ARBN 633105736

Penny Best

Penny Best – Bio


Penny, PGCE, MCAT, ILTM, SRDMT, is a Senior Dance Movement Therapy Clinician, Educator & Supervisor at the University of Surrey Roehampton, London; Research Fellow and tutor, Open University, Milton Keyne and she also has private clinical and business practices (‘Body Speaks’). She is an International workshop facilitator and conference presenter, who publishes regularly and former dancer /trainer/choreographer/puppeteer.

Interacting with the audience, interacting with life: Budapest and beyond

Edition: 2003 Vol. 2 No. 2

DMT supervision, relational movement, Interactional Shaping, observed movement, group work, creative process

Penny has edited her own transcript from a seminar given in Budapest, Hungary at the First World Art Therapy Congress, drawing on her research of the use of creative processes within supervision for dance movement therapists in the UK. In illustrating the premise of her supervision practice through presenting examples from her supervision practice and two case studies, Penny expands upon the relational space in the therapeutic relationship and discusses awareness of client perceptions through body empathy, specifically therapist self awareness. In conclusion, Penny describes the ways she engaged with her listening audience, inviting embodied reflections. (pp 2-6)

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Reflecting Processes & Shifting Positions in Dance Movement Therapy

Edition: 2004 Vol. 3 No. 3

self-reflexivity, Social Constructionist, Neuro Linguistic Programming, Psychodynamic, Humanistic, Experiential learning

This is an excerpt from the content:

This paper reflects an evolving model of training and practice, the Parker-Best Co-Creative Approach. This has emerged out of the authors’ desire to appreciate, wonder about and work with, the richness of difference during the evolution of their collaborative training relationship, over more than a decade. This may be applied in many other contexts of therapy, training and life in general. Together, they have developed a model of relationship which honoured an active appreciation of their very different worldviews, and movement preferences, at specific points in time and context. (pp 2-4)

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Where you locate your body has consequences: the body as central while moving around

Edition: Vol. 4 No. 3

non-verbal communication, therapist self-reflexivity, supervision, experiential learning, arts therapies, attuning

This excerpt is from the content:

The initial context for my comparing modalities was an international arts therapies conference in Luxembourg 2001 (ECArTE – European Consortium for Arts Therapies Education) entitled “Exposing Difference”. In speaking to such a title in the presence of a variety of therapeutic modalities and cultures, I was drawn to search out commonality, as a frame for exposing difference. I highlighted what I perceived to be a common baseline across the arts therapies, and most therapeutic encounters regardless of their methods, philosophies, and cultures – the inevitable presence of the therapist‟s body in relation to the client‟s body. Within this paper I present a schema which offers one way of viewing the relative positionings of the therapist‟s physical body within the triangular relationship of client, therapist, art form. (pp 2-6)

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Book Review: Evaluating the woven tapestry of Australian Dance Movement Therapy

Edition: 2011 Vol. 9 Nos. 3-4

Kim Dunphy, Jane Guthrie & Elizabeth Loughlin

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Creativity and Play…continued: The Importance of Play within Dance Movement Therapy

Edition: 2002 Vol. 1 No. 3

play, Dance therapy curriculum, body knowledge, play strategy, Play therapy

Play, playfulness and creativity are overviewed as ways to support dance movement therapy with children and adults, enhancing body knowledge, therapy and the therapeutic relationship. (pp 19-20)

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