Introduction to Creative Arts Therapies and Dance/Movement Therapy, May2019

Creative Arts Therapies in
Mental Health Services
Ethical Implementation of Dance/Movement Therapy and
Other Expressive Modalities with Our Clients
Sara R. van Koningsveld, MA, APCC, BC-DMT, GL-CMA, RYT 200
CATs Training; May 2019

Learning Objectives
By engaging in this workshop, participants will:
 …gain an understanding of the history and purpose of
various creative arts therapites (CATs), including
dance/movement therapy.
 ...develop foundational knowledge and skills in the
mind-body connection, from a dance/movement
therapy perspective.
 ...learn basic interventions and techniques for using
dance/movement therapy in skill building and the
therapeutic process with clients.

Movement Experiential
Adjectives

What are CATs?
 National Coalition of Creative Arts Therapies Associations
(NCCATA)
 Art
 Dance
 Drama
 Music
 Poetry
 Psychodrama
 Other Creative/Expressive Arts Therapies
 Bibliotherapy
 Play
 Sandplay

Introduction
 Who has:
 …taken a course in a CAT?
 …taken a training in a CAT?
 ...interest in becoming certified/licensed in a CAT?
 ...desire to use more CATs in their work?

What are CATs?
 Art
 1969: American Art Therapy Association
 Art therapy is an integrative mental health and human services
profession that enriches the lives of individuals, families, and
communities through active art-making., creative process,
applied psychological theory, and human experience within
psychotherapeutic relationship.
 Master’s degree or higher in AT
 currently transitioning from educational program approval to
educational program accreditation
 Credentials: ATR- Provisional; ATR; ATR-BC; ATCS
 States with licensing: New Jersey, New Mexico, Kentucky,
Mississippi, Maryland, Oregon
 States with regulations under professional licensing: Texas,
New York, Wisconsin, Utah
 www.arttherapy.org

What are CATs?
 Drama
 1979: North American Drama Therapy Association
 Drama Therapy is active and experiential. This approach can
provide the context for participants to tell their stories, set goals
and solve problems, express feelings, or achieve catharsis.
Through drama, the depth and breadth of inner experience can
be actively explored and interpersonal relationship skills can be
enhanced. Participants can expand their repertoire of dramatic
roles to find that their own life roles have been strengthened.
 Masters degree or higher; alternative training
 RDT; BCT
 States with licensing : New York (LCAT)
 www.nadta.org

What are CATs?
 Music
 1998: American Music Therapy Association
 1950-1997: National Association for Music Therapy
 1971-1997: American Association for Music Therapy
 Music Therapy is the clinical and evidence-based use of music
interventions to accomplish individualized goals…Music therapy
is an established health profession in which music is used
within a theratpeutic relationship to address physical,
emotional, cognitive, and social needs of individuals.
 Bachelors degree or higher; alternative training
 MT-BC
 www.musictherapy.org

What are CATs?
 Poetry
 1980: National Association of Poetry Therapy
 1969: Association of Poetry Therapy
 Poetry therapy is a specific and powerful form of
bibliotherapy, unique it its use of metaphor, imagery,
rhythm, and other poetic devices.
 Bachelors degree or higher; alternative training
 CPT; RPT
 www.poetrytherapy.org

What are CATs?
 Psychodrama
 1942: American Society of Group Psychotherapy and
Psychodrama (ASGPP)
 ASGPP [Psychodrama] promotes the development of creativity,
spontaneity and encounter to enhance the relationship between
individuals, families and communities, and works actively to
heal and transform society through the knowledge and practice
of psychodrama, group psychotherapy, and socimetry in all its
diverse applications.
 Certification
 www.asgpp.org

What are CATs?
 Dance/movement therapy (DMT)
 1966: American Dance Therapy Association
 DMT is the psychotherapeutic use of movement [and
expressive use of the body] to further the emotional,
cognitive, physical, and social integration of the individual.
 R-DMT; BC-DMT
 www.adta.org

Dance/Movement Therapy
 Movement is the primary medium used for observation, assessment,
research, therapeutic interaction and intervention.
 Focus on helping clients: increase self-awareness and self-control, improve
self-esteem and body image, develop effective communication skills and
improve relationships, expand their movement vocabulary, gain insight into
patterns of behavior, as well as create new options for coping with problems.
 Philosophy:
 Movement integrates and anchors new information and experiences into our neural
networks. And movement is vital to all the actions by which we embody and express
our learning, our understanding, and ourselves.
 Every movement is a sensory-motor event, linked to the intimate understanding of
our physical world.
 Through movement we can put thoughts and emotions into words and actions and
enrich the world with our creative ideas.
 If we consider that consciousness is actually experience in the present moment, then
movement and being conscious to learning are synonymous.

 Roots in early 1900s, with modern dance, creative/interpretive self-
expression, and improvisation
 1940s and 1950s merger of modern dance movement and existing
theories of group and individual psychology and psychotherapy
 Primarily in mental health wards
 Psychology theorists and DMT
 Freud: Body and emotions
 Reich: Psychosomatic expression
 Jung: Unconscious mind, imagination
 Rogers and Maslow: Personality, motivation, creative and
expressive potential
 2000: National Board of Certified Counselors recognition as a form
of counseling.

 Children
 0-5: Attunement and mirroring
 Latency: Social skills and play
 Adolescents
 Identity and self-expression
 Adults
 Integration, change, and healing
 Groups
 Boundaries, safety, and containment

 Developing therapeutic relationships:
 Mirroring/echoing
 Verbal attunement
 Eye contact
 Boundaries:
 Establishing
 Reinforcing
 Verbal processing/reflection

Dimensional Scale

The Body-Mind Connection
 Body is the physical substance.
 Mind is “the patterns in the flow of energy and
information” due to neural activity of the brain
(Siegel, 1999, p. 3).
 Shared experiences – shared mind.
 Personal and professional relationships

Body Awareness
 Kinesthetic Sense/ Kinesthetic Awareness:
felt/sensory experience allows the mind to assess
and interpret a situation, take action, and respond
accordingly (movement which is interpreted by
others).
 Humane Effort…enables us to learn, grow, and
change in movement, building awareness of the
relationship between mind and body (Laban, 1988).

Movement Observation and Analysis
 Laban Movement Analysis
 Categories
1. Body: What
2. Effort: Why
3. Shape: How
4. Space: Where
 Labanotation
 Body Knowledge / Body Prejudice
 Moore and Yamamoto (1988): “knowledge we have regarding
movement meaning” … “based upon generalizations drawn
from our own embodied experiences” (p. 88).

Movement Observation and Analysis
 Bartenieff Fundamentals
1. Total Body Connectivity
2. Breath Support
3. Grounding
4. Developmental Progression**
5. Intent
6. Complexity
7. Inner-Outer
8. Function-Expression
9. Stability-Mobility
10. Exertion-Recuperation
11. Phrasing
12. Personal Uniqueness

Developmental Progression
 Breath
 Core-Distal Connectivity
 Head-Tail Connectivity
 Upper-Lower Connectivity
 Body-Half Connectivity
 Cross-Lateral Connectivity

Developmental Movement

What is ethical?
Arts In Healthcare
• Dance Artist
• Dance is the Goal and
Enhanced Health is the Result
• Dance is the container of content
• Dance services, relationship
though social support and well-
being in healthcare settings
• NO psychotherapy
• NO assessment of movement
• NO reciprocal movement
relationship through dynamic
assessment and intervention
• Creative opportunities,
expressive outlet, and distraction
as a tool for stress management
Creative Arts Therapies
• Dance/Movement Therapist
• Health is the Goal through
Psycho-therapeutic and
Movement Relationship
• Integrated blend of arts and
counseling
• Dance and therapeutic
relationship contains the content
• Bio-psycho-social and
movement assessment for
intentional verbal/non-verbal
intervention and evaluation
• Reciprocal movement
assessment & intervention key
• Mutual and Bi-Directional
Body-Mind Relationship
• Meaning making
Creative Arts In Counseling
• Counselor using Dance
• Health is the Goal through
Psycho-therapeutic relationship
• structured use of dance for
enhancing counseling
• Therapeutic relationship is the
container of content
• bio-psycho social assessment for
intentional verbal intervention and
evaluation
• patient-centered care
• NO reciprocal movement
assessment and intervention
(Imus, 2012)

What is ethical?
How do I differentiate therapeutic from therapy?
(Imus, 2012)

Space Bubbles

Mirroring

Statues

Witness/Observer

Discussion
 Are their movement-based interventions you currently
use/have used?
 What intervention that we explored today could you see
yourself using in your practice?
 How can you integrate CATs into your work?
 What are barriers to using DMT/CATs in your work?
 Are there topics/themes you want to know more about
from today’s workshop?

Resources
Boritzer, E. (2014). What is a feeling? Los Angeles, California:
Veronica Lane Books.
Hackney, P. (1998). Making connections: Total body integration
through Bartenieff Fundamentals. New York, New York:
Routledge.
Imus, S. (2012). Presentation on the ethical use of dance and
movement in health and healing professions. Chicago, Illinois.
Kornblum, R. (2003). Disarming the playground: Violence prevention
through movement & pro-social skills. Bethany, Oklahoma: Wood
N Barnes
Laban, R. (1988). The mastery of movement (4th ed., rev.). Plymouth,
England: Northcote House Publishers Ltd.

Resources
Moore, C.-L. (2009). The harmonic structure of movement, music, and
dance according to Rudolf Laban: An examination of his unpublished
writings and drawings. Lewiston, NY: The Edwin Mellen Press.
Moore, C.-L. & Yamamoto, K. (1988). Beyond words: Movement
observation and analysis. New York, NY: Routledge.
Newlove, J. (1993). Laban for actors and dancers. New York, NY:
Routledge.
North, M. (1975). Personality assessment through movement. London,
England: Plays, Inc.
Siegel, D. J. (1999). The developing mind: Toward a neurobiology of
interpersonal experience. New York: Guilford Press.

Introduction to Creative Arts Therapies and Dance/Movement Therapy, May2019

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