This document is a thesis proposal that explores using dance/movement therapy to support the development of high school students with learning disorders. The proposal includes an introduction outlining the connection between movement and human development. It notes that movement helps structure the brain and that using targeted movements may help students with learning disorders progress in their development. The literature review discusses research supporting the link between movement and cognitive functioning. The proposal aims to study how incorporating dance/movement therapy into the Individualized Education Programs of 9th grade students diagnosed with learning disorders impacts their development.

1. PROGRESSIVE EXPRESSION 1
PROGRESSIVE EXPRESSION: USING DANCE/MOVEMENT THERAPY TO INFLUENCE
AND SUPPORT TYPICAL HUMAN DEVELOPMENT OF HIGH SCHOOL STUDENTS
WITH LEARNING DISORDERS
A Thesis Proposal
Submitted by
COURTNEY ANN ROMANOWSKI
For the degree of
Masters of Arts in Expressive Therapy
LESLEY UNIVERSITY
GRADUATE SCHOOL OF ARTS & SOCIAL SCIENCES
23 April 2014

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TABLE OF CONTENTS
Chapter 1: INTRODUCTION ……………...…………………………………………………. 3
Chapter 2: LITERATURE REVIEW ………………………………………………………… 8
Chapter 3: METHOD ……………………………………………………………………….... 13
Chapter 4: FURTHER STUDY ……………………………………………………………… 17
APPENDIX A: Interview Questions ……………………………………………………….... 18
APPENDIX B: ResearchInformed Consent Form ………………………………………… 19
REFERNCES …………………………………………………………………………………. 21

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CHAPTER ONE
INTRODUCTION
Movement is the very basis of what makes us human. Developmental benchmarks are
represented by how we move at a certain ages; these benchmarks correspond with social,
emotional, and cognitive development as well. The central nervous system is structured and
restructured with every move the body makes. As development continues, these structures create
cognitive patterns that form the way we think, feel, move, and behave; repeating the movements
that structure the central nervous system only makes these patterns stronger (Berk, 2012). For
individuals with learning disorders, these structures are either not strong or are not present,
making it so that functioning – whether it is cognitive, emotional, physical, or behavioral – is
difficult or not achievable. As a dance/movement therapist who is aware of the important role
that movement plays in typical human development, I cannot help but wonder if exercising
movement with atypically developed individuals would prove beneficial to progress their
development. By using movement that corresponds to the last human development benchmark
reached to solidify the patterns that are present in the individual’s central nervous system, and
then building upon these movements to structure new patterns, will the individual be able to
progress his development to the next benchmark? Can using movement with individuals
diagnosed with learning disorders give them the tools they need to reach their fullest potential?
As the daughter of a teacher, I have always been one to appreciate that people learn and
progress in their own ways and at their own pace. As a dance teacher I apply this to my students
as I do not expect them to master movements and perform at a level that is beyond their abilities;
I refuse to ask them to do anything that they are not capable of doing. That said, I believe that it
is sometimes necessary to challenge a student to try something that she may believe to be beyond

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her ability; doing so may get her to take the first step in progressing her development in order to
reach her fullest potential. This is a responsibility I hold as both a teacher and now also as a
dance/movement therapist. I believe that challenging someone also means supporting and
encouraging them throughout their journey to meet this challenge – a journey that is made up of
small steps that most certainly include struggles, plateaus, and surges; a journey that will
eventually lead the individual to develop the tools he needs to meet and succeed in these
challenges. By starting with what he knows and is capable of doing, he can be open to new ideas
and new ways of relating to himself, to others, and to his environment; through repetition and
building upon what it is he can do, he can ascend the developmental steps that will take him to
his fullest potential as a moving, thinking, feeling, and socializing being.
Though my graduate level course work has taught me about the role movement plays in
human development, I was not as aware of the depths of this concept throughout my first year
dance/movement therapy internship. In the course “Body/Movement Observation and
Assessment”, we studied the work of dancer, physical therapist, and dance therapy pioneer
Irmgard Bartenieff. Bartenieff’s work includes a system of body work that encourages full
functioning. The series of movements were developed and are sequenced to match the main
movement sequences of human development because “every human being is physiologically
mandated to fulfill certain developmental tasks bodily in order to be fully functional and
expressive” (Hackney, 1998, p. 13). Hackney (1998) goes on to say that when developmental
tasks are not achieved, the individual cannot effectively move on to the next stage of
development, leading to later problems that may present cognitively, physically, emotionally,
and/or behaviorally. I have used Bartenieff’s Fundamentals myself and can acknowledge the
differences they made in my physical, emotional, social, and cognitive patterns. If utilizing these

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movements can make a difference for a typically developed individual such as myself, could
they do the same for those who have developed atypically?
Though not a dance/movement therapy theory or technique, Brain Gym supports the
concept of the body/mind connection. More specifically related to my study, Brain Gym was
developed as a program to help children diagnosed with learning disorders; its primary goal
being to facilitate learning by strengthening the brain through movement. Its use has shown itself
through:
…heightened focus, more discreet listening skills, as well as positive shifts in balance,
memory, vision, self-expression, attitude, attention, creative problem-solving, and
organization. Anecdotal accounts of Brain Gym's capabilities show it has been used to
improve a fifth-grader's reading level…and dramatically change the language skills of a
child struggling to express himself. (Osborn, 2005, p. 139)
Blanning (2010) tells us how movement builds the brain; according to her article, “neurological
research confirms that the movements children go through in work and play create important
neural pathways and foster brain development” (p. 41). Furthermore, it has been found that
physical movement of any kind increases the number of capillaries and the amount of oxygen in
the brain, both of which enhance cognitive performance (Sousa, 2006). So with all of this
research connecting movement with the cognitive functioning of the brain and expressive,
physical, and behavioral functioning of the individual, why is movement not included in more
learning programs for students with learning disorders?
During my second and final year as a dance/movement therapy student I interned with
Lesley University’s Threshold Program, a college-based program that provides work/life skills to
students diagnosed with developmental disabilities including learning disorders. While working

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with these students I witnessed the different struggles they have. These students have cognitive
difficulties but they also struggle to connect with themselves emotionally and physically, as well
as with others socially. In the dance/movement class I taught to these students I was able to
witness the movement patterns that these students lack, and was able to assess how these
absences in movement correlate with absences in their cognitive and social abilities. As I worked
with these students I eventually witnessed positive changes both in and outside of class. Just as
Duggan, Stratton-Gonzalez, and Gallant (2009) note, these changes were emotional, motor,
cognitive, and social. I began to wonder if it was the positive learning experience I had created
through the dance/movement class that, along with the other services they receive, elicited
positive changes for these students?
Thus my curiosity in how movement affects the overall being of an individual came to its
current state. All of the literature and past studies I have come upon while doing research
recognizes that movement is crucial to human development. Unfortunately, most of the literature
and studies are based off of early childhood education, and state that using movement exercises
with young children – both of typical and atypical development – benefits their physical
development; very little is said on using movement with older students, or how movement is a
factor in the development of the emotional, cognitive, and social self as well. I feared that this
literature was discreetly telling me that once a student is of a certain age it is too late to progress
his development. However, in the back of my mind I know through my graduate studies and
through the time I spent working and moving with the students of the Threshold Program that
development can progress at any age.
I do not believe that using movement will “cure” any student of his learning disorder. But
dance/movement therapy as part of a student’s Individualized Education Program could partner

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well with the other educational services that a student may receive by using movement to freshly
paving the structure of the brain in order to reawaken and energize the patterns needed to learn,
interact, express, and move.
Fortunately I have found that Duggan, Stratton-Gonzalez, and Gallant’s (2009) dance
education program with New York City public schools has successfully implemented movement
into the Individualized Education Programs of students with disabilities. They have found that:
A natural alignment occurs between many of the Individualized Education Program (IEP)
goals of the student with disabilities and creative dance experiences. This alignment is
not limited to the physical domain, but extends into many IEP categories: cognitive and
social/emotional, as well as speech and language and mathematics. (p. 45)
Schools that integrate the arts, including dance and movement, into its curriculum have students
who learn well, who more easily relate to one another as well as to their teachers and parents,
and who become more emotionally involved in their own lives (Sousa, 2006). I again ask, if
utilizing dance and movement can make a difference for a typically developed student, what can
it do for the atypically developed student?
The fact that learning happens in the brain as well as in the body needs to be stressed to
teachers, schools, and parents. As Osborn (2005) shares, “Sensations, movements, emotions, and
brain integrative functions are grounded in the body. The human qualities we associate with the
mind can never exist separate from the body” (p. 141). With all of this information, I have
become more and more curious in the effects that movement may have on the progression of
development for students with learning disorders. Therefore, my study is based on exploring the
experiences of 9th grade students diagnosed with learning disorders when dance/movement
therapy is part of their Individualized Education Programs.

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CHAPTER TWO
LITERATURE REVIEW
In this thesis proposal, the terms “dance/movement therapy” and “dance/movement” are
used interchangeably. These terms are defined by the American Dance Therapy Association
(2009) as, “the psychotherapeutic use of movement to further the emotional, cognitive, physical
and social integration of the individual” (About Dance/movement Therapy). Also found
throughout this proposal is the term “learning disorder” is used instead of “learning disabilities”
but with the same meaning; it is defined by the Learning Disabilities Association of America
(2014) as:
a neurological condition that interferes with an individual’s ability to store, process, or
produce information. Learning disabilities can affect one’s ability to read, write, speak,
spell, compute math, reason and also affect an individual’s attention, memory,
coordination, social skills and emotional maturity. (Defining Learning Disabilities).
Dance/movement techniques discussed in the proposal are defined when used.
Berk, L.E. (2012). Infants, children, and adolescents (7th ed.). Boston, MA: Allyn & Bacon.
This textbook discusses in detail human development from prenatal through adolescence.
Within the “Cognitive Development in Middle Childhood” chapter is a discussion on
teaching children with special needs. It gives a basic definition of “learning disabilities”
with no mention of the physical, emotional, social, and/or behavioral disadvantages that
may also be present. It speaks to the importance of specialized classrooms and
educational services for students who are diagnosed with learning disorders; however
there is no mention of using dance/movement as part of a student’s Individualized
Education Program.

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This book will be useful in my study to assist in defining the developmental levels of my
study’s subjects, to compare them to the developmental level of a typically developed
individual of the same age, and to prepare a plan for integrating appropriate
developmental movement interventions within each session of the study.
Bernheim, K.F., Rescorla, L., & Rocissano, L. (Eds.). (2010). Dyslexia: The case of Ned L. In
The LANAHAN cases in developmental psychopathology (2nd ed.) (pp. 39-45). Baltimore,
MD: Lanahan Publishers, Inc.
The chapter includes a case study of a student diagnosed with dyslexia as well as a
summarization of the developmental aspects of learning disorders. The case study is
about a fourth grader, Ned L., and the academic, social, and behavioral challenges he
exhibited both in and out of school. The study goes through the process of determining
Ned L.’s diagnosis; at first thought to be mainly a behavioral issue, Ned L.s’
developmental history along with relevant testing helped to determine his diagnosis of
dyslexia. Ned L. did not speak until the age of 3, and even then he had limited vocabulary
and was hard to understand; he also had a hard time relating to his peers and had a
tendency to be emotionally unstable.
The study does not go into much detail about the special education services Ned L.
received; this makes it hard to apply the case study to my research. The only relevant
information is the brief mention of how learning disorders may also affect students
emotionally, socially, and behaviorally as well as cognitively. Again, there is no mention
of what educational services are best suited for students with learning disorders.
Blanning, N. (2010). Movement in early childhood: Developmental magic? Or nourishment?
LILIPOH 15 (59), 41.

10. PROGRESSIVE EXPRESSION 10
In this brief article, the author stresses the importance of movement in human
development. More specifically, Blanning discusses how creative movement through free
play is much more beneficial for children than directed movements found in dance
classes and sports. The article comes off as an opinion piece, as Blanning overstates her
belief that society’s cautious ways and frequent use of media are affecting the balance
and coordination of its children. Though the article is short, the direct mention of brain
development through movement can be used to support my research; it does not discuss
the use of dance/movement in the classroom or with students diagnosed with learning
disorders.
Duggan, D., Stratton-Gonzalez, S., and Gallant, C. (2009). Dance education for diverse learners:
A special education supplement to the blueprint for teaching and learning in dance. (J.
Finkelstein (Ed.). New York City Department of Education.
This is a resource guide for New York City public schools that integrate movement and
dance into their curriculum; the guide can be used by classroom teachers or by dance
teachers who run this program in each school. The program is specifically geared towards
students grades Pre-Kindergarten through 12th that are receiving special education
services, however it stresses that dance and movement can benefit any student. The guide
gives specific lesson plans and movement directives for teachers, as well as information
on how the dance teacher can assimilate herself into the Individualized Education
Program team.
In support of my study, the guide discusses how movement and dance directly address
students’ behaviors and challenges by providing a supportive environment that helps
students develop their cognitive, physical, and social skills. The fact that this guide exists

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and that it is used throughout an entire public school system suggests that it has been
proved that movement is an integral part of development, especially for students with
special needs.
Hackney, P. (1998). Making connections: Total body integration through Bartenieff
Fundamentals. New York, NY: Routledge.
This book details the process and function of the Bartenieff Fundamentals, a movement
approach that was formed to connect the mind, body, and soul. The exercises that make
up the Fundamentals are based off of the movements involved with human development
and that are believed to influence the individual’s ability to express himself and to
interact with others and the environment.
Though the book does not discuss how movement affects cognitive learning, the entire
book reflects the type of movement exercises I will be using with the subjects of my
study; my use of these exercises – both personally and with my dance students - directly
influenced my curiosity in the relationship between movement and human development.
This book may help me to better verbalize that usage of the exercises within my study as
well as support the importance of the connection between the body, mind, and soul.
Osborn, K. (2005). Brain Gym: Walking the mind through the body. Massage and Bodywork 20
(4), 138-144.
Brain Gym is a movement program that stimulates and prepares the brain for maximum
learning ability. The program was initially designed for young school children with
learning disabilities; it has been found to be beneficial for people of any age and
cognitive ability. The article argues for the use of Brain Gym by informing the reader of

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the neuroscience proof connected with the program; it gives specific examples of
movements and their effects on brain development.
This is an important article to include in my research as it directly correlates with the
entirety of my study. The article presents the body/mind connection, the use of movement
in the classroom, and brain development through quantitative research as well as through
success stories of students who used Brain Gym and achieved higher academic success.
Sousa, D.A. (2006). How the arts develop the young brain. The School Administrator, 11 (63).
Retrieved from https://www.aasa.org/SchoolAdministratorArticle.aspx?id=7378
This article argues the importance of the use of the arts in all education curriculums. The
author evaluates the effects of music, art, and movement on the development of
cognitive, physical, emotional, and social skills and behaviors in children. It identifies
that any physical movement is beneficial for the students, merely listing dance as an
option for movement.
The article mentions how movement benefits cognitive development and supports
learning in the classroom and therefore supports the overall scope of my study. It calls
upon other research that has found how the use of the arts in the classroom prime students
for learning, however it does not specifically mention the use of the arts with students
who are diagnosed with learning disabilities and moreso focuses on the importance of the
arts in early childhood education.

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CHAPTER THREE
METHOD
Using an arts-based and quantitative approach, the purpose of this study is to discover
what happens, if anything, when dance/movement therapy is used to support students with
learning disorders.
Pre-study Interview
Within my initial search to find any research that has already been done, I discovered Dr.
Diane Duggan. Dr. Duggan is a licensed psychologist, registered dance/movement therapist,
NYCDOE Dance Educator, and faculty member at New York University (NYU) at which she
designed and instructs the course “Dance for the Special Child”. She also conducts a therapeutic
dance program at a special educational high school in the South Bronx and is one of the writers
of Dance Education for Diverse Learners: A Special Education Supplement to the Blueprint for
Teaching and Learning in Dance for the New York Public School System. I have decided to
interview Dr. Duggan before beginning the active components of my study in hopes to get some
insight on using dance/movement therapy with high school students diagnosed with learning
disorders.
Depending on availability, I would prefer to travel to New York University to interview
Dr. Duggan in person. From this interview I hope to gain a general perspective on the correlation
between dance/movement and learning, on Duggan’s usage of dance/movement in the classroom
as well as the experiences of her students, and on how she used her work to promote the use of
dance/movement for children with learning disorders so that I may someday do the same with
my research. I expect that the interview will become a discussion that goes beyond the scope of

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the developed questions, and I hope to observe her course at NYU and perhaps even the class she
teaches at the special education high school in the South Bronx.
Structure of the Study
In order to study the experiences of 9th graders who receive dance/movement therapy as
part of their Individualized Education Programs (IEPs), I will enter into a Specialized Instruction
classroom of an unspecified Massachusetts public high school. Participating in the study will be
ten 9th graders whom require specialized education in one or more of the following areas:
English, Literacy, Math, Speech and Language; the students’ specific learning disorder diagnoses
will not be disclosed. My participation level will be high. I will lead the participatory
components of the study and will also serve as the observer, data collector, and data reporter.
One other dance/movement therapist will serve as a co-leader in order to assist in modeling
movement, in making movement observations, and in collecting data in order to safeguard any
errors that may occur when processing the quantitative data.
The students will meet with me during the first block of their schedule (55 minutes) every
day throughout the entirety of the academic year. They will continue to receive any other
services that are part of their IEPs and will continue to follow their regular school schedule. The
dance/movement therapy session will be made up of three sections – a warm-up, an expressive
exercise, and a closing. The warm-up will include a predetermined set of movement exercises
that reflect the progression of movement throughout human development; the exercises will be
based off of those used in the Bartenieff Fundamentals and in Brain Gym. These exercises will
remain the same throughout the course of the school year and will be done within the first twenty
minutes of class. The expressive exercise for each week will provide its own theme, ranging
from intrapersonal to interpersonal understanding and relating. The purpose of this work is for

15. PROGRESSIVE EXPRESSION 15
each student to discover and explore him/herself as an individual and then to expand this into an
exploration of their relationship to the group. The closing ritual will last approximately ten
minutes and will consist of me and the students coming together into a circle to verbally and/or
nonverbally check-in with each other. Each session will conclude with a few minutes of
stretching and deep breathing that I lead.
Data Collection
Every dance/movement therapy session will be videotaped in order to document the
movements and behaviors of each student throughout the school year. Three times throughout
the year each student’s movements and behaviors from each session’s three sections (warm-up,
expressive exercise, and closing) will be compared. The third comparison will be at the end of
the year, and it will be at this point that a final video will be produced that displays any changes
in each student’s movement and behavior; these differences will be displayed by a split screen
comparison, one side showing video from the start of the school year and the other side showing
video from the end of the school year. A split screen comparison will be shown even if there are
no visible differences in the students’ movements and behaviors. Students will also be given the
chance to reflect on their experiences through movement, writing, or verbal expression. These
reflections, including any that are written, will be videotaped as well for use as documentation;
original copies of students’ reflections will be returned to them to do with as they like. Though
names will never be displayed and any verbal use of names will be muted over, students and their
parents will be asked to sign a Research Informed Consent Form before being video-taped.
For the quantitative aspect of my study, participants, their parents, and their teachers will
complete a scaled survey four times throughout the year in order to assess each student’s
academic, social, emotional, and intrapersonal behaviors. The final data collection will result in a

16. PROGRESSIVE EXPRESSION 16
master assessment of each student that will finalize any changes that did or did not occur. At this
point the original four surveys for each student will be destroyed. Though the assessments will
have the initials of each student on them, they will not be displayed in any academic presentation
of the study.

17. PROGRESSIVE EXPRESSION 17
CHAPTER FOUR
FURTHER STUDY
This specific study is one which I would like to carry out more than once. Considering
that every individual experiences something differently, I do not think that a single trial would
provide a definitive assessment of the effects of dance/movement therapy as part of an
Individualized Education Program for high school students with learning disorders. It could
prove profitable to bring this study to public high schools in different socio-economic
neighborhoods as well as to private, therapeutic high schools to considerand assess any possible
cultural factors that may affect the experiences of the students. All aspects of the study would be
kept the same, from trial size to session structure and data collected.
I would also be interested in using this as a longitudinal study with the original group of
students throughout their entire high school career, hence the importance in the original study
being done with 9th grade students. Continual use of the original study would be based on the
final assessment of the students at the end of the first school year. A longitudinal study may
better represent the usefulness of dance/movement therapy as part of an Individualized Education
Program.
If these further studies prove dance/movement therapy to be beneficial for high school
students with learning disorders I would like to use the same study with Pre-Kindergarten
through fifth grade students who are diagnosed (or suspected to be) with learning disorders. My
curiosity would lie in the idea that if high school students who have had learning disorder
diagnoses for years can benefit from dance/movement therapy as part of their Individualized

18. PROGRESSIVE EXPRESSION 18
Education Programs, what would the developmental reaction of younger students who have
dance/movement therapy as part of their early intervention program be?
APPENDIX A
Interview Questions
Questions for Dr. Diane Duggan, licensed psychologist, registered dance/movement
therapist, NYCDOE Dance Educator, faculty member at New York University, and co-writer
of Dance Education for Diverse Learners: A Special Education Supplement to the Blueprint for
Teaching and Learning in Dance for the New York Public School System:
1. At what point in your training/work did you realize that there is a correlation between
dance/movement and learning in the classroom?
2. Could you please describe the dance program you conduct at the South Bronx high school?
What have been your experiences and what have been the experiences of the students?
3. In Dance Education for Diverse Learners: A Special Education Supplement to the
Blueprint for Teaching and Learning in Dance, you state that “Although not a required member
of an IEP Team, the dance teacher may be included in the IEP review process to offer his/her
insights into the student’s capabilities and behaviors”. What have the experiences been of dance
teachers trying to include themselves as members of an IEP Team?
4. How can a dance/movement therapist promote the use of dance/movement for students
with special needs/learning disabilities? In other words, how did you get the New York Public
School System to not only acknowledge the benefits of dance/movement for students with
special needs/learning disabilities but include it in the public school curriculum?

19. PROGRESSIVE EXPRESSION 19
APPENDIX B
Research Informed Consent
You are invited to participate in the research project titled “Progressive Expression: Using
dance/movement therapy to influence and support typical human development of high school
students with learning disorders”. The intent of this research study is to discover what happens, if
anything, when dance/movement therapy is used to support students with learning disorders.
Your participation will entail participating in dance/movement therapy every weekday morning
of the academic school year. You will be asked to fill out a survey three times throughout the
year, and to personally reflect on your experience of dance/movement therapy at the end of the
study. Former dance training is not necessary. You are free to choose not to participate in the
research and to discontinue your participation in the research at any time. You will not be asked
to disclose any personal information, including your diagnosis.
Identifying details will be kept confidential by the researcher. Data collected will be coded with a
pseudonym, the participant’s identity will never be revealed by the researcher, and only the
researcher will have access to the data collected.
Any and all of your questions will be answered at any time and you are free to consult with
anyone (i.e., friend, family) about your decision to participate in the research and/or to
discontinue your participation.
Participation in this research poses minimal risk to the participants. The probability and
magnitude of harm or discomfort anticipated in the research are no greater in and of themselves
than those ordinarily encountered in daily life.
If any problem in connection to the research arises, you can contact the researcher, Courtney
Ann Romanowski at 774-249-1704 and by email at courtney.romanowski@gmail.com, or Lesley
University sponsoring faculty Dr. Cameron Marzelli (marzelli@lesley.edu).
The researcher may present the outcomes of this study for academic purposes (i.e., articles,
teaching, conference presentations, supervision etc.) only.
My agreement to participate has been given of my own free will and that I understand all of the
stated above. In addition, I will receive a copy of this consent form.

20. PROGRESSIVE EXPRESSION 20
________________________ ___________ ______________________ ___________
Participant’s signature Date Researcher’s signature Date
________________________ ___________
Parent/Legal Guardian’s signature Date
Lesley University
29 Everett St., Cambridge, MA 02138
CONSENT TO USE AND/OR DISPLAY
MOVEMENT, WRITING, AND SPOKEN WORD
CONSENT BETWEEN:
_____________ ____________________ and __________________________________.
Expressive Arts Therapy Doctoral Student Artist/Participant’s Name
I, ______________________________, agree to allow ______________________________
Artist/participant’s name Expressive Arts Therapy Doctoral Student
to use and/or videotape my movement, writing, and spoken word for the following purpose(s):
Reproduction and/or inclusion within the research currently being completed by the expressive
arts therapy doctoral student.
Reproduction and/or presentation at a professional conference.
Reproduction, presentation, and/or inclusion within academic assignments including but not
limited to a doctoral work, currently being completed by the expressive arts therapy doctoral
student.
It is my understanding that neither my name, nor any identifying information will be revealed in
any presentation or display of my work, unless waived below.
ï I DO ï I DO NOT wish to remain anonymous.
This consent to use or display my movement, writing, and spoken word may be revoked by me at
any time. I also understand I’ll receive a copy of this consent form for my personal records.
Signed ______________________________________ Date _____________________
I, _______________ ___, agree to the following conditions:
I agree to keep your movement, writing, and spoken word safe, whether an original or
reproduction, to the best of my ability and to notify you immediately of any loss or damage while

21. PROGRESSIVE EXPRESSION 21
it is in my possession. I agree to return it immediately if you decide to withdraw your consent at
any time. I agree to safeguard your confidentiality.
Signed _______________________________________ Date ___________________
774-249-1704
courtney.romanowski@gmail.com
References
American Dance/Movement Therapy Association. (2009). About Dance/movement Therapy.
Retrieved from http://www.adta.org/About_DMT
Berk, L.E. (2012). Infants, children, and adolescents (7th ed.). Boston, MA: Allyn & Bacon.
Blanning, N. (2010). Movement in early childhood: Developmental magic? Or nourishment?
LILIPOH 15 (59), 41.
Duggan, D., Stratton-Gonzalez, S., and Gallant, C. (2009). Dance education for diverse learners:
A special education supplement to the blueprint for teaching and learning in dance. (J.
Finkelstein (Ed.). New York City Department of Education.
Hackney, P. (1998). Making connections: Total body integration through Bartenieff
Fundamentals. New York, NY: Routledge.
Learning Disabilities Association of America. (2014). Defining Learning Disabilities. Retrieved
from http:// http://ldaamerica.org/support/new-to-ld/#defining
Osborn, K. (2005). Brain Gym: Walking the mind through the body. Massage and Bodywork 20
(4), 138-144.
Sousa, D.A. (2006). How the arts develop the young brain. The School Administrator, 11 (63).
Retrieved from https://www.aasa.org/SchoolAdministratorArticle.aspx?id=7378