 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
Time |
Item |
Presenter |
|
|
Saturday 25th October |
|
|
12:30 PM |
Registration |
|
|
1:00 PM |
Welcome to participants |
Mark Seton |
|
1:05 PM |
Session 1 |
|
|
1:05 PM |
Two steps forward, one step back: Successes and challenges of implementing healthcare initiatives in the tertiary music environment |
Catherine Grant |
|
1:25 PM |
Nature of orchestral noise |
Ian O’Brien |
|
1:45 PM |
Review of Hypermobility – the syndrome, its implications for clinicians and performers, and controversies |
Dr John Hadok |
|
2:05 PM |
Injury concerns of flute players and teachers |
Karen Lonsdale |
|
2:25 PM |
Afternoon Tea |
|
|
2:55 PM |
Session 2 |
|
|
2:55 PM |
The Feldenkrais Method in the practice of the teaching of singing at the Victorian College of the Arts |
Anna Connolly Stephen Grant |
|
3:15 PM |
Vocal Empowerment and effective communication: researching the effect of actor voice training on young adults with cochlear implants and hearing aids |
Geraldine Cook |
|
3:35 PM |
A preventative vocal health program provided to the Melbourne Theatre Company |
Debbie Phyland |
|
3:55 PM |
Short Break |
|
|
4:05 PM |
Session 3 |
|
|
4:05 PM |
(Re)Finding healthy virtuosity: A brief introduction to the Taubman approach to piano technique |
Therese Milanovic |
|
4:25 PM |
Dancing With the Piano |
Dr Donna Coleman |
|
4:45 PM |
Feldenkrais-Based Movement Training for Musicians: A supplemental learning activity in tertiary performance teaching and learning |
Suzanne Wijsman and Sarah Wiin |
|
5:05 PM |
Short Break before AGM |
|
|
5:15 PM |
ASPAH Annual General Meeting (See separate agenda) |
|
|
6:15 PM |
Finish – An informal dinner for those who wish to continue the conversations may follw - TBA |
|
|
|
|
|
|
|
Sunday 26th October |
|
|
9:30 AM |
Registration (for those who didn’t register on Saturday) |
|
|
10:00 AM |
An introduction to Alexander Technique: A Workshop |
Anne Shoebridge |
|
11:15 AM |
Performance quality is the primary focus for most performing artists. Fortunately, the process of learning more fluid coordination not only enhances performance quality, but also reduces the wear and tear which can eventually manifest as performance-relat |
|
|
11:15 AM |
Short Break |
|
|
11:30 AM |
An introduction to InterPlay: A Workshop |
Mark Seton |
|
12:45 PM |
InterPlay® was first developed in San Francisco by performers and teachers Cynthia Winton-Henry and her colleague, Phil Porter. For over twenty years, they've developed InterPlay® as an improvisational technique and a set of philosophical principles that |
|
|
12:45 PM |
Finish |
|
Howzat – 10 not out!
MCG hosts the 2nd ASPAH Conference and AGM
Saturday 25 October 2008
One could play with cricketing puns about the context in which ASPAH held its second conference and Annual General Meeting, but it must be acknowledged that we’re very grateful to the Australian Hand Therapy Association for providing us with an amazing venue, following their own conference, free of charge, so that we could host ourconference and AGM. The Saturday afternoon proved to be a rich feast of presentations that clearly demonstrated that there is widespread concern and commensurate action being taken to improve holistic healthcare for performing artists at a national level.
Speakers came from Western Australia, Queensland and Victoria to contribute insights about their research and/or their practices in engaging with specific health needs of vocalists, instrumentalists (orchestras, flute, piano) and actors. The unfortunate absence of dance scholars and practitioners was due only to an unforseen clash of competingconferences.
Papers addressed either specific groups (flautists, pianists, vocalists) or much broader environments such as tertiary music education, orchestral working conditions and theatre company vocal care initiatives. It was particularly encouraging to have speakers from different modes of care - eg. Feldenkrais and Alexander methods - present their papers alongside each other and participate in mutually informative dialogue. As one participant observed, after the conference, “The common thread through the diverse approaches such as Alexander, Feldenkrais, Yoga, Interplay etc, is the attempt, or aspiration, to INTEGRATE - to give the student/performer a sense of integration and wholeness, the absence of which has brought them to dysfunction to a greater or lesser degree.”
After the Annual General Meeting, in which the ASPAH Secretary, Dr Paul Duff, reported on the year’s small yet incrementally significant activities, many of the conference participants continued the conversations, generated by the Conference, at a wonderful Greek restaurant in lively Fitzroy. The following day, two practical workshops introduced some basic tools, from Alexander and InterPlay practices, for playful and healthy performance engagement to participants who attended the Sunday morning programme.
May I again convey thanks to the Australian Hand Therapy Association, to all those who contributed papers and ran workshops at this Conference, and to members of the ASPAH executive for their assistance in making this event a success.
Dr Mark Seton, Conference Convenor, 2008
|
About the Speakers |
|
Mark Seton has taught performance-makers (in dance, music and theatre) at the University of Sydney, University of Western Sydney and Macquarie University. He was previously the Musical director and founder of the accapella choir Crossfocus (1992 to 1999). He is a certified teacher of InterPlay® and is on the Executive of InterPlay® Australia Association. He is also Chair of the Health Promotion sub-committee of the Australian Society for Performing Arts Healthcare (ASPAH). |
|
Donna Coleman is an internationally renowned concert pianist, recording artist and teacher whose first contact with Australian students as a Fulbright Senior Scholar from the USA led to an invitation from the Victorian College of the Arts to become its Head of Keyboard, a position in which she continues to inspire students in all disciplines. |
|
Anna Connolly is Head of Voice at Victorian College of the Arts: Music at Melbourne University. Her teaching, at the forefront of vocal pedagogy, is informed by a thorough knowledge of human movement and anatomy. Her students have won every major competition in Australia and perform in the world’s major opera houses. |
|
Geraldine Cook is Head of Voice in the Drama Dept. of the Faculty of the Victorian College of the Arts at Melbourne University. She holds a Masters of Education from Melbourne University and is currently enrolled in a Doctor of Education at UoM. Her professional practice includes voice and dialect consultancy for the Melbourne Theatre Company, SBS and ABC. |
|
Catherine Grant, Senior Research Assistant at Queensland Conservatorium Research Centre, has been at the forefront of piloting a national strategy towards tertiary musicians’ health and wellbeing. The impulse for the strategy was Catherine’s paper delivered at the 2007 National Council of Tertiary Music Schools Conference, Beyond prevention: Addressing the needs of tertiary music students with a playing-related injury |
|
Stephen Grant is Lecturer in Voice at Victorian College of the Arts: Music at Melbourne University. He is an international performer and teacher, and he gives workshops in the US, Europe and Australia whose focus is the connection between vocal pedagogy and the Feldenkrais Method. |
|
John Hadok has qualifications in anaesthesia, pre-hospital care, rural and remote medicine, and civil aviation medicine, and has worked in emergency medicine for sixteen years. He was Medical Director for AEA International (now International SOS) in Beijing in the mid nineties and was responsible for clinic services and patient care and transport for North Asia. He is a foundation Fellow of the Faculty of Immediate Medical Care in Edinburgh, and is a recipient of the British Association for Immediate Care Medal. He is a co-founder of the Australian Society for Performing Arts Healthcare and is currently pursuing study in sports/movement medicine at University of Queensland. |
|
Karen Lonsdale is a busy freelance professional flautist, working regularly as Guest Principal Flute with the Queensland Orchestra. She is also an Examiner for the Australian Music Examinations Board, Lecturer in Flute at the University of Southern Queensland and is in demand as an adjudicator and workshop presenter. Karen has been a past president of the Queensland Flute Guild and is currently on the council of the Music Teachers' Association of Queensland. She is currently enrolled in a Doctor of Musical Arts at Queensland Conservatorium Griffith University, researching the topic of injury prevention and management for flute players. |
|
Therese Milanovic is busy as a performer, teacher and developing her growing expertise in musicians’ health. She has attended several symposia on the Taubman Approach in US and Italy, the focus of her Masters thesis. Next year she will undertake training to become the first qualified Taubman teacher in Australia. |
|
Ian O’Brienis a musician with the Queensland Orchestra and have been playing in professional orchestras for fifteen years. After studies in audiology he began researching excessive noise exposure in orchestras in 2000. In 2004 he devised Australia’s first comprehensive hearing conservation strategy for a professional orchestra, which has since become a template for orchestras in Australia and New Zealand. His research into orchestral noise was published in the Journal of The Acoustical Society of America in August 2008 and his M. Phil thesis on the topic has recently been completed. |
|
Debbie Phyland is both a speech pathologist and singer with considerable experience and commitment to the promotion of vocal health among performers. She has worked as a speech pathologist for over 22 years predominantly in the acute hospital setting and in private practice. In 1998, she completed her Master’s Degree researching voice problems of professional singers. In 2002 she was awarded a Churchill Fellowship to investigate voice management of performers in the US and Europe for 3 months. She is a lecturer/subject co-ordinator at Latrobe University and a co-founder and partner at the Melbourne Voice Analysis Centre which is a specialist clinic for the evaluation and treatment planning for voice disorders. She is the resident voice consultant for Melbourne Theatre Company and for many Australian Musical Theatre productions, most recently Miss Saigon (National), Phantom of the Opera (Melbourne and Sydney), Wicked (Melbourne) and Guys and Dolls (Melbourne). |
|
Ann Shoebridge has been teaching the Alexander Technique for nineteen years. She initially came into contact with the Technique in the context of studying voice, and became interested in its implications in the treatment of pain. She has moved from working in a therapeutic role as a rehabilitation physiotherapist, to movement education and performance coaching. She has worked with the Royal Shakespeare Company, the Melbourne Symphony Orchestra String Fellowship Programme, the Australian Youth Orchestra, Melbourne Youth Music, and the Victorian Arts Centre education programme, as well as in schools and in private practice |
ASPAH is for anyone interested in finding answers in the fields of performing arts health, performing arts medicine, music medicine, dance medicine, dance injuries, performance anxiety, performance stress, stage fright, RSI in musicians and anything else to do with illness and injury in the performing arts.
Site Map