Dance Movement Psychotherapy

This article traces the evolving integration of the body within Jungian analysis and psychotherapy, foregrounding movement and embodied awareness as vital pathways to the unconscious. Beginning with Jung’s early explorations—word association, galvanic skin response, symbolic movement, and the development of active imagination—it highlights how somatic expression complements imaginal work. It then follows the emergence of Authentic Movement from Mary Starks Whitehouse’s synthesis of Jungian theory and modern dance, acknowledging antecedents in Tina Keller-Jenny’s analytic “dancing” and her later clinical applications with Toni Wolff. The practice’s core mover–witness relationship is outlined as a structured, nonjudgmental approach that fosters safety, recalls dissociated material, and cultivates embodied consciousness.

Successive contributors expanded the field: Joan Chodorow’s integration of affect, the transcendent function, and social justice; Janet Adler’s focus on presymbolic experience and group forms; and Marion Woodman’s BodySoul Rhythms, which wove metaphor, dreamwork, voice, masks, and movement—underscored by neuroscience on metaphor and hemispheric integration—into a communal, nature-based healing process. The article situates these developments alongside broader somatic psychotherapies (from Reich to contemporary bodywork modalities), emphasizing their parallel contributions and the importance of right-brain, affective, and relational attunement supported by interpersonal neurobiology.

Amid contemporary polarization and trauma, the author underscores Authentic Movement’s capacity to build safety, empathy, and community while deepening analytic work. The piece concludes with an invitation to ongoing interdisciplinary collaboration—such as IAAP pre-congress workshops—and a call to welcome Psyche’s body back into the center of healing, where imagination bridges body and soul for fuller integration.

Digital addiction among youth has emerged as a maladaptive response to increasingly networked, mobile, and algorithmically curated environments. This narrative review synthesizes current evidence on the mechanisms, symptomatology, and mental health sequelae associated with compulsive digital engagement in adolescents and young adults. Neurodevelopmental vulnerabilities-particularly heightened reward sensitivity and immature cognitive control-intersect with persuasive design features such as variable rewards, infinite scroll, and social validation to increase susceptibility. Clinically, digital addiction mirrors behavioral addictions, presenting with preoccupation, loss of control, escalation, withdrawal-like irritability, and persistence despite harm. Functional impairments span sleep disruption, academic decline, and relational conflict. Phenotypic expressions include compulsive use of social media, gaming, short-form video, and messaging platforms, often co-occurring and reinforced by ubiquitous smartphone access. Mental health implications are substantial and bidirectional: problematic use both predicts and is predicted by depressive and anxiety symptoms, compounded by sleep curtailment, circadian delay, and cyberbullying exposure. Youth with ADHD (Attention Deficit Hyperactivity Disorder) traits or executive function challenges are particularly vulnerable to compulsive loops. Risk is concentrated among early to mid-adolescents, those with internalizing symptoms, poor sleep hygiene, high impulsivity, low parental monitoring, and marginalized youth who rely on digital spaces for social belonging. Contextual factors such as family conflict, academic stress, and online peer dynamics shape trajectories, while socioeconomic and regional disparities modulate expression. Evidence supports multi-level interventions including sleep-focused hygiene, cognitive-behavioral and family-based therapies, school-based curricula promoting metacognitive awareness, and platform-level safeguards. Future research should prioritize longitudinal, phenotype-specific studies and equity-aware frameworks to inform scalable, developmentally attuned responses.

It is important to understand that parental involvement improves therapy outcomes, including ABA therapy. Therefore, the study aims to explore the logistical, emotional, social-relational, and systematic challenges faced by parents in Applied Behaviour Analysis (ABA) therapy for their children with autism spectrum disorder (ASD). Our research niche emerged out of the questions that remained unanswered, including the barriers to access and participation, families' emotional experience, parental social support, and the systematic factors affecting service delivery. Interviews were performed qualitatively with 11 parents of the ASD children who are undergoing ABA therapy. Specific interview questions were created to address the four identified challenges and the effect of those challenges on parental well-being and therapy outcomes. The findings revealed a number of challenges that included time constraints, financial demands, emotional costs, a lack of interaction with therapists and systematic challenges like access to services. Stress and burnout were recorded by most of the parents, indicating that while the costs of ABA therapy can be bearable, the intensity of the therapy may be a burden for most parents to handle. The study has drawn the conclusion that effective ABA therapy necessitates more than parental participation and demands comprehensive support. Some of the recommendations include improving training, reducing logistical burdens, and providing emotional support for parents to ensure their involvement leads to better outcomes for their ASD children.

This qualitative study examined educator perspectives of the influence of group dance/movement therapy (DMT) sessions on their students' behaviours, symptoms, and academic engagement within their special education classroom. Audio-recorded and semi-structured interviews were conducted with 13 educators who had observed and/or participated in their students' group DMT sessions at one public school in an urban region in the United States. Results of the interviews revealed four overarching themes: (a) The process of a DMT session is perceived to improve regulatory behaviour; (b) DMT can meet individual needs as a part of a group experience; (c) DMT techniques and tools utilised can influence sensory systems (d) limitations in time, duration, and space may influence long-term benefits. While more research is necessary, results suggest that educators value the use of DMT within school settings to assist the children in gaining focus, modulating energy, and supporting healthy social engagement skills.

The year 2016 marked the 50th anniversary of American Dance Therapy Association (ADTA). What can be learned from the lives of the women who led the association from its origins to the present? Drawing from personal recollections of the association's past presidents, this article traces the history of the ADTA, the development of the profession, and the unique personal journeys and contributions of the women who served as president. Each living president was invited to reflect on her roots as a dance/movement therapist, her preparation for the presidency, and the trajectory of her time in office. In addition, posthumous and supplemental reflections were gathered through historical documents and publications. The article concludes with reflections from the presidents on the present and future of dance/movement therapy and the ADTA.

Waller, Diane and Dokter, Ditty and Gersie, Ailda and Karkou, Vicky and Redsull, Hazel and Sibbett, Caryl and Tyler, Helen and Wood, Chris and Woodward, Ann (2004) Subject benchmark statement: healthcare programmes, phase 2: Arts Therapy, QAA 05909/04. ...

This article articulates an evolving practice methodology, developed as the writer's worlds of practice and theory have moved into alignment. Reflecting on three key facilitation experiences from her work with participants in disconnect, Nicholson uses practice memories to illustrate the depth and foundation the Laban-Bartenieff Movement System (LBMS) has provided and proposes a facilitative approach when using dance and movement in criminal justice and recovery contexts.

This thesis takes the form of an extended literature review in which the reader can journey with the researcher in what hopes to be an interesting and subjective exploration. The aim of this investigation is to place an understanding of the 'felt sense' in the context of art therapy and to make connections between the theoretical frameworks of depth psychology and their place in the application of art therapy. The 'felt sense' in art therapy does not have a long tradition of empirical research within art therapy. Therefore this research is viewed in a broader general context, which involves a description of the researchers exploration of the literature. In each chapter the researcher will explore a theme, summarizing, synthesizing and at times critiquing the relevant literature. The concern of this exploration is to view the attributes of the felt sense and in doing so to explore relevant connections to its role in art therapy.

This paper illuminates how the field of dance movement therapy can expand its reach to different populations in need of kinesthetic empathy. This heuristic review discusses the treatment option of dance/movement therapy for Internet Gaming Disorder (IGD). Dance/movement therapy is unique in the way it addresses the personal unconscious through creative non-verbal communication. Video gaming is a worldwide pastime that is captivating and fun for millions of people although the present concern is when video gaming becomes an uncontrolled behavioral addiction. Dance/movement theorist Trudy Schoop asserted, "It is only through the body that humans experience reality." It is this researcher's opinion that human interaction is a vital necessity to our well-being and cannot be replaced by digital contact through devices we have created to physically separate ourselves from one another. There is currently no literature on the use of dance/movement therapy as a treatment for IGD, thus this thesis explores how video games affect our minds and bodies and proposes that dance/movement therapy can be an effective intervention.

BackgroundSustaining the wellbeing for children with an autism spectrum disorder (ASD) can be highly demanding. Dance Movement Psychotherapy (DMP), a form of psychotherapy with a non-verbal character, may present as a relevant intervention option for this group of children.MethodsA protocol-based group DMP intervention was developed and implemented in two special educational needs schools in the North West of England. We aimed to investigate the effects of DMP on children with ASD using the Social Communication Questionnaire (SCQ) and Strengths and Difficulties Questionnaire (SDQ). Twenty-six children aged between 8 and 13 years (mean age = 10.65 years) with ASD were randomly allocated to DMP and a control group with standard care, following a crossover research design.ResultsResults showed no significant carryover or period effects for either the SCQ or SDQ (p > 0.05). A significant intervention effect was found only for SCQ (p = 0.005) but not for SDQ (p > 0.05). ANCOVAs wer...

The role of embodiment within contemporary psychotherapy practice and its discussion are gathering momentum, and are part of a paradigm shift in psychotherapy in which theory and practice are being reformulated. Body Psychotherapy (BP) and Dance Movement Psychotherapy (DMP) are playing a leading role in these deliberations. Although these two professions have separate professional bodies, distinct theoretical grounding and clinical methodology, they both place enormous value on the central role of the body and its movement as indicators of relational problems, and as agents of therapeutic change. There are few authors comparing and contrasting Body Psychotherapy and Dance Movement Psychotherapy although they have much in common as they are both embodied, enactive psychotherapies. However, neither their overlaps in theory, methodology and some of their clinical practice nor their distinct character have been sufficiently delineated. This article elucidates some similarities and differences in fundamental assumptions, compares and contrasts definitions and terms, and considers common and contrasting theoretical perspectives, techniques and methods. It is expected that this will contribute to the ongoing discussion of the articulation of core characteristics in both professions and will facilitate a better understanding and collaboration between them.

Dance Movement Therapy (DMT) has emerged as a versatile and impactful approach to promoting holistic well-being, bridging the intricate connections between the mind, body, and the environment. This comprehensive literature review explores the diverse landscape of recent studies to illuminate the therapeutic potential of DMT in addressing various mental health concerns and enhancing overall psychological and physiological health. The exploration begins with Berger's (2021) investigation into the intersection of DMT practices and ecopsychology, highlighting the development of an eco-somatic community workshop. This study underscores the healing potential of an embodied connection to the natural world, fostering a sense of kinship and responsibility to both individual and collective well-being. Further insights are provided through examinations of DMT interventions with adolescents, biomolecular effects of dance activities, and the widespread use of grounding exercises. Studies by Auborg (2018), Nieves and Jakobsche (2022), and Bräuninger (2015) collectively emphasize the positive impact of movement experiences on motivation, emotional well-being, and the mind-body connection, particularly in populations dealing with anxiety and depression. Additionally, research by Elakiya (2021), Hyvönen et al. (2020), and Karkou et al. (2019) showcases the efficacy of DMT in reducing anxiety and depression levels across diverse populations, including nursing students, individuals diagnosed with depression, and adults coping with Parkinson's disease. The exploration extends to the realm of children's mental health, with Nardi et al.'s (2022) qualitative assessment of DMT techniques for children with anxiety, providing insights into the

My work as Dance Movement Psychoherapist, the last 14 years, with women who have been abused, sexual or physical, as children, has given me the impetus to write about the priceless contribution of the body in the therapeutic process with them. I will focus on the issue of guilt and the distortion that it brings to the perception of reality, for the adult, and specifically the woman, who has suffered abuse in her childhood.

Since its introduction by Laban (1926), the idea of kinesphere has been shared and broadened by many professions, adding internal motion to the visible movement, and also voice, smell or the energetic intention. This systematised review summarises the information out of the 499 obtained resources from the adapted SALSA framework on kinesphere: definition, interpretations, psychological and clinical implications, as a basis for future research. The used space of the kinesphere is described to be a psychophysical process influenced by internal aspects of the person and environmental factors such as context, gender or culture. Its size has been linked to a sense of security and belonging. The article provides examples to work with the kinesphere to gain awareness of one's boundaries, improve presence and relating, and legitimise one's own space. This is especially recommended for individuals who have suffered abuse or trauma, as well as patients with anorexia, ASD or depression.

This descriptive study evaluates how dance movement psychotherapy (DMP) works in patients with fibromyalgia, analysing the psychotherapeutic process. As a second objective, we considered the effects of DMP on pain, stiffness, fatigue, anxiety, depression and lifestyle changes. The study includes 16 patients with a diagnosis of primitive fibromyalgia who were referred to individual DMP for psychological distress related to pain. Self-assessment questionnaires were administered before and after the intervention, and the data were analysed using a simple regression model and Student's test. Despite limitations, the study highlights changes in many areas of the relationship with Self and with Others. Some of the symptoms of fibromyalgia seem to have decreased, but the results were not statistically significant. The patients used the movement as a means of expression despite pain or other disabling symptoms. A low drop-out rate suggests that this approach could be useful when it is difficult to develop a therapeutic alliance.

Where does the seed of recovery from trauma, from illness, from injury find ground, sink roots, and start to grow? Can one find empowerment in a body, subjected to illness, trauma and disability? In this autobiographical article, the authors takes us on a journey into illness, where despair threatens her very will to live. In fact, she becomes to herself something foreign, grotesque, and completely other. And yet, hope sprouts. This work has two voices: the primary voice describes the power of dance in her healing from paralysis (hemiparesis and complete disfigurement of the face) due to viral encephalitis caused by herpes zoster (chickenpox). Sentenced not to walk again, she desperately and willfully turned to dancing to help in her recovery. It took her two years to return to formal dance classes and seven years to perform professionally again. In this article, she shares in an intimate conversation how dance can be more than an aesthetic art, and can support the process of transformational rehabilitation. The secondary voice from the co-author urges dance/movement therapists to listen carefully to direct experience, and utilize an embodied inquiry into illness and healing. Autobiographical experience offers an invitation for dance/ movement therapists to further their understanding of the lived experience of rehabilitation and the psychology of illness and thereby deepen their capacity to clinically support the painful process of integration when healing does not look like a return to a level of prior functioning.

This paper will present an art-based frame of reference to psychotherapeutic intervention. Structures form clinical Dance Movement Therapy (DMT) will serve as an example to investigate the specific contributions of kinaesthetically informed interactions to (experiential) psychotherapy. In DMT the working alliance between patient and therapist is informed mainly through nonverbal engagement. The mutual engagement is perceived and regulated in movements and actions by the sensing and expressing body. The kinaesthetic encounter between patient and therapist will be conceptualised from this somato-sensory perspective as (kin)aesthetic intersubjectivity. Structures from dance as an art form will be described to inform our understanding of the kin(aesth)etic, non-verbal characteristics of interpersonal attunement during psychotherapy. In DMT non-verbal structures of interpersonal attunement are used to create a situation that addresses and supports the patient to engage in corporeal shared, improvised, movement experiences. We propose that this engagement may contribute to the co-creation and co-regulation of the therapeutic relationship. Kinaesthetic relating may contribute to participatory pre-conceptual sense-making between patient and therapist. Embodied as they are, the experiences of mutual non-verbal relating, social engagement and understanding transfer easily from the therapeutic context ahead into everyday life.

This literature-based study has been designed to create a service program grounded in developmental, socio-cultural and creative arts therapy theory for adolescent identity repair and development for emotionally disturbed, socioeconomically deprived preadolescents. The service program is based upon a synthetic theory matrix that emerged out of the process of literature analysis and consolidation. The domains that emerged within the literature analysis concentrated on the socio-cultural and developmental influences upon identity formation at preadolescence and adolescence and the effectiveness of creative transformational artistic processes to assist preadolescent identity repair. The study has identified socio-cultural paradigms and processes that lead to systemic imbalance. This systemic imbalance has in turn been identified as a causal factor in the development of adolescent behavioral pathology. Principles have been identified within community psychology, feminist psychology, cultural anthropology, object relations theory, as well as within clinical dance/movement and drama therapy processes and techniques that effectively address the complex developmental needs for the targeted population. The synthetic matrix combines and distills these principles and techniques into an integrated whole for the purposes of program construction. This study presents a dance/movement and drama therapy-based, after-school service program for identity repair that is specially designed for socially marginalized, disturbed preadolescents. This service program has been designed to run in tandem with the school year and is described in detail using a 5-part framework.

Background Dementia is a collective name for different degenerative brain syndromes which, according to Alzheimer's Disease International, affects approximately 35.6 million people worldwide. The latest NICE guideline for dementia highlights the value of diverse treatment options for the different stages and symptoms of dementia including non-pharmacological treatments. Relevant literature also argues for the value of interventions that acknowledge the complexity of the condition and address the person as a whole, including their physical, emotional, social and cognitive processes. At the same time, there is growing literature that highlights the capacity of the arts and embodied practices to address this complexity. Dance movement therapy is an embodied psychological intervention that can address complexity and thus, may be useful for people with dementia, but its effectiveness remains unclear. Objectives To assess the effects of dance movement therapy on behavioural, social, cognitive and emotional symptoms of people with dementia in comparison to no treatment, standard care or any other treatment. Also, to compare different forms of dance movement therapy (e.g. Laban-based dance movement therapy, Chacian dance movement therapy or Authentic Movement). Search methods Searches took place up to March 2016 through ALOIS, Cochrane Dementia and Cognitive Improvement's Specialized Register, which covers CENTRAL, a number of major healthcare databases and trial registers, and grey literature sources. We checked bibliographies of relevant studies and reviews, and contacted professional associations, educational programmes and experts from around the world. Selection criteria We considered randomised controlled trials (RCTs) in any language, including cross-over design and cluster-RCTs for inclusion. Studies considered had to include people with dementia, in any age group and in any setting, with interventions delivered by a dance movement therapy practitioner who (i) had received formal training (ii) was a dance movement therapist in training or (iii) was otherwise recognised as a dance movement therapist in the country in which the study was conducted. Data collection and analysis The two review authors independently reviewed studies on an abstract/title level and again after reading the full paper, and we independently evaluated methodological quality.

Hello, everyone! I am so aware that this is on Zoom and I'm trying so hard to think of the faces whom I'm addressing now, and I want to tell you how much I miss seeing you. I was so looking forward to being together in Montreal, to dancing together and hugging! So, like so many real-life situations we're all facing right now, we'll have to make the best of it with Zoom. I want to start by thanking such dear and long-time friends for this remarkable honor. First, my intrepid friend Marcia Leventhal, with whom I have shared so many adventures. Starting with Irmgard, we created our Collective in the 70s, crossed paths through Gestalt and traipsed around China and Istanbul. And then, a thank you to so many other women who I've long respected and admired for so long, and who are dedicated to carrying on the vision of Marian Chace. As I discover ways of working with trauma in global settings, I actually find that my early trainings with Marian Chace approaches have become a staple of the work that I share with you today for this convention's theme of global work. This training also fits so naturally into my early days as a folk dancer. From the Habonim youth group in Israel when I was 14, to studying Israeli folk dance with the great Fred Berk at the 92nd St. Y in New York in 1964, and then having the 92nd St. Y becoming the site of a new and flourishing dance therapy program, under Dr. Miriam Berger, more than 50 years later. Seeing the spirals of time, connections in friendships. Through Jungian training and analysis my growing understanding that archetypes are not static, but movements in life making these wonderful archetypal forms. Patterns of process. Of course, beginning with the circle and the spiral, just as Irmgard used to say. Ancient forms. So ancient and so basic that they appear in most cultures, and therefore help build bridges across cultures.

Moments of meeting (MoM) are characterized by being instants of special intersubjective connection between the therapist and patient, which causes a change in the implicit relational knowing (IRK) of both individuals. MoM have been widely described for verbal therapies, but there is little information about their characteristics in dance/movement Therapy (DMT). This study seeks to explore and characterize the MoM in DMT from the perception of professional therapists. Nine dance movement therapists (dmts) were consulted using a multimodal approach that travels between writing and movement (Panhofer, 2011) and data were examined using qualitative content analysis. The results show that the characteristics of MoM can be grouped into three categories: (1) relationship (shared experience, experience of fusion, security and kinesthetic empathy) (2) emotion (emotional intensity and genuine affection) and (3) movement (physical closeness, eye contact, emergency, irruption of the present and release of the flow). These results are contrasted with what was originally proposed by the Boston Group (Lyons-Ruth et al., 1998) and recently by Duarte et al. (2021) and Lauffenburger (2020), finding similarities and new elements exclusive to DMT. This work contributes to a deeper understanding and conceptualization of MoM in the specific field of DMT and its clinical practice.

This thesis takes the form of an extended literature review in which the reader can journey with the researcher in what hopes to be an interesting and subjective exploration. The aim of this investigation is to place an understanding of the 'felt sense' in the context of art therapy and to make connections between the theoretical frameworks of depth psychology and their place in the application of art therapy. The 'felt sense' in art therapy does not have a long tradition of empirical research within art therapy. Therefore this research is viewed in a broader general context, which involves a description of the researchers exploration of the literature. In each chapter the researcher will explore a theme, summarizing, synthesizing and at times critiquing the relevant literature. The concern of this exploration is to view the attributes of the felt sense and in doing so to explore relevant connections to its role in art therapy.

This paper uses English National Ballet's Dance for Parkinson's programme to illustrate a literature review of the benefits of dance for people with Parkinson's disease. To illustrate the creative and therapeutic use of dance in the company's programme, a distinction is drawn between dance therapy and the experience of being part of a dance company. Short-term improvements in physical symptoms, and subjective improvements in psychological wellbeing are noted, but the benefits of being part of a creative work of dance in terms of social interaction and quality of life appear longer lasting. These appear to emerge from the artistry, self-expression and collaboration in the performance of dance with a professional company, in addition to the benefits of dance therapy in a clinical context.

Experiential classes that use dance/movement as the primary means of learning are universal in dance/movement therapy (DMT) graduate education programs in the United States. Yet, there have been no studies to determine what competencies develop in movement based experiential classes in DMT education. This is a report of a qualitative study that used thematic analysis to identify competencies that DMT students develop from movement based experiential learning (MBEL). Competencies identified in this study were compared to the education standards set by the American Dance Therapy Association (ADTA). As expected, MBEL was most instrumental in developing competencies for clinical practice and professional development. MBEL was less effective in developing competencies for multiculturalism and theoretical knowledge. The study identified a set of new competencies related to emotional intelligence that is not in the ADTA's standards and is unique to student experiences in MBEL. This study focused on the student perspective, which can help address some of the weaknesses of current education practices. The article ends with the benefits and limitations of a competence based education for DMT.

Background: Meta-analyses suggest that dance has potential to decrease psychological distress, increase trait mindfulness, and enhance quality of life. Conscious dance can be defined as unchoreographed, intentionally nonevaluative mindful movement commonly practiced in a group setting for purposes of authentic self-expression, self-discovery, interpersonal connectedness, and personal healing or growth. Objective: To assess perceived effects of conscious dance practice (e.g., Ecstatic Dance, 5Rhythms) and examine associations between frequency/ duration of practice and psychological well-being among participants. Methods: Self-identifying adult conscious dancers completed a survey (N=1003; mean age=47 years; 52% from the U.S; 78% White; 73% female). Results: Conscious dancers with ≥5 years of practice had significantly higher trait mindfulness and life satisfaction compared to newer practitioners. More frequent practice (≥ once per week) was associated with higher trait mindfulness. A strong majority of participants endorsed experiences consistent with mindfulness (i.e., feeling "more present in my body"; 99% of the sample) and psychological flow ("I felt like I was 'in the zone' or 'in the flow' of things"; 93% of the sample) during conscious dance. Among participants endorsing any of five stress-related health conditions, the majority reported therapeutic effects (i.e., that conscious dance "helped them cope" with the condition). Therapeutic effects were most consistently reported by individuals with depression or anxiety (96% endorsement), followed by those with a trauma 2 history (95%), chronic pain (89%), and history of substance abuse or addiction (88%). For all conditions except addiction, therapeutic effects were associated with greater experiences of psychological flow during dance, and the magnitude of these effects was large (Cohen's ds range: 1.0-2.3). Conclusion: Individuals who engage in conscious dance report that these practices help them to cope with stress-related health conditions. Participants reporting longer duration or greater frequency of practice scored higher on measures of psychological well-being. The feasibility and efficacy of conscious dance for improving well-being among individuals naïve to these approaches will be important to determine in future research.

Dance/movement therapy is an embodied healing practice which has been found to foster recovery from depression and boost quality of life. Although kinesthetic empathy holds great potential for addressing emotional dysregulation, it is an underutilized dance/movement therapy intervention in health optimization, especially in adults living with treatment-resistant depression. The aim of this study was to collect data from dance/movement therapist on how they use kinesthetic empathy to foster self-regulation in adults living with treatment-resistant depression. A survey design was used to obtain this data. Eight dance/movement therapists (practicing in India, Philippines, Barbados, and the United States of America) were recruited. The participant demographics of the survey challenges the centrality of master's level trained dance/movement therapists primarily practicing in Eurocentric cultures. The survey included open answer questions, and responses received were grouped into four categories: (i) dance/movement therapists' rationale for using kinesthetic empathy (ii) therapist-described client responses to kinesthetic empathy, (iii) changes in self-regulation patterns of clients, and (iv) potential links between employing kinesthetic empathy as an intervention and witnessing emotional regulation in clients. Overall, kinesthetic empathy was described as a core part of the participants' dance/ movement therapy practice with this population. The identified client responses to kinesthetic empathy were categorized based on deWitte's et al. (Frontiers in Psychology, 2021) therapeutic factors of change. 'Observable client responses', such as, use of metaphors, verbalization of body sensations and engaging in mirroring were categorized under specific therapeutic factors of dance/movement therapy. Alternatively, 'emotionally felt client responses' such as, increase in safety and trust within the therapeutic alliance were categorized under both 'specific' and 'mixed-type' factors based on the model. Finally, this article discusses movement interventions that may be incorporated by dance/movement therapists while working with this population. Further research is required to identify the long-term effect/s of kinesthetic empathy as an intentional intervention to foster self-regulation in adults living with treatment-resistant depression.

This paper traces something of the Jungian presence in Aotearoa New Zealand from the late 1930s through the formal association of Jungian analysts in the late 1970s to the present day. The Jungian presence in Aotearoa New Zealand is set within the context of international Jungian thinking. A particular understanding and practice of Jungian analysis is presented. In particular, two foci: individuation and its phenomenology, along with a definition of analysis and its expression in certain dialectics. Analysis is understood as the quest for individuation, whereby one becomes the authentic and autonomous author of one's own existence, through a professional interpersonal relationship. The analyst is understood to facilitate analysis by working out of their own autonomy, authenticity and authority-all consequences of their own individuation. Some aspects of the analytic process are described: the reductive-synthetic dialectic, the Promethean-Epimethean attitude, the presenceinterpretation dialectic and the openness-loyalty to insight dialectic.

Background:Women's health has received renewed attention in the last few years including health rehabilitation options for women affected by breast cancer. Dancing has often been regarded as one attractive option for supporting women's well-being and health, but research with women recovering from breast cancer is still in its infancy. Dancing with Health is multi-site pilot study that aimed to evaluate a dance programme for women in recovery from breast cancer across five European countries.Methods:A standardized 32 h dance protocol introduced a range of Latin American dances presented within a sports and exercise framework with influences from dance movement therapy. Fifty-four women (M age 53.51; SD 7.99) participated in the study who had a breast cancer diagnosis <3 years, chemotherapy >6 weeks, no indication of metastasis, or scheduled surgery/chemotherapy/radiation treatment for the duration of the intervention. Primary outcome data was collected for anthropometr...

Mom, what are you writing?-I'm writing the research plan for my dissertation.-Write about this train trip.-I don't think so, but may I write about the dance we did together?-Yeah, go ahead, you can tell about it. On a train February 10, 2001, between Tampere and Helsinki The Family Originally it was just a small thing. Not any topic for a doctoral dissertation. Nevertheless, the material in this article became a part of my doctorate research on dance as a tool of interaction and expression. I did not choose this story in advance as material for my study. It took years before I was able to examine the process of the dance with my daughter and describe this material as part of my research work. This is a story about the way I learned to reflect on my relationship with my child through the process of becoming a dance therapist. It is a story of a mother and child sharing a dance, because I was never her therapist. Anyway, this is how it started: I have three children, the two youngest are dark-skinned, adopted children. One of them, my middle child, was 10 years old at the time that we began formulating our dance, in 1999. We had been living our lives together for 8 years. That time contained a lot-several years of epilepsy medication for her, and countless medical and neuropsychological examinations, speech therapy, play therapy, family therapy, special teaching, temper tantrums, rigid behavior patterns, and jealousy. During those years, I could not draw a line between myself and my daughter's rage and anger. Now,

I want to dedicate this to all the curious learners out there. This project was inspired because I asked the question, "what if." What if I approached therapy with MB-DMT with a population and in a context that wasn't previously explored? To future clinicians asking the "what ifs?" I dedicate this project to give something to spark your own curiosity. I'd also like to dedicate this project to the students I worked with at my internship. The experiences we shared inspired so much of this project. I witnessed your own curiosity and drove for learning. Curiosity and learning expanded beyond the classroom into wonders about life, the earth, and existential beliefs. I want to learn, develop, and grow my knowledge so you can have helpers working with you who learned their practice with you in mind. So that when they meet you, they develop a safe and trusting space for you. They can also witness and continue to support your sense of curiosity and drive to learn. ii ACKNOWLEDGMENTS I send my gratitude for support throughout this internship experience to my onsite supervisor, Amy R. Hunter, MA, BC-DMT, and LPC. Without your guidance, support, joy, and humor, this project would not have unfolded. Thank you for moving with me in our meetings about this project, I send my gratitude to my Culminating Project advisor, Dawn Morningstar, MA, BC-DMT, NCC, and LPC. Thank you for the edits back and forth, helping me communicate the ideas in this project clearly and succinctly. To Yael Schweitzer LCSW, BC-DMT, for giving me your time, sharing your expertise, and providing constructive feedback. Your generosity to share with me your wealth of knowledge about MB-DMT is immensely appreciated. Thank you for creating a movement-loving, healing-driven, and challenging embracing community for the DMT faculty and my DMT cohort. This has taught me more about this world, how I see this world, and who I am in this world than I could have ever imagined. Thank you for pushing me farther beyond my known abilities and for keeping me accountable. Because of you, I have developed a deep trust in myself. To my dear friends and family, I send the deepest love-filled gratitude. Without you, this journey would not have been possible. Thank you for providing my light when all I could see was dark. Thank you for helping me keep everything in perspective. And thank you for sometimes just sitting with me and acknowledging just how bad things were. I send my love and sincere gratitude to you, thank you. iii

The article aims at revealing the possibilities of application of dance and movement therapeutic experiments in consultations of soldiers and sailors couples and families. The article discusses the essential principles of Gestalt therapy in applying dance and movement therapy for couples and families, who start creating their couple life or are willing to change, to improve their current presence in the couple or in the family. In order to get answers to the issues of the research, i.e., "What happens, when we are dancing in couple? Moreover, what happens in the marriage, the couple life?", we have analyzed the metaphor of "the dance of the couple, family life" through the experiences of the contact cycle. We have provided the results of the theoretical-practical research of changes in couples and families as several pre-defined categories: 1) dual reversibility: exchange of the same behavior; 2) interaction synchronization; 3) other possible models of the couple and family life dance.

This systematic review assessed the published literature on dance movement therapy interventions with adults aged 60 years and older with a mental health disorder. Our objective was to identify published studies of the effects of DMT in older age psychiatry and to critically appraise methodological quality of the included studies. We searched the databases CINAHL, MEDLINE, PsycINFO, and PSYNDEX, and Google Scholar. We also searched the reference list of relevant papers in order to identify publications that were not found through the initial database search. The reviewers independently critically appraised all full text articles that met our inclusion criteria. A final 16 studies met the inclusion criteria: nine were primary studies (one randomized controlled trial, three quasi-experimental studies, and five qualitative studies) and seven were secondary studies (systematic reviews). Dementia was the subject in 15 studies, and depression in one, reflecting a possible bias in the literature. The methodological quality of the primary studies was lower than for the secondary studies. Association Dance Movement Therapy (EADMT), 2018). Research in DMT has increased considerably in the last decades as practitioners have come under increasing pressure to evidence their work and interventions (Meekums, 2014). Two meta-analyses (Koch, Kunz, Lykou, & Cruz, 2014; Ritter & Low, 1996) have been published on the effects of DMT on QOL, body image, depression, anxiety and interpersonal outcomes. Cruz and Sabers (1998) reassessed the findings of Ritter and Low (1996) and found that DMT was more effective than Ritter and Low had reported. Koch et al. (2014) meta-analysis found evidence of wide ranging positive effects of DMT. This included a moderate effect size for QOL, and for clinical outcomes (including sub

The objectives are as follows: 1. To assess the effects of DMT on behavioural, social, cognitive and emotional problems of people with dementia in comparison to no treatment (waiting list), standard care or any other treatment. 2. To compare different forms of DMT (e.g. Laban-based DMT, Chacian DMT or Authentic Movement). B A C K G R O U N D Description of the condition Dementia is a collective name for a number of different progressive degenerative brain syndromes that have effects on memory, thinking, behaviour, emotions and social functioning. People living with dementia may have symptoms such as: • memory loss; • not being able to find the right words or understand what people are saying; • having difficulties in performing what used to be routine tasks; • mood swings and personality changes. These symptoms limit their ability to communicate with others, may reduce social engagement and, in turn, can lead to apathy, or aggressiveness (Chen 2000), or depression (Lyketsos 2004). Facing cognitive, emotional and social challenges may increase the risk of challenging behaviours related to dementia (Shaji 2009). According to Alzheimer's Disease International (ADI 2010), Alzheimers disease is the most common of these syndromes and is followed by vascular dementia, Lewy body dementia and frontotemporal dementia. The same source argues that the different types of dementia affect approximately 35.6 million people worldwide. Furthermore, it is estimated that, as a result of the population growing older, by 2030 there will be 65.7 million people suffering from dementia worldwide, and by 2050 there will be 115.4 million. Although recent studies suggest that populations that were born later in the 20th century have a lower risk of developing dementia than those born earlier (Matthews 2013), dementia remains a major issue for aging populations with immediate and major impact upon families, services and societies as a whole. Historically, treatment interventions focused on reducing cognitive deterioration through pharmacological interventions. However, current thinking highlights the value of treatment options that address the person as a whole, including their physical, emo-1 Dance movement therapy for dementia (Protocol)

The patient in the treatment of troubled mother-infant relationships is understood to be the lived relationship between mother and infant with the infant being an active participant in the relationship. As the infant is communicating in a non-verbal mode, a treatment medium is used that allows for both the active non-verbal contribution of the infant and the contribution of the mother, thus enabling both to work as their own therapists. Two different types of treatment modalities were combined: a psychoanalytically informed individual psychotherapy of mother and baby and a non-verbal approach of mother-infant dance therapy groups. An introductory overview of dance therapy specific to mother and infant is included as well as one case vignette and one case study. That it was the mother-infant dyad's physically meaningful experiences in the dance therapy group which acted as a catalyst for change became evident. The verbal treatment modality, on the other hand, was the essential understanding, metabolizing and containing space that sustained and consolidated these changes.

Authentic Movement facilitates a descent into the inner world of the psyche through natural movement. Through the process we are reconnected with deeper instinctual resources and spiritual intelligence that dwell in the molecular structure of the cells, and recover unlived parts of our nature on intrapersonal, interpersonal and transpersonal levels. The practice develops a sense of embodied presence, of being 'at home' in the body. During a time when many of the patriarchal power structures that have given meaning to our existence for thousands of years are crumbling, Authentic Movement allows practitioners, within the context of a healing relationship, to discover a new paradigm that offers guidance from an inner source. Physical, psychological, spiritual, social, affective and aesthetic dimensions are included in this holistic practice. Authentic Movement is used in individual and group settings, is effective within the context of psychotherapy, medicine and meditative practices, and is a potent source for artistic expression.

has been leading training groups in the study and practice of Authentic Movement. In 1988, she created a film about Authentic Movement called ~'Still Looking," and completed her doctoral degree in mystical studies in 1992. She currently lectures, offers groups in the United States, Europe, and teaches in the Authentic Movement Institute in the San Francisco Bay Area. Janet's early work stresses the development of a psychological understanding of the therapeutic relationship in the mover/witness dyad. As her work develops, her understanding of the role of the witness deepens and the spiritual aspect of the practice expands. Janet brings a remarkable capacity for seeing, listening, and reflecting her students' experience as well as a willingness to take important and creative risks in further developing her work. Her warmth and clarity of presence have been a gift to colleagues and students alike. Her respect for life's mysteries and courage in following her vision is a source of inspiration to many. On a spring day us gathered a canopy beautiful the three of under of roses in the garden outside of Janet,s studio in Bodega, California. She had prepared a beautiful array of fruits, nuts, and cheeses held in a

This literature review has the main objective to illustrate the contribution of the dance movement therapy in the promotion of healthy aging, in line with the concept of active aging that has been promoted by the World Health Organization, since 2002. Demographic aging has been increasing and projections suggest its progressive rise. Portugal is currently one of the countries in the world with the largest index of population aging, where there is an urgent need to change ageist ideas and also stimulate the elderly towards a healthy aging. The aging process corresponds to a dynamic and ongoing progression throughout life and it must be understood as a singular experience that combines chronological, biological, psychological and social aspects. The recent aging theories believe that it is possible to age successfully, focusing on the essential characteristics that must be present in the adaptive process (coping) of the elderly aiming at his/her well-being. It appears fundamental to promote a psychotherapeutic work with this population. Dance Movement Therapy, as an expressive psychotherapy that uses dancing and movement, is one of the most complete as it promotes the individual's physical, psychological, cognitive and social integration, providing a better life quality and well being for the senior citizens. Therefore, it is a valuable asset for the Portuguese current situation, as it is an important tool to promote a successful aging. Thus, a new field of opportunities may be taken into account to explore new projects and reinforce Dance Movement Therapy (DMT) investigation in Portugal.

This literature review has the main objective to illustrate the contribution of the dance movement therapy in the promotion of healthy aging, in line with the concept of active aging that has been promoted by the World Health Organization, since 2002. Demographic aging has been increasing and projections suggest its progressive rise. Portugal is currently one of the countries in the world with the largest index of population aging, where there is an urgent need to change ageist ideas and also stimulate the elderly towards a healthy aging. The aging process corresponds to a dynamic and ongoing progression throughout life and it must be understood as a singular experience that combines chronological, biological, psychological and social aspects. The recent aging theories believe that it is possible to age successfully, focusing on the essential characteristics that must be present in the adaptive process (coping) of the elderly aiming at his/her well-being. It appears fundamental to promote a psychotherapeutic work with this population. Dance Movement Therapy, as an expressive psychotherapy that uses dancing and movement, is one of the most complete as it promotes the individual's physical, psychological, cognitive and social integration, providing a better life quality and well being for the senior citizens. Therefore, it is a valuable asset for the Portuguese current situation, as it is an important tool to promote a successful aging. Thus, a new field of opportunities may be taken into account to explore new projects and reinforce Dance Movement Therapy (DMT) investigation in Portugal.

The frequent association of depression with somatic symptoms suggests that body psychotherapy may be an appropriate therapeutic intervention for people with chronic depression. Using a subset of twenty-three participants from a randomized controlled trial that had demonstrated the effectiveness of such an intervention in reducing depressive symptoms, the present study investigated whether it may also impact aspects of construing which have been associated with depression. Patients presenting with chronic depression were randomly allocated to a treatment group or a waiting list group, which received body psychotherapy after a period on a waiting list. Correlations between repertory grid, questionnaire, and visual analogue measures indicated that depression and bodily dissatisfaction were associated with features of the content and structure of construing. There were no significant changes while patients were on the waiting list, but during treatment reduction in depression and bodily...

Waller, Diane and Dokter, Ditty and Gersie, Ailda and Karkou, Vicky and Redsull, Hazel and Sibbett, Caryl and Tyler, Helen and Wood, Chris and Woodward, Ann (2004) Subject benchmark statement: healthcare programmes, phase 2: Arts Therapy, QAA 05909/04. ...

Persons with autism have a triad of impairment. The study reported here explored the possibility of dance movement therapy (D/MT) as an intervention for the development of communication and body attitude in autism. Three participants aged between three and 11 years who had been diagnosed with severe autism were each given 24 sessions of D/MT intervention, which included methods of mirroring, Bartenieff fundamentals, comfort touch and improvisation. Results were reviewed through evaluation at Post I, Post II and Post III stages, to establish the importance of D/MT in supporting children with autism. The study concluded that, for these three participants, D/MThad a positive effect on both body attitude and communication. Although its effects subsisted for sometime, follow-up results suggested that more therapeutic interventions would be needed to ensure a permanent effect.

Dance movement psychotherapy: history, theory, methodology, tools by Anastasia Nikolitsa is the first handbook of dance movement psychotherapy (DMP) written in Greek language. It will be of great interest to Greek trainees studying (DMP) in their mother tongue, as well as Greek-speaking colleagues of this journal. The book is also aiming at familiarizing other professionals of mental health care, educators, social workers, professionals in the field of dance, physical education teachers, with DMP. In that way, it succeeds in responding to the necessity for an introductory handbook of history, theory, methodology and tools of DMP written in Greek language. According to the author, 'it is a scientific guide containing all the theoretical material of DMP in a book, that contribute to the recognition of the profession, and appropriate to whom might be interested to get familiar with theoretical principles and techniques' (p. 18). The author creates an introductory handbook of DMP written in a personal style, revealing her way of relating to the material she is presenting, while she acquaints us with her standpoint of working psychotherapeutically with the body. She is honouring the women pioneers of the profession, by using female gender throughout the book, when referring to the dance movement therapist. Along with her professional studies in dance and DMP, the author is trained in body psychotherapy, recovery therapy for PTSD & trauma, and the comprehensive resource model. She has received a rich and diverse theoretical and experiential knowledge of the psychotherapeutic work with the body, along with her studies in dance. From her miscellaneous professional background, the author has chosen to bring in the theories that have a personal connotation to her perspective of the psychotherapeutic work. The author sustains the view that 'Reich's organismic and ontological vision on mental health has a lot to offer to the practice of DMP, opening a wide field of interrelations' (p. 39). Current developments in the field of DMP accentuate the importance of further researching the common ground between DMP and body psychotherapy. Both disciplines as embodied and enactive psychotherapies, are recognizing body and movement, as agents of psychotherapeutic change, revealing at the same time, the person's intra as well as interrelational problems (Payne, Warnecke, Karkou, & Westland, 2016). The book consists of five chapters and content-wise is divided into three parts. Some chapters of the book will serve as a theoretical point of reference to trainees or as a tool for further personal and professional development to

The frequent association of depression with somatic symptoms suggests that body psychotherapy may be an appropriate therapeutic intervention for people with chronic depression. Using a subset of twenty-three participants from a randomized controlled trial that had demonstrated the effectiveness of such an intervention in reducing depressive symptoms, the present study investigated whether it may also impact aspects of construing which have been associated with depression. Patients presenting with chronic depression were randomly allocated to a treatment group or a waiting list group, which received body psychotherapy after a period on a waiting list. Correlations between repertory grid, questionnaire, and visual analogue measures indicated that depression and bodily dissatisfaction were associated with features of the content and structure of construing. There were no significant changes while patients were on the waiting list, but during treatment reduction in depression and bodily dissatisfaction, together with increase in self-esteem and quality of life, were accompanied by an increase in the salience of construing of the bodily self.

This article will present personal experiences of work, generally, with traumatised people and especially traumatised refugees, using approaches from bodyoriented psychotherapy. Personal experiences as a body psychotherapist are presented from two main schools: Mind-Body Medicine and some techniques from the Radix approach. Even though integrative body psychotherapy is mentioned in this article, the main discussion is presented from the first two approaches. The Mind-Body Medicine approach is presented more in detail because of clinical and practical experiences of the therapist, and other approaches are mentioned in passing in individual case material. The variety of multidimensional methods and techniques using body-oriented work with refugees is one of the essential factors for the treatment of acute trauma in group and individual settings.