Name: Manjushree Avinash Randive

M.A. Part II
Semester- III

Department of
Applied Psychology
University Of Mumbai

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 Dance Movement Therapy
1. INTRODUCTION:
Every particle and everything in our environment is constantly in motion. A motionless object
or a living thing on our planet is perpetually in motion (indirectly) since the Earth is rotating
and revolving on a macroscopic level. Each object is composed of atoms and cells at the
microscopic level (a living creature), which is again a dynamic mechanism since nutrients are
continually being transported throughout the cell by the semi-fluid cytoplasm of the cell, and
the flow of electrons around the nucleus of the atoms. The movement is of this size. This
essay explains the founders of Dance Movement Therapy, their beliefs, individual methods,
the field's impact, and how they continue to shape current notions of Dance Movement
Therapy.

2. HISTORY AND BACKGROUND OF DANCE MOVEMENT THERAPY:

A growing field of treatment known as "dance movement therapy" uses dance, movement,
music, and rhythm to balance a person's physical, mental, cognitive, social, and emotional
well-being. A kind of expression that was first used in dance launched as a therapy at St.
Elizabeth's Hospital in Washington, D.C., primarily for patients displaying signs of mental
disease. These patients typically come from diverse or varying backgrounds. backgrounds,
which causes individuals to feel uneasy and hesitant and tends to keep them aloof. However,
participating in DMT helps these individuals regain their self-assurance, and due to the
rhythmic motions in unison, patients are more likely to make friends with one another.
Together, they relaxed and de-stressed (Chace, 1952). Movement therapists of the first wave
always concentrated on impulsive motions rather than following the traditional limiting dance
techniques.

3. EARLY ADVOCATES OF DANCE MOVEMENT THERAPY:

The early advocates of DMT were a group of dancers (dance teachers) and some female
patients of psychoanalysis. These traits inspired curiosity and understanding in them about
human growth and behavior, which helped them create the DMT procedures. These pioneers
focused on the concept that movement and the body (soma and psyche) are inextricably
linked, and that movement can be a means of nonverbal expression of identity and emotion
(Shalem-Zafari, 2016).

3.1. MARIAN CHASE:

In the 1930s and 1940s, when modern dance lessons were held in institutions, it became clear
that movement and dance might have therapeutic effects on patients. Dance Movement
Therapy (DMT) was founded in the 1940s at Elizabeth's Hospital in Washington, D.C. by

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Marian Chace, known as "The Grand Dame" (Schmais & White, 1986). Chace, a skilled
dancer, taught Denishawn's method.
The 'Denishawn School of Dance' (New York) is where Chace learned to dance in the 1920s.
She started instructing children in institutions in the 1940s. She came up with an innovative
strategy when teaching the patients how to dance, encouraging them to express their emotions
via movement rather than following the rules. To link the mind and body holistically, she
established postulates such as symbolism, empathic reflection, expressive movement
potential, movement elicitation, and group rhythmic movement linkages.
She was also instrumental in the establishment of the American Dance Therapy Association
(ADTA), serving as its inaugural president in 1966 (Leonhardt, 2011). Chace was adamant
that "dance is a means of communication that satisfies the fundamental human need." The
schizophrenia hypotheses advanced by Sullivanian also had a significant impact on her.
Chace's approach is divided into three sections in brief: A) Warm-up, which signifies the use
of the mirroring technique, the beginning of movements, the formation of a group (in a
circle), and a cogent physical warm-up as a group. B) Theme development: After a warm-up,
the motions are broadened, images, sound, and language are used, and various parts of the
environment are embodied. C) Session conclusion: This brings it to a close. It entails the
confabulation in a circle of each person's thoughts and reflections throughout the session.
Today's DMT therapists are heavily influenced by Marian Chace's method, which many of
them use. Therefore, Chace still holds a massive influence on the industry (Levy, F. J., 1988)

3.2. BLANCHE EVAN

I don't use the phrase "dance, semicolon, therapy, semicolon" when I talk about dance
therapy. The merging of dance and therapy so that they become one is my main goal and my
battle in the field of dance therapy. One is that it is "Dance: A Basic Therapy" by Blanche
Evan (Evan, B., & Rifkin-Gainer, I.,1982), not that the dance is added to the therapy.
Blanche Evan (1909–1982), a pioneer of dance movement therapy, began her career as a
dancer before moving on to choreograph, teach, and then practice as a dance therapist for
more than 50 years. For "the urban neurotic adults," which included working professionals,
young adults, and the urban population, her goal was to design a dance therapeutic method
(Sarah Lawrence & Fickling, 2017). She founded the "Dance Therapy Centre" in New York
City in 1967 with this goal in mind. She was profoundly affected and persuaded by Miss Bird
Larson, her instructor, who placed a strong emphasis on rhythmic dancing as a form of
beneficial movement for the body. She had a firm belief that "creative dance" might convey
the relationship between the mind and health (Evan, B., & Rifkin-Gainer, I.,1982).
"Innovative dance cracks the ice. Dance Therapy leads to diagnosis, active living, brain
development, and habit transformation. It is also feasible to educate one's emotions, to use an
Adlerian word (Sarah lawrence & Fickling, 2017).

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4. CASE STUDY: DANCE MOVEMENT THERAPY AND AUTISM:
Videotaped sessions and transcriptions of the sessions used in Laban Movement Analysis
made up the data for this clinical case study of the impact of DMT on autism. Over the course
of five days, the kid engaged in five dance/movement therapy sessions. As a result of their
interaction, the child and the dance/movement therapy researcher both experienced
progresses. Through the use of The Ways of Seeing Technique and Method, this evolution
was explained. The results are presented as a narrative of the sessions as seen by the
researcher. The therapist must nevertheless find a means to socially or emotionally
correspond with the client even if they are unable to engage and reciprocate with others on an
emotional or social level, as is the situation with autistic clients. This type of nonverbal
matching can be accomplished by the dance/movement therapist by mirroring and paying
attention to the client's physical presence. DMT has extensive experience working with
people who have ASD. Although dance/movement therapists' methods for dealing with
autistic children differ, according to Levy (1988), all of them acknowledge the importance of
"reaching these children at their own developmental level, which is the primitive sensory-
motor level" (p. 271). According to her, one frequently employed approach that "leads to the
development of trust and the formation of a relationship between therapist and child" is
mirroring (p. 271). The work of Janet Adler, in particular, the case study she conducted with
Amy that resulted in the video "Looking at Me" was a vital contribution to DMT's work with
individuals who had ASD. According to Levy (1988, p. 221), Adler's approach was centered
on "the importance of responding empathically to the child, that is, experiencing what the
child experiences." The objectives for dance/movement therapists working with autistic
children are listed by Levy (1988) as "establishing contact, trust, and rapport," "using touch
to define body boundaries," and "reflecting the movements, rhythms, and feelings of the
autistic child,"

5. APPLICATIONS FOR DANCE MOVEMENT THERAPY:

Dance and movement are used therapeutically in dance movement therapy (DMT), a method
that promotes mental, emotional, and physical health. Here are a few uses for DMT:

• Mental health: DMT can be used to treat a variety of mental health conditions
including PTSD, depression, and anxiety. It gives people a unique, non-verbal
approach to communicate their emotions and overcome psychological difficulties.
• Stress Reduction: By encouraging relaxation and awareness via movement, DMT can
assist people with reducing stress and enhancing their general well-being.
• Self-expression: DMT enables people to explore and communicate their feelings,
thoughts, and emotions through movement, which can be very helpful for those who
might find it challenging to express themselves orally.
• Trauma rehabilitation: DMT is frequently used in trauma rehabilitation to aid people
in processing and letting go of painful events in a protected and encouraging
atmosphere.

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 • Body Image and Self-Esteem: DMT promotes self-acceptance and self-expression via
movement, which can help people have a positive relationship with their bodies,
improve body image, and increase self-esteem.
• Social Interaction: Group DMT sessions can foster social interaction, communication
abilities, and a sense of belonging, which makes them beneficial for people with
social anxiety or autism spectrum disorders.
• Physical Rehabilitation: DMT can support physical rehabilitation by enhancing
muscle strength, movement, and coordination, making it helpful for people recovering
from accidents or operations.
• Aging and dementia: DMT can improve elderly people's quality of life by
encouraging physical exercise, mental stimulation, and emotional health.

6. CONCLUSION:
In order to improve a person's emotional, physical, social, and cognitive well-being, dance
movement therapy is a promising therapeutic discipline. A holistic approach to understanding
and connecting with one's body and mind was made possible by the development of this field
of therapy by renowned pioneers like Marian Chace, Blanche Evan, etc. This study's focus on
the incapacity to engage in a relationship has been explored in light of the diagnosis of autism
spectrum disorder. Following these approaches to working with someone who has an ASD
were reviewed, including the general therapeutic approach of dance/movement therapy and
the particular intervention of mirroring. Dance movement therapy (DMT) is a dynamic and
developing area that makes use of the creative, physical, and emotional benefits of
movement, dance, and movement. We looked at the origins and development of DMT
throughout this essay, highlighting the trailblazing individuals who helped to create this mode
of treatment. It was people like Marian Chace and Blanche Evan who helped establish the
foundation for DMT as we know it today. Evan's conception of dance as a crucial component
of therapy and Chace's emphasis on the non-verbal communication of emotions via
movement both made significant contributions to the field. Their cutting-edge approaches
continue to have an impact on DMT practitioners, and Chace's American Dance Therapy
Association is still a key player in this industry.

We also looked at a case study that showed how well DMT worked with people who were on
the autism spectrum. This case study emphasizes the value of nonverbal cues and empathy in
DMT sessions, especially when working with clients who might have trouble expressing
themselves verbally. In our final section, we looked at DMT's many uses, highlighting its
value in addressing difficulties with mental health, stress reduction, self-expression, trauma
rehabilitation, body image, social interaction, physical rehabilitation, and even aging-related
issues.

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7. REFERENCES:

Porter, Katherine Ann, "Dance/Movement Therapy and Autism: A Case Study" (2012).
Creative Arts Therapies Theses. Paper 33

Leonhardt, E. J. (2011, April). Holistic Education: Using the Tools of Marian Chace to Teach
Dance in Higher Education. Journal of Dance Education, 11(2), 60–62.
https://doi.org/10.1080/15290824.2011.559146

Sarahlawrence, D., & Fickling, D. A. (2017). Is it a Bird? No. It’s a Plane! No, it’s a Dance /
Movement Therapist! Is it a Bird? No. It’s a Plane! No, it’s a Dance / Movement Therapist!

Schmais, C., & White, E. Q. (1986). Introduction to dance therapy. American Journal of
Dance Therapy, 9(1), 23–30. https://doi.org/10.1007/BF02274236

Evan, B., & Rifkin-Gainer, I. (1982). An interview with Blanche Evan. American Journal of
Dance Therapy, 5(1), 4-17.

Noack, A. (2003). On a Jungian approach to dance movement therapy. In Dance movement

therapy: Theory and practice (pp. 196-215). Routledge.

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