Sprung From Dance

Sprung from dance: Dance Movement Therapy as a Form of Creative Therapy Rosemarie Samaritter

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Introduction In this text I would like to present my views on the domain of dance and movement as a means for creative therapy, as developed within my professional involvement with children and juveniles. First I will give an overview of the various aspects of the domain of dance and movement as a medium, and I will focus on some issues that in my opinion are closely linked to theories of creative processes. Next I will elaborate the creative process in movement processes. Some vignettes from practice will be used for the sake of illustration of the text. They will certainly not offer a complete image of the therapeutic situation, nor of the treatment course, nor of the therapeutic guidance. Many aspects of the work will not be dealt with in this text. Some subjects such as 'therapeutic relationship', 'treatment program and treatment methodology' of creative dance and movement therapy will be elaborated elsewhere.

The domain of dance and movement as a medium. Dance affords the development of expression and formation. Within dance and movement people may express their experiences, emotions, images, memories etc. Whenever a movement is given to a feeling or to an image, a connection is being created between inner world and outer world. Outwardly, towards others, this movement conveys something about my experiences and become a symbol out of my internal world. But simultaneously while moving it reflects back upon myself, perhaps engendering a change of my inner world. Thus, my experience of space may change by the movement performed; or my affective tension may change: had I expected that a rocking movement would soothe me, the performance of this movement may trigger my need to break out of the recurrent rocking pattern and to enter into purposive patterns of propulsive walking. Everyone will recognize the big difference that it makes for me to fantasize about an act or to actually perform it. So the expression of movement can restore or stimulate the connection between the inner and outer worlds, between which a lively exchange may be found back. Internal and external processes have then come to a correlation. Dance allows us to2 give form to images, ideas, themes etc. I consider formation as a mode of taking an effective influence upon the course of matters. The protagonist determines what the dance will look like, in which 1

This article was first published in “Tijdschrift voor creatieve therapie”, 4/90. The author is a creative dance and movement therapist and is affiliated to a non-residential mental health institution, working with both children, juveniles and their parents. 2

I use the english 'formation' for the german 'Gestaltung', as in Gadamer's usage of 'dichterische Gestaltung' which is translated as 'poetic formation' (TM, p. 105)

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environment its plot will unfold. In other words, the protagonist has an active role in determinating the sense and meaning in the movement situation. Apart from the relation between client and therapist I consider the two described aspects, viz. 'giving expression' and 'formation' of experiences, emotions, images, memories etc. as the most effective elements within creative therapy. In many clients a lively dialogue between inner and outer world has been lost. Due to events in the lived world that were painful or grieving to an extent that they had been isolated for the sake of survival. Many have fully lost their sense of influence upon their personal situation or they don't know any longer how to exert it; they can only experience themselves as the objects of other persons' performances. Their experiences with conflicts have developed into rigid patterns of action, which they also take to other contexts. In other words, these patterns are no longer adapted to the conditions of the situation at hand. A similar phenomenon can be observed in the movement patterns; in this respect the posture and movement patterns are reflections of having become like this. Creative therapy affords the contact with an medium of art in which people can be addressed with respect to their own capacities of obtaining a more active mode of dealing with their situation. Within the language of the medium they can express what is moving them, and throughout a dialogue with the therapist they can learn how to put into words the event of their being moved. In creative dance and movement therapy clients are addressed at the level of body and movement. This is to say that the therapist attunes to the movement impulses as received from the client. The therapist will try to enter into a moving dialogue with the client, and give a 'movement answer' such as to have its structure and contents match the client's expressed movements. In order to be able to do this the therapist will have to analyze the client's posture and movement patterns. Two auxiliary questions can be useful here: how does this person move? and: what moves this person? With respect to the 'what', i.e. the contents of the movement, the therapist will have to turn to the client. Together they can explore the themes that are relevant for this client. In order to investigate how a person finds his expression in movements, how he articulates himself, the therapist may use a variety of tools. Personally I prefer here the Laban movement analysis. This method is described broadly in the literature on dance therapy, and I would like to refer the reader to the bibliography. into it here. The creative dance and movement therapist uses his medium within a frame of reference that is derived from the art of dance and the movement game. These fields of movement each have their own characteristic identity, and I will discuss these with the scheme to be given below. But they also have some similarities. Thus, in both fields of movement I distinguish codified and personal movement forms. I will mean by 'codified movement forms' all types of performance practice that are already established and commonly known; these are all forms and styles that already exist, developed collectively or coming into existence in a particular period. These forms can be passed down and learned. Conversely, by 'personal movement forms' I mean all patterns that are not imitated. These movements usually arise spontaneously. In improvisations the material

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we encounter often is of this personal kind.

Scheme: 1. Dance a. Codified forms (e.g. ballet, ballroom, folk dance, breakdance, etc.) b. Personal forms (e.g. own, non-imitated dance movement) 2. Movement games a. Codified forms (e.g. established ball games, children's games, green games, etc.) b. Personal forms (e.g. self-designed games) ad 1a. Codified forms of dance Established dances usually display codified forms of expression. Communication takes place in a common shared movement language by means of symbols. A symbol represents the essence of a shared experience. The used symbols may be very concrete, consisting of acts that are in close resemblance to reality. But they may also be more abstract and be more remote from our everyday world of movements. We encounter such patterns in classical ballet, where the movements used will no longer reveal their symbolism to the average observer. Thus is it significant that in the 'ballet forms' a clear separation has grown between dancers and observers. This is unlike the development in the 'ballroom dances', where ordinary men and women can be found on the dance floor, in spite of highly specialized competition dancers. Here the dance experience and the dance performance are still in close connection, in other words, no special training is needed, while dancing the waltz, for experiencing its rocking and constraining to and fro movements in threefour time. Where dance experience and dance performance are so close, the performance of a dance, or its learning, may permit the entrance into a particular experiential world. For instance: the stamping movement patterns in the vertical axis that we can find in African dance often have a vitalizing impact upon its performers. ad 1b. Personal forms of dance. In non-imitated dance movements the dancer's personal expression is revealed. As described before we also find here the difference between the more concrete portrayal and the more abstract interpretation of impressions, images, experiences etc. With respect to the creation of a person's own dance we may use the term symbol development. The dancer is looking for signs that exteriorize his imagination or his inner world. But these movements do not become symbols or language until they are being used for communicating with another person. Signs or themes from an inner world may thus enter into the focus of attention, without necessarily also becoming the objects of a rational analysis. But the performance of the dance also constitutes a new experience. The moment of dance is of an immediate involvement; the dance reverberates upon the dancer and makes up a new experiential quality.

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An example from practice: the cat dance. This example is from a therapy with a 9 year old girl. In preceding sessions there has been a focus on the issue of 'pestering' and 'teasing'. The girl often feels attacked by others. She finds herself in the role of victim. The client (C) indicates that for today there is nothing to discuss, as the teasers stayed at a distance. When asked by the therapist (T) how she managed that, C tacitly assumes a 'defensible judo posture'. Then C starts to assume various 'strong' postures, without speaking. This dialogue develops from movements on the spot into locomotion. T's attitude is one of following and reflecting. After a while T introduces some appropriate music to provide some background and framework. Now C's movement patterns shift from judo-like into cat-like patterns, sneaking and lurking. The dancers more and more obtain a counter position. C's movements are addressed more and more towards T. By which T is led into a role of antagonist. T takes this as an opportunity for working at alternating spatial levels, now appearing smaller than C, then larger, and sometimes appearing at the same level as C. At times C giggles and drops her role, but keeps the dance going on. T understands this as a lack of experienced safety and she proposes to use masks (which had been made by C and T in a previous session). C immediately agrees. The mask is being adjusted for this dance (decorated and painted). Before the dance will be resumed T proposes to demarcate a location for each 'cat dancer', a place for oneself to recover. Eventually the dance of the 'wild cats' is performed. The music determines its beginning and its end. C's movement patterns are energetic and smooth. They evolve into more and more catlike sneaking, her arms moving with enormous swings towards her antagonist. T adopts similar patterns but she limits her involvement to an attitude of 'competition', while C's attitude is 'attack'. The differences of attitude become apparent in their mutual adjustment of timing, space and energy. Then C also introduces her voice, accompanying her movements with ''''''' sounds. C appears to grow with every moment. When the dance stops the masks are put down - the refuges are released - the space resumes its neutral qualities. In the ensuing conversation attention can be paid to C's experiences during this dance, with special focus upon what elements of it were new to her or already known. My intention in these conversations is to have C provide her own explanations and legends. My interventions are primarily aimed at facilitating/stimulating her to give words to her experiences and movements. This happens for instance by asking questions, and at times by formulating my own impressions as an interaction partner. I try to guide the client in his/her own search for the meanings of the symbols encountered in the dance, and for that reason I prefer not to give interpretations of what happened in the dance. ad 2a. Codified forms of games Established movement games usually offer codified forms of social conduct. The player's relationship with the materials

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and with the other is demarcated by the rules of the game. These offer a kind of rules of conduct. Thus I may for instance attack, defend and shield, all according to the function I am having in the game. I may experience that aggression is not always destructive, and that, instead, an attacking attitude may be very useful within the structure of a particular game. With respect to the questions 'how to deal with the materials?' and 'how to deal with each other?' a lot of safety and legitimating can be provided by the structure of games. A game easily hosts the emotional involvement that comes with these themes, as well as its functionality. This amounts to the 'authorization' of these emotions, which as a result obtain a positive label. The clients choose their role in the game according to their own needs. They may change role patterns. For instance in the course of therapy the role pattern may shift from 'game partner' to 'adversary', or vice versa. ad 2b. Personal forms of games As soon as a client starts to change established game structures or to design his own game structures, a process is emerging in which he is the one who determines how to deal with materials, with partners or opponents. By means of these structures he demarcates his relation to the materials and to the other. The experiments with various game options, the choice and selection as well as the final determination of the game's contents and rules are vital elements of this process. Whereas the personal forms of dance were characterized by an emphasis upon the symbolism of movements, hence their linguistic quality, the personal forms of games often have their emphasis on the structure, i.e. the framework in which the language is being used.

An example from practice: 'conquering the ball' This example is from a therapy with a 12 years old boy. Client (C) starts rolling the ball hesitatingly. No movement impulse or movement theme is yet apparent. Now C starts to 'manipulate' the ball. He roles it along the periphery of the room, making sudden turns or crossing suudenly the room. C demonstrates his ball skills. His attitude is one of 'showing tricks'. When the therapist (T) approaches, C pretends to run away and expel the ball. T formulates her impression of being invited to conquer the ball. C confirms this through words and movements. He starts driving the ball and shields it with his body against T. A running game develops, in which one of the players possesses the ball - the other one is supposed to conquer it. At some moments both are holding the ball with their hands. The contact between C and T takes place through touching the ball and through T's words as she describes the game activity. C's physical involvement slowly increases. C proposes a 'centerpoint' around which the game is supposed to revolve, as well as two refuges that serve as a no-attack zone whenever one is in possession of the ball. Now the game is 'ready'. it has a fixed form and clear rules. During the

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last performance it is significant that C's movement rhythm has become much more smooth and fluent. There is developed a dance-like qualitiy. T remarks afterwards that a new personal game structure has been made by C and she asks how this game should be named in order to continue it easily on a later occasion. The game is named after C.

The creative process of dance and movement There are many theories on creativity and on the course of creative processes. I will present now in brief and elementary terms G. Wollschläger's ideas on these issues, in which I recognize much of what has been described above as 'expression' and 'formation'. What keeps interesting me within this context is that he describes the artistic expression on the background of personal experience. Learned techniques operate as tools. These tools are appropriated by the performer by experimenting with their application opportunities. During this process he will discover his possibilities and his limitations with respect to the medium, i.c. dance and movement. By playing together with others or with the therapist the performer can develop a reflexive involvement; he comes to recognize how he moves and what moves him. The sensitivity for personal possibilities and limits in dealing with the medium, as well as the reflexive involvement prepare the ground for his formation in the medium or with the medium. This ground enables him to make a deliberate choice of what he would like to demonstrate and how. Wollschläger describes how this process unfolds in three stages. Stage of sensitization: -here the experimentation takes place of one's own possibilities with respect to dance -the client is faced with material and social problems -possibilities and limits in dealing with dance are recognized with respect to both oneself and others -the client develops a sensitivity for new, forgotten or lost opportunities of expression, communication and information. Stage of reflection: -here the client becomes aware and starts to appreciate his own possibilities within dance qua medium, as found in stage 1. Stage of synthesis: -the opportunities as encountered in free play and dance are further processed and formed; -the client articulates by 'dancing language' -a new balance is found in the praxis and formation as performed by the client; this balance is between the preexisting possibilities and the influence of development and environment on the one hand, and on the other hand the newly found opportunities in dealing with the medium; -during formation one's own situation becomes more controllable. The development between these three stages according to Wollschläger makes up a dialectical process. The thesis consists of the pre-existing influences and problems from the life world; the antithesis consists of the new opportunities as found in playing with the medium; the synthesis consists of the development of strategies for action, such that old and new experiences are brought together as to make up a new

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coherence. Wollschläger's ideas have been a valuable support for me in guiding creative movement processes. Accordingly, in the scheme to be given below the impact of his theories can be recognized. There is a substantial concordance with respect to the general lines. However, I prefer some intermediate stages that he does not mention. Also I relate the moment of reflection not only to the formation but to the entire movement process. This arrangement may be strongly coloured by therapeutic application. Below we find an outline of the steps in the creative movement process, as I often find them to recur in therapeutic praxis. Let me add to this that no pair of processes take similar courses. Every creative situation develops into its own unicity; time and again a client grows and unfolds into his own variations. The present scheme is helpful for me to find my own orientation in these matters. a. Directing attention to the body/the movement - this happens for instance during the changing of clothes, but also during the warm up, through the therapist's attitude, the verbalization of movement phenomena, - the space and the location have a supporting effect. b. Engaging into movement impulses this can be done verbally when the therapist guides the client with words this happens nonverbally by attuning to the client's movements, as in mirror and shadow games. in more complex forms this may happen by offering movement situations in which the client's movement needs and movement patterns are the starting point for improvisation c. Developing movement themes in improvisations or in games there are accents that may emerge: the therapist will encourage the client to pay attention to those elements that are recurrent music or materials may be helpful here; they can offer a frame, or they may direct and structure the movements d. Formation of the movement material the theme as emerged from improvisation is elaborated; this may result in the creation of a game or a dance; the movement material found is further processed within relevant structures, e.g. direction, pace, shape, but also plot, course, environment, role assignments, rules of the game.... e. Reflecting on the movement process the movement theme and the way it is dealt with are put into focus and discussed with respect to their relevance and impact for the personal process -

links are made to other situations, if possible, by investigating whether the movement situation resembles other situations

f. Transition to everyday life farewell to the therapeutic situation and attuning to what comes next

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With respect to all these items we are looking for the client's needs, their expression is facilitated. Thus the client is getting involved in the exploration into the origins of his 'being thus' (''''technische term,opzoeken in heidegger-vertalingen!). Vital and positive motives might come up, as well as negative motives, or those that hinder personal development. The connection between needs and need fulfillment is discussed with the client. It is investigated which context is needed for the client to be able to manage his own needs. During this explorative journey the therapist operates as a guide or a coach, sometimes as a partner on the road. He will need a thorough equipment next to his creative therapy tools, in order to be able to analyze the movement situations and use them for an adequate proposal to the client. Thus far these general notes on dance and movement as a medium domain within creative therapy. The potentialities of this young discipline will have to be elaborated further, thus making a moved contribution to the field of creative therapy.

Summary This article presents some notions that are basic to creative dance and movement therapy. Both dance and movement are subdivided into personal and codified patterns. Examples from practice are given as illustrations. Subsequently an outline is given of the development of movement processes as encountered in the therapeutic practice. The ideas presented are based upon the author's work with children and adolescents in a mental health centre.

References Chaiklin, S. "Dance therapy", in: S. Arieti (ed.), American handbook of psychiatry, vol. 5. Basic Books, New York, 1975. Feder, E., B. Feder, The expressive arts therapies. PrenticeHall, Englewood Cliffs, N.J., 1981. Grabau, E., H. Visser, Creatieve therapie. Van Loghum Slaterus, Deventer, 1987. Haselbach, B., Improvisation - Tanz - Bewegung. Stuttgart, Klett, 1976 Michaelis, H. U. Treess, "Lernbereich, Bewegungsspiel und Sport", Beltz, Weinheim, 1974. NVAGG, "Kreatieve therapie/kreatief therapeut". Utrecht, ref.nr. AG 821942 cp/kv/vt, 1982. Wollschläger, G., Kreativität und Gesellschaft. Fischer TB, Frankfurt, 1972.

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