Meetings and Events
Annual General Meeting
You are welcome to attend
the AMANZ Annual General Meeting, 7.00pm to 8.30pm on 24 February 1999
at Symphony House, 69 Tory Street, Wellington.
7.30pm Welcome and Introduction of Executive
2. Previous Minutes
3. Matters Arising
4. President's Report
5. Treasurer's Report
9. Strategic Plan
10. Programme for 1999
11. General Business
12. Election of Officers
13. Date of Next Meetings
We look forward to seeing you there.
Apologies to: Dawn Sanders
Ph: 476 8369 Fax: 476 8754 Email: Action-Sanders@xtra.co.nz
Seminars for 1999 (to July)
March 16 Russell Tregonning
April 26 Alison Bagnall - Voicecraft
May 24 Elizabeth Andrews - author of "Healthy Practice for Musicians"
June 23 To be announced
July 21 To be announced
Venues to be announced at the AGM
February 21(Session 1)and March 21(Session 2)- Wellington Branch IRMT
Target Your Teaching - Module Two: "MAKING
Hospital Audiences Visit to New Zealand, 23-29 June
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"Damage to the Voice
means damage to the Personality"
Guest Speaker: Alison Bagnall
7.30 pm Monday 26 April 1999
St Johns Centre, Karori,
Cnr Campbell and Karori Road, Karori, Wellington
The New Zealand Association
of Teachers of Singing (NEWZATS) Wellington Branch will host an evening
for Arts Medicine Aotearoa NZ at which Alison Bagnall will be guest speaker.
April 26 will be an evening particularly for all those involved with the
voice, as teachers of singing or speech, students, artists, and medical
practitioners concerned with the healthy use of the human voice in all facets
We all need our voices to convey our ideas, feelings and, in fact, our total
personality. If the voice is damaged in any way by injury or strain there
is a reduction in the ability to connect with other people - in the home,
in the workplace, giving speeches, taking board meetings, the auctioneer,
the teacher, in fact, at every turn. This is magnified for anyone using
their voices in performance - singing or acting.
THE PERFORMER'S VOICE
When a performers succumbs to vocal injury or voice strain, the delicate
and unconscious organisation of the voice goes awry. No longer can the exquisitely
subtle movements and rapid arrangement and rearrangement of the parts which
acoustically shape the instrument for various vocal effects occur effortlessly
and efficiently. Struggle and effort replace ease and grace. Confidence
is lost and anxiety compounds the problem. Reintroduction of those patterns
which were available but not at the level of awareness is the subject of
Alison's presentation on April 26.
Moshe Feldenkrais, who died in 1984, pioneered a way of working with the
body to promote ease and grace in movement and once said "when you don't
know what you are doing, you can't do what you want." The human voice is
like any wind instrument. Breath acts to excite the vocal folds, the vibrator,
into motion to produce a pulse wave which is selectively filtered as it
passes through the throat and mouth before it reaches the ear of the listener
as recognisable as voice. Like any musical instrument we can learn to play
it well. We can learn to manoeuvre numerous parts of the vocal mechanism
consciously and in a differentiated way so that we can safely access every
type of voice for singing in any style or for speaking, teaching, debating
or drama work. Alison Bagnall's VOICECRAFT training develops such mastery.
Voicecraft ensures full resolution of such voice difficulties by reintroducing
optimal vocal techniques. The performer becomes conscious of the different
positions of the various parts and how such differences alter the perception
of tone. Finding their way between thin, thick and thin-stiff vocal folds,
"velar-port control", stabilising the voice with "anchoring", altering the
vocal tract length and selective use of aryepiglottic narrowing, (it is
pronounceable) to add brilliance to a note becomes easy and rebuilds efficiency
On April 26, Alison will present both theoretical and practical aspects
of her Voicecraft training. Like many voice professionals in New Zealand
currently relying on Voicecraft techniques, you will experience you voice
changing through the introduction of simple manoeuvres which optimise voice
production. With a lively and approachable style and illustrated with slides
and video, Alison will demonstrate how the changes you are making promote
the health and potential of your voice. Based on physiological/acoustic
research, Alison's Voicecraft training literally brings your voice out of
the realm of the mysterious and unknown. With Voicecraft any voice can become
skilful and versatile. The evening will conclude with discussion and questions
about the local services and support available in Wellington.
ALISON BAGNALL - Speech
Pathologist, Voice Specialist, Certified Voicecraft Practitioner, Feldenkrais
Practitioner, Churchill Fellow.
From the position of chief speech pathologist at the Royal Adelaide Hospital,
Alison moved into private practice for voice professionals twenty years
ago. She presents her work internationally. Already widely recognised
in the area of the voice and cleft palate work, she trained with Jo Estill,
developing mastery of Jo's innovative, research-based physiologic/acoustic
model for the understanding of the singing voice. She extended this for
the needs of both speakers and singers with therapeutic approaches, greater
task analysis and Feldenkrais style body awareness - and called the result
Voicecraft. With 17 years experience with Voicecraft she teaches in every
state of Australia, the UK, USA, Singapore, Hong Kong, Taiwan and New
Zealand to speech pathologists, singers (modern and classical), actors,
drama students, auctioneers, voice teachers, speech pathology students
and choirs. Her commitment is to the total well-being of the participant
as Voicecraft focuses not only on the mechanics but also on the psychodynamics
of skilful use of the voice.
For further information
or booking vouchers please contact:
Convenor NEWZATS Wellington Branch
c/- 31 Woodmancote Road
PH: 04 4792542
Pre-book, join AMANZ or NEWZATS and receive discounted admission.
$15 at door
$12 if pre-booked with Loretta
$10 Unwaged, NEWZATS and AMANZ members
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Target Your Teaching - Module Two: "MAKING MUSIC"
Victoria University School
of Music (Sponsors) 1.30 - 6.00pm
Instruments: Piano, Violin, Flute, Clarinet
Designed to encourage and equip emerging teachers and to stimulate experienced
teachers with fresh ideas: a practical and exciting opportunity to discover
new skills, explore and share ideas with other teachers and observe experienced
teachers in action. The course deals with the first five years of learning
and consists of three independent modules.
"Making Music" explores how to motivate pupils to become good musicians.
Topics covered include Musicianship, Music Tools, Motivation, Repertoire
and Business Methods.
1 session: $28.00
2 sessions $48.00
non IRMT members:
1 session: $32.00
2 sessions: $54.00
Students with ID:
1 session: $18.00
2 sessions: $30.00
IRMT members and their students can apply for sponsorship to attend.
Enquiries and registrations:
Bill Edginton (Registrar)
IRMT "Target Your Teaching"
Chester Rd RD1
Ph/Fax 06 379 5690
Sian Williamson (Convenor)
Ph/Fax 04 5268431
Please register as soon as possible.
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Hospital Audiences, Inc
(mentioned in our August newsletter) is a very vibrant New York based
organisation which among its activities includes approximately 2500 live
performances each year in health and human service facilities.
A Joint Adventure Downunder
with The Foundation for Hospital Art & The Friendship Force
June 23, Wed.Arrive in Auckland, New Zealand, Tour Auckland, spend night
June 24, Thurs.Depart via train for Wellington to meet host families.
June 25, Fri. Tour Wellington area
June 26, Sat. Tour Wellington area
June 27, Sun. PaintFest in hospital 1 to 5pm
June 28, Mon. Tour Wellington area
June 29, Tues. Tour Wellington area
You can contact HAI at 220 West 42nd Street, New York, NY 10036, (212)
575 7676, Fax (212) 575 7669, TTY (212) 575 7673 or http://www.hospitalaudiences.org
Back to Contents
Most back pain gets better quickly
by Margaret Yeomans, ACC
Most back pain gets better
quickly and people can take an active part in the recovery process. These
are two of the main messages in the recently published Patient Guide:
Acute Low Back Pain Management.
The guide reassures people
that most back pain is benign and once serious disorders have been eliminated,
they can help themselves make a faster recovery by staying positive and
active. Manipulation and medication for the pain may help in the first
The patient guide looks
at 'Red Flags' and 'Yellow Flags'. Red Flags are physical causes, which
are serious, but rare, and Yellow Flags are stresses and problems in people's
lives that make coping with pain harder. The guide contains practical
tips to help people deal with pain and an action plan to assist them to
set realistic recovery goals.
The patient guide complements
treatment provider guides published early last year. Both the treatment
providers and the patient guide have been developed by ACC and the National
Health Committee in consultation with treatment provides.
Nicholas Kendall, Senior
Clinical Psychologist and research Fellow, Christchurch School of Medicine,
played a key role in the development of the guides. "The patient guide
helps patients understand what health care they can expect," he says,
"and provides information about what they can do to help themselves".
"This century our culture
has tended to rely on quick fixes. We've made the mistake of telling people
if something hurts in the soft tissue they should stop moving. We now
know that people recover faster if they stay active. They can change down
some gears and moderate what they are doing, but not come to a full stop."
"It's important patients
take and active part in their own recovery. There needs to be an alliance
and cooperation between patients and treatment providers. As well as receiving
treatment, there are things patients can do for themselves. This patient
guide provides practical self help advice."
Copies of the patient guide
are available from all treatment providers and ACC Branch Offices.
Back to Contents
Movement Education: A Vital Component in Recovery from Dance Injury
By Warwick Long, CTE, Dip
Dance(VCA), Feldenkrais Awareness Through Movement® Teacher
In the physically demanding
and constantly changing environment of the dance industry, the vast majority
of injuries sustained by dancers with the exception of major trauma and
impact injuries, are classified as being cumulative and microtraumatic
in origin (R.M. Bachrach 1987). It is the breakdown of adaptive mechanisms
required to maintain a healthy state of existence that can often lead
to the occurrence of injury. Some of these contributing factors stem from
environmental conditions either in the "workplace" or outside it, ie personal
family living situation etc. Vital necessities in self care and self image
such as eating habits, nutrition, cardiovascular fitness, body maintenance,
mental health and living conditions, all form a part of this picture.
However by far the greatest source of direct overload stems from inappropriate
biomechanics, or poor use of technique. (Soloman and Micheli 1984) The
technique may be fine but the understanding and application of it as such
may be severely lacking.
Other contributing factors to constant sustained injury may be from maladaptive
alignment either from a physiological, anatomical source (ie scoliosis,
differing leg lengths, a previous severely traumatic injury) or from a
muscular imbalance. This would be manifested in either over or underdeveloped
usage of some muscle groupings at the expense of others. The origins of
this are many fold but the significant factor is they all result in a
reduction of the dancer's ability to function at their full potential.
All these factors are within
a dancer's conscious control, but only to a certain extent. There are
areas where there needs to be a possibility of change that can be manifested
at both a cortical and sub cortical level. One of the methods of identifying
causation and instance of injury can be from postural observation and
analysis. This can be from the outside eye of someone specialising in
the field who can then lead each dancer to learn to develop their own
internal observations and distinctions.
The concept of posture
is a dynamic concept. The actuation of posture exists in stillness and
in movement. Therefore manifestations of inefficient or "poor" posture
in stillness will translate directly into inefficient or "poor" posture
in movement. Concurrently it can be said that well organised or efficient
posture in stillness will translate into well organised posture in movement.
In learning to improve
dynamic posture three primary things need to occur:
1. There needs to be an identification and recognition at some level,
conscious or subconscious, of inefficient response patterns.
2. There needs to be a set of conditions, a situation, or an environment
that is conducive to letting go or releasing inefficient patterns and
allowing the possibility of new responses or behaviour to occur.
3. There needs to be a period where the learning of this new behaviour
can be integrated and applied to specific functions or techniques as required.
It is important to be aware
that many of these inefficient patterns exist at a subcortical level.
If we knew all the time precisely how we were doing what we were doing,
we wouldn't need any external intervention methods. Therefore to impose
a conscious method of correcting an unconscious movement habit is at best
Often realising they have postural defects dancers try to compensate through
a variety of muscular tricks. ( Bachrach RM 1987. 264) Some of these may
include tucking the pelvis to prevent lumbar lordosis, or contracting(retracting)
the cervical spine to correct the chin jutting forward etc. The problem
with this is when the demands on the system increase, when the movement
becomes even more complicated and physically demanding, the old patterns
remain, in conjunction with the imposed compensatory pattern. The learning
of new patterns or more efficient methods of response is not achieved
by consciously holding muscles and positions of the body, but by accessing
movement at a subcortical level. Often this acquisition of movement patterns
(ie. a compensatory pattern) at a subcortical level is where the less
inefficient patterns originate in the first place. One of the ways of
accessing a behavioural change in this area can be through working with
specialists in this field; ie movement analysts, Kineseologists or Certified
Alexander Teachers, and Feldenkrais Practitioners.
In movement education and injury rehabilitation, this type of work at
subcortical level accesses the body's internal support mechanisms leading
to improved independence. Rather than providing or seeking fixed solutions
(although this may be necessary at times), this work invites us to explore
our own selves in a deeper manner and increase the possibility for adaptation.
The learning in both rehabilitation and prevention relies on observation,
awareness and being present to the situation at hand. This provides opportunity
for choice in how we do what we do, thus eliminating the habitual response,
often indicated by a lack of awareness and a propensity for injury to
It is this application and integration of the learning that is the real
test in instigating the behavioural change. It is the care and time taken
to integrate this change within the person's environment or activity that
can really reinforce the improvement or behavioural change.
This form of re-education in conjunction with Physiotherapy, Massage Therapy,
and Yoga can contribute a great deal to dancers being able to become more
self directed in their learning and understanding of movement. They will
not only lean to monitor and improve movement patterns but will be able
to make clear distinctions about themselves and how they move based on
personal experience and awareness. "The capacity to make distinctions
is the basis of human awareness. If we do not know one thing from another,
if we cannot feel one state from another we are left with no choice but
to repeat the same pattern of dysfunctional movements again and again."
(Wildman. F 1986)
The ideal scenario would be for dancers to be able to work, rehearse,
perform, and take classes while continuing to grow in awareness, forming
new sets of responses that can be adjusted to a present and changing environment.
Torje Eike. Dance UK. "Muscular Imbalance, A Common Cause of Lower Back
Pain in Dancers"
Dr Yannis Koutedakis. Dance UK. "Burnout in Dance"
Allen J Ryan, Robert E Stephens. Dance Medicine a Comprehensive Guide
Pluribus Press Chicago
Wildman. F 1990 "Learning - The Missing Link in Physical Therapy" NZ Journal
Alon, R. 1996 Mindful Spontaneity North Atlantic Books and Somatic
Ruth, S. Kegerris, S. 1992 Journal of Orthopaedic and Sports Physical
Therapy; July 1992
Zejdlik, C. 1983 Management of Spinal Cord Injury Wadsworth
Feldenkrais, M. 1949 "Body and Mature Behaviour" 1989 ed. International
Feldenkrais Journal No 3 September 1996
Back to Contents
"The Art and Health
PARTnership" by Penny Eames
From Arts Access Aotearoa,
This booklet examines the philosophy behind co-operative ventures and
gives some examples of model arts and health partnerships.
The publication notes that
the arts are being used to provide an appropriate medium for patients
and health professionals to express their spiritual, emotional, intellectual
values, explore their ideologies and myths, while giving feelings of importance
In this book Arts Access Aotearoa
hoped to demonstrate how the arts can:
- create healthy, safe and less formal environments
- be a diversion from pain
- be an alternative to drugs
- assist in rehabilitation
- convey health information
- build self esteem for staff and consumers
- release pent up energy
- make signposting clear
- enable staff and consumers to work together on projects
- build morale
- create community partnerships
- make policy changes in the health service
The examples in this book
show that the arts can be used in positive ways, particularly during the
times when people are forced to face their identity as they tackle the
major crises of life, death, illness and health.
Special introductory price:
$10.00 GST inclusive
Arts Access Aotearoa
Level 1, 27 Dixon Street
PO Box 9828
Ph: 04 384 1113 Fax: 04 384 1119
Mobile: 021 321048
Arts Access is supported by a major grant from Creative New Zealand.
The 1999 "Journal of
Dance Medicine and Science"
- Official publication of the International Association for Dance Medicine
S. Clippinger, MSPE, Dept Physical Medicine & Rehabilitation, Loma Linda
University, Loma Linda, California Scott E. Brown, MD Dept of Rehabilitation
Medicine, Sinai Hospital of Baltimore, Johns Hopkins University, Baltimore,
Maryland, with an international editorial board.
Each issue of this quarterly
peer reviewed scientific journal will focus on bringing you the current
results of clinical and experimental research. The aim of the journal is
to provide you with one source for up to date information. Featured articles
are drawn from the fields of:
- Anatomy and physiology
- General Medicine
- Sports Medicine and Surgery
- Physical Medicine and Rehabilitation
- Physical Therapy
- Dance Education
- Nutrition and Diet
Each year the Journal publishes
original articles with a focus on the identification, treatment, rehabilitation
and prevention of illness and injuries in dancers. These articles emphasise
the application of scientific principles to current practice.
The Journal also includes
review articles, case reports, abstracts, consensus statements, book reviews
etc. Each volume presents one topic-oriented special issue offering a
review and summary of the current state of knowledge of this area and
coordinated by a distinguished guest editor. Example topics include: Dance
and Development in Children and Adolescents; Eating Behaviour, Reproductive
Health and Osteoporosis; Dance Screening
Contact AMANZ for ordering
details/forms or contact:
J. Michael Ryan Publishing Inc.,
24 Crescent Drive North,
Andover, New Jersey 07821,
Ph: +1 973 786 7777
Fax: +1 973 786 7776
Dance Medicine Resource
Guide - Edited by Marshall Hagins
A comprehensive directory
of health care professionals in the field of dance medicine.
Are you looking for a practitioner
with specific expertise - whether a physician, chiropractor, physical
therapist, athletic trainer, or other allied health practitioner? Then
the Dance Medicine Resource Guide is the source to consult.
The Guide is intended to
allow dancers and dance company management to easily locate health professionals
around the world who have demonstrated the desire or ability to work with
To help you determine whether
a practitioner is right for you the majority of listings include specific
descriptions of practice expertise and specialty areas.
For ordering information see review of Journal of Dance Medicine & Science
Institutions: a comprehensive listing of the clinics throughout the world
that specialise in the treatment and rehabilitation of dancers.
Individual Practitioners: includes complete contact information as well
as a description of their practice specialty and expertise.
Audiovisuals, Books, and Journals: a bibliographic listing of the major
resources in dance medicine.
Dance Medicine & Science
Bibliography with Update One - Compiled by Ruth Solomon & John Solomon
With 1677 references from
the English language literature the Bibliography encompasses the relevant
scientific works in the fields of anatomy, physiology, general medicine,
sports medicine, physical therapy, somatics, body therapies, dance therapy,
dance education, kinesiology, biomechanics, movement analysis, psychology,
and nutrition and diet - providing a more comprehensive resource than
any other published or electronic database available.
Update One may be ordered
individually if you already own the first version.
Bibliography - 1677 citations listed alphabetically by first author
Subject Index - over 500 subject headings cross-referenced to the relevant
Author Index - A comprehensive guide to all authors.
For ordering information see review of Journal of Dance Medicine & Science
The Fit and Healthy
Dancer - by Yiannis Koutedakis, School of Health Sciences, Wolverhampton
University, and Craig Sharp, Dept. Of Sport Sciences, Brunel University,
Some of Britain's 25,000
professional dancers are so unfit that they are sustaining more injuries
than players of contact sports such as rugby and boxing.
This volume focuses on
prevention of injury and maintenance of good health. Written in a user-friendly
style, the authors, who are ex-dancers, utilise their elite sport, competition,
training, coaching, teaching, research and writing experience in a wide
variety of aspects of sport and exercise science.
- An indispensable reference examining both classical and contemporary
- Provides essential tips about improving performance whilst maintaining
health and fitness
- Reflects the increasing
interest in and relevance of dance medicine.
Part One: Energy and Food for Exercise and Fitness
Part Two: Fit to Dance
Non- Artistic Components of Dance Performance
Muscle and its Physiology
The Main Physical Fitness Components and Dance
Fitness and Training
Part Three: The Healthier
Overtraining - Burnout
Asthma and Dance
Body Weight Control
Body Weight and Bone Density
Anatomical and Physiological Gender Differences
Children and Dance
Life after a Professional Dance Career
Contact AMANZ for order
forms, or contact:
Sarah Hinton, John Wiley & Sons Ltd
Baffins Lane, Chichester
West Sussex, PO19, UK
Ph: UK 0800 243407 or NZ +44 (0) 1243 843 206, Fax: +44 (0) 1243 770460
Back to Contents
Medicine Web Sites
A collection of web sites
of interest to AMANZ members and others interested in arts medicine, can
be found in the Links section of this site.
Back to Contents
Insurance for Artists
AMANZ is investigating the
redesigning of a Dancer Insurance scheme (previously called 'Understudy
Insurance') to cover a broader spectrum of arts.
It will be available to AMANZ members and we will have more details in
the next Newsletter.
AMANZ and Arts Access
Because of our common interests,
AMANZ and Arts Access Aotearoa have been forging close links and we have
offered them a permanent column in our newsletter. See the book
review section for their contact details.
AMANZ will also be publishing
in the newsletters of our affiliate organisations.
Check out the front page of the next issues of NZ Doctor for an article
We are sending out a database sheet of members' contact details with our
Please use the form marked Membership/Database on the last page to send
any corrections or objections to us by the end of March.
We are pleased to offer this means of promoting our members' skills and
Subscription renewals are also due by the end of March. Complete the membership
form clearly and tick the Renewals box on the last page. Don't forget
to include a cheque and fill out details as you wish them to appear on
the database sheet.
From Footnote Dance
The Footnote year begins
with some intensive time with Susan Simpson (physiotherapist and AMANZ
executive member). 1999 welcomes Jane Duncan and Melanie Turner back with
new dancers Moss Patterson and Stuart Armstrong, both graduates of UNITEC,
Auckland. Also joining the company as Apprentice Dancer is Wellington's
Nicole Gerber. The company is working first on choreographies by Shona
McCullagh, Katerina Waldner, Melanie Turner and their new education work
'Over the Moon' by Deirdre Tarrant. This programme begins its 'Over the
Moon' tour in Nelson in March.
Back to Contents
in the AMANZ Newsletters
N.B. Our Affiliate members
are entitled to one free advertisement of a seminar in our Newsletter.
The database sheet to be sent with the next Newsletter will also promote
our members' skills and services. To sign up, go to the JOIN
Newsletters for 1999 will
be published on 18 May, 18 August and 18 November. Deadlines for copy:
30 April, 31 July, 31 October 1999
All types of advertising
are welcome, members, non-members practitioners, performers - anyone with
anything to advertise!
This newsletter has a current
circulation of 150+ (and increasing ) and is, as a serial registered with
the National Library, is also registered in Paris and available to publishers,
book suppliers and libraries globally. We have affiliate organisations
in the United States and Great Britain and now have our own web site which
contains the current newsletter so the potential for coverage is enormous!
Schedule of fees:
$30 for a quarter page
$50 for a half page*
$100 for a whole page*
Sign up for a year (four issues) and receive a 15% discount.
*Half and whole page advertisements can appear on left hand pages only
in the print newsletter.
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AMANZ offers benefits to
members, including discounted admission to some related events where possible,
and as time goes on we hope to offer benefits in other areas too (eg.
discounted insurance premiums etc). To join AMANZ complete
P O Box 17 215, Karori,
Wellington, New Zealand
Ph: 64 4 476 8369 Fax: 64 4 476 8754
Mobile 025 283 6016
Disclaimer: The opinions
and statements of individuals in this newsletter do not necessarily reflect
views held by AMANZ. We would, however, be pleased to receive your comments/complaints
should you wish to contact us.
Newsletter design: Sharon Callaghan
Logo design: Mojo, Guy Protheroe-Landscape Architect, Sharon Callaghan.
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