Cómo vivir sin dolor si eres músico
Cómo vivir sin dolor si eres músico Purchase the book

Author: Ana Velázquez

Size: 14,5 x 22,5
Binding: Paperback, sewn
ISBN: 978-84-15256-43-4
Genre: Ma Non Troppo –
Music Workshop
Price: 15,00 €

Musicians - more than most professions - are often exposed to muscular and joint injuries due to their repetitive movements. The best way to prevent them is to teach, from the beginning, the most optimal positioning of the instrument to prevent alterations in the postural system.

This book provides us with the necessary resources for each type of instrument to improve the interpretative posture and to prevent injuries which may diminish the musician's work.

"The body is the instrument with which we sing. All along my professional carreer I have realised that the more the artist knows the possibilities of their body, the better they can manage it, the better they sing and live... Among the techniques that I have included in my training activity, Ana Velázquez's physiotherapy has always lead to satisfactory results.” Carmen Bustamante. This book is aimed at optimising the performance and artistic quality of the musician. To do so it provides us with the means to improve the interpretative position and, consequently, the relationship of the musician with the instrument.

The musician's work is one of the professions which entail more risk when it comes to suffering from an injury since their repetitive and often forced movements are the cause of postures which involve danger for joints and muscular system. It is also the musician's task to know the origin of postural alterations and injuries so as to correct them from the start.

The musician's quality and creativity will be improved when correcting the alterations before mentioned. The musician will be then able to reach a new state of musical improvement before inaccessible.

The thesis prevailing after having read these pages is that it is not true that all instruments are played a certain way, without change margin; the opposite is true: they can be studied in various movement angles and corporal statics for a proper positioning of the musician and the instrument. By choosing the most appropiate one, the musician will be able to prevent injuries and improve their quality of life.

“When I fractured my little finger I couldn't imagine that my hands' phyisical and technical potential would improve to the point to which Ana Velázquez has lead me. Thanks to her I have discovered new ways of strengthening my fingers and playing the piano in a more correct position. Her guidance has been fundamental to my recovering." Chano Domínguez

Ana Velázquez is a Physiotherapist and has a master on Posturology. She is a specialist in Medicine of Performing Arts and, in 2009, won the prize for the best presentation in the Congreso Nacional de Prevención de Lesiones Musculares de los Músicos (AEPSAL) and, in 2012, the award to the Fisioterapeuta del Año (Physiotherapist of the Year) by the Colegio de Fisioterapeutas de Cataluña. She is the manager of the Centre for Prevention of Injuries in Performing Arts of Barcelona (www.cpae.net).

Stage fright
Stage fright Purchase the book

Author: Anna Cester Bofarull

Pages: 160
Size: 14,5 x 22,5
Binding: Paperback
ISBN: 978-84-15256-54-0
Genre: Film
Price: 15,00 €

All those people who need to address the public - conferences, musical performances or theatrical performances - experience what is known as stage fright. It is a state of anxiety in which the body suffers from sympthoms such as trembling, palpitations, excessive sweating and an increase in muscular tension, among others. These sympthoms may make us lose our self-confidence.

Drugs, superstitions and irrational ideas are often used as a way to escape the fear, but there are much more efficient methods which are unkown to most people. How can postural work, nutrition and physical exercise influence the performance? What role do corporal therapies and emotional inteligence play in stage fright?

This book provides the reader with knowledge and abilities to employ in the preparation to act or speak in public. It starts by explaining the causes and factors which trigger stage fright and suggests a series of resources focusing on the real solution. Stage fright must not be erased, we must turn it into an advantage to us; used properly, it can help us improve our skills and talents.

  • Why is a certain degree of anxiety an advantage?
  • Cognitive, emotional and behavioural sympthoms of Stage Fright.
  • How can the artist successfully face stage fright?
  • Importance of emotional intelligence in the control of anxiety.

Anna Cester Bofarull obtained a degree in Medicine and Surgery and especialised in Medicine of Performing Arts. She is also a graduate of the College of Music, her speciallity being the piano. She has given lectures and courses on Performance Anxiety, Postural Conscience and Prevention of Musculoskeletical Injuries for the artist in various training centres. She is currently a Piano and Corporal Education teacher in the School and Conservatoire of the Diputació de Tarragona. She collaborates with CPAE (Centre for Prevention of Injuries in Performing Arts of Barcelona) with training activities and research to make progress on the understanding of the physiology of Performing Anxiety.


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Ackermann, B. (2002). Managing the musculoskeletal health of musicians on tour. Medical Problems of Performing Artists, 17(2), 63-67.

Ackermann, B., Adams, R. (2002). Physical measures with between-limb asymmetry in skilled violinists. From Cell to Society 3, Sydney: The College of Health Sciences.

Ackermann, B., Adams, R. (2002). Reliability of physiotherapists in observing functional movements of the upper limb used in violin playing from videotaped footage. VIIth International Physiotherapy Congress, Sydney: Australian Physiotherapy Association.

Ackermann, B., Adams, R., Marshall, E. (2002). Strength or endurance training for undergraduate music majors at a university. Medical Problems of Performing Artists, 17(2), 33-41.

Ackermann, B., Adams, R., Marshall, E. (2002). The effect of scapula taping on electromyographic activity and musical performance in professional violinists. Australian Journal of Physiotherapy, 48(3), 197-203.

Ackermann, B., Adams, R. (2003). Physical characteristics and pain patterns of skilled violinists. Medical Problems of Performing Artists, 18(2), 65-71.

Ackermann, B., Adams, R. (2004). Interobserver Reliability Of General Practice Physiotherapists In Rating Aspects Of The Movement Patterns Of Skilled Violinists. Medical Problems of Performing Artists, 19(1), 3-11.

Ackermann, B., Adams, R. (2004). Perceptions Of Causes Of Performance-Related Injuries By Music Health Experts And Injured Violinists. Perceptual and Motor Skills, 99(2), 669-678. 

Ackermann, B., Adams, R. (2005). Finger movement discrimination in focal hand dystonia: Case study of a cellist. Medical Problems of Performing Artists, 20(2), 77-81.

Ackermann, B., Adams, R., Kolodziej, I. (2005). Musicians health issues- Focus on hand dystonia. Stringendo, 27(1), 34-34.

Ackermann, B., Kenny, D. (2009). Musical performance. In Susan Hallam, Ian Cross, Michael Thaut (Eds.), Oxford Handbook of Music Psychology, (pp. 321-400). Oxford, UK: Oxford University Press.

Ackermann, B., Kenny, D., Fortune, J. (2011). Incidence of injury and attitudes to injury management in skilled flute players. Work, 40(3), 255-259.

Ackermann, B., Driscoll, T., Kenny, D. (2012). Musculoskeletal pain and injury in professional orchestral musicians in Australia. Medical Problems of Performing Artists, 27(4), 181-187

Ackermann, B., Driscoll, T. (2013). Attitudes and practices of parents of teenage musicians to health issues related to playing an instrument: a pilot study. Medical Problems of Performing Artists, 28(1), 24-27.

Ackermann, B., Kenny, D., O'Brien, I., Driscoll, T. (2014). Sound Practice-improving occupational health and safety for professional orchestral musicians in Australia. Frontiers in Psychology, 5, 1-11. 

Ackermann, B., O'Dwyer, N., Halaki, M. (2014). The difference between standing and sitting in 3 different seat inclinations on abdominal muscle activity and chest and abdominal expansion in woodwind and brass musicians. Frontiers in Psychology, 5, 1-9. 

Ackermann, B. (2016). From Stats to Stage-Translational Research in Performing Arts Medicine. Medical Problems of Performing Artists, 31(4), 246-247. 

Ackermann, B. (2016). In the June Issue. Medical Problems of Performing Artists, 31(2), 122-123. 

Ackermann, B. (2016). MPPA Welcomes a New Editor. Medical Problems of Performing Artists, 31(1), 59-59.

Ahn-Kim, Y., Chesky, K., Ackermann, B., Likar, A., Kadel, N., Stasney, C. (2009). The updated PAMA website: redesigning a webpage through communication within an organization. Medical Problems of Performing Artists, 21(3), 145-149.

Ancillao A, Savastano B, Galli M, Albertini G."Three dimensional motion capture applied to violin playing: A study on feasibility and characterization of the motor strategy." Comput Methods Programs Biomed. 2017 Oct;149:19-27. doi: 10.1016/j.cmpb.2017.07.005. Epub 2017 Jul 19.

Bianchi F, Hjortkjær J, Santurette S, Zatorre RJ, Siebner HR, Dau T."Subcortical and cortical correlates of pitch discrimination: Evidence for two levels of neuroplasticity in musicians." Neuroimage. 2017 Jul 31. pii: S1053-8119(17)30638-9. doi: 10.1016/j.neuroimage.2017.07.057.

Chan, C., Driscoll, T., Ackermann, B. (2011). Development of a Specific Evidence-based Injury Prevention Exercise Program for Professional Orchestral Musicians. Third National Australian Physiotherapy Association (APA) conference, Brisbane: APA.

Chan, C., Driscoll, T., Ackermann, B. (2013). Can experienced observers detect postural changes in professional muscians after interventions? International Symposium on Performance Science 2013, Brussels, Belgium: Association Européenne des Conservatoires.

Chan, C., Driscoll, T., Ackermann, B. (2013). Development of a specific exercise programme for professional orchestral musicians. Injury Prevention, 19(4), 257-263.

Chan, C., Driscoll, T., Ackermann, B. (2013). The usefulness of on-site physical therapy-led triage services for professional orchestral musicians - a national cohort study. BMC Musculoskeletal Disorders, 14, 1-9.

Chan, C., Driscoll, T., Ackermann, B. (2014). Effect of a musicians' exercise intervention on performance-related musculoskeletal disorders. Medical Problems of Performing Artists, 29(4), 181-188.

Chan, C., Ackermann, B. (2014). Evidence-informed physical therapy management of performance-related musculoskeletal disorders in musicians. Frontiers in Psychology, 5(July 2014), 1-14. 

Chan, C., Driscoll, T., Ackermann, B. (2014). Exercise DVD effect on musculoskeletal disorders in professional orchestral musicians. Occupational Medicine, 64(1), 23-30.

Ciurana Moñino MR, Rosset-Llobet J, Cibanal Juan L, García Manzanares MD, Ramos-Pichardo JD. "Musculoskeletal Problems in Pianists and Their Influence on Professional Activity." Med Probl Perform Art. 2017 Jun;32(2):118-122. doi: 10.21091/mppa.2017.2019.

Driscoll, T., Ackermann, B., Kenny, D. (2009). Injury surveillance in orchestral musicians. 9th National Conference on Injury Prevention and Safety Promotion 2009, Australia: Safety Institute Australia.

Driscoll, T., Ackermann, B. (2012). Applied Musculoskeletal Assessment: Results from a Standardised Physical Assessment in a National Population of Professional Orchestral Musicians. Rheumatology: Current Research, S2, 1-7.

Elmer S, Greber M, Pushparaj A, Kühnis J, Jäncke L. "Faster native vowel discrimination learning in musicians is mediated by an optimization of mnemonic functions." Neuropsychologia. 2017 Aug 3;104:64-75. doi: 10.1016/j.neuropsychologia.2017.08.001

Evans, A., Ackermann, B., Driscoll, T. (2010). Functional anatomy of the soft palate applied to wind playing. Medical Problems of Performing Artists, 25(4), 183-189

Evans, A., Driscoll, T., Ackermann, B. (2011). Prevalence of velopharyngeal insufficiency in woodwind and brass students. Occupational Medicine, 61(7), 480-482

Evans, A., Driscoll, T., Ackermann, B. (2014). A Delphi survey on diagnosis and management of stress velopharyngeal insufficiency in wind musicians. International Journal of Speech-Language Pathology, 16(5), 445-455.

Evans, A., Driscoll, T., Livesey, J., Fitzsimons, D., Ackermann, B. (2015). Nasendoscopic evaluation of stress velopharyngeal insufficiency in wind musicians: a pilot study. Medical Problems of Performing Artists, 30(1), 47-53.

Kenny, D., Ackermann, B. (2009). Optimising Physical and Psychological Health in Performing Musicians. In Susan Hallam, Ian Cross, Michael Thaut (Eds.), Oxford Handbook of Music Psychology. Oxford, UK: Oxford University Press.

Kenny, D., Ackermann, B. (2009). Optimizing physical and psychological health in performing musicians. In Susan Hallam, Ian Cross, Michael Thaut (Eds.), Oxford Handbook of Music Psychology, (pp. 390-400). Oxford, UK: Oxford University Press.

Kenny, D., Fortune, J., Ackermann, B. (2009). What predicts performance excellence in tertiary level music students? 2nd International Symposium on Performance Science ISPS 2009, Utrecht: Association Européenne des Conservatoires.

Kenny, D., Ackermann, B. (2016). Optimising Physical and Psychological Health in Performing Musicians. In Susan Hallam, Ian Cross, Michael Thaut (Eds.), Oxford Handbook of Music Psychology, (pp. 633-647). Oxford: Oxford University Press.

Kenny, D., Driscoll, T., Ackermann, B. (2014). Psychological well-being in professional orchestral musicians in Australia: A descriptive population study. Psychology of Music, 42(2), 210-232.

Kenny, D., Fortune, J., Ackermann, B. (2013). Predictors of music performance anxiety during skilled performance in tertiary flute players. Psychology of Music, 41(3), 306-328. 

Kenny, D., Ackermann, B. (2015). Performance-related Musculoskeletal Pain, Depression and Music Performance Anxiety in Professional Orchestral Musicians: A Population Study. Psychology of Music, 43(1), 43-60.

Kenny, D., Driscoll, T., Ackermann, B. (2016). Is playing in the pit really the pits?: Pain, strength, music performance anxiety, and workplace satisfaction in professional musicians in stage, pit, and combined stage/pit orchestras. Medical Problems of Performing Artists, 31(1), 1-7. 

Kenny, D., Ackermann, B. (2017). Hitting the High Notes: Healthy Aging in Professional Orchestral Musicians. In Alexander-Stamatios Antoniou, Ronald J. Burke, Sir Cary L. Cooper (Eds.), The Aging Workforce Handbook: Individual, Organizational, and Societal Challenges, (pp. 355-376). Bingley: Emerald.

Kolodziej, I., Ackermann, B., Adams, R. (2007). Discrimination of cello string height: musicianship and sex. Perceptual and Motor Skills, 104(2), 510-518. [More Information]

Kolodziej, I., Ackermann, B., Adams, R. (2007). Discrimination of cello string height: Musicianship and sex. Perceptual and Motor Skills, 104(2), 510-518. [More Information]

O'Brien, I., Driscoll, T., Ackermann, B. (2012). Hearing Conservation and Noise Management Practices in Professional Orchestras. Journal of Occupational and Environmental Hygiene, 9(10), 602-608.

O'Brien, I., Wood, J., Ackermann, B. (2013). Assessment of an acoustic screen used for sound exposure management in a professional orchestra. Acoustics Australia, 41(2), 146-150.

O'Brien, I., Driscoll, T., Ackermann, B. (2013). Sound exposure of professional orchestral musicians during solitary practice. Journal of the Acoustical Society of America, 134(4), 2748-2754.

O'Brien, I., Driscoll, T., Williams, W., Ackermann, B. (2014). A Clinical Trial of Active Hearing Protection for Orchestral Musicians. Journal of Occupational and Environmental Hygiene, 11(7), 450-459.

O'Brien, I., Ackermann, B., Driscoll, T. (2014). Hearing and hearing conservation practices among Australias professional orchestral musicians. Noise and Health, 16(70), 189-195

O'Brien, I., Driscoll, T., Ackermann, B. (2015). Description and evaluation of a hearing conservation program in use in a professional symphony orchestra. Annals of Occupational Hygiene, 59(3), 265-276.

Perkins R, Reid H, Araújo LS, Clark T, Williamon A. "Perceived Enablers and Barriers to Optimal Health among Music Students: A Qualitative Study in the Music Conservatoire Setting.". Front Psychol. 2017 Jun 28;8:968. doi: 10.3389/fpsyg.2017.00968. eCollection 2017.

Rickert, D., Barrett, M., Halaki, M., Driscoll, T., Ackermann, B. (2012). A study of right shoulder injury in collegiate and professional orchestral cellists: An investigation using questionnaires and physical assessment. Medical Problems of Performing Artists, 27(2), 65-73. 

Rickert, D., Barrett, M., Ackermann, B. (2013). Injury and the orchestral environment: part I. The role of work organisation and psychosocial factors in injury risk. Medical Problems of Performing Artists, 28(4), 219-229.

Rickert, D., Halaki, M., Ginn, K., Barrett, M., Ackermann, B. (2013). The use of fine-wire EMG to investigate shoulder muscle recruitment patterns during cello bowing: The results of a pilot study. Journal of Electromyography and Kinesiology, 23(6), 1261-1268

Rickert, D., Barrett, M., Ackermann, B. (2014). Injury and the Orchestral Environment: Part II. Organisational Culture, Behavioural Norms, and Attitudes to Injury. Medical Problems of Performing Artists, 29(2), 94-101.

Rickert, D., Barrett, M., Ackermann, B. (2014). Injury and the orchestral environment: Part III: The role of psychosocial factors in the experience of musicians undertaking rehabilitation. Medical Problems of Performing Artists, 29(3), 125-135.

Rickert, D., Barrett, M., Ackermann, B. (2015). Are music students fit to play? A case study of health awareness and injury attitudes amongst tertiary student cellists. International Journal of Music Education, 33(4), 426-441. 

Sun L, Liu F, Zhou L, Jiang C. "Musical training modulates the early but not the late stage of rhythmic syntactic processing."Psychophysiology. 2017 Aug 23. doi: 10.1111/psyp.12983.

McCrary, J., Ackermann, B., Halaki, M. (2015). A systematic review of the effects of upper body warm-up on performance and injury. British Journal of Sports Medicine, 49(14), 935-942.

McCrary, J., Halaki, M., Sorkin, E., Ackermann, B. (2016). Acute Warm-up Effects in Submaximal Athletes: An EMG Study of Skilled Violinists. Medicine and Science in Sports and Exercise, 48(2), 307-315. 

McCrary, J., Halaki, M., Ackermann, B. (2016). Effects of physical symptoms on muscle activity levels in skilled violinists. Medical Problems of Performing Artists, 31(3), 125-131. 

Neurosci Lett. 2017 May 22;650:97-102. doi: 10.1016/j.neulet.2017.04.033. Epub 2017 Apr 21."Expertise-dependent motor somatotopy of music perception."

Nygaard Andersen L, Mann S, Juul-Kristensen B, Søgaard K. "Comparing the Impact of Specific Strength Training vs General Fitness Training on Professional Symphony Orchestra Musicians: A Feasibility Study." Med Probl Perform Art. 2017 Jun;32(2):94-100. doi: 10.21091/mppa.2017.2016.

Young KE, et al. Med Probl Perform Art. 2017. Thumb-Rest Position and its Role in Neuromuscular Control of the Clarinet Task.

Waddell G, Williamon A. "Eye of the Beholder: Stage Entrance Behavior and Facial Expression Affect Continuous Quality Ratings in Music Performance." Front Psychol. 2017 Apr 25;8:513. doi: 10.3389/fpsyg.2017.00513. eCollection 2017.

Zamorano AM, Cifre I, Montoya P, Riquelme I, Kleber B." Insula-based networks in professional musicians: Evidence for increased functional connectivity during resting state fMRI.". Hum Brain Mapp. 2017 Jul 24. doi: 10.1002/hbm.23682. 


Bibliografia de teatro y voz

Aristóteles. Poètica. 4 ed. Barcelona: Icaria; 1998.

Artaud A. El teatro y su doble. 9 ed. Barcelona: Editorial Edhasa; 1999.

Barba E, Savarese N. L´arte secreta dell´attore. 2 ed. Leche: Editorial Argo; 1998.

Beare W. La escena romana. 1 ed. Buenos Aires: Editorial Eudeba; 1964.

Berry C. La voz y el actor. 1 ed. Londres: Alba Editorial; 2006.

Bogart, A. Antes de actuar. 1 ed. Editorial Alba. 2007

Brandfonbrener AG. Theatrical patients in a performing arts practice 1999;14(1).

Brook P. El espacio vacío. 1 ed. Barcelona: Península; 1968.

Bustos SI. La voz: la técnica y la expresión. 1 ed. Barcelona:Paidotribo; 2003.

Bustos SI. Tratamiento de los problemas de la voz. 1 ed. Barcelona: Cepe. Cienciasde la educación preescolar y especial; 1995.

Carlson M. Teorie del teatro. 2 ed. Bologna: IlMulino; 1984.

Chejov M. Al actor. Sobre la técnica de actuación. 1 ed. Buenos Aires:  Quetzal; 1993.

Fo D. Manual mínimo del actor. 1 ed. Torino: Einaudi; 1997.

Fons SM. L'actor com a imitador/simulador: performance i neurociència. Quaderns de l’Institut del Teatre 2009;36.

Grotowski J. Hacia un teatro pobre. 1 ed. Madrid: Sigloveintiuno; 1970.

Irvin P. Directores. Artes escénicas. 1 ed. Barcelona. Ediciones Oceano; 2003.

Jackson MMC. La voz normal. 1 ed. Madrid: Panamericana; 1992.

Le Huche F, Allali A. La voz 4. Patología vocal de origen orgánico. 2 ed. Barcelona: Masson; 2004.

Lecoq J. Il Corpo Poetico. 1 ed. Milano: Ubulibri; 2000.

Mignon PL. Historia del teatro contemporáneo. 1 ed. Madrid: Guadarrama; 1973.

Molinari C. Storia del teatro. 1 ed. Milano: Laterza; 1996.

Molner A. Taller de voz: recursos para evitar las afecciones vocales, mejorar la expresión y vencer el miedo a hablar en público. 1 ed. Barcelona: Alba Editorial; 2005.

Pavis P. Diccionario de teatro. Dramaturgia estética, semiología. 1ed. Barcelona: Editorial Paidos; 1998.

Ridocci M. Creatividad Actoral. 1a ed. Ciudad Real. Editorial Ñaque. 2005.

Ruiz RF. Historia del teatro Español siglo XX. 11 ed. Madrid: Editorial Cátedra; 1997.

Richards, T. Trabajar con Grotowski sobre las acciones físicas. 2a ed. Editorial Alba. 2015.

Sánchez JA. La escena Moderna. 1 ed. Madrid: Akal; 1999.

Sierra ZMA, Kiki Ruano AK, Learreta RB, Gómez RJ. Los contenidos de expresión corporal. 1 ed. Barcelona: Editorial INDE; 2005.

Stanislavski K. El trabajo del actor sobre si mismo en el proceso creador de la vivencia. 1 ed. Barcelona. Alba; 2003.

Stanislavski K. Manual del actor. 24 ed. México D.F.: Editorial Diana; 1999.

Suárez MA. Trastornos de la voz: estudio de casos. 1 ed. Madrid: Instituto de Orientación Psicológica Asociados S.L.; 2004.

Tomkins C. Duchamp. 1 ed. Barcelona: Editorial Anagrama; 1999.

Tulon AC. Cantar y hablar. 1 ed. Barcelona: Paidotribo; 2005.

Veiga L, et al. Educación de la voz: anatomía, patologías y tratamiento. 1 ed. Vigo: IdeasPropias Editorial; 2004.

Zi N. El arte de respirar: seis sencillas lecciones para mejorar la salud, la interpretación artística y el rendimiento atlético. 1 ed. Madrid: ArkanoBooks; 1998.

Bibliografía de danza

Bartal, L.; Nira N. Conciencia del movimiento y creatividad. 1 ed. Madrid. Editorial Dilema. 2010.

Bosco J.  Burell V.  Danza y Medicina. Las actas de un encuentro. 1 ed. Madrid: Librerías Deportivas Esteban Sanz, SL; 2001.

Clippinger K. Anatomía y Cinesiología de la danza. 1 ed. Barcelona: Editorial Paidotribo; 2011.

Daprati E, Iosa M, Haggard P. A dance to the music of time: aesthetically-relevantchanges in bodyposture in performing art. PLoSOne 2009;4(3):e5023.

Franklin E. Danza, acondicionamiento físico. 1 reimp. de la 1 ed. Barcelona: Editorial Paidotribo; 2007.

Howse J. Técnica de la danza y prevención de lesiones. 1 ed. Barcelona: Editorial Paidotribo; 2002.

Miller C. Dancemedicine: current concepts. PhysMedRehabil Clin N Am 2006. Nov;17(4):803-11.

Massón. El cuerpo en la danza. Postura, movimiento y patología. 1 ed. Barcelona: Paidrotibo; 2012.

Musculoskeletal Injury in Professional Dancers: Prevalence and Associated Factors: An International Cross-Sectional Study.

Mortality in American Hip-Hop and Rap Recording Artists, 1987-2014.

Incidence and Prevalence of Musculoskeletal Injury in Ballet: A Systematic Review.

Lower Extremity Horizontal single leg hop distance but Not Vertical Power Predicts Lower Extremity Injury in Female Collegiate Dancers.


Multi-segment spine kinematics: relationship with dance training and low back pain.

Preventing Dance Injuries


Breaking pointe: Foot and ankle injuries in dance

Ballet injuries: the Australian experience

How To Identify And Treat Common Ballet Injuries

Lesiones en bailarines de ballet

Bailarines lesionados: Respuestas emocionales y estrategias de afrontamiento. "El 64,8% continuó bailando aún estando lesionado, y que el 31,9% cuidó la lesión por sí mismo."



ALEXANDER, GERDA, La eutonía, Un camino hacia la experiencia total del cuerpo, Ed. Paidós, Argentina, 1986.

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FELDENKRAIS, MOSHE, Autoconciencia por el movimiento, Ejercicios para el desarrollo personal, Ed. Paidós, Barcelona 1972.

GURQUEL ALFREDO, Elongación x elongación, Ed. Balletin Dance, Buenos Aires, 2006.

KINÉ, LA REVISTA DE LO CORPORAL Nº 1, JyC Editores, Buenos Aires, 2004.

KINÉ, LA REVISTA DE LO CORPORAL Nº 2, JyC Editores, Buenos Aires, 2004.

ROLF IDA P., Rolfing, la integración de las estructuras del cuerpo humano, Ed. Urano, Barcelona, 1977.



AGUILERA S. y DÍAZ N., El taller de juegos verbales y corporales. Ed. de los autores, Buenos Aires, 1999.

AYMERICH, CARMEN y MARÍA, Para un lenguaje expresivo del niño, Hogar del Libro, Barcelona 1981.

BARÁ, ANDRÉ, La expresión por el cuerpo, Ediciones Búsqueda, Buenos Aires, 1975.

BARTAL L. y NE’EMAN N., Conciencia del movimiento y creatividad, Ed. Dilema, Madrid, 2010.

BERGE YVONNE, Danza la vida: El movimiento natural una autoeducación holística, Ed. Narcea, Madrid, 2000.

BERNARD, MICHEL, El cuerpo, Ed. Paidós, España, 1985.

CUADERNOS SHINCA, Revista de investigación del arte del movimiento Nº0, Madrid 2011.

DAVIS, FLORA, La comunicación no verbal, Alianza Editorial, Madrid, 1995.

DÍAZ N. y GRONDONA LETICIA, Los talleres de Expresión Corporal, Ed. de los autores, Buenos Aires, 1999.

DOLTO, FRANÇOISE, La imagen inconsciente del cuerpo, Ed. Paidós, Barcelona, 1986.

DROPXY, JACQUES, Vivir en su cuerpo. Expresión corporal y relaciones humanas, Argentina, 1987.

GÓMEZ LOZANO S. Y VARGAS MACÍAS A., De la danza académica a la expresión corporal. Ed. Diego Marín Librero Editor, Murcia, 2012.

GRONDONA LETICIA y DÍAZ, NORBERTO, Expresión Corporal, Buenos Aires, 1987.

IGARETA, JUAN Carlos, La elocuencia del gesto, Ed. del Autor.

HUGAS I BATLLE, A., La danza y el lenguaje del cuerpo en la Educación Infantil, Celeste Ediciones, Madrid, 1996.

KALMAR DÉBORAH, Qué es la Expresión Corporal, Ed. Lumen, Buenos Aires 2005.

DINSEY GOMAN, CAROL, Sin palabras. La fuerza de la comunicación no verbal, Integral, Barcelona, 2008.

O’CONNOR J. y MACDERMOTT I., El lenguaje corporal, Plaza&Janes Editores, Barcelona, 1997.

MATEU SERRA- DURÁN DELGADO-TROGUET TAULL, 1.000 ejercicios y juegos acplicados a las actividades corporales de expresión (Volumen I y II), Ed. Paidotribo, Barcelona.

MAYOR MAYOR, ALEJANDRO, Sistemática del movimiento, Ed. Servicio de Publicaciones de la Universidad de Alcalá, Alcalá de Henares, 1996.

MONTOVANI A. y MORALES R., Juegos de expresión dramática, Ed. Ñaque, Ciudad Real, 1999.

MOTOS TERUEL, TOMÁS, Iniciación a la Expresión Corporal (Teoría, técnica y práctica), Ed. Humanitas, Barcelona, 1983.

ORTIZ CAMACHO, M. DEL MAR, Expresión corporal. Una propuesta didáctica para el profesorado de Educación Física, Grupo Editorial Universitario, España, 2002.

PORSTEIN, ANA MARÍA, La expresión corporal. Por una danza para todos, Ediciones Novedades Educativas, Buenos Aires, 2003.

RIDOCCI MERCEDES, Creatividad Corporal, Ed. Ñaque, España, 2005.

RIDOCCI MERCEDES, Expresión Corporal. Arte del movimiento, Ed. Biblioteca Nueva, Madrid, 2009.

SALZER, JACQUES, La Expresión Corporal, Ed. Herder, Barcelona, 1984.

SCHINCA, MARTA, Expresión corporal, Ed. Praxis, Barcelona, 2002.

VICIANA GARÓFANO V. y ARTEAGA CHECA M., Las actividades coreográficas en la escuela, Ed. Inde, Barcelona 1997.

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