Dance therapy with individuals surviving brain injuries

Dance/movement therapy in the rehabilitation of individuals surviving severe head injuries. 1985. Cynthia F. Berrol PhD, ADTR, and Stephanie S. Katz ADTR. American Journal of Dance Therapy, 1985, Volume 8, Issue 1, pp 46-66.

Abstract: “Approximately 700,000 individuals are admitted to hospitals annually as a result of severe brain injuries. Of the survivors, upwards of 70,000 suffer pervasive, long-term disruption of all domains of human function and marked alteration of the quality of life. Effective treatment requires a well-orchestrated multidisciplinary team approach. This paper will address rehabilitation issues in relation to dance/movement therapy. First the pathological consequences of neurotrauma will be reviewed. Likewise, basic mechanisms of recovery, treatment principles and special therapeutic considerations will be addressed. Finally, intervention strategies will be discussed within the context of both group and individual settings and illustrated via case studies.”


Expressive arts therapies with survivors of torture

Expressive arts therapies: Working with survivors of torture. Amber Elizabeth Lynn Gray. (2011). Torture Journal (Journal on Rehabilitation of Torture Victims and Prevention of Torture)  Volume 21, No. 1, 2011, pages 39-47.

Excerpt from the article:  “Dance/Movement Therapy (“DMT”) is both a somatic and an expressive arts therapy. A primary theoretical underpinning of this psychotherapeutic practice is that movement is a primary language for all human beings and, as such, is a powerful means to access implicit memory and stored history, trauma-related or not. From a developmental perspective, DMT acknowledges the non-verbal roots of all human language, communication, and experience, and therefore may be particularly suited to work with survivors of torture who have literally experienced the unspeakable directly to their bodies. Dance may be considered the creative or expressive aspect of movement, and for many cultures where the creative process is included in ritual, healing and daily life, DMT may be more appropriate than conventional talk therapy. The non-verbal and pre-verbal nature of trauma also supports the use of this modality.” (pages 42-43)

Dance-movement therapy with unhoused women

A place for my self : issues of space in dance-movement therapy with women in a homeless shelter. Kelly M. Phipps. (1995). Hahnemann University. Source: OAI. ABSTRACT iii, 77 leaves.

Abstract from ResearchGate: “As homelessness in the United States continues to rise, research into the specific needs for treatment of this population is increasing. Both personal and social factors contribute to homelessness as well as different reasons due to gender (North and Smith,1993). Loss of personal, interpersonal and societal space occur as a result of homelessness. This loss of spatial boundaries can lead to the inability of an individual to overcome his homeless condition. This study was undertaken in an effort to demonstrate a relationship between issues of space among the homeless and dance/movement therapy concepts to produce a program that would be beneficial to women living in a homeless shelter. As literature pertaining to dance/movement therapy with the homeless is extremely limited, the study consisted of a literature review of women and homelessness, space and dance/movement therapy with relavent populations. In addition, clinical application of dance/movement therapy to this population is given and illustrated with short case vignettes. Findings showed that dance/movement therapy concepts of space were applicable to the traumas such as physical and sexual abuse, drug addiction and victimization experience by homeless women. The non-verbal nature and use of the body in dance/movement therapy is able to address these issues at the site of their experience. The conclusion is that dance/movement therapy, especially work geared toward personal space and boundary development, can play a beneficial role in helping women escape patterns of homelessness.”