Pingshu Art of Liu Lanfang —The Presence of Performing Artist

2021 ◽  
Vol 3 (6) ◽  
pp. 577-581
Author(s):  
Liu Hongfei ◽  
Gao Yanan
Keyword(s):  
Performing Artist

Becoming a Performing Artist

2009 ◽  
Vol 59 (4) ◽  
pp. 38-41
Author(s):  
Gerald Klickstein
Keyword(s):  
Performing Artist

scholarly journals The performing artist as an elite athlete

Rheumatology ◽  
2009 ◽  
Vol 48 (12) ◽  
pp. 1469-1470 ◽  
Author(s):  
H. A. Bird
Keyword(s):  
Elite Athlete ◽  
Performing Artist

How Much Training Is Too Much?

2017 ◽  
Vol 32 (1) ◽  
pp. 61-62 ◽  
Author(s):  
Bronwen J Ackermann
Keyword(s):  
Approximate Determination ◽  
International Studies ◽  
Common Causes ◽  
Or Practice ◽  
Performance Domains ◽  
Underlying Mechanisms ◽  
Rest Breaks ◽  
Performing Artist ◽  
Musculoskeletal Performance

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

Teaching the Whole Musician

2021 ◽  
Author(s):  
Paola Savvidou
Keyword(s):  
Mental Health ◽  
Healthcare Professionals ◽  
Movement Analysis ◽  
Limiting Factors ◽  
Main Argument ◽  
Artistic Practice ◽  
Applied Music ◽  
Contemplative Practices ◽  
Performing Artist ◽  
Breathing Mechanism

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

The Piano and the Couch: Music and Psyche. By Margret Elson

2019 ◽  
Vol 34 (2) ◽  
pp. 120-121
Author(s):  
Michael C Singer
Keyword(s):  
Sigmund Freud ◽  
Gustav Mahler ◽  
Performing Artists ◽  
Performing Artist

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

scholarly journals Detailed injury epidemiology in contemporary dance: a 1-year prospective study of 134 students

2019 ◽  
Vol 5 (1) ◽  
pp. e000453 ◽  
Author(s):  
Diana P A M van Winden ◽  
Rogier M Van Rijn ◽  
Angelo Richardson ◽  
Geert J P Savelsbergh ◽  
Raôul R D Oudejans ◽  
...  
Keyword(s):  
Research Centre ◽  
Injury Incidence ◽  
Contemporary Dance ◽  
Trauma Research ◽  
Dance Teacher ◽  
Lower Back ◽  
The Arts ◽  
Prevention Programmes ◽  
Performing Artist ◽  
Academic Year

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

Reenacting Kaisika Natakam

2017 ◽  
Author(s):  
Ketu H. Katrak ◽  
Anita Ratnam
Keyword(s):  
Tamil Nadu ◽  
South India ◽  
Gender Issues ◽  
Caste System ◽  
Human Form ◽  
Male Roles ◽  
Dance Theater ◽  
Multiple Dimensions ◽  
Ritual Dance ◽  
Performing Artist

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

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