The Centre for Prevention of Injuries in Performing Arts was created in 2003 with the aim of introducing the prevention of injuries on stage, of raising awareness on both artists and physiotherapists of the existance of PERFORMING ARTS PHYSIOTHERAPY.
We are health professionals who specialise on the treatment of the artist's injuries.
We are a training centre. We offer a great range of courses for musicians, singers, dancers, actors and physiotherapists.
Ana Velázquez Colominas: physiotherapist, posturologist, specialist in musculoskeletal risks prevention and in Medicine of the Performing Arts.
Juan Antonio Fanlo López: physiotherapist and osteopath.
Mari Carmen del Pino: physiotherapist and dancer.
Anna Cester Bofarull Médico: pianist. Specialist in Medicine of the Arts.
Mónica Velázquez Colominas: social worker. Kinesiologist holistic. EFT. Biosinergy.
Gemma Soler Carvajal: degree in Psychology.
Rosa María Ramírez Abella. Logopeda.
Pablo Bravo: Actor and director of cinema and theatre.
Cristina Queraltó Cosme, teacher of Physical Education.
CPAE was created by Ana Velázquez as a result of the dream of uniting her two great passions: theatre and physiotherapy.
When I was studying the degree on Physiotherapy I usually thought: how could I apply all this knowledge I like so much to theatre?
I would like to do both things at the same time! But... How? I can treat actors, of course, but, and on stage? I wanted to relate it with the prevention of injuries, since I was very interested in the subject and I had already done a postgraduate course on its application.
I found the answer right in front of me.
The project of what now is the Centre for Prevention of Injuries in Performing Arts came out from the need of teaching the members of my theatre company how to load, unload and assemble the scenographies for our performances with a proper spine hygiene.
As in most of the teatre companies which are starting, we were the responsible for transporting all the material before and after the performance. Since this is the case in all starting companies, I designed a back school for this group.
After a while we started having musicians in our company, and this is how the opportunity of introducing physiotherapy in the musical sector arose, and it must be so. Physiotherapy found its way, becoming a rutine.
Due to my interest in the medical-artistic subject, I knew of a series of health professionals, groups and associations which were devoted to Arts. I was trained with some of them and I created my first clinic in Torrevieja, Alicante.
Currently, the centre is devoted to giving training courses to conservatoires and schools to develop prevention of injuries on stage. Institutions such as the INSHT -CCNT (Instituto Nacional de Seguridad i Higiene en el Trabajo Centro Nacional de Condiones del Trabajo) asks for our collaboration when it comes to training.
We currently devote our efforts to the prevention of injuries in music as well as theatre, dance and singing. Little by little we are getting in th core of other artistic groups (painting, sculpting, circus, etc). Of course, a great part of our attention is directed to all those professionals who, without going on stage, make the performance possible: sound technicians, lightling technicians, scenerists, etc.
We deem it very important to have all the artistic groups collaborate and communicate with one another and we offer our help so that the initial project will follow its course along with your interests. We want to create art without risks, a safe art which artists and spectators shall enjoy alike.
We started treating musicians and dansers in the schools in Torrevieja.
And, little by little, we have spread our knowledge to prevention services such as we do for INAEM (Instituto Nacional de las Artes Escénicas de Madrid, INSHT, y Servicio de Prevención de la Diputación de Tarragona). We understand the importance of professionally personalising the risk factors of the artistic profession.
We have spread the specialisation on PERFORMING ARTS PHYSIOTHERAPY to all the Physiotherapist Colleges in Spain and, thanks to this, we have been able to collaborate with those who have invited us to participate in their Conferences, Congresses or training courses to let their members know in-depth our work.
We have worked with great national groups, such as the CNCT-INSHT (Centre Nacional de Condicions del Treball -Instituto Nacional de Seguridad e Higiene del Trabajo), organising the First Conferences of "Body, Instrument and Music".
Our work has crossed borders. We have already trained people in Mexico, Chile and Panama.