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Running impact forces: from half a leg to holistic understanding – comment on Nigg et al.
Get PDFRunning impact forces have immediate relevance for the muscle tuning paradigm proposed here and broader relevance for overuse injuries, shoe design and running performance. Here, we consider their mechanical basis. Several studies demonstrate that the vertical ground reaction force-time (vGRFT) impulse, from touchdown to toe-off, corresponds to the instantaneous accelerations of the body’s entire mass (Mb) divided into two or more portions. The simplest, a two-mass partitioning of the body (lower-limb, M1=0.08•Mb; remaining mass, M2=0.92•Mb) can account for the full vGRFT waveform under virtually all constant-speed, level-running conditions. Model validation data indicate that: 1) the non-contacting mass, M2, often accounts for one-third or more of the early “impact” portion of the vGRFT, and 2) extracting a valid impact impulse from measured force waveforms requires only lower-limb motion data and the fixed body mass fraction of 0.08 for M1
Reconciling new with old injury paradigms and the need to dig deeper – comment on Nigg et al.
Get PDFIn response to the target article by Nigg et al (2017) suggesting the need to shift towards new running injury paradigms, we comment on the need to continue investigating a variety of paradigms, new and old, and on poorly studied factors that necessitate the need to continue digging deeper in the pursuit of better prediction of injury development. Lastly, we argue that new and old paradigms can be reconciled under the more general paradigm that running injuries are most directly an issue of tissue adaptation
Muscle tuning and preferred movement path: do we need a paradigm shift or should we redefine the old? – comment on Nigg et al.
Get PDFIn the feature paper “Muscle tuning and preferred movement path – a paradigm shift“, Benno Nigg and colleagues discuss that the impact and pronation paradigm should be abandoned as there is not enough biomechanical and epidemiological evidence supporting these paradigms. We agree that the paradigms, as defined in the paper, are currently not supported by strong scientific evidence however we argue that the lack of evidence originates from shortcomings in the methodological approach to these paradigms. In our commentary, we argue for a redefinition of the paradigms rather than defining two ‘new’ paradigms. A better methodological approach and definitions of the paradigms based on the current evidence are needed rather than to abandon them
Badara Seck. Il contributo del griot e l’identità come frammento accessorio
Get PDFVocalist, composer, actor and director, Badara Seck was born in Senegal but has been active in Italy for many years. He identifies himself as a griot, and the vast range of his activities can be divided in three areas that are apparently different but can all be related to popular music. Firstly, Seck collaborated with many Italian pop artists, such as Massimo Ranieri and Mauro Pagani. While relying on the visibility earned within the pop scene, Seck articulated a complex strategy in order to be recognized as an authoritative, and “authentic”, voice of the migrant communities (second area). Nowadays Badara is mainly focused on leading his own band and releasing original productions (third area).The three areas are usually considered separately, as it is a hard task – for critics – to fully comprehend that the same Badara whose voice is featured in the soundtrack of the last Checco Zalone´s movie is also the author and interpreter of the poignant piece of musical theatre called Galghi. Drawing from Mark Burford’s analysis of Sam Cooke’s pop albums, I will look at the relationship between Italian popular music and representations of migration in the work of Badara. His work will therefore emerge as a set of “performances [that] conveyed an understanding of ethnicity as an identity that can affirm important solidarities, but also as an accessory to musical performance capable of giving pleasure in any number of ways” (Burford 2012, 141)
La question migratoire dans la chanson française actuelle : trois études de cas
Get PDFWhile documentaries, films, and plays are currently examining the humanitarian tragedy of mass exodus from former Mesopotamia and parts of sub-Saharan Africa, what can be said about the French popular song? After P. Perret, G. Manset, A. Souchon, B. Lavilliers, and J. Clerc, who dealt with migration and exile between the end of the 1980s and the first decade of the new millenium, who are the songwriters and singers that evoke the tragedies of today’s migrants? Do they have sufficient visibility in the French song? Which musical genres are chosen to represent them? The present paper tries to establish a brief panorama of the migration issue in the current French song by analysing a number of fundamentally different songs, such as “La ballade des clandestins” by Arthur H (Soleildedans, 2014), “El dulce de leche” adapted by L.E.J. (En attendant l’album, 2015), and “Grand dérèglement” by Frànçois and the Atlas Mountains (Solide mirage, 2017)
Le migrazioni musicali della cantastorie Etta Scollo: trenta anni di canzoni nomadi tra i generi e le culture
Get PDFFor decades the Italian singer and songwriter Etta Scollo, born in Catania in 1958, has been living in Germany after moving from Sicily to Turin, then to Vienna and touring for an intense period through the US and Europe – always coming back, though, to her home island in terms of creating music as well as of performing in public on site. In her musical work, the absence of a place is paradoxically intermingled with a strong attachment to it, as her compositions oscillate between classical music, jazz, and avant-garde pop. While telling personal stories and composing a transmedia-related mix of stylistic devices and poetic elements, Scollo’s work displays an extraordinary openness with regard to other genres and cultures.By recalling the migratory past of the Sicilian island and Catania –birthplace of the romantic composer and father of the bel canto Vincenzo Bellini (1801-1835), of Sicilian folk songs (including the cunti, the tarantella, etc.) and the traditional use of special instruments (such as scacciapensieri, ciarameddu, tambureddu, guatrara, etc.) – Scollo not only intends to highlight the suffering of Sicilian people, but also points out their unfailing poeticity and authentic aesthetic potential. Focusing on a total hybridity and transmitting a genuine and dynamic transcultural movement, her suggestive songs can be analyzed productively by referring to the nomadism first envisioned by the French poststructuralists Gilles Deleuze and Félix Guattari (Teatrise on Nomadology, 1986 [1980]). Scollo’s texts describe and sing about an intriguing poetry of displacement and mobility, rooted in history and future-oriented at the same time. From this narrative and its empathic and syncretistic ethos emerges a musical oeuvre that is highly intellectual and spans thirty years of prolific performance to this day. Its stylistic integrity is based on various crossover devices and pastiche techniques which profess adifferent, postmodern freedom and deal with dislocation, musical migrations and with shifts into a global world, without homogenizing or reducing cultural values
A paradigm shift is necessary to relate running injury risk and footwear design – comment on Nigg et al.
Get PDFIn this commentary, we respond to suggestions that new paradigms are needed to relate running-related injury risk and footwear design. We concur with the authors of this paper that the previous paradigms on which footwear were designed are faulty. We also concur with the authors that new paradigms are indeed needed and that research must take into consideration more epidemiological studies and more prospective biomechanical studies. The authors suggest new paradigms including muscle tuning, the preferred movement path and functional groups. However, we do raise questions about each of these suggestions regarding how these paradigms can be developed in future research designs
Da Brindisi a Lampedusa: le migrazioni via mare nella cassa di risonanza della popular music italiana
Get PDFFrom the landing of thousands of Albanese people on the Apulian coast in 1991 to the daily arrival of refugees on the Calabrian and Sicilian coasts since 2000, immigration by sea and the lifestories of the countless victims of this situation have become part of the ‘public awareness’ in Italy. To narrate the tragedies we are witnessing day by day, different communicational strategies have been adopted, depending on the respective media and on the political objectives pursued by individual ‘speakers’. The attention writers, film directors, and artists have payed to the recent migration movements towards Italy has gradually given a more profoundly human dimension to the phenomenon and has brought the public closer to the individual tragedy. Italian popular music in particular has actively contributed to establishing an artistic counter-discourse, which will be discussed in the present article. Examples of different musical genres will be analysed, covering the time frame in question, whereas the methodology pursued will be that of Imagology and that of Cultural Studies