Posts Tagged ‘CPD’

Listen to the experts on World Mental Health Day 2018

Wednesday, October 10th, 2018

At BAPAM we work with mental health specialists who have the knowledge and experience to help performing arts clients.

On 17th November, Clinical Psychologist Dr Anna Colton will be speaking at our training day about the Performance Environment, covering anxiety, how it affects performance, and how she works with adults and children in West End shows. You can listen to Anna discussing the challenges that arise for workers in this industry, her background and her wider work as a psychologist in our interview below, and you can book tickets for our Performance Environment Training Day here.

 

BAPAM Training Day – Brass and Hearing

Wednesday, August 17th, 2016

Our next Performing Arts Medicine Training Day focuses on Hearing and Brass instruments.

Saturday 19 November
9.15am – 4.30pm

National Council For Voluntary Organisations
8 All Saints Street
London, N1 9RL

We’re looking forward to learning from uniquely experienced healthcare practitioners and arts professionals. This is a great chance to share expertise with peers, make connections and grow our performing arts medicine network. BAPAM Performing Arts Medicine Training Days are ideal for people working in healthcare, and all those engaged in wellbeing in the creative arts, who want to develop their skills in this fascinating specialism.

Full price tickets are £120 with discounts available for BAPAM Registered Practitioners, BAPAM Clinicians and Performing Arts Medicine MSc students.

If you prefer not to book online, please call us on 020 7404 5888.

The provisional schedule for this event is below. Timings and titles will be confirmed shortly.

9.15 – 9.45  Registration and Coffee

9.45 – 12.45 Morning session (includes coffee break):

The effect of air pressure in brass players: Dr Alan Watson, Anatomist & Neuroscientist, Cardiff University

Demonstration of brass playing and ergonomic adaptations: Dr Jonathan White, GP & BAPAM Clinician, Birmingham; Owen Wallage, Tuba player & member RAF music services

Tinnitus: Nic Wray, Communications Manager, British Tinnitus Association

Lunch 12.45 – 1.30

1.30 – 4.30 Afternoon session (includes tea break):

Age-related hearing loss: Dr Frances Williams, Consultant Rheumatologist, Musicians and Performing Artists Clinic Leader, St Thomas’ Hospital London & Researcher in Age-related hearing loss, King’s College London.

Data protection: what every practitioner should know: Paul Ticher, Data Protection consultant

Research presentations: Naomi Norton (RNCM PhD recipient): The role of music teachers in health promotion

MSc prizewinners – tbc

Lunch is included in the ticket price.

Event Report: BVA Rock & Pop Day, September 2015

Wednesday, September 30th, 2015

BAPAM Clinician, Dr Shareen Chua, reports from the British Voice Association (BVA) Interactive Rock & Pop Day, London, 13th September 2015. 

A quiet Sunday morning on Chiswick High Street – one man on his morning run, a dog with a tennis ball in its mouth and a woman driving an empty double decker bus. Through the entrance of a pub, empty tables, a smiling bartender, but beyond its courtyard, a large chattering crowd was audible. Vocal coaches, singers, songwriters, voice specialist Speech and Language Therapists, instrumentalists, voice rehabilitation specialists, voice researchers, performance coaches and consultant laryngologists, amongst all present at this event organised by the BVA. Also in attendance from BAPAM were Dr Frances Carter, Dr Miranda Godfrey & I.

At the start of the programme, Canadian singer songwriter, Selena Evangeline  took to stage to demonstrate the range and variety of vocal effects available to a solo live performer, in her case using vocal audio equipment by TC-Helicon.

Kim Chandler (vocal coach & lecturer) got our vocal cords going by getting us to attempt various vocal onsets, characterising them and offering suggestions on alternative ways of achieving particular sounds and reducing glottal stops.

Hearing loss associated with onstage noise was thereafter explored by John Rubin (Consultant ENT Surgeon, Royal National Throat, Nose and Ear Hospital). He spoke about various sound levels encountered within the music industry, covering a variety of sound monitors and hearing protection.

Two singers were subsequently brought on stage. In a live setting, Dane Chalfin, current President of the BVA, used song interpretation and emotion to offer them solutions that improved their technique and performance.

Tom Harris (Consultant Otolaryngologist) & Sara Harris (Speech and Language Therapist), no strangers to the realms of vocal health, engaged the audience in their talk about vocal nodules, with Sara Harris sharing several strategies and exercises that might be helpful in such an instance.

Applying the Primal Sound Model to an instantly familiar Pharrell Williams number, Craig Lees got everyone on our feet creating various vocal sounds, forming a Pop Choral group thus concluding the day’s programme – on a high note!

Although the BVA holds their Interactive Rock & Pop Day every two years, their Voice Clinics Forum will take place on Friday, 23 October 2015 at St Thomas’ Hospital, London SE1. The October event will cover topics such as the role of Voice Clinics in the NHS, training in laryngology for ENT surgeons, training for singing teachers involved with Voice Clinics and a discussion of ongoing research & audit papers on the aspect of voice or voice care in the UK.

BAPAM and the BVA are actively exploring opportunities to collaborate on future projects. Suggestions are welcome!

Foundations for Excellence Conference 2015

Thursday, September 17th, 2015

Meeting the Challenges of Excellence in Music and Dance

Mon 2 Nov, 10.00h-19.30h

Trinity Laban Conservatoire of Music and Dance

£75 including lunch / Limited student offer £30

Foundations for Excellence nurtures and supports talented young dancers, singers and musicians by sharing research, resources and best practice. Their next biennial conference aims to challenge existing pedagogical practices and propose innovative methods of nurturing excellence among young dancers and musicians.

Presentations, provocations, lectures and breakout sessions on Models of Teaching in Music and Dance, Formalising the Informal, Stress and Anxiety, and Self-Awareness are to be followed in the evening by dance and music performances and a reception.

Professor Roger Kneebone will make the Keynote address (attendees at BAPAM’s October 2014 Training Day will remember his fascinating presentation on simulation and education). Other speakers include Dr Terry Clark, Dario Cortese, Antony Dowson, Prof Jane Ginsborg, Dr Naomi Lefebvre Sell, Naomi Norton (BAPAM Student Advocate Scheme Manager), Dr Emma Redding, DJ Renegade, Penny Stirling, Paul Wilson and Dr Charlotte Woodcock.

Spaces are limited and advance booking is essential. The booking deadline is Fri 23 Oct 2015. For more information including programme details and contacts, click here.

BOOKING NOW OPEN via the Trinity Laban eshop

 

August 2015 Newsletter

Thursday, August 6th, 2015

Our August 2015 Newsletter focuses on our education and training work.

Did you know our Trainer Network delivers workshops in health, injury prevention and performance enhancement throughout the performing arts community?

Are you a healthcare practitioner or doctor interested in training and professional development with a focus on helping performing arts professionals overcome health problems affecting their ability to work and perform?

Find out more in our current Newsletter:

British Association for Performing Arts Medicine Newsletter August 2015

To receive our Newsletters by email please sign up to our mailing list by entering your email address here and clicking send:

Event Report: ASPAH 2014 Symposium

Friday, March 6th, 2015

Tommi Sliiden, osteopath and a graduate of UCL’s MSc in Performing Arts Medicine, attended the November 2014 Symposium of the Australian Society for Performing Arts Healthcare, to present research into breathing in musical theatre performers. We were pleased to help facilitate this through a BAPAM Research and Education Bursary.

Tommi’s report follows: 

ASPAH 2014 Symposium

Tommi Sliiden M.Sc PAM, B.Ost

The theme of this years ASPAH symposium was The complete performer: Turning evidence into practice, with the focus on research and knowledge that could immediately be integrated and translated into clinical, studio or organisational practice. Participants and speakers included performers, teachers, practitioners and researchers from Australia, Malaysia, Canada, and UK.

Opening

Dr Cliffton Chan and Dr Paul Duff welcomed all participants and officially thanked the indigenous Australians for allowing the borrowing of their land, upon which the University had been built. They were further delighted with the range of this years speakers and the increasing development of research into and practice of Performing Arts Medicine specifically – rather than just “adapted sports medicine”.

Keynote speech

The Central Nervous System as a limiting factor to performance and recovery from injury, by Victor Popov, one of Australia’s leading Sports Physiotherapists with a long experience of and interest in Performing Arts medicine. He pointed out the importance of considering the complex and non-linear role of the CNS in order to achieve successful training or treatments, rather than just focusing on mechanical repair and symptomatic relief.

The performance is an expression of skill that is in turn a highly refined motor pattern.  If proprioception is dysfunctional, the execution will be dysfunctional. Poorly co-ordinated contraction and muscle tone pattern easily leads to overuse injury. It is therefore important to appropriately engage CNS in training and treatment – sometimes musculoskeletal injury is related to CNS ‘overload’. By modulating the input to CNS, the output will be changed.

Presentation, 20 min

The Vocal athlete: An introduction to the Estill Method, by Gerald Marko, an Austrian born, Melbourne based singer, musician, lecturer, researcher and Certified Master Teacher of the Estill Method and Course Instructor with testing privileges (the highest of their teaching qualifications). His interest in Estill voice training grew early in his singing career, while performing in musicals in Europe, often expected to sing in a vast range of styles, and through his frustration of his own limited level of knowledge but more so, the lack of helpful coaching and teaching. Coaching rarely included clear, objective instructions with reference to various anatomical structures and muscular activity but often focused on achieving subjective feelings and sensations through, many times vague or nonsensical instructions and imagery that was difficult to interpret, such as the advice he once had been given: “Think yellow!”.

The Estill Method uses research based knowledge of anatomy and vocal physiology and focuses on the ability to safely produce various types of sounds and voice qualities by learning to control the specific structures in the vocal mechanism. It includes a series of exercises specifically designed to individually move any of the thirteen identified involved structures, is used to enable reproduction of any of the six arbitrary voice qualities (speech, falsetto, sob, twang, belting, opera) and variations of them.

Care is taken to develop kinaesthetic feedback and to recognise, locate and control the level of effort to enable safe work.

Though the so called “power, source, filter model” for voice production is used (airflow creating power; vibrating vocal folds as the source of sound waves; vocal tract (area from vocal folds to lips) as filter for further shaping and colouring of the tiny sound produced by vocal folds), more focus is put on the control of vocal folds and vocal tract and their interaction, with less focus on breathing.

The Estill Method puts more emphasis on the craft of control of vocal mechanism, rather than “artistry and performance magic”, and makes no subjective judgments such what voice is “pretty” etc. The method is used to help to reproduce any required sound safely and thus useful for any style of music, and can be useful for both singing and voice therapy.

This short presentation acted as an introduction to the afternoon workshop.

Free papers, 10 min each

(I chose to attend the first four)

The relationship between dancer perceptions of dance floor properties, dance floor force reduction and in situ vertical deformation, by Dr Luke Hopper at the Western Australian Academy of Performing Arts, a Sports scientist specialising in clinical biomechanics including 3D motion capture. This study included comparisons of 15 dancers’ perception of how “sprung” four different floor samples were, compared to the vertical deformation carefully measured by specialised cameras. Their study showed that the dancers, as a group, demonstrated the ability to differentiate small variations in floor mechanical properties (0.5-1.5 mm), something that could be used as an assessment method of dance floors, rather than expensive testing equipment. However; an individual dancer’s perception would on its own not provide a statistically relevant accurate representation.

Comments from the dancers also included that some floors could be perceived as “too soft” and working on a harder floor could be seen, by them, as “safer”, as they would know what to expect, and could better rely on their own skilled dance technique to adapt.

Feeling the sound: Finger proprioception in violin pedagogy, by Dr Marina Robinson, a violinist and lecturer in violin at the Sydney Conservatorium of Music, with added personal experience within this field from having to rehabilitate and retrain following an earlier, serious injury. Her ongoing studies in this field investigate how proprioceptive training and cross-disciplinary learning can enhance violin pedagogy. Testing 24 elite violinists’ proprioceptive acuity showed that there were no overall differences between either hand for their chosen specific tests, indicating that, in spite of the difference in tasks, there are significant proprioceptive demands for both left and right hands. She also talked about how proprioception responds to specific training, is correlated with performance acuity and improves with increased age and experience.

Behind ten equally strong fingers, by Dr Therese Milanovic, a Brisbane based pianist and educator with 11 years experience of learning and teaching the Taubman Approach. She gave insight into causes behind the experience of weak fingers, and the importance of considering the synchronisation between fingers, hand, arm, and even the posture of the rest of the body. She talked about how she uses demonstrations, video examples and step-by-step checklists, to address problems rather than, as often happens in teaching, merely pointing out what not to do, or using independent exercises and monotonous drills in repetitive patterns.

The benefits of ergonomically scaled piano keyboard for smaller handed pianists: Leveling the playing field, by Erica Booker, a Sydney pianist and Suzuki piano teacher trainer, presented her ongoing research in muscular effort and functional load (and the risk of performance injuries). So far, ten pianists, aged up to 14 years, have had their forearm flexor and extensor muscles tested using electromyography whilst playing on a ergonomically scaled piano keyboard (5.5 inch octave) and again on regular full sized model (6.5 inch octave).

The current piano keyboard was standardised in the 1880s, based on what suited male virtuosos at the time, such as Liszt, and research has shown that a small hand span is a risk factor for injuries and that it is affecting females, with often smaller hands than men, disproportionately.

A case of facial peripheral neuropathy in a flautist, by David Peterson, physiotherapist for, among others, Sydney Symphony Orchestra. David discussed a recent case study of a single flautist and the specific patient-centered management approach and outcome.

Health promotion in a sample of elite tertiary student-musicians, by Michael Ingle, a Sydney physiotherapist and trombonist. A study that evaluated the effectiveness of a web-based health promotion course (Sound Performers), in a group of elite musicians at the Australian National Academy of Music.

Findings from the Student Musician Health Survey at Universiti Pendidikan Sultan Idris, Malaysia, by Dr Dr Karen Lonsdale, a music graduate with a doctorate involving research in injury prevention and management of flautists. The results of their online, self-reporting survey that attracted 98 full-time undergraduates and post graduates, were consistent with previous studies on musicians health; 29% were currently suffering from playing-related pain, 47% had experienced it at some time, and 57% felt they had not received enough information or advice on playing-related health during their current studies.

Playing-related pain in bowed string students: Preliminary results, by Judith Robitaille, a violinist and Occupational therapist in Québec. Judith presented results from their prospective cohort study of 152 young string students at three different summer camps.  Using questionnaires distributed few week before the camp and again one week into the camp, they inquired about playing habits, playing-related pain and its impact, and found that playing time had increased from 16 hours/week before the camp, to 33 hours/week during the camp, and found the prevalence of playing related musculoskeletal pain being as high as 96%.

Paper Streams, 25 min

Actors health and wellbeing in Australia: Further analysis of 2013 Actors Survey, by Prof Ian Maxwell, Dr Marianna Szab and Dr Mark Seton, all from University of Sydney. Presentation of results from the Equity (Australia) on-line survey 2013, with 782 respondents, that had gathered information of actors’ professional experiences including training, and income from both acting and non-acting sources as well as aspects of health and wellbeing using validated instruments measuring depression, anxiety, eating disorders, alcohol and drug use.

Elite Australian singer – Career stories, by Kathleen Connell, Sydney-based vocal coach, researcher and singer.  Using questionnaires and interviews of a cross section of singers with active careers between 1985-2005 and using established career theoretical concepts from other fields of work, she had investigated singers’ career maintenance and planning, especially in the latter stages of a career with their transition into other areas and potential changes to identity. Further study looked at how entrepreneurial methods, and the identification of a variety of capabilities, can help plan and sustain a career as well as a transition into other fields or professions.

An evaluation of the breathing strategies and maximum phonation time in musical theatre performer during controlled performance tasks, by Tommi Sliiden. The first research of it’s kind, testing 20 professional West End musical performers’ ability to sing long, sustained notes and how that ability is affected by the increased heart rate and effort of dancing; measuring changes to breathing pattern and heart rates whilst repeating (at a performance-like intensity) a chosen 3 minute extract from a musical number taken from their respective show in three different ways: singing only (standing still); dancing only (in silence); and combined, simultaneous singing and dancing (as in show).

Results showed that maximum phonation time was on average reduced to a third, and heart rate nearly doubled, immediately after fully singing and dancing the number. Lung volume per breath remained the same during dancing only, as during singing only (only breathing rate was increased – to the double). Singing restricted the spontaneous breathing used during dancing only, resulting in a reduction of air usage per minute (by 16%) when combining the two.

A questionnaire showed that only 45% of our performers had felt able to combine these two tasks, to their full potential, by opening night.

Workshops, 1h 40 min each

(I chose to attend the last one)

Posture, balance, symmetry and flow, with Victor Popov. With reference to his earlier speech, he elaborated on practical techniques for improvement of the Central Nervous System parameters of posture, balance symmetry and flow, functional posture training, awareness exercises, pain management and how ‘flow’ can be taught to enhance both expression and rehabilitation.

Optimising music performance: a systematic approach to dynamic postural analysis, with Dr Bronwen Ackermann, physiotherapist, researcher and educator. By using a template previously tested and clinically applied successfully to the Australian Youth Orchestra, a framework was provided to evaluate the posture of musicians with their instruments, in a more static position as well as during performance.

Introduction to muscular voice training – Pushing breath is what’s hurting you, with Gerald Marko. Following the presentation earlier in the day, Gerald demonstrated with great enthusiasm and knowledge the different voice qualities used within the Estill Method (speech, falsetto, sob, twang, belting, opera). He used his own impressive vocal skills to illustrate the various sounds and how they can be varied with subtle, controlled changes to various structures and muscles involved in voice production. Video laryngoscopic images of the larynx and vocal folds highlighted some differences seen when producing different voice qualities. We had a demonstration of Voiceprint™ software, a real-time spectral analysis program that records, analyses, and plays back the voice, giving audiovisual feedback about pitch and voice quality, used to enhance the learning and rehabilitation process.

He further explained the basic mechanics of breathing, the involvement of both active and more passive structures – including muscular control and elastic rib recoil, and how the different voice qualities naturally utilise different amounts of air and produce different levels of loudness, pointing out that production of loud volume is not necessarily a result of increased air volume or pressure, and furthermore, how excessive use of abdominal and other respiratory muscles to increase pressure can even be damaging to the larynx, depending on what voice quality and larynx position is used.

Breathing, especially when no sound production is used, often comes naturally, involving various automatic processes, and the Estill method focuses more on the ability to control the larynx and vocal tract, rather than breath control, something that is often emphasised rather more within other types of vocal training. Gerald used the analogue of sailing to explain – breath does indeed provides the power of voice production, like the wind does for sailing, but it is the ability to control the boat and sails to successfully and safely adapt to the wind that is important, not trying to change the wind – “Thus, it’s called sailing – not winding ”.

Closing

Dr Cliffton Chan and Dr Paul Duff thanked all participants and speakers for a successful and interesting day, and presented ASPAHs Career Development Award as well as the award for the winning contribution to this years online competition to create a YouTube clip promoting this year’s symposium!

Post-Symposium

The Symposium was highly inspiring, with a lot of varied speakers within different fields and interesting participants from different backgrounds to discuss the topics and other work related matters; comparing similarities and differences.

During the week that followed the symposium, I had the opportunity to get in contact with some of the other participants and speakers, including Dr Cliffton Chan, 2014 Symposium Chair, and his colleague, the Principal Physiotherapist at Potts Point Physiotherapy, David Peterson, who invited me to the Sydney Opera House to learn more about treating members of the Australian Opera and Ballet Orchestra.

As a final treat, I managed to get a ticket for the Sydney Symphony Orchestra’s concert, “Symphonic Firsts”, performing Brahms’ Piano Concerto No.1 and Mahler’s Symphony No.1 in the magnificent main hall of the Opera House, with the final piece performed by over 120 musicians in the orchestra! A spectacular evening finished off outside on the terrace overlooking the Harbour Bridge, enjoying a glass of Australian wine in the balmy summer evening.

BAPAM Training Day, Sunday May 17, Cambridge

Thursday, March 5th, 2015

Anglia Ruskin University, Cambridge
9.30 – 4.30 

Turning an expert eye on the health impact of touring, ENT/reflux and specific issues around piano playing, our programme includes:

Travel health for performers – presentation by Dr Charlie Easmon.

Pianists’ performance issues – presentations by:  Dr Hara Trouli, BAPAM Musculoskeletal physician; Sarah Upjohn, BAPAM and Purcell School physiotherapist. Demonstrations by pianists and keyboard students.

Gastric reflux and the voice – ENT Consultant, Mrs Jan Panesar, and speech therapist speakers to be confirmed.

Lunch is included in the ticket price.

Cancellations prior to 3 May will be fully refunded.

Booking is now open here: http://bapamtraining2015a.eventbrite.co.uk

If you’re not already a Friend of BAPAM, please consider becoming one. Friends have the opportunity to book Early Bird tickets to BAPAM events, with considerable savings on the usual price (Early Bird bookings are now closed for this event). Please note, if you’re already in ‘Price Band A’, you won’t save more by becoming a Friend, but your support will help us deliver our services and keep the performing arts in good health.

This event is part of our regular series of training days for health professionals, researchers, practitioners and others engaged in performing arts healthcare, welfare and education.

We are grateful to Anglia Ruskin University Music Department for providing a free venue for this event and for supporting us as members of the BAPAM Student Advocate Scheme.

Directory of Practitioners Applications

Tuesday, March 3rd, 2015

We are now accepting applications from healthcare practitioners and specialists to join the BAPAM Directory of Practitioners. If you have the expertise and experience to help performing arts professionals and students overcome problems relating to their work, and are suitably qualified, registered and insured, please see the Practitioner Resources section of our website for more information:

Event Report: Performers in their Environment Training Day

Thursday, November 28th, 2013

Our November 2013 event brought together actors and musicians with professionals working in performing arts healthcare, education and support and welfare, for a stimulating investigation into the work, lifestyle and health realities of the industry.

Professor of Performance Science, Aaron Williamon, discussed musicians’ hearing and the tricky issue of noise regulations for workers for whom noise is their product.

Philip Turner, Senior Stage Manager of the English National Opera, shared valuable expertise and insights into the considerations of caring for performers, crew, and audience, and in supervising the work environment, both at the ENO in London, and on touring productions. Osteopath, Jennie Morton, presented on workplace hazards, drawing from her work as a performer (dance/theatre/singing).

Former professional oboist turned pioneering Performance Coach, Karen O’Connor, was joined by a singer and a double bassist to discuss novel applications of sport psychology for managing performance anxiety and developing mental toughness.

We also heard from professional performers about the ups and downs of their careers. Jungle Drummer, Chris Polglase, talked us through his career, from leaving music school in frustration at course requirements that he learn endless indie rock parts, to turning a hobby into a sustained professional career playing 180bpm drum & bass beats, alongside turntablists and musicians from a diverse spectrum of styles. Chris talked about the pressures of extensive touring, playing 5am gigs at clubs and festivals, studio sessions, and gradually learning self confidence and how to care for yourself.

Bringing a fascinating day to a close, David Sulkin, Chief Executive of the Musicians Benevolent Fund, interviewed two actors at very different stages of their careers – covering the stresses (physical, emotional and financial) and rewards of the profession.

We’d like to thank all the speakers, performers and attendees.  All agreed that first hand discussion with performing arts professionals proved especially valuable in providing perspective for those who seek to help care for their health and welfare. Thanks also to the Musicians’ Union for so generously providing the venue.

More information about our Training Days can be found here: BAPAM Training Days.

BAPAM Training Day – Performers in their Environment

Wednesday, October 16th, 2013

The next BAPAM Training Day, Performers in their Environment, takes place on Saturday November 16th 2013, 10:00 – 16:00, at the Musicians’ Union offices in London.

BAPAM Training Days are designed for medics, health care practitioners, and all those concerned with performers’ wellbeing.

Our events provide in-depth explorations of key areas of Performing Arts Medicine and unique insights into aspects of performers’ health and wellbeing. We present performers’ perspectives as well as the expertise of experienced medical practitioners.

The sessions are also a great opportunity to network with colleagues.

Topics to be covered include:

Noise at Work – Aaron Williamon, Professor of Performance Science, Royal College of Music

Performance AnxietyKaren O’Connor, Performance Coach

Highs and Lows of a Musician’s CareerChris Polglase

Avoiding Hazards in the WorkplaceJennie Morton

An Actor’s Life – David Sulkin talks with professional actors

Venue: Musicians’ Union, 60—62 Clapham Road, London, SW9 0JJ

£80 – Full Day
£50 – Students

To book your place or for more information please return this response form by post or email the Office and Clinics Manager, Clare Hicks, via clare@bapam.org.uk

For those of you who are GPs, BAPAM training days should qualify for CPD credits under the RCGP CPD credits scheme (please check this with them directly).