Dance/movement as active imagination was originated by Jung in 1916. Developed in the 1960s by dance therapy pioneer Mary Whitehouse, it is today both an approach to dance therapy as well as a form of active imagination in analysis. In her delightful book Joan Chodorow provides an introduction to the origins, theory and practice of dance/movement as active imagination. Beginning with her own story the author shows how dance/ movement is of value to (...) psychotherapy. An historical overview of Jung's basic concepts is given as well as the most recent depth psychological synthesis of affect theory based on the work of Sylvan Tomkins, Louis Stewart, and others. Finally in discussing the use of dance/movement as active imagination in practice, the movement themes that emerge and the non-verbal expressive aspects of the therapaeutic relationship are described. (shrink)

The purpose is to strengthen the life education of contemporary college students and give better play to the vital role of life education in preventing college students’ mental diseases. Specifically, it discusses the role of dance therapy in College Students’ Life Education. Firstly, based on educational psychology, this manuscript analyzes the relevant theoretical concepts of EP and life education and discusses the importance of life education to contemporary college students. Secondly, following a Questionnaire Survey and using deep learning (...) Convolutional Neural Network and Facial Emotion Recognition, this manuscript reviews and examines the CSLE’s current situation and the DT effect. Research findings are summarized combined with the QS results and scores of 20 subjects before and after five activities in 3 months. After DT intervention, the positive dimensions of college students’ life values have improved, especially self-development and dedication, and their quality of life is refined. Thus, DT group counseling proves the positive role of DT in CSLE. After DT intervention, 96.5% of the members think DT is effective. Therefore, EP-based DT is more effective and scientific in CSLE. The research findings provide a DT-based teaching concept for CSLE, explore the feasibility and effectiveness of life education, and enrich the DT scheme of CSLE. The research provides a practical reference for further applying DT in college students’ psychological education. (shrink)

Summary The article briefly introduces a path, that starts from the Franz Boas’ anthropological field research in British Columbia about sound, dance and motion among the Indians until the 1930s to the practice of dance and sound as a therapeutic issue in Franziska Boas’ work in New York.

This multi-centre research investigates the effects of dance movement therapy (DMT) on participants diagnosed with depression. In total, 109 persons participated in the study in various locations in Finland. The participants were 39 years old, on average (range = 18–64 years), and most were female (96%). All participants received treatment as usual (TAU). They were randomised into DMT+TAU (n = 52) or TAU-only (n = 57). The participants in the DMT + TAU group were offered 20 DMT sessions (...) twice a week for 10 weeks in addition to standard care. The measurement points included pre-treatment measurement at the baseline, post-treatment measurement at the end of the intervention, and a follow-up measurement 3 months afterward. The observed effects of the intervention among participants in the DMT+TAU group were a greater reduction in depression (BDI-I) and in indicators of physical and psychological distress (CORE-OM and SCL-90) in comparison to the participants who received TAU-only. At the 3-month follow-up, the corrected between-group effect sizes (ES) were medium and in favour of the DMT+TAU group (d = 0.60–0.72). These results are in line with the increasing number of research studies showing the benefits of DMT intervention among participants with depression, and these results indicate that DMT may improve the effectiveness of standard care. (shrink)

Background: People with a personality disorder suffer from enduring inflexible patterns in cognitions and emotions, leading to significant subjective distress, affecting both self and interpersonal functioning. In clinical practice, Dance Movement Therapy is provided to clients with a PD, and although research continuously confirms the value of DMT for many populations, to date, there is very limited information available on DMT and PD. For this study, a systematic literature review on DMT and PD was conducted to identify the (...) content of the described DMT interventions and the main treatment themes to focus upon in DMT for PD.Methods: A systematic search was conducted across the following databases: EMBASE, MEDLINE, PubMed, WEB OF SCIENCE, PsycINFO/OVID, and SCOPUS following the PRISMA guidelines. The Critical Appraisal Skills Programme for qualitative studies was used to rank the quality of the articles. The Oxford Center for Evidence-based Medicine standards were applied to determine the hierarchical level of best evidence. Quantitative content analysis was used to identify the intervention components: intended therapeutic goals, therapeutic activities leading to these goals, and suggested therapeutic effects following from these activities. A thematic synthesis approach was applied to analyze and formulate overarching themes.Results: Among 421 extracted articles, four expert opinions met the inclusion criteria. Six overarching themes were found for DMT interventions for PD: self-regulation, interpersonal relationships, integration of self, processing experiences, cognition, and expression and symbolization in movement/dance. No systematic descriptions of DMT interventions for PD were identified. A full series of intervention components could be synthesized for the themes of self-regulation, interpersonal relationships, and cognition. The use of body-oriented approaches and cognitive strategies was in favor of dance-informed approaches.Conclusions: Dance movement therapists working with PD clients focus in their interventions on body-related experiences, non-verbal interpersonal relationships, and to a lesser extent, cognitive functioning. A methodological line for all intervention components was synthesized for the themes of self-regulation, interpersonal relationships, and cognition, of importance for developing systematic intervention descriptions. Future research could focus on practitioners' expertise in applying DMT interventions for PD to develop systematic intervention descriptions and explore the suitability of the identified themes for clinical application. Clients' experiences could offer essential insights on how DMT interventions could address PD pathology and specific PD categories. (shrink)

Background: Depression is the largest cause of mental ill health worldwide. Although interventions such as Dance Movement Therapy (DMT) may offer interesting and acceptable treatment options, current clinical guidelines do not include these interventions in their recommendations mainly because of what is perceived as insufficient research evidence. The 2015 Cochrane review on DMT for depression includes only three RCTs leading to inconclusive results. It is therefore, necessary to also look beyond such designs in order to identify and assess (...) the range of current evidence. Methods: We therefore, conducted a systematic review of studies that aimed to explore the effectiveness in the use of DMT with people with depression. This led to a qualitative narrative synthesis followed by a subgroup analysis and a sensitivity analysis. In all meta-analyses a random effects model was used with Standardised Mean Differences (SMD) to accommodate for the heterogeneity of studies and outcome measures. Results: From the 817 studies reviewed, eight studies met our inclusion criteria. 351 people with depression (mild to severe) participated, 192 of whom attended DMT groups while receiving treatment as usual (TAU) and 159 received TAU only. Qualitative findings suggest there was a decrease in depression scores in favour of DMT groups in all studies. Subgroup analysis performed on depression scores before and three months after the completion of DMT groups suggested changes in favour of the DMT groups. When sensitivity analysis was performed, RCTs at high risk of bias were excluded, leaving only studies with adult clients up to the age of 65. In these studies, the highest effect size was found favouring DMT plus TAU for adults with depression, when compared to TAU only. Conclusions: Based on studies with moderate to high quality, we concluded that DMT is an effective intervention in the treatment of depression with adults. Furthermore, by drawing on a wide range of designs with diverse quality, we were able to compile a comprehensive picture of relevant trends. Despite the fact that there remains a paucity of high-quality studies, the results have relevance to both policy-making and clinical practice, and become a platform for further research. (shrink)

Two essential components make up the semantic information that was used to pinpoint the video events. They consist of: (a) A spatial component of a video frame, such as the scenery, visible people, and visible objects. (b) A temporal component that is represented by a series of video frames across time, such as the actions of a character or the movements of an object. The video's audio, video, and text components are examined in order to provide the higher-level semantic data. (...) The semantic structure of the movie is discovered using a variety of cues from many modalities, such as auditory and visual elements, bridging the gap between high level semantic notions and low level qualities. A video contains three distinct modalities. The three are as follows: (1) Visual modality, which refers to the scene seen in the video; (2) Auditory modality, which refers to spoken words, background music, and other noises; and (3) Textual modality, which refers to written materials that describe the subject matter of the movie. There are numerous video databases and a sizable amount of video data in general. Even while there are tools for maintaining and exploring these collections, many decision-making applications increasingly require tools to extract the critical information hidden in the video data. (shrink)

In recent years, China has increasingly emphasized art education, particularly dance, for its therapeutic benefits and cultural significance. Dance Movement Therapy (DMT), which originated in the U.S. in the 1960s, integrates emotional and physical health through dance. This interdisciplinary approach combines art, psychology, and exercise, showing effectiveness in treating psychological disorders and enhancing well-being. Integrating DMT into Chinese higher education could improve mental health outcomes for students by offering an engaging, participatory alternative to traditional counseling methods.

The present work aims to efficiently carry out life-death education for college students, improve their psychological problems, and reduce suicide accidents by combining LDE with Dance Movement Therapy. DMT is a psychosomatic cross therapy that treats mental or physical diseases through dance or improvisation. Firstly, this paper introduces LDE and DMT and designs the activities of DMT intervention. Secondly, the relationship between DMT and LDE is analyzed. Finally, a questionnaire survey is conducted on the research objects. (...) The research objects are divided into the experimental group receiving DMT intervention, the control group participating in sports dance courses, and the benchmark group. The research data show no significant difference in interpersonal skills and emotional psychology among the three groups. The DMT intervention group has substantial changes in other factors except for the conflict control ability before and after the intervention. In addition, the questionnaire survey results after the intervention demonstrate that the DMT intervention group gets a significantly higher score in the interpersonal relationship, interpersonal relationship building ability, moderate rejection ability, self-disclosure ability, and emotional support ability. Therefore, DMT intervention positively impacts college students’ interpersonal relationships. After the sports dance course, there are differences in the total score of interpersonal ties and scores of interpersonal relationships building ability, self-disclosure ability, and emotional support ability in the control group, but with no significant difference in moderate rejection ability and conflict control ability. Therefore, compared with traditional psychotherapy methods, the DMT method reported here is conducive to releasing pressure and alleviating physical and mental anxiety. The research content provides new ideas for psychological education in colleges and universities and contributes to improving college students’ suicidal tendencies and helping college students grow up healthily. (shrink)

A review of current literature indicates that adults diagnosed with autism spectrum disorder feel the need for intimate and sexual relationships and maintain such relationships despite and alongside their difficulties in emotional communication, social interactions, reciprocity, and verbal and non-verbal expression. This understanding calls for the development of intervention programs designed to support the specific needs and address the problems of couples where one partner is diagnosed with ASD. In view of the relevance and significant part played by body and (...) movement in emotional development and psychotherapy, the present article offers a review of studies examining the contribution of dance movement therapy to both the quality of life and functioning of adults with ASD and therapeutic processes in couple therapy. This review aims to establish an infrastructure for the construction of intervention programs and for future studies designed to enhance the quality of life and independence of adults with ASD. (shrink)

In _Expressive Arts Education and Therapy_ we see how the creative process in a dance theatre lab evolved into a Creative Process-based Research project that included the director/choreographer and participants in a collaborative sense-making project.

Within the last fifty years as philosophy, psychology, and cognitive science have moved towards increasingly more embodied theoretical frameworks, there has been growing interest in Dance Movement Therapy. DMT has been shown to be effective in mitigating negative symptoms in several psychopathologies including PTSD, autism, and schizophrenia. Further, DMT generally helps participants gain a stronger sense of agency and connection with their body. However, it has been argued that it is not always clear what constitutes these changes in (...) DMT participants. I argue that we can better understand the empirical and phenomenological results of DMT across psychopathologies if we adapt an enactive embodied approach to cognition. I use the framework of embodied enactive cognition and narrative theories of the self to develop an account of DMT as a form of narrative change. I claim that through the acquisition of new bodily skill and bodily awareness, DMT can cause changes to the participant’s narrative self-understanding. (shrink)

An innovative examination of the ways in which dance and philosophy inform each other, Dance and Philosophy brings together authorities from a variety of disciplines to expand our understanding of dance and dance scholarship. Featuring an eclectic mix of materials from exposes to dance therapy sessions to demonstrations, Dance and Philosophy addresses centuries of scholarship, dance practice, the impacts of technological and social change, politics, cultural diversity and performance. Structured thematically to draw (...) out the connection between different perspectives, this books covers: - Philosophy practice and how it corresponds to dance - Movement, embodiment and temporality - Philosophy and dance traditions in everyday life - The intersection between dance and technology - Critical reflections on dance Offering important contributions to our understanding of dance as well as expanding the study of philosophy, this book is key to sparking new conversations concerning the philosophy of dance. (shrink)

Dance – as a ritual, therapy, and leisure activity – has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson’s disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term (...) exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task). Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON) to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations. (shrink)

Chronic pain is of significant global concern. There is growing evidence that body–mind therapies and psychological approaches can contribute toward changing chronic pain perceptions. This is the first model described in the literature that combines a mindfulness-based approach with dance movement therapy and explores the potential psychological and pain-related changes for this client population. In this paper, the results from the pilot study are presented involving patients with chronic headache recruited in an outpatient rehabilitation setting.Methods: In this pilot (...) study, 29 patients with chronic headache were randomized to either the Mindful-Based Dance Movement Therapy group or the waiting list control group. The MBDMT group was offered 10 sessions in a clinical outpatient rehabilitation setting for 5 weeks. Data were collected pre- and post-intervention and 16 weeks after the intervention was finished. The Hospital Anxiety and Depression Scale, Patient Health Questionnaire−9, Five Facet Mindfulness Questionnaire, and Numeric Rating Scale were used as outcome measures.Results: The working model of MBDMT identifies nine therapeutic mechanisms. Per-protocol analysis reveals statistically significant reduction of pain intensity and depression scores in favor of the MBDMT group, and these improvements were maintained in the follow-up assessment.Conclusions: The results suggest that MBDMT is a feasible and promising therapy approach for chronic pain patients. The pilot study offered sufficient information and preliminary results in the desirable direction to enable the researchers to move to a randomized controlled trial stage in order to establish the efficacy of the intervention.Clinical Trial Registration: The study was registered in the www.researchregistry.com, registry. (shrink)

According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s overemphasis (...) on cognition to the exclusion of affect. In my second section, drawing on my previous interpretations of proto-affect theorists (including Spinoza, Deleuze, and Fanon), I channel this tension in 4E cognitive science into a dancing partnership with human science psychology, suggesting three “choreographic provocations” for therapeutic practice and psychological research, namely (1) treating clients/subjects as dancers, (2) reimagining research and therapy as improvised duets between practitioners and clients/subjects, and (3) pursuing an ideal of freer movement and an emergent flourishing singularity for clients/subjects. Finally, I reformulate these three choreographic provocations in terms of my new theoretical method of “dancing-with,” as well as the four psychological prerequisites for flourishing posited by my figuration philosophy of dance. (shrink)

Background:Women's health has received renewed attention in the last few years including health rehabilitation options for women affected by breast cancer. Dancing has often been regarded as one attractive option for supporting women's well-being and health, but research with women recovering from breast cancer is still in its infancy. Dancing with Health is multi-site pilot study that aimed to evaluate a dance programme for women in recovery from breast cancer across five European countries.Methods:A standardized 32 h dance protocol (...) introduced a range of Latin American dances presented within a sports and exercise framework with influences from dance movement therapy. Fifty-four women (M age 53.51; SD 7.99) participated in the study who had a breast cancer diagnosis 6 weeks, no indication of metastasis, or scheduled surgery/chemotherapy/radiation treatment for the duration of the intervention. Primary outcome data was collected for anthropometric and fitness measures next to cancer-related quality of life.T-tests and Wilcoxon signed ranked tests were used to establish differences pre and post intervention. Cohen's d was also calculated to determine the effect size of the intervention.Results:Statistically significant changes were found for: (i) weight, right and left forearm circumference and hip; (ii) 6 min walking, right and left handgrip, sit-to-stand and sit-and-reach; (iii) the EORTC-QLQ C30 summary score as well as the subscales of emotional and social functioning and symptoms. In all cases the direction of change was positive, while Cohen's d calculated showed that the effect of the intervention for these parameters ranged from intermediate to large.Conclusion:Changes on the above anthropometric, fitness and quality of life measures suggest that the intervention was of value to the participating women recovering from breast cancer. Results also advocate collaborative efforts across countries to further research. (shrink)

Dance is an enjoyable, non-therapy-focused activity that may provide a range of benefits for people with Parkinson’s. The internal simulation of movement through observation, imitation, and imagery, is intrinsic to dance and may contribute to functional improvements for people with Parkinson’s. This study explored the feasibility and potential benefits of a dance program designed by a collaborative team of dance artists, researchers, physiotherapists, and people living with Parkinson’s. The program incorporated motor simulation through observation, imitation (...) and imagery of movement, supported by creative themes, expression, and music. A 6-week pilot trial of the program was conducted with 10 people with Parkinson’s. A focus group following the trial (N= 8) provided insights into the use of imagery, observation and imitation within dance, and the link between creativity and functional outcomes, as well as indicating multidimensional benefits of dance as reported in previous studies. Exploratory outcome measures also suggested potential effects on motor simulation, functional dexterity, and quality of life. The present study demonstrates the feasibility of a co-developed dance program for Parkinson’s and indicates how creative elements of dance may support functional outcomes. Future research should examine the role of motor simulation processes in dance for Parkinson’s, including the potential to develop transferable cognitive-motor skills. This study also highlights the value of collaborative partnerships in designing dance for health programs, which may optimise beneficial effects by using creative approaches to incorporate evidence-based elements, with guidance from individuals with lived experience to ensure the relevance to their goals. (shrink)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the (...) effects on the individual when the activity of “dancing” is enjoyedas a dancerwithindifferent dance domains(e.g.,professional/”high-art”type of dance,eroticdance,religiousdance,clubdancing,Dance Movement Therapy(DMT), and what is commonly known ashobby, recreationalorsocialdance), and (b) the effects on the individual within these different domains, as a dancer of thedifferent dance styles(solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body. (shrink)

When we attend a dance performance we expect to see human beings performing various sorts of bodily movements. Movement is, uncontroversially, the primary medium of a dance. Our intuition, then, is to think that our response to and understanding of the dance must be connected in some way to this movement. Attempts to relate our understanding of a dance, specifically our grasping the meaning of a dance, to the medium of movement, through a movement-oriented response (...) have taken the form of theories that rely on a notion of kinesthetic response or kinesthetic empathy. My intentions in this essay are to show that the intuition that our understanding of a dance is kinesthetically based is correct and that how the kinesthetic brings us to understand the dance is different from the earlier empathy theories, in a number of important ways. But I will also argue that current analytic strategies will not suffice and that the full defense of kinesthetic understanding, as I will call it, will require a different manner of explaining and understanding of the activities of human beings. My own analysis will draw on a number of resources, primarily the case study of Alexander Technique, a body therapy that seems to give us access to the kinesthetic organization of our activities and the philosophical work of a number of people, centrally Maurice Merleau-Ponty, who argues strongly for the role movement plays in constituting our world. I will show how kinesthetic understanding, given the historical trajectories permitted by tradition and the mechanics of the human body, can bring dancers, choreographers, and critics to a point of intersection where they can experience and talk about dance in terms of its kinesthetic basis, and that without this intersection the kind of meaning in movement I am discussing cannot take place. They will miss the preferred intersection unless they achieve kinesthetic understanding. (shrink)

This paper utilizes the enactivist notion of ‘sense-making’ to discuss the nature of depression and examine some implications for treatment. As I understand it, sensemaking is fully embodied, fundamentally affective, and thoroughly embedded in a social environment. I begin by presenting an enactivist conceptualization of affective intentionality and describing how this general mode of intentional directedness to the world is disrupted in cases of major depressive disorder. Next, I utilize this enactivist framework to unpack the notion of ‘temporal desituatedness,’ and (...) maintain that the characteristic symptoms of depression result from a disruption to the future-directed structure of affective intentionality. This can be conceptualized as a loss of “online intelligence” and a shrinking of the field of affordances. Then, I argue that two of the standard modes of treatments for depression, medication and cognitive behavioral therapy, are not fully sufficient means of restoring online intelligence, and that these limitations stem partly from the approaches’ implicit commitment to a brain-bound, overly cognitivist view of the mind. I recommend expressive arts interventions such as dance-movement therapy and music therapy as important supplementary treatment methods that deserve further consideration. Insofar as they revitalize subjects’ bodies and emotions, cultivate an openness to the future, and promote self-insight and social synchrony, these treatment modes not only reflect key insights of enactivism, but also offer great potential for lasting healing. (shrink)

Genes dance. They dance with culture. Theydance with environment. Genes act on the world through the brain, mind and behavior. Historically, psychologists, therapists,educators and most lay people have understoodgenes in the context of Gregor Mendel'sexperiments, which were only partiallyexplained to us. While many studies show thatbrain structures and behaviors have quiterobust influences from inheritance, mostbehavior is not influenced in the classic waywe were taught in our introduction to genetics– which has been revolutionized by molecularstudies and understandings that most (...) of theimportant genes of everyday life arequantitative, or polygenic.Popular culture and naïve theory has a verysimplistic view of genes. They are bad,impolite and vaguely anti-democratic if notsinister. A very simple truth exists, however.Were it not for the genes of our grandparents,no one would be reading this article.This article introduces the reader to an ideathat emerges from evolutionary psychology andbehavior genetics, which may turn our thinkinginside out. For the most part, genes are giftsof nature to solve problems, and to hedge a beton the future. Most true genetic diseases,regulated by the classic processes that Mendelobserved, are extremely rare – typically belowone in several hundred. Most of the behaviorsthat cause us grief or joy in our homes,schools and communities and with some form ofgenetic contribution happen far more often –3%, 5%, 10% or more of the time in thepopulation. If such behaviors were ``defects''harming our reproductive success, Mother Naturewould have quickly made short work of thosegenes in a handful of generations. The factthat many of the genes related to thesebehaviors and subtle changes in the brain seemto have been recent changes (pejorativelycalled by some ``mutations'') in the past fewthousand years implies that these changes are insome sense Nature's Gifts.Gifts are to be treasured, saved and perhapspassed on. Sometimes a gift may be burdensome. This paper is about reframing and explainingadvances in science in the past 10 years or so,parallel to the brain imaging studies. Themolecular studies, explored in the context ofevolutionary psychology and behavioral geneticsprovide a new model for human development,enhancing our understanding of more traditionalviews of human phylogeny and ontogeny. Thesame molecular studies, when framed in thecontext of twin, adoption and longitudinalstudies, provide new insights for parenting,schools, community and therapy. (shrink)

‘Dancing mania’ has often been understood as an expression of purportedly ‘typical medieval’ mass hysteria. Yet evidence suggests that a better interpretation would be to see it as a disease, the idea of which was shaped by patterns tracing back to antique cosmology. During the later Middle Ages, this concept became reality as a form of suffering primarily determined by spiritual forces which typically struck only individuals or small groups in narrowly defined regions. This article closely examines a key shift (...) in the semiotic setting of how this disease was interpreted: During the 15th and early 16th centuries, it became medicalised and desacralized. Evidence of this development can be found in isolated instances of ‘dancing mania’ in towns of the Rhine and Moselle area which at first glance would appear to be of little significance. As a medical concept, ‘dancing mania’ would survive the Reformation, and as a concept of primarily medical understanding it would later be re-integrated into the renewed Catholic culture of the late 16th and 17th centuries. (shrink)

The Mirror Game (MG) is a common exercise in dance/movement therapy and drama therapy. It is used to promote participants’ ability to enter and remain in a state of togetherness. In spite of the wide use of the MG by practitioners, it is only recently that scientists begun to use the MG in research, examining its correlates, validity and reliability. This study joins this effort by reporting on the identification of scale items to describe the nonverbal behaviour (...) expressed during the MG and its correlation to measures of attachment. Thus, we explored the application of the MG as a tool for assessing the embodiment of attachment in adulthood. Forty-eight participants (22 females, mean age = 33.2) played the MG with the same gender-matched expert players. All MG were videotaped. In addition, participants were evaluated on two central measurements of attachment in adulthood: The Adult Attachment Interview (AAI) and the Experience in Close Relationship questionnaire (ECR). To analyse the data, we developed the “mirror game scale” that coded the nonverbal behavior during the movement interaction, using 19 parameters. The sub-scales were reduced using factor analysis into two dimensions referred to as “together” and “free”. The free factor was significantly correlated to both measurements of attachment: Participants classified as having secure attachment on the AAI, received higher scores on the MG free factor than participants classified as insecure (t (46) = 7.858, p =.000). Participants who were high on the avoidance dimension on the ECR, were low on the MG free factor (r (48) =-.-285, p =.007). This is the first study to examine the MG as it is used by practitioners and its correlation to highly standardized measures. This exploratory study may be considered as part of the first steps of exploring the MG as a standardized assessment tool. The advantages of the MG as a simple, non-verbal movement interaction demonstrate some of the strengths of dance/movement and drama therapy practice. (shrink)

Treatments for students with problematic levels of music performance anxiety commonly rely on approaches in which students are referred to psychotherapists or other clinical professionals for individual care that falls outside of their music training experience. However, a more transdisciplinary approach in which MPA treatment is effectively integrated into students’ training in music/performing arts colleges by teachers who work in consultation with clinical psychologists may prove more beneficial, given the resistance students often experience toward psychotherapy. Training singing teachers, and perhaps (...) music teachers at large, to use an evidence-based coaching strategy like Acceptance and Commitment Coaching to directly manage students’ MPA is one such approach. Building on the work of a previous study in which ACC was administered by a singing teacher to a musical theatre student with problematic MPA, we piloted the effectiveness of a six-session, group ACC course for a sample of performing arts students with MPA related to vocal performances, using a mixed-methods design. The coach here was also a singing teacher without a clinical background, and her training in ACC by a clinical psychologist was of a similar duration as the previous teacher’s. Similar to the musical theatre student, the students reported being significantly less fused with their MPA-related cognitions, more accepting of their MPA-related physiological symptoms, and more psychologically flexible while performing in general, and these improvements were maintained after 3 months. Furthermore, they appeared to lower their shame over having MPA and change how they thought in relation to one another. Of note, these improvements were similar to those shown by seven vocal students with MPA after they received Acceptance and Commitment Therapy from a clinical psychologist, but with larger reductions in shame and better acceptance of MPA, which suggests a non-clinical, group ACC intervention that includes supportive discussions to normalize MPA and challenges attempts to control it may be more helpful than individual psychotherapy. These results are promising and indicate a brief training in ACC may be sufficient for singing teachers to provide significant benefit for students with problematic MPA. (shrink)

This volume brings together research in the GeoHumanities from various intellectual perspectives to illustrate the benefits of humanities-inspired approaches in understanding and confronting historically entrenched and recently emergent health-related challenges. In three main sections, this volume seeks to foreground the richness of work entangling medicine and health with the concerns of geography and of the Humanities. This volume will be of interest to academics and researchers in the Geographies of health and medicine, social sciences in GeoHumanities, and health humanities, and (...) students in programs focusing on the humanities and health. In the book's first section, Bodies, the authors explore the material, sensory and more than physical capacities of bodies in accounting for experiences of death, air raids, immigration, dance therapy, asthma and blindness. Section two, Voice, addresses the nature of evidence, HIV/AIDS policy, patient voices in animal research, homelessness, and constructions of truth. The final section, Practice, focuses on creative writing, as well as the pedagogic tools of teaching with the asylum, the creative practice of nuclear emergency planning zones, arts-based care for the elderly, and cartographic practices within health research. (shrink)

This article is based on the KMP for assessment of child development and movement behavior. I investigate characteristic movement patterns in a videotaped child psychoanalytic session. How do therapist and child move together? Since the KMP is commonly applied in dance therapy to evaluate movement skills and give support to development process, I will propose some suggestions for alternative modes of moving and encourage the building up of a new dialogue through action modification.

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised (...) internationally to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

Have you ever gotten chills while listening to a particularly gorgeous piece of music? Or felt a sense of calm while gazing at a painting of a serene landscape? We have experiences like those every day, but rarely stop to consider what's happening internally to cause them. In Your Brain on Art, founder of the International Arts + Mind Lab at Johns Hopkins University School of Medicine Susan Magsamen and Google designer Ivy Ross explain how, by understanding how we biologically (...) react to aesthetic experiences, we can not only heal as individuals but thrive as communities. Using the new science of neuroaesthetics, which explores our physiological reactions to art, Magsamen and Ross show us how, for instance, gardening can help a person heal from trauma or listening to a major fifth interval can snap the body out of a fight-or-flight response. Beyond enjoyment and abstraction, art can change the way we operate on a daily, practical level. And, in addition to helping each of us heal from stress, anxiety, burnout, and other malaises of modern life, neuroaesthetics can effect major change in society writ large, whether through public art murals in high-crime areas or music and dance therapy for patients experiencing neurodegenerative disorders. (shrink)

The concept ofgroundingis accepted and common among dance movement therapists and body psychotherapists. It expresses a stable physical and emotional presence – “supported by the ground.” The assumption is that embodied emotional knowledge is expressed through the manner of physical holding and in the emotional experience in the world. However, along with the clinical use of the term, an empirical tool for examining grounding is lacking. The goal of the study was to examine the reliability and validity of an (...) observation tool for assessing the quality of grounding, the Grounding Assessment Tool (GAT), which was created for the present study on the basis of theory, research, and clinical knowledge in the field. Forty three adult participants (age,M= 28.2 years, SD = 8.54) were recruited for an experimental and controlled session, the session included guided movement for approximately 10 min. The movement was recorded on video. The quality of the movement was rated by two raters and was scored using the GAT. The study findings indicated that the GAT is a reliable and valid tool – with good internal consistency (α = 0.850) and high interrater and intrarater reliability (Kendall’s ’range from 0.789 to 0.973 and intraclass correlation coefficient range from 0.967 to 1.00, respectively). The exploratory factor analysis showed that four factors are involved in the assessment of grounding quality: fluid and rhythmic movement, emotional expression in movement, pattern of foot placement, and lack of stability and weightiness. The results of this study expand the theoretical understanding of the concept of grounding. They contribute to the understanding of the benefits of body focus, dance and movement in psychotherapy and to validating body psychotherapy and dance movement therapy (DMT). The existence of a reliable and valid tool is essential for assessment and diagnostic processes, for formulating therapeutic goals focused on the body, and for examining their effectiveness. (shrink)

Medically unexplained symptoms (MUS) are common and costly in both primary and secondary health care. It is gradually being acknowledged that there needs to be a variety of interventions for patients with medically unexplained symptoms to meet the needs of different groups of patients with such chronic long-term symptoms. The proposed intervention described herewith is called The BodyMind Approach (TBMA) and promotes learning for self-management through establishing a dynamic and continuous process of emotional self-regulation. The problem is the mismatch between (...) the patient’s mind-set and profile and current interventions. This theoretical article, based on practice-based evidence, takes forward the idea that different approaches (other than cognitive behaviour therapy) are required for people with MUS. The mind-set and characteristics of patents with MUS are reflected upon to shape the rationale and design of this novel approach. Improving services for this population in primary care is crucial to prevent the iterative spiralling downwards of frequent GP visits, hospital appointments, and Accident and Emergency attendance, all of which are common for these patients. The approach derives from embodied psychotherapy (authentic movement in dance movement psychotherapy) and adult models of learning for self-management. It has been developed from research and practice-based evidence. In this article the problem of MUS in primary care is introduced and the importance of the reluctance of patients to accept a psychological/mental health referral in the first instance is drawn out. A description of the theoretical underpinnings and philosophy of the proposed alternative to current interventions is then presented related to the design, delivery, facilitation and educational content of the programme. The unique intervention is also described to give the reader a flavour. (shrink)

When philosophers cultivate a professional interest in philosophical practice as a form of counseling therapy, the implicit bias of their practice is likely to emulate the “helping profession” model of client engagement. The effort seems noble enough, but emulating the model of the helping professions might actually be incommensurate with the philos­pher’s calling. The philosophical temperament emulates a less constraining but more aggressive model of intervention than we find operating in the professional domain of therapeutic counseling practices. While the (...) philosophical temperament resolves to question and analyze its subject-matter without the encumbrances of social constraint or the promise of utility, it employs methods of philosophical questioning and analysis decidedly more agonistic than can be motivated under the auspices of the “helping profession” model of therapeutic intervention. The philosophical temperament is a challenging temperament, a probing, testing, exploring, engaging temperament whose only vested commitment is to further inquiry. After setting up this distinction between philosophical practice and the helping professions I pose some thoughts regarding the philosophical encounter within a counseling situation, with emphasis on the challenge of translating back and forth between the client’s subject matter and the philosopher’s frame of reference. In the course of negoti­ating these challenges, the philosophical temperament encounters two divergent paths we must learn to travel with equal facility: we must make room for beneficial critique in philosophical counseling while motivating effective critical perspective within the client’s own world-view. The challenge is to see such a philosophical encounter as a place of translation, in which the counselor’s philosophical temperament is exposed to the alterity of the client’s domain of experience without losing its critical facility. In this way, the philosophical encounter is exercised in a movement between worlds, as an interweaving dance of translation and innovation characteristic of a “place” of mutual engagement. The resulting tension in these dialogical encounters is a direct consequence of the philosophical intervention in a client’s personal life. The philosopher’s challenge is to negotiate carefully between two domains of translation (between the cognitive-emotive domain of lived-experience and the philosophical domain of conceptual thinking, reflective inquiry and critical analysis), and to establish connections between these domains to facilitate philosophical encounters in a space of shared listening. (shrink)

The gradual appearance and relative stabilisation of the names of different kinds of martial activities in different cultures and contexts has led to confusion and to an unhelpful and unjustifiable elision of meanings, which merges different modes of combat and other martial activities. To gain a clearer perspective on this area, we must enquire into the criteria according to which the various kinds of martial activities are classified. Our assessment of the literature suggests that there is no satisfactory and well-justified (...) overall cross-cultural account of the classification of martial activities. This paper provides a revisionary classification and offers an explanation and a justification of the five main categories identified: close combat, warrior arts, martial paths, martial arts and martial sports; as well as some minor ones, such as martial training, martial therapy, martial display, martial games and martial dance. (shrink)

Dynamic body feedback is used in dance movement therapy, with the aim to facilitate emotional expression and a change of emotional state through movement and dance for individuals with psychosocial or psychiatric complaints. It has been demonstrated that moving in a specific way can evoke and regulate related emotions. The current study aimed to investigate the effects of executing a unique set of kinetic movement elements on an individual mover’s experience of happiness. A specific sequence consisting of (...) movement elements that recent studies have related to the feeling of happiness was created and used in a series of conditions. To achieve a more realistic reflection of DMT practice, the study incorporated the interpersonal dimension between the dance movement therapist and the client, and the impact of this interbodily feedback on the emotional state of the client. This quantitative study was conducted in a within-subject design. Five male and 20 female participants participated in three conditions: a solo executed movement sequence, a movement sequence executed with a DMTh who attuned and mirrored the movements, and a solo executed movement sequence not associated with feelings of happiness. Participants were only informed about the movements and not the feelings that may be provoked by these movements. The effects on individuals were measured using the Positive and Negative Affect Schedule and visual analog scales. Results showed that a specific movement sequence based on movement elements associated with happiness executed with a DMTh can significantly enhance the corresponding affective state. An additional finding of this study indicated that facilitating expressed emotion through movement elements that are not associated with happiness can enhance feelings such as empowerment, pride, and determination, which are experienced as part of positive affect. The results show the impact of specific full-body movement elements on the emotional state and the support outcome of DMT on emotion regulation. (shrink)

Looking at Bapedi ancestor veneration constructively, one finds it a source of communication that enhances the community’s norms, values and personal well-being. The Bapedi community has a belief system that is based on the spiritual world, and this includes ancestor veneration. Communication with the spiritual world happens through sacrifices, songs and dance. Malopo is a ritual that not only binds the people to their ancestors but also provides a healing therapy. The purpose of this study was to investigate (...) the religious and social functions of ancestor veneration in the Bapedi society, as well as the relationship between culture, music and identity in veneration in the traditional healing Sepedi context. To achieve this aim, the study employed a naturalistic approach and data were collected through video recordings of malopo rituals, interviews and observations. The main questions the study addressed are what are the religious and social functions of ancestor veneration in the Bapedi society? and what is the relationship between culture, music and identity in veneration in Sepedi traditional healing context? The results demonstrated that ancestors are vital to Bapedi society, and the most effective ways of reaching them are through music and dance – malopo rituals, as well as divination bones. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adolph Meyer’s Psychobiology in Historical Context, and Its Relationship to George Engel’s Biopsychosocial ModelEdwin R. Wallace IV (bio)Keywordspsychobiology, integrative models of psychiatry, biopsychosocial modelBefore addressing the importance of Adolf Meyer and the question of his impact on the biopsychosocial model of the psychoanalytical internist George Engel, let us tersely sketch the history of functionalism in medicine/psychiatry, and of the nineteenth/early twentieth century’s progressive abandonment of it in favor of (...) basic science reductive models of “disease,” not illness.FunctionalismWhereas Hippocratic physicians diagnosed diatheses in terms of humoral excesses or deficiencies, their primary emphasis was on the ill person. They began with careful histories of the patient’s complaints and his or her daily life course, customary activities, typical foods and beverages imbibed, and the exacerbation or relief of symptoms associated with any or all of these. They also asked questions about his physical and social environment. They carefully looked for any clinically pertinent signs, and might physically examine the patient or his excretions. When they arrived at a diagnosis (say, an excess of yellow or black bile, or of blood or phlegm), they would educate the patient about it and discuss possible approaches. Although leeching, emetics, or purgatives might be prescribed, “dietetics” was the core of the treatment. Much more than recommendations about dietary intake, this involved conversations about “lifestyle” management in general: exercise, fresh air, habit changes, and perhaps bathing in mineral waters or spas. If the patient were “melancholic” (which then included what we would now consider a variety of psychiatric disorders), he or she might be prescribed daily swimming and other forms of vigorous exercise, conversations with a philosopher, [End Page 347] attendance at theatrical comedies, or even referral to an Asklepian temple for “incubation sleep” and priestly dream interpretation. Often doctors worked closely with physical trainers, to whom they sent their patients. In short, their orientation was holistic (“mind”/”body” integration), directed first and foremost toward an individual ill person.In the second century, C.E. Galen, despite his humoral and anatomical pathologies, was similarly holistic or functionalist. He resorted to a variety of physical examinational methods while also attending to the patient’s mental/emotional status. He described one case where he was attending a woman for syncopal episodes. His examinations of her included his customary attention to the pulse. During one evening session, a servant entered and happened to mention that he had just seen the handsome Pylades dancing. Suddenly her pulse became irregular and she fainted straight away. This led Galen to consider love sickness, and perhaps not humoral or organ pathology. He tested his hypothesis during subsequent visits. Whenever another dancer or actor was mentioned, her pulse remained regular and her sensorium alert, but when Pylades was mentioned the irregular pulse and fainting recurred. Because she was married, Galen realized her insoluble conflict, and treated her accordingly.From the fall of Rome until the rise of University Medicine in the later Middle Ages, medical lore and doctoring was in monastic hands—each monastery had its clerical medic, who might also attend outsiders. They were attuned to the traditional triad of major mental disorders—mania, melancholia, and phrenitis—which they explained somatically. However, they also encountered lesser mental/emotional disorders for which they developed their own nosology. “Scrupulosity,” for example, characterized a committed monk with an unrealistic sense of sinfulness and guilt—which often drove him to self-mortification such as flagellation, hair shirts with chains underneath, and so forth, for which the remedy was kindly pastoral counseling. “Accedia” was akin to our “dysthymia,” whose sufferer was affected by sadness, lassitude, and impaired capacity to carry out the monastic routine. This was viewed as straddling the boundary between sickness and sin. Routine physical labor (“occupational therapy”) and prayers, confession, penance, and “pep talks” were prescribed.When universities with medical schools arose in the latter Middle Ages, students’ educations were mostly bookish and theoretical. Hippocratic and Galenic somatic orientations were still preeminent. (Vesalius would not publish his illustrated anatomical text until 1543.) Dietetics and purgatives, bloodletting, and so on were still favored treatments. Nevertheless, doctors gave considerable time and attention to their patients as ill... (shrink)

This collection of short stories and essays call into question the medical-scientific narrative, its understandings of psychoanalysis and madness, and the identity, purpose and ethics that flow from and sustain its narrative. These stories are gathered from meetings with people on in-patient units and in private practice. Emphasis is placed on the centrality of the Freudian unconscious in the process of listening, understanding and responding in the analytic discourse. Collectively, they reintroduce the identity of the analytic practitioner as the shaman (...) of contemporary times, a mind-poet who sees the world through a magical--as opposed to a scientific--visionary experience. "With a wry humour and piercing intellect, Dr. Kavanaugh's Stories from the Bog... evokes the Celtic legacy of story-telling in psychoanalysis."--David L. Downing. "A scintillating book that dances on edges of the human mind. At once, challenging, reflective and enriched by details of therapeutic work."--Michael Eigen, author, Contact with the depths. "Dr. Kavanaugh captures the essence of the psychoanalytic enterprise.... this book is a work of psychoanalytic art by one of its most creative practitioners."--Marvin Hyman. (shrink)

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the (...) timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

IntroductionDementia diseases, especially Alzheimer’s disease (AD), are of considerable importance in terms of social policy and health economics. Moreover, against the background of the current Karlsruhe judgement on the legalisation of assisted suicide, there are also questions to be asked about medical humanities in AD.MethodologyRelevant literature on complementary forms of therapy and prognosis was included and discussed.ResultsCreative sociotherapeutic approaches (art, music, dance) and validating psychotherapeutic approaches show promise for suitability and efficiency in the treatment of dementia, but in (...) some cases still need to be scientifically tested. Biomarker-based early diagnosis of dementia diseases is increasingly becoming a subject of debate against the background of the Karlsruhe ruling.DiscussionNeeds-oriented and resource-enhancing approaches can make a significant contribution to improving the quality of life of people with dementia. The discussion on the issue of “assisted suicide” should include questions of the dignity and value of a life with dementia.OutlookThe integrative dementia therapy model can be complemented by a religion- and spirituality-based approach. Appropriate forms of psychotherapy should be scientifically evaluated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature Against Philosophy, Plato to Derrida: A Defense of PoetryPaul M. HedeenLiterature Against Philosophy, Plato to Derrida: A Defense of Poetry, by Mark Edmundson; 239 pp. New York: Cambridge University Press, 1995, $59.95 cloth, $17.95 paper.In this age of suspicion, it is refreshing to meet a believer like Mark Edmundson, someone merging “versions of freedom and fate” (p. 235). To many, such an accommodation is automatically suspect; to (...) many, a voice as sweet and civil as his is enough to make the molars ache. Not that Edmundson always makes believing look easy, but he dances rather gracefully with the “descendental” (p. 236) as he sings a late-millennial tribute to “the poems we love” (p. 237). His analysis of sophisticated doubters is impressive for its respectful tone. Edmundson models how a traditional literary intellectual uses, rather than bests, not only what important philosophers promise, but also what literature delivers.Edmundson’s discussion begins with Plato’s dismissal of literature as “a harmful diversion” (p. 7). This establishes the classical sources of philosophy’s antipathy to literature’s “pleasure and vitality” (p. 237) and sets the tone for an analysis of “descendentalism,” the various modern and postmodern searches for “ultimate truths” in “the bedrock” of experience (p. 22).To Edmundson’s mind, Freud’s general hypothesis that there are analyzable forces in the unconscious legitimizes various contemporary attempts to subordinate literature to philosophy. For example, de Man’s metaphor of blindness and insight follows Freud as “a figure for [the] dramatic irony... that arises when speakers say more than they know, and... where the surplus of meaning is taken in by some third party” (p. 42).Power issues are in the foreground as the critic becomes an analyst/interpreter of meanings that would otherwise be latent or repressed (p. 43). As Edmundson shows, de Man can transform symbol and allegory into instances of repression, tropes “that record... how they will be misunderstood...” (p. 49). Such pre-Derridean insights still allow de Man to offer an approximate defense of highly allegorical texts that “proffer images for their own correct deconstruction” (p. 49). Only these, finally, are “worthy of being called literature” (p. 49).In short, “de Man succeeded in transferring the Freudian model of repression from the sphere of analytic therapy to that of rhetorical analysis” (p. 53) thus initiating “a self-perpetuating order” (p. 55). Does Edmundson decry such orders? Generally, yes, but gently. One of the strengths of this book is Edmundson’s desire not to compete with his subjects; predominantly, he avoids for himself the authoritarian positions he suspects, choosing instead to stir up the “trouble between poets and philosophers... that keeps them in productive dialogue and competition” (p. 63).Derrida’s chief role in this competition, his polemic against presence, and “his proffered alternative” (p. 79), différance, remind Edmundson of de Man’s [End Page 538] analysis of repression. “Derrida seems to think,” Edmundson writes, that “the texts of Western metaphysics surrender their secret holdings when one simply listens...” (p. 80). Like Freud and de Man, then, Derrida is out to unlock what is repressed: “we might think of différance as... a name for those powers that Derrida’s deconstruction strives to release” (p. 81).For Edmundson, however, Derrida’s chief insight—that “philosophy is a tissue of words, manifold [not unified] in their associations”—contradicts philosophy’s self-described superiority to and dominance over literature (p. 84). For if both literature and philosophy are merely made of words, “how,” Edmundson asks, “can philosophy conceivably function as a stable template to discipline and delimit literary range, to disenfranchise poetry” (p. 84)? Walking this tightrope, Derrida dramatizes “the struggle between poetry and philosophy... [on] a level of extraordinary and unprecedented refinement” (p. 84). Edmundson’s purpose—as it was with de Man—is not to debunk Derrida, but to redescribe him: no longer metaphysics’ “fearsome terminator,” he is a philosopher “within” this tradition (p. 96). Because Derrida continues Freud’s idea of authority, his analyses are “disturbingly mistake-proof,” risking little themselves but asking of literature great sacrifices of “vital force” (p. 112).Edmundson then takes on historicism. After a... (shrink)

This is the story of Lisa 1 —a woman like so many others who has been abused—and of her healing journey using music and creative arts experiences. It is also a story about how music, song, poetry, art, and dance awakened her to a new consciousness and provided the necessary empowerment she needed in order to reclaim the woman she had been before experiencing the trauma of abuse. While the question of how utilization of music and the creative arts (...) encourages personal transformation and healing is also deserving of a theoretical exploration, in this article I have chosen to foreground Lisa's story as narrative, in order to also engage the reader with the transformative potential of empowerment that comes through listening. I have chosen an approach that foregrounds Lisa's experience over theory explicitly, for, it is with the process of "finding voice" and of engaging the listener in that process, that transformation of consciousness and empowerment occurs. (shrink)

Body feedback is the proprioceptive feedback that denominates the afferent information from position and movement of the body to the central nervous system. It is crucial in experiencing emotions, in forming attitudes and in regulating emotions and behavior. This paper investigates effects of dynamic body feedback on affect and attitudes, focusing on the impact of movement rhythms with smooth vs. sharp reversals as one basic category of movement qualities. It relates those qualities to already explored effects of approach vs. avoidance (...) motor behavior as one basic category of movement shape. Studies 1 and 2 tested the effects of one of two basic movement qualities (smooth vs. sharp rhythms) on affect and cognition. The third study tested those movement qualities in combination with movement shape (approach vs. avoidance motor behavior) and the effects of those combinations on affect and attitudes toward initially valence-free stimuli. Results suggest that movement rhythms influence affect (studies 1 and 2), and attitudes (study 3), and moderate the impact of approach and avoidance motor behavior on attitudes (study 3). Extending static body feedback research with a dynamic account, findings indicate that movement qualities – next to movement shape – play an important role, when movement of the lived body is an independent variable. (shrink)

Although movement has long been recognized as expressing emotion and as an agent of change for emotional state, there was a dearth of scientific evidence specifying which aspects of movement influence specific emotions. The recent identification of clusters of Laban movement components which elicit and enhance the basic emotions of anger, fear, sadness and happiness indicates which types of movements can affect these emotions (Shafir et al., 2016), but not how best to apply this knowledge. This perspective paper lays out (...) a conceptual groundwork for how to effectively use these new findings to support emotional resiliency through voluntary choice of one’s posture and movements. We suggest that three theoretical principles from Laban Movement Analysis (LMA) can guide the gradual change in movement components in one’s daily movements to somatically support shift in affective state: (A) Introduce new movement components in developmental order; (B) Use LMA affinities-among-components to guide the expansion of expressive movement range and (C) Sequence change among components based on Laban’s Space Harmony theory to support the gradual integration of that new range. The methods postulated in this article have potential to foster resiliency and provide resources for self-efficacy by expanding our capacity to adapt emotionally to challenges through modulating our movement responses. (shrink)