Tesis: "Dance therapy"

1

Du, Plessis Nicolette. "A critical review of contemporary dance/movement therapy". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002367.

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This critical review aims to describe and define the field of dance/movement therapy. Attention is paid to central issues in psychology and dance studies which influence the advancement of the modality. Dance/movement therapy is a young profession, developed during the second half of this century, and must be viewed within the socio-cultural context of contemporary western industrialized societies. This work therefore firstly documents the development of dance/movement therapy in the light of recent studies into the nature of bodily expression and non-verbal communication. The phenomenological understanding of the human body is discussed, and the concept of bodyliness proposed in order to encapsulate a multi-dimensional understanding of the meanings of the human body. Dance/movement therapy is then delineated in relation to verbal psychotherapeutic traditions, as well as to the more marginalized body therapies. In this way it is hoped to provide an understanding of the historical precedents and theoretical contexts within which dance/movement therapy is emerging, and ultimately the possibly unique alternative service it may provide. As wide a variety as possible of theoretical approaches in dance/movement therapy is then described, and classified according to the predominant psychological orientation of the proponents. From this a critical review is attempted which is directed broadly at foundational considerations of the profession, rather than at any particular methodology. The enquiry focusses on directions for future possible research which will ensure sound theoretical frames of reference for the developing profession. Discussion of two examples of dance being used in the therapeutic context in South Africa concludes. This section is not a judgmental evaluation of techniques, but intended rather as documentation and broad classification of current work of this nature.

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2

Farrelly, Jane, University of Western Sydney, of Arts Education and Social Sciences College y School of Contemporary Arts. "Dance and healing". THESIS_CAESS_CAR_Farrelly_J.xml, 2003. http://handle.uws.edu.au:8081/1959.7/804.

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Dance consciously or unconsciously can by its very creative process from idea or feeling through to performance work and beyond, form a catalyst for healing. This paper provides a written record of a practical, phenomenological, qualitative, dance and healing research project. The researcher’s ideas coalesce from three schools of thought. They are health sciences, dance art and faith. Body sciences and homeopathic theory inform the practice of exploratory contemporary dance improvisation. Wholistic and ethical methods of research practice are applied to the study of a range of dance and health concerns
Master of Arts (Hons) (Contemporary Arts)

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3

Son, Munmi. "Dance as Healing Therapy| The Use of Korean Traditional Mission Dance in Overcoming Oppression". Thesis, California State University, Los Angeles, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10814071.

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Korean traditional mission dance originates in worship ceremonies in Christian churches and missionary settings, but inherits movement, floor patterns, and motifs from Korean folk dances that are performed as ceremonial rituals. This thesis suggests that as women connect to the healing power present in Korean traditional dance and its hybrid forms, they may be aided in healing from negative experiences with sexist oppression. The author discusses intersectional oppression she experienced in Korea through an autoethnographic research process, her experiences with Korean traditional mission dance pioneered by Soon Ja Park and considers identity transformation and healing in the context of her work as director of the L.A. Argon Mission Dance group. In this way, she expands a choreography model to further these healing processes.

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4

Farrelly, Jane. "Dance and healing". Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/804.

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Dance consciously or unconsciously can by its very creative process from idea or feeling through to performance work and beyond, form a catalyst for healing. This paper provides a written record of a practical, phenomenological, qualitative, dance and healing research project. The researcher’s ideas coalesce from three schools of thought. They are health sciences, dance art and faith. Body sciences and homeopathic theory inform the practice of exploratory contemporary dance improvisation. Wholistic and ethical methods of research practice are applied to the study of a range of dance and health concerns

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5

Farrelly, Jane. "Dance and healing /". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20060509.115337/index.html.

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Thesis (M. A.) (Hons) -- University of Western Sydney, 2003.
A thesis submitted in part fulfilment of the requirements for the degree of Master of Arts (Hons) (Contemporary Arts) at University of Western Sydney. Includes bibliographical references and appendices.

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6

Pardue, Emily Annette. "The healing of dance". Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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7

Mandan, Sherry. "Accessing the Neuromyofascial Web| Embodied Pathways to Healing in Dance/Movement Therapy". Thesis, Pacifica Graduate Institute, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13425074.

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The dance space is the warming hearth of the dancer’s heart and the active landscape in which the moving body plays, feels, and apprehends. This practice-led research study emerged from this somatic landscape assembling itself into a work choreographed around the motif of the neuromyofascial web as the architecture of the physical body and the conservator of its emotional life. A depth psychological perspective is employed to examine the fascial web’s influence on the retrieval of psychoactive content supporting the dance/movement therapy participant’s individuative process. The neuromyofascial web is explored through its restorative dynamics, stabilizing the physical body and releasing transformational content within the emotional body through the informing power of authentic movement. The tensegral nature of architectural design and the biotensegrity of the neuromyofascial web are evaluated as a therapeutic complement to the activities of dance/movement therapy, expanding the application of its principal protocols. A psychophysical analysis of the methodologies employed by American modern dance pioneers reveals their instinctual reliance on the neuromyofascial web and affirms authentic movement’s ancestral roots employed in the depth family of somatic therapies available today. Aspects of practice led research inspired a diagrammatic representation of the defining elements within kinesthetic experience and encouraged the creation of a movement manual for dance/movement therapists supporting the integration of movement and meaning.

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8

Jones, Joy Shalee Hannah. "A movement toward wholeness exploring dance in the faith community /". Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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9

Hiszczynskyj, Laura Sue. "An exploration of dance in the lives of cancer survivors /". Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/8470.

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10

Carmany, Johanna. "Dance as Treatment for Orthorexia Nervosa". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1834.

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This project presents dance as treatment for Orthorexia Nervosa, an eating disorder defined as an unhealthy obsession with healthy eating. Eating disorders disconnect body, mind, and spirit of an individual, and dance therapeutically connects these aspects. The specific effects of orthorexia on the body, mind, and spirit are analyzed; supported by evidence from research sources such as literature of books and scholarly journals, videos, an interview with board-certified dance/movement therapist Rachel Gonick-Mefferd, and a series of interviews with Dr. Thomas Doyle, in which he supplied a case study exemplifying dance as treatment for orthorexia. Conclusively, eating disorders and specifically orthorexia affect one’s entire being — physical, mental, emotional, social, spiritual health — and interfere with one’s entire life and daily functioning. Dance, as a holistic therapeutic approach, is effective in addressing and remedying every single one of these elements, healing one’s whole self. Therefore, it is suggested that dance may be an effective treatment for orthorexia.

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11

Payne, Helen. "The experience of a dance movement therapy group in training". Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/10019149/.

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This thesis explores the experience of a dance movement therapy group as part of a post graduate diploma course in higher education. The prime focus is the students' perspective of the group training as preparation for their subsequent role as dance movement therapists in practice. The research follows a group of seven students through a two year dance movement therapy group experience using an action research methodology in a collaborative mode. Through a series of systematic, planned, in-depth, semi-structured interviews, it uses the students' own account of the experience and correlates this with their practice as trainees. The third and final year fieldwork explores, from the students' perceptions, the way such an experience is integrated into eventual practice. The thesis is grounded in a literature review drawn from the psychotherapy, counselling and arts therapies fields. An international survey of training organisations for the arts and psycho therapies provides significance of the group experience in the training of arts therapists. The major conclusion is that although group experience in dance movement therapy is crucial for the training of dance movement therapists it requires extremely sensitive handling to cope with the feelings of loss, anger, grief and struggles with models of practice. There are, in addition, many difficulties experienced in learning to be a group as well as an individual within the group. The issue of authority in particular, which is central to any course in higher education, has to be carefully worked through for these students. The thesis concludes with recommendations for curriculum development in the post graduate training of dance movement therapists and allied professions.

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12

Meekums, Bonnie. "Dance movement therapy and the development of mother-child interaction". Thesis, University of Manchester, 1990. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557844.

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13

Oliver, Sue. "Community-based creative dance for adolescents and their feelings of social wellbeing". Thesis, Queen Margaret University, 2009. https://eresearch.qmu.ac.uk/handle/20.500.12289/7399.

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The thesis contextualises creative dance as art in a community setting. The participants were teenage members of a community-run creative dance company. The aim was to explore any links young people make between their creative dance experience in a community class and their feelings of social well-being. The literature gives a brief historical overview of dance as a performing art and of the nature of aesthetics and creativity. It considers the art of dance as a form of communication, and the conditions for creativity to flourish. It looks at Bourdieu‘s (2005) theory of ‗habitus‘ and ‗field‘ in understanding the social experience which the dancers derived through creative dance. Consideration is given to theories and accounts of adolescent development and how community interaction can affect the dancers‘ feelings of social wellbeing. The methodological approach is hermeneutic phenomenology, with influences from ethnomethodology and social constructionism. The ontological principle is that personal meaning is socially constructed. Epistemologically the study is informed by the belief that knowledge is generated through the creative dance experience. The main data collection method was semi-structured interviews with the dancers (n=10), supported by observation of dance classes (n=7; filmed: n=4), group discussions (n=3) and graffiti walls (n=8, completed by the dancers). The data were organised and analysed thematically using a method of presentation inspired by Bourdieu‘s concept of a ‗social trajectory‘ - a lifetime journey of social encounters – offering headings under which the data were loosely organised. Selected observations are presented on DVD. The responses suggested a dance ‗journey‘ from preparation to performance, which allowed further organisation of data. The emergent themes included the dancers‘ motivation for dancing, their feelings about the creative process, experiences of social interaction and of taking control of one‘s own identity, through all the stages of experimenting with movement, refining the dances and performing. The main findings are: the dancers attached importance to company membership because it offered a means to clarifying self-identity through physical and artistic endeavour; the creative dance context gave them freedom to explore their movement capabilities and to interact socially, and thus gave them a means of negotiating their ‗habitus‘, i.e. adopting and adjusting social norms and values on their own terms. Performing was a celebration of achievement and confirmation of identity as a dancer. The study contributes to the understanding of how adolescents make sense of their identity in their social context through their creative dance experience and how that influences their feelings of social wellbeing.

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14

Lavelle, Lise. "Amerta movement of Java 1986 - 1997 : an Asian movement improvisation /". Lund : Centre for Languages and Literature, Lund Univ, 2006. http://www.loc.gov/catdir/toc/fy0701/2006402578.html.

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15

Konnyu, Kristin Julianna. "Dance as a therapeutic intervention : physical therapists' beliefs and practices". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1595.

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Background: Activity and exercise that are sustainable are essential for maximizing their long-term health and therapeutic benefits. Physical therapists (PTs), as clinical exercise specialists, are committed to the exploitation of these benefits. Dance is often perceived as social and enjoyable, both potentially motivating factors that could contribute to its being such a sustained activity. Purpose: To describe the beliefs and practices of PTs regarding the use of dance as a therapeutic intervention for individuals at risk of or experiencing one or more chronic lifestyle conditions. A secondary aim was to establish an appropriate estimate of statistical power and effect size for subsequent survey or intervention studies. Design: Descriptive study based on a self-administered questionnaire. Subjects and Methods: A 5-page survey questionnaire, comprised of 67 items was developed and pre-tested prior to distribution to 231 PTs (with an anticipated response rate of 40%). Public and private practitioners were randomly sampled from the 2008 list of registered PTs in British Columbia. The randomized population was contacted up to five times according to Dillman’s method. Results: The survey resulted in 136 returned questionnaires (124 returned by respondents, 12 returned undeliverable) resulting in a response rate of 57%. Respondents expressed moderate to high agreement that dance could positively impact clients’ physiological and psychological states. Although most respondents did not prescribe dance, they expressed interest in doing so. Finally, the majority of respondents were amenable to the inclusion of dance in physical therapy practice, professional development education, and research. Rather than inclusion in entry-level education however, most respondents believed dance should be a post-graduate education topic. Discussion and Conclusion: We believe that this is the first study designed to examine the beliefs and practices of PTs with respect to use of dance as a therapeutic intervention. PTs appear responsive to recommending dance as an activity alternative, and are interested in learning more about its use as a therapeutic intervention and/or health promotion activity. Notably, dancing’s perceived social and enjoyable features were cited by PTs as potential facilitating factors that could sustain long-term participation and corresponding health benefits.

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16

Kaldis, George. "A study of the effects of a theatrical performance program (wheelchair dance) on the mood states of adolescents who have Duchenne muscular dystrophy". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22497.

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This study investigated the mood states of adolescents who have Duchenne Muscular Dystrophy. The specific purpose was twofold. First, to examine whether there were differences in the mood states of adolescents who have Duchenne Muscular and able-bodied adolescents. And second, to explore and evaluate whether participation in a theatrical performance program had a positive effect on the mood states of the adolescents who have Duchenne Muscular Dystrophy.
The statistical findings indicated that there were significant initial and concluding differences in the mood states of the adolescents who have Duchenne Muscular Dystrophy and their able-bodied cohorts. Analysis of the theatrical performance program indicated a short-term pre-post treatment improvement in the mood states of the adolescents who have Duchenne Muscular Dystrophy. This short-term improvement, however, did not sustain itself over time. (Abstract shortened by UMI.)

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17

Kemp, Deborah Kalnen. "Using dance to improve executive funcitoning [i.e. functioning] in older adults". View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-3/kempd/deborahkemp.pdf.

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18

Langston, Jeanne. "The Lived Experiences of Adult Male Trauma Survivors with Dance Movement Therapy". ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6598.

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In the United States, approximately 7.7 million individuals are affected by posttraumatic stress disorder (PTSD) at any given time. Though women are likelier to develop PTSD symptoms, men are exposed to more traumatic events in their lifetimes. Empirically- supported PTSD options exist, however clinical application of these treatments may not consistently culminate in beneficial outcomes. Dance Movement Therapy (DMT) has demonstrated positive treatment outcomes for a variety of mental and physical disorders. Nonetheless, there is a lack of robust research related to the treatment experiences of men who have participated in DMT for trauma-related symptoms. The purpose of this phenomenological study was to explore this research gap. Focusing on adult male trauma survivors, the research question addressed the lived experiences of participating in DMT and the meaning ascribed to this involvement. Eleven adult male participants were interviewed via audio-recorded telephone interviews consisting of semistructured interview questions. Through a constructivist lens, the modified Van Kaam method of analysis was implemented revealing 4 emergent themes. The findings of this explorative study suggested positive PTSD symptom outcomes for all 11 participants including improvements in social belongingness, social acceptance, quality of life, and a reduction in symptoms of anxiety and depression. Accordingly, the findings of this research may help to advance social change through broadening clinical awareness of the beneficial neurogenic treatment advantages of somatic and creative interventions such as DMT for PTSD. Moreover, these findings may augment existing research related to movement- based treatment options for individuals coping with PTSD and trauma-related symptoms.

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19

Whitehead, Anne. "Trauma, gender and performance : theorizing the body of the survivor". Thesis, University of Newcastle Upon Tyne, 1997. http://hdl.handle.net/10443/865.

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My thesis emerges out of the new disciplines of trauma studies and gender theory, both of which explore the coming into being of the subject. The traumatic event is that which overwhelms the subject and cannot be integrated into a sense of self Gender theory explores the ways in which woman is positioned as object in the patriarchal culture, and so cannot fully experience herself as subject. Both disciplines have mobilized narrative as a goal - narrative depends upon the adoption of a position as subject. I aim to theorize the body of the survivor of trauma and to explore the means by which the traumatic symptom might be transformed into narrative. Post-1980 psychiatrists have linked the traumatic symptom to the work of Pierre Janet (1859- 1947) on hysteria. Janet regarded the body as inseparable from consciousness and was concerned with the ways in which the whole organism engaged in the performance of activity. Janet's writing stood at the beginning of a tradition of thought on the 'body image', in which the performance of activity on a psycho-physical level was regarded as the basis of subjectivity. I am interested in mobilizing this theoretical framework as a therapeutic strategy for trauma. Through bodily movement, elements of narrative are explored - temporal sequence and flow, occupying new positions or perspectives - as a means of approach to a more integrated sense of self I also propose to conceptualize the gendering of the subject as a mode of somatic performance. The transformative potential of physical movement provides a means by which the objectified body, which is positioned outside of its own intentionality, can explore the possibility of occupying new positions as a subject.

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20

Vicario, Marina. "Dancing with trauma| A psychosomatic exploration of dance movement therapy and trauma release". Thesis, Pacifica Graduate Institute, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10259883.

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Psychological trauma causes distress to the mind and body. The human body is designed to move, and thus, the use of movement can be beneficial in many forms of therapy. This thesis utilizes a hermeneutic and heuristic methodology to investigate how dance movement therapy can be an effective modality for treating the impact of trauma. The literature review presents research on the effect of trauma on the body and the methods of dance movement therapy that may apply in treatment. Current research is discussed in examining the mind?body connection related to trauma. From a depth psychological perspective, the use of movement is explored as a therapeutic way of accessing and releasing repressed or unconscious emotions and memories associated with trauma. The author?s personal experience contributes to the findings of the research, which present clear evidence of the benefits that dance movement provides in the psychotherapeutic treatment of trauma.

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21

Williams, Tamara Lynn. "Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design". Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.

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22

Acaron, Rios Thania. "The practitioner's body of knowledge : dance/movement in training programmes that address violence, conflict and peace". Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=229434.

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This interdisciplinary thesis examines the role of dance/movement in training programmes, which address peace, violence, conflict and trauma. Despite the growing literature and scholarly interest in embodied practices, few training programmes address dance/movement peace explicitly, identify shared beliefs or make connections between movement behaviour and decision-making. The research questions explore how dance/movement trainers experience, implement and conceptualise embodied processes that enable the transformation of conflict, particularly concerning interpersonal and/or intergroup violence. In order to investigate this question, an 'internal' analysis of relations and practices amongst its practitioners progresses to an 'external' analysis of contributions to arts-based peace practices and peacebuilding. Twelve semi-structured interviews were conducted with experienced trainers working internationally who use artistic, therapeutic and educational approaches to peace practices. The practitioners' curricula and training materials were examined using thematic analysis and qualitative analysis software (NVivo). The data analysis results in a map of shared beliefs, positionality and boundary shifts amongst the respondents, and proposes an exploration of practices applicable to multiple settings and client groups. This thesis presents new research in Communities of Practice (CoP) theory with artistic communities. It also deepens previous research on dance/movement peace practices and movement analysis, which sustains peaceable and violent actions can be understood through conscious and/or unconscious movement decision-making processes. The thesis concludes that embodied processes involve reflexive and enactive interventions, and proposes analyses of spatial relations, symbolic enactment and relational nonverbal interactions as key contributions of dance/movement. These embodied processes challenge 'conventional' forms of knowledge transmission and the arts' constant pressure for legitimisation. The thematic exploration of shared practices and beliefs therefore integrates movement analysis and social theory to present an interdisciplinary contribution to embodied analyses of violence.

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23

Straihamer, Doris. "”Via ordet ner i kroppen eller ur kroppen till ordet” : En kvalitativ studie om dansterapi". Thesis, Ersta Sköndal Bräcke högskola, S:t Lukas utbildningsinstitut, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:esh:diva-9154.

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Inledning: Dansterapi klassificeras som en konstnärlig terapiform och är därav en komplementär terapiinriktning. I dansterapi integreras dans, rörelse och psykoterapi genom konstnärliga och kreativa processer. Syftet med studien var att öka förståelsen för vad psykoterapeuter upplever som hjälpsamt med dans och rörelse under psykoterapeutiskt arbete. Frågeställningar: Hur beskriver psykoterapeuter det hjälpsamma med dansterapi? Finns det vissa patientgrupper som har mer nytta av dansterapi än andra? Metod: Studien utgår från en kvalitativ och explorativ ansats där fem legitimerade psykoterapeuter med psykodynamisk (PDT) grund har intervjuats utifrån ett tillgänglighetsurval. Psykoterapeuterna har även bildning inom dansterapi och arbetar kliniskt med denna terapiform. Data har insamlats genom semistrukturerade interjuver och undersökts utifrån tematisk induktiv analys. Resultat: Fyra teman urskildes, 1) motivation/samspel, 2) kreativitet, 3) upplevelse, 4) uppbyggande. Diskussion: Sammantaget blev det tydligt att det de intervjuade terapeuterna beskrev som hjälpsamt med dansterapi går att koppla till dansterapeutisk och psykodynamisk teori. Samtliga fyra teman som tagits fram utifrån empirin har paralleller till olika mekanismer som skulle kunna förklara varför dansterapi kan vara hjälpsamt. Denna studie bekräftar därför i huvudsak existerande föreställningar om dansterapi och dess effekter som terapiform. Specifikt så handlar det om att dans och rörelse kan bli till hjälp att nå en välfungerande relation mellan terapeut och patient (Motivation/sampel); att ett kreativt utforskande via rörelse kan vara hjälpsamt för självutveckling (Kreativitet); att genom dans och fokus mot kroppens signaler kunna komma i kontakt med inre upplevelser och även bearbeta dessa via dans och rörelse, likväl som att kunna utveckla härbärgeringsförmåga (Upplevelse); att dansterapi kan vara hjälpsamt för ökad självförståelse och autonomi (Uppbyggande).
Introduction: Dance therapy is classified as an art oriented form of therapy and can thereby be regarded as complimentary. In dance therapy dance, movement, and psychotherapy are integrated through artful and creative processes. The aim of this study has been to increase understanding of what psychotherapists experience to be helpful with dance and movement in psychotherapeutic work. Issues: How do psychotherapists describe the helpfulness with dance therapy? Are there certain groups of patients who obtain greater utility from dance therapy compared to others? Method: The study is built on a qualitative and exploratory methodology within which five psychotherapists with psychodynamic backgrounds have been interviewed based on an availability sample. The interviewed psychotherapists all have education within dance therapy and are working clinically with this form of therapy. The interviews were of a semi-structured nature and the data that resulted from the interviews has been analysed using a thematic inductive approach. Result: Four themes were discerned from the data, 1) motivation/interplay, 2) creativity, 3) experience, 4) edification Discussion: In summary, it became clear that the interviewed psychotherapists described as helpful with dance therapy fits with dance therapeutic and psychodynamic theory. All four themes that were discerned from the empirics can be seen to have parallels to various mechanisms that could potentially explain why dance therapy can be helpful. The study thereby broadly confirms existing ideas about dance therapy and its effects. Specifically, it is about that dance and movement can be helpful in reaching a well-functioning relationship between therapist and patient (Motivation/interplay); that a creative exploration via movement can be helpful for self-development (Creativity); to be able to come into contact with inner experiences through dance and also process these via dance and movement, as well as to be able to accomplish containment (Experience); that dance therapy can be helpful for increased self-understanding and autonomy (Edification).

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24

Simeus, Vardine K. "My Dance with Cancer: An Autoethnographic Exploration of the Journey". NSUWorks, 2016. http://nsuworks.nova.edu/shss_dft_etd/20.

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Sometimes when a person who has been diagnosed with cancer finds out that his or her cancer returned and continuously has to go for surgeries, treatments, regular follow-ups, and continued overtime to deal with the same life-threatening illness, he or she can actually feel frozen due to feeling depressed and anxious in not knowing how to move forward with life. Dance is a metaphor used in this study to move forward. Psychotherapy can offer major beneﬁts to help cancer patients cope with the depression, anxiety, stress, and other emotional reactions that often accompany a cancer diagnosis (Stuyck, 2008). Many studies have explored the benefit of psychotherapy for cancer patients, but little is known about the personal narratives of cancer patients who sought individual therapy to talk about their experience with cancer. The purpose of this study is to explore, through autoethnographic inquiry, what role dance plays in the process of seeking individual therapy. It also explores the impact of facing cultural biases that exist in the Haitian culture about mental health. Finally, this study explores what role psychotherapy played in my reflective therapeutic journal that I wrote while in therapy. This autoethnography was written from a first-person perspective, thus giving readers the chance to enter into the researcher’s world. This study brings a social constructionist and systemic understanding to the experience of being a Haitian Marriage and Family Therapist cancer patient who sought individual therapy and became transformed by accepting my therapist’s invitation to dance with cancer. Additionally, this study examines my unique position as a Marriage and Family Therapist to receive therapy.

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25

Bojner, Horwitz Eva. "Dance/Movement Therapy in Fibromyalgia Patients : Aspects and Consequences of Verbal, Visual and Hormonal Analyses". Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4639.

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26

Copteros, Athina. "Drawing on principles of Dance Movement Therapy practice in a South African water research context". Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/50759.

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Research that draws on principles of Dance Movement Therapy in a South African water research context has not been done before. In order to initiate this exploration, culturally relevant themes from professional training in the United Kingdom were identified that could be developed in the context of trans-disciplinary water resource management research in South Africa. Hermeneutic phenomenology provided the methodological framing for this study. Interpretative Phenomenological Analysis was used to discover culturally relevant themes based on the recorded perceptions of the phenomenon of the training while it was taking place. The themes of: ‘awareness of power and difference'; ‘therapeutic adaptability'; ‘safety and ownership' and ‘connecting with the environment' emerged as overriding themes. Influences from Artistic Inquiry informed the inclusion of a creative embodied response to the themes that emerged. These themes then informed the application of some relevant principles of Dance Movement Therapy practice within a trans-disciplinary complex social-ecological systems researcher group. Eight members of the group participated in the study. They represented a range of academic research roles, genders and backgrounds. They reflected on their experience of an introductory session and five Dance Movement Therapy based sessions in semi-structured interviews. Using Interpretative Phenomenological Analysis, four themes were identified that capture the quality of the participants' shared experience of the phenomenon: ‘community engagement'; ‘embodiment'; ‘individual and group identity' and ‘integration'. Based on the integration of themes, it is concluded that principles of Dance Movement Therapy have a contribution to make. Core tenets of Dance Movement Therapy such as: inclusion of body and emotion; healing from trauma through embodiment; group processes held with safety and acceptance; and a deep level of connection to self, each other and the wider ecology, address some of the basic challenges of trans-disciplinary complex social ecological systems research practice. Through researchers experiencing principles of DMT practice for themselves and reflecting on their experience, it is possible that their embodied knowledge and reflections will influence and inform their engagement with communities in the future.

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27

Federman, Dita Judith. "Kinaesthesia, empathy, openness to experience, and control in the professional development of dance movement therapy trainees". [S.l.] : [s.n.], 2008. http://digitool.haifa.ac.il:80/webclient/DeliveryManager?pid=582369&custom_att_2=simple_viewer.

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28

Dayton, Emily Fern. "The Creative Use of Dance/Movement Therapy Processes to Transform Intrapersonal Conflicts Associated with Sexual Trauma in Women". PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/386.

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Abstract This qualitative research explores creative movement processes such as dance/movement therapy (DMT), authentic movement (AM), and creative dance (CD) as possible tools for transforming sexual trauma for women. Eleven movement professionals were interviewed in a semi-structured research format. My direct experience and knowledge of sexual abuse, sexual trauma, and creative movement processes are interwoven with the research question: do creative dance/movement therapy processes contribute to the dynamic of healing for women transforming sexual trauma? These findings are inconclusive for the greater population of survivors of sexual abuse and sexual trauma. However, there are indications that DMT, AM, and CD may be potential tools for recovery. This research contributes to a dialogue about sexual abuse and recovery from sexual trauma.

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Hackney, Madeleine E., Courtney D. Hall, Katharina V. Echt y Steven L. Wolf. "Application of Adapted Tango as Therapeutic Intervention for Patients With Chronic Stroke". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/553.

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Background and Purpose: Dance has demonstrated beneficial effects on mobility in older individuals with movement disorders; yet, effects of partnered dance remain unexamined in individuals with chronic stroke. The purpose of this study was to describe the effects of adapted tango classes on balance, mobility, gait, endurance, dual-task ability, quality of life (QOL), and enjoyment in an older individual with chronic stroke and visual impairment. Case Description: D.L. was a 73-year-old African American man, 13 years poststroke with spastic hemiplegia, visual impairment, and multiple comorbidities. Intervention: D.L. attended 20 1?-hour tango classes adapted for older individuals with sensory and motor impairments over 11 weeks. Outcomes: Measures of balance, mobility, gait, endurance, dual-task ability, and QOL were evaluated before and after the intervention and at 1-month follow-up. D.L. improved on the Berg Balance Scale, 30-s chair stand, Timed Up and Go (single, manual, and cognitive conditions), 6-Minute Walk Test, and backward gait speed. Not all measures improved: balance confidence decreased, and there was no change in forward and fast gait speed or QOL, as measured by the Short Form-12 and the Visual Function Questionnaire–25. Some gains were maintained at one-month follow-up. D.L. reported enjoying the classes, noted improvement in physical well-being, and wanted to continue the program. Discussion: Thirty hours of adapted tango lessons improved balance, mobility, endurance, and dual-task ability in a participant with chronic stroke. The participant enjoyed the classes, was adherent, and wished to continue. This is the first reported use of adapted tango dance as rehabilitation for an individual with chronic stroke and low vision.

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Hackney, Madeleine E., Courtney D. Hall, Katharina V. Echt y Steven L. Wolf. "Dancing for Balance: Feasibility and Efficacy in Oldest-Old Adults With Visual Impairment". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/554.

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Background: Fall risk increases with age and visual impairment, yet the oldest-old adults (>85 years) are rarely studied. Partnered dance improves mobility, balance, and quality of life in older individuals with movement impairment. Objective: The aim of the study was to determine the feasibility and participant satisfaction of an adapted tango program amongst these oldest-old adults with visual impairment. Exploratory analyses were conducted to determine efficacy of the program in improving balance and gait. Methods: In a repeated-measures, one-group experimental design, 13 older adults (7 women; age: M = 86.9 years, SD = 5.9 years, range = 77–95 years) with visual impairment (best eye acuity: M = 0.63, SD = 0.6 logMAR) participated in an adapted tango program of twenty 1.5-hour lessons, within 11 weeks. Feasibility included evaluation of facility access, safety, volunteer assistant retention, and participant retention and satisfaction. Participants were evaluated for balance, lower body strength, and quality of life in two baseline observations, immediately after the program and 1 month later. Results: Twelve participants completed the program. The facility was adequate, no injuries were sustained, and participants and volunteers were retained throughout. Participants reported enjoyment and improvements in physical well-being. Exploratory measures of dynamic postural control (p < .001), lower body strength (p = .056), and general vision-related quality of life (p = .032) scores showed improvements following training. Discussion: These older individuals with visual impairment benefitted from 30 hours of tango instruction adapted for their capabilities.

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Hackney, Madeleine E., Courtney D. Hall, Katharina V. Echt y Steven L. Wolf. "Multimodal Exercise Benefits Mobility in Older Adults with Visual Impairment: A Preliminary Study". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/544.

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Evidence-based recommendations for interventions to reduce fall risk in older adults with visual impairment are lacking. Adapted tango dance (Tango) and a balance and mobility program (FallProof) have improved mobility, balance, and quality of life (QOL) in individuals with movement impairment. This study compared the efficacy of Tango and FallProof for 32 individuals with visual impairment (age: M = 79.3, SD =11 [51–95 years]). Participants were assigned to Tango or FallProof to complete twenty, 90-min lessons within 12 weeks. Participants underwent assessment of balance, dual-tasking, endurance, gait, and vision-related QOL. The balance reactions of participants in both groups improved (p < .001). Endurance, cognitive dual-tasking, and vision-related QOL may have improved more for Tango than FallProof. Group differences and gains were maintained across time. Both programs could be effective options for motor rehabilitation for older adults with visual impairment because they may improve mobility and QOL while reducing fall risk.

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32

Tal, Meirav. "Rejoining the stream of life : an integrated model of trauma group therapy combining dance-movement therapy and somatic experiencing, for older women suffering from spouse abuse". Thesis, Anglia Ruskin University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433958.

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Doyle, David Brian. "Using dance/movement therapy to help meet the daily needs of persons living with HIV and substance dependence". Thesis, University of Roehampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580646.

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O'Keeffe, Anne. "The art of presence : contemplation, communing and creativity /". Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7072.

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The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing.
The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tangible themes and concepts that have emerged into consciousness.
Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy.
While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.

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Hill, Heather y heatherhill@hotkey net au. "AN ATTEMPT TO DESCRIBE AND UNDERSTAND MOMENTS OF EXPERIENTIAL MEANING WITHIN THE DANCE THERAPY PROCESS FOR A PATIENT WITH DEMENTIA". La Trobe University. Graduate School of Education, 1995. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20041215.095518.

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This minor thesis reports an attempt to describe and understand moments of experiential meaning within the dance therapy process for a patient with dementia. It also documents an attempt to develop a methodology which could adequately grasp the complexities of such an experience. A phenomenological approach with its emphasis on allowing the phenomenon to reveal itself through multiple perspectives seemed the most appropriate for this study. However, while phenomenology influenced the format of the dance therapy sessions as well as the constitution and analysis of the data, ultimately a hermeneutic analysis was employed for further explication of the material. The study consisted of four individual dance therapy sessions with an 85 year old patient with moderate dementia. The researcher/therapist worked improvisationally and a music therapist provided improvised music. After the sessions, all of which were videotaped, the patient was videotaped viewing the dance session video, in order to obtain her verbal or non-verbal responses to the material. It was decided to focus on the 'significant moments', selected intuitively as moments which seemed high points of the session. A naive description was made, on which an adaptation of Giorgi's four-phase method of analysis was applied. Certain foci, such as energy flow, were identified and individually described. In time, it became clear that the written descriptions alone were insufficient and that reflection would need to cover all the material from multiple sources and perspectives. This was done, and the data were later further explicated by reference to writings on dance therapy, dance aesthetics and the philosophical concept of the embodied self, and Sacks's neurological writings on the awakened self. The conclusions of the research were that the patient was not only transformed within the dance session and able to re-create aspects of her old self, but also underwent, through the experience as a whole (the dance and the reflection upon it, facilitated by the video viewing), a change in awareness, through which she reintegrated the past with the present and, in her words, 'came out of the cupboard...into the brightness'.

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36

Serret, Mathilde. "Élaboration d'un dispositif de danse-thérapie à expression primitive et évaluation de ses effets auprès de patients atteints de la maladie de Parkinson". Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2011.

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De récentes études ont démontré que la danse était une approche efficace pour améliorer les symptômes moteurs et non-moteurs ainsi que la qualité de vie chez les patients atteints de la maladie de Parkinson (MP). Nous supposons que la Danse-Thérapie à Expression Primitive (DTEP) est une méthode plus adaptée que les approches à médiations corporelles actuellement proposées et qu’elle pourrait véhiculer des bénéfices plus importants. L'hypothèse principale est que la DTEP aura des effets bénéfiques sur la marche et sur l’équilibre, ainsi que sur le plan psychique, qu’elle améliorera la qualité de vie et le lien social, et qu’elle pourrait constituer une composante importante d'une approche multidisciplinaire de la gestion à long terme de la MP.La première étude, en partenariat avec l’hôpital Bellan et d'une durée de deux ans, a permis d’élaborer, d’observer et d’adapter un dispositif de DTEP afin de développer un dispositif type et de pouvoir proposer une prise en charge novatrice. La seconde étude, en partenariat avec l’hôpital Pitié-Salpêtrière et d’une durée de sept mois, a permis de tester la faisabilité d'une telle étude, d'expérimenter le critère principal que constitue la marche et de mesurer les effets de la DTEP avec les outils d'évaluation qui, après avoir passé en revue les études sur le sujet, nous sont apparus comme les plus pertinents et reconnus dans le milieu médical et auprès de cette population.Le développement d’une approche originale entre Sciences Humaines et Sociales et médecine pourra servir à nourrir les pratiques et la prise en charge des patients en apportant des éléments utiles à la formation des professionnels et à l’organisation des soins. La réflexion qui a fondé la méthodologie des études développées contribuera quant à elle à alimenter la recherche et à mettre en place de nouvelles études
Recent studies have shown that dance may be an appropriate and effective strategy for improving motor and non-motor symptoms, as well as quality of life on individuals with Parkinson’s Disease (PD). Dance-Therapy through primitive expression (DTPE), as a mind-body therapy, may convey superior benefits, not only on physical areas but also on psychological and social ones. The main hypothesis is that Dance-Therapy will lead to greater gait and balance ability, an improved quality of life, will have psychological and social benefits and is an important component of a multidisciplinary approach to long-term management of PD.The first study, which lasted for two years, consisted of elaborating, observing and modifying the DTPE proposals in order to adapt them to the requirements of Parkinson's disease and to develop protocols of sessions in order to propose an innovative management of the disease.The second study, developed after a thorough literature review and which lasted seven months, made it possible to test the feasibility of such a study, to test a first main outcome (gait) and to evaluate the effects of the DTPE with the scales, which, after reviewing the studies on the subject, appeared to us to be the most relevant and well recognized in the medical community.The development of an original approach between Human and Social Sciences and Medicine can be used to feed the practices and care of patients by providing useful elements for the training of professionals and the organization of care. The thinking that has grounded the methodology of the studies developed in this thesis will contribute to fueling research and setting up new studies

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37

Swinford, Rachel R. "Adapted dance - connecting mind, body and soul". Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3610166.

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Using Heideggerian interpretive phenomenology, this study illuminates the lived experience of an adapted dance program for individuals with Down syndrome and their family members. The overall pattern from both dancers and family members was adapted dance: connecting mind, body and soul. The primary theme from dancer interpretations was expressing a mosaic of positive experiences, and the primary theme from family member interpretations was experiencing pride in their loved ones. The dance program provided dancers an opportunity to express their authentic self while experiencing moments of full embodiment in the connection of their mind, body and soul. While dancers experienced the connection of mind-body-soul, family members recognized the importance of this connection in their loved one. This research is instrumental in advocating for opportunities for individuals with Down syndrome to experience dance as a social, physical and intellectual activity that results in learning and increasing social interactions. The research findings from this study can support future initiatives for dance programs that may influence a population that has limited access to physical activity and dance. The study's teaching strategies, dance activities, class procedures and sequences, and feedback techniques can be used by other professionals who teach individuals with intellectual disabilities.

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Forsmo, Katrin. "Empatins betydelse i konstnärliga terapier : en intervjustudie". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2208.

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Denna studies syfte är att undersöka empatins betydelse inom tre olika konstnärliga terapier. I denna studie används en hermeneutisk ansats både i metoden och i den analytiska tolkningen. Underlaget för analysen har varit tre intervjuer med tre terapeuter. Empatibegreppet beskrivs utifrån ett utvecklingspsykologiskt perspektiv och dels ur ett psykodynamiskt perspektiv. Utifrån intervjuerna formades fem sammanfattande teman. 1 Det empatiska syftet. 2 Terapeuten som förebild. 3 Konstnärligt skapande. 4 Intersubjektivitet. 5 Förändringsprocess. I diskussionen problematiseras hur empatibegreppet kan användas och om behovet av att beskriva de intersubjektiva processer som är en förutsättning för empati. Den grundläggande intersubjektiva samspelsväven har nära samband med de konstnärliga interaktionsformerna som terapeuterna använder både på ett praktiskt och teoretiskt plan.
The purpose of this study is to investigate the importance of empathy in different artistic therapies. A hermeneutic approach is used in both the method and the analytical reading. The foundation for the analysis has been three interviewers with three therapists. The concept of empathy is described throw a development- psychological perspective and a psychodynamic perspective. Five summarize themes where found from the interviews. 1 The empathic purpose. 2 The therapist as a good example. 3 Artistic creativity. 4 Intersubjectivity. 5 Process of change. In the discussion the empathy-concept is being studied. How it is being used. And a need of describing intersubjective processes which is a prerequisite for empathy. The basic intersubjective interaction has a close relation to the artistic interactionforms which the therapists are using practically and theoretically.

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39

Johnston, Emma Anne. "Healing maori through song and dance? Three case studies of recent New Zealand music theatre". Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/980.

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This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.

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40

Anderson, Jacquilyn D. "Moving to the Beat of Djembe Drums: African Dance and Reported Feelings of Depression". Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/46.

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Depression is a disabling mental disorder that has huge impacts on one’s life and is therefore considered a global health concern. Efforts to find the most effective treatments have led to the development of antidepressants and cognitive therapy treatments. However, exercise as a form of treatment for depression has been growing in popularity. Recently, Dance Movement Therapy has gained exposure as a possible form of exercise treatment. Therefore, in the current study, West African dance was studied in order to determine its effects on depression. It was hypothesized that West African dance would target and alleviate symptoms of depression as outlined on the Beck Depression Inventory. Participants were already enrolled in the dance class and the Beck Depression Inventory was administered to the participants. Results indicated that West African dance had a significant positive impact on depression by lowering overall depression scores and psychological depression scores. This study contributes to current literature by offering a unique form of dance with rhythmic drum beats that has not been studied before. Future research should be aimed at further establishing the efficacy of West African dance and the long-term effects it has on depression.

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41

Hayes, Jill. "The experience of student dancers in higher education in a dance movement therapy group, with reference to choreography and performance". Thesis, University of Hertfordshire, 2004. http://hdl.handle.net/2299/14189.

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This thesis investigates the experience of a dance movement therapy (DMT) group as part of an undergraduate dance degree in higher education. The primary focus is the students' perceptions of the group and of links with choreography and performance. The research tracks three cohorts of students through an eight-week DOT group experience using a case study methodology. Through a series of semi-structured individual and group interviews and tape-recordings of verbal group process, it uses the students' own reflections as a basis for interpretation. Systematic thematic analysis of texts combines with interpretation in the creation of the findings. Processes of interpretation and category formation are made transparent for the reader. The thesis is founded on a literature review, which refers to a variety of fields of knowledge: DMT, Authentic Movement, arts therapies, psychotherapy and counselling, dance education, creativity, choreography, performance, play and improvisation. The major conclusions are that despite initial difficulties with emotional exploration, students seem to have developed trust in the process as a result of a perceived sense of safety. Other facilitating factors of process are interpreted as play, movement metaphors and affirmation. The variety of experience is acknowledged, and positively perceived experience is compared to negatively perceived experience in terms of perceptions of safety. The positively perceived personal effects of playfulness, self-confidence and relationship are interpreted as having relevance for choreography and performance. Recommendations for further research into the potential relationship between DMT and dance are offered.

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42

Kain, Megan Marie. "Bind, Tether, and Transcend: Achieving Integration Through Extra-Therapeutic Dance". Antioch University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1466901499.

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43

Forcum, Zackary. "Pulling back the veil| Using science to understand movement's ability to aid in recovery from psychological trauma". Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10066319.

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Psychological trauma can literally disrupt life’s flow by damaging brain and bodily systems. When a flashback to a traumatic event is triggered in a person suffering from traumatic stress, or PTSD, key functions in the brain malfunction and are deactivated, potentially causing massive disassociation. In addition, trauma can cause chronic hyperarousal, resulting from the body’s malfunctioning autonomic nervous system’s defensive response of fight, flight, or freeze. To cope with these damaged bodily and brain systems and processes detrimental acts of hyperfocus and numbing are often employed by sufferers of trauma. However these obstructions can be cleared though movement practices: top-down and bottom-up regulation methods, innately embedded in certain movement and dance disciplines such as yoga and creative dance, have shown to aide in trauma recovery. This opens the possibility that a dance/movement instructor, using trauma-conscious curriculum and facilitation techniques, can use their highly structured movement practices to engage with top-down and bottom up regulation practices to not only instruct students suffering from trauma, but offer opportunities to engage in treatment.

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Talbot, Marianne B. "The Dynamics of a Therapeutic Dance/Movement Intervention for Individuals with Brain Injuries: Comparison with Physical Therapy Using Laban Movement Analysis". Diss., Virginia Tech, 2006. http://hdl.handle.net/10919/27097.

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Addressing the comprehensive needs of individuals with brain injuries is a growing concern in brain injury rehabilitation as well as evaluating the efficacy of these conventional therapeutic modalities: cognitive rehabilitation, and physical, occupational, and speech therapies. Therapeutic dance/movement has not been an integral part of these core services. I have observed its potential, however, during the past thirteen years while providing this intervention to individuals with brain injuries. The focus of this dissertation was to gain a better understanding of the dynamics of a therapeutic dance/movement intervention for individuals with brain injuries by comparing it to conventional physical therapy. Physical therapy, given its longevity in providing rehabilitative services to individuals with brain injuries, afforded a means by which to more systematically explore therapeutic dance/movement. Five individuals with brain injuries were observed and analyzed as they participated in five weekly therapeutic dance/movement sessions and five weekly physical therapy sessions. Laban Movement Analysis (LMA) was used as the observation and analytic tool for the purpose of elucidating similarities and differences between the two interventions in relation to the five case studies. Two questions guided the inquiry: (a) What are the similarities and differences between a physical therapy intervention and a dance/movement intervention? and (b) What are the dynamics of a therapeutic dance/movement intervention? Findings revealed that the physical therapy intervention focused specifically on body level connectivity and single joint action movement from a Body perspective. In comparison, the dance/movement intervention incorporated body level connectivity in addition to the dynamics of Breath/Core Support and Grounding, Effort-Life, Spatial Intent, and Aspects of Shape, providing the spectrum of Body, Effort, Space, and Shape ( BESS) components in harmony with the Movement Themes: Whole/Part, Inner/Outer, Function/Expression, Exertion/Recuperation, and Mobility/Stability.The dance/movement intervention imparted an integrative mind-body approach to learning about one's Inner and Outer self and one's ability to cope with and connect to one's environment. Knowledge was added to the current literature at an opportune time in the brain injury rehabilitation field. Rehabilitation professionals are recognizing the need to transform current assumptions regarding the essential aspects of brain injury rehabilitation and seek additional non-medical model approaches to rehabilitation. This study offers a therapeutic modality along with a viable measurement tool that has the potential for meeting this need. Recommendations for future research are offered.
Ph. D.

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45

N'Guessan, Kombo F. "Phosphatidylserine Externalization in Pancreatic Ductal Adenocarcinoma: Elucidating Mechanisms of Regulation for Combination Therapy". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595847418811418.

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46

Samaritter, Rosemarie. "Inside the mirror : effects of attuned dance-movement intervention on interpersonal engagement as observed in changes of movement patterns in children and adolescents with autism spectrum disorder". Thesis, University of Hertfordshire, 2016. http://hdl.handle.net/2299/16572.

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The research presented in this thesis is an explorative study into the basic concepts and the effects of dance movement psychotherapy (DMP) intervention on the attunement behaviours of children and adolescents with autism spectrum disorders (ASD). From a retrospective analysis of positively evaluated single cases of DMP with ASD participants, movement markers of interpersonal relating behaviours have been formulated in terms of Social Engagement and Attunement Movement (SEAM) behaviours. These were organised into an observation scale, and used subsequently to generate nominal observation data on the behaviours of a small sample of children with ASD. Evaluation with the SEAM observation scale yielded a significant increase of SEAM behaviours in the course of the dance therapy. Retrospective analysis of the actions of the therapist throughout four single cases of DMP with ASD participants yielded a specific approach that was described as Shared Movement Approach (SMA). SMA has been specified as an improvisation based method of DMP that takes the child's interpersonal attunement and engagement behaviours as cues for the therapist to accommodate her interventions, so that the child's interpersonal relating behaviours are facilitated and supported. Through her kinaesthetically informed interventions the DMP therapist contributes to an increase of interpersonal engagement and attunement by the ASD participant from within the shared movement actions. The SEAM observation scale was explored on conceptual clarity and consistency in a group of independent movement analysts, and interrater agreement was used as an indication of its contents validity. An interval rating procedure with the SEAM scale yielded the best results on interrater agreement as expressed in Cohen's kappa. The Shared Movement Approach and the SEAM observation scale were then tested for replication of outcome on SEAM behaviours within four repeated single subject cases in a pilot study in a Dutch outpatient clinical setting. The outcome monitoring yielded the replication of increase of interpersonal relating behaviours as measured with the SEAM observation scale. Within subject therapy outcomes, although diverse in their individual profiles, were found to be significant when analysed with non-parametric tests. Group averages showed a significant increase of SEAM behaviours. The effects beyond therapy were evaluated with the somatic and social sub-scales of the Child Behaviour Checklist (CBCL) and the Social Responsiveness Scale (SRS), showing individual differences and a significant problem reduction on average. The outcomes as experienced by the juvenile participants were evaluated with the somatic and social sub-scales of the Youth Self Report (YSR), which on average showed a significant decrease of experienced social and somatic problems. The results obtained are discussed in view of current theories on experiential approaches and concepts for psychotherapy with an ASD population.

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47

Van, der Merwe Sarita. "The effect of a dance and movement intervention program on the perceived emotional well-being and self-esteem of a clinical sample of adolescents". Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27209.

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The researcher aimed to determine the effect of a dance and movement intervention on the perceived emotional well-being and self-esteem of a group of in-patient adolescents in Weskoppies Psychiatric Hospital. A quantitative study, using a quasi-experimental design, was carried out using the positive and negative affect scale for children (PANAS-C) and the Rosenberg self-esteem scale to measure the two independent variables, namely perceived emotional well-being and self-esteem. There were four participants in the experimental group and six in the control group. A between-group comparison was made between the pre-test and post-test scores of the two groups. Both groups completed the positive and negative affect scale for children (PANAS-C) and the Rosenberg self-esteem scale at which point the experimental group took part in a two week, twelve session, dance and movement intervention program. After two weeks both groups once again completed these two measures. Although the results were statistically non-significant, effect size and outcome patterns pointed to an improvement in these two variables due to the intervention program.
Dissertation (MA)--University of Pretoria, 2010.
Psychology
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48

Baptista, Andréia Salvador [UNIFESP]. "Efetividade da dança em pacientes com fibromialgia: estudo cego, controlado e randomizado". Universidade Federal de São Paulo (UNIFESP), 2009. http://repositorio.unifesp.br/handle/11600/9435.

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Objetivo: Avaliação da efetividade da dança como tratamento da dor e melhora da qualidade de vida em pacientes com fibromialgia. Métodos: Oitenta pacientes femininas com fibromialgia (FM), de 18 a 65 anos de idade foram randomizadas para o grupo dança (n=40) ou grupo controle (n=40). As pacientes do grupo de dança realizaram por 16 semanas aulas de dança do ventre duas vezes por semana e as pacientes do grupo controle ficaram na lista de espera. Foram utilizados escala analógica de dor (EVA), teste de caminhada de 6 minutos, Fibromyalgia Impact Questionnaire (FIQ), Medical Outcome Survey Short Form 36 (SF-36), Inventário de Beck, Inventário de Ansiedade traço-estado (IDATE), Questionário Body Dysorphic Disorder Examination (BDDE), as avaliações foi realizada no baseline, após16 semanas e 32 semanas. Na análise estatística foram inclusos todos os pacientes. Resultados: O grupo de dança apresentou resultados estatisticamente melhores para EVA de dor (p<0,001), teste de caminhada (p<0,001), FIQ (p=0,003), no SF-36 nos domínios dor (p<0,001), aspectos emocionais (p<0,003), saúde mental (p<0,021) e BDDE (p<0,009). Conclusão: A dança do ventre pode ser utilizada no tratamento para fibromialgia, por reduzir a dor, melhorar a capacidade funcional, qualidade de vida e imagem corporal destas pacientes.
Objective: The aim of the present study was to assess the effectiveness of belly dance as a treatment for pain and improving the quality of life of patients with fibromyalgia. Methods: Eighty female patients with fibromyalgia between 18 to 65 years were randomly allocated to a dance group (n=40) and control group (n=40). Patients in the dance group underwent 16 weeks of belly dance twice a week, while the patients in the control group remained on a waiting list. Patients were evaluated with regard to pain (VAS), function (6MWT), quality of life (FIQ and SF-36), depression (Beck Inventory), anxiety (STAI) and self-image (BDDE) questionnaire. Evaluations were carried out at baseline, 16 weeks and 32 weeks. Results: The dance group achieved significant improvements when compared to the control group in VAS for pain (p<0.001), six-minute walk test (p<0.001), FIQ (p=0.003), BDDE (p<0.009) as well as the pain (p<0.001), emotional aspects (p<0.003) and mental health (p<0.021) domains of the SF-36. Conclusion: Belly dance can be used in the treatment of fibromyalgia to reduce pain and improve function capacity, quality of life and self-image.
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Moonga, Nsamu Urgent. "Exploring music therapy in the life of the batonga of Mazabuka Southern Zambia". Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/76730.

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The use of music for healing is ubiquitous in every human community. Music Therapy, however, as the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional, may not share the same pervasive prevalence in human society. This study explored how a culturally-sensitive music therapy process may be designed among baTonga of Mazabuka, particularly in relation to the participants’ existing understandings of masabe (musical healing ritual) Participants' perceptions of musical healing rituals of masabe were explored through focus groups, as well as, if the participants were amenable, to the use of musical healing rituals. We then designed a music therapy session together. The participants expressed delight at their involvement in the study as it communicated interest in their lives. The study affirmed their worldview and how that could be incorporated into wellness responses associated with their community. The study found that baTonga rely on musical healing rituals as they are aligned to their relational cosmology and accommodates their perceptions of wellbeing. BaTonga ritual music is rich in symbolism and imagery. Because buTonga personhood might be experienced at the intersection of the individual and the community, and at the intersection of the individual, the community and the natural environment, this study found that music therapy here would benefit from drawing on ecologically-informed community music therapy approaches. A music therapist’s role in buTonga may be seen similarly to how the role of a mun’ganga (an afflicted shamanic healer) is perceived in the community. The study argues that there is indeed a place for culture-centred, culturally sensitive and inclusive anti-oppressive music therapy among BuTonga. This research study contributes to the ongoing conversation about evolving meanings, theories, approaches and practices of music therapy.
Dissertation (MMus)--University of Pretoria, 2019.
Music
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Reis, Bruna Martins 1982. "Corpo fronteira : clínica, dança, loucura - uma experiência". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/313070.

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Orientadores: Sérgio Resende Carvalho, Flávia Liberman Caldas
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Ciências Médicas
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Resumo: O presente trabalho se esboça a partir de uma formação híbrida em arte e psicologia - mais especificamente em dança e na clínica da psicologia - e propõe uma reflexão sobre um modo de intervenção no campo da Saúde Mental, situando-se na interseção entre clínica e dança, considerando ambas as práticas como disparadoras de experiências e dispositivos para a criação de estratégias de invenção de si e de outros modos de existência. Nesse sentido, buscamos cartografar a experiência de uma prática/intervenção, que ocorreu no contexto de trabalho em um Centro de Atenção Psicossocial (CAPS), serviço de Saúde Mental destinado ao tratamento e à reabilitação psicossocial de sujeitos portadores de transtornos mentais graves, da cidade de Campinas. A partir do referencial da cartografia como metodologia de pesquisa, buscamos compor um mapa dos processos criativos experimentados, trabalhando com as reverberações desta experiência como possíveis condutoras a novos territórios subjetivos. Em nosso método, mergulhamos na materialidade da experiência vivida, tentando dar visibilidade ao campo intensivo criado como vestígios dos encontros que nos fazem transformar antigas concepções e produzir novos sentidos para a vida. Alteramos os modos de trabalhar com a loucura e com a pesquisa, em um olhar atravessado pela estética dos acontecimentos sutis. De profissionais e usuários a dançarinos, saboreamos os efeitos dessa entrega, suportando suas alegrias e silêncios, ao mesmo tempo em que fazemos girar nossas dores e medos. Sustentamos, em tal experiência, a invenção de um outro tempo para os encontros no CAPS, semeando novas paisagens ¿ seja no cuidado em saúde, seja nas linguagens expressivas ¿, a fim de disparar uma clínica que insiste em desinstitucionalizar seus fazeres e amar o transitório. Assim, o texto propõe uma reflexão sobre as práticas de reinvenção do trabalho em serviços de Saúde, apontando a interseção com linguagens artísticas como potencializadora em processos de criação de práticas e intervenções mestiças, que ampliem os limites da clínica e das estratégias de produção de saúde
Abstract: This work is outlined from a hybrid education in art and psychology - specifically in dance and clinical psychology - and reflects upon a mode of intervention in the mental health field, acting at the intersection between clinical and dance considering both practices as experiments triggering for creating strategies invention of self and other modes of existence. In this sense, we seek to map the experience of a practice / intervention that occurred in a Psychosocial Care Center (CAPS), Mental Health Service for the treatment and psychosocial rehabilitation of individuals with severe mental disorders. From the cartography as a research methodology, we seek compose a map of creative processes, working with the reverberations of this experience as possible conductive to new territories subjective. In our method we dived in the materiality of lived experience, trying to give visibility to the intensive field created as traces of encounters that make us turn old concepts and produce new meanings to life. We changed our ways of working with madness and with research in a marked look for the esthetic of subtle events; we savor the effects of this delivery, supporting their joys and silences, while we rotate our sorrows and fears. We invented another time for meetings in the CAPS, seeding new landscapes. Thus, the paper proposes a reflection on the practices of reinvention of work in health services, pointing to intersection with artistic languages as extension of power in creating practical interventions and crossbreed processes that expand the boundaries of clinical and strategies of health production
Mestrado
Política, Planejamento e Gestão em Saúde
Mestra em Saúde Coletiva

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