Unique Issues in Performing Artists: Part 1
In a previous blog post, I wrote about the health issues shared by sport athletes and performing artists. Hat tip to the Athletes and the Arts initiative for promoting these health issues.
Despite all the similarities, the worlds in which athletes and artists move in are not the same at all. Their mindsets, training and environments are very different, and consequently the cultures they inhabit are different (“culture” in the sense of ideas, customs and behavior of a particular group of people).
Performing artists are generally reluctant to seek medical advice. Part of this would be the common “no pain no gain” sentiment – people have to suffer for their art, because it is part of the journey to being an exquisite artist. Unfortunately this makes artists “play [or dance] through the pain”, and continuing to do so puts the artist at risk for more pain and injury. Ultimately the answer would be to change the narrative: instead of a “badge of honor” for suffering, pain is a signal that something is wrong, and something needs to change – be it the length of practice time, technique, choreography, size of the instrument, costume/shoes, etc.
Some artists feel guilty about asking for medical help, because it can be difficult to admit that something is wrong. Instead, they may resort to alternative or self-help treatments first. It is also common to ask for help from teachers and colleagues instead of a healthcare professional; if the artist finally comes to a clinic, often it’s because they’ve run out of options and medical help is the last resort. Sadly by this time, the injury often has progressed to being far worse than when it started.
And finally, the “seeking medical help” can be perceived as a sign of inferior talent, of weakness or being unreliable. Artists don’t want to see a doctor because their choreographer/teacher/colleagues/etc. will think they are not good enough. They continue despite injury and pain (“the show must go on!”) because they’re afraid to lose their gig to someone else. They know they are replaceable (job insecurity is never a good thing).
I can’t put all the blame on the performing artists, because physicians can also be at fault. Imagine that you’re a dancer: it is your whole life, it defines your identity and how you make a living. You injure part of your foot, go to the doctor, and he (or she) says “stop dancing”. What a devastating blow. All or nothing. Clinic visits like this make performing artists NOT want to seek treatment, because they’re afraid of that situation; instead, they soldier on through the pain. While the medical professional knows that the foot needs rest in order to heal, he also needs to understand that “stop dancing” affects not only the physical but also the bigger picture involving occupation and identity. It affects how that patient lives and experiences the world around him.
Given this holistic view of the patient, I would advocate for a middle ground of looking for ways to keep the person still connected to dancing during the recovery period first; to advise “stop dancing” order outright without paying attention to the psychosocial effects would not be in the patient’s best interests. [Of course, if there was no other choice but to amputate the foot, this would be another story. My point is one must consider clinical decisions in the context of the entire person, and not just one body part]
Ultimately there needs to be a culture shift in the arts world, as well as the medical world. Being aware of pain as a signal of “something wrong”, and educating artists about injury prevention will help keep everyone healthier in the long run – this is certainly more sustainable than treating one injury at a time and returning the artist to the same environment that facilitated messing them up in the first place.
In part 2, I will tackle unique issues that are specific to each discipline.
