Occupational Health and the Performing Arts

Hinkamp, David; Morton, Jennie; Krasnow, Donna; Wilmerding, M. Virginia; Dawson, William J; Stewart, Michael G.; Sims, H. Steven; Reed, Jan; Duvall, K; McCann, Michael

doi:10.1097/jom.0000000000001052

Cited by 13 publications

(6 citation statements)

References 136 publications

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“…2,22 Second, rapid bone growth compared with that of the connective tissues initiates a decrease in motor ability and dynamic balance, 23 and learned motor patterns become unreliable. 24,25 Third, load and strain on muscles and ligaments increase due to the vulnerability of a young dancer's musculoskeletal system, 4,13,26 which has been shown to cause a higher prevalence of injury. 27 Finally, dancing prematurely en pointe could prevent the closure of ossification centers of the foot, 4,10,28 as complete ossification in the feet does not occur until around 18 years of age.…”

Section: Age Growth and Injurymentioning

confidence: 99%

“…2,6,11 Anatomically, dancers should encompass an array of physical attributes to perform en pointe correctly and safely. 1,2 Dancers are required to demonstrate adequate and stable ankle ROM 1,6,7 (plantar flexing the foot in parallel with the tibia), strong tendu (extending the foot of the working leg across the floor to pointe while the other foot supports weight), adequate strength and alignment in the core and lower extremities, 12,13 and 90° to 100° of plantar flexion at the ankle during relevé. 1,2,4,14 Subsequently, it has been suggested that dancers require at least 2 years of ballet experience prior to going en pointe, 12,13 and pointe training should be discouraged for dancers who are only doing one ballet class a week or have reduced ROM of the ankles and feet.…”

Section: Introductionmentioning

confidence: 99%

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Determining Pointe Readiness in Young Adolescent Female Dancers: A Systematic Review

Hough-Coles

Wyon

2022

j dance med sci

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Dancing en pointe is an integral aspect of ballet for female dancers and they start pointe training in young adolescence. The primary objective of this review was to investigate the screening tests used to determine pointe readiness in young adolescent female dancers, and the secondary objective was to determine the injuries associated with pointe training. The search engines Google Scholar, PubMed, Scopus, and Web of Science were mined using medical subject heading terms “pointe,” “pointe readiness,” “injury,” “young,” “adolescent,” “female,” and “dancer,” and a manual search of relevant articles was conducted. The inclusion criteria were: females aged 8 to 20 years, pre-pointe, training en pointe, and pointe-related injury. The search strategy followed the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines. The following data were extracted; first author, year of publication, study design, participant size, mean age, testing, outcome, and general notes of each study. Risk of bias was evaluated using the Research Triangle Institute Item Bank (RTI-IB). Eight cross-sectional studies met the inclusion criteria. Results suggested that the topple, airplane, sauté, and relevé tests are statistically better determinants of pointe readiness than chronological age alone. Utilizing these methods alongside age, strength, body maturation, range of motion (ROM), and teacher evaluation could provide an all-round insight into a dancer’s readiness for pointe. However, the included studies had contradictory outcomes with regard to pointe-related injury and the review’s conclusions are limited by methodological design.

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Section: Age Growth and Injurymentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Determining Pointe Readiness in Young Adolescent Female Dancers: A Systematic Review

Hough-Coles

Wyon

2022

j dance med sci

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“…Previous studies focusing on the viewpoint of occupational health and safety explore injuries of arts performers. The findings imply that workplace and environment hazards cause musculoskeletal injuries and disabilities (Charlene Angela, 2018;Hinkamp et al, 2017;Leaver et al, 2011;Raymond et al, 2012;Shah et al, 2012) and mental health disorders (e.g. depression and anxiety; Leaver et al, 2011;Raymond et al, 2012).…”

Section: Introductionmentioning

confidence: 98%

Risks of performing arts at theater venues

Cheng

Chen

2021

AAM

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PurposeThis study aims to investigate hazards in theater venues on the performance day by combining operational risk theory with a service blueprint method.Design/methodology/approachInterviews and Delphi method are applied to find the hazards, then a survey and ANOVA are followed. The study explores a profile of hazards using data from theater venues in Taiwan and examines whether employee characteristics (i.e. professional tasks, experience and working location) affect risk perception.FindingsThe study suggests a new framework represented by a 5 (types of loss events) × 6 (service systems) matrix to check operational risks. The analyses indicate two types of hazards: risk perception about performance and operations by performers and crew (RPPOPC) and audience behaviors and safety (RPABS). RPPOPC is related to the core show, but not all employees possess high RPPOPC. Seniors have relatively low RPPOPC, and frontend house employees possess insufficient RPABS. Further, front house employees, seniors and those working in municipal cities show relatively high RPPOPC in high-loss situations.Practical implicationsManagers can use the analytic framework to effectively identify operational risks in the core show operations and audience service offerings. They can promote risk perception considering employee differences and loss severity. However, the framework does not discuss the cause-and-effect relationship. Incorporating a large amount of loss experience into a risk information system would help clarify this complex relationship.Originality/valueThis study contributes to hazard mitigation in the performing arts sector, both in the peripheral services for customers and in the core show services.

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“…Stage performers have a high risk of suffering from occupational health problems [30]. Especially for the performing arts which require high-quality visual effects, actors might need to wear heavy makeup frequently to achieve such effects and are therefore heavily exposed to cosmetics [25].…”

Section: Introductionmentioning

confidence: 99%

“It is hard to remove from my eye”: Design Makeup Residue Visualization System for Chinese Traditional Opera (Xiqu) Performers

Xiong,

Fu,

Zhu

et al. 2024

Proceedings of the CHI Conference on Human Factors in Computing Systems

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Chinese traditional opera (Xiqu) performers often experience skin problems due to the long-term use of heavy-metal-laden face paints. To explore the current skincare challenges encountered by Xiqu performers, we conducted an online survey (N=136) and semistructured interviews (N=15) as a formative study. We found that incomplete makeup removal is the leading cause of human-induced skin problems, especially the difficulty in removing eye makeup. Therefore, we proposed EyeVis, a prototype that can visualize the residual eye makeup and record the time make-up was worn by Xiqu performers. We conducted a 7-day deployment study (N=12) to evaluate EyeVis. Results indicate that EyeVis helps to increase Xiqu performers' awareness about removing makeup, as well as boosting their confidence and security in skincare. Overall, this work also provides implications for studying the work of people who wear makeup on a daily basis, and helps to promote and preserve the intangible cultural heritage of practitioners.CCS Concepts: • Human-centered computing → Empirical studies in HCI; Assistive technologies.

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Occupational Health and the Performing Arts

Abstract: Treatment providers have a history of involvement with segments of the performing arts. The occupational health approach to workplace health issues can effectively complement these efforts. Sources of further information on performing arts health concerns are available.

Cited by 13 publications

References 136 publications

Determining Pointe Readiness in Young Adolescent Female Dancers: A Systematic Review

Determining Pointe Readiness in Young Adolescent Female Dancers: A Systematic Review

Risks of performing arts at theater venues

“It is hard to remove from my eye”: Design Makeup Residue Visualization System for Chinese Traditional Opera (Xiqu) Performers

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