In this volume

Physical Storytelling (Harvey & Kelly, 1991, 1992, 1993, 2016 & Kelly 2006) is a form of dance movement therapy in which a narrative is presented as an episode of improvised dance intended to extend the emotional and creative aspects of the metaphor that has been presented in verbal story. These danced versions are understood as presenting a physical metaphor or ‘story under or within’ the verbal narrative. This form of dance movement therapy has been used in clinical intervention, supervision, as an arts-based research method, and as performance. Basic structures called scores are used to help organize movement interactions to connect the movement with the structures that are present in the narrative content. This article will investigate how the score of the ‘journey’ is developed effectively to present verbal stories of change, psychological challenge and transformation. A main goal of this article is to review how physical storytelling integrates narrative material with movement improvisation to explore the emotional, and often unconscious, elements of a narrative. A main assumption of using this form is that the use of physical metaphors and symbols can help to explore and often enhance the complex meaning within verbal stories. Future projects that use the ‘Journey Score’ to review change are suggested.

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In our field of dance movement therapy, the body is often understood as an agent of language, conversant in both verbal and non-verbal forms of communication. As dance movement therapists we speak, listen and respond in an embodied manner through dance, movement, gesture and other nuanced ways of corporal expression. This article will explore the idea of the ‘speaking’ body and examine its significance from a dance movement therapy perspective. In doing so, this article will discuss how the concept of the body which ‘speaks’ poses a fundamental challenge to the pervasive dualism of Cartesian thought which separates ‘mind’ from ‘matter.’ Not only has dualism sought to divorce the mind from the body, but it has also led to a drastic devaluing of the non-verbal realm and the rich sensorial world of the body. This article suggests that dance movement therapy plays an important restorative role in contemporary western thought by challenging the basic assumption upon which dualism rests: the mind body divide.

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Combining academic research with experience in the field, Moods, Moves and Mudras will examine the implementation of models of dance movement therapy drawn from experiences in the UK and from using the Sampoornata model pioneered by Kolkata Sanved in India. It will reflect on efficacy, challenges and opportunities for future learning through the author’s work with five participant groups in short-term group therapy. The paper will frame understanding through an exploration of the interface between theory and practice, the process of mapping participant growth, the implementation and communication of session theme and the impact of therapeutic relationships.

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This article explores the difference between the Newtonian and the Quantum. The author shares her profound journey into her ‘body’ dance, which happened in a four-day workshop led by Dr. Marcia Leventhal. Reflections and learnings on the authors elderly dance therapy group are also presented. A dance movement therapy model is discussed as well as a vision for dance therapy in the future.

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As previously reported in Australasian Moves (Moving On, Vol 13, no’s, 3 and 4), we are pleased to have permission from Hawker Press to reprint this article written about the work of Dr. Heather Hill. It is part of a series of articles on the arts in dementia by John Killick (U.K. poet/writer who works in dementia care) for the Australian Journal of Dementia Care (AJDC). Based on email exchanges between Heather and John, and information drawn from Heather’s writings on dementia, the article represents dance really well. We are also pleased to have permission to reprint Cathy Greenblat’s beautiful and sensitive photos taken at one of Heather’s dance sessions.

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Following her experiences in attending a conference in Ghana, Eileen became involved with coordinating the development of DMT programs with the Wangu Kanja Foundation (WKF) in Kenya in a Nairobi slum. The WKF is committed to providing health, wellbeing, empowerment and human rights for women and children survivors of sexual abuse and gender based violence. Eileen communicated some of her experiences to us via email as documented in Moving On, Vol.13, no’s 3 and 4, and as promised in that issue, here is the short article that has been developed from her communications.

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–Therapists creating a cultural tapestry: Using creative therapies across cultures. (Editors: Stephanie L. Brooke, Charles Myers and 19 contributors C.C. Thomas, Springfield, USA [2015].) Reviewed by Dr Kim Dunphy.
– The Oxford Handbook of Dance and Wellbeing

Edited by Vicky Karkou, Sue Oliver, and Sophia Lycouris. Publisher’s description.

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A series of reflections from attendees of Sara (Zora) Boas’ workshops held in May 2017 in Darling Harbour, Sydney on the themes of ‘Transcultural Competence’ and ‘Art as Healing’.

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