Month: February 2018

Theatre is a wonderful form of entertainment and depends on performing artists who are highly dedicated to their craft to create the magic so often found there. The industry, however, is highly competitive and extremely demanding of performers. When people think of athletes they may picture football, tennis or basketball players or long distance runners. But like other athletes, dancers and musicians also experience injury and develop conditions as a result of their trade.

Professional musicians and dancers face common injuries like tendinitis, sprains, muscle strains, carpal tunnel syndrome, neck and back pain, and other orthopedic, neurologic and musculoskeletal conditions.

Think about the repetitive nature of practice and performance for string musicians, pianists and wind instrument players. Its little wonder they often suffer from conditions related to overuse of the tendons, ligaments, muscles and joints. Neck and shoulder pain is very common. So is pain in the hands. Dancers tend to face musculoskeletal and orthopedic conditions involving the feet, ankles, hips and knees and are also more prone to injury regarding bones and ligaments such as the ACL.

For these reasons preventative medicine and sports therapy for performing artists are growing.

Occasionally chronic injuries and/or conditions develop as a result of incorrect posture, stress, insufficient rest and excessive force placed upon the bones, ligaments, joints, muscles or tendons. Passion that drives performing artists also tends to produce people so committed to the craft they often tend to accept a lifestyle of injury as easily as theyve embraced the physical demands placed upon them. But the two are not the same, and injury left untreated can jeopardize a performers career. Performing artists who ignore early symptoms of an injury or condition and continue working, without allowing conditions or injuries to heal, arent thinking of the long term consequences to their body and their ability to work. Ignoring a small problem now can lead to a larger one later.

Preventative medicine and sports therapy for performing artists can teach them how to avoid injury and reduce the likelihood of a developing an unwanted condition. Performers can learn techniques for reducing force on joints by selectively strengthening and balancing the muscles needed to perform. Musicians can learn about how different postures reduce muscle tension produced while playing their instruments. Dancers who struggle with osteoarthritis in their hips and knees may receive Durolane injections directly into the joints to lubricate them, relieving pain and inflammation. Can you imagine how much relief this brings to a dancer otherwise forcing him or herself to continue dancing in pain?

Techniques that both dancers and musicians can adopt include warm up and cool down exercises, stretches, short breaks, adjustments in technique, use of devices and modified foot gear, massage therapy and more. Sports therapy professionals can work with performing artists to stretch and loosen tight areas and strengthen weak ones. Combination treatment options like injections in correlation with procedures for reducing inflammation and blood flow to a targeted region are essential restorative therapies which often remove the need for surgery.

It is not uncommon to see medical personnel from sports therapy clinics present at rehearsals and performances. These behind the scenes professionals can do wonders to support and enhance performing artists, helping them avoid injury and also mitigating injuries to avoid further damage. Sports medicine is a quickly evolving industry and medical advances are constant. Performing artists stand to increase their rate of long-term success by establishing and building a relationship with a good sports therapy clinic that understands and specializes in treatment of people in their industry.

Sound care now becomes an investment enabling performing artists to increase their level of pain-free comfort, physical strength, enjoyment and longevity within the field they are passionate about — and that many hope to continue well into their senior years.

In most martial arts disciplines, the hands play a very important part. It is, therefore, essential that the martial arts practitioner takes the best possible care of his hands by protecting and strengthening them. A bad sprain or break might put him out of action for months, something which is largely avoidable.

Heavy impact to the hand could damage the many small bones making up the hand. Incorrectly or inadvertently striking a hard object or a hard part of an opponent’s body could cause the metacarpals to splay and break. This could be avoided by taping the hands in order to hold the metacarpal bones together. You can toughen your bones by striking objects, inducing the bone cells to remodel the bone at the struck area and increasing the density of the bone.

The wrist can also be taped in order to reduce wrist flex. It is important to keep the wrist properly aligned when executing a fist strike; if it bends on impact, it could easily become dislocated, sprained or broken.

The “Karate Chop” or Knifehand Strike

This strike is performed using the side of the hand from the little finger to the wrist. In many Oriental martial arts systems, the knifehand is used to block as well as to strike. Suitable targets for this strike are the throat, the jugular, the mastoid neck muscles, the collar bones, the upper arm, third vertebra, knee cap, wrist and elbow.

The Spear Hand Strike

Delivery is as with a punch but with the hand held open as with a knifehand. The tips of the fingers are the intended striking area. Appropriate targets are the eyes and throat. Because of
the high probability of breaking one’s fingers, the spearhand technique is generally not suitable against most other targets.

The Ridge Hand Strike

Also called the reverse knifehand. The striking surface is formed by tucking the thumb into the palm, and extends a few inches along the side of the hand from the index finnger to knuckle. Ridge hand strikes are commonly performed with a hooking motion or a straight arm swing. Suitable targets are the throat, jugular, mastoid neck muscles, jaw, nose and groin.

The Hammerfist Strike

Here one strikes with the underside of the clenched fist, as in swinging a hammer, but it can also be done horizontally as with a backfist strike. There is no threat to the bones of the hand as there is no compression to the knuckles or the metacarpals. There is also no leverage to bend the wrist.

The hammerfist is particularly effective for striking the nose, jaw, ear, temples, strenum and wrist (for blocking punches). The hammerfist strike is sometimes used in mixed martial arts to avoid damaging the bones of the hand.

Extended Knuckle Strike

Rather than striking with the traditional fist punch, hand strikes can be delivered with one knuckle extended, usually the middle or index finger knuckle. Because impact is made with the knuckle, force is concentrated onto a smaller area. This type of strike is suitable for attacks to pressure points.

The Palm Strike

This involves striking with the bottom part of the palm, the area where the hand joins the wrist. The hand is held perpendicular to the wrist to avoid hitting the softer wrist tissue against the target. The palm strike is as effective as a closed fist when performed properly, as the heel of the hand makes a surprisingly solid striking surface. There is far less risk of injury to the striker’s hand.

When executing any kind of fist strike, it is good practice to keep the fist clench relaxed until just before impact in order to maximise the speed of the punch. This is because clenching the fist counters the action of the wrist muscles used in punching. There are several suitable targets, some examples being the jaw, nose, ears, back of the head, the kidneys, abdomen and groin.

You can see that it is essential to take adequate precautions in protecting your hands, if you are to get the most enjoyment out of your sport.

How good is your punching power? Is it enough for knockout punches? Many athletes and martial artists ask these questions, but there was no way to measure it at home without expensive equipment (punching power meter). Now you can do it. This punching speed measurement program is the best training tool for combat sport, martial arts and boxing. Use it during shadow boxing. It works without speed/heavy bag, boxing gloves and sparring partners.
There are many components to a punch:
1- Speed of the arm of the punching hand.
2- Speed of the shoulder of the punching hand. (Yes, the shoulder does move forward about 6 inches)
3- The speed of the torso or trunk of the body turning. The torso can actually advance the punch another 8 inches.
4- The speed of your step into the punch if it is an attacking punch.
Here are a few simple things you can do to help increase your punching speed:
1) In martial arts and combat sports such as Karate, Taekwondo, and Muay Thai, use heavy bags, standing bags, and similar apparatuses which have been adapted for practicing kicking and other striking maneuvers
2) Warm up before you start. Start slowly, but do complete motions. Each time, punch a little faster than the last time, until you are moving at full speed and power. Your speed will not increase over night. The process may take several weeks until you notice a difference.
3) One of the best known methods to improve the punching power is to hold dumbbells in each hand and practice throwing punches in the air. This is a proven method to increase the speed and punching power. It is said that Bruce Lee used 10 lb. dumbbells in order to improve his speed and punching power.
How would you like a significantly faster punch in just one week? You can practice those techniques on your own. It’s easy, and it works. And monitor your progress with Punching Speed Measurement Tool Knockouter for free!

Durham, NC, January 30, 2014 – Eddie Izzard will bring his massive Force Majeure world tour to the U.S., visiting 32 cities through the spring with more dates to be announced later this year. The tour stops at DPAC, Durham Performing Arts Center, on May 21, 2014.

Tickets go on sale Tuesday, February 4 at 10 a.m.:

Online at DPACnc.com

DPAC Ticket Center: 919.680.2787, 123 Vivian Street, Durham, NC

Ticketmaster.com / Ticketmaster Charge by phone at 800.745.3000

Presented by WestBeth Entertainment, a full list of U.S. tour dates with links to tickets is available at http://www.EddieIzzard.com.

Force Majeure is the most extensive comedy tour ever; launched in March of 2013, the tour will take Izzard to 25 countries on five continents. From Cardiff to Kathmandu and Moscow to Mumbai, Force Majeure will play throughout Europe, Africa, Russia, the U.K., Canada, the U.S., India, Nepal, The Far East and Australia. Izzard recently completed runs in France performing entirely in French and in Berlin performing entirely in German.

One of the most acclaimed comedians of his generation, Izzard’s unique, tangential, absurd, and surreal comic narratives are lauded for their creativity and wit, earning him a New York Drama Desk Award and two Emmys for Dress to Kill, two British Comedy Awards for Top Stand-Up Comedian, and an Olivier Award nomination for Outstanding Achievement.

In the U.S., Izzard is the first solo stand-up comedian to perform at the Hollywood Bowl, has sold-out three consecutive nights at Radio City Music Hall and toured arenas throughout the U.S. including a sold-out show at Madison Square Garden.

On TV, Izzard most recently guest starred in the series, Hannibal, on NBC. He starred in and served as a producer on the critically acclaimed FX Network Show, The Riches, opposite Minnie Driver, guest starred in the final season of Showtime’s United States of Tara, and his 2010 documentary, Believe: The Eddie Izzard Story, received an Emmy nomination.

His long list of film and stage credits includes Valkyrie opposite Tom Cruise, Steven Soderbergh’s Ocean’s Thirteen and Ocean’s Twelve opposite George Clooney and Brad Pitt, David Mamet’s Race and The Cryptogram, the title role in Marlowe’s Edward II, and A Day in the Death of Joe Egg in London and on Broadway which won him a handful of awards, including a Tony nomination for Best Actor.

WESTBETH ENTERTAINMENT is a producing organization that has successfully and consistently produced critically acclaimed, financially successful, groundbreaking entertainment for 30 years. WestBeth has produced, presented, and managed diverse productions and tours that have played such venues as Madison Square Garden, Broadway, Radio City Music Hall, the Hollywood Bowl, Toronto’s Massey Hall, the San Francisco’s the Curran Theatre, Chicago’s United Center Arena and the Chicago Theatre, and many music and performing arts centers around North America.

WestBeth is currently producing La Soire in New York City and an upcoming Australian tour of Puppet Up! – Uncensored.

Recent productions include the Canadian tour of Eddie Izzard’s Force Majeure, and Dylan Moran’s Yeah, Yeah in cities across the US and Canada. WestBeth also produced the 6 week off-Broadway run of South African comedian Trevor Noah’s Born a Crime; Eric Idle’s What About Dick at the Orpheum Theatre in Los Angeles; and the national tour, Off-Broadway, and 2013 Edinburgh Fringe Festival runs of Puppet Up! – Uncensored (aka Stuffed & Unstrung) with The Jim Henson Company.

Other notable productions include John Leguizamo’s Ghetto Klown on Broadway, the West End, and Colombia, South America; British comedian Simon Amstell’s one man show NUMB in New York and other cities around the county; Billy Connolly’s tour The Man Live in New York and San Francisco; Eddie Izzard’s Dress To Kill, Circle, Sexie, Stripped-a 35 city US tour and tour of Canada, Stripped Too: US Arena tour, Stripped to the Bowl, Stripped to the Shore; Billy Connolly’s Too Old To Die Young tour in America and Canada; Lewis Black’s Nothing Sacred show at New York’s Lincoln Center and Carnegie Hall, as well as Lewis’ Dual Citizenship Tour in Canada and ‘In God We Rust’ at City Center in New York.

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About DPAC Since its opening in 2008, DPAC, Durham Performing Arts Center, has become the center for live entertainment in the Triangle. Recognized for its contemporary design, DPAC features 2,700 seats, intimate sightlines and state-of-the art sound and video. Listed four times in the top 10 in Pollstar magazine’s annual worldwide theater attendance rankings, DPAC is currently the #4 ranked theater in the U.S.

What is up next at DPAC? Alternative rock’s hottest ticket PIXIES (January 31), an evening of mind-blowing music with GOV’T MULE (February 8), and back by popular demand “The Edible Inevitable Tour” with ALTON BROWN (February 27).

For more information, please go to http://www.DPACnc.com.

Press Contact:
Rachel Gragg
DPAC, Durham Performing Arts Center
Durham, NC
+1 (919) 281-0476
http://www.dpacnc.com

The answer is no. No doubt what you learn from combative arts classes could be used for self-defence but they are just not self-defence. In reality, what you have learnt from the martial arts classes have nothing to do with the realities of protecting your personal safety. But again, we constantly attempt to find out what is the best combative arts for someone to learn about self-defence.

Realise this, if self-defence is what you are looking for, most of the martial arts school will not be able to offer you that, especially on staying safe in a modern urban environment. You may ask why do you say so?

1. Self-defence has something to do with “defusing violence”.

Violence can originate from an argument, physical contact, a date rape, a drunk friend, a fight, etc. They are all violence. Do you know that these pose different problems and there are different solutions?. How many martial arts school’s syllabus actually teach the students about how to response to such a situation? Do you think by breaking board will help you in “defusing violence”? Different violent situations will require different levels of response. You will learn such level of response in self-defense lessons but not combative arts.

2. Martial arts emphasis on fighting style.

As you know each violence situation differs, self-defense is the answer in dealing with it. Remember this, what works for one situation may not work for another. Martial arts emphasis on fighting style. Form is more important than substance. But for self-defence, your personal safety is the priority. You learn how to defuse violence or getting out of that situation. It encompasses common sense, habits, lifestyle, alertness etc.

3. Martial arts are training but not education on how to deal with violence.

Martial arts are training and sports. People constantly mistaken it for education. Self-defence by its very nature addresses specific conditions and problems. Do you think the SWAT officer’s high risk entry training is of good help in controlling a drunk in a bar? Of course not. The training that works for such an officer doesn’t work for you as well. Self defence requires education and training. In combative arts, you will learn very specific things, however, that surely doesn’t mean that you are prepared to handle all violence situations. You need to be educated about what martial art techniques can be used for self-defence in each and every different circumstances.

You must know that most martial arts have become sports regardless their combative history or self-defence use they claim. There’ is a huge difference between sport fighting and defensive movement. If you still think that any martial art could be used for self-defence then you are exposing yourself to the danger.