DTAA publications

This luxuriously compiled collection of writings by Dr. Leventhal includes reprints of historic articles, and some articles not previously published. There are also writings by others about her work and reminiscences from friends, colleagues and students. These include contributions from Iris Rifkin-Gainer, Patricia Capello, Jane Wilson Cathcart, Anne Marie Ruta Buchanan and Professor M. Linda Graham, from the USA. Jenny Czulak Riley, Elizabeth Loughlin, Elizabeth Mackenzie, Jane Refshauge, Naomi Audette and Fran Ostroburski, are some of the contributors from Australia. Gerry Harrison adds her voice from the UK, as does Amanda Kougioufa and Nina Alkalay from Greece.

The issue also contains the history of the successful dance movement therapy training program that Dr. Leventhal set up in Australia that can be read about in

contributions from Tony Norquay and Jennifer Helmich. The program developed from Dr Leventhal’s first visit to Melbourne in 1987, when she was the keynote speaker at the first Australian dance movement therapy conference. As well, this special issue contains writings on the influences that led to her strong views about the essential nature of dance as a therapy; the impact she had on the development of dance therapy and the emergence of dance therapy in Australia.

The volume is generously illustrated with many photographs from Dr. Leventhal’s career as a dancer, actor, therapist and dance therapy educator. This impressive record of one of the pioneers of dance movement therapy would make a valuable addition to the collection of anyone interested in the history of dance movement therapy education and practice.

This special edition of the journal of the Dance Movement Therapy Association of Australia, commemorates and celebrates the life and work of Johanna (Hanny) Exiner (1918 – 2006).

This is a luxuriously compiled collection of writings by Hanny, writings by others about her work and reminiscences from friends, colleagues and students.

It contains the history of Hanny’s early life before she came to Australia, her work in Australia from the late 1930’s, the influences that led her to believe so strongly in the essential nature of dance; the impact she had on the development of educational dance and, later, the emergence of dance therapy in Australia.

The book is generously illustrated with many photographs from Hanny’s early childhood right through to her life as a dancer, studio teacher and choreographer and to her years as a teacher and educator in the fields of dance education and dance therapy. There is also a full description and photographic record of the commemorative celebration of her life, which was held at Abbotsford Convent, Melbourne, Australia in March 2007.

This beautiful record of one of the great and rare pioneers in the cultural life of Australia in the twentieth century would make a valuable addition to the collection of anyone interested in the history of modern dance, dance education and dance-movement therapy in Australia.

Jenny Czulak-Riley’s book, Growing Older Dancing On is a most beautiful publication, full of inspiring ideas for dance classes for older adults. Czulak-Riley writes authentically from the perspective of an older adult (she was approaching her 80th year as the book was published!), offering valuable insight for those working in the field without personal experience of older age. Like this gem; ‘The thing about old age is that on the whole, one doesn’t feel old. One feels as one always did; content, curious, fearful, optimistic or desperate according to the circumstances’.

The author’s training is in dance/movement education and therapy, and her extensive experience is also very evident.

Czulak-Riley argues for the desirability of older adults as group leaders for their peers. Her evidence for this includes an amusing list of Idioms of the Ancients:

words and phrases that some young aged carers may never have heard of, including ‘a lick and a promise’: a quick wash, ‘barney’: an argument, ’91 in the waterbag’: very old or very hot. She does concede however that ‘we elderly cannot do without the young. They are so refreshing- lovely to look at, so well-trained, clever and cheerful’!

Also apparent is the author’s erudition – the book is sprinkled with literary references to the challenges and joys of old age, scientific research into gerontology, dance therapy and more, which add much to the enjoyment of reading. Her considerable literary talents are also evident. Many of the poems in the book are original, like this snippet about sleep;

How deep, how soft, the darkness feels, Down drifts its softness to my heels Wrapping me soft in drowsy folds
And oh! How soft the dreamer holds The cloth of sleep

Insightful and inspiring tips for group leaders who are managing older adults, managing themselves and managing the complexities of working in an organisation as an outsider are spread throughout the book. Like this piece of advice to carers, ‘Be kind! Ripe fruit bruises easily’. And this one, for group leaders dealing with the challenges of working in institutions, ‘There’s always a way around obstacles, even if you suspect some of them have been deliberately put in place…..Never leave the premises defeated’.

The book’s layout, large clear pages with lots of white space and a spiral binding make it very useful as a reference that could lay open and flat during a session. This makes it ideal for prompting of the not-so-confident or inexperienced group leader. Original drawings by well-known Melbourne-based artist Kate Durham enliven the text and add much to the appeal for readers.

The book’s advice relates not only to dance but also to life values, lifestyle choices, life philosophy and positive attitude. A hilarious list of Survival Strategies includes these beauties:

• Break a habit
• Hang a ‘Do No Disturb Sign’ around your neck
• Pay compliments
• Chew brandy
• Smile when you offer an opinion
• Smile anyway
• Don’t apologise for being old

And my very favourite – a great life lesson: “Never express disapproval (of anything) to your immediate family. Instead, write a letter to a newspaper and sign “Disgusted”.

Growing Older, Dancing On is a wonderful example of how rich a life well lived can be. A lovely read, a great resource and a testament to the wisdom that comes with age.

Freedom to Move is a how-to book for leaders of dance/movement groups for people with intellectual disabilities. It includes:

• discussion of the value of dance for people with disabilities,

Description of other successful programs and a summary of research

• information on health, well-being and fitness issues
• practical aspects of running a session, including ideas for warm-up, theme, improvisation, choreography and performance using a Laban-based approach
• lesson plans for groups with different needs including children, children
• in mainstream settings, people with high support needs, older adults
• strategies for running groups, planning and evaluating programs
• a comprehensive suggestion list of music suitable for use in sessions
• evaluation and assessment tools and a comprehensive bibliography

Freedom to Move can be used as a foundation for newcomers to the field, or as a professional development resource for those with more experience. Most of the ideas, techniques and strategies can be useful with different age-groups, with children, adults and seniors, and in a range of settings, including classrooms, dance studios, gymnasiums, community and day centres. They are useful for small and large groups and require little formal dance training on the part of the group leader. The text is enlivened by real life stories and photos of the authors with clients in various age groups.

The book is extraordinary…One of the best dance education books I have seen. Thank you for this gift to the dance education community worldwide!
Professor Susan Stinson, Dance Dept, University of Greensboro, North Carolina

Freedom to Move fulfils its aims thoroughly. It is insightful regarding the diverse needs of the targeted population and is both generous and succinct with its well thought through advice. Real life incidents highlight individual needs in relationship to group strategies and add warmth to the book. Photos of the authors’ work across a range of ages, abilities and community-based settings further enliven the book. Appendices, including evaluation and assessment tools, a list of relevant international organisations and a discography of music are welcome inclusions and are user friendly. I strongly recommend this book.

Anna Schlusser, dance-movement therapist, Melbourne, Australia

from Moving On: Journal of the DTAA, 2, 3, 2003, reprinted with permission

I have found the evaluation tool for participation in a dance program in this book so very helpful for encapsulating the numerous and varied qualities found in a dance (therapy) program! It thoroughly captures the subtleties and complexities of the workings – and can be understood readily by others (classroom teachers/ parents/ Assistant Principals. I am so grateful to the authors for this work.

Sue Mullane, special teacher and dance movement therapist, Sunshine Special Developmental School, Melbourne, Australia

Freedom to Move is an excellent book with lots of movement/dance activities, but importantly they are given within a very coherent and grounded framework which draws on the authors’ knowledge of the arts and disability and their knowledge and practical experience of using dance/movement based on Laban. It addresses work with adults and with children, as well as areas such as the differentiation and intersection of community dance/creative dance and therapy with this group.

Dr. Heather Hill, dance-movement therapist, Melbourne

This book is just great. At Hancock Center we are offering creative movement for
developmentally delayed teens in a therapeutic milieu. Your book has some great ideas and is organized in a user friendly way. Thanks so much!.

Rena Kornblum, Hancock Center for DMT Inc, Madison, Wisconsin, USA

The activities in this book are based on programs successfully used with groups of children with special needs at the Noah’s Ark Toy Library, Melbourne. Creative dance in combination with music, voice, percussion and a colourful assortment of properties is used to extend movement activities appropriate to the children. The book is designed to help therapists, teachers and parents to conduct similar movement programs.

‘I cannot recommend it too highly- the authors have created a text which I find clear, informative and very readable. The human interest element has been woven in so that the rhythm of the text is not halted. The warm liveliness of the text matches the heart warming experiences in the pictures and the whole is readily available to the lay person’, Judith Pippen, (Lecturer in Movement Studies, Drama Department, Brisbane CAE)

This is the second edition of the 2002 book, that was written as a user-friendly guide for staff interested in bringing dance and movement into their work with people with dementia. This edition contains new photographs and a companion CD with six tracks by Australian musician /composers.

The book covers:

• the philosophy of person-centred care
• the relevance and value of dance as an aesthetic and mind/body activity
• practical suggestions about establishing and running a group
• the “how” of the dance session, that is the ethic that underpins dance/movement work in dementia
• the materials of dance. Rather than a recipe, the author offers ideas for creating one’s own dance/movement activities, choosing music, sensory experiences, etc.
• examples drawn from the author’s experience in dance therapy sessions
• sample dance session showing how materials of dance can be used
• suggestions for resources, eg. using different types of music and props
• further reading.

While accessible to non-dance staff, the book is also a valuable resource for dance therapists looking for a philosophical framework in which to work and also inspiration and ideas for working with people with dementia.

The author: Dr. Heather Hill has worked since 1985 as a dance therapist with many different groups of people of all ages, and early on developed a particular passion for working with people with dementia. She has also worked with family carers and developed training workshops for professional carers. She carried out research into the experience of dance therapy for a person with dementia as part of her Masters studies, and in 2006 completed a PhD on barriers to person-centred care in dementia. She has contributed numerous book chapters, journal articles and conference papers, and was commissioned by the University of Stirling to write the first edition of Invitation to the Dance (2001). Heather coordinated and taught on the RMIT dance therapy program and lectured in creative arts therapy and arts-based inquiry at the Melbourne Institute for Experiential and Creative Arts Therapy. She continues to do dance therapy with people with dementia and is interested in the training of carers in person-centred approaches to care

Review of first edition:

This accessible, practical guide is packed with ideas for introducing dance into care settings, grounded in current theory on dementia. Heather Hill’s person-centred approach places a clear focus on the contribution and creativity of the older person with dementia. Emphasis is placed on the carer, or workshop leader being alive to what is happening in each moment in a dynamic relationship to the older person.

The book offers the reader differing views of dementia, a look at what dance is, and where it fits in, and the ‘nuts and bolts’ of what to do and more importantly how to do it, but without ever being prescriptive. Providing enjoyment and opportunities for communication are the main aims.

A strength of the book for me is the section on dancing with people with dementia, poignant stories which place the work in its real life context. It is here that the qualities of the effective carer, workshop leader or therapist shine through. Heather Hill shows how dance can contribute to the well being, and maintenance of personhood in people with dementia, and how all of us can dance when we move with ‘sensitivity, mindfulness and imagination’ (Exiner and Kelynack 1994)

Jasmine Pasch, community dance artist and counsellor, London