Participation Motivation in Martial Artists in the West Midlands Region of England

The objectives were to identify the participation motivations and the perceived importance of certain participation factors in martial artists in the West Midlands, England, UK. A 28-item adapted version of the Participation Motivation Questionnaire with additional demographic questions was distributed to 30 martial arts clubs in the West Midlands region. Eight questions that assessed the perceived importance for participation of progression through grades, learning self defence skills, technical ability of instructors, cost of participating, development of confidence, underpinning philosophy and instructional style were included. Seventy-five questionnaires were returned from a total of 11 clubs from across representing practitioners in Tai Chi, Karate, Kung fu, Aikido, Jeet Kune Do, British Free Fighting, Taekwon-Do and Jujitsu. Results indicated that the rank order in terms of participation motives was: 1- Affiliation; 2-Friendship; 3-Fitness; 4-Reward/status; 5-Competition; 6-Situational and 7-Skill development. Participants who trained for more than 4 hours per week placed greater importance on the underpinning philosophy of the martial art. Findings suggest that whilst there is a gender discrepancy in participation level, once engaged, females were equally committed to weekly training. The ‘style’ of the instructor is of paramount importance for enhancing student motivation to participate. High volume practitioners would appear to be fully immersed in the holistic appreciation of the martial art through increased value placed on its underpinning philosophy

In response to 'Celebrate citation: flipping the pedagogy of plagiarism in Qatar'

In her article (http://uobrep.openrepository.com/uobrep/handle/10547/335947) Molly McHarg makes several points that I agree with, particularly that for the majority of students the plagiarism is not deliberate but is due to a lack of understanding of how to reference correctly

Taijiquan the 'Taiji World' way: Towards a cosmopolitan vision of ecology.

In this article, we present a case study analysis of data gathered on the practice of the art of Taijiquan (Tai Chi Chuan) in one UK context. Our interest in looking at this physical culture was in exploring if/how physical cultures of shared embodied experience and practice may help “sow the seeds of environmental awareness”. In so doing, we illustrate certain affinities between this interpretation of the art and Beck’s idea of a “cosmopolitan vision of ecology”. We present an analysis of documentary and interview data of one English Taijiquan organisation and how it currently promotes the idea of interconnectedness, wellbeing and an alternative meta-narrative for living through the practice of Taijiquan. We conclude that, while further research is needed, there is evidence that a cosmopolitan vision for ecology is emerging in physical cultures such as Taijiquan

What Makes Theatrical Performances Successful in China's Tourism Industry?

This study aims to explore the factors affecting the success of a popular tourist product, namely, theatrical performance, within the context of China's tourism industry and develop a model based on previously successful productions. Using qualitative software, 22 Chinese-language articles on theatrical performances are analyzed to generate a list of success factors, classified as internal and external. The internal factors are storyline and performing, market positioning and marketing strategy, investment and financial support, operation and management, performing team, outdoor venue, indoor/outdoor stage supporting facilities, continuous improvement, and production team. The external factors are collaboration between cultural industries and local tourism, government support, privatization, and social and cultural effect. This study also provides suggestions for the future development of theatrical performances in China

Performance anxiety in actors: symptoms, explanations and an Indian approach to treatment

There are numerous examples of renowned performers across the arts (actors and musicians) and in sports, which become news items in the media due to their performance anxiety (also called stage fright in English, or Lampenfieber in German). Given the number of celebrity actors suffering from stage fright, the number of those actors who do not make the news headlines in relation to their stage fright but nevertheless suffer from it must be even higher. In t his essay we provide an up to date account of the symptoms of stage fright, possible explanations for it and a range of known approaches to treatment. This is followed by an original approach to treating stage fright, based on Indian performance techniques, using details of a study undertaken in 2005.This multi-author journal article provides an in-depth analysis into the nature and treatment available for performance anxiety. The article offers examples of numerous artists and singers, including Sir Laurence Olivier, who had experienced stage fright for the duration of his performances of the title role in Ibsen’s The Master Builder (1965). The article run a clear analysis of the symptoms of stage fright and explain the nature of this psychophysical anxiety using clinical evidences and therapeutic methods. The key focus of the article is to compare and contrast two therapeutic methods for deducing stage anxiety: NLP, a well-established method, and SIT, which is an emerging method developed by Sreenath Nair using South Indian Bodily traditions. The article is based on a project carried out by Emerita Elizabeth Valentine and Daniel Meyer-Dinkgräfe in 2005, funded by the British Academy and the University of Wales Aberystwyth. The project compared two distinct methods of reducing stage fright in stage actors (Valentine et.al. 2006), one of them based on Indian approaches (South Indian Techniques, SIT) and the other Neuro Linguistic Programming (NLP). The SIT approach makes use of a range of psychophysical approaches deriving from the martial and performance traditions of Kerala. The study concludes that although many of the results were not statistically significant, ten of the eleven main effects were in the predicted direction, i.e. a greater effect for SIT than NLP. This multi-author journal article provides an in-depth analysis into the nature and treatment available for performance anxiety. The article offers examples of numerous artists and singers, including Sir Laurence Olivier, who had experienced stage fright for the duration of his performances of the title role in Ibsen’s The Master Builder (1965). The article run a clear analysis of the symptoms of stage fright and explain the nature of this psychophysical anxiety using clinical evidences and therapeutic methods. The key focus of the article is to compare and contrast two therapeutic methods for deducing stage anxiety: NLP, a well-established method, and SIT, which is an emerging method developed by Sreenath Nair using South Indian Bodily traditions. The article is based on a project carried out by Emerita Elizabeth Valentine and Daniel Meyer-Dinkgräfe in 2005, funded by the British Academy and the University of Wales Aberystwyth. The project compared two distinct methods of reducing stage fright in stage actors (Valentine et.al. 2006), one of them based on Indian approaches (South Indian Techniques, SIT) and the other Neuro Linguistic Programming (NLP). The SIT approach makes use of a range of psychophysical approaches deriving from the martial and performance traditions of Kerala. The study concludes that although many of the results were not statistically significant, ten of the eleven main effects were in the predicted direction, i.e. a greater effect for SIT than NLP. The study is a practice-based research demonstrating a highly relevant contribution to a therapeutic practice reducing stage fright. The research combines science and humanities indicating direct and wider impact

Lisp, Jazz, Aikido -- Three Expressions of a Single Essence

The relation between Science (what we can explain) and Art (what we can't) has long been acknowledged and while every science contains an artistic part, every art form also needs a bit of science. Among all scientific disciplines, programming holds a special place for two reasons. First, the artistic part is not only undeniable but also essential. Second, and much like in a purely artistic discipline, the act of programming is driven partly by the notion of aesthetics: the pleasure we have in creating beautiful things. Even though the importance of aesthetics in the act of programming is now unquestioned, more could still be written on the subject. The field called "psychology of programming" focuses on the cognitive aspects of the activity, with the goal of improving the productivity of programmers. While many scientists have emphasized their concern for aesthetics and the impact it has on their activity, few computer scientists have actually written about their thought process while programming. What makes us like or dislike such and such language or paradigm? Why do we shape our programs the way we do? By answering these questions from the angle of aesthetics, we may be able to shed some new light on the art of programming. Starting from the assumption that aesthetics is an inherently transversal dimension, it should be possible for every programmer to find the same aesthetic driving force in every creative activity they undertake, not just programming, and in doing so, get deeper insight on why and how they do things the way they do. On the other hand, because our aesthetic sensitivities are so personal, all we can really do is relate our own experiences and share it with others, in the hope that it will inspire them to do the same. My personal life has been revolving around three major creative activities, of equal importance: programming in Lisp, playing Jazz music, and practicing Aikido. But why so many of them, why so different ones, and why these specifically? By introspecting my personal aesthetic sensitivities, I eventually realized that my tastes in the scientific, artistic, and physical domains are all motivated by the same driving forces, hence unifying Lisp, Jazz, and Aikido as three expressions of a single essence, not so different after all. Lisp, Jazz, and Aikido are governed by a limited set of rules which remain simple and unobtrusive. Conforming to them is a pleasure. Because Lisp, Jazz, and Aikido are inherently introspective disciplines, they also invite you to transgress the rules in order to find your own. Breaking the rules is fun. Finally, if Lisp, Jazz, and Aikido unify so many paradigms, styles, or techniques, it is not by mere accumulation but because they live at the meta-level and let you reinvent them. Working at the meta-level is an enlightening experience. Understand your aesthetic sensitivities and you may gain considerable insight on your own psychology of programming. Mine is perhaps common to most lispers. Perhaps also common to other programming communities, but that, is for the reader to decide..

Physiotherapy versus placebo or no intervention in Parkinson's disease

Background: Despite medical therapies and surgical interventions for Parkinson's disease (PD), patients develop progressive disability. Physiotherapy aims to maximise functional ability and minimise secondary complications through movement rehabilitation within a context of education and support for the whole person. The overall aim is to optimise independence, safety, and well-being, thereby enhancing quality of life.  Objectives: To assess the effectiveness of physiotherapy intervention compared with no intervention in patients with PD.  Search methods: We identified relevant trials by conducting electronic searches of numerous literature databases (e.g. MEDLINE, EMBASE) and trial registers, and by handsearching major journals, abstract books, conference proceedings, and reference lists of retrieved publications. The literature search included trials published up to the end of January 2012.  Selection criteria: Randomised controlled trials of physiotherapy intervention versus no physiotherapy intervention in patients with PD.  Data collection and analysis: Two review authors independently extracted data from each article. We used standard meta-analysis methods to assess the effectiveness of physiotherapy intervention compared with no physiotherapy intervention. Trials were classified into the following intervention comparisons: general physiotherapy, exercise, treadmill training, cueing, dance, and martial arts. We used tests for heterogeneity to assess for differences in treatment effect across these different physiotherapy interventions.  Main results: We identified 39 trials with 1827 participants. We considered the trials to be at a mixed risk of bias as the result of unreported allocation concealment and probable detection bias. Compared with no intervention, physiotherapy significantly improved the gait outcomes of speed (mean difference 0.04 m/s, 95% confidence interval (CI) 0.02 to 0.06, P = 0.0002); two- or six-minute walk test (13.37 m, 95% CI 0.55 to 26.20, P = 0.04) and Freezing of Gait questionnaire (-1.41, 95% CI -2.63 to -0.19, P = 0.02); functional mobility and balance outcomes of Timed Up & Go test (-0.63 s, 95% CI -1.05 to -0.21, P = 0.003), Functional Reach Test (2.16 cm, 95% CI 0.89 to 3.43, P = 0.0008), and Berg Balance Scale (3.71 points, 95% CI 2.30 to 5.11, P < 0.00001); and clinician-rated disability using the Unified Parkinson’s Disease Rating Scale (UPDRS) (total -6.15 points, 95% CI-8.57 to -3.73, P < 0.00001; activities of daily living: -1.36, 95% CI -2.41 to -0.30, P = 0.01; and motor: -5.01, 95% CI -6.30 to -3.72, P < 0.00001). No difference between arms was noted in falls (Falls Efficacy Scale: -1.91 points, 95% CI -4.76 to 0.94, P = 0.19) or patient-rated quality of life (PDQ-39 Summary Index: -0.38 points, 95% CI -2.58 to 1.81, P = 0.73). One study reported that adverse events were rare; no other studies reported data on this outcome. Indirect comparisons of the different physiotherapy interventions revealed no evidence that the treatment effect differed across physiotherapy interventions for any of the outcomes assessed.  Authors' conclusions: Benefit for physiotherapy was found in most outcomes over the short term (i.e. < 3 months) but was significant only for speed, two- or six-minute walk test, Freezing of Gait questionnaire, Timed Up & Go, Functional Reach Test, Berg Balance Scale, and clinician-rated UPDRS. Most of the observed differences between treatments were small. However, for some outcomes (e.g. speed, Berg Balance Scale, UPDRS), the differences observed were at, or approaching, what are considered minimal clinically important changes. These benefits should be interpreted with caution because the quality of most of the included trials was not high. Variation in measurements of outcome between studies meant that our analyses include a small proportion of the participants recruited.  This review illustrates that a wide range of approaches are employed by physiotherapists to treat patients with PD. However, no evidence of differences in treatment effect was noted between the different types of physiotherapy interventions being used, although this was based on indirect comparisons. A consensus menu of 'best practice' physiotherapy is needed, as are large, well-designed randomised controlled trials undertaken to demonstrate the longer-term efficacy and cost-effectiveness of 'best practice' physiotherapy in PD