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Introduction
In this text I would like to present my views on the domain
of dance and movement as a means for creative therapy, as
developed within my professional involvement with children
and juveniles. First I will give an overview of the various
aspects of the domain of dance and movement as a medium, and
I will focus on some issues that in my opinion are closely
linked to theories of creative processes. Next I will
elaborate the creative process in movement processes. Some
vignettes from practice will be used for the sake of
illustration of the text. They will certainly not offer a
complete image of the therapeutic situation, nor of the
treatment course, nor of the therapeutic guidance.
Many aspects of the work will not be dealt with in this text.
Some subjects such as 'therapeutic relationship', 'treatment
program and treatment methodology' of creative dance and
movement therapy will be elaborated elsewhere.
Scheme:
1. Dance
a. Codified forms (e.g. ballet, ballroom, folk dance,
breakdance, etc.)
b. Personal forms (e.g. own, non-imitated dance movement)
2. Movement games
a. Codified forms (e.g. established ball games, children's
games, green games, etc.)
b. Personal forms (e.g. self-designed games)
Stage of sensitization:
-here the experimentation takes place of one's own
possibilities with respect to dance
-the client is faced with material and social problems
-possibilities and limits in dealing with dance are
recognized with respect to both oneself and others
-the client develops a sensitivity for new, forgotten or lost
opportunities of expression, communication and information.
Stage of reflection:
-here the client becomes aware and starts to appreciate his
own possibilities within dance qua medium, as found in stage
1.
Stage of synthesis:
-the opportunities as encountered in free play and dance are
further processed and formed;
-the client articulates by 'dancing language'
-a new balance is found in the praxis and formation as
performed by the client; this balance is between the pre-
existing possibilities and the influence of development and
environment on the one hand, and on the other hand the newly
found opportunities in dealing with the medium;
-during formation one's own situation becomes more
controllable.
Summary
This article presents some notions that are basic to creative
dance and movement therapy. Both dance and movement are
subdivided into personal and codified patterns. Examples from
practice are given as illustrations. Subsequently an outline
is given of the development of movement processes as
encountered in the therapeutic practice. The ideas presented
are based upon the author's work with children and
adolescents in a mental health centre.
References
Chaiklin, S. "Dance therapy", in: S. Arieti (ed.), American
handbook of psychiatry, vol. 5. Basic Books, New York,
1975.
Feder, E., B. Feder, The expressive arts therapies. Prentice-
Hall, Englewood Cliffs, N.J., 1981.
Grabau, E., H. Visser, Creatieve therapie. Van Loghum
Slaterus, Deventer, 1987.
Haselbach, B., Improvisation - Tanz - Bewegung. Stuttgart,
Klett, 1976
Michaelis, H. U. Treess, "Lernbereich, Bewegungsspiel und
Sport", Beltz, Weinheim, 1974.
NVAGG, "Kreatieve therapie/kreatief therapeut". Utrecht,
ref.nr. AG 821942 cp/kv/vt, 1982.
Wollschläger, G., Kreativität und Gesellschaft. Fischer TB,
Frankfurt, 1972.