Ayesha Jeanne Lauenborg was my mentor with the Dances of Universal Peace. Thank you Ayesha for all that you taught me, I think of you often.
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.
Minotaur is a new 16 mm film created by Daria Martin depicting a duet choreographed by the legendary dance and movement pioneer Anna Halprin based on the 1886 sculpture Minotaur by sculptor Auguste Rodin. Martin has carefully edited the film to juxtapose the movements of the two dancers with close-up views of Rodin’s sculpture, images of the sculpture in a book, views of the wooded exterior of Halprin’s Northern California studio where the dance takes place, and shots of Halprin herself. In doing so, she creates a complex and multilayered synthesis of various art forms—film, dance, and sculpture—while simultaneously meditating on the process through which art is made, and the shifting sexual dynamics between men and women as embodied in both the sculpture and Halprin’s performative re-imagination of it.
WALDEEN (1913–1993) dreamed of the dance for most of her life, from early childhood to her death. The dance, like poetry, was always in her blood — the daring blood of the “Texas girl,” as she was called when she made her New York debut, who at fifteen left classical ballet in order to find her own voice, to speak freely with her body, hands and face. The blood of the young dancer who, at twenty-five, having already distinguished herself here and abroad, made Mexico City her home, inspired by the vitality of the arts in Mexico where she believed art and life were fused into one reality — and where the people loved her. She created dance for more than half a century. For more see: http://www.uhmc.sunysb.edu/surgery/waldeen.html
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).