Karen Bond is a senior lecturer at the University of Melbourne, where she coordinates post-graduate dance education and research in the faculty of education, including the graduate certificate in dance therapy. She is a recipient of the Graduate research award from the International congress on research in dance for her PHD study into dance for nonverbal children with impairments of vision and hearing. She is currently president of the dance Therapy association of Australia.

PHD, LaTrobe University, Melbourne. Karen currently works as an associate professor, and dance graduate coordinator at Temple University, Philadelphia, USA. She was formerly senior lecturer and coordinator of dance education and research at the University of Melbourne. She is recipient of a range of scholarly awards including from the International Congress on Research in dance for her PHD study into dance for non-verbal children with hearing or vision impairment, and of the 2013 (USA) National Dance Education Organization’s (NDEO) outstanding dance education researcher award. She is widely published and has presented papers, courses, and workshops internationally. At Temple she teaches graduate courses on experiential research methods and theory and practice of dance teaching. She is a fierce advocate for inclusion of the voices of children and youth in dance academic discourse. Dr Bond has served on a range of boards and was president of the Dance Therapy Association of Australia from 1997 – 2000).

Keywords: Children’s dance, transformation, aesthetic perception, meaning-making, reflection, performance

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This chapter ranges through some future perspectives on dance therapy. Firstly it illuminates children’s drawings as a fresh source of dance therapy theory. Then it takes a post-modern turn, suggesting that performance can be an integral part of a dance therapy program. Finally, questions are raised about the relevance of western models of dance therapy in a world characterized by increasing pluralism, and about the impact of global information technologies on dance therapy theory and practice. The paper ends on a confident note, citing the words of a child gathered after a dance therapy session: “I hope the kids in the world will learn what I learned today.”

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Keywords
Dual sensory impairment, Dance process, Non-verbal children, Visual Impairment

An addendum to the article in previous issue entitled ‘Visual Impairment’ (Moving On Vol. 1, No. 3), this article further explores research into dance therapy for children with dual sensory impairment. The main focus was a framework developed over the course of the study. A summary chart of the framework entitled ‘Right Dance’, illustrates the process applied with young nonverbal children in a therapeutic group dance class. The article includes excerpts from results and concludes with adaptions to other populations.

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Keywords
Dance therapy methodologies, DMT efficacy, Dual sensory impairment, vision loss and hearing loss

Empirical evidence either supports dance movement therapy (DMT) for the efficacy of its techniques, or is assumed because therapeutic gains are inherent in the act of dancing. These were two theories that emerged\ from this article on research into the effects of dance therapy for children in a deaf/blind unit. The article mainly focuses on outlining the measurements for scientific testing followed by results of statistical analysis. The article concludes with further large scale study initiatives.

The chart of ‘Right Dance’ is missing, see next edition of Moving On, Vol. 1, No. 4, for an addendum to this article where the chart is printed instead.

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