Blending Conventional Learning Approach with Contemporary Visualization Technologies: Prerequisite Toward Evidence-Based Surface Anatomy.

Proficiency in surface anatomy knowledge plays a pivotal role in fostering complication-free and efficacious clinical practice across a wide spectrum of healthcare specialties. This comprehensive understanding and adept utilization of surface anatomy principles serve as the linchpin for deciphering normal anatomical structures within medical imaging and the aptitude to articulate the topographical attributes, visual characteristics, and interrelations of palpable anatomical entities. Despite the advent of advanced direct visualization techniques, such as ultrasound guidance, which assist in interventional procedures, clinicians have not relinquished the indispensable requirement for pertinent surface anatomy knowledge to ensure the successful and secure execution of procedures. Regrettably, evidence-based surface anatomy remains an underemphasized facet in the pedagogy of anatomical sciences. The current narrative review underscores the various methodologies employed in imparting surface anatomy education to students. However, it is noteworthy that no singular, unequivocal best practice has emerged for the teaching and acquisition of surface anatomy knowledge. Therefore, as custodians of anatomical education, there is a pressing need to innovate and amalgamate contemporary pedagogical approaches with state-of-the-art technologies to furnish students with evidence-based surface anatomy insights, thereby enhancing comprehension, retention, and the lasting utility of this essential domain of medical knowledge.

Facial Painting and 3D Stereophotogrammetric Analysis of Facial Dynamics: A Reliable Anatomical Educational Method.

(1) Background: Accurate knowledge of the dynamic anatomy of facial muscles is crucial for the use of functional and aesthetic botulinum toxin injections. We studied the reliability and relevance of facial painting as a pedagogic tool for the dynamic anatomy of facial muscles. (2) Methods: Different facial expressions were performed by a female model after a professional makeup artist applied makeup to the various facial muscles on her left hemiface. A 3D photograph was taken at the beginning and end of each movement using the VECTRA H2 Imaging System device. Cutaneous movements were visualized using displacement vectors. The correlation between the theoretical and dynamic positions of the makeup-muscle was assessed by two facial anatomy experts, thanks to a correlation scale. (3) Results: The overall average score for the 11 analyzed muscles or muscle groups was 3.36 out of 4, indicating a "strong" to "very strong" estimated correlation. There was a moderate agreement between Evaluator 1 and Evaluator 2 (ICC: 0.64; 95%CI: [0.244; 0.852]; p-value: 0.005). (4) Conclusions: The educational model with facial makeup provides an indirect but nonetheless precise and reliable representation of all facial muscles on the skin's surface. It is presented as a reliable and reproducible method, which exhibits great potential as a teaching tool.

Body painting, ultrasound, clinical examination, and peer-teaching: A student-centered approach to enhance musculoskeletal anatomy learning.

The presented course, established 2016 as a compulsory elective for 22nd-year bachelor medical students, aimed to enhance deep learning of upper and lower limb anatomy from a clinical perspective by a maximum of student-centered activities combining hands-on skills training with team-learning. Three cohorts (in total 60 students) participated in this study. Students rotated through body painting, ultrasound, and clinical investigation supervised by faculty or an experienced clinician. Teams of 3-4 students prepared presentations on clinical anatomy and pathological conditions, which by teacher- and peer assessments on average achieved >85% (mean 17.8/20 points ± 1.06). After each activity session, the students reported their learning experience through a reflective diary. Fifty students (83%) evaluated the course by a voluntary anonymous questionnaire combining Likert-type scale and free-text questions to assess, predominantly, perception of course activities and their perceived influence on learning anatomy. Journal reports and questionnaires revealed that the students highly valued the course, and 92% (29 females, 17 males) rated group work satisfying or well-perceived. The highest appreciation achieved ultrasound followed by clinical examination and body painting, which one third proposed to integrate into the regular dissection course. All students recommended the course to their younger peers. This course was feasible to integrate in the pre-existing curriculum. Limiting factors to offer this elective course to more students are availability of clinical teachers, technical equipment, and education rooms. Being student-directed tasks, body painting and reflective diary-writing would be feasible to implement without additional faculty, which we recommend to educators for student engagement activation.

The influence of body painting on L4 spinous process palpation accuracy in novice palpators.

OBJECTIVES: Current literature remains inconclusive regarding the best methodology to accurately palpate lumbar spinous processes (SP). Body painting (BP) uses markers to draw anatomical structures on the skin's surface. While BP can be a useful tool for engaging learners, it is unknown whether it improves palpation accuracy. The purpose of this study was to investigate whether the addition of body painting to palpation education improves lumbar spinous process palpation accuracy in first-year Doctor of Physical Therapy (DPT) students. METHODS: Thirty-eight DPT students were randomized into a traditional palpation group and a body painting (BP) group. Each group received identical instruction on palpating the lumbar spine, with the BP group additionally drawing lumbar SPs on their laboratory partner with a marker. Students were then assessed on their ability to accurately palpate the L4 SP on randomly assigned subjects. Two Certified Registered Nurse Anesthetists (CRNAs) used ultrasound imaging to confirm the location of each student's palpation. Palpation time was also recorded. The BP group also completed a survey on the learning experience. RESULTS: Forty-five percent of students were able to accurately palpate the L4 SP. There was no significant difference (p = 0.78) in palpation accuracy between the traditional and BP group, although students in the BP group were randomly assigned subjects with a significantly (p = 0.005) higher BMI. Ninety-five percent of students were able to palpate within one spinal level of the L4 SP. Students in the BP group reported that the BP activity facilitated learning and active participation. There was no significant difference in palpation time (p = 0.98) between groups. There was a fair correlation (r=-0.41) between palpation accuracy and subject BMI. DISCUSSION/CONCLUSION: While body painting was an enjoyable activity to incorporate into palpation laboratory, it is unclear whether it enhanced lumbar SP palpation accuracy in first-year DPT students.

Music as aposematic signal: predator defense strategies in early human evolution.

The article draws attention to a neglected key element of human evolutionary history-the defense strategies of hominins and early humans against predators. Possible reasons for this neglect are discussed, and the historical development of this field is outlined. Many human morphological and behavioral characteristics-musicality, sense of rhythm, use of dissonances, entrainment, bipedalism, long head hair, long legs, strong body odor, armpit hair, traditions of body painting and cannibalism-are explained as predator avoidance tactics of an aposematic (warning display) defense strategy. The article argues that the origins of human musical faculties should be studied in the wider context of an early, multimodal human defense strategy from predators.

Beyond the Classroom: Inspiring Medical and Health Science Students to Learn Surface Anatomy.

This qualitative and quantitative study offered students the opportunity to participate in engaging and inspiring activities "outside the classroom", to extend their experience and knowledge of surface anatomy. Medical and health science students benefit from studying surface anatomy as it is relevant to their future professions that deal with patients and clients. Surface anatomy is an essential part of the learning process that allows students an opportunity to identify anatomical structures on living people and to develop their palpation and tactile skills for physical examinations of patients. Body painting is a student-centred, engaging, and motivating approach to learn surface anatomy in anatomy practical classes. In this study, anatomy learning was extended "beyond the classroom" through extra-curricular body painting projects. These projects were run by student teams consisting of a student model, student artists (4-5), and a student photographer, under the direction of the chief investigator. A total of sixteen body painting projects were carried out from 2010 to show the skeletal system, the muscular system, pregnancy, respiratory and gastrointestinal systems, and the neurovascular systems of the entire body. A SurveyMonkey of 31/41 active participants suggested that participants enjoyed the projects (94-100%), found them relevant to their future profession (80-87%), and considered them to assist with deeper understanding (94%) and long-term memory (93%) of anatomy. Learning anatomy outside the classroom through extra-curricular body painting projects was a successful way to engage, motivate, and inspire participants and first year anatomy students to study surface anatomy and to develop their physical examination skills.

"Learning by Doing": a Mixed-Methods Study to Identify Why Body Painting Can Be a Powerful Approach for Teaching Surface Anatomy to Health Science Students.

Introduction: Teaching human anatomy to produce deeper understandings and knowledge retention in learners requires meaningful, engaging, and practical activities. Previous studies identify that most students who participated in body painting (BP) reported improved understanding of surface anatomy (SA). This study investigates the key factors underpinning how BP helps students learn SA. Methods: The study involved an explanatory mixed-methods approach. Towards the end of an anatomy course, a survey was administered to three cohorts of first-year chiropractic, osteopathy, and Chinese medicine students and second-year biomedical sciences students over 3 years (n = 311; response rate = 30%). The survey assessed the effectiveness of BP as a hands-on, group-based approach for learning SA in practical class. Three student focus groups (n = 13) explored the key survey findings. Results: Overall, 72% of student respondents reported BP activities helped them learn SA "quite a bit" or "very much". Multivariate analysis identified students found BP helped them learn SA by "remembering the position of the bones, joints, muscles, actions and insertions" (POR = 5.7; P < 0.001); "integrating textbook and other knowledge on a real live person" (POR = 2.4; P = 0.027); and "achieving a deeper understanding of SA" (POR = 5.2; P < 0.001). The qualitative findings describe specifically how BP helps students learn, understand, and remember SA. Conclusions: The findings show the majority of students believed BP benefitted their learning of SA through enhancing engagement in self-directed classroom and out-of-hours learning opportunities, deeper understandings of form and function, retention of knowledge, and practical physical examination experiences palpating the variations in form between individuals.

Body Painting Plus: Art-Based Activities to Improve Visualisation in Clinical Education Settings.

Art-based activities are increasingly being regarded as an accessible and engaging way to understand the human body and its processes. Such activities include body painting (both regular and ultraviolet [UV]), clay and materials-based modelling and drawing-focused activities. Integrating art-based approaches into curricula can offer many benefits and are often cost-effective ways to engage students, and improve on clinical acumen and visual understanding of the body. In this chapter, we will introduce various art-based visualisation methods, suggested uses for their integration into curricula, as well as the associated pros and cons of each, in turn.

Body Painting of the Horse and Cow to Learn Surface Anatomy.

Gross anatomy is considered one of the most challenging subjects in teaching veterinary medicine. The use of body painting is reported in teaching surface human anatomy, but such reports are scarce in veterinary medicine. The aim of this study was to describe a practical session for teaching surface anatomy using body painting with second-semester students of veterinary medicine. Two practical sessions using live animals (equine and bovine) were offered with a focus on the locomotor and nervous systems and splanchnology. Students believed that the body painting sessions helped them to understand the localization of structures, promoting long-term retention and integration of knowledge, and to approach large animals with more self-confidence. Forty-nine students took three short theoretical and practical exams: a pre-test on splanchnology (Q1), an immediate post-test on splanchnology (Q2), and a post-test after 7 weeks on the locomotor and nervous systems (Q3). Correct answers for theoretical Q1 and Q2 were statistically different (2.04 and 3.11 out of 5, respectively; p < .001), and higher scores were found for Q3 compared with Q1 (2.49 and 1.02 out of 5, respectively). The most common error observed in practical Q1 was underestimation of the real size of organs such as lungs, rumen in cattle, and cecum in horses. The results showed that body painting sessions improved learning of anatomical concepts and could serve as a bridge between cadaver anatomy and living animal anatomy. More body painting sessions could be included in other semesters of the veterinary medicine curriculum to better integrate anatomy knowledge.

The teaching of surface anatomy by body painting / Enseñanza de anatomía de superficie mediante la pintura corporal

The present project on learning surface anatomy through the body painting method was undertaken because anatomical knowledge supports medical practice. The appropriate anatomical training of the doctor depends on surface anatomy. We considered the renovation of teaching strategies and didactic resources to optimize the overall teaching- learning process. 189 first-year medical students, enrolled in the Trunk and Splanchnology course at the University of Cádiz (Spain) participated in this study. Students were divided into 5 groups each of 38-41 students. The students were asked to complete a satisfaction questionnaire supplied to each participant through an on-line platform. On the basis of the results, we recommend the body painting method as an alternative tool for learning surface and clinical anatomy.

El presente proyecto sobre el aprendizaje de la anatomía de superficie a través del método de pintura corporal se realizó debido a que el conocimiento anatómico apoya la práctica médica. El entrenamiento anatómico apropiado del médico depende de la anatomía de superficie. Consideramos la renovación de las estrategias de enseñanza y los recursos didácticos para optimizar el proceso general de enseñanza-aprendizaje. De este estudio participaron 189 estudiantes de primer año de medicina, matriculados en el curso de Troncal y Splanchnology en la Universidad de Cádiz (España). Los estudiantes fueron divididos en 5 grupos, cada uno de 38-41 estudiantes. Se les pidió a los estudiantes que completaran un cuestionario de satisfacción proporcionado a cada participante a través de una plataforma en línea. Sobre la base de los resultados, recomendamos el método de pintura corporal como una herramienta alternativa para el aprendizaje de la anatomía de superficie y clínica.

Enhancement of Anatomical Education Using Augmented Reality: An Empirical Study of Body Painting.

Students in undergraduate premedical anatomy courses may experience suboptimal and superficial learning experiences due to large class sizes, passive lecture styles, and difficult-to-master concepts. This study introduces an innovative, hands-on activity for human musculoskeletal system education with the aim of improving students' level of engagement and knowledge retention. In this study, a collaborative learning intervention using the REFLECT (augmented reality for learning clinical anatomy) system is presented. The system uses the augmented reality magic mirror paradigm to superimpose anatomical visualizations over the user's body in a large display, creating the impression that she sees the relevant anatomic illustrations inside her own body. The efficacy of this proposed system was evaluated in a large-scale controlled study, using a team-based muscle painting activity among undergraduate premedical students (n = 288) at the Johns Hopkins University. The baseline knowledge and post-intervention knowledge of the students were measured before and after the painting activity according to their assigned groups in the study. The results from knowledge tests and additional collected data demonstrate that the proposed interactive system enhanced learning of the musculoskeletal system with improved knowledge retention (F(10,133)  = 3.14, P < 0.001), increased time on task (F(1,275)  = 5.70, P < 0.01), and a high level of engagement (F(9,273)  = 8.28, P < 0.0001). The proposed REFLECT system will be of benefit as a complementary anatomy learning tool for students.

Current perspectives on the role of body painting in medical education.

Body painting is a popular teaching and learning tool within medical education. Art-based approaches, such as body painting, allow students to learn in a fun and engaging manner. They are particularly useful for students who struggle with cadaveric study of anatomy. Body painting is not only limited to use for anatomical study, but it can also be beneficial as a mechanism for introducing clinical examination and associated communication skills. The use of vibrant color adds to its appeal and is often cited as the mechanism through which students effectively learn.

Use of a Garment as an Alternative to Body Painting in Equine Musculoskeletal Anatomy Teaching.

Living anatomy is gaining increasing popularity as an alternative to the use of preserved cadaver specimens in musculoskeletal anatomy teaching. This article describes the development of a garment painted with musculoskeletal structures as an alternative to body painting. Garments offer some advantages over traditional body painting in anatomy teaching. The technique can be used across different disciplines, enhances students' ability to identify anatomic structures in living bodies, and provides insights into the topography of one or more body systems at the same time. The fact that garments are amenable to palpation by large groups of students with no damage to the painting favors repeated use in hands-on wet labs. Garments such as the one described in this article introduce a novel approach to interdisciplinary teaching and learning, which can be combined with traditional anatomy teaching methods. The first garment produced depicts part of the equine musculoskeletal system. Steps in garment construction are highlighted and indications, advantages, and limitations of the method discussed.

Body painting to promote self-active learning of hand anatomy for preclinical medical students.

BACKGROUND: The purpose of this study was to use the body painting method to teach hand anatomy to a group of preclinical medical students. METHODS: Students reviewed hand anatomy using the traditional method and body painting exercise. Feedback and retention of the anatomy-related information were examined by a questionnaire and multiple-choice questions, respectively, immediately and 1 month after the painting exercise. RESULTS: Students agreed that the exercise was advantageous and helped facilitate self-active learning after in-class anatomy lessons. While there was no significant difference in knowledge retention between the control and experimental groups, the students appreciated the exercise in which they applied body paint to the human body to learn anatomy. CONCLUSION: The body painting was an efficient tool for aiding the interactive learning of medical students and increasing the understanding of gross anatomy.

Acceptance of the bodypainting as supportive method to learn the surface locomotor apparatus anatomy of the horse.

Although bodypainting has been reported as a great resource for teaching surface anatomy of humans, its use in veterinary anatomy has not been scientifically reported. In the present study, bodypainting was performed on 4 horses for anatomy teaching purposes of the equine locomotor apparatus. We aimed to use the bodypainting method as an additional tool to classic teaching and to test the relevance of our purpose. Twenty one Brazilian veterinary students were given a 90-min session, which included a presentation of painted horses, with opportunities for the students to ask questions and to palpate anatomic locations on the horses. Based on a questionnaire, there was unanimous student satisfaction with this technique. Furthermore, student scores on practical tests to evaluate the attention retain given immediately before and 1 h after the session were 33.9 ± 19.8% and 69.0 ± 18.4%, respectively (p < 0.001). We concluded that bodypainting has great potential for support the classic lectures of the equine locomotor apparatus.

Body-painting: a tool which can be used to teach surface anatomy.

INTRODUCTION: The primary method of learning the surface anatomy is by making the students mark structures on mummified bodies. The students feel that learning the surface anatomy on mummified cadavers is not interesting. The present project on learning the surface anatomy through the body painting method was undertaken to evoke interest among the students. MATERIALS AND METHODS: Physiotherapy and dental undergraduate students who volunteered were involved in this study. A few surface anatomy classes were conducted by using the traditional method and a few more by using the body painting exercise. Non toxic body paints of various colours and brushes of different sizes were used for the body painting. RESULTS: A feedback was obtained from the students by using a structured questionnaire. The students opined that the body painting method was advantageous to them in learning the human anatomy. They also felt that they could have more practice sessions in any setting other than in the classroom and that they did not need to rely upon the mummified bodies. They described the body painting method as self explanatory, which gave them the feel of live structures. CONCLUSION: This project was successful in achieving its objectives as the students felt that the method was exciting, with lots of fun during the learning. The body painting method was well accepted by the students as an effective method for learning the surface and the clinical anatomy.

O meu lugar no mundo / My place in the world / Mi lugar en el mundo

Este artigo pretende apresentar alguns aspectos relevantes da pintura corporal e da arte plumária dos Mebengôkre do Rio Bakajá. Como em grande parte das sociedades indígenas, temos uma grande relevância em relação à pintura corporal como meio de identificação social de uma pessoa, e de outro lado os ornamentos plumários representam o mundo e a própria visão cosmológica desse povo. Este trabalho propõe uma leitura do momento do ritual como uma união destas duas formas artísticas onde a finalidade é inserir a pessoa em seu lugar no mundo. Visando este objetivo, analisa-se os precedentes relatos sobre a arte da pintura corporal e plumária desse grupo mebengôkre, para que essa leitura possa juntar as duas formas de expressão dentro de um processo de ordenamento do mundo e da sociedade(AU)

In this paper some significant aspects of body painting and the plume art of the Mebengôkre of Bakajá River will be discussed. As in the majority of the indigenous societies, body painting is of great relevance as a means of social identification of the person; in addition, the plume artefacts represent the world and the cosmological vision of this people. In this essay the ritual will be interpreted as a union of the two art forms with the function of collocating the person at its place in the world. Former works on body painting and plume art among the groups of Mebengôkre will be analysed in order to elaborate an interpretation which may collocate these two forms of art within a process which orders the world and the society(AU)

O meu lugar no mundo

Este artigo pretende apresentar alguns aspectos relevantes da pintura corporal e da arte plumária dos Mebengôkre do Rio Bakajá. Como em grande parte das sociedades indígenas, temos uma grande relevância em relação à pintura corporal como meio de identificação social de uma pessoa, e de outro lado os ornamentos plumários representam o mundo e a própria visão cosmológica desse povo. Este trabalho propõe uma leitura do momento do ritual como uma união destas duas formas artísticas onde a finalidade é inserir a pessoa em seu lugar no mundo. Visando este objetivo, analisa-se os precedentes relatos sobre a arte da pintura corporal e plumária desse grupo mebengôkre, para que essa leitura possa juntar as duas formas de expressão dentro de um processo de ordenamento do mundo e da sociedade.

In this paper some significant aspects of body painting and the plume art of the Mebengôkre of Bakajá River will be discussed. As in the majority of the indigenous societies, body painting is of great relevance as a means of social identification of the person; in addition, the plume artefacts represent the world and the cosmological vision of this people. In this essay the ritual will be interpreted as a union of the two art forms with the function of collocating the person at its place in the world. Former works on body painting and plume art among the groups of Mebengôkre will be analysed in order to elaborate an interpretation which may collocate these two forms of art within a process which orders the world and the society.