PAM Day: Department of Performing Arts Medicine, University College London, 17 June 2017.

2018 ◽  
Vol 33 (1) ◽  
pp. 74-74
Author(s):  
Hara Trouli

On 17 June 2017 the first PAM DAY was launched at the Institute of Sport Exercise and Health in London. This was organised by the Department of Performing Arts Medicine which is part of the Division of Surgery and Interventional Science at University College London. The Department runs a Master’s Programme in Performing Arts Medicine, and faculty and graduates of the course put together an event to bring awareness of Performing Arts Medicine to the medical profession, the performance educators, and the professionals in the arts.

Sir William Gowers, whose death occurred on May 4th, 1915, was a distinguished member of the medical profession, and in particular a neuropathologist of world-wide reputation. He was born in London on March 20, 1845, so that at the time of his death he had completed the allotted span of three score years and ten. He was educated at Christ Church School, Oxford, and received his medical education at University College, London, where he was a favourite pupil of Sir William Jenner, to whom in his early professional career he acted as private secretary.


2018 ◽  
Vol 43 (2) ◽  
pp. 72-76
Author(s):  
Siobhan Britton

In 2013, as the dissertation component of an MA Library and Information Studies course at University College London, I carried out a selective study of UK zine libraries and collections. Case studies of both ‘institutional’ collections that were part of established libraries like London College of Communication Library (University of the Arts London) and the British Library, and ‘independent’ collections such as Salford Zine Library, 56a Infoshop and the Edinburgh Fanzine archive were carried out to draw attention to issues around collection, care and accessibility of zine collections. As much of the literature around zine collections in libraries at that time was focused on the USA, it was important to draw attention to what was happening in the UK. This article summarizes the findings of my dissertation, and the developments in zine libraries and librarianship since I wrote it, as zine collections have become more popular and a growing field in the UK.


2004 ◽  
Vol 19 (2) ◽  
pp. 51-53
Author(s):  
William B Meinke

In late 1992 and knowing of my interest in the arts, a colleague gave me a copy of the November 30 issue of Physicians Financial News, in which he had circled the title of an article by Sidney Stevens called “Spotting Trends, Savvy Doctors Carve Out Practice Niches.” The gist of the article was that so-called niche specialties, such as arts or travel medicine, should be considered useful marketing tools rather than true specialties or subspecialties....Although I am certain that I chuckled on reading this at the time, my attention was drawn more to Mr. Stevens’ mention of the (incorrectly named) “Physicians Arts Medicine Association headed by Dr. Richard Lederman at the Cleveland Clinic.” I wrote a short letter to Dr. Lederman asking for more information about the group, and within a matter of weeks I was a bona fide member of the Performing Arts Medicine Association (PAMA).


2020 ◽  
pp. 84-107
Author(s):  
Vera Borges ◽  
Luísa Veloso

In the wake of the 2008 global financial and economic crisis, new forms of work organization emerged in Europe. Following this trend, Portugal has undergone a reconfiguration of its artistic organizations. In the performing arts, some organiza-tions seem to have crystalized and others are reinventing their artistic mission. They follow a plurality of organizational patterns and resilient profiles framed by cyclical, structural and occupational changes. Artistic organizations have had to adopt new models of work and seek new opportunities to try out alternatives in order to deal, namely, with the constraints of the labour market. The article anal-yses some of the restructuring processes taking place in three Portuguese artistic organizations, focusing on their contexts, individual trajectories and collective missions for adapting to contemporary challenges of work in the arts. We conclude that organizations are a key domain for understanding the changes taking place.


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