Marianna Dinyáné Szabó, Mark Seton, Ian Maxwell, M. Cunningham
BACKGROUND Anecdotal evidence and media reports suggest that actors and other performing artists experience high levels of depression, anxiety, and stress. However, no empirical study has examined the psychological well-being of this professional group. OBJECTIVE The Australian Actors' Wellbeing Study (AWS) was conducted to examine the general wellbeing of Australian actors and performing artists. The present paper, reporting on data from the AWS, focuses on two aspects of respondents' psychological well-being: life satisfaction and the experience of negative affect. METHODS An online survey including several questionnaires was distributed to the Equity Foundation membership representing Australian actors. We report results from the Satisfaction with Life Scale (SWLS) and the Depression Anxiety Stress Scales (DASS) and examine their associations with respondents' sociodemographic and occupational background, including their relationship status and any relationship stress, income from performing, and time taken away from performing. RESULTS A sample of 782 Australian actors responded to the survey, with 582 participants completing the DASS and 568 the SWLS. Participants reported lower levels of life satisfaction and higher levels of depression, anxiety, and stress than found in the Australian general population. Being in a relationship was associated with better psychological well-being; however, work stress often impacted negatively on relationships. Income had little association with psychological well-being, unless the respondent felt under financial stress. Respondents who took extended periods of time away from performing reported less life satisfaction and more depression than others. CONCLUSION Australian actors may be at a high risk for poor psychological health. Further research is necessary to establish causality among the variables we examined and to investigate protective factors that may increase well-being in the context of the performing arts industry.
{"title":"Psychological Well-Being of Australian Actors and Performing Artists: Life Satisfaction and Negative Affect.","authors":"Marianna Dinyáné Szabó, Mark Seton, Ian Maxwell, M. Cunningham","doi":"10.21091/mppa.2022.2016","DOIUrl":"https://doi.org/10.21091/mppa.2022.2016","url":null,"abstract":"BACKGROUND\u0000Anecdotal evidence and media reports suggest that actors and other performing artists experience high levels of depression, anxiety, and stress. However, no empirical study has examined the psychological well-being of this professional group.\u0000\u0000\u0000OBJECTIVE\u0000The Australian Actors' Wellbeing Study (AWS) was conducted to examine the general wellbeing of Australian actors and performing artists. The present paper, reporting on data from the AWS, focuses on two aspects of respondents' psychological well-being: life satisfaction and the experience of negative affect.\u0000\u0000\u0000METHODS\u0000An online survey including several questionnaires was distributed to the Equity Foundation membership representing Australian actors. We report results from the Satisfaction with Life Scale (SWLS) and the Depression Anxiety Stress Scales (DASS) and examine their associations with respondents' sociodemographic and occupational background, including their relationship status and any relationship stress, income from performing, and time taken away from performing.\u0000\u0000\u0000RESULTS\u0000A sample of 782 Australian actors responded to the survey, with 582 participants completing the DASS and 568 the SWLS. Participants reported lower levels of life satisfaction and higher levels of depression, anxiety, and stress than found in the Australian general population. Being in a relationship was associated with better psychological well-being; however, work stress often impacted negatively on relationships. Income had little association with psychological well-being, unless the respondent felt under financial stress. Respondents who took extended periods of time away from performing reported less life satisfaction and more depression than others.\u0000\u0000\u0000CONCLUSION\u0000Australian actors may be at a high risk for poor psychological health. Further research is necessary to establish causality among the variables we examined and to investigate protective factors that may increase well-being in the context of the performing arts industry.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"106-117"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48709951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
P. Iltis, J. Frahm, Dirk Voit, Danielle Wood, S. Taylor
OBJECTIVE Recent publications describing lingual movement strategies within the oral cavity of brass players have established the existence of efficient and predictable movement patterns in healthy performers for a variety of performance tasks. In this study we extend the research to include the playing of large interval slurs in horn players. METHODS Real-time MRI films at 40-msec resolution were simultaneously obtained in the sagittal and coronal planes in 9 professional horn players as they performed 2 repetitions each of 3 slur sequences spanning 1 octave, 1 octave + 3rd, and 1 octave + 5th at a mezzo forte dynamic level. Nine profile lines were overlaid on the images allowing the measurement of dorsal tongue edge movement using a customized MATLAB toolkit. Movement along lines representing the anterior, middle, and posterior oral cavity in the sagittal plane, as well as the vertical height of an air channel observed in the coronal plane, are reported. RESULTS Both sagittal and coronal views demonstrate patterned tongue movements that narrow and widen the air channel during ascending and descending slurs, respectively. The magnitude of these movements is greater during larger intervals, though not perfectly consistent within each slur sequence. Additionally, the tongue position during notes tends to drift in the direction of the subsequent note in each sequence. We suggest that the observed movements may help to modulate air speed through the lips, possible attenuating embouchure muscle tension changes by assisting changes in lip vibration frequency.
{"title":"Oral Cavity Movements of the Tongue During Large Interval Slurs in High-Level Horn Players: A Descriptive Study.","authors":"P. Iltis, J. Frahm, Dirk Voit, Danielle Wood, S. Taylor","doi":"10.21091/mppa.2022.2014","DOIUrl":"https://doi.org/10.21091/mppa.2022.2014","url":null,"abstract":"OBJECTIVE\u0000Recent publications describing lingual movement strategies within the oral cavity of brass players have established the existence of efficient and predictable movement patterns in healthy performers for a variety of performance tasks. In this study we extend the research to include the playing of large interval slurs in horn players.\u0000\u0000\u0000METHODS\u0000Real-time MRI films at 40-msec resolution were simultaneously obtained in the sagittal and coronal planes in 9 professional horn players as they performed 2 repetitions each of 3 slur sequences spanning 1 octave, 1 octave + 3rd, and 1 octave + 5th at a mezzo forte dynamic level. Nine profile lines were overlaid on the images allowing the measurement of dorsal tongue edge movement using a customized MATLAB toolkit. Movement along lines representing the anterior, middle, and posterior oral cavity in the sagittal plane, as well as the vertical height of an air channel observed in the coronal plane, are reported.\u0000\u0000\u0000RESULTS\u0000Both sagittal and coronal views demonstrate patterned tongue movements that narrow and widen the air channel during ascending and descending slurs, respectively. The magnitude of these movements is greater during larger intervals, though not perfectly consistent within each slur sequence. Additionally, the tongue position during notes tends to drift in the direction of the subsequent note in each sequence. We suggest that the observed movements may help to modulate air speed through the lips, possible attenuating embouchure muscle tension changes by assisting changes in lip vibration frequency.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"89-97"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42715062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
OBJECTIVE Injury epidemiology and health-related quality of life (HRQOL) have not been researched in baton twirlers. This cross-sectional study described time-loss injuries sustained by competitive collegiate baton twirlers, identified the relationship between training volume and injuries, and established injury impact on HRQOL. METHODS An online survey was used to collect activity volume, number and characteristics of time-loss injuries experienced within a 12-month window, and HRQOL via the Short Form-36. Current injury status was addressed to place participants into categories: no injury history (No Injury), history of injury but no symptoms (Injury Hx, No Sx), and currently injured (Current Injury). RESULTS One hundred forty-two participants met the inclusion criteria. One hundred twenty-eight (90%) participants experienced a time-loss injury with 295 total reported injuries (2.1±1.4; range 1-9 injuries). Sixty-two percent of all reported injuries were still producing symptoms. There was a high average reported injury severity score (6.3±2.3). The most commonly affected area was the hip/thigh (30%), followed by the knee (15%) and ankle (14%). The Current Injury group had worse SF-36 bodily pain (p=0.003), vitality domains (p=0.001), and physical composite score (p=0.015) compared to the No Injury group. Both the No Injury and Injury Hx, No Sx groups performed better than the Current Injury group on physical function (p=0.007 and 0.02, respectively). CONCLUSION Competitive collegiate baton twirlers experience the majority of injuries in the lower extremity which cause prolonged physical and non-physical symptoms.
目的对旋棒者的损伤流行病学和健康相关生活质量(HRQOL)进行研究。本横断面研究描述了竞技大学生转棒运动员的时间损失损伤，确定了训练量与损伤之间的关系，并确定了损伤对HRQOL的影响。方法采用在线调查方法，收集12个月窗口内的活动量、时间损失损伤的数量和特征，并通过Short -36表收集HRQOL。目前的损伤状况被划分为以下几类:无损伤史(no injury)、损伤史但无症状(injury Hx, no Sx)和目前受伤(Current injury)。结果142例受试者符合纳入标准。128名(90%)参与者经历了时间损失性损伤，总共报告了295次损伤(2.1±1.4;范围1-9伤)。在所有报告的受伤中，有62%的人仍有症状。报告的平均损伤严重程度评分较高(6.3±2.3)。最常见的受累部位是臀部/大腿(30%)，其次是膝盖(15%)和脚踝(14%)。与无损伤组相比，当前损伤组的SF-36身体疼痛(p=0.003)、活力域(p=0.001)和身体综合评分(p=0.015)更差。无损伤组和损伤Hx、No Sx组在生理功能上均优于当前损伤组(p分别为0.007和0.02)。结论竞技大学生转接棒运动员下肢损伤最多，且损伤时间较长，引起身体和非身体症状。
{"title":"Self-Reported Injury History and Health-Related Quality of Life in Competitive, Collegiate Baton Twirlers.","authors":"Breanna Dufour, L. Vela, J. Hertel","doi":"10.21091/mppa.2022.2017","DOIUrl":"https://doi.org/10.21091/mppa.2022.2017","url":null,"abstract":"OBJECTIVE\u0000Injury epidemiology and health-related quality of life (HRQOL) have not been researched in baton twirlers. This cross-sectional study described time-loss injuries sustained by competitive collegiate baton twirlers, identified the relationship between training volume and injuries, and established injury impact on HRQOL.\u0000\u0000\u0000METHODS\u0000An online survey was used to collect activity volume, number and characteristics of time-loss injuries experienced within a 12-month window, and HRQOL via the Short Form-36. Current injury status was addressed to place participants into categories: no injury history (No Injury), history of injury but no symptoms (Injury Hx, No Sx), and currently injured (Current Injury).\u0000\u0000\u0000RESULTS\u0000One hundred forty-two participants met the inclusion criteria. One hundred twenty-eight (90%) participants experienced a time-loss injury with 295 total reported injuries (2.1±1.4; range 1-9 injuries). Sixty-two percent of all reported injuries were still producing symptoms. There was a high average reported injury severity score (6.3±2.3). The most commonly affected area was the hip/thigh (30%), followed by the knee (15%) and ankle (14%). The Current Injury group had worse SF-36 bodily pain (p=0.003), vitality domains (p=0.001), and physical composite score (p=0.015) compared to the No Injury group. Both the No Injury and Injury Hx, No Sx groups performed better than the Current Injury group on physical function (p=0.007 and 0.02, respectively).\u0000\u0000\u0000CONCLUSION\u0000Competitive collegiate baton twirlers experience the majority of injuries in the lower extremity which cause prolonged physical and non-physical symptoms.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"118-125"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41972205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ana Carla Lima Nunes, Luanna Andrade Mendes, L. A. Mota, P. Lima, G. Almeida
OBJECTIVE To identify the biopsychosocial factors that explain injuries in dancers through use of a Classification and Regression Tree (CART) analysis. METHODS Cross-sectional study performed with dancers over 18 years of age from dance schools in Brazil. Sociodemographic factors, pain intensity (numerical pain rating scale, NPRS), anxiety (Beck anxiety inventory, BAI), and functioning (WHO Disability Assessment Schedule 2.0, WHODAS) were assessed. We used a classification and regression tree (CART) analysis considering the occurrence of injury as a dependent variable, and the independent variables included age, training load, BAI, pain level, and WHODAS 2.0 score, adjusted for body mass index. RESULTS The sample included 61 dancers (ballet, jazz, contemporary, tap, and urban dance), and they were mainly women (72.1%) with a mean age of 25.6 (± 5.79) years. Thirty-three percent presented dance-related musculoskeletal injuries in the last 12 months. The CART analysis showed that training load was the main associated factor, explaining 52.4% of injuries in dancers with a workload > 11.5 hrs/wk (p=0.05). When NPRS > 6.5 is added to the high load of training, these two variables explain 100% of the cases of injury (p=0.02). Training load < 11.5 hrs/wk and WHODAS 2.0 score < 68.0 were associated factors for no injury in dancers (80%; p=0.03). CONCLUSIONS Our results demonstrated that training load, functioning, and pain intensity were factors associated with injury in dancers, and we established cutoff points. The inclusion of functioning in the algorithm suggests the influence of structure, function, activity, and social participation on injury in dancers and strengthens the patient-centered care.
{"title":"Training Load, Pain Intensity, and Functioning Can Explain Injuries in Dancers: A Classification and Regression Tree (CART) Analysis.","authors":"Ana Carla Lima Nunes, Luanna Andrade Mendes, L. A. Mota, P. Lima, G. Almeida","doi":"10.21091/mppa.2022.2012","DOIUrl":"https://doi.org/10.21091/mppa.2022.2012","url":null,"abstract":"OBJECTIVE\u0000To identify the biopsychosocial factors that explain injuries in dancers through use of a Classification and Regression Tree (CART) analysis.\u0000\u0000\u0000METHODS\u0000Cross-sectional study performed with dancers over 18 years of age from dance schools in Brazil. Sociodemographic factors, pain intensity (numerical pain rating scale, NPRS), anxiety (Beck anxiety inventory, BAI), and functioning (WHO Disability Assessment Schedule 2.0, WHODAS) were assessed. We used a classification and regression tree (CART) analysis considering the occurrence of injury as a dependent variable, and the independent variables included age, training load, BAI, pain level, and WHODAS 2.0 score, adjusted for body mass index.\u0000\u0000\u0000RESULTS\u0000The sample included 61 dancers (ballet, jazz, contemporary, tap, and urban dance), and they were mainly women (72.1%) with a mean age of 25.6 (± 5.79) years. Thirty-three percent presented dance-related musculoskeletal injuries in the last 12 months. The CART analysis showed that training load was the main associated factor, explaining 52.4% of injuries in dancers with a workload > 11.5 hrs/wk (p=0.05). When NPRS > 6.5 is added to the high load of training, these two variables explain 100% of the cases of injury (p=0.02). Training load < 11.5 hrs/wk and WHODAS 2.0 score < 68.0 were associated factors for no injury in dancers (80%; p=0.03).\u0000\u0000\u0000CONCLUSIONS\u0000Our results demonstrated that training load, functioning, and pain intensity were factors associated with injury in dancers, and we established cutoff points. The inclusion of functioning in the algorithm suggests the influence of structure, function, activity, and social participation on injury in dancers and strengthens the patient-centered care.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"73-77"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47786763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russia invaded the Ukraine on February 24, 2022. The atrocities perpetuated by invading Russian soldiers seized the world's attention in images captured by photojournalists on the ground in Bucha, Ukraine, in April 2022. We cannot look away. We must remember. Justice must prevail. … At the 2022 Grammy awards ceremony on April 3rd, President Zelensky introduced singer/songwriter John Legend, who performed with three Ukrainian artists. A masterful speech writer/performing artist in his own right, Zelensky began by saying "The War … what is more opposite to music? …".
{"title":"Ukrainian Performing Artists Inspire.","authors":"S. Bronner","doi":"10.21091/mppa.2022.2019","DOIUrl":"https://doi.org/10.21091/mppa.2022.2019","url":null,"abstract":"Russia invaded the Ukraine on February 24, 2022. The atrocities perpetuated by invading Russian soldiers seized the world's attention in images captured by photojournalists on the ground in Bucha, Ukraine, in April 2022. We cannot look away. We must remember. Justice must prevail. … At the 2022 Grammy awards ceremony on April 3rd, President Zelensky introduced singer/songwriter John Legend, who performed with three Ukrainian artists. A masterful speech writer/performing artist in his own right, Zelensky began by saying \"The War … what is more opposite to music? …\".","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"133"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43926529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Huixuan An, Zhengquan Chen, Jianhua Lin, D. El-ansary, R. Adams, J. Witchalls, Jia Han
BACKGROUND Neck pain is common in dancers, especially female dancers, and the injury pattern varies in different genres of dance. Among dancesport performers, intensive neck left rotation is required in female International Standard dancers, but it is unknown whether neck pain is associated with neck rotation range of motion and proprioception. OBJECTIVES To explore the associations between neck pain, cervical rotation range of motion, and proprioception in female International Standard dancers. METHODS Twelve dancers with dance-related neck pain (age 19.9±1.9 yrs) volunteered, matched with 12 not reporting neck pain (age 22.2±2.4 yrs). A 100-mm visual analog scale (VAS) was used to record neck pain. Active rotation range of motion (AROM) of the cervical spine was measured using a tape measure. A cervical rotation reposition test that used a head-mounted laser projector on a linear scale was employed to measure the cervical spine proprioception, and the absolute error (AE) and variable error (VE) were calculated as proprioceptive acuity scores. RESULTS Nine of 12 participants in the group with neck pain declared left side pain, with 2 reporting pain on both sides. The group with neck pain had significantly lower left rotation AROM (p<0.05). For proprioceptive acuity, mixed model ANOVA only showed that repositioning of the right side of the neck is more accurate and consistent than that of the left (both AE and VE p<0.05). Linear regression analysis indicated that left rotation AROM was significantly influenced by left neck pain (t=3.061, p=0.006, adjusted R2 = 0.267, and Durbin-Watson value = 1.776). CONCLUSIONS Most participants in the group with neck pain showed left side pain, associated with decreased left rotation AROM. Early screening on cervical rotation mobility may be necessary to reduce future dance-related injury after the onset of neck pain. Proprioceptive acuity of the left side neck was significantly impaired compared with that of the right, indicating future proprioceptive intervention on the left side neck.
{"title":"Association Between Neck Pain, Range of Motion, and Proprioception in Elite Female International Standard Dancers: A Case-Control Study.","authors":"Huixuan An, Zhengquan Chen, Jianhua Lin, D. El-ansary, R. Adams, J. Witchalls, Jia Han","doi":"10.21091/mppa.2022.1004","DOIUrl":"https://doi.org/10.21091/mppa.2022.1004","url":null,"abstract":"BACKGROUND\u0000Neck pain is common in dancers, especially female dancers, and the injury pattern varies in different genres of dance. Among dancesport performers, intensive neck left rotation is required in female International Standard dancers, but it is unknown whether neck pain is associated with neck rotation range of motion and proprioception.\u0000\u0000\u0000OBJECTIVES\u0000To explore the associations between neck pain, cervical rotation range of motion, and proprioception in female International Standard dancers.\u0000\u0000\u0000METHODS\u0000Twelve dancers with dance-related neck pain (age 19.9±1.9 yrs) volunteered, matched with 12 not reporting neck pain (age 22.2±2.4 yrs). A 100-mm visual analog scale (VAS) was used to record neck pain. Active rotation range of motion (AROM) of the cervical spine was measured using a tape measure. A cervical rotation reposition test that used a head-mounted laser projector on a linear scale was employed to measure the cervical spine proprioception, and the absolute error (AE) and variable error (VE) were calculated as proprioceptive acuity scores.\u0000\u0000\u0000RESULTS\u0000Nine of 12 participants in the group with neck pain declared left side pain, with 2 reporting pain on both sides. The group with neck pain had significantly lower left rotation AROM (p<0.05). For proprioceptive acuity, mixed model ANOVA only showed that repositioning of the right side of the neck is more accurate and consistent than that of the left (both AE and VE p<0.05). Linear regression analysis indicated that left rotation AROM was significantly influenced by left neck pain (t=3.061, p=0.006, adjusted R2 = 0.267, and Durbin-Watson value = 1.776).\u0000\u0000\u0000CONCLUSIONS\u0000Most participants in the group with neck pain showed left side pain, associated with decreased left rotation AROM. Early screening on cervical rotation mobility may be necessary to reduce future dance-related injury after the onset of neck pain. Proprioceptive acuity of the left side neck was significantly impaired compared with that of the right, indicating future proprioceptive intervention on the left side neck.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 1 1","pages":"30-36"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41465101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Groin pain is a cause of mobility impairment, and its diverse presentation can make the diagnosis difficult. Quadratus femoris muscle tendinopathy is a poorly described etiology, but its diagnosis is important for the success of the therapeutic program. The authors present the case of an 18-year-old woman who complained of chronic pain in the left inguinal region due to regular ballet practice. Physical examination revealed restriction in the left hip medial rotation. Ultrasound and radiographic studies were normal. Magnetic resonance imaging showed asymmetry in the signal intensity of the quadratus femoris muscle. The patient improved significantly after a rehabilitation program that included quadratus femoris muscle-specific exercises. Diagnostic accuracy and an understanding of segmental biomechanics ensure greater effectiveness in the therapeutic approach.
{"title":"Quadratus Femoris Tendinopathy as an Underreported Cause of Groin Pain: Case Report.","authors":"Lurdes Rovisco Branquinho, João Páscoa Pinheiro","doi":"10.21091/mppa.2022.1008","DOIUrl":"https://doi.org/10.21091/mppa.2022.1008","url":null,"abstract":"Groin pain is a cause of mobility impairment, and its diverse presentation can make the diagnosis difficult. Quadratus femoris muscle tendinopathy is a poorly described etiology, but its diagnosis is important for the success of the therapeutic program. The authors present the case of an 18-year-old woman who complained of chronic pain in the left inguinal region due to regular ballet practice. Physical examination revealed restriction in the left hip medial rotation. Ultrasound and radiographic studies were normal. Magnetic resonance imaging showed asymmetry in the signal intensity of the quadratus femoris muscle. The patient improved significantly after a rehabilitation program that included quadratus femoris muscle-specific exercises. Diagnostic accuracy and an understanding of segmental biomechanics ensure greater effectiveness in the therapeutic approach.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 1 1","pages":"67-70"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47363542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
INTRODUCTION The ankle-foot complex is the third most common site of pain in Indian dancers. In Bharatanatyam dance, rhythmic stamping performed barefoot at varying speeds may influence the height of the medial longitudinal arch, causing structural alteration of the ankle-foot complex. As little information is available on the ankle-foot complex of Bharatanatyam dancers, the present study was conducted to test the hypothesis that foot characteristics of Bharatanatyam dancers differ from those of non-dancers. METHODS Female professional Bharatanatyam dancers (n=21), aged 18-30 years, with a minimum of 8 years of performance experience after completing formal dance training, and 21 control non-dancers participated in this study. Physical foot examination included navicular drop test and Feiss line. Foot geometry and pedobarography were recorded as participants walked barefoot at self-selected walking pace over a pressure-platform. An average of five gait cycles was computed to analyse maximum peak pressure (MPP), pressure time integral, contact time, and foot geometry of the midfoot, forefoot, great toe, and second to fifth toes. Analysis of covariance was performed for intergroup comparison of all variables with gait speed as a covariate. RESULTS During walking, dancers presented a higher medial-longitudinal-arch, wider midfoot, and wider forefoot (cm) (p<0.001), indicating an over-pronated foot due to lower medial longitudinal arch height. Total plantar peak pressure (kPa) was 37% higher among dancers, whereas MPP was 24% higher on midfoot and 13% higher on forefoot, indicating greater plantar loading during walking. CONCLUSION Greater plantar loading and an over-pronated foot during the most commonly performed weight-bearing activity of daily living (e.g., walking) explain the common prevalence of ankle and foot pain among dancers. These findings will inform clinicians and Bharatanatyam dancers on dancer's foot function and guide strategies for prevention and management of foot pain.
{"title":"Differences in Foot Characteristics Between Bharatanatyam Dancers and Age-Matched Non-Dancers.","authors":"R. Mullerpatan, Juhi K Bharnuke","doi":"10.21091/mppa.2022.1009","DOIUrl":"https://doi.org/10.21091/mppa.2022.1009","url":null,"abstract":"INTRODUCTION\u0000The ankle-foot complex is the third most common site of pain in Indian dancers. In Bharatanatyam dance, rhythmic stamping performed barefoot at varying speeds may influence the height of the medial longitudinal arch, causing structural alteration of the ankle-foot complex. As little information is available on the ankle-foot complex of Bharatanatyam dancers, the present study was conducted to test the hypothesis that foot characteristics of Bharatanatyam dancers differ from those of non-dancers.\u0000\u0000\u0000METHODS\u0000Female professional Bharatanatyam dancers (n=21), aged 18-30 years, with a minimum of 8 years of performance experience after completing formal dance training, and 21 control non-dancers participated in this study. Physical foot examination included navicular drop test and Feiss line. Foot geometry and pedobarography were recorded as participants walked barefoot at self-selected walking pace over a pressure-platform. An average of five gait cycles was computed to analyse maximum peak pressure (MPP), pressure time integral, contact time, and foot geometry of the midfoot, forefoot, great toe, and second to fifth toes. Analysis of covariance was performed for intergroup comparison of all variables with gait speed as a covariate.\u0000\u0000\u0000RESULTS\u0000During walking, dancers presented a higher medial-longitudinal-arch, wider midfoot, and wider forefoot (cm) (p<0.001), indicating an over-pronated foot due to lower medial longitudinal arch height. Total plantar peak pressure (kPa) was 37% higher among dancers, whereas MPP was 24% higher on midfoot and 13% higher on forefoot, indicating greater plantar loading during walking.\u0000\u0000\u0000CONCLUSION\u0000Greater plantar loading and an over-pronated foot during the most commonly performed weight-bearing activity of daily living (e.g., walking) explain the common prevalence of ankle and foot pain among dancers. These findings will inform clinicians and Bharatanatyam dancers on dancer's foot function and guide strategies for prevention and management of foot pain.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 1 1","pages":"53-57"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48693088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M. Sirufo, L. M. Magnanimi, L. Ginaldi, M. De Martinis
We read with great interest, in the December 2021 issue of the journal, three papers by Clorinda Panebianco, Ari Cantuária Vilela et al., and Tamara Borger et al. concerning musculoskeletal complaints in musicians. These authors have successfully addressed the topic of the highly prevalent complaints and disorders among musicians that impact their wellbeing and performance abilities. Unfortunately, even if musculoskeletal disorders are among the most frequent and painful, we must also remember other occupational disorders that affect musicians, often overlooked and underestimated, can have the same clinical and performance impact. Among these "forgotten" diseases, it seems important to remember the microcirculation disorders.
{"title":"Recognizing Microcirculatory Disorders in Musicians to Preserve a Good State of Health and the Best Artistic Performance.","authors":"M. Sirufo, L. M. Magnanimi, L. Ginaldi, M. De Martinis","doi":"10.21091/mppa.2022.1010","DOIUrl":"https://doi.org/10.21091/mppa.2022.1010","url":null,"abstract":"We read with great interest, in the December 2021 issue of the journal, three papers by Clorinda Panebianco, Ari Cantuária Vilela et al., and Tamara Borger et al. concerning musculoskeletal complaints in musicians. These authors have successfully addressed the topic of the highly prevalent complaints and disorders among musicians that impact their wellbeing and performance abilities. Unfortunately, even if musculoskeletal disorders are among the most frequent and painful, we must also remember other occupational disorders that affect musicians, often overlooked and underestimated, can have the same clinical and performance impact. Among these \"forgotten\" diseases, it seems important to remember the microcirculation disorders.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 1 1","pages":"71"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42662349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：