Dancing with ~ and without ~ dementia
4 years ago
Showing posts with label expressive arts therapy. Show all posts
Showing posts with label expressive arts therapy. Show all posts
5.12.2010
Augusta Moore talks about Dance with Teens
Augusta Moore talks about how dance can help during the teen years. Watch her discuss release, expression, and direction dance can lend here.
3.24.2010
Music Heals.
The Dana Foundation newsletter recently released this article on How Music Helps to Heal the Injured Brain. Happy reading!
1.27.2010
DMT course in March: DMT in HEALTHCARE
CMER is offering Dance/Movement Therapy In Healthcare: PREVENTION, TREATMENT
& AFTERCARE on March 19, 20, 21 2010 at Pomona College --Claremont CA 9:00am
6:30pm.
Dance/Movement Therapy In Healthcare:
PREVENTION, TREATMENT & AFTERCARE
This course has been approved by the American Dance Therapy Association as meeting requirements
for the Alternate Route R-DMT credential and satisfies 25 hours of DMT Theory & Practice Training.
This course is approved for CE by the ADTA.
This course meets the qualifications for 25 hours of continuing education credit for MFTs
and/or LCSWs as required by the California Board of Behavioral Sciences (Provider #3888).
Course Content/Description:
This dance/movement therapy theory and practice course covers the role of
dance/movement therapy in the prevention and treatment of illness, and in the
maintenance of health and well being. This course will be divided into three sections to
cover the dance/movement therapy principles and applications specific to prevention,
to treatment, and to aftercare.
In the section on prevention, this course focuses on dance/movement therapy
contributions to health and well being in response to the somatic, emotional and
cognitive consequences of stress and trauma. The section on treatment addresses
dance/movement therapy in a medical context and as an adjunctive treatment for illness.
The section on aftercare focuses on the role of dance/movement therapy in coming
to terms with treatment outcomes, creating new choices, and finding new meaning.
All sections will focus on self regulation, self expression, and self in relationship, all
fundamental to health and well being. The specific attention throughout to body awareness,
creativity, and attunement, will amplify aspects of dance/movement therapy theory and
practice, as well as provide a foundation for a somatically oriented psychotherapy practice.
Course Objectives:
1) Students will become familiar with the concepts of prevention and wellness in dance/movement
therapy practice.
2) Students will gain understanding of the cognitive, somatic and emotional impact of stress and
trauma on health and well being.
3) Students will develop an understanding of the application of dance/movement therapy theory
and practice in the treatment of illness in a medical context.
4) Students will learn interventions, applicable both to the student as therapist and to work with
patients, that are grounded in the principles of dance/movement therapy and based in the
concept of preventive care and maintenance of health.
To sign up, contact Judy@movement-education.org
& AFTERCARE on March 19, 20, 21 2010 at Pomona College --Claremont CA 9:00am
6:30pm.
Dance/Movement Therapy In Healthcare:
PREVENTION, TREATMENT & AFTERCARE
This course has been approved by the American Dance Therapy Association as meeting requirements
for the Alternate Route R-DMT credential and satisfies 25 hours of DMT Theory & Practice Training.
This course is approved for CE by the ADTA.
This course meets the qualifications for 25 hours of continuing education credit for MFTs
and/or LCSWs as required by the California Board of Behavioral Sciences (Provider #3888).
Course Content/Description:
This dance/movement therapy theory and practice course covers the role of
dance/movement therapy in the prevention and treatment of illness, and in the
maintenance of health and well being. This course will be divided into three sections to
cover the dance/movement therapy principles and applications specific to prevention,
to treatment, and to aftercare.
In the section on prevention, this course focuses on dance/movement therapy
contributions to health and well being in response to the somatic, emotional and
cognitive consequences of stress and trauma. The section on treatment addresses
dance/movement therapy in a medical context and as an adjunctive treatment for illness.
The section on aftercare focuses on the role of dance/movement therapy in coming
to terms with treatment outcomes, creating new choices, and finding new meaning.
All sections will focus on self regulation, self expression, and self in relationship, all
fundamental to health and well being. The specific attention throughout to body awareness,
creativity, and attunement, will amplify aspects of dance/movement therapy theory and
practice, as well as provide a foundation for a somatically oriented psychotherapy practice.
Course Objectives:
1) Students will become familiar with the concepts of prevention and wellness in dance/movement
therapy practice.
2) Students will gain understanding of the cognitive, somatic and emotional impact of stress and
trauma on health and well being.
3) Students will develop an understanding of the application of dance/movement therapy theory
and practice in the treatment of illness in a medical context.
4) Students will learn interventions, applicable both to the student as therapist and to work with
patients, that are grounded in the principles of dance/movement therapy and based in the
concept of preventive care and maintenance of health.
To sign up, contact Judy@movement-education.org
12.11.2009
High Probability of Survival with Children who have Cancer
Since I've been thesis-thesis-thesising lately, I apologize for not updating my blog as much as usual.
Today, I'd like to offer a post I read on the Art Therapy blog regarding a study in Germany on children with cancer and their high probability of survivial. Here's the original article, too.
This research is exciting for the fields of creative and expressive arts therapies, since it highlights aspects of the role of music therapy, positive effects of parent accompaniment, and the importance of quality of life in the hospital.
Today, I'd like to offer a post I read on the Art Therapy blog regarding a study in Germany on children with cancer and their high probability of survivial. Here's the original article, too.
This research is exciting for the fields of creative and expressive arts therapies, since it highlights aspects of the role of music therapy, positive effects of parent accompaniment, and the importance of quality of life in the hospital.
11.17.2009
Arts in Healthcare
From Musings of a Dance/Movement Therapist blog:
Arts in Healthcare Seen Yielding Benefits
According to a new study by the Society for the Arts in Healthcare, Americans for the Arts, The Joint Commission and the University of Florida Center for the Arts in Healthcare documents that incorporating the arts into health-care settings has multiple benefits for patients and may reduce health-care expenses. Up to half of health-care institutions in the U.S. incorporate arts programming into their care. Benefits from arts programming include shorter hospital stays, less need for medication, and a boost for job satisfaction and employee retention. Philanthropy Journal, Oct 19, 2009
Arts in Healthcare Seen Yielding Benefits
According to a new study by the Society for the Arts in Healthcare, Americans for the Arts, The Joint Commission and the University of Florida Center for the Arts in Healthcare documents that incorporating the arts into health-care settings has multiple benefits for patients and may reduce health-care expenses. Up to half of health-care institutions in the U.S. incorporate arts programming into their care. Benefits from arts programming include shorter hospital stays, less need for medication, and a boost for job satisfaction and employee retention. Philanthropy Journal, Oct 19, 2009
11.14.2009
SotoMotion Performance Lab in San Francisco
I am definitely going to try to get my booty to Performance Lab this fall. G Hoffman Soto, on faculty at the Tamalpa Institute, is pure genious. In his classes in the past, I have learned so much about myself, not only anatomically and physiologically, but at a deep and embodied level. I hear my heart beat, feel my blood like warm jelly spreading throughout my fingers and toes. I feel powerful, I feel strong. Alive. For anyone interested in expressive arts or creative arts therapies, Soto creates and fosters a safe environment to explore the self, your relationship with others, and the world, its a blending of dance class meets improvisation meets drama therapy. It is truly a mystifying and enlivening experience to attend Performance Lab. Hope to see you there!
IMPROVISATION AND THE PERFORMANCE LAB
Improvisation is a powerful metaphor for life. Studying improvisation provides a vehicle to understanding who we are in the present moment, and to develop ourselves through being awake and present in the moment. To improvise you have to be able to put aside your everyday mind and open up to a state of mind that exists in the now. You have to give over to the bodymind, the movement, and the present moment.
Movement, and a strong embodied physical presence, anchors and centers us in our bodies and in the present. The process is supported with awareness work to assist us in developing a strong kinesthetic base. From the embodied state we can begin to shape and change ourselves and our material both as artists and as human beings. Our personal history lives in the body and through the body we can access this energy and channel it into our creative life.
Improvisation comes very close to mirroring life. It is an art form that has the potential to be a direct reflection and practice of being. When improvising one has to be present and respond in a way that keeps this moment, and what is happening in the moment, alive.
The second part of the Performance Lab process is Movement Exploration. Movement Exploration is a development and refinement of the material that arises from the Improvisation process. M E allows us to recycle and rework our material, to shape and deepen it, and ourselves, in this model.
The Lab provides an environment for participants to develop skills for ones personal creative process through performance. The process moves through awareness, expanded artistic expression, and creativity for personal growth and embodiment that leads to transformation through the Movement Theater model.
The work unfolds in solo, duets, trios and ensemble configurations. The voice and spoken word layer and texture the work to give it a dynamic range of expression and creativity. The spoken word includes improvised text, as well as, developing our personal stories and myths.
The Performance Lab is for performers, actors, dancers, teachers, therapists, coaches, housewives and everybody and anybody who wants to develop themselves as artists, performers and human beings.
While talking about being one with the Tao, Lao Tsu said, “Accept what is in front of you without wanting the situation to be other than it is.” If we add to that “yes, accept what is, and then work with it,” then we have an idea of what Improvisation can be.
The Performance Lab is movement theater model that creates a space to explore, improvise, express and create in movement, voice and spoken word. The class works through both improvisation and developing material. Participants will work in solo, duet, trio and ensemble configurations and is open to all levels of experience. The class has both advanced and more beginning students. Soto believes that we all learn from each other regardless of our experience.
G Hoffman Soto has been teaching, performing and studying movement since 1968. He has been developing this body of work for over 25 years. Soto has taught internationally since 1979 throughout Europe, Japan, Lebanon, New Zealand, Australia and Hong Kong. He has been associated with Anna Halprin, the San Francisco Dancers’ Workshop and Tamalpa Institute since 1973 and has a wide background in Post Modern Dance, various movement and awareness studies, Martial Arts and Body Work. Soto subscribes to the theory that creativity goes to the very core of what it means to be human. “When we are involved in the creative process we are anchoring ourselves in our humanness.”
When: Monday evenings 7pm to 9:30pm, beginning November 16 until December 14. The final class will be a student studio performance.
Where: Mary Sano Dance Studio at 245 5th Street #314, San Francisco between Howard and Folsom.
Costs: $125 with a $10 discount if paid in full by evening of the first class. For further information, questions and or to send deposits of $50 and reservations please contact:
GH Soto
Tel # 415 342 4899
e mail: sotomotion@me.com
Visit the web site at www.sotomotion.com
IMPROVISATION AND THE PERFORMANCE LAB
Improvisation is a powerful metaphor for life. Studying improvisation provides a vehicle to understanding who we are in the present moment, and to develop ourselves through being awake and present in the moment. To improvise you have to be able to put aside your everyday mind and open up to a state of mind that exists in the now. You have to give over to the bodymind, the movement, and the present moment.
Movement, and a strong embodied physical presence, anchors and centers us in our bodies and in the present. The process is supported with awareness work to assist us in developing a strong kinesthetic base. From the embodied state we can begin to shape and change ourselves and our material both as artists and as human beings. Our personal history lives in the body and through the body we can access this energy and channel it into our creative life.
Improvisation comes very close to mirroring life. It is an art form that has the potential to be a direct reflection and practice of being. When improvising one has to be present and respond in a way that keeps this moment, and what is happening in the moment, alive.
The second part of the Performance Lab process is Movement Exploration. Movement Exploration is a development and refinement of the material that arises from the Improvisation process. M E allows us to recycle and rework our material, to shape and deepen it, and ourselves, in this model.
The Lab provides an environment for participants to develop skills for ones personal creative process through performance. The process moves through awareness, expanded artistic expression, and creativity for personal growth and embodiment that leads to transformation through the Movement Theater model.
The work unfolds in solo, duets, trios and ensemble configurations. The voice and spoken word layer and texture the work to give it a dynamic range of expression and creativity. The spoken word includes improvised text, as well as, developing our personal stories and myths.
The Performance Lab is for performers, actors, dancers, teachers, therapists, coaches, housewives and everybody and anybody who wants to develop themselves as artists, performers and human beings.
While talking about being one with the Tao, Lao Tsu said, “Accept what is in front of you without wanting the situation to be other than it is.” If we add to that “yes, accept what is, and then work with it,” then we have an idea of what Improvisation can be.
The Performance Lab is movement theater model that creates a space to explore, improvise, express and create in movement, voice and spoken word. The class works through both improvisation and developing material. Participants will work in solo, duet, trio and ensemble configurations and is open to all levels of experience. The class has both advanced and more beginning students. Soto believes that we all learn from each other regardless of our experience.
G Hoffman Soto has been teaching, performing and studying movement since 1968. He has been developing this body of work for over 25 years. Soto has taught internationally since 1979 throughout Europe, Japan, Lebanon, New Zealand, Australia and Hong Kong. He has been associated with Anna Halprin, the San Francisco Dancers’ Workshop and Tamalpa Institute since 1973 and has a wide background in Post Modern Dance, various movement and awareness studies, Martial Arts and Body Work. Soto subscribes to the theory that creativity goes to the very core of what it means to be human. “When we are involved in the creative process we are anchoring ourselves in our humanness.”
When: Monday evenings 7pm to 9:30pm, beginning November 16 until December 14. The final class will be a student studio performance.
Where: Mary Sano Dance Studio at 245 5th Street #314, San Francisco between Howard and Folsom.
Costs: $125 with a $10 discount if paid in full by evening of the first class. For further information, questions and or to send deposits of $50 and reservations please contact:
GH Soto
Tel # 415 342 4899
e mail: sotomotion@me.com
Visit the web site at www.sotomotion.com
11.05.2009
Self Portraits and Healing
William Utermohlen’s self-portraits reveal his descent into dementia over the span of nearly four decades. The accompanying NY Times article can be read here.
In my expressive arts therapy (movement, drawing, writing) training with Anna and Daria Halprin at the Tamalpa Institute, self portraits are introduced as an integral part of the life/art process, at the beginning of the training and at the end.
How we paint or draw ourselves is a creative and symbolic process which can create a dialogue between our psyche and soul. "...the drawing...can contain and express our suffering in ways which help us be with it and move on, finding a healthy way to reintegrate, or live differently with, our wounding experiences" (Halprin, D, p. 179).
Utermohlen's self portraits from 1996-2000:
In my expressive arts therapy (movement, drawing, writing) training with Anna and Daria Halprin at the Tamalpa Institute, self portraits are introduced as an integral part of the life/art process, at the beginning of the training and at the end.
How we paint or draw ourselves is a creative and symbolic process which can create a dialogue between our psyche and soul. "...the drawing...can contain and express our suffering in ways which help us be with it and move on, finding a healthy way to reintegrate, or live differently with, our wounding experiences" (Halprin, D, p. 179).
Utermohlen's self portraits from 1996-2000:
11.04.2009
Becoming an Embodied Therapist Workshop with Susan Kleinman
Becoming An Embodied Therapist workshop
Read the news straight from the Hope Blog here.
BECOMING AN EMBODIED THERAPIST:
ACCESSING THE LANGUAGE OF THE BODY IN EATING DISORDER TREATMENT
Wednesday December 9, 2009
9am - Noon
Hancock Center for Dance/Movement Therapy
Earn 3 CEU's
Workshop Cost: $60.00
This workshop offers the opportunity for mental health professionals to discover and trust their innate ability to "attend" empathically, respond authenticcally, and translate non-verbal experiences into cognitive insights. Experiential body/mind exercises based on dance/ movement therapy principles will be used along with didactic presentation, to integrate a more embodied approach into traditional psychotherapy theory and practice.
Participants will learn how these embodied methods can be used to treat individuals with eating disorders with a special focus on how to:
- Be more fully present and congruent.
- Facilitate a somatic state of readiness.
- Utilize treatment techniques based on mind/body congruity to deal with issues
underlying eating disorders.
- Track the process of therapy so as to not become lost in the experience of attending.
Workshop Presenter Susan Kleinman, MA, BC-DMT, NCC, is the dance/movement therapist for residential and outpatient services at The Renfrew Center of Florida. Ms. Kleinman is a trustee of the Marian Chace Foundation, past president of the American Dance Therapy Association, and a past Chair of The National Coalition for Creative Arts Therapies. She is co-editor of The Renfrew Center Foundation's Healing Through Relationship Series, and serves on the editorial board of the Journal for Creativity in Mental Health. She is the American Dance Therapy Association Recipient of the 2009 Outstanding Achievement Award.
Read the news straight from the Hope Blog here.
BECOMING AN EMBODIED THERAPIST:
ACCESSING THE LANGUAGE OF THE BODY IN EATING DISORDER TREATMENT
Wednesday December 9, 2009
9am - Noon
Hancock Center for Dance/Movement Therapy
Earn 3 CEU's
Workshop Cost: $60.00
This workshop offers the opportunity for mental health professionals to discover and trust their innate ability to "attend" empathically, respond authenticcally, and translate non-verbal experiences into cognitive insights. Experiential body/mind exercises based on dance/ movement therapy principles will be used along with didactic presentation, to integrate a more embodied approach into traditional psychotherapy theory and practice.
Participants will learn how these embodied methods can be used to treat individuals with eating disorders with a special focus on how to:
- Be more fully present and congruent.
- Facilitate a somatic state of readiness.
- Utilize treatment techniques based on mind/body congruity to deal with issues
underlying eating disorders.
- Track the process of therapy so as to not become lost in the experience of attending.
Workshop Presenter Susan Kleinman, MA, BC-DMT, NCC, is the dance/movement therapist for residential and outpatient services at The Renfrew Center of Florida. Ms. Kleinman is a trustee of the Marian Chace Foundation, past president of the American Dance Therapy Association, and a past Chair of The National Coalition for Creative Arts Therapies. She is co-editor of The Renfrew Center Foundation's Healing Through Relationship Series, and serves on the editorial board of the Journal for Creativity in Mental Health. She is the American Dance Therapy Association Recipient of the 2009 Outstanding Achievement Award.
11.03.2009
Breath Made Visible, a film about Anna Halprin
Anna Halprin, post-modern dancer, pioneer, innovator, teacher, co-founder of the Tamalpa Institute (the school of which I just completed my MA coursework through!), shares her life and creative life/art process in this film by a French filmmaker and former student of Halprin's.
I highly recommend you check out the trailer for the film RIGHT NOW.
10.03.2009
American Dance Therapy Association Conference
And the countdown begins!!!
The American Dance Therapy Association conference is next week, October 8-11th in Portland, Oregon.
I will be co-presenting with the fabulous Lora Wilson Mau, DTR, and Ty Tedmon-Jones, ADTR on the topic of BLOGGING! This is where it all began, folks. We are so thrilled to be presenting such a great topic. I've learned so much about blogging, Twitter, and marketing since my first post November of 2008. Hope you all can join us in the dance across the world wide web presentation.
If you are able to come to the conference, it promises to be an educational time filled with fun and a huge dance party on Saturday night.
Hope to see you there!
The American Dance Therapy Association conference is next week, October 8-11th in Portland, Oregon.
I will be co-presenting with the fabulous Lora Wilson Mau, DTR, and Ty Tedmon-Jones, ADTR on the topic of BLOGGING! This is where it all began, folks. We are so thrilled to be presenting such a great topic. I've learned so much about blogging, Twitter, and marketing since my first post November of 2008. Hope you all can join us in the dance across the world wide web presentation.
If you are able to come to the conference, it promises to be an educational time filled with fun and a huge dance party on Saturday night.
Hope to see you there!
8.10.2009
International Expressive Arts Therapy Association (IEATA) Convention
The IEATA convention is this week in Cambridge, MA. I am not able to go, but am looking forward to attending (and co-presenting!) at the American Dance Therapy Association Conference this October in Portland.
Dance therapist, Donna Newman-Bluestein, is attending and presenting at IEATA's conference and has a blog posting about it you can read here. Sounds lovely!
Dance therapist, Donna Newman-Bluestein, is attending and presenting at IEATA's conference and has a blog posting about it you can read here. Sounds lovely!
1.09.2009
Appropriate Music
I've spent a large part of my morning looking at my itunes library for music used for dance therapy. Where I am interning, each day is completely different, with patients who may want fast, up beat music one day and slow, quiet music the next. Music is a major component to the therapeutic aspect of working with groups.
This afternoon, I just happened to read this FANTASTIC article from Canada's Walrus magazine on music's ability to elicit emotions: read it and weep.
This afternoon, I just happened to read this FANTASTIC article from Canada's Walrus magazine on music's ability to elicit emotions: read it and weep.
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