Performing Arts Medicine in Clinical Practice PDF
Preview Performing Arts Medicine in Clinical Practice
Howard A. Bird Performing Arts Medicine in Clinical Practice 123 Performing Arts Medicine in Clinical Practice Howard A . Bird Performing Arts Medicine in Clinical Practice Howard A. Bird University College London London UK ISBN 978-3-319-12426-1 ISBN 978-3-319-12427-8 (eBook) DOI 10.1007/978-3-319-12427-8 Library of Congress Control Number: 2015955266 Springer Cham Heidelberg New York Dordrecht London © Springer International Publishing Switzerland 2016 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduc- tion on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of pub- lication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Printed on acid-free paper Springer International Publishing AG Switzerland is part of Springer Science+Business Media (www.springer.com) Pref ace Although written at the suggestion of the publisher, this book, which is designed to fill a specific need, is timely on several counts. Performing Arts Medicine is a new but expanding speciality, which offers great challenges to the clinician and therapist in the service of the performer. It is closely related to Sports Medicine, and derives much from this discipline, established in the service of the athlete though perhaps also their finan- cial sponsors. However, if the rules of the various sports are relatively rigid and the bodily requirements for the athletes and their injuries therefore broadly predictable, the art of the composer or choreographer is more flexible with fewer restrictions. Few would doubt that dancers were athletes. That professional musicians need to display equal athleticism, especially of the upper limb, is less generally recognized. This is before any consideration is given to the artistic tempera- ment that often pushes the body to its limits. T he requirements for dance medicine differ somewhat from those for instrumental medicine (though not as much as might be thought) and the management of singers and even actors forms a third area of the speciality. Practitioners inevitably come from many different back- grounds and are often performers themselves. Amongst the physicians, rheumatology and musculoskeletal medicine are important across all three areas, as is the need for help from orthopaedic surgeons. Singers and actors also fall into the province of the laryngologists. A sympathetic general practi- tioner is always invaluable. Physiotherapists, osteopaths and v vi Preface chiropracters all play an obvious important role though the importance of psychologists, dietitians and pharmacists is sometimes forgotten. It is hoped this book will appeal to all of these disciplines, perhaps even providing simple didactic advice for others who feel insecure in this complicated niche area of medicine. T here has also been increasing interest in health from per- formers themselves. Dance Science, largely evolved from Sports Science, is now established at many Universities and Conservatoires in the United Kingdom. Musical Performance Science, much influenced by Dance Science, is still in its infancy but likely to expand quickly. All this has led to an increasing body awareness in the performers themselves, both in respect of anatomy and physiology, and it is hoped that they, as well as their teachers, will also find much in this book that is of interest. A few enlightened organisations have attempted to nur- ture the speciality. In the United Kingdom, the efforts of the British Association for Performing Arts Medicine and Dance UK with their Healthier Dancer programme deserve particu- lar mention. Although some medical schools have attempted to provide tuition, mainly through the components of the curriculum that the students select themselves, there is a need for broader post-graduate education in the field. This has led to the recent establishment of an MSc degree in Performing Arts Medicine at University College, London, with the assistance of BAPAM and with the collaboration of the two partner institutions, the Royal College of Music and Trinity-Laban Conservatoire of Music and Dance. The author acts as a module leader on this degree course, and some of the contents of this book are derived from that syllabus. The author, who has followed a career in Rheumatology at the University of Leeds, has had a life time interest in the medical problems of performers, and a recent Visiting Professorship at University College, London, in conjunction with their MSc course, has acted as a catalyst to write this book. It does not aim to be a textbook or even fully comprehensive but explores areas of the speciality, mainly musculo-s keletal Preface vii and sometimes controversial, that are of particular interest to the author and that illustrate principles in the management of this unique and sometimes demanding group of patient-per- formers. It attempts to provide a personal opinion alongside the established comprehensive textbooks. From the electronic ver- sion, individual chapters can be purchased separately so that those with interests only in one area of the speciality do not have to purchase the whole book. The subject matter of the chapters is a personal selection and these are mixed with illustrative case histories, collected over some 30 years of clinical practice. It may not escape the attention of the reader that the author is also an amateur pianist. I have tried to write in simple style so that all readers might find things of interest. The book is designed as a practi- cal guide, without extensive references, though these are provided for some of the chapters. A reading list is also pro- vided at the end for those wishing to take their knowledge to a more advanced level. Any mistakes are entirely my own. London, UK Howard A. Bird Acknowledgements Thanks are due: To Suki Tyler, a clinical scientist and herself an ex- professional ballet dancer, for writing the majority of Chap. 3 . To Sofia Ornellas Pinto for help with Chap. 1 0 . T o all patients who have offered themselves as case stud- ies, or as clinical examples in the various chapters throughout this book, some of whom have also provided a commentary from the patient’s viewpoint. T o Julia Megginson, Senior Editorial Assistant, and Melissa Morton, Commissioning Editor, and to all others who have helped at Springer, the publishers. Finally, to my family for their tolerance. ix
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