Health Of Artists Research Articles

예술인의 마음건강 연구

This research aims to define artists by examining relevant laws and previous research related to the mental health of Korean artists. Further, this study aims to present the direction for future research on mental health of artists by systematically analyzing research trends. The research questions to be examined in this study are, first, what is the current status of research related to artists' mental health? Second, what research topics are related to artists' mental health? Third, what is the future of research on artist's mental health? A total of 26 articles and dissertations published in Korean journals from 1998 to 2021 were analyzed in this study. By year, research field, research method, presence of term definition, academic field of the researcher, and subject trend were used as criteria for analysis. As a result, research on artist’s mental health has increased since 2014. However, there is a lack of research on various aspects of arts by not having a clear definition of the artist. Furthermore, the rate of research done by non-mental health related fields was higher than mental health-related fields. The research on artists’ mental health such as depression, suicide, and anxiety were the most frequently studied. As future research directions, ‘defining of terms in the art field’, ‘activating interdisciplinary research’, ‘needing for qualitative data’, ‘studying the occupational gap and creative hardships of artists’, as well as ‘expanding on positive variables in research affecting the quality of life of artists’ were proposed. Finally, the limitations and significance of this study were discussed.

HARNESSING ARTS IN MEDICINE FOR STRENGTH IN AGE: CASE STUDY, CENTER FOR PERFORMING ARTS MEDICINE, HOUSTON METHODIST

In the 1970’s hybrid arts and humanities programs began developing within healthcare systems across the country. Today, the National Organization for Arts in Health (NOAH) represents a network of hundreds of programs with a major focus of serving older people and their caregivers. This presentation will provide an overview of this rapidly developing network along with a multimedia overview of a comprehensive arts and medicine hospital based program in the Texas Medical Center: Houston Methodist Hospital’s System Center for Performing Arts Medicine one of NOAH’s founding members. The Center’s expanding national, regional and community network of artist health, arts integration, creative arts therapy, research, and outreach programs serving older people will be described. Demonstrating how arts in health communicate and elevate value across disciplines through program evaluation (patient satisfaction and employee opinion), clinical research, and financial and outcome data will be explored as a case study.

Salud visual y percepción social de malabaristas de la ciudad de Bogotá, Colombia

Introducción: El malabarismo es una práctica artística que comprende diversas dinámicas históricas, sociales, culturales, económicas y en la actualidad concibe nuevos enfoques con relación la salud del artista. Objetivo: Comprender el estado de la salud visual y la percepción social del malabarismo en la ciudad de Bogotá. Materiales y métodos: Se realizó un estudio mixto combinando metodología cualitativa tipo fenomenológica y cuantitativa descriptiva en un grupo de 15 malabaristas de la ciudad de Bogotá que laboraban en los semáforos de las localidades de Teusaquillo, Suba y Engativá, por medio de tres etapas: Planeación; Trabajo de Campo incluye diario de campo, entrevista y pruebas de tamizaje visual y ocular; Campaña publicitaria. Resultados: El 100% de los participantes refirió enrojecimiento ocular y sensación de arenilla que se asocia con las horas de trabajo, los instrumentos de manipulación y la exposición al ambiente laboral. Hay normalidad en la percepción de la profundidad (20” de arco) y la percepción al color en la totalidad de participantes. Conclusiones: La salud visual y ocular no tiene gran importancia para los malabaristas participantes, sin embargo presentan síntomas de molestia ocular. El malabarista se percibe como un actor social que contribuye con el crecimiento de la ciudad sin importar que el común de la gente considere esta práctica no saludable. La campaña social diseñada logró sensibilizar a transeúntes y conductores.

New Writing and Theatre History: Introduction to the Special Section

New Writing and Theatre HistoryIntroduction to the Special Section Sara Freeman The essays in this special section arrived in response to a call to consider new writing for the theatre, a call asking about when there have been particular densities of new play production, specific initiatives for new types of writing to be developed, or major shifts in the styles of theatre writing. The call for submission reflected a desire to extend current Anglo American discussions of new play production and the role of new writing in theatre economies by potentially going back further when looking at examples of the role of new writing in theatre, looking elsewhere in world geography for examples of period or initiatives marked by a desire for new plays to be written for theatre, or developing closer case studies about contemporary examples of new writing initiatives. British and American scholarship about primarily the twentieth century, outlined below, convincingly suggests that it might be fertile to give such moments attention in their individuality but also in their connections. The idea for this section came from wondering what can be seen when looking across instances where the role of the writer, the procedures of producing theatres, the dynamics of language, and the theorization of dramatic structures contend with different models of and desires for newness—for new writing, new plays, new audiences, or a new theatre. The category of newness in theatre exerts a perpetual draw for artists and audiences alike, while what characterizes the new is always contextual, always culturally conditioned, always changing, making it a very fruitful category for theatre historical analysis. Being mindful of Thomas Postlewait's caution about buying into [End Page 115] paradigms of aesthetic revolution or historical rupture too heavily has provoked patient considerations and reconsiderations of writers or writer's theatres in this section, as well as some new articulations of moments when new plays or new modes of writing formed.1 These are histories of new writing that are interested in continuity as much as they are in rupture. Still, these histories recognize that the draw of producing new writing for theatres has both inspirational and aspirational trajectories, demonstrating the siren call of the new as a concept. Inspirationally, the production of new plays gets positioned as a manifestation of one of theatre's highest callings—that is, to be in a lively and current dialogue with its immediate audience. A strong new writing scene also sends signals about the artistic health and vitality of theatre, because it indicates that theatre artists are thinking about the future as much as the past and that there are opportunities for and interest in people's voices and developments in the form. Aspirationally, it can put a theatre on the map. It can impart a reputation for discovering new writers who come to be regarded as among the greats or for producing new plays that define a period or command attention and box office in ever-widening circles. These types of trajectories can be documented, explicated, and historicized, whether in case studies or in synchronic and diachronic overviews of events related to the encouragement and production of new writing for the theatre. This introduction provides one possible pathway through Anglo American histories of new writing as a preface to the articles in the section, which do the work of unpacking specific moments or projects in detail. In both scholarly and journalistic writing about the last hundred years of British theatre, there is a strong strain of analysis about the role of new writers and programs in encouraging new writing for the English, Scottish, Irish, and Welsh theatres. This analysis often evokes the observation that the coronation of Elizabeth II, in 1953, ushered in a new Elizabethan age and that the late twentieth century is marked by an upsurge of new play production that is deeply stirring to national conversation and propelled by the vital presence of young, compelling playwrights at a density not seen since Shakespeare's time.2 The body of analysis became more self-consciously historical in the first two decades of the twenty-first century as conferences, government reports, and Arts and Humanities Research Council (AHRC) projects received...

Performing Arts Medicine--Past, Present and Future

We have a lot to be proud of as we look back on the last three decades, as we look around at what is happening in the field of performing arts medicine now, and as we look forward to the potential that the future holds. From the early 1980s, when Dr. Brandfonbrener decided it was time to focus on improving the health of musicians by organizing the first Aspen meeting, to the first issue of this journal and the founding of the Performing Arts Medicine Association over the next 5 years, the founding of the International Association for Dance Medicine and Science in 1990, and the Health Promotion in Schools of Music initiative in the last decade, performing arts medicine has enjoyed steady growth. As we work to design the future of performing artist health, it may be useful to look at a “sister” specialty that got an earlier start—-sports medicine.