01.mss.0000880276.34920.f0.

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Johnston, Kirsty. "Building Communities: Disability Arts Festivals in Canada." Canadian Theatre Review 122 (March 2005): 50–54. http://dx.doi.org/10.3138/ctr.122.012.

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Disability arts festivals showcase and celebrate the voices of a distinct and talented community of artists. Several such festivals have been held in Canada since 2001, and theatre has played a prominent role in each. Together, the festivals have built connections with, and contributed to, a growing international disability arts culture. The term “disability arts” is drawn from the work of several artists, artistic facilitators and leaders in the movement. They use it to describe and connect art work created by people who determine a strong link between disability experience and their art. Many are careful to explain that such work is not the mere by-product of art therapy. Rather, it is intentional artistic work. Disability arts festivals provide a forum for community building by allowing artists who work in different locations and operate in different artistic media to connect their works around the concept of disability. Although the range of ways in which artists interpret, involve and experience disability and disability arts is vast, festivals create venues in which artists and audiences can express and connect their ideas. In short, they organize time and space in which communities can form and gather momentum.

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Tucker, Clea, Katherine Antoniak, and Bianca Edison. "Athlete medicine applied in a pandemic: disparities among athletes and performers reveal the need for a true ‘revolution’ in health care." BMJ Open Sport & Exercise Medicine 7, no. 1 (January 2021): e000977. http://dx.doi.org/10.1136/bmjsem-2020-000977.

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While society watches athletes and artists on a screen during the COVID-19 pandemic, some proponents tout ‘normalcy’ as the moment live in-action play resumes again. However, when we ‘see’ these athletes, are we truly seeing them? Failing to understand and address athletes’ adversity faced during this pandemic amidst social pressures to return to play under a preconceived notion of ‘normal’ commoditises athletes; instead, we must humanise them while recognising additional burdens they bear amidst unmet healthcare needs. Athletes and performers represent a unique population; they stand at the intersection of racial and socioeconomic health inequity and societal expectations for entertainment. Returning to the field or stage suddenly, unscathed by effects of global viral and racial pandemics, is impossible. Instead, athletes face resuming play with a sobering realisation the pursuit of health is not fulfilled with the same tenacity for everyone. This editorial is to raise awareness to disparities that exist for athletes and performing artist athletes during the COVID-19 pandemic and beyond.

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Emerson, Dawn M., Toni Marie Torres-McGehee, Susan W. Yeargin, Melani R. Kelly, Nancy Uriegas, Allison B. Smith, Samantha R. Weber, Rebecca M. Hirschhorn, and Cormac Cannon. "Core Body Temperatures in Collegiate Marching Band Artists During Rehearsals and Performances." Journal of Athletic Training 56, no. 3 (February 18, 2021): 302–10. http://dx.doi.org/10.4085/1062-6050-0245.20.

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Context To our knowledge, no researchers have investigated thermoregulatory responses and exertional heat illness (EHI) risk factors in marching band (MB) artists performing physical activity in high environmental temperatures. Objective To examine core temperature (Tc) and EHI risk factors in MB artists. Design Descriptive epidemiology study. Setting Three rehearsals and 2 football games for 2 National Collegiate Athletic Association Division I institution's MBs. Patients or Other Participants Nineteen volunteers (females = 13, males = 6; age = 20.5 ± 0.9 years, height = 165.1 ± 7.1 cm, mass = 75.0 ± 19.1 kg) completed the study. Main Outcome Measure(s) We measured Tc, wet bulb globe temperature, and relative humidity preactivity, during activity, and postactivity. Other variables were activity time and intensity, body surface area, hydration characteristics (fluid volume, sweat rate, urine specific gravity, percentage of body mass loss), and medical history (eg, previous EHI, medications). The statistical analysis consisted of descriptive information (mean ± standard deviation), comparative analyses that determined differences within days, and correlations that identified variables significantly associated with Tc. Results The mean time for rehearsals was 102.8 ± 19.8 minutes and for games was 260.5 ± 47.7 minutes. Mean maximum Tc was 39.1 ± 1.1°C for games and 38.4 ± 0.7°C for rehearsals; the highest Tc (41.2°C) occurred during a game. Fluid consumption did not match sweat rates (P < .001). Participants reported to games in a hypohydrated state 63.6% of the time. The maximum Tc correlated with the maximum wet bulb globe temperature (r = 0.618, P < .001) and was higher in individuals using mental health medications (rpb = −0.254, P = .022) and females (rpb = 0.330, P = .002). Body surface area (r = −0.449, P < .001) and instrument mass (r = −0.479, P < .001) were negatively correlated with Tc. Conclusions Marching band artists experienced high Tc during activity and should have access to athletic trainers who can implement EHI-prevention and -management strategies.

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Emerson, Dawn M., Toni M. Torres-McGehee, Susan W. Yeargin, Melani R. Kelly, Nancy Uriegas, Allison Smith, Samantha R. Weber, Rebecca M. Hirschhorn, and Cormac Cannon. "Collegiate Marching Band Artists Experience High Core Body Temperatures during Rehearsals and Performances." Journal of Athletic Training 2020, preprint (December 22, 2020): 0000. http://dx.doi.org/10.4085/jat0245-20.

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Abstract Context: No research has investigated thermoregulatory responses and exertional heat illness (EHI) risk factors in marching band (MB) artists performing physical activity in high environmental temperatures. Objective: Examine core temperature (Tc) and EHI risk factors in MB artists. Design: Descriptive epidemiology study. Setting: Three rehearsals and 2 football games for 2 NCAA Division I MBs. Participants: Nineteen volunteers completed the study (female = 13, males = 6; age = 20.5 ± 0.9 years; weight = 75.0 ± 19.1 kg; height = 165.1 ± 7.1 cm). Main Outcome Measures: We measured Tc pre-, post-, and every 15 minutes during activity and recorded wet-bulb globe temperature (WBGT) and relative humidity (RH) every 15 minutes. Other variables included activity time and intensity, ground surface, hydration characteristics (fluid volume, sweat rate, urine specific gravity, percent body mass loss [%BM]), and medical history (eg, previous EHI, medications). Statistical analysis included descriptives (mean ± standard deviation), comparative analyses determined differences within and between days, and linear regression identified variables that significantly explained Tc. Results: Mean rehearsal time = 102.8 ± 19.8 minutes and game time = 260.5 ± 47.7 minutes. Max game Tc (39.1 ± 1.1°C) was significantly higher than rehearsal (38.4 ± 0.7°C, P = .003). The highest max game Tc = 41.2°C. Participants consumed significantly more fluid than their sweat rates (P < .003), which minimized %BM loss, particularly during rehearsals (−0.4 ± 0.6%). Mean game %BM loss = −0.9 ± 2.0%; however, 63.6% of the time, participants reported hypohydrated to game day. Max Tc was significantly predicted by max WBGT, max RH, ground surface, using mental health medications, and hours of sleep (adjusted R2 = 0.542, P < .001). Conclusions: Marching band artists experience high Tc during activity and should have access to athletic trainers who can implement EHI prevention and management strategies.

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Pąchalska, Maria. "NEUROPSYCHOLOGY OF CREATIVITY: A MICROGENETIC APPROACH." Acta Neuropsychologica 20, no. 1 (February 23, 2022): 87–114. http://dx.doi.org/10.5604/01.3001.0015.8161.

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The neuropsychology of creativity is recently understood as a subdiscipline developing on the borderline of being a: (1) medical neuroscience - using clinical and experimental neuroanatomical, neurophysiological, neurobiological, neurosurgical, neurological, neuropsychiatric methods and approaches and (2) social neuroscience - using social psychology and neuropsychology, social linguistics and neurocultural studies to help disabled people. The subject of research into the neuropsychology of creativity is the relationship between creativity and the functioning of the brain (structures and neuronal connections) and the self using the individual, social and cultural mind and modelling these behaviors in relation to the biological organism and the social and cultural environment itself. Neuropsychological research of creativity is directed mainly to discover the brain mechanisms of creativity, to form the theoretical models, to elaborate the methods of diagnosis and therapy of artists with brain damage. A promising model that allows for a better understanding of the creation process, and therefore one offering better assistance to individuals who have never developed or have lost the ability to create due to brain damage, is the microgenetic approach that will be discussed in this article. To introduce the reader to these issues, a case study of an artist with brain damage is presented. It illustrates the importance of performing a syndrome analysis, supported by the neurophysiological studies (neuroimaging studies of the brain, quantitative electroencephalography (qEEG), event-related potentials (ERPs) and sLorette tomography) with the use of neuromarkers to avoid a false diagnosis. It also shows the possibilities of art therapy in the process of rebuilding the creative abilities lost as a result of brain damage, and thus the rebuilding of one's individual, social and cultural Self. However, something that is also important for artists, selected works, especially the most characteristic and significant ones, are also achieving critical recognition. It even happens that they become a part of the world's cultural heritage, are displayed at various exhibitions and are even bought to be hung in the collections of galleries acrosss the world, like in the case of the artist presented in these paper.

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Newham, Paul. "The Psychology of Voice and the Founding of the Roy Hart Theatre." New Theatre Quarterly 9, no. 33 (February 1993): 59–65. http://dx.doi.org/10.1017/s0266464x00007478.

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Following the departure of the Roy Hart Theatre for France in 1974, and the death of Hart in a car accident shortly afterwards, his pioneering work in exploring the theatrical potential of the human voice has tended to be neglected in the English-speaking world. In the following article, Paul Newham demonstrates that, despite Hart's undoubted importance in the application of his methods of vocal self-discovery to performance, those methods were firmly rooted not only in aspects of Freud's theory of abreaction and Jung's belief in the multi-aspected or ‘polyvalent personality’, but more specifically in the practical therapeutic work on the human voice conducted by Alfred Wolfsohn, first in Germany before the war, then in Britain from Wolfsohn's exile in 1938 until his death in 1962. The author, Paul Newham, is founder and director of the International Association for Voice Movement Therapy in London, and has worked therapeutically with a wide range of clients, including performing artists. His book The Singing Cure: an Introduction to Voice Movement Therapy, will be published by Random House in March.

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Sandage, Mary J. "Perioperative Voice Recovery: An Exercise Physiology Perspective." Perspectives on Voice and Voice Disorders 23, no. 2 (July 2013): 47–52. http://dx.doi.org/10.1044/vvd23.2.47.

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Voice professionals have differing views on the amount of voice rest prescribed before and after laryngeal surgery. Current recommendations are largely based on a long-standing belief that voice rest is good for the vocal mechanism, particularly when pathology is present or following surgical interruption of the vocal fold tissue. There is little evidence to support the benefit of extensive voice rest prior to laryngeal surgery, as is often recommended in the performing arts. In fact, preoperative voice therapy has shown benefit for postoperative voice outcome. From a wound-healing perspective, voice conservation immediately following vocal fold surgery contributes to the best vocal function outcome. There is no supportive evidence for postoperative voice rest that extends for weeks into months, as some performing artists have reported following surgery. From the perspective of skeletal muscle cell physiology and what is currently known about skeletal muscle adaptations that occur with training and detraining, a guideline for optimal voice recovery and return to performance may be clearer. The well-intentioned, long-held belief that extensive voice conservation is good for the voice may actually trigger a skeletal muscle detraining cascade that could lengthen return to optimal voice function, particularly in the vocal performing arts.

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Dear, Caitlin, and Ebony Muller. "On the table: An open invitation." Choreographic Practices 13, no. 2 (December 1, 2022): 180–96. http://dx.doi.org/10.1386/chor_00050_3.

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In this text, we propose the table as a choreographic and discursive tool that enables fruitful, collective exploration of artistic material. Through poetics, essay and scores, we share our project On the Table (OTT) – a format for artistic exchange and collaboration. We, Caitlin and Ebony, co-developed the OTT format in Naarm (Melbourne, Australia), where it runs as a programme of regular sessions out of Dancehouse. Each is hosted by a different artist who puts something ‘on the table’ for everyone who attends to explore together. This can be any manner of provocation, meaning sessions take disparate forms, ranging from workshops and in-progress showings to open artistic explorations and collaborative research. Hosts come from various forms of dance, approaches to bodily practice and relationships to movement. We platform artists who work with dance in combination with other fields, which have included those working within martial arts, game design, science and therapy. People from these fields or with thematic interests in a session are encouraged to attend regardless of movement experience. Our practice enables everyone in the room to contribute towards and shape the session’s explorations. The aim is for an unconventional array of people to work synergistically, from their varied points of interest and differing levels of expertise. Although the format is applicable beyond a dance or choreographic context, it centres around collective, embodied encounters. In this text, we extend an open invitation to readers to borrow from our practice or initiate their own satellite OTT events.

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Trowsdale, Jo. "‘Identity — Even if it is a Fantasy’: the Work of Carran Waterfield." New Theatre Quarterly 13, no. 51 (August 1997): 231–47. http://dx.doi.org/10.1017/s0266464x00011246.

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The largely solo work of the Coventry-based performer Carran Waterfield is clearly part of a tradition of avant-garde performance and of so-called ‘third theatre’ in its refusal of a narrative line, and its multi-disciplinary, performer-centered orchestration of the elements of visual, aural, and dynamic expression. Yet Waterfield's performance pieces are also highly distinctive in their organic relationship both to her own life and to the life of the community in and for which she performs. Jo Trowsdale here suggests that the points of difference provide an unusual model in which elements of drama therapy, community art, and educational theatre find a fruitful interface with ‘third’ and avant-garde theatre forms. Jo Trowsdale lectures in drama at the Institute of Education, University of Warwick, and is presently researching the role of artists in education, especially in the training of teachers.

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Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.

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Greenspan, Stephanie, David Munro, Joanna Nicholas, Janine Stubbe, Melanie I. Stuckey, and Rogier M. Van Rijn. "Circus-specific extension of the International Olympic Committee 2020 consensus statement: methods for recording and reporting of epidemiological data on injury and illness in sport." BMJ Open Sport & Exercise Medicine 8, no. 3 (September 2022): e001394. http://dx.doi.org/10.1136/bmjsem-2022-001394.

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Indepth knowledge of injury and illness epidemiology in circus arts is lacking. Comparing results across studies is difficult due to inconsistent methods and definitions. In 2020, the International Olympic Committee (IOC) consensus group proposed a standard method for recording and reporting epidemiological data on injuries and illnesses in sports and stated that sport-specific extension statements are needed to capture the context of each sport. This is the circus-specific extension to be used with the IOC consensus statement. International circus arts researchers in injury and illness epidemiology and performing arts medicine formed a consensus working group. Consensus statement development included a review of literature, creation of an initial draft by the working group, feedback from external reviewers, integration of feedback into the second draft and a consensus on the final document. This consensus statement contains circus-specific information on (1) injury definitions and characteristics; (2) measures of severity and exposure, with recommendations for calculating the incidence and prevalence; (3) a healthcare practitioner report form; (4) a self-report form capturing health complaints with training and performance exposure; and (5) a demographic, health history and circus experience intake questionnaire. This guideline facilitates comparing results across studies and enables combining data sets on injuries in circus arts. This guideline informs circus-specific injury prevention, rehabilitation, and risk management to improve the performance and health of circus artists.

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Zhang, Ningyi, Sebastián Gómez-Lozano, Ross Armstrong, Hui Liu, and Alfonso Vargas-Macías. "Ankle Active Range of Motion as an Essential Factor of Footwork Technique in the Prevention of Overuse Injuries in Flamenco Dancers." Archivos de Medicina del Deporte 40, no. 2 (May 5, 2023): 76–84. http://dx.doi.org/10.18176/archmeddeporte.00121.

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Flamenco dance is a performing art which is based on footwork technique where the foot and ankle play an important role. The objective of this study was to investigate the effect of ankle active range of motion on external load and its efficacy as a predictor during a flamenco footwork technique, with consideration of accelerometer positions and dance proficiency. Twelve flamenco dancers composed of 6 professional and 6 amateurs participated voluntarily in this study for whom no significant differences were detected regarding age, mass or height. Participants completed a 15-second Zap-3 footwork test at a speed of 160 bpm (beats per minute), 180 bpm and as fast as they could. Triaxial accelerometers were positioned at the dominant ankle, 5th lumbar vertebrae and 7th cervical vertebrae to calculate accumulated PlayerLoad and uniaxial PlayerLoad of the 3 planes (anteroposterior, mediolateral and vertical) for each speed level. Percentage contributions were also calculated. The effect of dorsiflexion on the external load of the dominant ankle of both professional and amateur dancers existed only in the anteroposterior axis while dorsiflexion was related to the external load at the 7th cervical vertebrae and only amateurs were affected. Plantarflexion only affected the uniaxial contribution of the vertical-axis of professional dancers. These programs would be applied to develop a technique feedback system for the flamenco dancer to follow their own model with respect to the ideal. This would allow intervention in the prevention of overuse injuries in flamenco dance artists

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Gaines, Andrew M. "Therapeutic teaching artistry: Towards a wellness model for enhancing vitality in older adults." Drama Therapy Review 7, no. 1 (April 1, 2021): 95–113. http://dx.doi.org/10.1386/dtr_00063_1.

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This qualitative case study examined how the therapeutic aspects of drama teaching artistry was conceptualized at an urban lesbian, gay, bisexual, or transgender (LGBT) senior centre by observing and/or participating in 31 creative arts education sessions and conducting two focus groups with the centre’s older adult members. Additionally, 34 semi-structured interviews were held with the centre’s teaching artists (TAs), older adults and administrators. Using constructivist grounded theory, emergent themes led to two primary findings: (1) the conceptual category therapeutic teaching artistry articulated how TAs’ practices promoted health and wellness; and (2) a provisional major concept Being Alive captured how members’ quality of life were perceived to be enhanced by the creative arts education programming. Beyond facilitating reminiscence, preventing decline or merely stimulating older adults, TAs helped older adults internalize a greater sense of agency, affirm their own humanity and improve vitality without unethically conducting creative arts therapy.

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Mlangeni, Patience Mamaki, and Refiloe Lepere. "Healing the healer: Recipes of self-care1." Drama Therapy Review 9, no. 1 (April 1, 2023): 177–89. http://dx.doi.org/10.1386/dtr_00125_1.

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The idea of self-care has been a central theme more recently with the advent of the COVID-19 pandemic. Many people are seeking ways of existing that are about caring for self and others. As drama therapists and artists, the need for us to practise this care with and for others is even more important as we carry the burdens of stories and trauma of our clients. Drama therapy as a mental health modality is suited to address and offer strategies of what care and self-care especially for practitioners might look like. But what exactly are the traits of self-care and how does it link to our ethical caring practice of therapy and theatre-making? In this article, we argue that self-care needs to be redeemed from the individual focus and to be more about community. We offer recipes as performances of communal creation and a model of self-care that occurs with and for others. These recipes are meditations inspired by encounters with ourselves, our loved ones and our past. The article is presented in recipes and conversation form to emphasize the idea that caring cannot occur in isolation outside of others. We look at the moral imperative of rituals of care that have existed in our lives and how these can be brought to the fore to become shared knowledge. We share our experiences of growing up in a community of women who also practise kindness and love. We hope the techniques suggested deepen the existing conversation on centralizing Black women’s knowledge systems and healing practices within the drama therapy canon. We do not assume to speak for all Black women everywhere in the world; we write to centre our experiences as Black women who are drama therapists who are accountable to other women. We encourage readers to create their own recipes of what community-centred self-care practices might look like.

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Frazier, J. Todd. "HARNESSING ARTS IN MEDICINE FOR STRENGTH IN AGE: CASE STUDY, CENTER FOR PERFORMING ARTS MEDICINE, HOUSTON METHODIST." Innovation in Aging 3, Supplement_1 (November 2019): S29. http://dx.doi.org/10.1093/geroni/igz038.113.

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Abstract In the 1970’s hybrid arts and humanities programs began developing within healthcare systems across the country. Today, the National Organization for Arts in Health (NOAH) represents a network of hundreds of programs with a major focus of serving older people and their caregivers. This presentation will provide an overview of this rapidly developing network along with a multimedia overview of a comprehensive arts and medicine hospital based program in the Texas Medical Center: Houston Methodist Hospital’s System Center for Performing Arts Medicine one of NOAH’s founding members. The Center’s expanding national, regional and community network of artist health, arts integration, creative arts therapy, research, and outreach programs serving older people will be described. Demonstrating how arts in health communicate and elevate value across disciplines through program evaluation (patient satisfaction and employee opinion), clinical research, and financial and outcome data will be explored as a case study.

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Cabañas, Kaira Marie. "Introduction: Art's Histories Without Art History." ARTMargins 11, no. 3 (October 1, 2022): 126–33. http://dx.doi.org/10.1162/artm_a_00329.

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Abstract The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly expanded the sites and amplified the applications of Clark's Estruturação do self (Structuration of the self) therapy sessions by working in public psychiatric hospitals and clinics in Rio de Janeiro and with marginalized populations. In “Lend Me Your Eyes,” Gina Ferreira offers a poetic account of both Lygia Clark's practice and how communication became a “‘therapeutic’ possibility” for the artist. These thoughts frame Ferreira's narration of her clinical care of a client (patient) named Pedro. In “The Silence That Words Hold,” Lula Wanderley describes his artistic engagement with psychiatry and his use of Clark's therapy with clients such as Rosa. The two articles compelling attest to how Clark's Estruturação do self resonates beyond the institutionalized spaces of the art museum and the academy.

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Ferreira, Gina. "Lend Me Your Eyes." ARTMargins 11, no. 3 (October 1, 2022): 134–38. http://dx.doi.org/10.1162/artm_a_00330.

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Abstract The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly expanded the sites and amplified the applications of Clark's Estruturação do self (Structuration of the self) therapy sessions by working in public psychiatric hospitals and clinics in Rio de Janeiro and with marginalized populations. In “Lend Me Your Eyes,” Gina Ferreira offers a poetic account of both Lygia Clark's practice and how communication became a “‘therapeutic’ possibility” for the artist. These thoughts frame Ferreira's narration of her clinical care of a client (patient) named Pedro. In “The Silence That Words Hold,” Lula Wanderley describes his artistic engagement with psychiatry and his use of Clark's therapy with clients such as Rosa. The two articles compelling attest to how Clark's Estruturação do self resonates beyond the institutionalized spaces of the art museum and the academy.

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Wanderley, Lula. "The Silence That Words Hold." ARTMargins 11, no. 3 (October 1, 2022): 139–43. http://dx.doi.org/10.1162/artm_a_00331.

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Abstract The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly expanded the sites and amplified the applications of Clark's Estruturação do self (Structuration of the self) therapy sessions by working in public psychiatric hospitals and clinics in Rio de Janeiro and with marginalized populations. In “Lend Me Your Eyes,” Gina Ferreira offers a poetic account of both Lygia Clark's practice and how communication became a “‘therapeutic’ possibility” for the artist. These thoughts frame Ferreira's narration of her clinical care of a client (patient) named Pedro. In “The Silence That Words Hold,” Lula Wanderley describes his artistic engagement with psychiatry and his use of Clark's therapy with clients such as Rosa. The two articles compelling attest to how Clark's Estruturação do self resonates beyond the institutionalized spaces of the art museum and the academy.

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Moyle, Gene M. "Coaching performing artists." Consulting Psychology Journal: Practice and Research 71, no. 2 (June 2019): 97–106. http://dx.doi.org/10.1037/cpb0000127.

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Mullis, Eric C. "Dancing for Human Rights: Engaging Labor Rights and Social Remembrance in Poor Mouth." Dance Research 34, no. 2 (November 2016): 220–42. http://dx.doi.org/10.3366/drs.2016.0160.

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There is a tradition of dance artists developing work for the concert stage in order to engage pressing social justice issues and, more specifically, the abuse of human rights. Anna Sokolow's Strange American Funeral (1935), Pearl Primus' Strange Fruit (1945), Katherine Dunham's Southland (1951), Alvin Ailey's Masekela Langage (1969), Jawole Willa Jo Zollar's Womb Wars (1992), William Forsythe's Human Writes (2005), and Douglas Wright's Black Milk (2006) are examples of acclaimed dances that address the manner in which marginalized individuals and social groups have not been granted equal ethical or political consideration. 1 In this essay I consider how dance enacts secular rituals of remembrance for victims of human rights abuses characteristic of a particular community's or nation's historical legacy. This entails discussion of aesthetic strategies used to portray human rights abuse, a consideration of the ethics of memory, and analysis of specific dance work. I discuss my site-adaptive work Poor Mouth (2013) which centers on labor rights issues in the American South during the Great Depression and I argue that dance which presents such issues performs a valuable social function as it encourages audiences to remember the past in a manner that facilitates a historically informed understanding of communal identity. Further, since historical instances of human rights abuse often have contemporary correlates and since remembrance affects the significance of places associated with the history in question, the implications of such work temporally and spatially extend beyond the performance venue and thereby contribute to political discourse in the public sphere. Dance intersects with human rights issues in many ways, but here I focus on dances intended for performance on the concert stage. For the purposes of this essay, the terms ‘dance activism’ and ‘political dance’ refer to dances that intentionally grapple with explicit human rights abuses and that are intended to be performed for a theatre-going audience. Along the way I note what bearing my points have for other forms such as popular dance, dance used in acts of public political protest, site-specific dance, and dance therapy, but I should emphasize that it is beyond the scope of this essay to consider the many ways that dance intersects with human rights and with political activism more generally. Lastly, I should say that my approach to this topic is informed by the personal experience of collaboratively creating and performing dance work in a particular community and that it is interdisciplinary in nature since its draw on aspects of philosophical ethics in order to reflect on that experience.

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Bronner, Shaw. "Ukrainian Performing Artists Inspire." Medical Problems of Performing Artists 37, no. 2 (June 1, 2022): 133. http://dx.doi.org/10.21091/mppa.2022.2019.

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Russia invaded the Ukraine on February 24, 2022. The atrocities perpetuated by invading Russian soldiers seized the world’s attention in images captured by photojournalists on the ground in Bucha, Ukraine, in April 2022. We cannot look away. We must remember. Justice must prevail. ... At the 2022 Grammy awards ceremony on April 3rd, President Zelensky introduced singer/songwriter John Legend, who performed with three Ukrainian artists. A masterful speech writer/performing artist in his own right, Zelensky began by saying “The War ... what is more opposite to music?..."

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Manchester, Ralph A. "Periodization for Performing Artists?" Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 45–46. http://dx.doi.org/10.21091/mppa.2008.2009.

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Emilia, C. "Art therapy with children surviving cancer used to relieve symptoms associated with death, loss and pain." European Psychiatry 64, S1 (April 2021): S682—S683. http://dx.doi.org/10.1192/j.eurpsy.2021.1809.

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IntroductionSince dying is inevitable, it is part of life, children need to be able to deal with the feelings and emotions associated withs death, loss and pain. When the grieven child move among the art modalities, he or she is able to deepen understaning of his or her lived experiences.ObjectivesOur aim is to uncover these new perspectives and sources of inspiration in order to advance in defining the importance of resilience in personal development.MethodsWe made use of the following techniques: ceramic, drawing, modeling, painting, assemblage of unconventional materials, multimedia techniques, animation. Performing artworks, artefacts, or using craft arts are test activities for art therapy and occupational therapy. „…Contemporary visual arts bring together, in different degrees of relationship and fusion, fields of art that until now were understood and practiced more individually. The most suitable territory for this partnership is that of the physical and metaphysical environment, provided by the installationist and shareholder arts.” [2] A medical project was transformed into an artistic project [4]ResultsGiven the diversity of non-verbal communication of the child, art therapy is not a simple accessory method in the therapeutic process of emotional disorders caused by grief of children, but a mandatory condition of it.ConclusionsGiven the diversity of non-verbal communication of the child, art therapy is not a simple accessory method in the therapeutic process of emotional disorders caused by grief of children, but a mandatory condition of it.DisclosureREFERENCES [1] Drăgan-Chirilă, Diana.(24-26.05 2018), Associate Professor Ph.D., University of Art and Design Cluj-Napoca, Romania, visual artist, Coordinator of the multimedia installation “Diagnostique” new media and multimedia performance instal

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Kayiatos, Anastasia. "SOONER SPEAKING THAN SILENT, SOONER SILENT THAN MUTE: SOVIET DEAF THEATRE AND PANTOMIME AFTER STALIN." Theatre Survey 51, no. 1 (April 26, 2010): 5–31. http://dx.doi.org/10.1017/s0040557410000207.

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A television documentary on speech therapy is visible on the screen. A logopedist (speech-defect expert) coaches a young man to overcome his stutter through hypnosis. “You will speak loudly and clearly, freely and easily, unafraid of your voice and your speech,” she instructs. The boy hesitates but finally musters the words: “I can speak.” Thus Andrei Tarkovsky begins Zerkalo [Mirror], his poetic film about personal memory and cultural trauma (conceived in 1964 and completed in 1974).3 The symbolism of this scene was impossible for Tarkovsky's Soviet intelligentsia audience to miss. The stutterer coming to speech allegorized the artist coming to free expression in Russia after Stalin, struggling to adapt to alternating intervals of liberating “thaw” and oppressive “freeze,” fluency and silence, in the period of de-Stalinization that Nikita Khrushchev's secret speech at the 20th Party Congress of 1956 set into motion. The crisis of the solo stutterer's speech in the film stood in for the larger emerging crisis of how to represent socialist reality, a world that once had been captured solely by socialist realism—that is, until Khrushchev deprived Stalinism of its status as real socialism and thus invalidated the basis of socialist realism.

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Brodsky, Marc. "Performing Artists and Self-Care." Medical Problems of Performing Artists 21, no. 2 (June 1, 2006): 91. http://dx.doi.org/10.21091/mppa.2006.2017.

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The Arts Medicine Master Class case discussion on Myofascial Pain in a Guitarist (MPPA December 2005) reinforced some of the take-home points from an earlier article entitled An Innovative Patient-centered Approach to Common Playing-related Pain Conditions in Musicians (MPPA December 2004)2 and the more recent abstract presentation and workshop at the 2005 Aspen Conference: 1) myofascial trigger points are a common component of pain syndromes; 2) the short-term solution to myofascial pain is addressing trigger points, and the longterm solution is managing potentiators of pain (practice habits, posture, ligament laxity, psychological stress, etc.); and 3) self-care can contribute to the short-term and long-term solutions to myofascial pain.

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Ward, A., and F. Aghazadeh. "Occupational Diseases in Performing Artists." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 39, no. 14 (October 1995): 958. http://dx.doi.org/10.1177/154193129503901455.

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Helm, Thomas N., James S. Taylor, Robert M. Adams, Alexander A. Fisher, and James R. Nethercott. "Skin Problems of Performing Artists." American Journal of Contact Dermatitis 4, no. 1 (March 1993): 27–32. http://dx.doi.org/10.1097/01634989-199303000-00005.

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Helm, Thomas N., James S. Taylor, Robert M. Adams, Alexander A. Fisher, and James R. Nethercott. "Skin Problems of Performing Artists." Dermatitis 4, no. 1 (March 1993): 27–32. http://dx.doi.org/10.1097/01206501-199303000-00005.

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Greer, J. M., and R. S. Panush. "Musculoskeletal problems of performing artists." Baillière's Clinical Rheumatology 8, no. 1 (February 1994): 103–35. http://dx.doi.org/10.1016/s0950-3579(05)80227-4.

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Hoppmann, Richard A., and Rodney R. Reid. "Musculoskeletal problems of performing artists." Current Opinion in Rheumatology 7, no. 2 (March 1995): 147–50. http://dx.doi.org/10.1097/00002281-199503000-00014.

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Thomson, Paula, and Sarah Victoria Jaque. "Performing Artists and Anomalous Experiences." Journal of Anomalous Experience and Cognition 3, no. 1 (April 3, 2023): 110–39. http://dx.doi.org/10.31156/jaex.24239.

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Objective: To evaluate the relations of anomalous experiences with five overexcitabilities, cumulative trauma exposure, and Beyond the Personal creative process, with samples of performing artists, athletes, and control participants. Method: This is a cross-sectional study (N = 454) in which participants were administered in one session five self-report instruments to assess the five overexcitability dimensions, past childhood adversity and trauma events, creative experiences, and anomalous experiences. Analyses included inter-instrument and intergroup analyses, with a regression analysis that focused only on performing artists (n = 248), and a moderation analysis to determine a moderating effect of cumulative trauma on other variables. Results: Results showed that, compared to athletes and controls, performing artists had greater overexcitabilities, higher Beyond the Personal creative experiences, and more anomalous experiences, but no differences in cumulative trauma. Imaginational overexcitability, cumulative trauma, Beyond the Personal creative experience, and emotional overexcitability explained 32% of the variance in anomalous experiences in the performing artists group. The moderation analysis did not reach significance. Conclusion: The findings in this study suggest that a desire to create works that expand Beyond the Personal, coupled with elevated overexcitability factors, relate to greater sensitivity and awareness of novel and unusual experiences, including anomalous experiences.

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Brandfonbrener, Alice G. "Artists with Disabilities." Medical Problems of Performing Artists 15, no. 2 (June 1, 2000): 49–50. http://dx.doi.org/10.21091/mppa.2000.2010.

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Although the Medical Program for Performing Artists was founded in 1985 at Northwestern Memorial Hospital, since 1990 it has been a part of the Rehabilitation Institute of Chicago (RIC). At the time of the move I felt that this special medical environment would provide an ideal setting for our clinic, and this feeling has been borne out by the experience of the subsequent decade. What I did not anticipate was the nonmedical impact on both my patients and myself from such an institution. Performing arts patients typically have problems that are not readily apparent to the casual observer, albeit their significance to the artists. Furthermore, by and large their problems have minimal impact on their nonartistic lives as well as on their health in general. More typical patients seen at the Rehabilitation Institute have a wide spectrum of disabilities, which, in contrast to the performing artist patients, have disrupted and compromised both their own lives and those of their families.

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Babin, Angela. "Health and Care of Performing Artists in Cuba." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 74–79. http://dx.doi.org/10.21091/mppa.2007.2016.

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IN MARCH 2007, 15 health professionals and artists from the United States travelled to Cuba to learn firsthand about the Cuban healthcare system and also to see the Cuban approach to artists' health and safety. We went as part of a U.S.-licensed charter program with the goal of research exchange. This program offered us a view of the healthcare facilities and presentations with health professionals as well as rehearsals and performances by performing artists and performing arts students. We met the healthcare personnel who care for the artists and learned about techniques they use to mitigate health hazards to these artists. Thus, in our brief glimpse of Cuba, we were graciously hosted, entertained, and informed.

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Mangset, Per, Bård Kleppe, and Sigrid Røyseng. "Artists in an Iron Cage? Artists’ Work in Performing Arts Institutions." Journal of Arts Management, Law, and Society 42, no. 4 (October 2012): 156–75. http://dx.doi.org/10.1080/10632921.2012.727773.

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Thomson, Paula, and S. Victoria Jaque. "Dissociation and the Adult Attachment Interview in artists and performing artists." Attachment & Human Development 14, no. 2 (March 2012): 145–60. http://dx.doi.org/10.1080/14616734.2012.661602.

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Manchester, Ralph A. "Measuring the Health of Performing Artists." Medical Problems of Performing Artists 23, no. 3 (September 1, 2008): 91–92. http://dx.doi.org/10.21091/mppa.2008.3019.

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All of us who are concerned about the health of performing artists hope that, through our combined efforts, we will see improvements in the health status of musicians, dancers, actors, and other performers in the coming years. Ideally, this will mean the betterment of all aspects of performing artists' health, including the physical, psychological, social, and creative domains. (Obviously, this will require a dramatic change in how health care is delivered and paid for in the U.S., but that is a broader topic than I can cover in a brief editorial.) But in order to know if we are making progress, we need to have data on some key health indicators. What I will discuss in the next few paragraphs is how we might be able to measure the health of performing artists, mainly with regard to performance-related injuries.

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Marchant-Haycox, Susan E., and Glenn D. Wilson. "Personality and stress in performing artists." Personality and Individual Differences 13, no. 10 (October 1992): 1061–68. http://dx.doi.org/10.1016/0191-8869(92)90021-g.

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Hanrahan, Stephanie J. "Sport Psychology and Indigenous Performing Artists." Sport Psychologist 18, no. 1 (March 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.

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Kuspit, Donald. "Artists." Woman's Art Journal 24, no. 1 (2003): 53. http://dx.doi.org/10.2307/1358815.

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Ackermann, Bronwen J. "Making Health Care Worth It: Increasing Value and Awareness in Performing Arts Medicine." Medical Problems of Performing Artists 33, no. 2 (June 1, 2018): 146. http://dx.doi.org/10.21091/mppa.2018.2022.

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In recent years, across all health care disciplines, the higher quality and volume of specific literature on health issues pertaining to performing artists are allowing ever more specialised and targeted evidence-informed interventions to be delivered. Whether performing artists recognise the new-found knowledge as well as the growth in training and domain-specific expertise of certain dedicated health professionals is unclear. Developing and maintaining good communication and the establishment of trust between performing artists, educators, and health professionals is crucial to facilitate better management of injuries in performing artists.

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Ackermann, Bronwen J. "Diversity and Training in Performing Arts Medicine." Medical Problems of Performing Artists 34, no. 2 (June 1, 2019): 122–23. http://dx.doi.org/10.21091/mppa.2019.2020.

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Medical Problems of Performing Artists has addressed the needs of clinicians for many decades, providing evidence and opinion pieces on performing artists' healthcare regarding a wide range of health issues that may either affect or cause problems when performing. Traditionally, two major challenges facing the best approaches to managing the health of performing artists has been (i) limited scientific research evidence supporting preventative approaches, specific assessments and treatment methods for the vast array of conditions seen, and (ii) a lack of training programs specifically targeting performing artists' healthcare. Not only are there many important differences between general healthcare and managing the health of performing artists, but there are variations between individuals performing on the same instrument, and a vast array of styles and genres of performing arts that create very different demands on performers. In relation to the first point, a previous lack of available scientific literature has hindered evidence-informed performing arts medicine practice; however, high-quality research has recently progressed rapidly. This edition of MPPA also highlights the incredible breadth of information emerging, recognising the complex and multiple health demands facing diverse performing arts domains.

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Posner, Helaine. "Artists' Project." Art Journal 65, no. 1 (April 1, 2006): 40. http://dx.doi.org/10.2307/20068438.

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Journal articles on the topic 'Therapy for performing artists'

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