Bibliographies thématiques / Therapy for performing artists

Littérature scientifique sur le sujet « Therapy for performing artists »

Auteur : Grafiati
Publié le 22 juin 2023

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Articles de revues sur le sujet "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 (novembre 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 et Tina Wang. « Concussions in Dancers and Other Performing Artists ». Physical Medicine and Rehabilitation Clinics of North America 32, no 1 (février 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 (mars 1995) : 133. http://dx.doi.org/10.1177/030802269505800324.

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Gamboa, Jennifer M., Marshall Hagins et Tara Jo Manal. « An Analysis to Define the Clinical Practice of Physical Therapy for Performing Artists ». Journal of Dance Medicine & ; Science 9, no 2 (juin 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 (octobre 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 (1 septembre 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., et Kristi Reed. « Common Musculoskeletal Problems in the Performing Artist ». Physical Medicine and Rehabilitation Clinics of North America 17, no 4 (novembre 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 et 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 (septembre 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 (mars 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 et 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 (janvier 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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Thèses sur le sujet "Therapy for performing artists"

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Ngor, Aaron Seav. « The Influence of Dry Cupping Therapy on Musicians with Chronic Neck Pain : An Initial Case Series ». Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1525726057063134.

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Gucciardo, Alfonso Gianluca. « La médecine des arts du spectacle vivant : Histoire, diffusion internationale, pensée, éthique et pratiques ». Electronic Thesis or Diss., Montpellier 3, 2022. https://ged.scdi-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2022MON30057.

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Notre travail a pour objectif de traiter de la médecine des arts de la scène, et plus largement de la méde­cine des arts du spectacle vivant. En Europe et dans le monde, ce domaine médical n'est en effet pas tou­jours connu, compris, organisé ou reconnu. À partir d'une discussion sur la signification philosophique et épistémologique de ce sujet, et en nous appuyant sur notre pratique de médecin phoniâtre depuis vingt deux ans, notamment dans le domaine de la bioéthique et de la médecine de la voix, nous avons entrepris une lecture éthique et bioéthique visant à comprendre ses limites et ses possibilités, ainsi que ce qui est partageable et compréhensible par les pro­fessionnels susceptibles de l’exercer: médecins, rééducateurs, enseignants en art (de la voix, de la musique, de la danse ou du cirque), philosophes et, évidemment, ar­tistes. Il nous est apparu que, loin d’appartenir aux thérapeutiques "complémentaires" ou "non fondées sur des preuves", la médecine des arts et du spectacle ne doit pas être comprise uniquement comme une médecine multidisciplinaire, mais comme une branche interdisciplinaire reposant sur des connais­sances philosophiques et pédagogiques utiles à la santé physique, psychique et émotionnelle des artistes. En analysant plusieurs modèles internationaux, dont plusieurs auxquels nous contribuons, nous avons pu faire le constat que cette interdisciplinarité n'est pas toujours évidente. Nous avons enfin émis l’hypo­thèse que la médecine des arts et du spectacle vivant est une méde­cine non seulement pour l'artiste mais aussi et avant tout pour les arts du spectacle eux-mêmes qui, parfois, doivent également être soignés. Nous avons approfondi ce dernier sujet en conduisant une étude historique et éthique du phénomène du soin et de la cure de l'art et de l'interprète, des origines à nos jours
Performing Arts (PA) Medicine, meant as a "medicine for the art of living entertainment", is still not known and not well un­derstood and framed and recognized, in Europe as well as in the other Continents. Starting from a discussion on the philosophical and epistemolo­gical meaning of this branch of medicine, we have arrived at a personal ethical and bioethical reading in order to un­derstand its limits and strengths for doctors, rehab professionals, teachers of the arts of voice, music, dance and circus, philoso­phers and, obviously, artists. PA Medicine (whose name we also dealt about) is far from that me­dicine to­day called "complementary"/"not-Evidence Based", and is a branch of medical and philosophical and pedagogi­cal knowledge useful to the artist's and art's physical, psychic and emotional health. PA Medicine is a Medicine not only for the artist but for the PA themsel­ves which, at times, also need to be cured. We have deepened this last topic also starting from an historical and ethic study of the phenome­non of the “care and curing” of arts and of performers, from the origins to today
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Knight, Christina Anne. « Performing Passage : Contemporary Artists Stage the Slave Trade ». Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11178.

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My dissertation examines the work of George C. Wolfe, August Wilson, Lorna Simpson and Glenn Ligon, theater and visual artists working in the 1980s and 1990s who feature representations of the Middle Passage in their work. Despite their different mediums--Wolfe and Wilson created plays for the proscenium stage and Simpson and Ligon crafted art installations--all four critiqued the racialized social retrenchment of their historical moment by linking it to the slave trade, and each did so through an engagement with black performance traditions.
African and African American Studies
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Prior, Robert A. « The imperative education of theater artists ». Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527577.

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David Mamet's book of essays True and False: Heresy and Common Sense for the Actor boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my MFA, Kira Obelensky's play Lobster Alice.

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Descoteaux, Jillian M. « Substance Use Patterns of Performing Artists : A Preliminary Study ». Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408643234.

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Erwin, Lauren E. « The Making of Camp Shakespeare For Young Performing Artists ». ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2458.

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In this thesis paper, I will detail the making of Camp Shakespeare For Young Performing Artists, my final graduate short film at the University of New Orleans, from its inception as a script to its final form as a finished short film. In Part One I will examine the personal and cultural influences that led me to develop the script. Part Two will review the pre-production process – how my collaborators and I prepared for the shoot. In Part Three I will scrutinize the day-to-day process of filming. Part Four will chart the post-production process in which the film took its final shape. Finally, I will conclude with an analysis of whether the film met the goals I set for it along with my own successes and failures as a filmmaker and leader of a creative team.
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Wall, Sharron. « Careers of freelance creative and performing artists : implications for education ». Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64100.

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Chinburg, Jenna. « The Perception of Trust Between Athletic Trainers and Musical Performing Artists ». Thesis, San Jose State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10634918.

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Trust is a crucial element for a successful patient-clinician relationship. Athletic trainers may care for musical performing artists who demonstrate unique needs compared to traditional patients. In order to provide the best care, athletic trainers must establish a basis of patient-centered care and build solid professional relationships with performers. By improving overall patient-clinician relationship factors with respect to this population, trust may be implemented and sustained. The purpose of the study was to determine factors that established or diminished trust between drum corps members and their athletic trainers. The study included 12 semi-structured interviews in which Drum Corps International (DCI) members defined and analyzed the perception of trust held within this population in relation to athletic trainer interaction. Trustworthiness techniques of member checks, triangulation, external auditing, connoisseurship, and negative case analyses were used. The qualitative methods determined perception of trust through emergent themes and the effect of trust on the patient-clinician relationship. The study further identified factors that maintained or inhibited the aspect of trust between performer and athletic trainer. Accessibility, clinical competence, dependability, comfort, and having a plan of action were found to be the most prominent themes and promote success within this relationship. Overall, trust plays a role in determining patient rapport, compliance, and timely return-to-play through the patient-clinician relationship in the performing arts setting.

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Hanson-Broten, Susan. « Making a living in the performing arts, reform in Canadian postsecondary performing arts curriculum : equipping artists with essential career management skills ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ57659.pdf.

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Hanson-Broten, Susan (Susan Edith) Carleton University Dissertation Canadian Studies. « Making a living in the performing arts ; reform in Canadian postsecondary performing arts curriculum : equipping artists with essential career management skills ». Ottawa, 2000.

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Livres sur le sujet "Therapy for performing artists"

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1956-, Rennert Richard Scott, dir. Performing artists. New York : Chelsea House Publishers, 1994.

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Performing artists. New York : U X L, 1995.

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Visual & performing artists. New York, NY : Crabtree Pub. Co., 1999.

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Visual & performing artists. Calgary : Weigl, 2000.

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Psychology for performing artists. 2e éd. London : Whurr, 2002.

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O’Connell, Mark. The Performing Art of Therapy. New York, NY : Routledge, 2019. : Routledge, 2019. http://dx.doi.org/10.4324/9781315175683.

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Gordon, Kim. Performing/guzzling. New York : Rizzoli, 2009.

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Guedes, André. Performing the institution(al) : Volume 3. Lisboa : Kunsthalle Lissabon, 2014.

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(Organization), ATLATL, dir. ATLATL directory of Native American performing artists. [Phoenix, Ariz : ATLATL, 1991.

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Psychology for performing artists : Butterflies and bouquets. London : J. Kingsley Publishers, 1994.

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Chapitres de livres sur le sujet "Therapy for performing artists"

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Fitzgerald, Gerald, et Robert Tuggle. « Performing Artists ». Dans Annals of the Metropolitan Opera, 59–260. London : Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-11976-9_4.

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Egan, Vincent, Anthony Beech et Laurence Burrow. « Psychological Oddities Among Performing Artists ». Dans Psychotherapy, Literature and the Visual and Performing Arts, 173–90. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75423-9_10.

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Bonin-Rodriguez, Paul. « A Survey Course : Teaching Artists and/as Producers (2013) ». Dans Performing Policy, 90–106. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137356505_5.

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Macdonald, Claire. « Performing with Ghosts : A Talk Remembered ». Dans Artists in the Archive, 292–99. Abingdon, Oxon ; New York : Routledge, : Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-29.

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Sperry, Len. « Performing an Integrative Diagnostic Assessment ». Dans Highly Effective Therapy, 91–110. 2e éd. New York : Routledge, 2022. http://dx.doi.org/10.4324/9781003112334-8.

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Jenkins, Mark. « The birth of analog, the manufacturers and the artists ». Dans Analog Synthesizers : Understanding, Performing, Buying, 52–102. Second edition. | New York, NY : Routledge, 2019. : Routledge, 2019. http://dx.doi.org/10.4324/9780429453991-3.

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Hlavek, Elizabeth Hadara. « Narratives of Holocaust Artists ». Dans A Meaning-Based Approach to Art Therapy, 92–111. New York : Routledge, 2022. http://dx.doi.org/10.4324/9781003160885-9.

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Stephenson, Raquel Chapin. « A Portrait of Three Older Artists ». Dans Art Therapy and Creative Aging, 6–24. New York : Routledge, 2021. http://dx.doi.org/10.4324/9780429352751-2-2.

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Niemeier, Brandi S., et Dawn Larsen. « Current Health Issues of Performing Artists : Implications for Health Promotion ». Dans Perspectives in Performing Arts Medicine Practice, 37–45. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37480-8_4.

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Leite de Aquino Soares, Victor Hugo, et Roberta K. Matsumoto. « Black Performances and Black Artists Performing in Contemporary Brazil ». Dans The Palgrave Handbook of Theatre and Race, 273–90. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43957-6_15.

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Actes de conférences sur le sujet "Therapy for performing artists"

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CODRESCU, ION. « HAIGA PAINTING AND WESTERN ARTISTS ». Dans SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s13.017.

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Khurana, Bani, et Amrita Joshi. « SUBSTANCE USE IN PERFORMING ARTISTS : EXPLORING LINKS TO CREATIVITY AND PERFORMANCE ». Dans International Conference on Social Sciences. TIIKM, 2017. http://dx.doi.org/10.17501/icoss.2016.3101.

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Wright, Dr Angela. « Artist Graduates : Are they ready to do Business ? » Dans HEAd'16 - International Conference on Higher Education Advances. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2493.

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Businesses must expose their products and services to customers so as to make sales and be heard. The world of the artist[1] is no different, and, in the words of the late Luciano Pavarotti, the artist must ‘be heard and be seen’. The aim of this paper is to examine if there is a need to ensure that our artistic graduates are ‘market ready’. The paper specifically examines this concept in the context of an Irish Institute of Technology (IT). Artists generally do not view the world in terms of business & commerce, only as a creative space. This research study investigates if there is a need for a special purpose award that would allow already qualified or working artists who have missed out on business education to take business modules at any stage in their careers. The findings in this study are rich and the attitudes to the business world by participating artists are interesting. Having established that artists need some business education, this paper then proceeds to outline what may be needed now, and in the future. Keywords: Artist, Musicians, Business Education, Business World. [1] For the purpose of this paper, the term ‘artist’ is deemed to refer to both performing and visual artists.
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Preda-Ulita, Anca. « STRUCTURAL ANALYSIS AND MUSICAL THINKING : A POSSIBLE METHOD FOR ENHANCING EXECUTIVE FUNCTIONS OF STUDENT PERFORMING ARTISTS ». Dans 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s16.60.

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Schneller, Beverly. « Integrating the Humanities into Entertainment and Music Business and Performing Arts Students’ Learning Through Artists’ Biography and Autobiography ». Dans MEIEA Educators Summit 2018. Music and Entertainment Industry Educators Association, 2018. http://dx.doi.org/10.25101/18.13.

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Talpa, Svetlana. « Stage folk dance versus character dance ». Dans Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.09.

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In the article, the author’s main objective is to argue the need to study and capitalize on folk stage dance and character dance by comparatively assigning their methodological and aspectual features. For this purpose, the analytical method of approaching the problem is used, as well as the pedagogical aspect. Performing folk dance and character dance exploits the capacity of the mind of both a professional dancer (ballet artists) and of an amateur dancer, by educating the body in order to be aware of each movement performed. From a methodological point of view, the stage folk dance and the character dance are analogous, and from the aspectual point of view they are varied, differing depending on the performers/artists/dancers, the place of manifestation and the specific music. These forms of dance are analyzed by specific artistic means, and finally they are reproduced in choreographic works (choreographic suites) or in ballet performances.
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Yu, Chibing, Shujuan Jing, Huimin Cai, Lanxing Shao et Hegui Zou. « Use of contact Nd:YAG sapphire-laser system for performing partial hepatectomy and splenectomy in dogs ». Dans International Conference on Photodynamic Therapy and Laser Medicine, sous la direction de Junheng Li. SPIE, 1993. http://dx.doi.org/10.1117/12.137043.

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Dan Paich, Slobodan. « Conciliation : Culture Making Byproduct ». Dans 8th Peace and Conflict Resolution Conference [PCRC2021]. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/pcrc.2021.002.

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Abstract Reclaiming public space at Oakland's Arroyo Public Park, a nexus of crime and illegal activities. A coalition of neighbors invited local performing artists to help animate city agencies, inspire repair of the amphitheater and create daytime performances in the summer, mostly by children. It gave voice to and represented many people. Reclaiming space for community was the impetus, structured curriculum activates were means. Safe public space and learning were two inseparable goals. Conciliation learning through specific responses, example: Crisis Of Perseverance acute among children and youth lacking role models or witnessing success through perseverance. Artists of all types are the embodiment of achievable mastery and completion. Taking place on redefined historic 1940 passenger-cargo/military ship for public peacetime use and as a cultural space. Mixt generations after and outside school programs: Children and Architecture project’s intention was to integrate children’s internal wisdom of playing with learning about the world of architecture (environment and co-habitability) as starting point was an intergenerational setting: 5-12 olds + parents and volunteers, twice weekly from 1989 to 1995 at the Museum of Children’s Art in Oakland, California. Concluding Examples Public celebration and engagements as inadvertent conciliations if prepared for before hand. Biographical sketch: Slobodan Dan Paich native of former Yugoslavia was born 1945. He lived in England from 1967 to 1985. Slobodan taught the History of Art and Ideas, Design and Art Studio from 1969 through 1985 at various institutions in London, including North-East London Polytechnic, Thames Polytechnic and Richmond College-American University in London. Between 1986 to1992, he taught at the University of California at Berkeley. With a number of scholars, artists, and community leaders, he founded the Artship Foundation in 1992, and has been its Executive Director ever since. He also served as a board member of the Society of Founders of the International Peace University in Berlin/Vienna from 1996 to 2002, where he lectured annually and chaired its Committee on Arts and Culture. community@artship.org
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Arif, Sayqa, Lucy Shattock, Lorraine English, Susan Hughes, Derick Todd, Saagar Mahida et Archana Rao. « 20 Effect of shock therapy from implantable cardiac defibrillator on anxiety levels : a single-centre experience ». Dans British Cardiovascular Society Annual Conference ‘High Performing Teams’, 4–6 June 2018, Manchester, UK. BMJ Publishing Group Ltd and British Cardiovascular Society, 2018. http://dx.doi.org/10.1136/heartjnl-2018-bcs.20.

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Stodart, Clare, Benedict Wiles, Phillip Banks, Paul Roberts et Arthur Yue. « 21 Standardised implantable cardioverter defibrillator programming significantly reduces inappropriate and unnecessary therapy rates versus patient tailored programming ». Dans British Cardiovascular Society Annual Conference ‘High Performing Teams’, 4–6 June 2018, Manchester, UK. BMJ Publishing Group Ltd and British Cardiovascular Society, 2018. http://dx.doi.org/10.1136/heartjnl-2018-bcs.21.

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Rapports d'organisations sur le sujet "Therapy for performing artists"

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Kerrigan, Susan, Phillip McIntyre et Marion McCutcheon. Australian Cultural and Creative Activity : A Population and Hotspot Analysis : Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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