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Body, Movement and Dance in

Psychotherapy: An International

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Kinaesthetic change in the

professional development of

Dance Movement Therapy

traineesDita Judith Federman

a

aDance Movement Therapy, Graduate School of

Creative Art Therapies, University of Haifa, Israel

Published online: 18 Feb 2011.

To cite this article:Dita Judith Federman (2011) Kinaesthetic change in the professional

development of Dance Movement Therapy trainees, Body, Movement and Dance in

Psychotherapy: An International Journal for Theory, Research and Practice, 6:3,

195-214, DOI: 10.1080/17432979.2010.545190

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qualitative methodology (Forinash, 2004; Payne, 2001) whereas this study

uses quantitative methodology to examine change in a wide range of movement

qualities.

Kinaesthetic ability refers to the conscious perception, balance, and

movement of the body (Stillman, 2002). Kinesis involves movement and

aesthesis implies perception, or the direction and sensation of movement. The

kinaesthetic experience entails the processing of proprioceptive information,

derived mainly from muscle spindles and joints (Maschke, Gomez, Tuite, &

Konezak, 2003). It refers to the ability to comprehend and respond to this

information in movement. The sensory functions, collectively termed propri-

oception (proprioceptive sensation or kinaesthesia), involve awareness of the

spatial and mechanical status of the musculoskeletal framework.

Dance Movement Therapy (DMT)

DMT is one of the relatively young expressive Arts Therapies that utilises

expressive movement and dance as a vehicle through which an individual can

engage in the process of personal integration and growth. It is founded on the

principle that a relationship exists between motion and emotion (Payne, 1992).

DMT is the therapeutic use of movement, in which the therapist observes and

responds to the physical movement of the other person, in order to access deep

emotional content. Treatment through DMT rests on the conviction thatchanges in movement patterns can result in psychic change, and psychic change

influences the patterns of movement and the posture of the body. The body in

DMT serves as the therapeutic tool, much like words in verbal psychotherapy

or the brush and paper in Art Therapy. Thus, the development of this basic

therapeutic tool, i.e. kinaesthetic ability, is essential for both expressing and

receiving the other. In order to feel emotions like empathy, the bodily channel

between therapist and clientpatient must be open.

Dance movement therapy combines verbal and non-verbal communication;

it enables the expression of feelings and participation in meaningful human

relationships (Chaiklin, 1975a). The dance movement therapist works not only

with specific movements, like those in the steps of a dance, but with the quality

or dynamics of movement (timing, intensity, shape, direction, bound or free

aspects, degree and type of flow, centrality or peripherality, and so on)

(Bradley, 2000; Damasio, 1999; Le Doux, 1996; 1998; Lumsden, 2002; Schore,

1994). Movement dynamics is a term coined by Rudolf Laban. Laban (1960)

maintained that movement effort is closely related to intention and emotion.

The DMT training programme at Haifa University uses the learner-centred,

experiential learning approach described by Kolb (1984). The programme

combines psychoanalytical thinking with the phenomenological concept of

watching and analysing movement. The principles of Movement Therapy

emerge from a deep understanding of the body, movement, group processes,

and individual emotional needs. Emphasis is given to supervision in small

groups, individual supervision, and supervision-on-supervision for field super-

visors. The learning experience of this training is comprised of theoretical and

196 D.J. Federman




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methodological studies, experiential workshops, clinical practicum, supervi-

sion, and tutorials. Students engage in creative movement, in sharing the story

of their bodies, and in witnessing other members of the group.

The Art Therapy training programme uses a similar conceptual basis for

analysing drawings, sculptures, etc. as well as group process and supervision.

Thus, both DMT and Art Therapy use group work in training as well as in

therapy. In both areas, change occurs within a group context. The training of

dance movement therapists frequently uses a group format. As DMT is a type

of therapy that relies heavily on improvised movement, it is important to create

a group atmosphere of safety and security (Lumsden, 2002; Payne, 2001). This

encourages participants to experiment with new interpersonal behaviours and

new ways of expressing themselves in movement (Stanton, 1992).

The basis for a DMT group model is the work of Chace (Levy, 1988) who

used expressive, symbolic, rhythmic, and communicative aspects of dance andintegrated them into therapy. Her group work serves as a solid base upon

which it is possible, and perhaps desirable, to increase the understanding of the

dynamic processes existing in groups (Chaiklin, 1975b).

Payne (1996) focused on students perspectives of an as if group therapy

personal development course in preparation for their role as dance movement

therapists. She concluded that the experience of a DMT personal development

group is crucial in the training of dance movement therapists. In addition

Payne (2001), in her report on this student experience in a personal

development group, demonstrated the importance of the individuals sense ofpersonal safety in the group setting. She found that the feeling of safety was

based on dimensions such as trust, structure, boundaries, interpersonal caring,

physical contact, and leader support. The facilitators style was crucial to the

sense of safety. In DMT programmes, different aspects of group work stress

a safe environment as the suitable place for development (Best, 2003; Payne,

2001; Pines, 1992). This would include development in both kinaesthetic ability

and a sense of security in ones own movement.

Interactional shaping (Best, 2003) occurs within a group format, when

participants relate to one another (Best, 2003). Shaping occurs between bodiesand is affected by the context, the quality of movement, and the beliefs and

expectations of participants. It may lead to an observable change in body

movements, as well as inner change in personality characteristics, and engender

personal change and growth.

Theoretical orientation in a DMT group

The Chace approach and the Authentic Movement (Adler, 1999b; Levy,

1988) approach to DMT deal with personal and emotional development that

stems from group work in movement. Both accentuate the importance of

movement with the other or others, for self-reflection as well as for the

individual development. These two models serve as the theoretical basis for

the DMT training programme at Haifa University. They have provided a

rich foundation and stimulus for the development of DMT movement, yet

Body, Movement and Dance in Psychotherapy 197




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little empirical research has been carried out attesting to their reliability and

validity.

Authentic Movement

The concept of Authentic Movement refers to the movement of one person (the

client/patient/supervisee) in the presence of another (the therapist/witness/

supervisor) (Chodorow, 1991; Pallaro, 1999; Whitehouse, 1979). There are two

basic positions in Authentic Movement: the mover and the witness, in both

group and individual settings (Bragante, 2006; Payne, 2006). Authentic

Movement (Adler, 1999a) encourages creative expression of inner life, thus

offering a bridge between the conscious and the unconscious. During this

process, several meeting-points between the mover and the other participants/

witnesses are created in a sequence (Payne, 2001).

A relationship is formed between the body of the client and the body of the

therapist, and between the body of the therapist and body of the supervisor.

This mutual shaping is both active and passive; it takes place in the spaces in-

between individuals and between individuals and contexts (Best, 2003, p. 1).

As movement work deepens, the mover internalises the witness; movement-

patterns are created and organised through certain body parts and rhythms

(Payne, 2001). Verbal dialogue follows the movement experience. Both

witnesses and participants describe what they have experienced and share

their sensations and images (Bragante, 2006). In practicing Authentic

Movement, the mover explores the relationship between himself/herself and

a witness, being seen and seeing. With eyes closed, the mover listens inwardly

and finds a movement arising from a hidden impulse. Gradually an explicit

form is given to the content of direct experience.

The Chace Approach

Chaces basic concept is that dance is communication (Chaiklin, 1975a; Levy,

1988). There are four major classifications that Chace used in therapy. Physical

activity, symbolism, therapeutic movements, and rhythmic group activity are

used in dance and united into a special form of therapy. She argues that

physical activity prepares the body for emotional and communicative

expression.

The warm-up used at the beginning of the activity serves both to create

a certain atmosphere and prepare the body for an emotional voyage

(Chaiklin, 1975b). Symbolism provides a medium for recalling, re-enacting,

and re-experiencing. The circle, so often used in group Movement Therapy, is a

symbol of containment. The concept of therapeutic movements (Bernstein,

1979) refers to the language of movement. Chace (Bernstein, 1979) used

movement to convey to the client that she knew how he/she felt, thus

establishing affective, empathic interactions. Rhythmic movements (Bernstein,

1979) result from the simultaneous energetic activities of group members.

198 D.J. Federman




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A group moving together seems to have one breath and one pulse. When all

members of the group move together energetically, a sense of power,

organisation, and trust arises (Chaiklin, 1975b; Chaiklin & Schmais, 1993;

Lewis, 1996). It would seem that the interaction between Authentic Movement

and the Chace Approach to groups, in DMT group settings, often facilitates

a very basic and powerful being-with experience. This re-awakens archaic

feelings and motifs within the individual and within the group (as an integrated

whole) simultaneously.

Movement Analysis

In the current study, Laban Movement Analysis provides the basis for

movement assessment. It focuses on observation, description, and an under-

standing of movement patterns. Based on these dimensions, movement

observation in the current study includes categories of body attitude, use of

space, shape, and effort and an interpersonal category of relating to others.

Laban Movement Analysis (LMA) is one of the main tools of assessment in

DMT (Bartenieff & Lewis, 1980; Bernstein, 1986; Davis, 2005; Laban &

Lawrence, 1947/1974; Laban & Ullman, 1976; Lamb, 1965; North, 1972;

Payne, 1992).

Labans Movement Analysis may be used as a system for measuring

kinaesthetic ability. It is a descriptive system, assuming a dynamic relationship

between the bodys functional and expressive capacities (North, 1972).

The German word Antreib, used by Laban, means the drive towards, the

power of the motivation to act and deal with the environment. The qualities of

the efforts give colour to the movement, much like the dynamic signs in

music that give emotion, affect, and expression to the piece being played

(Stanton, 1992).

Laban Movement Analysis describes how the body uses kinetic energy in

space. It is composed of four major components: body, space, shape, and

effort. Body attitude includes characteristic movement qualities that can be

readily detected without formal movement notation (Hackney, 2000;

Kestenberg-Amighi, Loman, Lewis, & Sossin, 1999). This is the type of

readiness-to-act expressed in the trunk of the body (Bartenieff & Lewis, 1980).

Body attitude and posture are often used interchangeably; the latter generally

incorporates expressive content (Bartenieff & Lewis, 1980). Space refers to

horizontal, vertical, and sagittal movements. The ability to shift flexibly

between the three planes is notable. Shape describes the changing forms the

body makes in space: expanding and contracting, coupled with breathing

(Lamb, 1965; Rothbart & Derryberry, 1981). Effort emphasises the dynamicqualitative nuances of movement in terms of flow, weight, time, and focus/

space. It examines the structure and coordination of the body, the exertion or

effort the body manifests, and the changing shapes of the body. The effort

qualities deal with motivation and the power to act.





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Summary of reviewed literature

Many studies in the DMT and Art Therapy literature have employed

qualitative methods (i.e., Gilroy, 2006; Payne, 2001; Shaw, 2003). There are

relatively few quantitative studies. Notable are the studies of Koch (2007) andFraenkel (1983), drawing on concepts from LMA and the Kestenberg

Movement Profile (KMP). The current study is based on two important

theories: Authentic Movement (Chodorow, 1991; Payne, 2001; Whitehouse,

1979) and the Chace Approach (Chaiklin, 1975b; Levy, 1988). Both approaches

utilise kinaesthesia, a concept central to DMT (Maschke et al., 2003; Stillman,

2002). In addition, LMA (Laban, 1960; Laban & Lawrence, 1947/1974;

Newlove & Dalby, 2004; North, 1972) provides a solid basis for movement

analysis.

The current research centres on changes in kinaesthetic ability among DMT

trainees, the research group, comparing it with changes among Arts Therapy

trainees, the comparison group. The hypothesis is that kinaesthetic ability will

increase among the group of DMT trainees, while such changes will not be

observed among trainees in the Art Therapy group.

Methodology

Design

This field study has been conducted using a non-randomised controlled trial,also called quasi-experimental, pre-post comparison group design. Quantitative

research tools were used to assess kinaesthetic ability: video analysis of free-

dance and lecturer evaluation. The study traces a group of DMT students

studying at Haifa University throughout their training, comparing them with a

group of Art Therapy students. The observational evaluation of kinaesthetic

ability, as well as its evaluation by lecturers, was based on assessment methods

derived from the theory of Laban (1960). Both groups were evaluated at the

beginning and end of the year.

Participants

The sample in this study is a convenience sample. It consists of 42 Hebrew-

speaking, graduate students; 22 DMT (52%) and 20 Art Therapy (48%)

students, 38 women (90%) and four men (10%). The students ranged from 25

48 years of age (M 31.08, SD 4.89). 23 students were married (54.8%), the

others were single; 17 have undergone personal therapy (40.5%). It should be

mentioned that though personal therapy is not compulsory, it is recommended

in both the DMT and the Art Therapy programmes. No significant

background differences were found between the two groups.

A total of 54 students started the study and completed the pre-phase

questionnaires, 42 completed the post-phase questionnaires (78%), and 12

students dropped out during the course of the study (22%). No background

differences (gender, age, education, family status, personal therapy) were found

between students who completed the study and those who dropped out.

200 D.J. Federman




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Research instruments

Movement Assessment Using Video

The kinaesthetic assessment tool developed for this study was based on

concepts taken from the Laban Movement Analysis Scale (Laban, 1960) andcomprised of four areas: body attitude, space, shape, and effort. A fifth area

was added to capture additional interpersonal variables in movement.

Examples of items composing from this area are echoing (Fraenkel, 1983)

and eye contact (Koch, 2007). A table of 41 items was used to categorise

movement observation, with an ordinal scale of 0 (not present) to 3 (present a

lot - all the time) attached to each. It was independently constructed by two

senior experts in DMT and Laban Movement Analysis, who then agreed on the

contents of the items, as well as on their measurement scales.

DMT and Art Therapy groups were evaluated according to movement(kinaesthetic) dimensions. They were videotaped in a free dance, individually

and in pairs. Movement warm up preceded free dance. The appropriate time

frame and time units for reliable observation were taken into account, as some

movement features may have different baseline frequencies affected by the time

frame of the observation. This allowed enough time for all movement

dimensions to be observed. A minimal time frame of 10 minutes per

observation is recommended, and was used under the assumption that it

allows for enough repetition to identify behavioural patterns (Cruz &

Berrol, 2004).

The video-tapes were analysed by two experts in Movement Assessment

who were blind to each others ratings. One was familiar with the students (the

researcher) and the other was unfamiliar with the students. Inter-rater

reliabilities of the movement dimensions ranged from .82 (p5 .05) to .99

(p5 .01) (Kendalls W).

Lecturers evaluations

Two lecturers evaluated DMT students on major dimensions of kinaesthetic

ability. These were independent evaluations, done in addition to the movement

assessments via video. Two lecturers graded each student on these dimensions

on a scale of none (0) to a lot all the time (3). Inter-rater reliability ranged

from .85 (p5 .05) to .95 (p5 .01) (Kendalls W). The main purpose of the

lecturers evaluation was to add information and to validate the findings of the

Movement Assessment Using Video. Kinaesthetic dimensions were chosen on

the basis of the ability to assess them from a general acquaintance with the

students movement patterns. Nine dimensions were evaluated, as shown

in Figure 1.

Procedure

At the outset of the research, participants were given a written explanation of

the aims of the project, including an explanation of the assessment procedure.

An informed consent form was signed. During the first two weeks of the





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academic year and once again two weeks before its end, the students were

asked to perform a free dance in front of the class, both individually and in

pairs. The free dances were videotaped.

Movement warm-up in a group preceded the free dance. Students were then

asked to move to the centre of the room and to use movement to express how

they felt at that moment. They were asked to relate to their inner rhythm,

impulse, sensation, and express themselves in movement for 10 minutes.

Rhythmic music was played during group warm up, but not in the followingindividual free dance, in order to allow for an inner rhythm to evolve. At the

same time, lecturers completed student evaluations.

Data analysis

Data was analysed via both parametric and non-parametric statistical methods.

As movement dimensions were defined on a four-point Scale, pre-post and

group differences were analysed with non-parametric Z tests. The five

movement areas were defined as the sum of the dimensions composing them,and pre-post and group differences were analysed with two-way ANOVAs of

the areas by group and time. Spearman Correlations were used to examine the

relationships between video and lecturers assessments.

Results

Changes in kinaesthesia were first evaluated using the five movement areas,

followed by an analysis of the dimensions within each area. Table 1 presents

pre-post and group differences on the five movement areas.

Table 1 shows an increase in kinaesthesia for the DMT group, while no

change was observed among the Art Therapy students. The interaction of time

by group was significant for all areas. Post-hoc analyses revealed that in all

areas, pre-post differences were significant for the DMT students: Body

attitude: F (1, 40) 35.23, p5 .001, 2 .47; Use of space: F (1, 40) 19.03,

General posture open

General posture closed

Use of general space

Use of personal space

Free flow movement

Use of pelvis

Ability to echo the movement of another person

Leading

Responding

Figure 1. Movement dimensions evaluated by lecturers.

202 D.J. Federman




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p5 .001, 2 .33; Use of shape: F(1, 40) 25.33, p5 .001, 2 .39; Use of

effort: F(1, 40) 30.98,p5 .001, 2 .44; Relating to others: F (1, 40) 68.19,

p5 .001, 2 .63). Pre-post differences were not significant for the Art

Therapy group: (Body attitude: F (1, 40) 0.31, n.s., 2

.01; Use of space:F(1, 40) 1.13, n.s., 2 .03; Use of shape: F (1, 40) 1.74, n.s., 2 .04; Use

of effort: F(1, 40) 0.46, n.s., 2 .01; Relating to others: F(1, 40) 0.01, n.s.,

2 .001.

Changes in the dimensions of kinaesthetic ability within each area were

analysed using Wilcoxon Z test for pre-post differences within each group.

Initial differences between the two groups were analysed with Mann-Witney

U-Test. Tables 2 to 6 present the results for each area.

Results in Table 2 show that DMT students manifested significant increases

in open body posture, and in the use of torso, pelvis, and leg movement, whileno change was seem in the Art Therapy students. Self touch had significantly

increased in both groups.

Table 3 shows that significant increases were observed among the DMT

students in the use of general and personal space, and in the use of the high

level of space. No such change was seen in the Art Therapy group. DMT

students, at the pre-study stage, were already using a low level of space, a

variety of levels, and vertical and sagittal as dominant planes, significantly

more than the Art Therapy group. Both groups did not show changes in these

dimensions.

Table 4 show that DMT students presented an increase in outward

movement, inward movement, and grounding. No change was observed among

the Art Therapy students.

Table 5 shows that DMT students demonstrated a significant increase in

free flow, light weight, time accelerated/sudden, and direct focus movement.

The Art Therapy students showed an increase only in direct focus/space.

Table 1. Summary scores of movement areas by group and time (N42).

DMT Art

Pre Post Pre PostF - time

(1,40)F - group

(1,40)

F - time group

(1,40)

Body attitude 15.00(3.53)

20.05(3.27)

14.40(4.60)

13.90(4.00)

13.61***(2 .25)

10.89**(2 .21)

20.21***(2 .34)

Use of space 19.59(3.74)

23.41(2.63)

14.63(5.29)

15.63(4.41)

14.04***(2 .27)

33.43**(2 .46)

4.81*(2 .11)

Use of shape 3.68(1.39)

5.68(1.64)

4.10(2.00)

4.65(1.50)

19.61***(2 .33)

1.97(2 .01)

6.34*(2 .14)

Use of effort 12.63(2.79)

16.95(2.63)

11.75(3.86)

11.20(3.22)

11.23**(2 .22)

17.63***(2 .31)

18.75***(2 .32)

Relating toothers

17.09(2.72)

24.86(2.55)

17.85(4.26)

17.75(4.30)

31.64***(2 .44)

14.13***(2 .26)

33.31***(2 .45)

*p5 .05; **p5 .01; ***p5 .001.





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As can be seen in Table 6, a significant increase was observed among the

DMT students in eye contact, echoing, able to follow and respond to others

movement, initiation of new movement, leading, allow touch, and initiation of

touch. No change was observed in the Art Therapy group.

Results pertaining to lecturer evaluations of the movement of

DMT students showed significant increases in all measured dimensions

Table 2. Body attitude by group and time.

DMT Art Therapy Difference - Z

VariablePre

N %PostN %

PreN %

PostN %

Pre- bygroup

DMTPre-post

ArtTherapyPre-post

General posture:Posture-

openNone 2 9.1 0 0.0 3 15.0 5 25.0 1.57 3.11** 0.88A little 17 77.3 7 31.8 7 35.0 8 40.0Some 1 4.5 9 40.9 7 35.0 3 15.0A lot 2 9.1 6 27.3 3 15.0 4 20.0

Posture-closed

None 0 0.0 1 4.6 0 0.0 1 5.0 2.10* 2.99** 0.00A little 5 22.7 12 54.5 9 45.0 8 40.0

Some 7 31.8 7 31.8 8 40.0 7 35.0A lot 10 45.5 2 9.1 3 15.0 4 20.0

Sunk-heavy None 1 4.6 1 4.5 3 15.0 2 10.0 0.71 1.03 0.69A little 5 22.7 7 31.8 5 25.0 4 20.0Some 9 40.9 10 45.5 6 30.0 8 40.0A lot 7 31.8 4 18.2 6 30.0 6 30.0

Areas in body in which movement occurs:Torso None 4 18.2 2 9.1 9 45.0 9 45.0 2.39* 3.07** 1.31

A little 5 22.7 1 4.5 7 35.0 5 20.0Some 8 36.4 8 36.4 2 10.0 1 5.0

A lot 5 22.7 11 50.0 2 10.0 5 25.0Pelvis None 6 27.3 3 13.6 7 35.0 12 60.0 0.03 2.61** 2.07*

A little 7 31.8 3 13.7 4 20.0 2 10.0Some 6 27.3 3 13.6 5 25.0 4 20.0A lot 3 13.6 13 59.1 4 20.0 2 10.0

Arms None 1 4.6 0 0.0 1 5.0 0 0.0 0.20 0.71 0.91A little 0 0.0 0 0.0 1 5.0 2 10.0Some 3 13.6 3 13.6 2 10.0 8 40.0A lot 18 81.8 19 86.4 16 80.0 10 50.0

Legs None 0 0.0 0 0.0 0 0.0 0 0.0 2.72* 2.35* 0.24A little 4 18.2 0 0.0 9 45.0 10 50.0Some 7 31.8 5 22.7 9 45.0 6 30.0A lot 11 50.0 17 77.3 2 10.0 4 20.0

Self touch None 13 59.1 4 18.2 16 80.0 11 55.0 1.48 2.68** 2.06*A little 2 9.1 6 27.3 0 0.0 2 10.0Some 4 18.2 5 22.7 4 20.0 5 25.0A lot 3 13.6 7 31.8 0 0.0 2 10.0

*p5 .05; **p5 .01; ***p5 .001.

204 D.J. Federman




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(Wilcoxon Z ranged between Z 2.41,p5 .05 to Z 3.74,p5 .001; for a list

see Figure 1). Lecturers evaluations were congruent with the video analysis

of the same movement dimensions. Pre-test correlations ranged between .84

(p5 .001) and .93 (p5 .001), averaging at .89 (p5 .001, SD .03), post-test

correlations ranged between .40 (p5 .07) and .87 (p5 .001), averaging at .67

(p5 .001, SD .18).

Table 3. Use of space by group and time.


VariablePre

N %PostN %

PreN %

PostN %

Pre- bygroup

DMTPre-post

ArtTherapyPre-post

Use ofgeneralspace

None 0 0.0 0 0.0 0 0.0 0 0.0 1.52 2.80** 0.30A little 4 18.2 0 0.0 5 25.0 5 25.0Some 9 40.9 4 18.2 12 60.0 11 55.0A lot 9 40.9 18 81.8 3 15.0 4 20.0

Use ofpersonalspace

Near 3 13.6 0 0.0 7 35.0 4 20.0 1.18 3.17** 0.31Middle 7 31.8 0 0.0 5 25.0 9 45.0Far 4 18.2 4 18.2 2 10.0 1 5.0combination 8 36.4 18 81.8 6 30.0 6 30.0

Levels in space:

LevelLow

None 4 18.2 4 18.2 13 65.0 7 35.0 3.14** 0.05 1.85A little 5 22.7 5 22.7 2 10.0 2 10.0Some 2 9.1 2 9.1 3 15.0 8 40.0A lot 11 50.0 11 50.0 2 10.0 3 15.0

LevelMiddle

None 2 9.1 0 0.0 0 0.0 0 0.0 1.37 1.47 0.71A little 2 9.1 1 4.6 1 5.0 0 0.0Some 3 13.6 3 13.6 2 10.0 2 10.0A lot 15 68.2 18 81.8 17 85.0 18 90.0

LevelHigh

None 7 31.8 1 4.6 11 55.0 8 40.0 1.92 2.57* 0.89A little 6 27.3 5 22.7 6 30.0 7 35.0

Some 4 18.2 9 40.9 2 10.0 4 20.0A lot 5 22.7 7 31.8 1 5.0 1 5.0

Varietyof levels

One 2 9.1 0 0.0 10 50.0 5 25.0 2.28* 1.89 1.73Two 9 40.9 5 22.7 4 20.0 5 25.0Three 11 50.0 17 77.3 6 30.0 10 50.0

Dominant planes:

Horizontal None 1 4.6 1 4.5 4 20.0 3 15.0 1.29 1.51 0.06A little 3 13.6 2 9.1 6 30.0 5 25.0Some 12 54.5 9 40.9 4 20.0 9 45.0A lot 6 27.3 10 45.5 6 30.0 3 15.0

Vertical None 1 4.6 0 0.0 7 35.0 4 20.0 2.24* 1.28 0.93


Sagittal None 1 4.5 0 0.0 7 35.0 10 50.0 3.32*** 1.23 1.41A little 2 9.1 1 4.5 4 20.0 4 20.0Some 6 27.3 6 27.3 6 30.0 5 25.0A lot 13 59.1 15 68.2 3 15.0 1 5.0

*p5 .05; **p5 .01; ***p5 .001.





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To summarise findings, substantive significant changes were observed

among DMT students in kinaesthetic ability, whether analysed by video

observations or by Lecturer evaluations, whereas no changes characterised the

Art Therapy group.

Discussion

DMT emphasises the use of expressive movement in both training and therapy.

The observed improvement in kinaesthetic ability occurred, despite the fact

that there was no formal emphasis on teaching movement technique or

ability per se. This change in kinaesthetic ability may reflect the acquisition of

new ways of self expression in movement. DMT uses kinaesthesia as its main

tool in therapy. Assuming that this is the case, there may be a relationship

between an increase in kinaesthetic ability and an increase in therapeutic

ability.

Body attitude increased during the training period and an overall opening

of posture was observed. It is interesting to note that the use of arms, which

received high scores on the pre-test, did not change. This may be due to the

culturally accepted use of hands, more so than the use of other body parts. The

increased use of the body, as well as a high initial use of the hands, may all be

part of the general opening of posture that was ultimately observed in post-test.

In DMT training, special attention is paid to the differentiation of body-

parts (Lamb, 1965, 1992). This is further augmented by the use of video and

Table 4. Use of shape by group and time.


VariablePre

N %PostN %

PreN %

PostN %

Pre- bygroup

DMTPre-post

ArtTherapyPre-post

Movementoutward

None 2 9.1 0 0.0 2 10.0 3 15.0 0.03 3.02** 0.01


Movementinward

None 0 0.0 0 0.0 0 10.0 3 15.0 2.40* 3.22** 1.30


Grounding None 0 0.0 0 0.0 0 0.0 0 0.0 0.67 2.53* 0.72A little 7 31.8 4 18.2 10 50.0 7 35.0Some 9 40.9 7 31.8 4 20.0 7 35.0A lot 6 27.3 11 50.0 6 30.0 6 30.0

*p5 .05; **p5 .01; ***p5 .001.

206 D.J. Federman




15/22

feedback from the group. Emphasis is on awareness of the body and reflection

upon sensation and experience while moving. This results in increased

sensitivity to body attitude, which may be a cause for change in the above

mentioned dimensions.

In addition, the warm-up phase as seen in the Chace Approach (Bernstein,

1979; Chaiklin, 1975b) pays special attention to the warming-up of all body

areas as a preparatory stage for therapeutic work. Movement in front of a

non-judgmental witness, as seen in the Authentic Movement Approach

Table 5. Use of effort by group and time.


VariablePre

N %PostN %

PreN %

PostN %

Pre- bygroup

DMTPre-post

ArtTherapyPre-post

Flow:Bound flow None 0 0.0 0 0.0 2 10.0 1 5.0 0.62 1.75 0.55


Free flow None 2 9.1 0 0.0 1 5.0 2 10.0 0.53 3.56*** 0.74A little 7 31.8 0 0.0 9 5.0 10 50.0Some 8 36.4 12 54.5 7 5.0 6 30.0A lot 5 22.7 10 45.5 3 5.0 2 10.0

Weight:Strong weight None 3 13.6 2 9.1 8 0.0 8 40.0 0.74 1.73 1.28


Light weight None 2 9.1 0 0.0 2 0.0 2 10.0 0.09 3.11** 0.69A little 9 40.9 1 4.5 7 5.0 8 40.0Some 7 31.8 11 50.0 8 0.0 9 45.0A lot 4 18.2 10 45.5 3 5.0 1 5.0

Time:

Time accelerated/sudden

None 4 18.2 0 0.0 5 5.0 6 30.0 1.86 1.97* 0.01A little 7 31.8 4 18.2 11 5.0 10 50.0Some 4 18.2 8 36.4 3 5.0 2 10.0A lot 7 31.8 10 45.4 1 5.0 2 10.0

Time Sustained None 5 22.7 1 4.5 7 5.0 8 40.0 0.03 1.47 0.18A little 7 31.8 8 36.4 2 0.0 1 5.0Some 5 22.8 6 27.3 6 0.0 6 30.0A lot 5 22.7 7 31.8 5 5.0 5 25.0

Focus/space:Direct None 5 22.7 0 0.0 5 5.0 1 5.0 0.30 3.24** 2.43*

A little 9 40.9 2 9.0 8 0.0 4 20.0Some 6 27.3 10 45.5 1 5.0 6 30.0

A lot 2 9.1 10 45.5 6 0.0 9 45.0

Indirect None 0 0.0 0 0.0 1 5.0 0 0.0 0.41 1.41 1.73A little 1 4.5 3 3.6 5 5.0 9 45.0Some 9 1.0 10 5.5 2 0.0 4 20.0A lot 12 4.5 9 40.9 12 0.0 7 35.0

*p5 .05; **p5 .01; ***p5 .001.





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(Chodorow, 1991; Whitehouse, 1979), enables the mover to dare and use the

body, and patterns of movement not usually employed. The patterns of

movement that result from increased daring to use the body are characterised

by a differentiation of body parts, the distancing of organs from each other and

Table 6. Relating to others by group and time.


VariablePre

N %PostN %

PreN %

PostN %

Pre- bygroup

DMTPre-post

ArtTherapyPre-post

Eye contact None 0 0.0 0 0.0 0 0.0 1 5.0 0.48 3.02** 0.17A little 5 22.7 0 0.0 3 15.0 4 20.0Some 10 45.5 4 18.2 14 70.0 10 50.0A lot 7 31.8 18 81.8 3 15.0 5 25.0

Echoing None 1 4.6 0 0.0 0 0.0 1 5.0 0.02 4.13*** 0.01A little 5 22.7 0 0.0 5 25.0 5 25.0Some 14 63.6 2 9.1 14 70.0 11 55.0A lot 2 9.1 20 90.9 1 5.0 3 15.0

Able to follow,respond to None 2 9.1 0 0.0 0 0.0 2 10.0 1.43 3.53*** 0.33A little 1 4.6 2 9.1 4 20.0 1 5.0Some 18 81.8 4 18.2 9 45.0 11 55.0A lot 1 4.5 16 72.7 7 35.0 6 30.0

Initiate newmovement

None 6 27.3 0 0.0 6 30.0 6 30.0 0.83 3.46*** 0.93A little 11 50.0 2 9.1 4 20.0 2 10.0Some 3 13.6 12 54.5 9 45.0 8 40.0A lot 2 9.1 8 36.4 1 5.0 4 20.0

Leading None 10 45.5 2 9.1 12 60.0 16 80.0 0.01 3.57*** 1.75A little 9 40.9 4 18.2 1 5.0 2 10.0Some 3 13.6 11 50.0 6 30.0 2 10.0A lot 0 0.0 5 22.7 1 5.0 0 0.0

Forcingmovementon partner

None 16 72.7 16 72.7 20 100.0 19 95.0 2.49* 0.28 1.00A little 4 18.2 4 18.2 0 0.0 0 0.0Some 1 4.6 2 9.1 0 0.0 1 5.0A lot 1 4.5 0 0.0 0 0.0 0 0.0

Enter otherskinesphere

Never 16 72.7 12 54.5 14 70.0 12 60.0 0.19 1.23 0.82Some 5 22.7 8 36.4 5 25.0 7 35.0Often 1 4.6 2 9.1 1 5.0 1 5.0

Allowinter-personalspace

None 0 0.0 0 0.0 0 0.0 1 5.0 1.43 1.03 0.38A little 5 22.7 3 13.7 0 0.0 1 5.0Some 5 22.7 5 22.7 6 30.0 2 10.0A lot 12 54.5 14 63.6 14 70.0 16 80.0

Allow touch None 2 9.1 1 4.5 9 45.0 8 40.0 1.23 2.82** 0.33A little 10 45.4 2 9.1 3 15.0 2 10.0Some 8 36.4 8 36.4 5 25.0 8 40.0A lot 2 9.1 11 50.0 3 15.0 2 10.0

Initiate touch None 8 36.4 2 9.1 13 65.0 12 60.0 1.17 3.54*** 0.71A little 8 36.3 3 13.6 2 10.0 1 5.0Some 6 27.3 6 27.3 3 15.0 5 25.0A lot 0 0.0 11 50.0 2 10.0 2 10.0

Entrancelevel aspartner

Yes 20 90.9 18 81.8 20 100.0 18 90.0 1.37 1.41 1.41No 2 9.1 4 18.2 0 0.0 2 10.0

*p5 .05; **p5 .01; ***p5 .001.

208 D.J. Federman




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from the centre of the body outwards (Bartenieff & Lewis, 1980; Hackney,

2000; Lamb, 1965).

Just as non-judgmental witnessing (Chodorow, 1991; Pallaro, 1999;

Whitehouse, 1979) encourages the mover to risk using body parts and patterns

of movement not usually used; it also allows him/her to move in greater general

and personal space, with more outward movement. Chace emphasises

movement in a circle, as well as exiting the circle to move in space and

coming back to the circle (Chaiklin, 1975b). The Chace group begins and ends

with movement in a circle and in between allows participants to venture out

and explore movement in space, thus changing the shape of the body in space

(Hackney, 2000; Laban, 1960). DMT students are exposed to each others

body/movement expressions, which may enhance awareness and thus form the

basis for a change in these specific variables.

Use of effort in free-flow, light-weight, and accelerated/sudden timerepresent a light flow of rapid and easeful movement. They indicate the

loosening of inhibitions that may be due to a sense of security, based on the

evolving group and lecturer-student relationship. Being able to take a direct

road to reach a goal (direct-focus/space) may also indicate a freeing-up of

inhibitions, as students dared move straight to a goal rather than reaching it

indirectly. With the help of the group, they learned to be direct and attentive

and to communicate with other group members. The Chace Approach

(Bernstein, 1979; Chaiklin, 1975b) stresses communication between group

members by using the circle that mirrors and echoes other peoples movementsin the group. This encourages group members to become more attentive to and

communicative with each other. Mirroring another persons movement, or

being mirrored, requires self-reflection as well as seeing the other and

communicating with him/her.

Relating to others is an essential part of DMT training, emphasising

studentlecturer and peer relationships, as representative of clienttherapist

relationships. Findings regarding eye contact in this study may be viewed in

light of Kochs study (2007) about eye contact in conflict situations. A pattern

of making eye contact and then discontinuing it was found, as a function of theconflict in the situation, perhaps reflecting avoidance. Possibly, non-conflict

situations engender more lasting eye contact, which may explain the increase in

eye contact found in this study. It may be that during the year, as tension

among the students decreased and their sense of security seemed to increase,

a concurrent increase in eye contact was manifested.

The findings regarding touch (allow touch and initiate touch) are coherent

with Shaws (2003) findings regarding the use of touch as a therapeutic tool.

Touch is treated with great caution in psychotherapy, in light of the touch

taboo. Although controversial, both the current study and Shaws study (2003)

view touch as a communicative tool. It is likely that during the year, with

increasing experience in group situations that included bodily warm-up,

rhythmic movement in the group, eye contact, and acceptance (Chace cited in

Chaiklin, 1975a), the communication pattern of touch increased as well.

The DMT group seemed to have learned to use the body for self-expression

and communication during the year of the study. By projecting feelings into





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space through the body, movement itself is immediately communicative.

Only the experience of safety in a group can provide the grounds for acquiring

new ways of expression (Payne, 2001).

The Art Therapy group did not show changes in the five areas of

kinaesthetic ability.

Differences in the two groups may be due to the nature of each programme.

The Art Therapy training provides therapeutic/psychological learning, but

does not use movement as part of their expressive repertoire.

The essence of the DMT training programme is a combination of

movement, self-awareness, and therapeutic and theoretical understanding.

This is achieved by using video and feedback from the group; feedback that is

both verbally oriented and movement oriented (mirroring, echoing). Courses

are held in a safe environment in group format, allowing watching one another

in movement. The relationship with lecturers and supervisors, along with fieldwork experience, provides a containing context for the expression of inner

material. That is, the coupling of theoretical study and experiential movement

learning, unique to the DMT group, is the factor most likely to have triggered

the change in kinaesthetic ability.

Limitations and suggestions for further research

Sample size within each group was rather small. Many studies on unique

populations use such samples (e.g. Fraenkel, 1983; Goodman & Holroyd, 1993;Imanaka & Abernethy, 1992; Strayer, 2004). Nevertheless, it would be

preferable to use larger samples, to decrease the likelihood of spurious results.

A longer period of data collection could have provided more evidence of

kinaesthetic change that may require more than a year to develop. Further,

while Movement Assessment Using Video was used with both DMT and Art

Therapy trainees, only DMT trainees were evaluated by their lecturers:

movement evaluation by lecturers in DMT is part of the training process.

In Art Therapy, movement and its evaluation is not part of the training.

A movement analysis scheme was developed for this study, using aquantitative rather than a qualitative approach. Since it is an exploratory

attempt to quantify Labans (1960) conceptualisation, issues of validity arise.

The strength of the scheme lies in its multidimensional approach, yet additional

research is required. Further validation of the movement analysis scheme may

be achieved by using other sample populations, clinical and non-clinical, as well

as cross-cultural comparisons. More research may investigate content areas of

the training programme that can explain the variance connected with such

change.

Implications, contributions, and conclusions

Changes in kinaesthetic ability may originate in the experience of movement,

interwoven with the therapeutic elements and theoretical knowledge inherent

in the course of training. It is highly likely that the dual use of physical

expression and reflection in DMT training served as a catalyst for the change

210 D.J. Federman




19/22

seen in pre-post analyses. Using the Chace Approach allowed communication in

a safe environment, and experiencing the Authentic Movement process raised

the students level of self-awareness. Both heightened communication and self-

awareness skills may have facilitated the changes in kinaesthetic ability.

The current study used assessment concepts taken from Labans approach

(1960) to create quantifiable observation guidelines. The use of these movement

dimensions, as an integrated movement assessment tool, affording a compre-

hensive method of analysis of movement, may be considered a significant

contribution. Data gained from this instrument is quantifiable, allowing for

statistical analyses that transcend mere descriptive methods. The study presents

a comprehensive movement analysis scheme. This assessment tool is based on

sound theory and is easy to administer. Future research may provide further

validation.

As noted above, there is a relationship between increase in kinaestheticability and increase in therapeutic ability. Thus, the table of movement

dimensions may be used in both training and therapy to evaluate change.

Therapeutic goals may be set by using the table of movement dimensions at

intake. Success in therapy may be evaluated by using the same table at the end

of therapy. This will provide a baseline to evaluate change at the end of the

process. The analysis of movement dimensions, using video, seems to enhance

trainees professional development. It may engender self-awareness of move-

ment patterns, encourage change through feedback and self-reflection, and

allow for a methodologically sound and focused analysis of movementpatterns. The use of video in analysis enables repeated observations, so that

deeper insight may be gained each time.

Movement experiences, applied to the clinical arena of verbal therapy, may

add a useful tool. Shaw (2003) has suggested that, in verbally-oriented therapy,

movement adds another perspective and emphasises the realisation that two

bodies are present in the inter-subjective encounter between therapist and

client. The therapeutic encounter is embodied and the therapists body is

therefore a vital part of this encounter.

The training of therapists (verbal, artistic, and others) may benefit fromusing movement experiences as part of their training, to support trainees in

their developmental voyage. In psychotherapy training, movement is not part

of the teaching curriculum, yet there seems to be agreement that expressive

bodily movement is an important aspect of communication and understanding

within the therapeutic arena and relationship (Allbeck & Badler, 2002; Emde,

Osofsky, & Butterfield, 1993; Izard & Dougherty, 1982; Le Doux, 1996; Shaw,

2003). The unique contributions of this study are its empirical evaluation of

change in the kinaesthetic ability of DMT trainees, and the easy-to-use Laban-

based assessment tool that has been developed.

Notes on contributors

Dr. Dita Judith Federman is an accredited Dance Movement Therapist, psychotherapistand senior supervisor (DMT). Graduated in Psychology, MA in Expressive ArtsTherapies, PhD in Human &Life Science from the University of Surrey, UK. Sixteen





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years as head of a diploma DMT training. Currently, director of the DMT training atthe Graduate School of Creative Art Therapies, University of Haifa, Israel, researcherand lecturer with years of experience within psychiatric settings, children, adults andgeriatric population.

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