Artists are exposed to numerous respiratory health hazards in the production of art. Little is known of artists' studio behaviors or of their health beliefs related to respiratory toxins. The Health Belief Model hypothesizes that individuals require a minimal level of relevant health motivation and knowledge before attempting to prevent a health condition, as well as a perception of their vulnerability to health conditions they view as threatening, conviction in the efficacy of preventive behaviors, and a perception that recommended preventive action entails few difficulties. This descriptive and exploratory study, conducted within the framework of the Health Belief Model, seeks to determine artists' knowledge, health beliefs, and preventive studio practices related to occupational respiratory health risks.

published_or_final_version / Fine Arts / Master / Master of Philosophy

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This thesis offers critical exploration of the intersection of four elements within the historical space, or field, of UK theatre dance between 2007 and 2012: disability, impairment, dance and artistry. It addresses four questions: What is disability? What is disability in relation to dance? What supports the entry of a disabled dance artist into the field of professional dance in the twenty-first century? How can we approach a critical analysis of the works they create? At the centre of the thesis are case studies of three self-described disabled dance artists, performers and choreographers: Caroline Bowditch, Marc Brew, and Claire Cunningham. The studies attend to the form and content of their creative work, the structures of the dance field in which they practice as artists, and their personal and career trajectories. The studies are both situated by and situate earlier chapters addressing constructions of disability, cultural representations of disability and the emerging field of Disability Arts. They demonstrate that disability, in dance as in other fields, concerns attitudes, arrangements and structures that disable participation. These are attitudes fed by imaginings around the ideal dancing body, and the illusion that variations in bodily form and capabilities are neither normal nor to be expected. I draw on Bourdieu’s concepts of habitus and field to consider the interconnections between structures, external and internalised, that support or limit the disabled artist’s perception of what is possible for them within the professional dance field. Using Cameron’s affirmative model of disability, I argue that when disabled dance artists are freed to use their experiences of living in a disabling world, and to make use of the unique capabilities of their bodies as valid sources for their art, they can and do contribute to the capacity of dance as an art form to explore the full depth and range of human experience.

Thesis (Ed.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Diane Victor has been a prominent figure in the South African artworld since she won the Atelier Award in the 1980s. Since then she has self-inflicted violence into her work; stretched it and stripped it whilst she wrestles with the beast within others and how she portrays that in her work. This research report is concerned with answering the question Who is the ‘Beast’ in the work of Diane Victor? It begins by defining the term ‘Beast’ and situating Victor’s artistic practice in an identified trajectory in Western art history. The report traces the presence of the Beasts in Victor’s work, and follows the metamorphosis of the human form as its internal corruption is explored and revealed through the use of non-human animal parts. Furthermore it investigates the artist’s use of her practice to position herself in relation to the values and conventions inherited from the culture in which she lives. Finally, it provides invaluable insight into who the Beast may have been all along and moreover what it means to be human.

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