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Published by South West Music School, The Barn, Dartington Hall, Totnes TQ9 6DE info@swms.org.uk 01803 847011 Copyright South West Music School 2009 and the individual authors First published 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to South West Music School. Disclaimer: Statements of fact and opinion in this publication are those of the respective authors and contributors and not of the editor, Foundations for Excellence Programme Committee or South West Music School. Neither the South West Music School, Foundations for Excellence Programme Committee or editor make any representation, express or implied, in respect of the accuracy of the material in this publication and cannot accept any legal responsibility or liability for any errors or omissions that may be made. The reader should make her or his own evaluation as to the appropriateness or otherwise of any experimental technique described. ISBN 978-0-9563338-0-3 Designed and produced by Toucan Design www.toucandesign.co.uk
Foreword
This publication is one outcome from the Foundations for Excellence conference held on 24 February 2009 at Dartington Hall, Devon. The conference Programme Committee comprised representatives from the Department for Children, Schools and Families (DCSF) Music and Dance Scheme supported Centres for Advanced Training (CATs) and residential schools, with colleagues from specialist dance and music higher education institutions. The DCSF Music and Dance Schemes aims are: to help identify, and assist, children with exceptional potential, regardless of their personal circumstances, to benefit from world-class specialist training as part of a broad and balanced education, which will enable them, if they choose, to proceed toward selfsustaining careers in music and dance. The Programme Committee identified the need for a greater, shared understanding of the significance of good health and wellbeing, alongside preventative strategies to avoid injury and illness, for enhancing the performance of young dancers and musicians. The conference brought together academics researching health issues in dance and music with practitioners working with talented young people in these sectors. We hope its outcomes, as found in SECTION FOUR: MOVING ON, will have wide application for all those involved in teaching and performing - far beyond the Music and Dance Scheme itself. During the conference some key questions were posed and a number of important issues raised. Why are some dancers more prone to injury than others? How can young musicians and dancers enhance their wellbeing and health and become better performers? How can dancers and musicians better prepare themselves, physically, technically, artistically and psychologically, for performance? What can we learn about the flow of performance? And the importance of exercise and a well-balanced diet for both musicians and dancers? How do we provide teachers and students with the tools to inform their teaching and learning in these areas? There are many more questions that could have been asked. We therefore hope that readers of this publication will find its contents interesting and contribute to what is a fascinating, vital and ongoing debate. Acknowledgements are due to all conference contributors, whose presentations are summarised here; delegates who participated so actively; conference organiser Lisa Tregale of South West Music School; and Mary Schwarz who edited this publication. Robin Kiel MBE Music and Dance Scheme, Department for Children, Schools and Families
Foreword
CONTENTS
5 6 7 SECTION ONE: FOUNDATIONS FOR FITNESS The health of the performer >> Moira McCormack Moira McCormack shared her reflections on observing performers from the top of the profession and how they deal with health issues. Understanding and developing young dancer talent: a health and wellbeing perspective >> Dr Sanna Nordin, Imogen J. Walker and Dr Emma Redding Dr Nordin presented the work she is undertaking as Research Fellow for the Centres for Advanced Training research project with Imogen J. Walker, PhD student and Dr Emma Redding, Principal Investigator. Screening of dancers and its applications: an informed approach to teaching >> Rachel Rist Rachel Rist explored how screening can keep dancers dancing longer and stronger. Screening needs to be in place to produce the foremost dancers with longevity in the profession. The healthy musical body: assessments and support >> Dr Aaron Williamon Dr Aaron Williamons first conference presentation focused on research related to fitness assessments and health resources for RCM (Royal College of Music) musicians, with acknowledgments to colleagues David Wasley (University of Wales Institute, Cardiff); Rosie Perkins (RCM); Wulf Hildebrandt (University of Nottingham); Gunter Kreutz (Carl von Ossietsky University of Oldenburg); and Dr Jane Ginsborg (Royal Northern College of Music). Performance preparation and health: the work of BAPAM >> Dr Sanchita Farruque Dr Farruque talked about her work as a health promoter for musicians with British Association for Performing Arts Medicine (BAPAM), bringing together her background as a professional vocalist and doctor. SECTION TWO: KEY HEALTH ISSUES The noise of performance >> Dr Aaron Williamon Dr Aaron Williamons second conference presentation began with an update on noise exposure legislation. He went on on to describe a research project about orchestral musicians exposure and gave information to support young musicians, and their teachers, understand hearing and noise exposure. Healthy behaviours in music performance and non-music performance students >> Dr Jane Ginsborg Dr Jane Ginsborg presented the work she has undertaken with colleagues Gunter Kreutz (Carl von Ossietsky University of Oldenburg), Mike Thomas (University of Chester) and Dr Aaron Williamon (Royal College of Music).
14
16
20
21 22
28
36
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi Dr Papageorgi began her presentation by talking about the role of biological and environmental factors in the development of musical potential. She then talked about findings from her PhD thesis titled Understanding Performance Anxiety in the Adolescent Musician and the research project Investigating Musical Performance: Comparative Studies in Advanced Musical Learning. Practical considerations on eating problems among dancers >> Helen Laws and Dr Emma Redding Helen Laws and Dr Emma Reddings presentation covered the nature, causes and prevalence of eating problems among dancers and offered policy guidelines. Policy framework and best practice in relation to eating disorders in dance schools and companies >> Susan Ringwood Susan Ringwoods paper is offered here as additional advocacy for developing policies on eating disorders that promote health and wellbeing for all. SECTION THREE: POSITIVE PRACTICES Dancing in the moment: dancers flow experiences >> Elsa Bradley Elsa Bradleys presentation focused on optimal experiences flow experiences and the differences between recreational, vocational and professional dancers perceptions of flow whilst dancing. She considered what flow is and its relevance to dance practice and young people. Proprioception >> Kim Pedrick Kim Pedricks presentation included demonstrations and practical exercises in which delegates participated, so they could directly experience proprioception and explore techniques for its development. SECTION FOUR: MOVING ON Programme Committee actions Principles and Practices: promoting health and wellbeing in talented young dancers and musicians ANNEXES Foundations for Excellence conference: summary of delegates evaluations Foundations for Excellence conference: attendees and performers Contributors biographies
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61 62 63
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Contents
Foundations for Excellence Conference 2009 Programme Committee Professor George Caird Principal Birmingham Conservatoire, Birmingham City University Timothy English Head of Junior Conservatoire, Birmingham City University Robin Kiel MBE Policy Manager Music and Dance Scheme, Department for Children, Schools and Families Dorothy Nancekievill Director of Music Wells Cathedral School Dr Emma Redding Head of Dance Science Trinity Laban Rachel Rist Director of Dance Tring Park School for the Performing Arts Lisa Tregale Director South West Music School Dr Aaron Williamon Head of the Centre for Performance Science Royal College of Music
The healthy musical body: assessments and support >> Dr Photo: Aaron Williamon Will Price
The health of the performer Moira McCormack - Head Chartered Physiotherapist, Royal Ballet Company
Moira McCormack shared her reflections on observing performers from the top of the profession and how they deal with health issues. Working with professional dancers we are under pressure to keep dancers dancing, to deal with injuries as they arise, and to predict and prevent injury. Working in an international ballet company is a unique position from which to observe dancers from all over the world tackling their careers and confronting their inevitable problems. Those who have received even a rudimentary education in injury care and prevention, and who are willing to analyse technique, will confront problems and seek out answers. They are the dancers who have been encouraged to question by their teachers. On the other hand, others have been taught inflexibly and have closed minds like their teachers. Their resistance to change makes injury prevention impossible and total recovery difficult. Dancers like these, with huge potential, sadly limit their careers. Professional companies should receive talent fully prepared for expansion, not, as is often the case, in need of technical correction or help in re-educating a healthy lifestyle. Vocational training is an intense, powerful and all consuming experience for the developing artist. It makes a deep impression in those formative years. If it is gauged correctly, you create a well-rounded, confident performer. If not, you create someone limited and lacking in confidence, or someone ambitious but ignorant. The teacher is the central figure. The teacher is the source of inspiration and success, wields enormous influence over the adolescent and leads by example. We must also bear in mind that todays professional dancer is tomorrows teacher, and that less than enlightened teaching is therefore self-propagating. The major threat to productive schooling is injury. Injury wastes money and time in those precious years of training, and in the relatively short professional career. The causes must be fully understood by all those concerned. An injury is not just for the therapist to deal with the mechanism of injury, technical mistakes, fatigue, lack of nutrition or psychological problems must be taken on board by dancer, teacher, therapist and director. It is teamwork that supports the health of the developing artist. Teaching requires both psychological skills and in-depth knowledge of biomechanics. Skill in recognising and accessing what each physique and temperament needs requires reflection, study, discussion and preparation. Teaching requires continued study and development as in other professions. It is a prerequisite to taking on the responsibility of guiding successful careers and in this case, wisely spending the millions of pounds the government invests in training. Continued professional development is demanded in other professions but in dance teaching apparently not. Many professional dancers move on to dance teaching but dance training often excludes them from quality higher education. Moving into teaching does not mean resting on laurels, but moving into continued education themselves. There needs to be far more emphasis on this in producing our future teachers who in turn produce our future performers.
Our challenges:
We need to consider our future professionals in dance and music, in terms of health. We need to confront and expose problems in our handling of these children, and hopefully expand our understanding in order to build them a better future. They are chosen for their aptitude and physical potential and in our dealing with these special and different children we, the teaching and health professions, have to work together and continually question our methods, voracious for new ideas and searching for answers ourselves.
Understanding and developing young dancer talent: a health and wellbeing perspective Dr Sanna Nordin - Research Fellow, Dance Talent Development In Young People, Laban
Dr Nordin presented the work she is undertaking as Research Fellow for the Centres for Advanced Training research project with Imogen J. Walker, PhD student and Dr Emma Redding, Principal Investigator. Recent research indicates that by taking a systematic, scientific approach we might better understand what talent is and how it is best developed. Talent models and research in sport show an increased recognition of the role of psychological and social factors in addition to traditionally emphasised physiological factors and an emphasis on the role of specific forms of deliberate practice over innate talent.
The model of potential talent predictors in soccer (Williams and Franks, 1998; Williams and Reilly, 2000) includes:
>> physical predictors e.g. height, weight, body fat >> physiological predictors e.g. aerobic capacity, anaerobic power >> psychological predictors e.g. perceptual-cognitive skills, personality characteristics >> sociological predictors e.g. parental support, coach-child interaction In music, MacNamara and colleagues (2008) took a similar scientific approach, finding that:
These [psychological characteristics] appear similar to those employed in other performance domains and support increasing empirical evidence of the development of psycho-behavioural characteristics as a core feature of talent development processes.
>> MacNamara et al., 2008, p. 335
In dance, talent is much talked about and sought after, but definitions of what and how important it is are varied and lacking in research and/or systematic evidence.
Sanders Gifted and Talented Dancers: A Resource Booklet for Teachers deals largely with two factors that only partially overlap with the traditional approaches:
>> psycho-behavioural characteristics >> dance-specific criteria: artistic/creative
Understanding and developing young dancer talent: a health and wellbeing perspective >> Dr Sanna Nordin
There is also a key question to consider, in terms of whether talent is innate or trainable. As one of the most famous dancers said:
Some people seem to think that good dancers are born, but all the good dancers I have known are taught or trained.
>> Fred Astaire
Altogether, it appears that using a systematic, scientific process has helped develop a better understanding of talent ID and talent development in sport and music. The aim therefore is to further such an understanding in dance through a collaboration with Centres for Advanced Training (CATs), with an unprecedented participation of an entire cohort of dancers labelled talented or as having exceptional potential.
The overall procedure of the research is to profile and screen CAT dancers to find out:
>> what are they like? >> how do they develop? The research is longitudinal, with visits to the CATs twice yearly over a two and a half year period. The research is interdisciplinary, for a holistic view, examining factors in the dancers physicality, psychology and background/training. Over time, there will be an examination of whether these factors are related to wellbeing (injury, health); performance outcomes (adherence, graduate destinations); and creativity. The desired outcome is to enhance understanding of how best to develop talent in young dancers.
The first data collection took place over November December 2008 and comprised:
>> 324 dancers from all then active CATs >> 73.8% female >> mixed ethnicities; 78.2% White British
Understanding and developing young dancer talent: a health and wellbeing perspective >> Dr Sanna Nordin
Injury Locations
The research found that dancers injured in the past year were younger and had spent less time in CAT training. In other words, older dancers who spend more time in CAT training do not seem more likely to get injured. Future research will examine whether psychological and physiological characteristics at baseline may predict injury over time for instance, does fitness guard against injury?
CAT class
23
16.6
Other dance setting Mixed dancing
25.5
32.7
Other physical activity incl. sport and PE Outside all physical activity
2.5
Understanding and developing young dancer talent: a health and wellbeing perspective >> Dr Sanna Nordin
10
30
Females Males
Females
Males
CAT students
Professional dancers
For jump height, there was a favourable comparison to contemporary first year undergraduate dance students and to contemporary professional dancers.
As an example of psychological characteristics, results relating to passion, self-esteem and the motivational climate were presented. Such personal qualities may be strongly related to talent development, as indicated in the following quotation:
Many other women kicked higher, balanced longer, or turned faster. These are poor substitutes for passion.
>> Agnes de Mille
Over seventy eight percent (78.7%) of the students met criteria for being classified as passionate about dance. Most display an adaptive form of passion dance fits into their lives and exists in harmony with other activities. Some report a more obsessive passion dance threatens to take over and become the main focus for their identity. Previous research suggests such passion is related to injury (Rip, Fortin & Vallerand, 2006) and future research will therefore explore potential health implications for different types of passion. In terms of self-esteem, most dancers displayed healthy levels of self-esteem, with comparatively high scores (M = 3.06 on 1 - 4 scale). Previous literature suggests dancers suffer from low self-esteem (e.g. Bettle et al., 2001; Buckroyd, 2000). Perhaps this is a thing of the past. Because self-esteem is important both for performance and wellbeing, future research will explore what aspects of dance leadership and feedback are related to optimal levels of self-esteem within the CATs. Regarding motivational climate, the psychological atmosphere in the dance studio has previously been found to relate to wellbeing (e.g. Quested & Duda, 2009). In CATs, the motivational climate appears very favourable, and more in line with recommendations for how to structure optimal dance and sports training than CAT dancers other (home) dance training. Future research will explore what aspects of the motivational climate are related to health and wellbeing over time. Science appears capable of generating valid findings and meaningful relationships between variables. So, we believe that dance science can be of assistance in promoting dance health and performance. However, it is not a be all, end all approach - simply a complement to existing teaching and training methods.
Understanding and developing young dancer talent: a health and wellbeing perspective >> Dr Sanna Nordin
11
In order to translate findings into practice, CAT results are fed back/presented:
>> to individual dancers >> to teachers (with dancers consent) >> to CATs (as group presentations) >> at national and international conferences (eight presentations planned for 2009) >> as peer-reviewed journal articles We advocate a team based approach for optimising student performance and wellbeing, for example asking dancers and CATs what they want to know, and supporting open communication between CATs, therapists, dance science support staff, teachers and the research team keeping everyone on the same page. Dance science and health professionals can also help, by interpreting research findings; supporting students; and giving talks on relevant topics. They can use results for goal setting; individual training plans; and informing pedagogy (e.g. is flexibility improving?). As researchers, we are always available for information and want to be made use of to make the results applicable to the real-life dance setting. All the material we report on above represents a (very) small overview. The findings collated to date cover 311 variables and only a very small selection has been presented. Many become interesting over time rather than from a single data collection, as they relate to development and change rather than level. For example, aerobic fitness scores at one point in time say little, but if the scores decrease over time, this will suggest improvements in fitness valuable information for those concerned with dancers aerobic capacity.
Research areas
Background
Demographics Hours of dance & other activities Dance experience Health & injury background Performance experience
Psychology
Self-esteem Anxiety Perfectionism Eating attitudes
Physiology
Jump height Upper body strength Flexibility Hypermobility Anthropometry, incl. growth Aerobic fitness
Injury
Type Body area Location Severity Interruption to dancing Treatment
Performancerelated
Adherence / Dropout Graduate destinations Reasons for leaving
Motivational Climate
Passion
Turnout
Perceived causes
Understanding and developing young dancer talent: a health and wellbeing perspective >> Dr Sanna Nordin
12
Future research will consider how talented young dancers develop across time. For example:
>> does fitness improve? is this related to the type of dance training? >> does wellbeing change over time? is this related to the motivational climate? >> are there discernible differences between dancers who adhere to the training do well compared to those prone to unfavourable outcomes e.g. injury dropout?
An additional in depth qualitative research strand will begin in 2009, looking at some key questions:
>> what are some conceptions of creativity? >> do these differ between students and staff? >> is creativity related to wellbeing?
Fundamentally, one of the key questions will be, are predictors of favourable outcomes (e.g. progressing well in dance):
>> static characteristics of individuals? >> dynamic characteristics of training?
To conclude:
>> there are many examples of favourable results >> as in most samples, the range is wide, with some students faring excellently and others (a minority) not so well >> future work will help uncover some of the reasons why this might be so
Understanding and developing young dancer talent: a health and wellbeing perspective >> Dr Sanna Nordin
13
Useful reading
Bettle, N., Bettle, O., Neumrker, U. & Neumrker, K.J. (2001). Body image and self esteem in adolescent ballet dancers, Perceptual and Motor Skills, 93, 297-309. Buckroyd, J. (2000). The Student Dancer: Emotional Aspects of the Teaching and Learning of Dance. London: Dance Books. Laws, H. (2005). Fit to Dance 2: Report of the Second National Inquiry into Dancers Health and Injury in the UK. London: Dance UK. MacNamara, A., Holmes, P. & Collins, D. (2008). Negotiating transitions in musical development: the role of psychological characteristics of developing excellence, Psychology of Music, 36, 335-352. Quested, E. & Duda, J.L. (2009). Perceptions of the motivational climate, need satisfaction, and indices of well- and ill-being among hip hop dancers, Journal of Dance Medicine and Science. Rip, B., Fortin, S. & Vallerand, R.J. (2006). The relationship between passion and injury in dance students, Journal of Dance Medicine and Science, 10, 14-20. Sanders, L. Gifted and Talented Dancers: A Resource Booklet for Teachers. Commissioned by the Dance Network. Williams, A. M. & Reilly, T. (2000). Talent identification and development in soccer, Journal of Sports Sciences, 18, 657-667.
Understanding and developing young dancer talent: a health and wellbeing perspective >> Dr Sanna Nordin
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Screening of dancers and its applications: an informed approach to teaching Rachel Rist - Director of Dance, Tring Park School for the Performing Arts
Rachel Rist explored how screening can keep dancers dancing longer and stronger. Screening needs to be in place to produce the foremost dancers with longevity in the profession. Screening is information gathering for the director of faculty, teachers and the individual student and their parents. It informs progression through the school. Screening needs to be performed by experts, using validated and consistent testing methods. The information gained is critical to understanding what is there, underneath skill what can and cannot be achieved, given the physical resources available and their potential. No one is symmetrical, and understanding imbalances and weaknesses enables you to put in place intervention strategies and inform both training and a potential career.
A dancers training has the same level of pressure on physique and psychology as that for an Olympic athlete, so understanding the body and what care and intervention is needed, appropriate to age and course, is vital.
Screening is not a pass or fail exercise or examination, but rather a data gathering and assessment exercise, with the findings put to use. It is also not an excuse not to offer funding to a student, but rather enables a school to make an informed choice about taking on a student in the knowledge there are problems in some areas on which to work. Many people are involved in screening: the expert (usually a physiotherapist), the child and their parents (initially), the director of faculty, the teachers (very important, as they are in charge of the young persons body) and the medical team. Screening happens at the final audition, on entry to a course and then at least once a year more often in case of injury or rapid physical change, such as a growth spurt. A screening form is used for baseline information i.e. personal details about medical issues or injury; intensity of previous training; and age, body mass index (BMI), onset of puberty and so on. Ranges of movement (noting (a)symmetry in right and left); basic techniques (e.g. how feet land in a simple jump); and proprioceptive skills are also reported. Post 16, information such as a psychological profile or drug/alcohol intake may also be added. Most important of all is the last page the summary of what needs to happen next. This summary goes to the teacher and the student, so they know the need to work on certain aspects. The chosen intervention strategies (e.g. attendance at an ankle clinic, one-to-one Pilates sessions) are implemented, and reviewed. There are challenges to developing and implementing a screening protocol. Cost is a major factor as it takes on average 25-30 minutes for an experienced professional to screen a child. The school has to decide that this investment has a high value because of what is gained through the process. The screening protocol is only the start and the interventions and preventative strategies must be in place. It is important to allow extra days at the start of term for assessments for the new intake and plan to have all students screened by the end of the autumn term. A physiotherapist is best used for dancers, but an informed and trained somatic teacher/professional can also undertake the screening. Even without funds or an expert, you can still take time to assess a students physique, look at the range of movements of joints and large muscle groups and plan to spend a part of class addressing weaknesses. Just five minutes assessment can save time and prevent injury later on. Teachers have good eyes, are aware that each individual has individual challenges and can be proactive in supporting students.
Screening of dancers and its applications: an informed approach to teaching >> Rachel Rist
15
A world class training system must have world class medical support, with a team approach to information sharing (e.g. weekly meetings). It is vital the director or head of dance or music has a personal investment in the success of the protocol. Screening can result in teachers at the sharp end knowing their students better; students taking personal responsibility for being proactive in areas of weakness; and dancers and musicians having greater expectations of longevity in their profession.
Useful reading
Calvo, J.B. (2001). Analysis of the screening of 1400 dance students. IADMS Conference Proceedings. Potter, K., Kimmerle, M., Grossman, G., Rijven, M., Liederbach, M. & Wilmerding, V. (2008). Screening in a Dance Wellness Program. IADMS Resource Papers. www.iadms.org Pastino, J.D. (2005). Physical screening procedures, in R. Solomon, J. Solomon & S.C. Minton (eds.), Preventing Dance Injuries. Champaign, Illinois, USA: Human Kinetics. Physical Characteristics in a Group of Adolescent Ballet Students: A Three Year Study. www.nureyev-medical.org/articles
Screening of dancers and its applications: an informed approach to teaching >> Rachel Rist
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The healthy musical body: assessments and support Dr Aaron Williamon - Head of the Centre for Performance Science, Royal College of Music
Dr Aaron Williamons first conference presentation focused on research related to fitness assessments and health resources for RCM (Royal College of Music) musicians, with acknowledgments to colleagues David Wasley (University of Wales Institute, Cardiff); Rosie Perkins (RCM); Wulf Hildebrandt (University of Nottingham); Gunter Kreutz (Carl von Ossietsky University of Oldenburg); and Dr Jane Ginsborg (Royal Northern College of Music).
The healthy musical body: assessments and support >> Dr Aaron Williamon
17
Wellbeing
Perfectionism
Trait anxiety
80
Men
+ + + +
Women +
t+ sg+ ir+
+ +
+ + + + + +
+ +
sg
sg
+ +
60
40
WellSubscale being
+ + + + +
Example
t+ sg+ ir+sm+
sm concerns + Discuss my health with health Perfectionism tionism professionals (n=9). 20 Self reg Self reg sg+ + learn Physical Follow a planned exercise programme learn activity Trait (n=8). Trait t-hr-sg + anxiety anxiety ir- sm0 Nutrition Eat 3-5 servings of vegetables every day Health Pain during Pain after Pain stops Health Wellbeing Perfectionism Self reg learn Trait anxiety promo (n=9). Interpersonal relations Touch and am touched by people I care The third chart above shows the positive and negative correlations between variables. For about (n=9). example, poor self-regulated learning is related to more experience of pain; a high sense Spiritual growth Am aware of what is important in my life of wellbeing correlates to less perfectionism, better self-regulated learning and less trait (n=9). anxiety. Psychological characteristics can also relate to pain in the body e.g. right hand Stress management Pace myself tolearning prevent tiredness (n=8). pain relates to poor self-regulatory (as below).
PerfecHealth responsibility
t+ sg+ ir+sm+ sm
The healthy musical body: assessments and support >> Dr Aaron Williamon
20
18
Cardiovascular fitness
100
Men
Women
The following charts show key findings from the fitness assessments with results by gender and whole group:
80
BMI
20 80 0
60
BMI (2) 40
100
Men
Women
80
60
60
Below average
Average
Above average
40
40
20
20
Cardiovascular fitness
Men Women
80
BMI
40 100 20 80 0 Below average 60 Average Above average
60
60
40
20
40
In summary:
>> students report pain, yet they are healthy
20
Cardiovascular fitness >> a majority of students are below average fitness and many do not meet
100
>> health promotion findings are similar to published results (see Dr Jane Above target Ginsborgs presentation on page 28) their target BMI
>> key self-report measures include: wellbeing (7 Qs) self-regulated learning (10 Qs) trait anxiety (20 Qs) fatigue (5 Qs)
80
60
40
20
0 Below average
The Royal College of Music offers a variety of health resources for their students, ranging from provision of information to support through the curriculum.
Average Above average
The healthy musical body: assessments and support >> Dr Aaron Williamon
19
There are also Level 2, 3 and 4 course units in Alexander technique, psychology of music, and psychology of performance. As well as the fitness assessment scheme, students have taster workshops, for example in yoga, Tai Chi and Pilates, with follow on information about classes. A PhD student is working on the Perform Project, looking at mental skills training and rehearsing, with reference to research and practice in sport.
Useful reading
Kreutz, G., Ginsborg, J. & Williamon, A. (2008). Music students health problems and health-promoting behaviours, Medical Problems of Performing Artists, 23, 3-11. Kreutz, G., Ginsborg, J. & Williamon, A. (2009). Health-promoting behaviours in conservatoire students, Psychology of Music, 37, 47-60. Ginsborg, J., Kreutz, G., Thomas, M. & Williamon, A. (2009). Healthy behaviours in music and non-music performance students, Health Education, 109, 242-258.
The healthy musical body: assessments and support >> Dr Aaron Williamon
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Performance preparation and health: the work of BAPAM Dr Sanchita Farruque - Health Promotion in Music Development Officer, BAPAM
Dr Farruque talked about her work as a health promoter for musicians with British Association for Performing Arts Medicine (BAPAM), bringing together her background as a professional vocalist and doctor. BAPAM is concerned with performance related injury issues and is aware that the music sector in many ways needs to catch up with the dance sector. Over the last few years BAPAM has focused on the preventative aspects of injury, having been providing curative support for over twenty years.
Performers will have portfolio careers, so learning about health is not just about talent and performance, but also to support possible teaching roles in the future.
Dr Farruque explained the need to target preventative messages to educators to ensure health promotion is part of the curriculum and feeds students motivations. BAPAM has teachers packs readily available and is keen to support the contextualisation of teachers work within health considerations. Dr Farruque is exploring how students best take on information and supports activity based work in music college junior departments. BAPAM provides free first injury assessment to music professionals, teachers and students, and the Musicians Benevolent Fund Scheme can provide some funds for student treatments. However, the aim is to reduce the numbers at clinic, through the application of healthy practices.
Performance preparation and health: the work of BAPAM >> Dr Sanchita Farruque
21
The healthy musical body: assessments and support >> Dr Photo: Aaron Williamon Will Price
22
The noise of performance Dr Aaron Williamon - Head of the Centre for Performance Science, Royal College of Music
Dr Aaron Williamons second conference presentation began with an update on noise exposure legislation. He went on to describe a research project about orchestral musicians exposure and gave information to support young musicians, and their teachers, understand hearing and noise exposure. The Control of Noise at Work Regulations 2005 was introduced in April 2006, with the music and entertainment sectors exempted until 2008. The Regulations set out exposure limit values as below, for daily average exposure (eight hours) and peak sound pressure.
Daily average (8 hours): 87 dB(A) Peak sound pressure: 140 dB(C) Daily average (8 hours): 87 dB(A)
For the lower action value, employers have a duty to inform and educate employees about protecting their hearing. For the upper action values, they have a duty to protect employees. Where 0 dB is the threshold of hearing and 130 dB the threshold of pain (with an average rock concert or club producing 123 dB), musicians are exposed to a wide range of sound intensity levels from 80 dB from a cello or double bass at peak, to 135 dB from brass at peak. The distance between the ear and the sound source is significant, so piccolo players 2 are exposed to high levels of noise e.g. 120 dB at peak. A research project into musical noise at work was undertaken by the Centre for Performance Science at the Royal College of Music in collaboration with Bradford Backus from University College London and Chris Clark at the Royal Opera House. Ten musicians (with strings, woodwind, brass and percussion all represented) were followed through a working week (i.e. rehearsals and performances) at the Royal Opera House, with the noise levels to which they were exposed recorded by a discreet recording badge placed 10 cm from the ear. The weeks programme involved four productions, with different pit layouts for the orchestra in each case. Using the information from the recordings of sound levels, the researchers drew up maps that demonstrated hot spots of high noise level, as in the following example:
23
Katya Kabanova
Noise levels in orchestra pit for Katya Kabanova production
83
DB F 85
H 90 93 Bsn
94
90
V2 85 V1
87
Exposure over the working week was also charted, as below. Apart from the double bass player, all musicians were exposed to above 80 dB, indicating that the Royal Opera House had a duty to educate and inform their employees. For some musicians (flute, horn and timpani players), exposure was in the upper action value requiring the Royal Opera House to take measures to protect their hearing.
Violin 1
Violin 2
Viola
Cello
Double bass
Flute
Bassoon
Horn
Trumpet
Timpani
24
10 0 -10 Hearing level (dB) Hearing level (dB) -20 -30 -40 -50 -60 -70 -80 125 250 500 1000 2000 4000 8000 Frequency (Hz) Conductive loss
10 0 -10 -20 -30 -40 -50 -60 -70 -80 125 250 500 1000 2000 4000 8000 Frequency (Hz) Tonal gap
10 0 -10 Hearing level (dB) -20 -30 -40 -50 -60 -70 -80 125 250 500 1000 2000 4000 8000 Frequency (Hz) 35-39 yrs 1-2 yrs 5-9 yrs 15-19 yrs
25
The following charts show the ranges of hearing of professional musicians and student musicians:
0 10 -20 20 -10 30 0 40 10 50 20 60 30
10 -20 20 -10 30 0 40 10 50 20 60 30
40 50 60
1.5
10 12.5 16
40 50
1.5
10 12.5 16
0.1250.25 0.5 hearing: 0.75 1 1.5 2 3 4 6 8 10musicians 12.5 16 Range of student n=81 mean age=24.1975
-20 -10 0 10 -20 20 -10 30 0 40 10 50 20 60 30
60
-20 -10 0
1.5
10 12.5 16
10 -20 20 -10 30 0 40 10 50 20 60 30
40 50 60
10 12.5 16
40 50 60
10 12.5 16
10 12.5 16
10 12.5 16
The symptoms of noise damage include: impaired speech recognition; impaired pitch discrimination; hyeracusis (delicate sensitivity to loud noises); diplacusis (hearing pitches differently in each ear); and tinnitus (sounds in the head). It is important to help young musicians understand hearing and noise exposure and to ensure they have regular tests. The average sound intensity during a standard working day (eight hours) should not exceed 85 db (A) but it is currently difficult to monitor, as it requires expensive equipment and technical knowledge to do so. Earmuffs and foam earplugs are unsuitable protection. The latter reduce the volume but are not suitable for musicians. Speech perception is amplified over the frequencies of 2,000 and 5,000 Hz due to the shape of the outer ear and ear canal, and foam earplugs that simply block the ear canal typically negate the resonant properties of the ear. There are more advanced earplugs that are suitable for musicians: for instance, a generic (one size fits all) Christmas tree-like set, and individually fitted, custom earplugs with filters that attenuate noise evenly across the frequency spectrum.
26
Students at the Royal College of Music attend the University College London Ear Institution for comprehensive hearing tests and they receive free custom fitted earplugs. The hearing assessment scheme includes audiograms; tympanograms (assessing middle ear function); and otoacoustic emissions (OAEs) (non invasive assessment of the inner ear). There is also a policy for staff, who can go to any hearing clinic and be reimbursed for the costs of standard testing.
In addition to ear plugs, other practical options to prevent over exposure to noise include:
>> using acoustic screens properly >> installing absorbent acoustic baffles to reduce reverberation in orchestra pits and practice rooms >> rehearsing quietly and/or using dynamics >> balancing loud works in programmes >> changing ensemble layout >> giving your ears a rest
>> if the hair cells on the cochlear are destroyed, they cannot be regenerated or re-grown and hearing damage is permanent >> personal stereos and listening devices produce sounds close to the head so they are perceived to be softer than they actually are. Listening at levels below 85 dB is generally believed not to be harmful, but with background noise people tend to turn up the volume too far for healthy listening
27
Useful reading
Backus B.C., Clark T. & Williamon A. (2007). Noise exposure and hearing thresholds among orchestral musicians, in A. Williamon & D. Coimbra (eds.), Proceedings of the International Symposium on Performance Science 2007 pp 23-28. Published by the European Association of Conservatoires (AEC). http://www.perfomancescience.org Health and Safety Executive (2008). Sound Advice: Noise at Work in Music and Entertainment. http://soundadvice.info Royster, J.D., Royster, L.H. & Killion, M.C. (1991). Sound exposure and hearing thresholds of symphony orchestra musicians, Journal of the Acoustical Society of America, 89, 2793-2803. http://asa.aip.org/jasa.html Wright Reid, A. (2001). A Sound Ear. Published by the Association of British Orchestras (ABO). www.abo.org.uk
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Healthy behaviours in music performance and non-music performance students Dr Jane Ginsborg - Associate Dean of Research and Enterprise, and Director of the Centre for Music Performance Research, Royal Northern College of Music
Dr Jane Ginsborg presented the work she has undertaken with colleagues Gunter Kreutz (Carl von Ossietsky University of Oldenburg), Mike Thomas (University of Chester) and Dr Aaron Williamon (Royal College of Music). Over the past few years, a growing body of research has shown that the physical and psychological demands of expert musical performance may have consequences for musicians health (for example, Williamon & Thompson, 2006). We investigated music performance students attitudes to health and health-promoting behaviours by carrying out an on-line survey at two conservatoires (Kreutz et al., in press). We also investigated students experiences of health problems (Kreutz et al., 2008) and have now gone on to compare the experiences of music performance with non-music performance students. Our first study showed that music performance students score particularly low on some aspects of health lifestyle (health responsibility, physical activity and stress management) but significantly higher on others (nutrition, spiritual growth, interpersonal relationships). We also looked at the extent to which these behaviours were associated with three psychological variables: >> Emotional affect (see Bandura, 1997) >> Self-efficacy (see Callaghan, 2005) and >> Self-regulation (see Maes & Karoly, 2005) We found that they were significantly correlated. This suggests that healthy lifestyle and psychological wellbeing influence each other which has implications for music performance students progress at college and as they begin their professional careers. In our second paper, we reported the occurrence of music performance students musculoskeletal and non-musculoskeletal health problems. These were characterised by six independent factors (see diagram below). There was no evidence to suggest a relationship between health-promoting behaviours and actual health problems, but regression analyses showed that the most reliable predictors of self-perceived impaired technique, practice and performance quality were fatigue and spinal pain.
F6: Mouth
Healthy behaviours in music performance and non-music performance students >> Dr Jane Ginsborg
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We wanted to find out the extent to which music performance students attitudes to health and experiences of ill-health were similar to or different from those of other kinds of student. Of course there may be many ways in which groups of students differ from each other, but we would at least be able to say something as to how students adapt to the particular demands of their individual programmes of study.
Research respondents
RNCM Female Male Total Mean age (SD) 83 50 133 21.36 (2.4)
Method: Respondents
RCM 44 21 65 21.4 (2.4) UC 27 2 29 21.28 (2.2) IC 25 11 36 21.69 (1.85) Total 179 84 263 21.4 (2.3)
While the RNCM provides all students with health and safety information at induction and access to treatment for those with practice and performance related injuries, it did not at the time of the survey offer regular programmes to enhance health and wellbeing. In contrast, the RCM respondents had all taken part in seven one-hour health related sessions in their first term at College (see The healthy musical body page14). The majority of the students at UC were in the Faculty of Health and Social Care, so the study of health was integral to their degree courses, as it was to the students at Imperial College, who were studying biomedical science.
Healthy behaviours in music performance and non-music performance students >> Dr Jane Ginsborg
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The Health-Promoting Lifestyle Profile (HPLP II) measures the frequency of engagement in health-promoting behaviours. It consists of 52 items that are rated on a four-point Likerttype scale: 1 (never), 2 (occasionally), 3 (frequently) and 4 (routinely). Scores for all items thus range from 52 to 208 with a midpoint of 130. This instrument provides a total score for health-promoting behaviour, as well as six subscales (see below).
HPLP II
HPLP II
The second chart above shows the other psychological variables: positive and negative affect, self-efficacy to do with coping behaviours and self-regulation to do with the regulation of moods. Each scale has ten items. The positive and negative affect scale is scored from 1 (very slightly) to 5 (extremely) while the self-efficacy and self-regulation scales are scored from 1 (not at all true) to 4 (completely true). Participants were asked a series of questions about their health. First, was how they rated their present state of health. Second, was how they rated their musculoskeletal symptoms by indicating on a scale of 1 (non-existent) to 5 (severe) the degree of pain they had experienced in particular parts of the body over the preceding week.
Healthy behaviours in music performance and non-music performance students >> Dr Jane Ginsborg
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Non-musculoskeletal symptoms:
>> fatigue: sleep disturbance, headaches, lack of concentration, problems with vision and inappropriate tiredness >> miscellaneous e.g. sensitivity to weather, palpitations, breathing problems, high and low blood pressure etc. The graph below shows that mean scores on the HPLP II for both groups were close to the mid-point of the scale. They scored below the grand mean the off-white bar on the right for health responsibility, stress management and physical activity, but above it for nutrition, spiritual growth and interpersonal relations. The asterisks indicate where the differences between the music performance and the non-music performance students were statistically significant: overall, for health responsibility, physical activity, spiritual growth; and nearsignificantly, for stress management.
II
* *
* * *
There was a significant main effect of respondents sex on interpersonal relationships and near-significant effects of sex on health responsibility and nutrition, but no interactions between sex and student type, as overleaf:
Healthy behaviours in music performance and non-music performance students >> Dr Jane Ginsborg
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* *
When we compared the music performance and the non-music performance students self-efficacy, we found that the music performance students scored lower, as did female students. Music performance students also scored lower on self-regulation and rated their present state of health worse than the non-music performance students, though both mean scores were above the mid-point of the scale. Nearly all the respondents (98.5% of music performance students, 96.9% of health students) reported one or more musculoskeletal symptoms. Orofacial symptoms were reported by 82.3% of music performance students and 73.8% of health students, while problems with the neck and spine were reported by 72.2% of music performance students but only 58.5% of health students. Fatigue symptoms were also prevalent: in 92.4% of music performance students and 89.2% of health students.
When we looked at the numbers of symptoms that were reported, we found that:
>> music performance (MP) students reported musculoskeletal symptoms at MORE sites (M = 10.53, SD = 6.06) than non-MP students (M = 7.6, SD = 6.88) (where M = mean and SD = standard deviation) >> women reported MORE fatigue symptoms (M = 3.2, SD = 1.18) than men (M = 2.8, SD = 1.24) When we looked at the severity of the symptoms reported, music performance students rated their symptoms worse than the non-music performance students did in the spine, lower right arm and hand, and upper and lower left shoulder, arm and hand. Female students rated more severe fatigue symptoms.
Healthy behaviours in music performance and non-music performance students >> Dr Jane Ginsborg
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While the majority of correlations were statistically significant the coefficients were generally low. In other words, associations between the four sets of ratings/scores were not necessarily strong.
Results: correlations
Measure Positive Self-eff Self-reg Present health Musculo skeletal Fatigue Misc non MS HPLP II .476
SRS
PH
MS
The strongest association was between scores on the HPLP II and self-efficacy. HPLP II scores were also associated comparatively strongly with positive affect and self-regulation. Positive affect (PoA) was associated with self-efficacy, while negative affect (NeA) was associated with fatigue symptoms. These in turn were correlated with musculoskeletal and non-musculoskeletal symptoms.
Findings in relation to the first research question: What are the differences, if any, between the reported health-promoting behaviours of music performance (MP) and non-MP students?
Music performance students overall scores on the HPLP II were lower than those of non-music performance students. Specifically, they scored significantly lower for health responsibility, physical activity and spiritual growth. They also reported lower levels of selfefficacy and self-regulation than non-music performance students. Maybe they have less healthy lifestyles than non-music performance students for reasons to do with their individual personality or social background, or a combination of these and other factors. Whatever the reasons, the findings are worrying since musicians are often and correctly likened to athletes: music performance students need to adopt healthy lifestyles in order to develop the physical capacity and stamina to give of their best when they play or sing to their peers and the public, often under challenging and difficult circumstances. A second possibility is that the students of nursing and biomedical science (a proportion of the latter who go on to study medicine) who responded to the survey have healthier lifestyles than music performance students. This may be due to their greater awareness of health issues and responsibilities arising from their particular field of study, and perhaps also because of their exposure to the severe health problems of others encountered in the course of clinical practice.
Healthy behaviours in music performance and non-music performance students >> Dr Jane Ginsborg
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Finally, the female respondents (music performance and non-music performance alike) scored significantly higher than male respondents on interpersonal relations but lower on self-efficacy. This finding probably reflects societal differences, and indicates the areas to which tutors should pay particular attention where possible.
Findings in relation to the second research question: What are the differences, if any, between the experiences of ill health reported by the two groups of respondents?
Participants were asked to rate their present state of health on a scale from 1 to 5. Mean ratings for both groups were above the mid-point, but music performance students rated their present state of health significantly WORSE than did non-MP students. There were also differences between the experiences of ill health reported by the two groups of respondents, and these can be described in two ways. First, music performance students reported musculoskeletal problems at MORE sites than the non-music performance students. Second, music performance students reported WORSE symptoms in the spine, upper and lower right arm and hand, lower left arm and hand, and fatigue. It may be that music performance students are more accustomed to identifying the parts of the body associated with different aspects of playing instruments (e.g. supporting and fingering a violin or viola with the left hand, and bowing with the right shoulder, upper and lower arm and wrist) or it may be that the non-music performance students, who were of course students of nursing and biomedical sciences, simply rated their own experience of such symptoms as less severe in comparison with injuries they treat in others.
Findings in relation to the final research question: To what extent are perceived present health and reported musculoskeletal and non-musculoskeletal symptoms associated, for the two groups of respondents, with reported health-promoting behaviours, emotional affect state, self-regulation and self-efficacy?
Correlations between ratings representing perceived present health status and reported symptoms were negative, as would be expected, but too low to reflect each other accurately. Perceived present health was most strongly correlated with reported healthy lifestyle. This in turn was associated with positive affect, self-efficacy and self-regulation, suggesting that all are worth promoting in the interests of better health. This was a relatively small-scale investigation involving two groups of students with very different career aspirations. The research team observed systematic differences between participants reported health-promoting behaviours but this may simply be attributable to the differences between the physical and socio-economic environments of the four institutions to which they belonged. So the team would not want to draw firm conclusions, especially in relation to individual students behaviours. Nevertheless, it would be worth exploring the differences between the two groups further, and the team intends do so. On conclusion, if nursing and biomedical science students report somewhat healthier lifestyles than music performance students because of their training, then conservatoires have much to learn, and the team would wholeheartedly support Chesky, Dawson and Manchesters recommendation that schools of music and conservatoires should adopt health promotion frameworks within which occupational health courses for students and staff are offered.
Healthy behaviours in music performance and non-music performance students >> Dr Jane Ginsborg
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However, given that the systematic training of musicians starts so early, it would not be surprising if students had already formed unhealthy practices by the time they reach conservatoire level and therefore report higher incidences of pain and physical discomfort and fewer health promoting behaviours. So there is also a need to inform and educate pre-conservatoire musicians not just to help them develop good habits physically and psychologically as individuals, but to ensure they can fulfil their potential as performers. There is also a moral imperative to encourage healthier lifestyles: conservatoires are not just there to coach students but have pastoral responsibilities towards them as well.
As students go on to teach the next generation, they could improve the health of the profession as a whole.
Key points from conference discussion
>> there is no evidence that musicians are more hypochondriac than other career population groups >> pain, whether it has a psychological or somatic basis, needs treating >> delegates reported similar high levels of health referrals in their own institutions >> within the school context, timetable pressures may mean students miss physical education lessons, and whilst some sports may not be recommended, general recreational exercise is important, but something in which many students do not engage enough
Useful reading
Chaffin, R. & Lemieux, A.F. (2004). General perspectives on achieving musical excellence, in A. Williamon (ed.), Musical Excellence: Strategies and Techniques to Enhance Performance. Oxford: Oxford University Press, pp19-39. Chesky, K.S., Dawson, M.D. & Manchester, R. (2006). Health promotion in schools of music: initial recommendations for schools of music, Medical Problems of Performing Artists, September, 142-144. Ginsborg, J., Kreutz, G., Thomas, M. & Williamon, A. (2009). Healthy behaviours in music performance and non-music performance students, Health Education, 109, 242-258. Kreutz, G., Ginsborg, J. & Williamon, A. (2008a). Music students health problems and health-promoting behaviours, Medical Problems of Performing Artists, March, 3-11. Kreutz, G., Ginsborg, J. & Williamon, A. (2008b). Health-promoting behaviours in conservatoire students, Psychology of Music, 37, 47-60. Williamon, A. & Thompson, S. (2006). Awareness and incidence of health problems among conservatoire students, Psychology of Music, 34, 411-430. Wynn Parry, C.B. (2004). Managing the physical demands of musical performance, in A. Williamon (ed.), Musical Excellence: Strategies and Techniques to Enhance Performance. Oxford: Oxford University Press, pp 41-60.
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Psychological aspects of musical performance and their implications for the education and training of musicians Dr Ioulia Papageorgi - Lecturer, Institute of Education, University of London
Dr Papageorgi began her presentation by talking about the role of biological and environmental factors in the development of musical potential. She then talked about findings from her PhD thesis titled Understanding Performance Anxiety in the Adolescent Musician and the research project Investigating Musical Performance: Comparative Studies in Advanced Musical Learning.
Environmental factors are also key in the development of musical skills, and biographies of great musicians (e.g. Louis Armstrong) evidence the following:
>> frequent exposure to musical stimuli >> opportunities to develop performance presentation skills >> early opportunities to experience intense positive emotional response to music >> opportunities to devote large numbers of hours to practice >> external motivational factors (e.g. key adult parent/teacher) (Sloboda et al., 1996)
There are many theories about the development of expertise and those by Bloom (1985), Sosniak (1985, 1990), Manturzewska (1990), Ericsson & Smith (1991) suggest that:
>> expertise encompasses a process of development that normally spans many years >> formal instruction, practice and parental support are very important >> the longer a person engages in musical activities, the more expert they are likely to become (assuming that they pass through each of the delineated stages successfully)
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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STAGE 1
Introduction to domain & playful interaction
STAGE 5
Development of interest in others, teaching phase
STAGE 2
SKILL ACQUISITION
STAGE 4
High performance levels and establishment
STAGE 3
Commitment to music profession made
Psychological profile:
>> usually very devoted to music >> so committed to their craft that they fail to separate personal identity from performance abilities (Kemp, 1996) >> student musicians relate self-esteem with how well they perform and personal value with performance competence This results in prima donna behaviour or maladaptive behaviour.
Personality profile:
>> introverted: direct energy inwards, reserved character >> independent: autonomous, sovereign, independence of thought >> sensitive: imaginative, intuitive, empathetic >> anxious: suspicious, low self-sentiment, apprehensive, emotional instability These personality traits can make some musicians very vulnerable (e.g. David Helfgott) (Davidson, 2001).
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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Performance anxiety is the exaggerated and sometimes incapacitating fear of performing in public.
>> Wilson, 1997
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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Musical performance anxiety is the experience of persisting, distressful apprehension about and/or actual impairment of performance skills in a public context to a degree unwarranted given the individuals musical aptitude, training and level of preparation.
>> Salmon, 1990
Definitions tend to focus on extreme scenarios and negative effects, but this is not always necessarily the case.
Situation
Cognitive Appraisal
Emotional Response
Physiological Arousal
Behaviour
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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During performance, many experiences are affected and regulated by ANS activities:
>> heightened activation of the sympathetic division (SNS) results in high levels of arousal and consequently intense apprehension and anxiety >> strong activation of the parasympathetic division (PNS) (whose main function is to conserve energy) has the exact opposite effect, resulting in low arousal levels and poor physical activation (Salmon & Meyer, 1998, p 218; Kleinknecht, 1991, pp 11-13) The effects of maladaptive performance anxiety include physiological, behavioural and cognitive symptoms.
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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Dr Papageorgi then talked about findings from her PhD thesis titled Understanding Performance Anxiety in the Adolescent Musician. The following chart shows results for the attribution of performance failure from a study of 410 students aged 12-19 from the UK and Cyprus:
Attribution of performance failure Attribution of performance failure Attribution of performance failure 410 students, aged 12-19, in UK & Cyprus
410 students, aged 12-19, in UK & Cyprus
Maladaptive anxiety Inadequate preparation Maladaptive anxiety Lack of confidence Inadequate preparation Audience Lack of confidence Negative attitude Audience Situational conditions/circumstances beyond control Negative attitude Pressure Situational conditions/circumstances beyond control Limited performance experience Pressure Examiner Limited performance experience Examiner
52%
42% 52% 8% 42% 7.20% 8% 5.40% 7.20% 2.70% 5.40% 2.10% 2.70% 2.10% 2.10% 1.80% 2.10% 1.80%
(Papageorgi, 2007)
13
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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(Papageorgi, 2007)
A significant proportion of young musicians in the study (over 10%) experienced high levels of maladaptive A significant proportion of young musicians in the study (over 10%) experienced high levels of maladaptive performance anxiety, as shown below: performance anxiety
Whole sample Percent (N = 410) Highly anxious students Moderately anxious students Low anxious students Total 10.8 69.3 19.9 100.0 Cypriot students (N = 211) 15.0 70.0 15.0 100 British students (N = 199) 6.3 68.4 25.3 100 Male students (N = 172) 3.9 73.9 22.2 100 Female students (N = 236) 16.0 66.0 18.0 100 Younger students (12-15 years old, N = 210) 12.0 64.5 23.5 100 Older students (16-19 years old, N = 196) 9.8 74.1 16.1 100
Levels of maladaptive performance anxiety Wider context of learning and gender can influence The wider context of learning and gender can influence performance anxiety: Cypriot performance anxiety students and females were more anxious. Age, in itself, did not appear to be a key factor,
as there were no age differences between ages 12-19, but age interacted with nationality Cypriot students and females were more anxious i.e. Cypriots became less anxious as they became older; British students became more anxious as they became older.
Age, in itself, did not to a key factor There are manyappear factors predicting MPAbe in adolescent musicians.
No age differences between ages 12-19, but age interacted with Anxiety level may be influenced by: nationality
students self-perceptions , as became evidenced byolder; their perceived level became of Cypriots became>> less anxious as they British more anxiety, self-concept, self-efficacy and perfectionism anxious as they became older >> situational parameters such as the influence of audience presence, the degree of self-exposure and the influence of the venue >> the wider cultural context of learning, evidenced by nationality >> family environment, evidenced by parental attitudes towards the student
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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Adolescent musicians Adolescent strategies musicians for coping strategies with MPA for coping with MPA
The following chart shows the results of the study in respect of the adolescent musicians coping strategies:
410 students, aged 410 students, 12-19, UK aged & Cyprus 12-19, Strategies for coping with MPA
Adequate preparation Positive approach to performance Control breathing Release pressure of performance Watch nutrition Perform more regularly Positive self-talk Shut out audience Seek external support Mental imagery Reframing-changing perspective of looking at situation Adequate preparation Positive approach to performance Control breathing Release pressure of performance 10.40% Watch nutrition 7% 5.70% Perform more regularly
UK & Cyprus
30.60% 16.20% 15.30%
16.20% 15.30% 10.40% 7% 5.70% 5.50% 5.20% 4.60% 3.50% 3.50% 2.90% 0.60% 0.60% 0.30%
Positive self-talk Shut out audience Seek external support Mental imagery
Established methods-Alexander Technique, Meditation, Brain Gym, Established Yoga methods-Alexander Technique, Meditation, Brain Gym, Yoga 2.90% Medication-Beta-blockers, tablets Natural anti-stress remedies-Bach's Rescue Remedy Alcohol
0.60% 0.30%
Medication-Beta-blockers, tablets
(Papageorgi, 2007)
Dr Papageorgi then went on to highlight the research finding from Investigating Musical Performance: Comparative Studies in Advanced Musical Learning (an Economic and Social Research Council Teaching and Learning Research Programme [ESRC TLRP] funded project). The findings below show that levels of MPA tend to peak immediately prior to a solo/group performance, but reduce once it begins.
16
(Papageorgi, 200
Musical Genre
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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To achieve highest levels of performance, musicians need to be physically, emotionally and mentally fit.
Many musicians develop their love of music and passion for an instrument before considering how equipped they are for dealing with public performance. Other musicians grow up in an environment where they have many opportunities to display their skills in public at an early age. Regardless of environment, those who suffer detrimental effects usually carry on suffering until they take a step.
>> Classical musician: IMP project
A variety of coping strategies were mentioned by participants in the study, both emotion and problem focused.
Some variations were observed across the four musical genres studied:
>> western classical and Scottish traditional musicians more frequently referred to emotion focused strategies >> popular musicians spoke about problem focused strategies >> jazz musicians referred equally to both types of strategies
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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In terms of implications and suggestions arising from this research, the following are key considerations:
>> conservatoires have a responsibility to prepare musicians for the demands of performance and should challenge the conception that successful musicians do not experience performance anxiety >> MPA is a normal experience for musicians and becoming aware of its causes and manifestations can help musicians cope more effectively: what matters is how individuals learn to deal with it and how wellsupported they feel in this process by teachers, parents and peers
>> strategies for coping with the demands of performance should be person and performance specific: individuals performance anxiety thresholds will vary between different performance contexts >> techniques focusing on modifying peoples perceptions and facilitating a positive mindset can be particularly useful: e.g. cognitive behavioural therapy, neuro-linguistic programming >> musical performance anxiety should not always have negative connotations. It can help musicians perform better! >> performance expertise develops in a community of practice alongside peer support - we must encourage and foster the development of supportive learning communities
Useful reading
Hallam, S. (2006). Music Psychology in Education. London: Institute of Education. Kemp, A. E. (1996). The Musical Temperament: Psychology and Personality of Musicians. Oxford: Oxford University Press. Lehman, A. C. & Gruber, H. (2006). Music, in K. A. Ericsson, N. Charness, P. J. Feltovitch & R.R. Hoffman (eds.), The Cambridge Handbook of Expertise and Expert Performance. New York: Cambridge University Press, pp 457-470. Papageorgi, I. (2008). Investigating Musical Performance: performance anxiety across musical genres, TLRP: Teaching and Learning Research Briefing, 57. Papageorgi, I. et al. (in press). Investigating Musical Performance: perceptions and prediction of expertise in advanced musical learners, Psychology of Music. Papageorgi, I., Hallam, S. & Welch, G. (2007). A conceptual framework for understanding musical performance anxiety, Research Studies in Music Education, 28, 83-107. Papageorgi et al. (under review). An investigation into performance anxiety experiences of advanced musicians specialising in different musical genres. Robson, B., Davidson, J. & Snell, E. (1995). But Im not ready yet: overcoming audition anxiety in the young musician, Medical Problems of Performing Artists, 10, 32-37. Salmon, G. & Meyer, R. G. (1998). Notes from the Green Room: Coping with Stress and Anxiety in Musical Performance. San Francisco: Jossey-Bass Publishers. Steptoe, A. (2001). Negative emotions in music making: the problem of performance anxiety, in P. N. Juslin & J. A. Sloboda (eds.), Music and Emotion: Theory and Research. Oxford: Oxford University Press, pp 291-307. Welch, G. & Papageorgi, I. (2008). Investigating Musical Performance: how do musicians deepen and develop their learning about performance? TLRP: Teaching and Learning Research Briefing, 61. Williamon, A. (ed.) (2004). Musical Excellence: Strategies and Techniques to Enhance Performance. Oxford: Oxford University Press.
Psychological aspects of musical performance and their implications for the education and training of musicians >> Dr Ioulia Papageorgi
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Practical considerations on eating problems among dancers Helen Laws - Programme Manager, Healthier Dancer Programme, Dance UK and Dr Emma Redding - Head of Dance Science, Trinity Laban
Helen Laws and Dr Emma Reddings presentation covered the nature, causes and prevalence of eating problems among dancers and offered policy guidance. The causes of eating problems are multidimensional, including psychological, physiological and social/environmental/genetic factors, making the underlying reason for an individuals eating problem sometimes hard to pin down precisely. Sixteen percent (16%) of dancers have an eating problem (Laws, 2005) and eating problems have a higher incidence among dancers than the general population (Chatfield et al. 1998, Tseng et al. 2007). Disordered eating habits frequently result in an imbalance between energy intake and expenditure, affecting a dancers ability to cope with the demands of training and potentially leading to more serious problems such as early onset osteoporosis and injury. Problems can occur when a dancer significantly increases their training workload, or is uninformed about the calories or nutritional content in a new diet or when they consciously work with the imbalance, triggering a spiral of negative events. Eating disorders are clinically diagnosed, primarily psychological, conditions.
Physical warnings:
>> menstrual abnormalities / delayed menarche >> sudden change in weight / low body fat >> slow growth >> BMI below 17.5 or below 2nd centile (refusal to maintain a healthy weight) >> abdominal pains / constipation >> skin problems >> constant tiredness
Psychological warnings:
>> highly perfectionistic >> low self-esteem >> fear of weight gain >> denial of problem >> mood swings >> obsessed with food >> distorted body image
Behavioural warnings:
>> playing with food / binging (toilet visits) >> weighing often >> excessive exercise >> sleep disturbances and / or hyperactivity >> wearing baggy clothes >> secretive about eating >> changes in diet >> spending lots on food
Practical considerations on eating problems among dancers >> Helen Laws and Dr Emma Redding
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>> developing an ongoing relationship with parents is helpful >> ensuring young people know they need a healthy body (rather than being thin) to audition is important >> watching for warning signs of obsessive eating (e.g. only fruit) and talking early with students about concepts of body image and what a healthy body is really like, is key >> supporting discussion through an email group and developing a model policy, to be adapted to schools own circumstances and needs, would be a positive next step
Practical considerations on eating problems among dancers >> Helen Laws and Dr Emma Redding
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Useful reading
Piran, N. (2005). The role of dance teachers in the prevention of eating disorders, in R. Solomon, J. Solomon & S.C. Minton (eds.), Preventing Dance Injuries. Champaign, Illinois, USA: Human Kinetics. Dyke MBE, S. (ed.) (2001). Your Body Your Risk. London: Dance UK.
Additional references
Celio A. A., Bryson S., Killen J. D. & Taylor C.B. (2003). Are adolescents harmed when asked risky weight control behavior and attitude questions? Implications for consent procedures, International Journal of Eating Disorders, 34, 251-4. Chatfield, S.J. & Nelson, D.P. (1998). What do we really know from the literature about the prevalence of Anorexia Nervosa in female ballet dancers? Journal of Dance Medicine and Science, 2, 6-13. Laws, H. (2005). Fit to Dance 2 Report of the Second National Inquiry into Dancers Health and Injury in the UK. London: Dance UK. Tseng, MM-C., Fang, D., Lee, M-B., Chie, W-C., Liu, J-P. & Chen, W.J. (2007). Two phased survey of eating disorders in gifted dance and non-dance high-school students in Taiwan, Psych Med. 37, 1085-96.
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Policy framework and best practice in relation to eating disorders in dance schools and companies Susan Ringwood Chief Executive, beat
Susan Ringwoods paper is offered here as additional advocacy for developing policies on eating disorders that promote health and wellbeing for all. Eating disorders are a serious mental illness which can lead to long term consequences for physical health and mental wellbeing if undetected and untreated. Eating disorders can affect anyone at any age but girls and young women aged 12-25 are most at risk. Latest research is revealing how much of the condition is due to hard-wired predisposed factors such as genetics, brain chemistry and personality type. These factors interact with the social and cultural environments to make vulnerable individuals at particular risk. Known risks include environments where body shape and size are closely evaluated and thinness is prized; where there is a strong competitive ethos; and where perfectionism can flourish. Bullying, especially about weight and shape, is a particular risk factor as is dieting in any form.
The aim should be to promote health and wellbeing for all, and not just to seek to avoid eating disorders.
Dance schools and companies are encouraged to consider adopting policies and best practice that can minimise these known risks for young people in their establishments. Eating disorders are such a cruel condition. They start very slowly and mimic much of regular adolescent behaviour. They thrive on secrecy and very rarely resolve spontaneously without specialist help, once established. They are also cruel in their effect on the individual who is unlikely to experience the eating disorder as an illness, but rather as a successful solution to living their life. What seems like the answer can in truth lead to long term, irreversible bodily damage and premature death in too many cases. Policies which embrace the whole organisation, rather than seek to address only people with eating disorders, will be most effective and easiest to implement. They will have the additional benefit of reducing the sense of stigma and shame a person with an eating disorder may feel as a result of their illness.
Policy framework and best practice in relation to eating disorders in dance schools and companies >> Susan Ringwood
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Specific points:
Health and wellbeing >> dancers should be registered with a general practitioner >> significant weight loss or fluctuating weight should be noted and should trigger a health concern >> loss of form or physique should be noted and acted upon. Frequent injury or repeated minor illness could be signs of a risk factor >> admissions policies should include provision to enquire about eating disorder related risks such as prior treatment for the condition >> clear and consistently applied guidance about the circumstances that would lead to a dancer being considered too ill to work recognising the balance to be found between providing the motivation to get well and compromising frail health >> organisations should establish liaison and contact with appropriate health professionals knowing how and when to access therapeutic support and other specialist interventions Pastoral matters >> ensure staff have access to information and guidance to enable them to support individuals at risk appropriately >> nurture an environment in which students are encouraged to share worries, concerns, and seek help Organisational features >> ensure working practices that encourage regular, healthy eating and discourage all but medically supervised diets >> provide privacy in matters relating to an individuals weight and shape >> reduce unnecessary competitiveness and perfectionism >> adopt robust anti-bullying policies >> provide students with relevant information and the means to access confidential support if needed Emotional environment >> encourage staff to be aware of the dangers of making body related criticism >> adopt self-esteem building practices that focus on reward, not punishment >> provide opportunities to develop emotional resilience >> show respect for differences and create an ethos where shame and blame have no part >> celebrate achievements across a range of domains not just for physical attributes
Sources of information:
>> Beat (www.b-eat.co.uk) Helpline 0845 634 1414 >> National Institute of Health and Clinical Excellence (www.nice.org.uk)
Other reading:
>> Points to consider when establishing policies to cope with eating disorders in dance schools and companies (www.danceuk.org)
Policy framework and best practice in relation to eating disorders in dance schools and companies >> Susan Ringwood
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Photo: Asya Verbinsky Practical considerations on eating problems among dancers >> Helen Laws and Dr Emma Redding
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Dancing in the moment: dancers flow experiences Elsa Bradley - Independent dance scientist and educator
Elsa Bradleys presentation focused on optimal experiences flow experiences and the differences between recreational, vocational and professional dancers perceptions of flow whilst dancing. She considered what flow is and its relevance to dance practice and young people. Flow is a term coined by Csikszentmihalyi as:
a subjective, mental state contributing to optimal experience, which is characterised by complete absorption in an activity, at a given moment in time.
>> Csikszentmihalyi, 1990
Applying this definition to dance practice, theoretical crossovers between flow and notions of presence emerge. Giannachi and colleagues (2008) suggest that: presence rests on notions of self-awareness, authenticity and authority in performance whilst Zarrilli (2007) defines presence as: controlled attentiveness and concentration, to achieve the embodiment of a particular task. When dancers audition for the CAT scheme we are looking for presence, and flow theory is an appropriate conduit through which to examine the quantitative and qualitative aspects of dance experience. If we know more, we can support flow experiences more. In one scene in the film Billy Elliot, Billy describes his sense of flow:
I dunno it sort of feels good, sort of stiff and that, but once I get going, then, I like forget everything, and I sort of disappear. I can feel a change in my whole body. Like theres a fire in my body. Im just there, flying. Like a bird. Like electricity. Yeah, electricity.
>> Billy Elliot, 2003. dir. Stephen Daldry
While this is a popular culture definition of flow it is also useful to look at flow from a scientific perspective and consider what we know about it.
Qualitative research in the workplace, leisure activities, sport, theatre and music suggest that there are nine dimensions that match the construct of flow:
>> skill-challenge balance >> action-awareness merge >> clear goals >> unambiguous >> feedback >> concentration >> control >> loss of self-consciousness >> transformation of time >> autotelic experience
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These terms are self-explanatory except for autotelic experience: this is when we do something for its own sake and the intrinsic enjoyment we get from that activity. If we enjoy what we are doing, the more likelihood that flow can occur. Autotelic experience is the most commonly cited dimension of flow across both qualitative and quantitative studies. Susan Jackson (1995) calls it the most salient dimension of flow and research by Martin and Cutler (2002) with theatre actors showed that tasks were seen to be more enjoyable when in flow. This fundamental sense of enjoyment is borne out by a study by Hefferon and Ollis (2006), from which the following are quotations from dancers:
I dance for myself first and then the audience second. You do this because you love it. It was enjoyable. Most of the performances we did were enjoyable we enjoyed ourselves.
>> Hefferon, K. M. & Ollis, S. (2006). Just clicks: an interpretive, phenomenological analysis of professional dancers experience of flow, Research in Dance Education, 7, 141-159.
My own study is consistent with this research. I undertook quantitative and qualitative data collection methods in order to capture the complexity of experience. Quantitative data revealed that autotelic experience was the most frequently experienced dimension of flow across recreational, vocational and professional dancers.
I fundamentally love it. I feel enjoyment most often, most of the time, which is so nurturing. It feels like I can come back into my body and enjoy that process.
>> Recreational dancer
It was a very stressful time for me the need to succeed, pass, do well, all that stuff affected my enjoyment at that time. I was having more fun away from [college].
>> Vocational dancer >> Bradley, E., Quested, E. & Wyon, M. Dancing in the moment: flow experiences of recreational, vocational and professional dancers. Submitted for presentation at IADMS conference, The Hague, The Netherlands, October 2009.
In looking at the differences between these dimensions and levels of participation, statistical analysis revealed that the vocational dancers reported significantly less frequency of autotelic experience than recreational dancers. Why might this be? Possible reasons are the developing intensification of training which makes dancers of this level of participation more susceptible to burnout and injury. Institutional training can also externalise the learning process and intrinsic motivation is replaced by extrinsic motivation; autonomy can become compromised and competence challenged. So how does all this apply to our work with our students, the maximum likelihood of flow, and ensuring the continued enjoyment of our students? What are the controllable factors which might facilitate flow? What are its antecedents? Overleaf is the Kimiecik and Stein interactional model of personal and situational antecedents which affect the occurrence of flow.
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Ive thought about every possible thing that can happen there are no ifs, or buts, or whats. The fact that Ive done everything possible reassures my conscious mind then I just switch off and let it happen.
>> Jackson, S. A. (1995). Factors influencing the occurrence of flow state in elite athletes, Journal of Applied Sport Psychology, 7, 138-166.
antecedents
Personal factors involved are first, confidence - the belief that one has to succeed. Age and experience may be wrapped up in this. Athletes perceive these to facilitate flow as shown in studies by Jackson (2005) and Russell (2001). Second, mental and physical preparation:
Lastly, there is motivational orientation. Kowal and Fortier (1999) found that if swimmers were intrinsically motivated there was a positive incidence of flow. A study by Jackson and Roberts (1992) showed that task-involved goal orientations positively correlated to the flow state and Lacaille and colleagues (2005) found task-based goals with a focus on enjoyment supported flow. It appears that intrinsic, process-led approaches to learning lead to flow occurring, where autotelic experience can readily occur. So we might want to nurture these approaches in our own students to ensure their autotelic experiences. Situational factors are performance conditions and positive interaction with others. As dance leaders, educators and managers, we may have more control over the situational factors affecting flow.
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Positive interaction is commonly cited across the studies as vital in achieving flow. In my own study a particular emphasis on non-judgement and trust of dance leaders and peers appears to help flow to occur.
...feeling comfortable, unjudged its about knowing the people you are dancing with... There was so much trust there I trusted the process so much. Wed all danced together and knew each other and we could comfortably get to that place.
So armed with this evidence and knowledge, what steps might we be able to put in place to support the occurrence of flow? Intrinsic motivation is at the heart of all this, as in relation to the dancer themselves and the kind of environment we create for them. Sportbased research suggests process-oriented goals enhance flow, so we could encourage our dancers to adopt these both short and long term. To support autotelic experience, enjoyment must be fostered and the role of the teacher is to nurture, within a motivational learning environment. For example, students at the DanceEast Academy identify personal goals by completing a simple performance profile. These goals form part of their individual training plans, where the students and teachers goals sit alongside and sometimes overlap. Ownership of goals is key to an intrinsic motivational approach to learning.
A user friendly method of addressing the motivational climate in class time might be to draw on Epsteins TARGET principle in order to foster intrinsic motivation and trust between all involved:
>> Task: design of class activities for variety, individual challenge and active involvement, focusing on learning through fun and task-involvement, rather than competition >> Authority: involving dancers in the decision making process, offering leadership roles >> Recognition: recognising individual development rather than rewarding talent >> Grouping: encouraging co-operation by working together, having small groupings and multiple ways of organising those groups >> Evaluation: using criteria for development using self-set goals, involving students in process of evaluation >> Time: providing opportunities and time for improvement, time management, flexibility in reaching goals (various pathways)
Sport research shows that flow can lead to peak performance: we now need to research if this can happen in dance.
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Useful reading
Csikszentmihalyi, M. (1990). Flow: The Psychology of Optimal Experience. New York: HarperCollins. Epstein, J. (1989). Family structures and student motivation: a developmental perspective, in C. Ames & R. Ames (eds.), Research on Motivation in Education. San Diego: Academic Press, pp 259-295. Giannachi, G., Kaye, N., Shanks, M. & Slater, M. (2008). Performing presence: from the live to the simulated. Retrieved January 5, 2009 from University of Exeter website: http://spa.exeter.ac.uk/drama/research/intermedia/conference_announce.shtml Hefferon, K. M. & Ollis, S. (2006). Just clicks: an interpretive phenomenological analysis of professional dancers experience of flow, Research in Dance Education, 7, 141-159. Jackson, S. A. (1995). Factors influencing the occurrence of flow state in elite athletes, Journal of Applied Sport Psychology, 7, 138-166. Jackson, S. A. & Csikszentmihalyi, M. (1999). Flow in Sports: The Keys to Optimal Experience and Performances. Champaign, Illinois, USA: Human Kinetics. Jackson, S. A. & Roberts, G. C. (1992). Positive performance states of athletes: toward a conceptual understanding of peak performance, The Sport Psychologist, 6, 156-171. Kimiecik, J. C. & Stein, G. L. (1992). Examining flow experiences in sport contexts: conceptual issues and methodological concerns, Journal of Applied Sport Psychology, 4, 144-160. Kowal, J. & Fortier, M. S. (1999). Motivational determinants of flow: contributions from self-determination theory, Journal of Social Psychology, 139, 355-368. Lacaille, N., Whipple, N. & Koestner, R. (2005). Re-evaluating the benefits of performance goals: the relation of goal type to optimal performance for musicians and athletes, Medical Problems of Performing Artists, 20, 11-16. Martin, J. J. & Cutler, K. (2002). An exploratory study of flow and motivation in theatre actors, Journal of Applied Sport Psychology, 14, 344-352. Russell, W. D. (2001). An examination of flow state occurrence in college athletes, Journal of Sport Behaviour, 24, 83-107. Zarrilli, P. B. (2007). Senses and silence in actor training and performance, in S. Banes & A. Lepecki (eds.), The Senses in Performance. London: Routledge, pp 47-70.
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Good proprioception awareness can reduce risk of injury and is particularly helpful for young people going through a growth spurt.
Vestibular apparatus
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Muscle spindle
An example of a proprioceptor is the muscle spindle (see diagram below) which senses muscle length and changes in muscle length and sends that information to the brain. There is a density of proprioceptors in the deep neck muscles, jaw muscles and small foot muscles. These proprioceptors are also responsible for muscle tone, so if they go wrong, they provide unhelpful muscle tone.
At junction between muscle and tendon Tendon tension Golgi tendon organ
Another proprioceptor is the Golgi tendon organ (see above) at the junction between the muscle and tendon, which responds to tendon tension and gives feedback e.g. if the muscle is being used hard. Pacinian corpuscles are found everywhere, including in the joints, and respond to pressure changes and vibration. Musicians injury problems such as RSI (repetitive strain injury) can be due to either repetition or vibration. In these cases, the proprioceptors are over stimulated and give a distorted sense of proprioception, especially in the small joints and muscles. The following two diagrams show how proprioception works, with the response to the environment travelling through the central nervous system to the brain to in turn inform a motor response in the muscles.
Environment (skin,joint,muscle,tendon)
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Proprioception is important to the musician in terms of posture and position (i.e. always returning to the correct posture without having to do so consciously or inhibiting musical expression) and injury prevention (for example hand dystonia). For the dancer, proprioception is part of aesthetics, feeling the movement (and sense of flow) and being able to achieve greater speed, accuracy, quality and expression and again, avoid injury. Injuries themselves can have long term effects (e.g. ankle sprains) and proprioception is affected by injury, so specific rehabilitation is needed. It is important teachers are aware of all this and can recognise where things can go wrong, and can also support students in ensuring their bodies can respond automatically to conditions, to maintain flow. Under the age of 11, proprioception is not developed. It increases with age and fluctuates with growth. Training can provide some specific improvements. Those with hypermobility a large range of joint movement have decreased proprioceptive acruity, but are often attracted to dance, so proprioceptive and stability training is key.
Poor posture and changes in environment (e.g. chair, shoes, stage and lighting) can all affect proprioception, with these possible consequences:
>> poor co-ordination >> increased cognitive effort >> inefficient motor patterns >> wasted energy/fatigue >> poor performance >> injury/re-injury >> chronic pain Training is first based on an awareness of proprioception. It is important to recognise that the use of mirrors in dance class can produce an over reliance on vision, when it is important for the student to experience and feel movement as well as see it. This will enable the body to retain the movement and bring it back again. With musicians, this can relate to knowing baseline posture. Musicians often do not engage in sufficient warm-up, which would be beneficial for proprioception. Proprioception can be tested, and a baseline established, through specific tests. For instance, Rombergs test involves standing with feet together (touching) and closing the eyes and establishing balance, and then doing the same but with a single leg stand. There is also the Finger-Nose test, undertaken in pairs. The first person closes their eyes and the second gently touches one of the first persons fingers and then asks them to touch their nose with that finger. The test can be repeated with a finger on the other hand. The Space test is another pair exercise. The first person closes their eyes and the second person places one of their hands or feet in position in space. The first person then has to imitate that position with the opposite limb or find the hand or foot with the opposite limb. Other single person tests include Hands Up, where both hands are raised above head. Keeping the left hand as still as possible, the person quickly touches the tip of their nose with the index finger of the right hand. They then use this index finger to touch the tip of the thumb on left hand, then back to the nose, then to the index finger on the left hand and on until each finger has been touched (and the nose in between). This is then repeated with the other hand. The Walking test involves picking a spot in front of you; closing your eyes; walking to it; and seeing how close you get. Repeating these tests improves proprioception, as does general exercise and using full joint range of movements.
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To summarise:
>> proprioception is constant and essential >> improving proprioception can decrease injury risk and improve performance >> loss of proprioception is associated with age; growth spurts; a change in environment; and fatigue or illness >> both music and dance are art forms that rely on the physical body so maintaining and training proprioception is key
Useful reading
Proprioception, IADMS Resource Paper. www.iadms.org Lephart, S. M. & Fu, F.H. (eds.) (2001). Proprioception and Neuromuscular Control in Joint Stability. Champaign, Illinois, USA: Human Kinetics.
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Principles and Practices: promoting health and wellbeing in talented young dancers and musicians
Our Principles are to:
>> promote good health and wellbeing for performance enhancement >> focus from the earliest opportunity on the individual student as a whole person to support their informed, health aware choices and practices >> invest time, resources and expertise, in collaboration where possible, for the valued return of ensuring longevity in creative professional practice
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ANNEXES
I Foundations for Excellence conference: summary of delegates evaluations
Seventeen delegates completed and returned their evaluation forms on the day of the conference and nine returned them later. This total of 26 responses represents 31% of the total 85 conference attendees. All delegates who commented on the organisation and content of the conference were very appreciative of how well it was managed, the stimulation and inspiration the content provoked and the setting in which it was held. One delegate commented that some sessions repeated others to some extent; another noted that they learnt more from the sessions on the other art form than from those on their own art form, where they found no surprises. Many said they benefited from the networking opportunity the conference provided; two delegates wished for time for small group discussion and one recommended that a more practical approach to some of the areas (considering the success of the session on proprioception) would have helped sustain higher levels of engagement. Overall, there was a strong sense that it was extremely useful to meet together as dance and music colleagues.
>> ensuring health, wellbeing and injury prevention have a place in the curriculum >> investing in awareness raising of health issues and injury prevention strategies >> the dissemination of information to, and training support for, all relevant colleagues >> keeping up-to-date with research
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Annexes
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FIRST NAME
Stefan Hayley Becky Faruk Kate John Jonathan Elsa George Elizabeth Jacqui Nicolas Sarah Martin Jonah Peter Gillian Penny Jo Vic Timothy Maggie Sanchita Lucy Polly Marion Jane Vanessa Kate John Francesca Lucy Peter Sophie Karen Charlotte Louise Carole Veronica Melanie Patricia Robin
ORGANISATION
Tring Park School for the Performing Arts Northern School of Contemporary Dance Yorkshire Young Dancers Dance4 Youth Music Dance South West The Sage Gateshead Independent dance scientist Birmingham Conservatoire Wells Cathedral School The Sage Gateshead Yehudi Menuhin School Dance South West Laban Youth Dance Academy (Performer) The Purcell School Dance in Devon Trinity College of Music Wiltshire Music Centre Bristol City Council Birmingham Conservatoire The Hammond School BAPAM CAT, The Place Wells Cathedral School (Performer) Trinity College of Music Royal Northern College of Music CAT, The Place National Youth Orchestra Sheffield Music Academy Centre for Young Musicians Dance East Academy Royal College of Music South West Music School Junior Royal Northern College of Music Brannel School Momentum CAT at DanceXchange Wells Cathedral School Laban Sheffield Music Academy Royal Welsh College of Music and Drama MDS, DCSF
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KIRKPATRICK LAMBERT LAWS LONGSTAFF LORD McCLUSKY McCORMACK MEARS NANCEKIEVILL NORDIN OBRADOVIC ONCIL PAPAGEORGI PARR PEAVOT PEDRICK PESTELL PHANG POOLE REDDING REDMAN REYNOLDS RIST SARGENT SCHWARZ SINGER SLAYFORD SMIKLE STIRLING SUBRAMANYAM SUTHERS SWAINGER THRELFALL TREGALE TREGO VIRR WALKER WEITZEL WHITE WHITE WILLIAMON WILLIAMS WILLSHIRE WITNEY
Hannah Rachel Helen Edward Alison Marie Moira Alison Dorothy Sanna Jayne Filiz Ioulia Ken Annelli Kim Louisa Lee Jae Jonathan Emma Drusilla Christine Rachel Gill Mary Malcolm Viv Lee Penny Anusha Kate Sophie Stephen Lisa Karen Colin Imogen Samantha George Toby Aaron John Havilland Tracy
Yorkshire Young Dancers The Sage Gateshead Weekend School Dance UK The Purcell School Dance4 Swindon Dance The Royal Ballet Guildhall School of Music & Drama Wells Cathedral School Laban Wells Cathedral School Wells Cathedral School University of London Devon Music Service Elmhurst School for Dance Tring Park School for the Performing Arts Laban Wells Cathedral School (Performer) The Lowry Laban Guildhall School of Music & Drama Tring Park School for the Performing Arts Tring Park School for the Performing Arts BIMM (Bristol Institute of Modern Music) Yehudi Menuhin School Youth Dance Academy Laban Yorkshire Young Musicians Momentum CAT at DanceXchange Wells Cathedral School (Performer) South West Music School Chethams School of Music South West Music School Wells Cathedral School Aldeburgh Young Musicians Laban Music for Youth Wells Cathedral School (Performer) Wells Cathedral School (Performer) Royal College of Music Wells Cathedral School Royal Scottish Academy of Music and Drama Northern School of Contemporary Dance Yorkshire Young Dancers
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Annexes