According to the American Dance Therapy Association (ADTA): Based on the understanding that the body and mind are interrelated, dance/movement therapy (D/MT) is defined as the psychotherapeutic use of movement to further the emotional, cognitive, physical, and social integration of the individual. Dance/movement therapy is practiced in mental health, rehabilitation, medical, educational, and forensic settings, and in nursing homes, day care centers, disease prevention, and health promotion programs. The dance/movement therapist focuses on movement behavior as it emerges in the therapeutic relationship. Expressive, communicative, and adaptive behaviors are all considered for both 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.
I often define D/MT to clients as psychotherapy that is not limited to talking but encompasses the full range of human expression, including movement such as gestures and or postures, drawing, writing, drama, music and other expressions that can have a therapeutic benefit for the client(s).
Dance Movement Therapy is a creative arts therapy rooted in the expressive nature of dance. Since dance/movement comes from the body it is considered the most fundamental of the arts and is a direct expression (and experience) of the self. Dance/movement is a basic form of authentic communication, and as such it is an especially effective medium for therapy.
Dance/movement therapists (R-DMT or BC-DMT) work with individuals of all ages, groups and families in a wide variety of settings. They focus on helping their clients improve self-esteem and body image, develop effective communication skills and relationships, expand their movement vocabulary, gain insight into patterns of behavior, as well as create new options for coping with problems. Movement is the primary medium DMT’s use for observation, assessment, research, therapeutic interaction, and interventions.
DMT’s work in settings that include psychiatric and rehabilitation facilities, schools, nursing homes, drug treatment centers, counseling centers, medical facilities, crisis centers, and wellness and alternative health care centers.
Once a week I facilitate a anger management group. I use a variety of handouts and activities to have a process oriented group interaction. One of the hand outs I use is below. I use it in 1 of 2 ways. I have folks fill it out first and then we discuss or we go through it together and discuss. We explore as a group, learning from each other.
anger disgust grumpiness rage aggravation dislike hate resentment agitation envy hostility revulsion annoyance exasperation irritation scorn bitterness ferocity jealousy spite contempt frustration loathing torment cruelty fury mean-spiritedness vengefulness destructiveness grouchiness outrage wrath
Prompting Events for Feeling Anger
Not having things turn out the way you expected.
Experiencing physical pain.
Experiencing emotional pain.
Being threatened with physical or emotional pain by someone or something.
Having an important or pleasurable activity interrupted, postponed, or stopped.
Not obtaining something you want (which another person has).
Interpretations That Prompt Feelings of Anger
Feeling that you have been treated unfairly.
Believing that things should be different.
Rigidly thinking “I’m right.”
Judging that the situation is illegitimate, wrong, or unfair.
Ruminating about the event that set off the anger in the first place, or in the past.
Experiencing the Emotion of Anger
Feeling out of control.
Feeling extremely emotional.
Feeling tightness or rigidity in your body.
Feeling your face flush or get hot.
Feeling nervous tension, anxiety or discomfort.
Feeling like you are going to explode.
Muscles tightening. .
Teeth clamping together, mouth tightening.
Crying; being unable to stop tears.
Wanting to hit, bang the wall, throw something, blow up.
Expressing and Acting on Anger
Frowning or not smiling; mean or unpleasant facial expression.
Gritting or showing your teeth in an unfriendly manner.
A red or flushed face.
Verbally attacking the cause of your anger; criticizing.
Physically attacking the cause of your anger.
Using obscenities or cursing.
U sing a loud voice, yelling, screaming, or shouting.
Complaining or bitching; talking about how lousy things are.
Clenching your hands or fists.
Making aggressive or threatening gestures.
Pounding on something, throwing things, breaking things.
Walking heavily or stomping; slamming doors, walking out.
Brooding or withdrawing from contract with others.
Aftereffects of Anger
Narrowing of attention.
Attending only to the situation making you angry.
Ruminating about the situation making you angry and not being able to think of anything else.
Remembering and ruminating about other situations that have made you angry in the past.
Imagining future situations that will make you angry.
Depersonalization, dissociative experience, numbness.
Intense shame, fear, or other negative emotions.
Type the words “Spring (Fruit Trees in Bloom)” into an online search engine and in less than a second you will be looking at a sparkling vista of trees erupting in a starburst of pale blossom like an exploding firework. The phrase is the title of an Impressionist oil painting by the French master Claude Monet that belongs to the Metropolitan Museum of Art in New York.
According to the museum’s website, the painting was executed in 1873 in Argenteuil, a village on the River Seine northwest of Paris where the Impressionist artists used to gather. Signed and dated “73 Claude Monet” in the lower left corner, it is almost 40in (1m) wide and 24.5in (62cm) high. In 1903, when it was known as Apple Blossoms, it was bought for $2,100 by the New York art dealership Knoedler & Co. The Met acquired it in 1926.
Concise, sober information like this is typical of the insights that museums commonly provide about artworks in their collections. Dates, dimensions, provenance: these are the bread and butter of scholarship and art history.
But by offering details about pictures in this manner, are museums fundamentally missing the point of what art is all about? One man who believes that they are is the British philosopher Alain de Botton, whose new book, Art as Therapy, co-written with the art theorist John Armstrong, is a polite but provocative demolition of the way that museums and galleries routinely present art to the public.