Private Studio Research Articles

Validity and Reliability of the Pre-Adolescent Dance Injury and Participation Questionnaire (PADIP-Q).

Dancers generally begin training in a variety of styles at a young age. Across ages and levels of participation, dancers are at high risk for injury. Most available injury surveillance tools, however, have been developed for adult populations. Valid, reliable tools that monitor injury and exposure of pre-adolescent dance populations are limited. Therefore, the purpose of this study was to determine the validity and reliability of a dance injury and participation questionnaire specifically for pre-adolescent private studio dancers. Four stages of validity and reliability testing assessed a novel questionnaire: initial design based on previous literature, expert panel review, cognitive interviews, and test-retest reliability. The target population was 8 to 12-year-olds who participate in at least 1 class/week at a private studio. Feedback from a panel review and cognitive interviews was incorporated. Test-retest analyses included Cohen's kappa coefficients and percent agreement for categorical variables, and intraclass correlation coefficients [ICCs (3,1)], absolute mean difference (md) and Pearson's correlation coefficients (r) for numerical data. The final questionnaire was comprised of 4 sections: demographics, dance training history, current dance participation (previous 1-year and 4-months), and dance-related injury history (previous 1-year and 4-months). Items with categorical responses estimated kappa coefficients from 0.32 to 1.00, and percent agreement between 81% and 100%. For items with numeric responses, ICC estimates ranged between .14 and 1.00, r values between .14 and 1.00, and the largest absolute md was 0.46. The 4-month recall sections revealed higher agreement than the 1-year sections. This valid pre-adolescent dance injury and participation questionnaire demonstrates good to excellent reliability across all items. To support participant completions, assistance from a parent/guardian is suggested. To move dance epidemiology research forward among private studio dancers aged 8 to 12 years, employment of this questionnaire is therefore recommended.

Radical Empathy in the Private Studio

Radical Empathy in the Private Studio

Understanding the Vocal Skill Set for Contemporary Christian Singers: Insights from Elite Singers

The American Academy of Teachers of Singing (AATS), advocates that CCM singers should be taught with dedicated pedagogical approaches for each style. Recent studies, however, suggest that most contemporary Christian singers (CCS) do not receive style-appropriate vocal training. It is possible that voice teachers are not fully aware of the skill set necessary for a CCS to be successful. In this context, elite CCSs, as models of excellence, may be able to help the voice community bridge this gap and identify the ideal skill set and the best pedagogical approach for the commercial success of CCSs. For this study, we interviewed three top selling, elite CCSs with extensive experience and recognised as highly representative of their style, aiming to understand the ideal vocal skill set of commercially successful CCSs. According to the participants, ideal CCS voices should use a pop sound and not sound too classical, should sing easily, comfortably, and with freedom. The singing should be not distracting and use good diction in order to be able to communicate the message clearly. Among the most relevant findings is the suggestion that CCSs have a heavy and demanding vocal load and are at risk for vocal injury. This finding is consistent to previous studies that suggest similar issues. We hope that our findings will help the development of more appropriate private studio strategies for CCSs. Future research for this population of singers may include analysis of worship applied voice curricula.

Right from the Start: Creating a Diverse Private Studio Experience

Right from the Start: Creating a Diverse Private Studio Experience

Mindfulness Practice in the Collegiate Voice Studio, Part 2: A Case Study

Mindfulness Practice in the Collegiate Voice Studio, Part 2:A Case Study Elena Blyskal (bio) MINDFUL VOICE INTRODUCTION Mindfulness practice has seen an increase in scientific support for its use as a means of reducing anxiety, sharpening focus, and improving equanimity in everyday life. Due to the nature of their craft, singers particularly may benefit from this practice to facilitate a process that is physically, cognitively, and emotionally challenging: playing an invisible instrument, one often inseparable from one's identity, while relying on subjective outside ears to do it. Anthony E. Kemp explains. In a performance it is the vocalist's personality that is presented, together with any vocal defects that are perceived as belonging directly to him or her. Singers cannot project their problems onto troublesome reeds, ticking pads, and other technical difficulties; there are very different boundaries in operation … That the processes of learning to sing are so subjective seems to encourage a plethora of contradictory theories, which may leave singers at best bemused, and at worst, highly anxious and constantly unsure about whether they are performing correctly or doing themselves untold damage. Singing students may well find themselves moving from teacher to teacher in constant search for a "guru" who, by use of a particular form of metaphor, somehow manages to "speak their language." This whole process may be very anxiety-provoking.1 Such anxiety can be exacerbated for singers who are also college students, facing the challenges of maintaining a well balanced lifestyle amidst academic demands and social pressures. Issues of time management, independent living, work-school balance, and postgraduation concerns all can be factors in a student's mental distress. This developmental stage of emerging adulthood (ages 18–29) is marked by the uncertainty of both unanswered questions and limitless possibilities,2 both of which may feel overwhelming for the individual who is no longer a child, yet not fully an adult.3 Rates of student stress, anxiety, and depression remain alarmingly high, and academic environments seek new ways beyond counseling to treat these issues.4 Not all students who suffer seek treatment, and research indicates that music students are no exception.5 The research reported in Part One of this series examined and reported the benefits of mindfulness for musicians, students, and music students. These benefits affect multiple facets of the student musician, such as playing technique, performance authenticity, mental health, and mindsets toward [End Page 221] playing, learning, and performing.6 These studies confirm that mindfulness practice reduced performance anxiety, enhanced performance quality, deepened enjoyment in music making, improved positive affect, produced healthier emotional regulation, and increased clarity and depth of learning. Despite these reported benefits, mindfulness training is often absent from a college curriculum, while it could be a critical skill for music students in handling stress both in and out of the practice room. The studio instructor may have a unique opportunity to bridge this gap. Therefore, the case study reported here is an initial observation of voice students as they engaged with mindfulness in and out of voice lessons. This study was conducted as a portion of the author's doctoral studies and was overseen by her faculty committee members. This case study is only the second to examine mindfulness techniques expressly for student solo (rather than choral) singers. To the author's knowledge, it is also the first study to observe the regular use of mindfulness practice embedded into regular practice of a private voice studio, rather than in a separate eight-week course. During this study, mindfulness practices were incorporated into the voice lessons of three music majors for eight weeks. The following questions were addressed: 1. Can practicing mindfulness in the private studio positively enhance the experience of learning vocal technique? 2. Can practicing mindfulness in the private studio help reduce the anxiety of university voice students? MEASURES To answer these questions, the participants offered feedback via openended interviews, a series of follow-up questions, and two separate pre- and post-test scales. At the first lesson and following the last lesson, the singers completed the Five Facets of Mindfulness Questionnaire (FFMQ) and the State-Trait Anxiety Inventory, two scales that have been effectively used in...

Development of prototype fritting furnace for small scale pottery producers in Nigeria

Frit is an essential material required in the composition of low temperature glazes. Unfortunately, up till the year 2020 appropriate furnace for local production of frit is scarce in Nigeria. This may be due to the prohibitive prices of customary refractory materials, exorbitant cost for construction of a standard frit furnace, and the epileptic power supply to run a frit producing plant. Consequently, previous attempts to produce frit locally ended up in losses and products froth with impurities. In this work, the continuous-flow frit kiln with a sloping floor design was modified and a prototype was constructed using locally sourced refractory. The working section was lined with highly corrosion resistance monolith produced with a ramming mass composed of zircon and kaolinite. It has a volume of 10.62 litre. The furnace runs on butane gas, it is fed with pre-treated precursor in granules form and capable of continuous production of 30 kg of frit per hour (kg/h) at 1100 oC. With the appropriate burner, the furnace achieved the optimum operation temperature of 1100oC within two hours. The design is suitable for private studio, research and educational institutions. It can also be scaled up for industrial uses.

Carl Akeley’s ‘lost’ decorative taxidermy and anthropomorphic groups

Abstract This article provides newly unearthed details about the specimens of taxidermy and anthropomorphic groups produced by Carl Akeley (1864–1926) in his private studio in Milwaukee, Wisconsin, before he embarked on his career in museums. The essay uses Akeley’s decorative work and ‘grotesque groups’ as a springboard to explore the broader context of the rise of decorative taxidermy in the USA in the late nineteenth century, and the influence of European taxidermy on that trend.

Adopting a Student-Centered Teaching Approach in the Private Studio

Adopting a Student-Centered Teaching Approach in the Private Studio

A Moving Conversation: A Curricular Pathway from Private Dance Studio to Dance in Higher Education

Dance education in the private studio provides multiple perspectives and experiences for understanding dance as a discipline of study. Based on personal experience with a program that I piloted, I share how a private dance studio can provide a pathway to a college liberal arts program through shared synergy. By offering classes that provide a specific foundation for dance course work in higher education, the private studio can ease the transition and support success for students who move on to study dance in college. During the implementation of this program in 2001, I was offered a full-time college teaching position. Although this program did not extend beyond the pilot, this curriculum has continued validity as a model today.

Artist Statement: “Sororidad y El Poder de la Palabra”

Artist Statement“Sororidad y El Poder de la Palabra” Tania Day-Magallon bio I was born in Mexico City, where I started my art education at an early age learning portrait, drawing, and proportion. I was admitted to the San Carlos Academy, a major art institution in Mexico City integrated in part to the National Autonomous University of Mexico (UNAM), where I studied human figure in a life model studio. In 2003 I was admitted to the National School of Painting, Sculpture, and Printmaking (Escuela Nacional de Pintura, Escultura, y Grabado “La Esmeralda”), a renowned Mexican art institution in Mexico City. I have participated in numerous art events, such as workshops and presentations, and several exhibitions in Chicago and in the city of Rochester, New York, where I currently reside. I have been a member of different art groups and clubs in Chicago and Rochester, and I have taught art classes in my private studio and at a Rochester public library. I am continuing my studies in visual arts at SUNY, focusing in psychology. artist statement With my work I represent my personal vision of spiritual growth and transformation, using symbols and imagery that have also been present in alchemy and ancient traditions, where the Divine Feminine is an important element. My spiritual formation, religious beliefs, and cultural identity are a big influence and inspiration in my paintings. Also, my personal experiences that have shaped my life and views are combined with mythological aspects and allegorical scenes in each of my art pieces that I extract from my dreams and visions. [End Page 137] I carry a strong influence from Mexican art movements due to my formation in Mexican art schools; nevertheless, I always deliver my own message as I see the artist as the messenger of their own creation and women as the personification of divinity. [End Page 138] Copyright © 2021 Frontiers Editorial Collective, Inc

Ladislav Trakal’s Art and Crafts Workshop of Decorative Painting in Kharkiv (1899–1921)

The article attempts to outline the activities of Kharkiv art and crafts workshop of decorative painting, headed by a Czech creator Ladislav Trakal in 1899. The introduction of some new archival documents into scientific circulation showed that there was a close connection between the pedagogical system of Rayevska‑Ivanova’s school, founded in 1869, and Trakal’s decorative‑handicraft workshop. The 4‑year industrial art school in Prague, which Trakal graduated from in 1896, did not have the status of a higher art institution at that period of time. When Trakal arrived in Kharkiv and headed the decorative‑handicraft workshop, which was housed in an edifice that Colonel Borodaevsky devised to Kharkiv Society for the Dissemination of Literacy, Trakal got on a well‑worked ground, which was prepared by Rayevska‑Ivanova. In 1869 this outstanding person, the first woman‑artist with a European level education and a diploma from St. Petersburg Academy of Arts in Russian Empire, founded an industrial art school in Kharkiv. Later, in 1896 she was forced to leave teaching at her school due to a complete loss of vision. However, the need for specialists of this profile did not disappear. Kharkiv was experiencing a real construction boom, and decorators, one of whom Trakal was, were in great demand. Although Trakal’s workshop did not become as multidisciplinary as Raevska‑Ivanova’s school, it used a lot of the pedagogical system developed by the founder of industrial art education in Kharkiv, to its advantage. Trakal’s workshop gave its students an initial industrial art education, prepared them for the activity in decorative painting. Unlike Rayevska-Ivanova who taught free of charge in her private school for more than 27 years, trying to lay solid foundation of industrial art education in Kharkiv, Trakal turned out to be a rather enterprising person. He successfully completed highly paid orders for the decoration of buildings in Kharkiv and also opened his own private studio. Having a good command of Russian, Trakal easily entered Kharkiv’s artistic life. He actively participated in exhibitions, where he showed his paintings, made in the Art Nouveau Style with an enhanced symbolist sound. However, the question remains about how bright and original this artist was in comparison with artists from other Ukrainian cities (M. Zhuk, Yu. Mykhailiv, M. Sapozhnikov). Similarly, the contribution of other art institutions to the development of some of Trakal’s students who eventually became famous masters, also requires further studying.

The Musical Iconography of the Private Chambers of Studiolo and Grotta of Isabella d’Este

The article is dedicated to the analysis of certain components of the historical interior of the studiolo and grotta of Isabella d’Este, Marquise of Mantua (1474—1539). The article considers, in the imagological aspect, the decorative elements of her private chambers in the “Palazzo Ducale” as a form of personal and, at the same time, status representation of the wife of the ruler of the state and as a reflection of some aspects of the behavioral standard of the Renaissance noble lady. For the first time, the artistic design of the Mantuan studiolo (private studio)and grotta (adjoining storage room for art and rarities) is examined through extraction of musical imagery and musical symbolism, which had a special importance in authomythologization of Isabella d’Este and reflected her deep personal passion for music.Analyzing the contextual part of the allegorical painting by Lorenzo Costa the Elder (1504—1506) “Allegory of the Court of Isabella d’Este”, the article focuses on the proximity of the characters playing the “heavenly” lute and zither to the figure of Isabella d’Este. And the attainment of eternal life by Isabella, as the center of the harmonious world of wisdom and art, is considered to be the main conceptual message. The depictions of the musical instruments on the wooden intarsia are regarded in connection with the music practice of the Marquise and people around her, which is evidenced by numerous documents of the Mantuan Archive of Gonzaga. The incipit of the chanson by Ockeghem “Prenez sur moi votre exemple amoreux”, included in the decor, for the first time receives an extended interpretation as an indirect semantic message. The figures of Euterpe and Erato, with their usual flute and lyre, are, on the contrary, quite traditional and expected in this context on the doorway marble medallions. The ceiling impreses, with the enigmatic image of musical signs (viola key, metric designations and pauses), have a symbolic meaning. The article concludes that the purpose of inclusion of the musical decor in the design of studiolo and grotta is to indicate the status of Isabella d’Este as a ruler of the artistic world where music takes the main part.

Release, Relax, Ready: A Rhythm-First, Holistic Approach to Teaching Tap Dance

ABSTRACTTeaching tap dance offers dance educators an opportunity to move beyond the physical duplication of steps and into an experience that enriches both teacher and student. The integration of music theory, vocalization, improvisation, vocabulary, and tap history while teaching technique, skill development, and choreography connects dancers to intelligences beyond the kinesthetic. Drawing from thirty-five years of experience, as well as the work of Howard Gardner and Billy Siegenfeld, the author promotes a multifaceted curriculum that engages the whole person and body in rhythm making, creative thinking, and problem solving. Although designed for the private studio, this approach can be implemented in K–16 programs.

Assessment in the Private Studio Setting: Supporting Student Learning, Providing Effective Instruction, and Building Faculty-Student Interaction

A significant amount of literature exists about how to design and implement an effective assessment process for students in a music program, specifically in the classroom setting. This article suggests a framework for incorporating individualized assessment in the private-lesson setting based on effective classroom assessment practices. Many in-service music teachers also teach privately. Applying their knowledge of classroom-based assessments and effective teaching strategies to the private-lesson setting can support student learning, provide effective instruction, and build faculty and student interaction. The private teacher plays a significant role in the education of music students. All music instructors—applied and classroom—should prioritize high-quality instruction, provide formative feedback to students, demonstrate teacher effectiveness to their employer (students, parents, or music educators), and use self-reflection to improve their instruction.

Suggestions for Incorporating Entrepreneurship Education in the Classical Performance Studio

As music institutions strive to embody the nature of entrepreneurship in greater capacities, both a lack of understanding and a lack of pedagogical knowledge serve as detriments to this end. The purpose of this exploratory study is to equip classical brass performance professors, whose goal it is to incorporate entrepreneurship in their studios, with practical suggestions on how to do so. Information from a survey of brass players was combined with literature regarding entrepreneurship education teaching practices, as well as practices from content areas generated from the survey in order to devise a set of suggestions for brass professors. The survey found that most brass players thought entrepreneurship should be taught in the private studio and that hard work, perseverance, and learning from failure were viewed as the most valuable content areas for a career in music. The suggestions are broken down into four themes: attitude; experiential learning; moving outside the studio; and character development. Subthemes are acting as a mentor, assisting in students' pursuit of individual goals, diverging from a didactic teaching approach, learning by doing, learning through failure, reflection, interacting with the community, social engagement, interaction with entrepreneurs, and grit.

When the Studio Becomes the Spectacle: A Reluctant Itinerant Weaver Talks About the Weather in Alberta

In 2011 Mackenzie Kelly-Frère was invited to participate in an artist residency at the Museum of Contemporary Craft in Portland, Oregon. His residency was one of five, cross-disciplinary artist residencies coinciding with the exhibition Laurie Herrick: Weaving Yesterday, Today and Tomorrow. Artists were asked to create works in response to Herrick’s weavings, creating the work within the exhibition space. The text is a first-person account of the weaver’s experience performing his craft for museum-goers and creating a new work in this unusual context where the private studio is made public. The spectacle of the artist at work and the fetishization of process are negotiated as the artist interacts with museum goers, navigating the deeper implications of making in contemporary culture.

Two Galleries, Engaging Art, Great Talents, and Challenging Minds: The Howard University Gallery of Art, the Little Paris Group, and the Barnett-Aden Gallery

Two Galleries, Engaging Art, Great Talents, and Challenging MindsThe Howard University Gallery of Art, the Little Paris Group, and the Barnett-Aden Gallery Charles Henry Rowell In December of 2008, Janet Gail Abbott submitted a 219-page text entitled The Barnett Aden Gallery: A Home for Diversity in a Segregated City as her final requirement for the PhD degree at Pennsylvania State University. Whether her professors and her fellow graduate students fully understood or acknowledged the importance of what Janet Abbott had done, we do not know; however, we, her readers, know that what Abbott offers in The Barnett Aden Gallery is invaluable information on and judicious commentary on a long-ignored period in American art history. While recreating major moments in the founding and services of the first privately-owned gallery by African Americans, Abbott also discusses for us the importance of the gallery for the lives and careers of both black and white artists in and beyond its immediate racially segregated location, Washington, DC, the nation's capital. Abbott's research not only helps us to review the past, but also demonstrates how individual courage, perseverance, and dedication to a project that supports what is positive for all people—regardless of race, religion, ethnicity, sexual orientation, or national origin—can bring changes for the good of individuals and the nation. Defying and subverting the Jim Crow laws of the nation's capital, the Barnett-Aden Gallery, however small its site and particular its services, we now know was such an institution, which made an indelible impact on the lives and careers of individual artists, black and white alike. Through its inclusiveness, its high standards, its equal treatment of its participating artists, and its diverse visitors, the Barnett-Aden Gallery, as Janet Abbott demonstrates, was a living model of what was possible in the larger social, political, and cultural lives within Washington, DC, and across the United States of America. ________ Before we move ahead of ourselves, allow me to turn back to look at two other institutions which served the good of Washington, DC, and, ultimately, America at large. I am thinking about the Howard University Gallery of Art and the Little Paris Group—both of which provided important new services for black people in DC and its environs. These needed services were available across the USA for white people, but, by Jim Crow laws and white racist practices or customs, were not likewise granted to African Americans across the USA. Many of us here in the twenty-first century know that Washington, DC, and Maryland were important sites that contributed immensely to the development, preservation, and promotion of American art, but very few of us have written about how African American artists, educators, collectors, promoters, and institutions in the same location were equally important in that American cultural development. Of DC, for example, too many "serious art critics and art historians" blindly assume that the only engaging and productive visual arts activities were those staged and directed by the 1950s group called the Washington Color School, founded and operated by a group of white men. As this special focus of Callaloo • Art attempts to demonstrate, three other institutions, which preceded the Washington Color School by at least three decades, were African American establishments. And these three [End Page 1163] intellectual entities were in origin, development, and service interrelated, yet different in the particularities of their purposes and services. The three institutions I refer to here are the Howard University Gallery of Art, founded in 1928, along with its Department of Art, which was founded in 1921 and chaired by James V. Herring; the Barnett-Aden Gallery, founded in 1947, in the private home of two life-long partners, James V. Herring and Alonzo Aden; and the short-lived but very important "workshop" called the Little Paris Group that served artists employed in federal government jobs and, especially, teachers who taught art in the DC public schools. The Little Paris Group of local practicing artists was founded in the private studio of artist Loïs Mailou Jones in 1948. Each of these three important institutions, including Howard University (1867) itself, operated against the backdrop of a racially...

Sitting Ballet: A Pilot Program Designed to Include Children with Physical Disabilities in the Private Studio Environment

While recovering from a serious illness, I looked for dance classes that would help me regain flexibility, balance, and core strength, and enable me to return to my pre-illness activity level. As a...

Surviving the Economy in a Private Studio: Embracing an Academic Pedagogy

ABSTRACTMany choices I personally made in establishing my private studio allowed the studio business to survive and grow in the recent economic downturn. I embraced a business model that provides economic flexibility for students' parents and made the decision to focus on the art of dance rather than the pressures of competitive dance. Giving students a more academic experience has infiltrated every aspect of my teaching. To create and build the studio business, I focused on excluding expenses and pressures of competitive dance, giving families the freedom to choose the number and genre of classes, and incorporating National Dance Education Organization (NDEO) programs. I encourage owners of private schools of dance to revisit their teaching pedagogy, talk and listen to parents and community members, become involved with the NDEO, and realize an economy that changes for the worse does not need to mean failure to a private school of dance.

INFUSION of Creative Thinking/Divergent Skill Development Activities in the Private Studio

INFUSION of Creative Thinking/Divergent Skill Development Activities in the Private Studio