Illinois ethnic and folk performing artists directory.

Reprint of the 1989 edition.

Sport psychology and indigenous performing artists

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.

An analysis of digital storytelling as a documentation tool for research in the creative and performing arts

This paper examines the capacity of digital storytelling to document research activity in the creative and performing arts. In particular, it seeks to identify the thought processes and methods that underpin this research and to capture them using the digital storytelling medium. Interest in this issue was prompted by the author’s work with the creative and performing artists from the Queensland Conservatorium and the Queensland College of Art as part of the Federal government’s Research Quality Framework (RQF) in 2007. The RQF compelled artists to address what it means to undertake research in their disciplines, to describe this, measure it and quantify it; for many practitioners this represents a significant challenge. These issues continue to be pertinent in the context of the Excellence in Research for Australia (ERA) initiative. This research is significant because it seeks to identify, in layman’s terms, the research methods and thought processes used by artists in their research practice. It seeks to do so free of the encumbrances of the professional doctorate policies, the higher education research quality frameworks, and the dense philosophical debates that have to-date dominated discussions of this issue. The research involves qualitative data collection methods including a detailed literature review, interviews with key practitioners and academics involved in the creative and performing arts, and three case studies. The literature review focuses on publications that explore issues of research practice and method in the creative and performing arts. The case studies involve three Queensland-based artists. Digital stories will be developed (and presented) with Marcus and Mafe using their visual materials and drawing on the issues identified in the literature review and interviews. Emmerson’s DVD provided a point of comparison with the digital stories. (Brief bios are attached)

Trait anxiety and coping strategies among ballet dancers

This study examined relationships between competitive trait anxiety and coping strategies among ballet dancers. Participants were 104 classical dancers (81 females and 23 males) ranging in age from 15 to 35 years (mean 19.4 years; SD 3.8 years) from three professional ballet companies, two private dance schools, and two university dance courses in Australia. Participants completed the Modified COPE scale and the Sport Anxiety Scale. Trait anxiety scores, in particular for somatic anxiety and worry, were significant predictors of 7 of the 12 coping strategies (wishful thinking, r2 = 42.3%; selfblame, r2 = 35.7%; suppression of competing activities, r2 = 27.1%; venting of emotions, r2 = 23.2%; denial, r2 = 17.7%; effort, r2 = 16.6%; active coping, r2 = 14.3%). Approximately 96% of dancers could be classified correctly as high or low trait-anxious from their reported coping style. No significant effects of gender or status (professional versus students) were found. Findings showed that high trait-anxious athletes tend to use more maladaptive, emotion-focused coping strategies compared with low trait-anxious athletes; a tendency that has been proposed to lead to negative performance effects. Dancers who are by nature anxious about performance may need special attention to help them to learn to cope with performance-related stress. Med Probl Perform Art 18:59–64, 2003.

Establishing virtual production as a research and teaching activity at QUT

Located within the Creative Industries Faculty, the Animation team at the Queensland University of Technology (QUT) recently acquired a full-body inertial motion capture system. Our research to date has been predominantly concerned with interdisciplinary practice and the benefits this could bring to undergraduate teaching. From early experimental tests it was identified that there was a need to develop a framework for best practice and an efficient production workflow to ensure the system was being used to its full potential. Through our ongoing investigation we have identified at least three areas that stand to have long-term benefits from universities engaging in motion capture related research activity. This includes interdisciplinary collaborative research, undergraduate teaching and improved production processes. The following paper reports the early stages of our research, which explores the use of a full-body inertial motion capture (MoCap) solution in collaboration with performing artists.

Vom Hof zum Staatstheater : Zwei Jahrzehnte persoenlicher Erinnerungen an Sachsens Hoftheater, ….

A chapter from Adolph's book, “Die Freiherrin Kaskel in Dresden”, about the Baronesse von Kaskel, née Oppenheim, who was entertaining Saxony’s performing artists in her villa.

Dancing into the second phase of creative industries

As we enter the second phase of creative industries there is a shift away from the early 1990s ideology of the arts as a creative content provider for the wealth generating ‘knowledge’ economy to an expanded rhetoric encompassing ‘cultural capital’ and its symbolic value. A renewed focus on culture is examined through a regional scan of creative industries in which social engineering of the arts occurs through policy imperatives driven by ‘profit oriented conceptualisations of culture’ (Hornidge 2011, p. 263) In the push for artists to become ‘culturpreneurs’ a trend has emerged where demand for ‘embedded creatives’ (Cunningham 2013) sees an exodus from arts-based employment through use of transferable skills into areas outside the arts. For those that stay, within the performing arts in particular, employment remains project-based, sporadic, underpaid, self-initiated and often self-financed, requiring adaptive career paths. Artist entrepreneurs must balance creation and performance of their art with increasing amounts of time spent on branding, compliance, fundraising and the logistical and commercial requirements of operating in a CI paradigm. The artists’ key challenge thus becomes one of aligning core creative and aesthetic values with market and business considerations. There is also the perceived threat posed by the ‘prosumer’ phenomenon (Bruns 2008), in which digital on-line products are created and produced by those formerly seen as consumers of art or audiences for art. Despite negative aspects to this scenario, a recent study (Steiner & Schneider 2013) reveals that artists are happier and more satisfied than other workers within and outside the creative industries. A lively hybridisation of creative practice is occurring through mobile and interactive technologies with dynamic connections to social media. Continued growth in arts festivals attracts participation in international and transdisciplinary collaborations, whilst cross-sectoral partnerships provide artists with opportunities beyond a socio-cultural setting into business, health, science and education. This is occurring alongside a renewed engagement with place through the rise of cultural precincts in ‘creative cities’ (Florida 2008, Landry 2000), providing revitalised spaces for artists to gather and work. Finally, a reconsideration of the specialist attributes and transferable skills that artists bring to the creative industries suggests ways to dance through both the challenges and opportunities occasioned by the current complexities of arts’ practices.

Prevalencia de síntomas osteomusculares en miembros superiores y los probables factores de riesgo asociados en los estudiantes de musica en una institución universitaria de Bogotá,Colombia, 2013

Los músicos por su práctica instrumental tienen una alta demanda de desempeño físico, especialmente de los miembros superiores y están expuestos a varios factores de riesgo biomecánico que pueden resultar en problemas de salud. Objetivo: determinar la prevalencia de sintomatología osteomuscular de miembros superiores y los probables factores de riesgo asociados, en los estudiantes expuestos a la actividad musical durante el segundo semestre del año 2013 en una institución universitaria de Bogotá, Colombia. Método: se realizó un estudio descriptivo de corte trasversal en 134 estudiantes de todos los semestres de música en una institución universitaria. Se aplicó el Cuestionario nórdico estandarizado para análisis de síntomas músculo esqueléticos y una encuesta ad hoc que contemplaba aspectos sociodemográficos y antecedentes académicos, patológicos, factores de exposición y hábitos. Resultados: Las prevalencias generales encontradas en el estudio, son similares a las que refieren algunos estudios revisados que contemplan ciertas variables afines a las que se estudiaron. La prevalencia de síntomas osteomusculares cervico-braquial fue de 77.9%. La prevalencia de molestias en cuello fue mayor en las mujeres (64.3%) que en los hombres (37.4%) (OR=3.02, IC 95%=1.26, 7.18). La prevalencia de síntomas en manos/muñecas que le impidió hacer su trabajo en los últimos 12 meses fue mayor en los estudiantes que refirieron alguna enfermedad (29.4%) que en los que no la manifestaron (10.2%), (OR=3.69, IC 95%=1.34, 10.19). La prevalencia de molestias en cuello que les impidió hacer su trabajo en los últimos 12 meses fue mayor en los estudiantes que practicaron algún pasatiempo con sus brazos (10.4%) versus los que no lo practicaron, cuya frecuencia fue 0.0%. Los instrumentos musicales de mayor práctica fueron cuerda y percusión y se asociaron a prevalencia de síntomas osteomusculares cérvico-braquiales con una distribución por segmentos similar. Los tiempos de práctica semanales y la antigüedad en la práctica, conduce a síntomas cervico-braquiales. Conclusiones: Este estudio coincide con la distribución de las prevalencias encontradas en poblaciones de estudiantes de música revisadas, con respecto a la sintomatología, a los segmentos cervico-braquiales de mayor afectación, a la significancia del género femenino con respecto al masculino, al tipo de instrumentos y a los tiempos de práctica entre otros. Esto plantea la necesidad de educar a nuestros músicos en la detección temprana de síntomas desde su formación de pregrado o quizás mucho antes.

Work and injuries in dancers: Survey of a professional dance company in Brazil

This study examined the daily life and most important physical injuries suffered and reported by the dancers of a professional (contemporary) dance company in S (a) over tilde $o Paulo, Brazil. Through an observational, cross,sectional, retrospective procedure using a questionnaire that collected qualitative and quantitative data, we were able to gather information on 30 dancers who collaborated with the survey. We determined that the injuries considered as most important by dancers were those that prevented dance activity during some months. These injuries occurred mainly during rehearsals (which is the activity occuppying, the most time on the schedule). Articular injuries were the most frequent and mainly involved the knee and ankle. They were related to classical technique, in which most of the company's artists started their dance careers. Medical care usually was sought within 1 day, and the prescribed treatment resolved the problem, but the injury cause was not identified in all cases.

Three Essays on the Economics of International Migration [electronic resource].

requirements for Filipino performing artists, effectively closing this migration channel. I employ a difference-in-differences estimation strategy using the share of performing artists at baseline in each Philippine province as a continuous policy variable. International migration falls in response to the policy change by 1.2%. The effect on international migration is larger than the policy change itself would suggest, indicating the importance of spillovers across migrant occupations. Domestically, more children are employed, and adults are more likely to be unemployed or engaged in short-term work.

Arts tour.

"Artstour is the Illinois Arts Council fee support program for Illinois performing artists who tour the state."

Mental Preparation for Piano Performance Using Principles of Aikido

Thesis (D.M.A.)--University of Washington, 2016-05

A Way of Doing Things: Exploring and Applying the Alexander Technique for Choral Conductors

Thesis (D.M.A.)--University of Washington, 2016-06

Use of a textured insole to improve the association between postural balance and ankle discrimination in young male and female dancers

In the mouth of the imagination : positioning children as co-researchers and co-artists to create a professional children's theatre production

In recent decades a number of Australian artists and teacher/artists have given serious attention to the creation of performance forms and performance engagement models that respect children’s intelligence, engage with themes of relevance, avoid the cliche´s of children’s theatre whilst connecting both sincerely and playfully with current understandings of the way in which young children develop and engage with the world. Historically a majority of performing arts companies touring Australian schools or companies seeking schools to view a performance in a dedicated performance venue engage with their audiences in what can be called a ‘drop-in drop-out’ model. A six-month practice-led research project (The Tashi Project) which challenged the tenets of the ‘drop-in drop-out’ model has been recently undertaken by Sandra Gattenhof and Mark Radvan in conjunction with early childhood students from three Brisbane primary school classrooms who were positioned as co-researchers and co-artists. The children, researchers and performers worked in a complimentary relationship in both the artistic process and the development of product.