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| Musculoskeletal Injury (MSI); Prevention For Musicians And Dancers | |
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| Topic Started: Jun 21 2007, 09:00 PM (183 Views) | |
| ptewee | Jun 21 2007, 09:00 PM Post #1 |
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Hand and arm injuries: Carpal tunnel syndrome What is it? The carpal tunnel is the space at the base of the wrist formed by eight carpal bones on the back of the wrist and a ligament (transverse carpal ligament) along the palm side. The carpal tunnel is a narrow opening through which the flexor tendons and median nerve travel. The flexor tendons travel from the muscles in the forearm to the hand and are responsible for finger and hand motion. The median nerve is responsible for sensation to the thumb, index finger, middle finger, and half of the ring finger. The median nerve also supplies sensation to the thumb muscles (thenar muscles). These muscles are of particular importance in pinching or gripping actions.  The right hand, palm up, showing the flexor tendons and median nerve passing through the carpal tunnel formed by the carpal bones and transverse carpal ligament. Carpal tunnel syndrome is a condition in which the median nerve is compressed within the carpal tunnel and unable to function properly. Pressure on the nerve results in signs and symptoms that will progress if not adequately treated. Signs and symptoms The signs and symptoms of carpal tunnel syndrome are progressive in nature and may include: • numbness and tingling in the hand or fingers • night pain, which may wake the individual • decreased feeling of touch in the thumb, index finger, and middle finger • reduced dexterity of the hand or fingers • a feeling of swollen fingers, even in the absence of visual signs of swelling • reduced grip strength • noticeable reduction in the size of the hand muscles, especially by the thumb (thenar muscles) What causes it? A number of factors may contribute to the development of carpal tunnel syndrome. Highly repetitive hand or finger actions are a common cause. If the flexor tendons become inflamed, the swelling applies pressure to the median nerve within the carpal tunnel, compromising the nerve’s ability to function. A combination of awkward postures, forceful exertion, and high repetition will increase the risk of developing tendinitis, thus increasing the risk of carpal tunnel syndrome. Carpal tunnel syndrome has been associated with playing violin, viola, guitar, percussion, piano, and clarinet. Carpal tunnel syndrome may also be related to systemic or hormonal factors. For example, it is more common in pregnant women. Treatment Treatment for carpal tunnel syndrome ranges from non-surgical approaches to surgical protocols, with varying degrees of success in each type of treatment. A full recovery is more likely and more rapid if symptoms are reported in the early stages and the appropriate treatment regime is implemented. Avoid self-diagnosis, as carpal tunnel syndrome has symptoms in common with other disorders, and accurate diagnosis is critical in determining the best treatment. Seek professional medical advice. Treatment of carpal tunnel syndrome should include the identification and minimization of aggravating activities. This may involve: • a change of technique or hand posture • shorter playing sessions • more frequent breaks to allow for rest and recovery Prevention It is important for musicians to learn about proper body positioning while playing their instruments. Frequent breaks and stretching can break the repetitive cycle of playing and allow an opportunity for rest and recovery. Stretch the hands, neck, and shoulders intermittently during warm-ups, during practice sessions, and after completing sessions. Additional information For more information, refer to the following sections: • “Risk Factors” • “General Prevention and Treatment” References Floyd, R., and C. Thompson. 1994. Manual of structural kinesiology. Toronto: Mosby-Year Book Inc. Marxhausen, P. Musicians and injuries. <www.engr.unl.edu/eeshop/music.html> (May 31, 2002). Musician’s Health <www.musicianshealth.com> (May 31, 2002). Reid, D. 1992. Sports injury assessment and rehabilitation. New York: Churchill Livingstone. Renstrom P. 1994. Clinical practice of sports injury prevention and care. London: Blackwell Scientific Publications. Silverstein, B. 1987. Occupational factors and carpal tunnel syndrome. American Journal of Industrial Medicine 11:343-358. Hand and arm injuries: Cubital tunnel syndrome What is it? The cubital tunnel is located on the inside (medial aspect) of the elbow, an area most people commonly associate with the “funny bone.” The sides of the cubital tunnel are formed by the flexor carpi ulnaris and flexor digitorum profundus muscles, the humerus bone (in the upper arm), and a ligament that crosses over the top. The ulnar nerve travels through the cubital tunnel as it passes from the upper arm into the forearm. Each of the muscles performs different motions and the manner in which the motions are performed can result in the development of cubital tunnel syndrome. Cubital tunnel syndrome involves an irritation of the ulnar nerve in the elbow. Some people experience the same sensation as when they bang their funny bones. Signs and symptoms The primary symptom of cubital tunnel syndrome is a feeling of discomfort in the elbow area along the inside of the arm. Progression of symptoms may include discomfort in the hand as well as numbness or tingling in the little finger, ring finger, or along the back or side of the hand. If the problem is not addressed, symptoms may progress to include loss of grip strength and noticeable reduction in the size of the muscles near the little finger (hypothenar muscles). What causes it? The flexor carpi ulnaris muscle bends the wrist downward and sideways toward the little finger. The flexor digitorum profundus muscle moves the fingertips downward. Highly repetitive actions that result in compression of the nerve near the elbow contribute to the development of cubital tunnel syndrome. These actions may include bending the wrist or fingers inward or sideways toward the little finger. The associated muscle contractions result in narrowing of the cubital tunnel. Other actions that may compress the nerve near the elbow include forceful straightening of or prolonged leaning on the elbow. Highly repetitive wrist and finger motions can lead to overuse of the wrist and finger muscles. As with any overuse injury, the muscles fatigue and can become inflamed and suffer tissue micro-tears. With cubital tunnel syndrome, these micro-tears occur where the muscles attach to the bone in the elbow region. Inflammation results, applying pressure to the ulnar nerve. Musicians who play violin or viola are particularly susceptible to cubital tunnel syndrome in their left arms. Treatment Initial treatment of cubital tunnel syndrome should include the identification and minimization of aggravating activities. This may involve: • a change of technique or hand posture • shorter playing sessions • more frequent breaks to allow for rest and recovery Compensatory techniques are a temporary measure that may be necessary to complete a performance. Longer-term preventive solutions may require re-education, including improved technique. Applying ice to the elbow may also be effective in controlling symptoms; apply ice frequently to reduce inflammation. If tight forearm muscles are contributing to the symptoms, gentle stretching may be beneficial. Consult a health-care professional to determine appropriate stretches. If the initial efforts indicated above do not resolve symptoms, the success of the recovery depends on how quickly the individual seeks appropriate medical attention. Nerve disorders are serious, and nerve compromise over a long period can lead to permanent damage. Early identification of the problem and effective treatment increase the chance of a full recovery. Prevention The key to preventing cubital tunnel syndrome is to balance the stress on the ulnar nerve with rest and recovery. Perform gentle stretching during breaks (a technique called active recovery), every hour of practice or more, if possible. Prevention also requires the development of postural technique that minimizes stress on the ulnar nerve. Additional information For more information, refer to the following sections: • “Risk Factors” • “General Prevention and Treatment” References Floyd, R., and C. Thompson. 1994. Manual of structural kinesiology. Toronto: Mosby-Year Book Inc. Marxhausen, P. Musicians and injuries. <www.engr.unl.edu/eeshop/music.html> (May 31, 2002). McPherson, S. 1992. Cubital tunnel syndrome. Orthopedic Clinics of North America (23): 111-123 Musician’s Health <[urlwww.musicianshealth.com]www.musicianshealth.com[/url]> (May 31, 2002). Reid, D. 1992. Sports injury assessment and rehabilitation. New York: Churchill Livingstone. Renstrom P. 1994. Clinical practice of sports injury prevention and care. London: Blackwell Scientific Publications. Hand and arm injuries: Thoracic outlet syndrome What is it? The thoracic outlet is the narrow space that runs between the collarbone, the first rib, and one of the neck muscles (scalene muscles). Through this tunnel run veins, arteries, and nerves (median and ulnar nerves) that originate in the neck and travel down the arm. Thoracic outlet syndrome is a condition in which the nerves and blood vessels travelling through the thoracic outlet are compressed. Signs and symptoms Thoracic outlet syndrome has a number of symptoms that may be progressive in nature, including: • numbness and tingling in the arm or hand • swelling or lack of blood circulation to the hand, leaving it feeling cold • pain or discomfort in the hand or arm • weakness or fatigue of the hand or arm muscles Diagnosis of thoracic outlet syndrome is difficult because it shares symptoms with other conditions. Thoracic outlet syndrome symptoms can mimic conditions such as a herniated disc in the neck, carpal tunnel syndrome, cubital tunnel syndrome, or bursitis of the shoulder. What causes it? Various factors may contribute to the development of thoracic outlet syndrome. Repetitive activities involving a head-forward posture or drooped shoulders may lead to compression of the nerve or vascular tissues. Partnering dance movements may stress the shoulder and result in compression of nerve or blood vessels. Carrying heavy loads, instrument cases, and dance bags may also lead to tissue compression. This can stress the shoulder-girdle structures (the clavicle, ligaments, and muscles). The most common cause of thoracic outlet syndrome is compression of nerves or blood vessels in the armpit. Thoracic outlet syndrome may also develop following neck or shoulder trauma. Violin, viola, guitar, flute, and keyboard players have reported thoracic outlet syndrome. Treatment The key to effective treatment is a proper diagnosis. Do not self-diagnose. Thoracic outlet syndrome shares similar symptoms with other conditions, which can make it difficult to diagnose. Seek the help of a qualified health-care professional, as the appropriate treatment depends on the severity of the symptoms. Prevention The key to preventing thoracic outlet syndrome is to minimize stress on the neck and shoulders. Avoid awkward postures and minimize time spent using the neck and shoulder muscles in a static or continuous manner. Active recovery (stretching during rest breaks) may further reduce the risk of developing symptoms. To help minimize the recovery time should a traumatic injury occur, determine and maintain neck and shoulder posture that does not cause injury, as well as muscle strength and flexibility in these areas. Additional information For more information, refer to the following sections: • “Risk Factors” • “General Prevention and Treatment” References Floyd, R., and C. Thompson. 1994. Manual of structural kinesiology. Toronto: Mosby-Year Book Inc. Marxhausen, P. Musicians and injuries. <www.engr.unl.edu/eeshop/music.html> (May 31, 2002). Musician’s Health <www.musicianshealth.com> (May 31, 2002). Reid, D. 1992. Sports injury assessment and rehabilitation. New York: Churchill Livingstone. Renstrom P. 1994. Clinical practice of sports injury prevention and care. London: Blackwell Scientific Publications. Hand and arm injuries: De Quervain’s syndrome What is it? De Quervain’s syndrome is an inflammation of thumb tendons resulting in discomfort along the thumb and on the thumb side of the wrist, particularly along the two tendons that form a pit (the “snuff box”) on the thumb side of the wrist when the thumb is fully extended. Signs and symptoms A common symptom of De Quervain’s syndrome is discomfort along the back of the thumb. Some people may experience swelling and discomfort at the base of the thumb at the wrist. This discomfort will increase with thumb or wrist motion. Moving the thumb may become difficult and painful, particularly when pinching or grasping objects. The condition can occur gradually or suddenly. In either case, the pain may travel up into the forearm. What causes it? Overuse of the thumb tendons is a common cause of De Quervain’s syndrome. Overuse occurs with highly repetitive activities involving gripping or pinching forces of the thumb and wrist. Actions with greater forces will increase the risk of symptoms developing. De Quervain’s syndrome is also associated with rheumatoid arthritis. Musicians at risk of developing De Quervain’s syndrome include clarinet, flute, percussion, and keyboard players. Treatment Initial treatment of De Quervain’s syndrome should include the identification and minimization of aggravating activities. This may involve: • a change of technique or hand posture • shorter playing sessions • more frequent breaks to allow for rest and recovery Applying ice to the base of the thumb may also be effective in controlling symptoms; apply ice frequently to reduce inflammation. Consult a health-care professional to identify the appropriate treatment regime. Earlier intervention will lead to a more successful recovery and minimize the need for invasive treatments such as surgery. Prevention The keys to preventing De Quervain’s syndrome are to minimize exposure to awkward thumb and wrist postures, and, whenever possible, to use a power grip that utilizes the whole hand rather than a pinch grip that utilizes just the fingers. Rest breaks are effective in providing recovery during tasks that involve awkward hand postures or forceful pinch grips. Additional information For more information, refer to the following sections: • “Risk Factors” • “General Prevention and Treatment” References Floyd, R., and C. Thompson. 1994. Manual of structural kinesiology. Toronto: Mosby-Year Book Inc. Marxhausen, P. Musicians and injuries. <www.engr.unl.edu/eeshop/music.html> (May 31, 2002). Musician’s Health <www.musicianshealth.com> (May 31, 2002). Norris, R. 1993. The musician’s survival manual: A guide to preventing and treating injuries in instrumentalists. St. Louis: MMB Music Inc. Reid, D. 1992. Sports injury assessment and rehabilitation. New York: Churchill Livingstone. Renstrom P. 1994. Clinical practice of sports injury prevention and care. London: Blackwell Scientific Publications. Hand and arm injuries: Lateral epicondylitis (tennis elbow) What is it? The lateral epicondyle is the area on the outside of the elbow where the wrist extensor muscles attach to the bone. This muscle group performs motions such as bending the wrist backward (extension), turning the hand palm-side-up, and lifting an object while keeping the elbow straight. Lateral epicondylitis, commonly known as tennis elbow, is an inflammation of one or more of the tissues around the lateral epicondyle. In most cases, the extensor tendon is inflamed. Signs and symptoms Signs and symptoms include tenderness, pain, and swelling at the lateral epicondyle. Bending the wrist upward or gripping will aggravate symptoms. What causes it? Overuse of the hand and wrist extensor muscles is the most common cause of lateral epicondylitis, particularly when extending the fingers while the wrist is extended. Strained or overused muscles become inflamed and produce symptoms. Lateral epicondylitis can worsen if it is not addressed quickly and effectively. Musicians at risk of lateral epicondylitis include clarinet, oboe, trombone, percussion, and keyboard players. Treatment Many tendinitis injuries have the same treatment protocol. Key components are applying ice to the affected area and stretching gently. For appropriate icing protocols and stretches, consult a health-care professional as soon as you feel symptoms. The sooner an injury is identified, the quicker the recovery and greater the chance of a full recovery. Prevention The keys to prevention are body awareness and stretching. Knowing the mechanics of the injury allows musicians to examine their technique and make minor posture changes while still maintaining the same performance results. Awareness of the body’s position in relation to the instrument is key. Frequent stretch breaks (every 45-60 minutes) help provide working muscles with an active recovery. Stretching helps relax tight muscles and improve flexibility and circulation. All of these are key in the prevention of injuries. Additional information For more information, refer to the following sections: • “Risk Factors” • “General Prevention and Treatment” References Floyd, R., and C. Thompson. 1994. Manual of structural kinesiology. Toronto: Mosby-Year Book Inc. Noteboom, T., R. Cruver, J. Keller, B. Kellogg, and A. Nitz. 1994. Tennis elbow: A review. Journal of Orthopaedic Sports Physical Therapy 6:358-366. Reid, D. 1992. Sports injury assessment and rehabilitation. New York: Churchill Livingstone. Renstrom P. 1994. Clinical practice of sports injury prevention and care. London: Blackwell Scientific Publications. Hand and arm injuries: Medial epicondylitis (golfer’s elbow) What is it? Medial epicondylitis, often referred to as golfer’s elbow, affects the inside bone region of the elbow (medial epicondyle), where the forearm flexor muscles are attached by a tendon. The forearm flexor muscles perform motions such as bending the wrist downward (flexion) and gripping objects. Signs and symptoms Signs and symptoms include tenderness, pain, and swelling at the medial epicondyle. Bending the wrist downward or gripping will aggravate symptoms. What causes it? The most common cause of medial epicondylitis is overuse of the forearm flexor muscles, particularly where strong gripping and wrist flexion are required, or where there is repetitive finger flexion while the wrist is flexed. Strained or overused forearm flexor muscles become inflamed. Overuse results in muscle micro-tears close to the origin point at the elbow. These micro-tears are small tears in individual muscle fibres that may not impair muscle function in the short term. However, scar tissue develops at the micro-tear sites as they heal. With the repeated generation of new micro-tears and the progressive increase in the amount of scar tissue in the muscle, the elasticity of the muscle becomes compromised and increases the strain on the tendons that anchor the muscle to the elbow. Harp players are susceptible to medial epicondylitis in the left arm. Percussion and keyboard players are susceptible in both arms. Treatment Many tendinitis injuries have the same treatment protocol. Key components are applying ice to the affected area and stretching gently. For appropriate icing protocols and stretches, consult a health-care professional as soon as you feel symptoms. The sooner an injury is identified, the quicker the recovery and healing process. Prevention The keys to prevention are body awareness and stretching. Knowing the mechanics of the injury allows musicians to examine their technique to see whether or not it can be changed slightly while still maintaining the same performance results. Awareness of the body’s position in relation to the instrument is key. Frequent stretch breaks (every 45-60 minutes) help provide working muscles with an active recovery. Stretching helps relax tight muscles and improve flexibility and circulation. All of these are key in the prevention of injuries. Additional information For more information, refer to the following sections: • “Risk Factors” • “General Prevention and Treatment” References Floyd, R., and C. Thompson. 1994. Manual of structural kinesiology. Toronto: Mosby-Year Book Inc. Norris, R. 1993. The musician’s survival manual: A guide to preventing and treating injuries in instrumentalists. St. Louis: MMB Music Inc. Reid, D. 1992. Sports injury assessment and rehabilitation. New York: Churchill Livingstone Renstrom P. 1994. Clinical practice of sports injury prevention and care. London: Blackwell Scientific Publications. Hand and arm injuries: Focal dystonia What is it? Focal dystonia is a syndrome that results in loss of motor control and prolonged, severe muscle cramping. It tends to affect musicians when they attempt to execute specific, highly repetitive, skilled movements on their instruments. Focal dystonia has been known to affect the hands and fingers of piano and guitar players, the embouchure of horn players, and the vocal cord muscles of vocalists. Focal dystonia is often referred to as occupational cramp or musician’s cramp. Signs and symptoms Focal dystonia is characterized by loss of motor control in the hands or fingers, along with prolonged, intense contractions of the muscles that control the hands and fingers. Focal dystonia may or may not be accompanied by pain or discomfort similar to that experienced during normal muscle cramping. Focal dystonia is distinguished from normal muscle cramping in that: • muscle fatigue is not a requirement for cramping to occur • the dystonic response is task-specific In fact, with focal dystonia cramping may be induced in response to beginning to play, or even thinking about playing, a specific piece of music. What causes it? The underlying cause of focal dystonia is unknown. However, there appears to be altered functioning of the central nervous system in musicians who experience it. This involves altered control signals from the motor cortex and altered sensory pathways at different levels of the nervous system while attempting to perform certain activities. Focal dystonia can be extremely task-specific. For example, a pianist who experiences finger dystonia while playing trills on a piano may not be able to reproduce the condition by attempting the same finger motions on a computer keyboard. Treatment Seek professional assistance if muscle cramping becomes frequent or is clearly associated with a specific activity or piece of music. If allowed to progress, focal dystonia can be a career-ending disorder. Treatment usually involves eliminating the specific activity that\ results in the cramping while using physical therapies to retrain sensory and motor control of the hand or fingers. Neuromuscular retraining has also been attempted using movement-awareness techniques such as the Feldenkrais Method and the Alexander Technique. Pharmacological interventions, including botulinum-toxin injections in the affected muscles, may be used to control focal dystonia. Physical fitness of the affected muscles is also encouraged. Prevention Pay attention to early indications of muscle cramping or fatigue while playing repetitive or complex music or drills. Standard preventive approaches include maintaining good physical fitness and balancing strenuous activity or demanding playing with rest. Additional information For more information, refer to the following sections: • “Risk Factors” • “General Prevention and Treatment” References Chen, R., and M. Hallet. 1998. Focal dystonia and repetitive motion disorders. Clinical Orthopedics 351:102-106. Norris, R. 1993. The musician’s survival manual: A guide to preventing and treating injuries in instrumentalists. St. Louis: MMB Music Inc. Pujol, J., J. Roset-Llobet, D. Rosines-Cubells, J. Deus, B. Narberhaus, J. Valls-Sole, A. Capdevila, and A. Pasual-Leone. 2000. Brain cortical activation during guitar-induced hand dystonia studied by functional MRI. Neuroimage 12 (3): 257-67. Joint injuries: Arthritis Dancers have been reported to be more susceptible to joint injuries than non-dancers (van Dijk et al. 1995; Andersson et al. 1989). The most common of these joint injuries is arthritis. Long-term dancing has been shown to increase the risk of arthritis in all joints (van Dijk et al. 1995). What is it? Arthritis describes any inflammation of a joint or damage to the cartilage. Osteoarthritis, the most common type of arthritis, is characterized by degradation of the cartilage. Signs and symptoms Arthritis is characterized by pain in the joint and may be accompanied by swelling. Consult a physician as soon as possible if you suspect arthritis. What causes it? Osteoarthritis is thought to be caused by general wear and tear to the joint. Osteoarthritis can be categorized as primary, meaning that there is no known cause, or secondary, meaning it originates from an injury or developmental abnormality. Osteoarthritis often affects ballet dancers’ hips, ankles, and feet, as these are the joints that sustain the most stress (Andersson et al. 1989; van Dijk et al. 1995; Smith, Ptacek, and Patterson 2000). Treatment The sooner arthritis treatment is initiated, the more successful the outcome in likely to be. Consult a physician as soon as you suspect arthritis or have unexplained joint pain. Prevention The key to preventing arthritis is to maintain healthy joints and nutrition throughout life. Get adequate rest between workouts and ensure that joint injuries such as sprains are properly treated. Additional information For more information, refer to the following sections: • “Risk Factors” • “General Prevention and Treatment” • “Preventing Musculoskeletal Injury for Dancers” • “RICE Treatment Protocol (Rest, Ice, Compression, and Elevation)” References Andersson, S., B. Nilsson, T. Hessel, M. Saraste, A. Noren, A. Stevens-Andersson, and D. Rydholm. 1989. Degenerative joint disease in ballet dancers. Clinical Orthopaedics and Related Research 238:233-236. Smith, R., J. T. Ptacek, and E. Patterson. 2000. Moderator effects of cognitive and somatic trait anxiety on the relation between life stress and physical injuries. Anxiety, Stress and Coping 13:269-288. van Dijk, C. N., S. Liesbeth, S. Lim, A. Poortman, E. Strubbe, and R. Marti. 1995. Degenerative joint disease in female ballet dancers. American Journal of Sports Medicine 23 (3): 295-300. Edited by ptewee, Feb 23 2009, 02:40 PM.
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| Slim3r | Jun 22 2007, 05:36 PM Post #2 |
 
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Hmm.. no injuries for trumpeters?? Hehez.. Hmm.. those who play musical instrument must be careful..Carpel syndrome is very suffering.. My mum has it and she has sleepless nights and needs to go for operation.. So musicians beware.. Take care of ur own body and it'll take care of ur soul.
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| Yeong | Jun 22 2007, 06:41 PM Post #3 |
CutieNuttie
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who say dun hav! got a very big news last time said that BB got a trumpeter 'byebye' becoz blow too much trumpet and i think most probably is with wrong technique lor.. so.. better bcareful ah~!! |
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| ptewee | Jun 22 2007, 07:02 PM Post #4 |
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In His Uniform By Wong Giok Leigh On 23 January 2003, Corporal Gan Teong Wee passed away peacefully to be with His Best Friend, Jesus Christ. He was an upstanding member of the 1st Kuala Lumpur Boys' Brigade Company. He was bright with potential, an honoured leader and a very dear friend. His passing, like his life, left a very deep impression on those who knew and loved him. No one can understand why exactly all this had to happen. Sometimes, there are more questions than there are answers. We can only look up to God and to our future Hope. But we learned lessons from his life and his passing. We learned that life is short. At any time in our life, whether young or old, it can all come to an end. Sometimes, it is expected. At other times it comes as a shock. Whichever way it is, however, we live with limited time. What we do with that time, makes a difference to our lives. We also learned that we must live life in a way that makes it worth living for. Most people just go through life. They exist. They do not live. They wake up, go to school or work, come home, earn good grades or a good paycheck, then go to sleep. They wake up and do it all over again; every day of the week, every week of the month, and every month of the year. Maybe they make a stop to get married or have children, but life is just existance. Teong Wee did not live that way. He numbered his days and gained a heart of wisdom. He lived in grace and with a passion to know Jesus. He pursued his interests - not just selfish pleasures that are so common today - but interests that were used to serve others. He started learning the guitar and would practice to play for Company worship. He also expressed his desire to play for the Church Praise & Worship Service. Maybe that's why his passing is so difficult for us. He had potential. We could see how far he could have gone from the way he had already lived. Even now, after his passing, he has made us pause to reflect on the value and impact of our lives, while we are still alive. How many of us live a life that is worth living for? How many of us live lives that inspire others? How many of us live a life that is worth living for ? How many of us live lives that inspire others ? His funeral was a touching one. It showed what Boys' Brigade should really be like. It's not about the activities. It's not about how much money we raise or the number of Members we have. It's not even about the awards or competitions won. It's about friends...friends who stick closer than brothers. It's about being a family. The band played two songs at the funeral service. One of them was the Cantonese pop song, "Friends". It is an old song and we already knew how to play it well. But this time, it was different. This time, it wasn't a song to be played for display or for competition. There was no money to be earned, nor a trophy to be gained. It was a song played for a friend... a comrade... a brother. At his funeral, we cried. We did not cry for a good band member. We did not cry for an excellent NCO. We cried that day for a brother whom we had grown up with, and whom we will not get to see again until we reach Heaven. As an Officer, I learned one great thing from Teong Wee amidst all the tears and questions. He taught me that the Boys' Brigade is worth it. Every tear shed, every drop of sweat, every sleepless night counts towards a life. A life that is changed for the better. A life that is touched by Jesus. A life that becomes worth living for, and sometimes, even worth dying for. He showed me the true value of what the Boys' Brigade can mean to someone. At his passing, I was told that he wanted to be in his BB uniform. I was told that he looked "satisfied" when he was in his BB uniform. The Boys' Brigade is still relevant today, even after 120 years. It will touch lives, as long as we keep giving ourselves to following Jesus and serving our Members. We may not see it any time soon. In fact, some days, it is easier to resign. But my friends, "...my dear brothers, stand firm. Let nothing move you. Always give yourself fully to the work of the Lord, because you know that your labour in the Lord is not in vain" (1 Corinthians 15:58). You will know that your labout in the Lord is not in vain. Never in vain. You will know that your labout in the Lord is not in vain. Never in vain. Thank you, Teong Wee, for teaching me and inspiring me. May God find me a "good and faithful servant" when I finally see you again. Until then, we will continue to look towards our Hope as an anchor of the soul, both Sure and Stedfast, and which will enter the Presence behind the veil. We'll see you again. At his funeral, Corporal Gan Teong Wee was surrounded by loved ones, including members and officers of the 1st Kuala Lumpur Boys' Brigade Company. As his body was committed, one of his best friends blew the Last Post. A General's Salute was given in his honour. We will miss him, but we will also look forward to seeing him once more. Corporal Gan Teong Wee was cremated in his BB uniform and his ashes were thrown into the sea. This article is extracted from Berita Anchor March 2003 edition Original Article (with pictures) |
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| hondajazz | Jun 23 2007, 08:01 PM Post #5 |
J@sP3r MoSt W@nT3d
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   aiya...knot play violin liao...later tiok..me clarinet, violin n more arh...so very high de chance 2 tiok...sobz...
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      J@sP3r MoSt W@nT3d Vs Th3 NoV3mB3r'S Ch0p1n | |
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| clementsls | Jan 30 2009, 06:17 PM Post #6 |
 
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admin, pls edit the 1st post... sumthing wrong wid the font |
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r u sure or r u confidence 2 say now tat, BB is the best? pls never judge on wad u c.. watch on the process 1st, den the result..  
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| eisheng | Feb 23 2009, 01:38 PM Post #7 |
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this article is kind of scary. I hope it doesn't discourage people from joining the band. All you need to do is proper stretching before and after you play. |
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| ptewee | Feb 23 2009, 02:41 PM Post #8 |
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done... i didnt realise this topic was active that time... since i was away on CNY holiday... the cause was the server being changed to zetaboards from invisionfree... then they mess up my formatting... =.=; |
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11:53 PM Nov 27
