Keywords: dance movement therapy, contemporary image, unique skills, exibility, improvisation, future directions

Page #: 124

Developed from a plenary panel presentation made by the authors at the Dance Therapy Association of Australasia’s Conference, Melbourne, 2015, this article centres around the belief that if dance movement therapists adopt a more contemporary image they could t into a wider range of opportunities for dance movement therapy practice. The authors expand on a ‘contemporary image’ of dance movement therapy and the reasons why they see the need for one at this time. Global trends, identi ed from recent international conference presentations (American Dance Therapy Association 2014, and European Association of Dance Movement Therapists 2014), are drawn on to support the ideas presented and personal authors’ stories are used for further illustration. The views of the wider dance movement therapy community on the subject of ‘contemporary images’ are included, as drawn from a survey undertaken during the conference plenary panel session and questionnaire completed at a later date. A further perspective is included, from the moderator of the discussion. The various viewpoints are drawn together to suggest ideas for expansion of dance movement therapy in Australasia in the future.

 

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Keywords
dance movement therapy, eating disorders, inpatient, anorexia, bulimia, evaluation

Page #: 106

This paper describes the dance-movement therapy (dmt) component of an Eating Disorders Program (EDP) in a private psychiatric setting. The dmt component was developed around an understanding of the experience of eating disorders, in order to meet patients’ physical, social and emotional needs. It is intended that this description may promote a deeper understanding of eating disorders and value of dmt in their treatment. Additionally, a strategy for evaluating the dmt component of the EDP is explored.

 

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Keywords
MIECAT, heuristic inquiry, phenomenological, constructivist, intersubjective, post-positivist, research, therapeutic relationship

This is an excerpt from the content:

“Virginia completed a Masters by Supervision with the Melbourne Institute for Expressive and Creative Arts Therapies (MIECAT). This article is based on phenomenological research towards the Masters award. Virginia states: “The research project took the form of an enquiry into my own processes as a dance therapist working individually with my client – in the style of a heuristic enquiry in phenomenological research, looking into an understanding of how a dance therapy process works for me as the therapist.” Research methods using a MIECAT form of inquiry with her client presenting with symptoms of anorexia, are discussed in depth, encompassing the therapist’s theoretical approach. The therapist’s personal characteristics, beliefs, values and experiences influencing her as a therapist are connected to her experience of ‘companioning’ her client, with reference to therapeutic approaches such as: bracketing, resonance/dissonance and transference/countertransference.  (pp 16-24)

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Keywords
enactment, group consciousness, family therapy, kinaesthetic empathy, professional development, life patterns

Two reflective articles give unique perspectives by participants (Alice, Virginia and Natalie) in the 2 day ‘Weaving the threads’ Conference workshop that was presented by Steve Harvey and Connor Kelly. Moving moments of healing and insight are shared along with experiential processes that could be adapted to family therapy and professional development settings. A descriptive piece embodying the the story with movement, exemplifies the symbolic healing and adaptive potential of story telling and “the many aspects coming into play in the story telling as therapy”. (pp 50-54)

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Keywords
play, supervision, therapeutic relationships, three dimensional relating

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…“Moment to Moment Creative Change’, was a five day event organised by the DTAA and presented by Penny Best. It was a combination of ‘Three dimensional relating’ and ‘Relational Creative Processes Model of Supervision’. The first reflection provides a sense of the overall, highlighting the importance of ‘play’ emphasised by Penny, whilst the other reflections relate more specifically to the content of particular sessions or days.” (pp 20-24)

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