Growth of highly versus moderately trained competitive female artistic gymnasts

Purpose: To investigate whether growth was adversely affected in 137 young competitive female artistic gymnasts involved in different training volumes.

Methods: This was a 2-yr prospective cohort study in which height, sitting height, leg length, weight, skinfolds, and pubertal status were measured in competitive advanced (20–27 h·wk-1) and intermediate (7.5–22 h·wk-1) training level female gymnasts every 6–12 months. Biological parameters of the adolescent growth curve were estimated using the Preece–Baines growth model. Growth rates were estimated for both groups from the mixed-longitudinal data.

Results: Estimated ages at peak height velocity (PHV) (13–13.5 yr) and mean PHV (6.2–6.4 cm·yr-1) for the advanced- and intermediate-level gymnasts suggest that these gymnasts were later maturing and experienced a blunting of the growth spurt relative to reference values for U.S. youth. Comparison of growth velocities by pubertal status revealed that height velocity was lower in the advanced- versus the intermediate-level peripubertal gymnasts, which was due to a significant reduction in sitting height velocity (2.3 vs 3.1 cm·yr-1, P. < 0.05). No marked acceleration in height or sitting height velocity was detected in the advanced-level gymnasts from pre- to peripuberty. Inspection of individual growth rates revealed that over 35% of the pre- and peripubertal gymnasts experienced growth faltering (height velocity less than 4.5 cm·yr-1) during follow-up.

Conclusion: Advanced–and intermediate–training level competitive female gymnasts tend to exhibit an adolescent growth spurt that is similar in timing and tempo to short, normal, slowly maturing girls, but the high frequency of growth faltering suggests that training may alter the tempo of growth and maturation in some, but not all, female gymnasts.

Building capacity in an indigenous nonprofit artistic enterprise

Growth in Indigenous artistic enterprises has attracted government funding, cultural tourists, and arts managers with a strong interest in cultural democracy and, more recently, an interest in business models for these artists. This paper documents a case study of Arilla Paper, an artistic enterprise in Queensland, Australia, where a group of Aboriginal women, worked on making paper from natural materials, to create a sustainable non-profit arts business. Sections of the business manual developed for these women, together with primary and secondary data supporting the Indigenous creative industries, are presented. The paper concludes that success in such ventures requires a social entrepreneurship model of funding that recognises the challenges of Indigenous cultural ownership and capacity building in business practice.

Evaluating artistic work : balancing competing perspectives

The artist is frequently uncertain, when he or she begins to create a work, how the completed work will look or sound. However, the corporate business model, which is premised on a rational and instrumental worldview, suggests that in a market environment, art should be evaluated objectively, based on clearly stated and measurable objectives - often prior to that work being commenced. This paper explores the difficulties that art has in fitting into a corporatist worldview. First, the paper examines the historical materialization of the corporate model, and how it has infiltrated non-profit arts. Second, the paper investigates the likely reasons as to why instrumental rationality and managerialism have been embraced so enthusiastically by bureaucrats, arts marketers and funders. And third, the paper suggests a research approach by which artists, managers and audiences can evaluate art within a framework that is sympathetic to the art and the artist.

Artspeak : articulating artistic process across cultural boundaries through digital theatre

In early 2009, researchers in the English Department of the University of Amsterdam collaborated with researchers in the Drama Department, Deakin University, Australia on a project which brought English as a Second Language students from The Netherlands into the rehearsal studio of Australian students engaged in play-building on Australian themes. The project aims were multiple and interconnected. We extended a language acquisition framework established by the Dutch investigators in previous collaborations with the Universities of Venice and Southampton, and combined this with an investigation of ways to harness technology in order to teach Australian students to communicate with and about their art. The Dutch language students were prompted to develop art-related language literacy (description, interpretation, criticism), through live, video-streamed interaction with drama students in Australia at critical points in the development of a group-devised performance (conception, rehearsal, performance). The Australian student improved their capacity to articulate the aims and processes which drove their art-making by illuminating the art-making process for the Dutch students, and providing them with a real-life context for the use of extended vocabulary whilst making them partners in the process of shaping the work. All participants engaged in the common task of assessing the capacity of the art work produced to communicate meaning to a non-Australian audience.

Culture clash : artistic production and the school environment

Artists-in-schools programs involving contemporary art practices can be transformational for the participants when environmental considerations are integral to the planning and structure of the project and both the form and content of the program are reflected upon critically.

Investigation into the design and development of the Toad Interactive Multimedia Program (TIMMP) and its use by first year biology undergraduates learning dissection procedures and in situ functional anatomy

Investigates how first year biology undergraduates learn dissection when they have access to such interactive multimedia technology. Related design and developmental factors were evaluated in relation to how they helped students learn the content in the multimedia program. Through the use of interactive technology students can learn at their own pace without the need for actual animal dissection.

Reliability and variability of day-to-day vault training measures in artistic gymnastics

Inter-day training reliability and variability in artistic gymnastics vaulting was determined using a customised infra-red timing gate and contact mat timing system. Thirteen Australian high performance gymnasts (eight males and five females) aged 11-23 years were assessed during two consecutive days of normal training. Each gymnast completed a number of vault repetitions per daily session. Inter-day variability of vault run-up velocities (at -18 to -12 m, -12 to -6 m, -6 to -2 m, and -2 to 0 m from the nearest edge of the beat board), and board contact, pre-flight, and table contact times were determined using mixed modelling statistics to account for random (within-subject variability) and fixed effects (gender, number of subjects, number of trials). The difference in the mean (Mdiff) and Cohen's effect sizes for reliability assessment and intra-class correlation coefficients, and the coefficient of variation percentage (CV%) were calculated for variability assessment. Approach velocity (-18 to -2 m, CV = 2.4-7.8%) and board contact time (CV = 3.5%) were less variable measures when accounting for day-to-day performance differences, than pre-flight time (CV = 17.7%) and table contact time (CV = 20.5%). While pre-flight and table contact times are relevant training measures, approach velocity and board contact time are more reliable when quantifying vaulting performance.

Performance score variation between days at Australian national and Olympic women's artistic gymnastics competition

We determined the inter-day variability in elite-standard women's artistic gymnastics competition scores. National (50 gymnasts for up to three days) and Olympic (24 gymnasts for up to five days) competition scores published in the public domain (‘Giant poster pull-out’, 2010; Gymnastics Australia, 2008) were evaluated using three statistical measures. Analyses of the inter-day differences in the mean scores as a percentage (MDiff%), coefficient of variation percentages for the mean score across both days (CV%), and Pearson correlation coefficients for the inter-day score (r) were interpreted using thresholds from trivial to large. National-class gymnasts' two-day performance variation was trivial for vault, small for floor and beam, and moderate for bars. When senior gymnasts competed for a third day the performance variation increased to moderate for vault. Across five days of Olympic competition there were trivial (e.g. CV%: vault = 0.8) to small (e.g. CV%: bars = 2.0) variations in performances between days on all apparatus. Olympians' performance score consistency is superior to senior, national-class competitors. The performance score consistency required for gymnasts who aspire to participate at the Olympics as a top-24 competitor is better than 3%.

It can be quite difficult to have your creativity on tap : balancing client expectations and artistic practice in the tattoo industry

Tattoo artists work in a commission structure. Their artistic practice, possibly more than in any other creative career, requires the complete approval of the client prior to the creation of the final work. An unsatisfactory tattoo cannot be on-sold, discarded or easily replaced. Rarely can a tattooer practice their art without external participation. Therefore, tattoo artists come up with a number of strategies to manage their client base to ensure that the art they are asked to create satisfies both the client and their own artistic skills and preferences. Drawing on phenomenological research conducted for my PhD investigating artistic persona, this paper will explore the strategies tattoo artists use to construct their portfolios, manage the tattoo consultation and design process, and develop their own artistic skills, in order to build a successful and rewarding career in the tattoo industry.