Author/s: Lesley Hawkins
Edition:
Lesley, DM and creative arts training, NZ and UK, Cert. DMT (IDTIA), Dip. Prof Counselling, experienced in Body-Mind Centering, Laban, Anna Halprin approaches, worked as DMT in aged care, women’s health, HIV positive clients, general mental health and special needs populations and is now at the Salvation Army Bridge Addictions Program.
Author/s: E. Connor Kelly, Lesley Hawkins
Edition: 2005 Vol. 4 No. 3
Keywords
creative arts therapy, mental health, well-being, expressive therapy, Voice Work, children
Connor’s article titled: “Conference report AUT Akoranga Campus, Auckland.
Theme: Travelling Light: Enabling ourselves and our clients to let go of unnecessary baggage” describes her participation in the opening ritual of the conference, the keynote address and following workshop presented by Tarquam McKenna: “Expressive Therapy – Bridges into Praxis’. Description of her attendance and embodied learning experienced from the second keynote address and attendance at a workshop on ‘Voicework and the Vocal Process’ follows, with a brief note on the closing ritual and dinner in conclusion.
Lesley’s article titled: “Personal Highlights & Aspects that held Personal Meaning from the ‘Travelling Light’ Conference of Creative Arts Therapies Association of Aotearoa, Auckland, NZ, 2005.” is an overview of all that she loved at the conference. Her attendance at two workshops on DMT and on Voice Work and the Vocal process, is outlined with descriptions from her engagement in the sessions. (pp 13-15)
Author/s: Jane Refshauge, Kim Peel , Lesley Hawkins
Edition: 2007 Vol. 6 Nos. 3-4
Keywords
professional development, circle movement, DMT skills/attributes, breathing, therapeutic relationship, defence mechanisms
Lesley, Jane and Kim individually reflect on their participation in Sharon Chaiklin’s workshop at the “Weaving the threads” DMT Conference in Melbourne. Lesley expands on a scenario where important professional learning arose from incorrect group assumptions. Special qualities of Sharon’s presence and teaching expertise are featured, as well as her answer to the question “What is dance movement therapy?”. Experiential learning in partnered and group activities is described with photographs, whilst Sharon’s philosophical approach is woven throughout all three reflections. (pp 41-49)
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