The need for biokineticists in the South African public health care system

Background: Noncommunicable diseases (NCDs) are increasingly prevalent within South Africa. Physical inactivity is a significant, independent and modifiable risk factor increasing the prevalence of NCDs.Discussion: The integration of physical activity programmes into the primary health care system through multidisciplinary platforms is thus advocated for and envisioned to be more cost-effective than current practices. However, currently within the primary health care setting of South Africa, there is an absence of health care professionals adequately equipped to develop and implement physical activity programmes. Biokineticists, whose scope of practice is to improve physical functioning and health through exercise as a modality, are ideally suited to developing and implementing physical activity programmes in the public sector. Yet despite their evident demand, the role of the biokineticist is not incorporated into the national public health care system.Conclusion: This short report calls firstly, for the inclusion of biokinetics into the public health care sector, and secondly, for the funding of multidisciplinary community health programmes supporting education, healthy eating and physical activity levels.Keywords: noncommunicable disease, physical activity, community health programme, primary health car

A 12-week primary prevention programme and its effect on health outcomes (the Sweet Hearts biokinetics pilot study)

Background: The prevalence of non-communicable diseases (NCDs) and physical inactivity are concerning within the South African population. To address these concerns, the ‘Strategic Plan for Prevention and Control of NCDs 2013-2017’ was developed. In response to this plan, a 12-week pilot biokinetics community health programme, Sweet Hearts, was initiated. Methods: This study is a prospective pilot study evaluating the feasibility and effectiveness of the intervention. Twenty- five individuals participated in the intervention. Ten participants performed a battery of physiological tests pre and post intervention and 5 participants completed an email-based survey post intervention. The setting of the study was Tramway Football Club, Southfield, Cape Town, South Africa. The Sweet Hearts intervention was designed to promote physical activity and healthy nutritional habits in those who participated. A total of 27 exercise sessions consisting of cardiovascular, resistance and flexibility training were conducted. Brief-behavioural counselling was integrated into exercise sessions. Results: The intervention group had a high attrition rate with >50% of participants not presenting for post-intervention testing. Results were evident despite a limited sample size. There were significant improvements in health outcome measures among participants who did attend all testing sessions. These improvements included: an increase in Global Physical Activity Questionnaire (GPAQ) score (p = 0.03), 12- minute walk distance (p = 0.01), sit-to-stand test repetitions (p = 0.001), and a decrease in waist circumference (p = 0.01). Improvements were also noted in self-reported eating restraint (p = 0.03). Five main themes were structured into post intervention surveys: 1) enjoyment of the intervention, 2) benefits of the intervention, 3) obstacles affecting adherence, 4) future improvements to the intervention, and 5) state of non-communicable diseases in South Africa. Conclusion: The results of the Sweet Hearts intervention demonstrate the difficulty and importance of maintaining adherence to a community health intervention. The favourable results of the small sample size demonstrate the potential benefit of biokinetics-based programmes in the public health sector; and provide proof of concept for the dedication of resources towards health promotion within a community setting.

From Necker Cubes to polyrhythms: Fostering a phenomenological attitude in music education

Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds we inhabit. I then explore how the phenomenological attitude may serve as a starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena (e.g., African polyrhythm). To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.

From Necker Cubes to polyrhythms: Fostering a phenomenological attitude in music education

Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds we inhabit. I then explore how the phenomenological attitude may serve as a starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena (e.g., African polyrhythm). To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.

Refining the model for emotion research: A 4E perspective

While generally supportive of the aims of the target article, I suggest that it contains some theoretical and methodological shortcomings that could be addressed in future work. I also argue that if the author wishes to produce research that properly engages the enactivist perspective, then a number of additional dimensions are required. With this in mind, I outline the basics of the 4E (embodied, embedded, enactive and extended) approach to cognition, suggesting that it may provide a useful framework for empirical research

Phenomenology, Technology and Arts Education: Exploring the Pedagogical Possibilities of Two Multimedia Arts Inquiry Projects

The relevance of phenomenology for arts education is explored through two multimedia arts inquiry projects. I begin by offering a brief outline of what arts inquiry and phenomenology entail. Following this, I consider a phenomenological study relevant to creative multimedia studies, and develop the relationship between phenomenology, critical pedagogy, and creative praxis in the arts. Drawing on these ideas, I then discuss the processes involved in creating the multimedia projects and consider possibilities for similar projects in educational contexts. Most importantly, I attempt to show how such projects might open arts educators and students to more reflective, imaginative and participatory ways of being-in-the-world, while simultaneously developing deeper historical, cultural, technical, and aesthetic understandings of the art forms they are engaged with

The free improvisation game: performing John Zorn’s Cobra

The use of improvisation is wide spread in musical practice around the world. Nevertheless, Western academic circles tend to ignore this ubiquitous activity and have maintained a focus on composition and interpretation. This is beginning to change, however, and the role of improvisation in performance and music education is receiving an increasing amount of attention. This paper contributes to this project by examining the practice of ‘free improvisation’ in a large ensemble context. A rehearsal and performance of John Zorn’s Cobra––a ‘game’ piece for improvisers––is analyzed from a first-person perspective; relevant research in music psychology is considered; and suggestions are made with regard to how we may better understand the nature of musical communication in improvised contexts. Pedagogical applications are also considered

Improvisation, Enaction, and Self-Assessment

This chapter explores the challenging question of curriculum and assessment for music improvisation pedagogy. It begins by offering a critical review of standard approaches to improvisation pedagogy, arguing that they often neglect the processes of discovery and collaboration that more open or “free” approaches afford. It then discusses the challenges that free improvisation poses to traditional modes of practice and assessment in music education. The chapter considers the argument that improvisation, in its fullest sense, cannot be taught and assessed according to standardized models; it is not something to be inculcated in students, but rather is a fundamental disposition that should be nurtured. This perspective is then developed in light of recent advances in enactive cognitive science, in which living cognition is explored as a fundamentally embodied, embedded, enactive, and extended (4E) phenomenon. The suggestion is made that because the ways living agents engage with these dimensions are not pre-given but rather reflect the adaptive processes associated with survival and well-being in contingent sociomaterial environments, there is a very strong sense in which cognition may be understood as an improvisational process even at the most fundamental levels. Following this, the chapter explores how a 4E cognition model might help guide curriculum development and offer a framework for forms of self-assessment involving collaborative processes of creative action and reflection. In conclusion, the chapter offers a few final thoughts drawn from existing musical communities and the author’s experience as an improvising musician

Emotion, embodied mind and the therapeutic aspects of musical experience in everyday life

The capacity for music to function as a force for bio-cognitive organisation is considered in clinical and everyday contexts. Given the deeply embodied nature of such therapeutic responses to music, it isargued that cognitivist approaches may be insufficient to fully explain music’s affective power. Following this, an embodied approach isconsidered, where the emotional-affective responseto music is discussed in terms of primary bodily systems and the innate cross-modal perceptivecapacities of the embodied human mind. It is suggested that such an approach may extend thelargely cognitivist view taken by much of contemporary music psychology and philosophy of music by pointing the way towards a conception of musical meaning that begins with our most primordial interactions with the world

Music, Culture and the Evolution of the Human Mind: Looking Beyond Dichotomies

The origin of human musicality is often discussed within a dichotomous nature-or-culture framework. While most non-adaptationist views maintain this either/or perspective, recent developments in neuroscience and evolutionary theory are opening up "dual inheritance" models of music‘s origins. Many recent theories posit a shared evolutionary origin for music and language; and some have suggested that music played a crucial role in the emergence of the human mind and "cultural cognition". Indeed, growing evidence for music‘s deep roots in the most primordial areas of the brain – and of its effects on the plasticity of the neocortex – support strong connections between the emotional communications of animals, musicality in human ontogenesis, and the wide variety of musical activities we learn and participate in as the cultural creatures we are