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This article explores the use of art as a form of communication and meaning-making in participatory action research (PAR). The authors, researchers and educators, contemplate this concept through a pedagogical lens, and consider the role that visual and performing arts can play in social action. Based on the work of a youth-adult participatory action research collective, the authors reflect on the pedagogical process used to analyze research findings, take actions, and affect local change. Created to investigate opportunity to learn issues, the youth members of the collective created spoken word poetry, post-cards, film shorts, and speak-outs to engage multiple audiences in their research findings. By engaging art as an element of PAR, actions can travel visually, viscerally, and verbally with the potential to influence individuals, communities, and policies.

The advances of scientific techniques such as magnetic resonance imaging and functional magnetic resonance imaging have led to an enormous increase in understanding of the physical, neurological and cognitive developments in infancy. Alongside this, radical new forms of theatre, dance and music have emerged, aimed at this same age group. Many artists now work alongside child psychologists, educators and other infant specialists to design performing arts productions suited to the needs and abilities of the infant audience. This article provides a summary of the development of the five main senses in early infancy in relation to theatre-based productions for babies aged 0-18 months. An exploration into this cross-disciplinary research practice not only demonstrates how performing arts have adapted for the baby audience, but also how they can provide a platform for further research into child development.

This chapter describes an after-school visual and performing arts program serving middle and high school youth operated in partnership between a community-based organization and two schools in Brooklyn, New York. Data collected on the program provides evidence of participants' identity exploration and development of positive relationships and social competencies. [This article originally appeared as NSSE Yearbook Vol 113, No. 1.]

Using a grounded theory study of two prominent performing arts organizations during the COVID-19 pandemic, we develop theory about how organizations respond to adversity over time. Building on research on resilience, resourcefulness, and crisis management, we induce a process model that unpacks the mechanisms and dynamics that enable organizations to act resiliently. We find that organizations approach adversity using two types of resourcefulness. Promotive resourcefulness focuses on opportunities from adversity, which leads to acting resiliently. We show how promotive resourcefulness becomes sustained over time by endogenously producing resources—crisis agency, trust, and hopefulness—which expands an organization's identity and leads to resilient acts. In contrast, preventative resourcefulness focuses on minimizing worst-case outcomes, which leads to a lost organizational identity and relatively weak adversity adjustment. We find that preventative resourcefulness becomes part of cycles that erode trust, limit crisis agency, and generate hopelessness. Additionally, we explain how financial, emotional, and operational updating can shift preventative to promotive resourcefulness, allowing organizations to act resiliently later in a crisis. Our findings unpack critical mechanisms and processes that explain whether and how organizations act resiliently over time. [ABSTRACT FROM AUTHOR]

In the article, the author discusses how public libraries can promote a vibrant local music community by citing their efforts at the New Orleans Public Library to support artists through their Crescent City Sounds streaming service. Also cited are how libraries can provide more credibility and recognition of artists to the listening public and the comment of Justin Powers of Marina Orchestra on the role of libraries in promoting the music industry.

BackgroundAchilles tendinopathy can be a devastating condition in ballet dancers. Initial medical evaluation is frequently conducted by generalist physicians, who may lack the perspective of dance and sports medicine focused training and often prescribe complete rest for chronic overuse injuries. In order to provide targeted information about Achilles tendinopathy and the unique needs of elite athletes, such as ballet dancers, we designed an educational intervention that covers relevant anatomy, physiology, biomechanics, clinical presentation and evaluation, and recommendations for initial treatment and sub-specialty referral. The objectives of this study were to determine baseline understanding of Achilles tendinopathy by generalist physicians and to evaluate the efficacy of an educational intervention on their knowledge.MethodsThis was a prospective pre- post-test study, to measure improvement in knowledge about Achilles tendinopathy. Emergency Medicine and Primary Care physicians participated in an educational intervention with didactic and hands-on components. Data were analyzed using a two-tailed t-test.ResultsTwenty generalist physicians participated. There was significant improvement in their knowledge of Achilles tendinopathy for all our educational objectives (Pre-test: 59% correct answers; post-test: 79% correct answers; P

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This paper aims to highlight examples of artistic motifs common throughout Egyptian history but augmented in novel ways during the 27th Dynasty, a time when Egypt was part of the Achaemenid empire and ruled by Persian kings. These kings represented themselves as traditional pharaohs within Egypt’s borders and utilized longstanding Egyptian artistic motifs in their monumental constructions. These motifs, however, were manipulated in subtle ways to send targeted messages to audience(s) of this art. Art historians tend to situate visual styles and motifs within the longue durée of artistic tradition and pick a singular, official, and centralized perspective to narrate the history and reception of that art. In the case of Egypt, this perspective is often that of the king, and there is an assumption that there was a monolithic message sent to his people. But we are not dealing with a homogenous people; a diverse population would have had varied reactions to and interpretations of this visual signaling. By highlighting both the augmentation of traditional motifs undertaken by the Achaemenid administration and the multiplicity of perspectives they held for their audience(s), we can better understand ancient art as being dynamic in function and interpretation, rather than as a static snapshot of carbon-copied royal authority.

This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywood production model, widespread distribution across streaming services, and creation during a period of growing Asian American cultural representation. Sino-American films negotiate both Chinese-language film and Hollywood by focusing on overlooked characters— Chinese-language-speaking Americans. This article contributes to conversations in Chinese film studies and Asian American studies by bringing Asian American film into exchanges with three Chinese film studies paradigms: transnational cinema, Chinese-language film, and Sinophone film. This cross pollination uncovers new areas for further study. Sino-American film demonstrates the importance of Sino-American language, ethnicity, and culture within the subsuming category of Asian American film. Furthermore, pairing Sino-American films with Chinese film studies uncovers a new category of Chinese-language film outside assumed contexts and paradigms.

The diversity of the South African higher educational student population requires innovative pedagogical strategies that facilitate transformative and collaborative embodied learning. This article demonstrates how the choreographic process emerges from the context of multiculturalism through a pragmatic learning approach called meshwork choreography. Meshwork suggests an interwoven relation that emphasises the ever-evolving nature of relationships within an environment. Choreography as meshwork is where the choreographer does not impose preconceived ideas on the dancers but rather facilitates a collaborative and exploratory process. The research employed a conceptual framework of phenomenography, embodied and collaborative learning to frame the discussion towards a model of how choreography functions as meshwork. Composition and design processes in and of themselves embrace transformative learning through collaborative, embodied, and relational practices and are bolstered when they converge within the creation of choreographic work. This article reflects on students’ experiences in the Performing Arts Dance Stream at Tshwane University of Technology in conceptualising choreography as meshwork. Phenomenography was adopted as the research methodology, where data was analysed within phenomenographic categories. The article offers a South African perspective, informed by Ubuntu, of a meshwork model for the benefits of applying transformative learning through choreography within a higher education dance context. [ABSTRACT FROM AUTHOR]

Our multifaceted society calls for engineers that are not only experts in their domain, but possess the flexibility to understand adjacent disciplines. The inclusion of the performing arts in engineering curricula has shown potential for cultivating creativity and equipping STEM students with problem-solving abilities. However, the literature offers limited examples of such integration in engineering courses. We present a unique learning experience involving engineering students from the Royal Institute of Technology (KTH) and circus students from Bachelor's programme in Circus at Stockholm School of the Arts (SKH). Grounded in the concepts of docendo discimus, presentational dimension of circus and reflective thinking, our study aimed to: (1) explore engineering students' acceptance of an unconventional collaboration with circus peers; and (2) assess the pedagogical value of this collaboration for the engineering students. We highlight challenges and potentialities of this collaboration, to inform educators interested in creative teaching approaches. [ABSTRACT FROM AUTHOR]

This article discusses the findings of a new qualitative study conducted in 28 European countries, examining barriers to cultural participation as perceived by representatives of organisations of people with disabilities. The study explores barriers operating in all art-forms as well as in cultural heritage, and it encompasses participation of people with a broad range of disability types both as audiences and as creators of culture. The article evidences that a range of interlinked barriers are commonly perceived by people with disabilities in five areas – lack of effective laws and policies; inadequate services and/or funding; negative attitudes; lack of accessibility; and lack of involvement of persons with disabilities in cultural organisations. The article argues for more systematic approaches to enforcement of laws and policies, for greater knowledge about disability to be embedded within cultural organisations and policymaking, and for employment of people with disabilities at all levels within cultural sectors. Points of interest: This article presents research on participation by people with disabilities in cultural life (such as theatre, cinema, libraries, etc.) from 28 European countries. This research sought the views of people representing organisations of people with disabilities, of Deaf people and of organisations working on arts and disability. It found that several barriers to participation (as audiences and artists) exist in all countries considered and across all disability types. It identifies and categorises barriers operating in five areas – lack of effective laws and policies; inadequate services and/or funding; negative attitudes; lack of accessibility; and lack of involvement of persons with disabilities in cultural organisations. The research highlights the need for existing laws to be fully applied and enforced, and for good practice, where it exists, to be made more widely known. It also shows that cultural organisations and policy-makers need to acquire greater knowledge about disability. [ABSTRACT FROM AUTHOR]

The field of performing arts presents an often unpredictable area for career development. Yet many people are drawn to this field as their chosen career trajectory. This study examines the life-career experiences that shape performing artists' trajectories within the framework of career construction theory. Using a qualitative multiple case study design, data was generated by Career Interest Profiles (CIP), career construction interviews (CCI), life-design counseling, and publicly available information. Thematic analysis uncovered two primary themes: the unique journey of performing artists in constructing their careers and the trajectory of career development, which highlights the factors influencing perceived success or failure and the essential 'survival skill set. The research offers theoretical insights and practical understanding of protean careers in demanding industries. [ABSTRACT FROM AUTHOR]

Stemming from the combined philosophies of social work and professional artistic practice, this paper recounts five years of working with populations of fifth graders to craft their own original plays. Application of group development theory in our evolving theatrical process emphasizes several lessons, including utilizing a population's observed need(s) to derive socioemotional purpose; the ownership a group discovers when creating its own material; and the importance of centering what two communities have to offer each other in mutual aid. The 509 classroom at PS3 is a case study for the immense socioemotional impact artistic practice can have when student need is not neglected in favor of academic skill acquisition. [ABSTRACT FROM AUTHOR]

This article investigates how critical pedagogy might broaden its purview and cultivate a more symbiotic relationship between formal education and life-long learning through a 'counter-critical pedagogy'. By reconsidering central tenets of Paulo Freire's Pedagogy of the Oppressed through the lens of Bernard E. Harcourt's provocation for a 'counter-critical theory', the article proposes how pedagogy could more effectively respond to circumstances – both personal and global – that are ever-changing and urgently require our intervention. In addition to critiquing the writings of Freire and Harcourt, the article draws on Indigenous epistemologies and the field of artistic research to emphasize the importance of complex and interdependent modes of knowing and holistic approaches to creating community. Key concepts in critical theory and critical pedagogy are repositioned in more active and processual terms that promote a dynamic approach to learning, one that is fully contextualized and situated, embraces greater complexity and intersectional approaches and requires a holistic and ongoing process of reflection and critique. [ABSTRACT FROM AUTHOR]

This article provides an alternative perspective on "new music" in Indonesia, challenging the dominant Euro-American viewpoint. It explores various aspects of contemporary music in Indonesia, including new music activities in different regions, the role of women composers, and the development of new instruments. The authors aim to present a comprehensive overview of the current issues and developments in Indonesian contemporary music, highlighting the contributions of underrepresented groups and recentering ignored modernities. The article uses historical study, autoethnography, and musical analysis to provide readers with an empirical insight into the subject. [Extracted from the article]

Background: Public health restrictions during the Coronavirus-2019 (COVID-19) pandemic in Canada have substantially reduced the work and income of performing and creative artists. We aimed to understand how factors at the public policy, community, organizational, interpersonal and individual levels affected Canadian performing and creative artists' health and livelihood during the pandemic. Methods: We interviewed 14 creative and performing artists from an academic hospital-based healthcare center in Toronto, Canada. In addition, we conducted secondary data analysis on an existing set of 17 transcribed interviews from a quality improvement study that included relevant information to answer the present study's research question. We applied an interpretive descriptive approach to our qualitative inquiry and used the social-ecological model (SEM) as our analytic framework. Results: We identified factors at all levels of the SEM that tended to synergistically affect the health and livelihood of artists during the COVID-19 pandemic. Public health restrictions and government financial assistance programs have downstream effects on other levels. During the pandemic, many artists sensed an overwhelming loss of community, financial instability, and limited access to healthcare; which in turn affected their health. For those who accessed financial assistance programs, the stability of income afforded time for rest without the stress of food insecurity or housing instability. Conclusions: Use of the SEM as an analytic framework reflects the multidirectional intricacy and dynamic interplay among factors operating within and across all five levels, bringing to light potential areas of improvement at various levels to strengthen resilience and reduce risk factors associated with artists' health and healthcare access. Findings also accentuated the fragility of precarious work that inundates the performing arts industry, which emphasizes the need for interventions and policies to address this issue. Such interventions might include financial support programs for artists, access to affordable healthcare services, and efforts to strengthen social support networks within the arts community. [ABSTRACT FROM AUTHOR]

While ‘trauma' has become a buzzword encompassing any distressing event, its definition as an unassimilated psychological wound, unresolved and recurrent, also means that it cannot ever be completely known. Trauma therapy seeks to reintegrate experiences, breaking the cycle of perpetual suffering through fragmentary recollection. Drama and performance art offer a platform for this reintegration, potentially facilitating healing. However, the fine line between therapeutic confrontation and re-traumatization necessitates careful navigation, avoiding triggering negative emotions. Crucially, not all traumatic events lead to PTSD; resilience and communal support can mitigate the effects of distressing experiences, as seen in instances of shared acceptance and forgiveness. Theatre's role in addressing trauma lies in its ability to bear witness, creating spaces for communal acknowledgment and shared grieving. While contemporary performances often revel in discomfort, embracing unresolved narratives, they prompt reflection on the limitations of representation. Art's transformative potential lies not in explicit curative intent but in its expression of unresolved complexities of human experience. Through patience, acceptance, and a refusal to impose meaning, creative arts can serve as a site for healing, fostering empathy and connection amidst the fragmentary experience of what Freud called ‘traumatic neurosis,’ what has since come to be called Post Traumatic Stress Disorder. [ABSTRACT FROM AUTHOR]

The author reflects on their lifelong fascination with theatre and the search for divine encounters, detailing their experiences from childhood to adulthood in both the performing arts and diverse spiritual practices. Topics include their formative experiences with influential artists and productions, the convergence of theatre and spirituality in their critical writing, and the transformative power of criticism in revealing the sacred within performance.

This scoping review aims to describe the range of research studies using arts-based data collection methods with immigrant and racialized older adults. A secondary aim is to identify challenges and strengths of using these approaches with this population. This review uses Arksey and O'Malley's five-stage scoping review framework with a final number of 16 references included for the study. Enhanced social connectedness, increased transparency and quality of findings, and self-empowerment were key strengths of using arts-based approaches for data collection. Challenges identified included resource limitations, cultural and language barriers, and barriers to meaningful engagement. Only a small number of studies have utilized arts-based methods with immigrant and racialized older adults. Arts-based approaches require unique methodological adaptations with this population but have the potential to increase engagement in research activities, authenticity of research findings and empowerment of older adults. [ABSTRACT FROM AUTHOR]

Objective To evaluate prevalence of performance-related pain among musicians and compare pain characteristics, associated disability and approach to pain management, between music students and professional musicians. Methods A multicenter cross-sectional study was performed in a multi-stage stratified cluster random sample of 585 musicians, stratified by music students (294, among which 234 were at pre-university level and 60 at university level) and professional musicians (291). The main outcome was performance-related pain, measured by Performance-related Pain among Musicians Questionnaire (PPAM). Secondary outcomes were: pain management approach, physical activity levels, fatigue, distress, and health-related quality of life. Results The lifetime prevalence of performance-related pain was 55.0% (n  = 322), being significantly higher among professionals (57.5% vs 42.5%, P  < .001). Pain intensity scores were significantly higher in professional musicians (P  < .05), but pain interference in performance was higher among music students, who also reported significantly higher levels of fatigue (P  = .008) and distress (P  < .001), and lower quality of life (P  < .001). Regardless of the high levels of pain intensity and interference, fatigue, anxiety and depression, and low levels of quality of life, 33% musicians who developed pain had never looked for healthcare (this proportion is significantly higher for music students, 57%, P  < .001). Conclusions We present the first multicenter study on performance-related pain among musicians with different backgrounds, using a validated tool, and distinguishing music students from professional musicians. Performance-related pain is a highly prevalent and disabling condition among musicians, however, its proper evaluation and management are still often underappreciated, contributing to significant impairments and reduced quality of life. [ABSTRACT FROM AUTHOR]

This document is a compilation of recently published books in the field of music. It includes a variety of topics such as cultural histories of musicals, composition techniques in game music, biographies of musicians, and studies on different genres and styles of music. The books cover a range of perspectives and cultures, including African American women in 1950s music, Palestinian music in exile, and the impact of masks in pop music. These books provide valuable resources for library patrons conducting research on specific musical topics. [Extracted from the article]

Marching band is both a sport and a performance art. Organized athletics like American football, soccer, and cheerleading all have established epidemiologic trends of injury, including stigmata from head trauma. Despite the potential for mild to severe injury, there is a paucity of data on marching band-related morbidity. We examined the National Electronic Injury Surveillance System from 2012 to 2021 to describe demographic information and injury patterns. There were an estimated 20 335 marching band injuries (95% confidence interval: 12 892-27 777). The majority of injuries occurred in females (70%), and those aged 14 to 18 years (85%). Fifty percent of all injuries occurred in the lower extremity, and soft tissue injuries were the most frequently observed diagnosis (49%). Mild traumatic brain injury accounted for 6% of all injuries. Of marching band injury, 98% did not require escalation of care. Based on these findings, we suggest targeted public health intervention by sports medicine teams. [ABSTRACT FROM AUTHOR]

In any post-conflict society, the work of creating an effective framework for truth and reconciliation is fraught with challenges that those in power will often seek to manage and manipulate. In this article we explore the critical role of the arts within the discourse of political reconciliation in contemporary Northern Ireland. Taking contemporary theatre and screen culture as our case-studies, we assess the extent to which these modes of cultural production create alternative spaces for dialogue and reconciliation in a dysfunctional post-conflict democracy, where the responsibility of political institutions and elites is failing to adequately address the rights of victims and survivors. [ABSTRACT FROM AUTHOR]

Over the centuries, changes in technology and education have transformed people's attitudes towards the arts, making them more accessible. Bohemianism and modern art in the 18th century challenged the elitist perception of the arts, democratizing access. Digital tools and online resources have further opened doors to creating and experiencing visual and performing arts. However, despite this accessibility, society is increasingly moving away from the arts due to a focus on technology, capitalism, individualism, materialism, and instant gratification, leading to rising mental health issues. Engaging in the arts, which connect us to the physical world through our senses, can counteract these issues by promoting self-fulfilled artistic experiences. The 20th and 21st centuries have brought new ideologies to the arts, emphasizing discovery and inquiry. Yet, these values can sometimes be overshadowed by past knowledge. Striking a balance between traditional prestige and modern experimentation is crucial. Making art experiences accessible to all, fosters sensitivity, interpretation, critical thinking, feeling, and expression--essential qualities in the current generation. For instance, Michael D. Higgins has highlighted the role of creativity in fostering an engaged and innovative society. In one of his addresses, he mentioned "the Arts have clear economic potential but, even more important, they are vital indicators of the spirit of the times as well as being enablers of positive change" (Higgins, 2012). The art of our time reflects our current self-perception and creative language, shaping our cultural identity. Individual creative expression today can define tomorrow's national cultural identity. The arts continue to evolve as a mirror of our society's values and beliefs. All this will be explored through two artistic projects, one focusing on music composition and performance, while the other focusing on visual art. Both projects have a strong element of community practice, which give the opportunity for further investigation into hands-on workshops. [ABSTRACT FROM AUTHOR]

The article explores strategies for revitalizing teaching practices, emphasizing the importance of breaking out of stagnant routines. Topics discussed include leveraging technology in pedagogy, embracing a focus on mindfulness and single-tasking, and utilizing positive reframing to overcome perfectionism.

The article offers strategies for teachers to make the most of the back-to-school season by refreshing their teaching materials and practices to avoid burnout. Topics include updating repertoire and textbooks, leveraging auxiliary resources, and prioritizing personal well-being to enhance teaching effectiveness.

Background Established norms for fitness and performance measures are lacking in circus arts. These would assist healthcare professionals and coaches to screen for readiness to participate in training or performance, determine post-injury return to performance, and develop targeted conditioning programs. Purpose The purpose of this research was to establish norms for trunk and extremity physical exam and performance measures in circus artists by professional status, assigned sex at birth (ASAB), and age. Study Design Descriptive laboratory study Methods Circus artists (n=201; ages 13-69y; 172 females ASAB, 29 males ASAB) from 10 cities across the United States underwent a baseline physical examination including shoulder, hip and trunk measures of passive (PROM) and active (AROM) range of motion, measures of flexibility (shoulder and hip), strength (manual muscle tests, grip strength), cardiovascular fitness (3 minute-step test), balance (single limb and handstand), and performance, (pull-ups, and the closed kinetic chain upper extremity stability test [CKCUEST]). ANOVAs were used to determine between group differences by age and T-tests to discern differences by ASAB or professional status. Results Differences existed by professional status for shoulder external rotation PROM, hip PROM, hip flexibility, shoulder and abdominal strength, and cardiovascular fitness. Sex differences were seen in active scapular upward rotation, hip and shoulder PROM and flexibility, hip and grip strength, and for functional performance measures (pull-ups, CKCUEST). Differences by age were limited to active scapular upward rotation, shoulder PROM, flexibility and strength, cardiovascular fitness, and balance. Overall, professionals outperformed pre-professionals for lower abdominal strength, pull-ups, handstand balance, cardiovascular fitness, hamstring, and straddle flexibility. Generally, males ASAB demonstrated greater shoulder flexibility and upper body functional strength while females ASAB had greater hip and lumbar flexibility and hip strength. No measures showed consistent declines with increasing age, though some showed differences between adolescents and adults. Conclusion These normative values for physical characteristics and functional performance in pre-professional and professional circus artists may be used to guide screening for readiness to participate in advanced training or performance, return to performance after injury, and the development of targeted strength and conditioning programs. Level of Evidence 3 [ABSTRACT FROM AUTHOR]

Machinery of Government restructures—transformations that create or abolish departments or move functions between agencies—often result in the misalignment of cultures and subcultures that impact business operations and customer service levels. An understanding of how subcultures are impacted during restructures is vital as they can reveal diffused microcultural boundaries that reflect highly problematic cultural tensions. This study provides rare ethnographic insights into how Machinery of Government restructures destabilise the delivery of optimal customer service by disrupting Business as Usual operations. Based on 74 interviews and ethnographic methods, the integrationist 'DNA' culture, subcultures, and emerging microcultures within Service NSW, a public sector agency in New South Wales (Australia), were examined during and after its merger with the Department of Customer Service. Microcultures were shown to function in a way that preserved Business as Usual activities and responsibilities to secure task independence, highlighting the importance of developing a conceptual framework for the detection and resolution of cultural resistance. Scholars and practitioners may adopt the framework used in this study to determine how, when, and where cultural resistance is likely to emerge. Points for practitioners: This study critically analyses the 'DNA' culture of a service delivery agency in New South Wales during and after its merger with the Department of Customer Service.Service NSW's 'DNA' integrationist culture, the broader subculture of its 'Support Office', and various microcultures were detected.Microcultures were shown to preserve Business as Usual activities and secure task independence as reflected in backstage sites of enactment. The degree of intra‐ and interpersonal tensions experienced by Service NSW employees was opaque to senior leaders responsible for the restructure.Leaders and practitioners responsible for mergers should fully understand the changing nature of employee language and behaviour. It is advisable they act on the assumption that employees are experiencing tensions resulting from the organisation's disturbed social reality.Scholars and practitioners may adopt the conceptual framework and this case study's methodological approach to analyse a public service agency's various cultures, before, during, and after Machinery of Government (MoG) mergers or restructures, to pre‐empt, identify, and reduce cultural tensions, and should consider the feasibility of appointing a Workplace Change Committee.Workplace Change Committee Members act like first responders across impacted departments and divisions within subcultures. Workplace Change Committee Members manage emerging issues, specifically cultural disparities to ensure both the intra‐ and interpersonal safety of employees impacted by MoG mergers. [ABSTRACT FROM AUTHOR]

A part of the identity and culture of the people of Iran has been preserved in the framework of native and local games. In Iran land, many local and diverse sports are performed in various ceremonies. Among these games that have gained a national aspect in Iranian culture is the game of polo, which has been passed down from one generation to the next and continues to exist. Polo has a high place in Iranian culture. Our understanding of the polo game relies more on historical texts, literature, and artifacts. But the gap that can be seen in this field is the examination of the phenomena and evidence of polo games from the perspective of intangible cultural heritage. Therefore, the purpose of the present article is to know the place, importance, and explanation of the polo match as one of the components of identity in the culture of Iranian people with a descriptive-analytical method. In order to achieve this goal, the game of polo has been considered in various fields of oral traditions, social customs, and performing arts. First, the toponyms that are connected with polo have been checked. Then, the evidence of playing polo among native and local games has been discussed. And it tried to identify the signs of polo and to express its similarities and differences among different regions. The result of the research showed that the polo game was customary not only among the nobles and elders but also among the ordinary people of Iran. [ABSTRACT FROM AUTHOR]

This paper attempts to uncover aspects of artistic performances where the lines between real life and artistic representations are quite blurred. To achieve this purpose, we will investigate the interdependencies of the artistic power of Lalish theatre, a performance troupe emerging from an oppressed Kurdish context, coupled with the human and socio-political dimensions of Lalish performances. By adopting a qualitative descriptive analysis of key features of the performances, the research delves into the methods employed in Lalish performances to challenge and destabilize conventional dramatic norms, hence the emergence of a compelling form of tacit social resistance. Premised on Foucault's concept of heterotopia, the study investigates the ways Lalish performances employ space and artists' bodies and voices to implant viewers within innovative realms, those that expose, upset and criticize societal norms all at once. The inquiry is focused on the concept of enacted utopias, through which Lalish theatre disrupts overriding hierarchies and foresees alternative realities. Through diverse cultural connotations premised on the deconstruction of conventional narratives, Lalish performances speak a unique theatrical language, one that enhances human understanding and social awareness and supports ethics of equity and human dignity. The research examines how Lalish theatre transports audiences into freer spaces where they are allowed not only to interpret performances, but also to contribute to constructing them. It is through such non-chronological presentations aiming at creating a potential broader vision of a more equitable reality that the troupe exhibits aspects of resistance to the objectifying and constraining practices endorsed by conventional dance. By investigating the interplay harmonizing body, voices and spaces, this study reveals how Lalish holistic and innovative performances might serve as a powerful artistic tool for creating new realities where human empowerment equity and dignity could prevail. [ABSTRACT FROM AUTHOR]

In my experience as an in-house archivist for the National Theatre (NT) of Great Britain, I have discovered that what the NT Archive staff have historically considered 'representative' of a performance in their collecting is not enough to satisfy all the research needs of its audiences. This article looks to theatre and performance studies with its discussions of historical fragments and archival science through an active archivist model to develop a new approach to archiving performance and creating a more representative archive of performance at the NT. Many principles of archival science are challenged by the practicalities and nuances of being based in a live, working theatre but drawing on the 'questioning paradigm' (Ridener in From polders to postmodernism: a concise history of archival theory, Library Juice Press, California, p 101, 2009), this article will consider what shift can occur within archival science to allow archivists more flexibility in their collecting and cataloguing practices to create a new model of archiving, which will create a more representative archive of performance. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyze the potential contribution of broadcasting live performing arts in movie theaters to the democratization of high culture. To accomplish this, we analyze the profile of attendees to these events to explore whether this new form of cultural consumption can attract individuals who do not normally attend live performances, thereby renewing high-brow audiences. Using data from the Spanish Survey of Cultural Habits and Practices in Spain (2018–2019), we find that individuals who frequently attend movies are more likely to attend live opera broadcasts in movie theaters, even those who do not consume live opera or even do not listen to opera at all. This is a positive insight suggesting that this initiative may be successful to engage new audiences to high culture. [ABSTRACT FROM AUTHOR]

Pungmul, a form of Korean folk drumming, is prominent as a traditional Korean music practice among diasporic Koreans, including Zainichi (Korean residents in Japan). Over the last four decades, it has become popular across the globe as a tool for heritage education and a marker of ethnic identity. In this paper, I engage with several Zainichi Korean musicians who pursue pungmul as their full-time profession or as a serious leisure activity. In Japan, most pungmul musicians are third- or fourth-generation Korean migrants and, as a group, present a complex mix of state, national, and cultural affiliations as North Koreans, South Koreans, and naturalized Japanese. Considering the inherent social complexities among Zainichi, I delineate how a traditional Korean performing art form enables these Koreans to overcome and transcend social barriers and nation-state boundaries while shaping and expressing their identity as diasporic individuals. [ABSTRACT FROM AUTHOR]

Navigating the complexities of nowadays cultural and political landscapes requires acknowledging the significant role emotions play in shaping cultural policy processes. This paper addresses this crucial issue by conducting a thorough examination of two distinct case studies: the EU Creative Europe programme, focusing on cultural participatory practices within the Audience Development (AD) priority, and the city context of Naples, during its "Season of the Commons" from 2012 to 2021. Through these case studies, this research delves into the intricate interplay between emotions, cultural policy, and political dynamics. Drawing from a multidisciplinary framework encompassing sociology, political science, and cultural studies, the analysis offers both theoretical insights and empirical evidence to define the concept of emotional clusters. These clusters represent a form of social adaptation in times of organic crisis, forming the foundation of novel and often unrecognized spaces of resistance that operate within the spectrum between hegemonic and counter-hegemonic realms. This work aims to critically reflect on the role of emotions in the tension between top-down cultural policymaking and bottomup cultural practices by scrutinizing the connection between emotional clusters and the empirical evolution of cultural policy processes. In doing so, it aspires to provide empirical analysis of emotions as a means to comprehend contemporary decision-making procedures in cultural and policy/political dynamics, while suggesting coordinates for viewing cultural policies as a lively political matter. [ABSTRACT FROM AUTHOR]

Dancers and musicians have unique physical demands that can lead to injury of the peripheral nerves. Specific dance movements and specific instrument positions, combined with countless hours of practice and repetition, create an environment for potential nerve injury. Familiarity with these variables and recognition of the common presentations of neuropathic syndromes are essential in the evaluation of a performing artist with a suspected peripheral nerve injury. Assessment should include an understanding and analysis of their dance style or instrument playing posture, particularly in the position or motion that recreates the symptoms if possible. Practice and performance schedules should also be considered. Diagnosis may require electrodiagnostic testing, imaging, or diagnostic injections. Treatment should be comprehensive and may include modifications in practice schedule, posture/position, and technique in addition to consideration of medications, splints/orthoses, physical therapy, and injections. The instructor/teacher should be involved in the treatment plan if applicable. Complete rest in this population may not be realistic or necessary. Early and accurate diagnosis of nerve injury is important for safe return to dance or instrumental music. [ABSTRACT FROM AUTHOR]

Introduction: Depression is the leading cause of disability worldwide. Support can be provided by the arts. Objective: The aim of the study was to explore the experiences of patients with depressive symptoms after a circus performance. Methods: A qualitative research study using a phenomenological approach was carried out. The design was approved by an ethics committee. Volunteers were referred by general practitioners to an ambulatory cultural program and were invited to express their experience throughout interviews that were analyzed with the interpretative phenomenological analysis method. Results: Twelve patients participated in the interviews. The effect on the patient was linked to interactions with the performance. It was an effective way of socializing for patients. The show offered patients distance from their daily difficulties. The circus provided specific elements as a resource for patient empowerment. The experience lived by patients during a circus performance is a cognitive phenomenon inducing an influence on the spectator with depressive symptoms. A beneficial effect depended on the artistic content selected, the support offered by the organization operator, and the medical orientation. Conclusions: The observations characterized the emotional reception of a circus show among people. This study invites further exploration of the impact of circus art on the quality of life of patients with depressive symptoms. [ABSTRACT FROM AUTHOR]

Sociologists of culture have long noted that contrasting cultural frames can lead to status ambiguity and status multiplicity. We explore these phenomena in the domain of professional sports by first replicating and then extending and challenging recently published findings on selections for the National Basketball Association (NBA) All-Star game. Relying on a large data set that includes more than 10,000 player--years, we show that accounting for better-justified performance measures reduces but does not nullify the effects of status cumulative advantage on All-Star selections. However, when replacing All-Star selections with a less ambiguous measure (selections to All-NBA teams), we no longer find evidence of decoupling between player performance and award nomination. From this we conclude that cumulative status advantage only affects selection when voters view factors other than statistical performance as legitimate, perhaps even desired, selection criteria. These findings have relevance for our understanding of status evaluations beyond professional sports, including in domains as diverse as the film industry, the performing arts, literature, politics, and the sciences. [ABSTRACT FROM AUTHOR]

This article evaluates the configuration of musical practices in Mozambique's capital city, Maputo, during the 'socialist single-party period' (1975–1994), focusing on changes in dancing venues and entertainment shows organized by companies like Produções 1001, Delta Produções, and the state-owned Empresa Moçambicana de Entretenimento (EME), which aimed to centralize all aspects related to música ligeira (literally 'light music') in the country. Through fieldwork interviews with politicians, producers, musicians, and archival research, this article elucidates the significance of musical activity and the entertainment industry in shaping the 'sonorous construction' of the 'new Mozambican man', as envisioned by FRELIMO. It explores numerous topics, including the initial prohibition of many venues in the early years of independence and the subsequent informal reversal of such decisions by 1994. [ABSTRACT FROM AUTHOR]

Tristan Alonge, Racine et Euripide: La révolution trahie. « Travaux du Grand Siècle », Genève, Droz, 2017.