Presented at CALPCC Annual Conference, March 2015. Dance/movement therapy (DMT) was pioneered over 50-years ago, based on the researched premise: body, mind, and spirit are interrelated and support health & healing. Defined by the American Dance Therapy Association as: “the psychotherapeutic use of movement to further the emotional, cognitive, physical and social integration of the individual.” – DMT is a creative and expressive approach to counseling. This workshop will review foundations of DMT theory, basic tools used for assessment of non-verbal communication, and accessible interventions for counseling professionals. In addition, current research on benefits of mind-body, holistic health, and wellness practices will be discussed, as related to the ethical application of body movement in counseling.

1. “When we pay focused attention on our
bodily sensations, we can recognize the
ebb and flow of our emotions and, with that,
increase our control over them.”
Bessel van der Kolk
(2014, p. 208)

2. The Body as a Tool:
Using Dance/Movement, Creativity, and
Expression in Counseling
Sara R. van Koningsveld
MA, PCCI, R-DMT, GL-CMA

3. Objectives: By attending this session...
 Attendees will acquire an understanding of the
foundations of dance/movement therapy theory and the
application of body movement in counseling practice.
 Participants will expand knowledge of movement,
including: observation skills, descriptive terms, and
self-awareness/ body knowledge, through experiential
activities.
 The presenter will assimilate research on mind-body
integration, holistic health, and wellness, as they relate
to dance/movement therapy and counseling.
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

4. What is Dance/Movement Therapy?
 Roots in modern dance and improvisation.
 1940s and 1950s: profession developed
 American Dance Therapy Association (ADTA): 1966
 1970s emergence of Master’s programs
[Currently (6) in US and alternate route option]
 American Journal of Dance Therapy (AJDT): 1977
[Springer/ 36 volumes]
 2000: National Board of Certified Counselors recognizes
DMT as a form of Therapy
 Board Certification/credentialing began in 2009
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

5. What is Dance/Movement Therapy?
 According to ADTA:
“…psychotherapeutic use of movement to further the
emotional, cognitive, physical and social integration of the
individual.” (ADTA.org)
 Dance/movement therapy is:
 Focused on movement behavior as it emerges in the therapeutic
relationship. Expressive, communicative, and adaptive behaviors
are all considered for group and individual treatment. Body
movement, as the core component of dance, simultaneously
provides the means of assessment and the mode of intervention
for dance/movement therapy.
 Is used with people of all ages, races and ethnic backgrounds in
individual, couples, family and group therapy formats.
 Similar application and philosophy to: somatic therapy, yoga/yoga
therapy, expressive arts therapy
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

6. Movement Experiential
Welcome Tool
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

7. The Mind-Body Connection
 Every experience, including our thoughts, are connected to
physical sensations and structurally rooted in our brain.
 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).
 The energy and information flows within the individual and
between brains.
 Shared experiences – shared mind.
 Personal and professional relationships
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

8. Movement Experiential
Body Awareness
(Daniel Siegel)
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

9. DMT in Clinical Practice
 Beginning the therapy process with noticing and describing
feelings the body.
 Physical sensations: pressure, temperature, tension, etc.
 “I help them become aware of their breath, their gestures and
movements.” (van Der Kolk, 2014, p. 101)
 Subtleties: posture, eye contact, patterns of breathing, and
voice changes
 Re-educate the mind through the body.
 Create new neural pathways/ rewire the brain.
 Reconnect physical sensations with psychological events.
 Mindfulness, physical movement, breathing, meditation.
 Practices of Western culture vs. others of the world.
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

10. DMT in Psychotherapy/ Counseling
 DMT interventions “engage somatic, emotional, and
perceptual processes simultaneously.” (Homann, 2010,
p. 81)
 Spontaneous movement improvisation vs. structured
dance/movement experiences
 “Movement helps individuals to bypass verbal defenses
and to enter deeper realms of personal realization.”
(Levy, 2014, p. 8)
 Somatic attunement: experience of being with another
and “feeling felt”. (Siegel, 1999, p. 70)
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

11. Body Knowledge
 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.
 Body Knowledge/ Body Prejudice
 Awareness of own movement patterns (body
knowledge) and awareness of kinesthetic response
(body prejudice) while observing others.
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

12. DMT, Mirror Neurons, & Empathy
 Mirror neurons provide a foundation for empathy, love,
and human relationships.
 DMT interventions that include body-based mirroring
are observed to increase client’s ability to engage in
interactions with others and read facial expressions.
 Individuals with high tendency for empathy will copy
others more than others.
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

13. Movement Experiential
Observation through Mirroring
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

14. Movement Observation & Assessment
 Observing cues:
 Breathing
 Eye contact
 Posture(s)/gesture(s)
 Rhythms & patterns
 Body Knowledge/ Body Prejudice
 Developed systems:
 Kestenberg Movement Profile
 Bartenieff Fundamental Connectivities
 Movement Pattern Analysis
 Laban Movement Analysis
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

15. Laban Movement Analysis
 Body: What is moving?
 Identify parts/segments
 Effort: Why is it moving?
 Time (accelerating / decelerating)
 Weight (increasing pressure / decreasing pressure)
 Space (directing / indirecting)
 Flow (binding / freeing)
 Shape: How is it moving?
 Spoke, arc, curve
 Spreading/ rising/ advancing
 Enclosing/ sinking/ retreating
 Space: Where is it moving?
 Dimensions, Diagonals, etc.
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

16. Movement Experiential
Story Telling with LMA
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

17. (Imus, 2014)
Considerations with Dance/Movement
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

18. Dance/Movement in Clinical Practice
 Ethical Considerations
 Scope of practice
 Training, education, and license
Therapeutic Dance/Movement vs. Dance/Movement Therapy
 “Dance/movement therapists engage in both bio-psycho-social
and movement assessment for the purposes of intentional verbal
or nonverbal intervention and assessment.” (Imus, 2014)
 Questions to consider:
 Is movement [and the body] being used as a tool or as the medium
of therapy/counseling?
 How is movement [and the body] informing your process in the
therapy/counseling session?
 Others??
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

19. Conclusions
 Dance/Movement Therapy as a Clinical Profession
 Laban Movement Analysis as an Observation Tool
 Considerations in applying Dance/Movement
 Basic Dance/Movement Tools
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

20. References:
Fiscalani, S. & Rytz, T. (2010, September). Mind-body awareness in the treatment
of eating disorders and obesity. Presentation given at American Dance
Therapy Association Conference, Brooklyn, NY.
Homann, K.B. (2010). Embodied concepts of neurobiology in dance/movement
therapy practice. American Journal of Dance Therapy, 32(1), 80-99.
Imus, S. (2014). Dance/movement therapy and scope of practice. Presentation
given at Columbia College Chicago, Chicago, IL.
Laban, R. (1988). The mastery of movement (4th ed., rev.). Plymouth, England:
Northcote House Publishers Ltd.
Levy, F.J. (2014). Integrating the Arts in Psychotherapy: Opening Doors of Shared
Creativity. American Journal of Dance Therapy, 36(1), 6-27.
Newlove, J. (1993). Laban for actors and dancers. New York, NY: Routledge.
North, M. (1975). Personality assessment through movement. London, England:
Plays, Inc.
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA

21. References (con’t):
Rothschild, B. (2006). Help for the helper: The psychophysiology of compassion
fatigue and vicarious trauma. W.W. Norton & Company.
Siegel, D. J. (1999). The developing mind: Toward a neurobiology of interpersonal
experience. New York: Guilford Press.
Siegel, D. J. (2006). An interpersonal neurobiology approach to psychotherapy:
How awareness, mirror neurons and neural plasticity contribute to the
development of well-being. Psychiatric Annals, 36(4), 248-258.
Siegel, D. J. (2007). The mindful brain: Reflection and attunement in the
cultivation of well-being. New York: W.W. Norton & Company.
Siegel, D. J. (2010). The mindful therapist. New York: W.W. Norton & Company.
van der Kolk, B. A. (2014). The body keeps the score. New York: Viking.
Sara R. van Koningsveld, MA, PCCI, R-DMT, GL-CMA