Embodied Perceptual Practices

In recent years, the study of rhythm has regained centrality across multiple disciplinary fields — from film and media theory to cognitive neuroscience, from aesthetics to performance studies. This special issue aims to explore rhythm as an embodied and perceptual structure that organizes audiovisual experience in both cinematic and immersive environments.

This paper explores how trauma enabled embodiment to be forcefully felt and later usefully used in doctoral research. The shocking murder of my sister by her husband created intense physical reactions within me . Previous years of teaching enabled observation of the body as a source of information but nothing prepared me for the shock and impact of murder. Although a client in therapy at the time, I wrote poetry to manage such intense reactions. I felt the horror of containing murder while also wanting freedom from it . Writing poetry brought opposing aspects of myself together and eventually enabled the conception of research to discover if other clients experienced such opposition between containment and freedom. During the research process, embodiment, experienced and used through trauma, helped analyse participants' journals. Trauma's impact created a learning process which seems to demonstrate how such personal learning may influence qualitative research.

In urban night settings, the darkness available in our environment is less a choice than a given. Technological progress, city growth, and politics have reduced our access to darkness, radically changing our perception of it. It is imperative to understand the influence of urban illumination as this force continues to reshape our approach to the matter of darkness.

This research examines the under-investigated question of how artificial light affects the presence and absence of darkness in the nocturnal cityscape. Most studies on nighttime lighting address safety issues, light pollution, and loss of darkness, but there is little discussion of how darkness is also created by, and understood through, lighting practices. This thesis calls for an overhaul of the city’s nighttime light infrastructure and a re-vision of dark atmospheres.
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This practice-based investigation presents a new concept of urban darkness. It unfolds through photography, drawing, and, finally, an exploration of storytelling—three media that have significantly contributed to understanding how light shapes our perception of darkness. My photographic work shows how our understanding of images is shaped by the effects of shadow and light. The collective Night Drawing practice I lead fosters embodied experiences of the night that transcend visual representation. And ‘Good Night’, the story, weaves together historical facts and fictional imagination.
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This study offers a critical-creative reflection on the matter of darkness as it relates to our spatial awareness and aesthetics of the night environment. The analysis is situated at the intersection of theory and practice, a philosophy of atmospheres, and media ecology. It demonstrates how to build darkness with light and what can and cannot be seen in light at night. The result is a framework for visual thinking that responds to urban design and argues that spatial representation requires embodied, practical engagements, and attentive exploration of the visual world.

This paper will present an art-based frame of reference to psychotherapeutic intervention. Structures form clinical Dance Movement Therapy (DMT) will serve as an example to investigate the specific contributions of kinaesthetically informed interactions to (experiential) psychotherapy. In DMT the working alliance between patient and therapist is informed mainly through nonverbal engagement. The mutual engagement is perceived and regulated in movements and actions by the sensing and expressing body. The kinaesthetic encounter between patient and therapist will be conceptualised from this somato-sensory perspective as (kin)aesthetic intersubjectivity. Structures from dance as an art form will be described to inform our understanding of the kin(aesth)etic, non-verbal characteristics of interpersonal attunement during psychotherapy. In DMT non-verbal structures of interpersonal attunement are used to create a situation that addresses and supports the patient to engage in corporeal shared, improvised, movement experiences. We propose that this engagement may contribute to the co-creation and co-regulation of the therapeutic relationship. Kinaesthetic relating may contribute to participatory pre-conceptual sense-making between patient and therapist. Embodied as they are, the experiences of mutual non-verbal relating, social engagement and understanding transfer easily from the therapeutic context ahead into everyday life.

Moments of meeting (MoM) are characterized by being instants of special intersubjective connection between the therapist and patient, which causes a change in the implicit relational knowing (IRK) of both individuals. MoM have been widely described for verbal therapies, but there is little information about their characteristics in dance/movement Therapy (DMT). This study seeks to explore and characterize the MoM in DMT from the perception of professional therapists. Nine dance movement therapists (dmts) were consulted using a multimodal approach that travels between writing and movement (Panhofer, 2011) and data were examined using qualitative content analysis. The results show that the characteristics of MoM can be grouped into three categories: (1) relationship (shared experience, experience of fusion, security and kinesthetic empathy) (2) emotion (emotional intensity and genuine affection) and (3) movement (physical closeness, eye contact, emergency, irruption of the present and release of the flow). These results are contrasted with what was originally proposed by the Boston Group (Lyons-Ruth et al., 1998) and recently by Duarte et al. (2021) and Lauffenburger (2020), finding similarities and new elements exclusive to DMT. This work contributes to a deeper understanding and conceptualization of MoM in the specific field of DMT and its clinical practice.

It has been argued that qualitative research can be valuable in providing a forum for the voices of those who may usually be excluded from academic discourse and that it is therefore well suited to exploring individuals' experiences of illness. This article is informed by the authors' research into how people diagnosed with 'schizophrenia' experience their personal therapy. It focuses upon the usefulness of phenomenological research methods for investigating personal experience whilst at the same time considering how these methods might enable the researcher to hear the experience of others. It is proposed that personal stories can be seen as being closer to literature and so something of their essence can be killed off by having to shape them through systematic approaches to research. Therefore, the aim here is to explore whether it is possible or indeed desirable to take a systematic approach to personal experience when conducting psychotherapeutic research and how this might be beneficial or detrimental to researcher and participants. Meine Stimme finden: Geschichten mit heuristischer Selbstsuchanfrage erzählen ABSTRAKT Es wurde argumentiert, dass qualitative Forschung wertvoll sein kann, um ein Forum für die Stimmen derjenigen zu bieten, die normalerweise vom akademischen Diskurs ausgeschlossen sind, und dass sie daher gut geeignet ist, die Krankheitserfahrungen von Personen zu untersuchen. Dieser Artikel basiert auf den Forschungen der Autoren darüber, wie Menschen, bei denen "Schizophrenie" diagnostiziert wurde, ihre persönliche Therapie erfahren. Es konzentriert sich auf die Nützlichkeit phänomenologischer Forschungsmethoden zur Untersuchung persönlicher Erfahrungen, während gleichzeitig überlegt wird, wie diese Methoden es dem Forscher ermöglichen könnten, die Erfahrungen anderer zu hören. Es wird vorgeschlagen, persönliche Geschichten als näher an der Literatur zu betrachten, und so kann etwas von ihrer Essenz abgetötet werden, indem sie durch systematische Forschungsansätze gestaltet werden müssen. Daher soll hier untersucht werden, ob es möglich oder tatsächlich wünschenswert ist, bei der Durchführung psychotherapeutischer Forschung einen systematischen Ansatz für die persönliche Erfahrung zu wählen, und wie dies für Forscher und Teilnehmer vorteilhaft oder schädlich sein kann

The incorporation of applied art forms in supervision enables supervisees to engage with diverse, dynamic ways of integrating and processing material that arises from sessions. In person-centred therapy, creative supervision offers potential to expand on the supervisor's and supervisees' ability to empathise and establish unconditional positive regard (Rogers, 1961). Creative supervision also clarifies parallel processes in clinical work and within the supervisory ABSTRACT This article explores the potential for intermodal methods in person-centred supervision, focusing on the application of techniques from dance movement therapy (DMT) and psychodrama. The article proposes how specific structures combining psychodrama and DMT allow the supervisee to negotiate between proximity and distance, offering ways to hone in, step out or create alternative perspectives. Somatic congruence is introduced as a person-centred principle that enables the supervisor to understand and/or share somatic reactions in response to the supervisee's material or the supervisor's own personal process. Embodying roles and projective techniques are illustrated in the article through examples from the author's supervisory DMT practice, demonstrating how these interventions may help symbolically crystallise supervisory issues. Caveats to these interventions and cautions to practitioners are presented, contributing to critical analyses of cross-disciplinary work. The article presents a constructive view towards future research and professional development on intermodal, creative supervisory practice.

It has been argued that qualitative research can be valuable in providing a forum for the voices of those who may usually be excluded from academic discourse and that it is therefore well suited to exploring individuals' experiences of illness. This article is informed by the authors' research into how people diagnosed with 'schizophrenia' experience their personal therapy. It focuses upon the usefulness of phenomenological research methods for investigating personal experience whilst at the same time considering how these methods might enable the researcher to hear the experience of others. It is proposed that personal stories can be seen as being closer to literature and so something of their essence can be killed off by having to shape them through systematic approaches to research. Therefore, the aim here is to explore whether it is possible or indeed desirable to take a systematic approach to personal experience when conducting psychotherapeutic research and how this might be beneficial or detrimental to researcher and participants. Meine Stimme finden: Geschichten mit heuristischer Selbstsuchanfrage erzählen ABSTRAKT Es wurde argumentiert, dass qualitative Forschung wertvoll sein kann, um ein Forum für die Stimmen derjenigen zu bieten, die normalerweise vom akademischen Diskurs ausgeschlossen sind, und dass sie daher gut geeignet ist, die Krankheitserfahrungen von Personen zu untersuchen. Dieser Artikel basiert auf den Forschungen der Autoren darüber, wie Menschen, bei denen "Schizophrenie" diagnostiziert wurde, ihre persönliche Therapie erfahren. Es konzentriert sich auf die Nützlichkeit phänomenologischer Forschungsmethoden zur Untersuchung persönlicher Erfahrungen, während gleichzeitig überlegt wird, wie diese Methoden es dem Forscher ermöglichen könnten, die Erfahrungen anderer zu hören. Es wird vorgeschlagen, persönliche Geschichten als näher an der Literatur zu betrachten, und so kann etwas von ihrer Essenz abgetötet werden, indem sie durch systematische Forschungsansätze gestaltet werden müssen. Daher soll hier untersucht werden, ob es möglich oder tatsächlich wünschenswert ist, bei der Durchführung psychotherapeutischer Forschung einen systematischen Ansatz für die persönliche Erfahrung zu wählen, und wie dies für Forscher und Teilnehmer vorteilhaft oder schädlich sein kann

Psychodynamic therapy with psychotics has been reviewed and studied by different analysts such as Searles (1965), Rosenfeld (1988), and others. Nevertheless, there are almost no updated articles on supervision of this therapy. The article addresses this issue and the different aspects of supervision of psychodynamic therapy of psychotics. Therapy-related issues, such as holding, communications and interpretations, differentiation, boundaries, psychotic transference,

The following qualitative research paper explores the process by which the here-and-now is cultivated in the student of art therapy and its potential implications for therapeutic transformation. The here-and-now is defined as the moment-to-moment awareness and attunement to presently occurring phenomena within the art therapy frame. In art therapy, the therapist and client are allied with the art and the process of its creation. Somewhere in the dynamic of this triangular relationship lies the here-and-now of art therapy. Using the model of heuristic inquiry (Moustakas, 1990), this paper reveals the investigative journey of the researcher as he explores the cultivation of the here-and-now through various experiential practices, literature, art making, and the phenomenological experience of his colleagues. For the researcher, the here-and-now emerges through a confluence of practices that include notions of mindfulness, embodiment, spontaneity, and an intimacy with the creative process.

This is an article based on a presentation given at the United Kingdom Council of Psychotherapy (UKCP) conference 2004. Our modern attempt to re-include the body in psychotherapy brings with it the inevitable danger that we import the culturally dominant objectifying construction of the body into a field which may represent one of the last bastions of subjectivity, authenticity, and intimacy in an increasingly virtual world. The paper addresses the question how embodied subjectivity can be found within a relational matrix pervaded by disembodiment and self-objectification. The ubiquitous objectification of the body in our culture and in the field of psychotherapy is illustrated in the paper. It is described as a manifestation of an underlying experience of dis-embodiment. Two ways of re-including the body in psychotherapy are then distinguished: one based on a ''third-person'' ''medical model'' stance and the other on a ''first-and-second-person'' ''intersubjectiverelational'' model. By formulating these two contradictory and complementary ways of using the body in terms of the therapist's implicit relational stance, attention is drawn to what is considered an underlying paradox inherent in all types of psychotherapy. I am hoping that practitioners from across the approaches will be able to recognize and relate to both sides of the dilemma, and through this to both ways of re-including the body in psychotherapy. As the medical model stance was the prevalent default position of what we may therefore call traditional body psychotherapy, and the relational one has become available only in the last decade, a case illustration is used to trace some of my own development as a therapist through the shadow aspects and pitfalls of an exclusive reliance on the first towards an integration of the two and to an appreciation of their necessarily conflicted coexistence in the paradoxical core of the therapeutic position.

Moments of meeting (MoM) are characterized by instances of special intersubjective connection between the therapist and patient which causes a change in the implicit relational knowing (IRK) of both individuals. MoM have been widely described for non-creative arts therapies, but there is little information about their characteristics in dance/movement therapy (DMT). This study seeks to explore and characterize the MoM in DMT from the perception of professional therapists. Nine dance/movement therapists (dmts) were consulted using a multimodal approach that travels between writing and movement (Panhofer, 2011) and data were examined using qualitative content analysis. The results show that the characteristics of MoM can be grouped into three categories: (1) relationship (shared experience, experience of fusion, security and kinesthetic empathy) (2) emotion (emotional intensity and genuine affection) and (3) movement (physical closeness, eye contact, emergency, irruption of the presen...

The Relational Turn By Nancy Eichhorn with Michael Soth, based on an interview with Michael Do we have a shared understanding of what we mean by 'relational'? The term 'relational' has recently achieved buzz word status. Therapists are quick to quip they are 'relational' because they see themselves as relating well to their clients and because they consider that the 'quality of relationship' with their client/patient is crucial to the work. Books are written, conferences are held, workshops are offered based upon the increasingly widespread conviction that healing takes place in the relationship-'it's the relationship that matters'. And it is indeed a precious achievement that the profession is now placing such significance on the relationship, rather than primarily on the supposedly 'correct' therapeutic theory or technique, whatever it may be. But unfortunately the apparent consensus across the profession around the centrality of the relationship in therapy is only skin-deep; the closer we look, the more apparent it becomes that being relational means profoundly different things to therapists from different approaches. Each therapeutic approach tends to assume that relationality is to be understood through its own framework, neglecting the important recognition that different approaches understand therapeutic relating in diverse, and often profoundly contradictory, ways. Relationality, therefore, is too easily appropriated by the paradigms and preconceptions of each partial approach, without the field having plumbed the depths of the fertile and precious conflicts, contradictions and paradigm clashes between the approaches, as to what each tradition means by 'relational'. Sure, there are some agreed-upon active ingredients, considered conducive to quality of relationship and to a robust working alliance, such as Rogers' core conditions (empathy, unconditional regard and congruence), psychoanalytic neutrality, secure attachment, embodied or right-brain-to-right-brain attunement, reciprocity or mutual recognition, but "what do we mean by relating? How do we define relating? What therapeutic activities does relating include, and which ones doesn't it?" (Soth, How 'the Wound' Enters the Consulting Room (2006)).

There has been little research into the value of personal development (PD) groups in arts therapies/counselling/psychotherapy training, particularly in relation to trainees developing practice, despite a number of studies evaluating personal outcomes for trainees. Programmes assume trainees will benefit, however, how (or indeed if) the experience contributes to their actual practice has yet to be explored. This paper highlights findings from an analysis of the follow up data six months after the end of a weekly, 1.5 hour, DMT PD group for DMT trainees with reference to their reflections of the experience in relation to post-qualifying practice. The study was over three years, an intensive single cohort study which used qualitative methodology within a collaborative framework. Semi-structured interviews were undertaken (N=38) with trainees on a nationally validated, post graduate programme in dance movement therapy (DMT-now termed dance movement psychotherapy/DMP in the UK) in higher education. The aim is to stimulate debate and research on this aspect of training in body psychotherapy, arts therapies and counselling/psychotherapy, all of which appear to use groupwork for self awareness/personal development.

Taylor and Francis. Her clinical work influenced her approach to DMT and Authentic Movement both of which are also informed by her extensive research. She trained in Laban Dance, Person-Centered Counselling and Group Analysis and has been developing her own form of Authentic Movement with groups and individuals for 25 years. 0044 1438 833440

This paper takes a new look at the methods of embodiment for psychotherapy supervision. It makes a rigorous distinction between knowledge derived via language and knowledge derived via the body without the intervention of conscious thought and above all language. In an account of a study whereby the principal researcher and her co researchers, all professional practitioners of dance movement psychotherapy, the genesis and development of new tools designed to capture the connection between movement and the possibility of "languaging" the embodied experience (Sheets-Johnstone, 2007, p. 1) is shown. An unexpected outcome resulted in which the methodology developed for the study proved to be useful for clinical supervision. Of the several different models developed, one, a model for self-supervision, is presented here as a practical example of how to access the knowledge of the body. In putting forward implications for practice, the authors suggest that the integration of movement and writing may be beneficial not only for clinical supervision in dance movement psychotherapy, but also for body psychotherapies, arts therapies, and for any verbal approaches of psychotherapy supervision that aim to integrate and explore the embodied experience.

she edited the first book on Dance Movement Therapy in Spanish-El cuerpo en psicoterapia: La teoría y práctica de la Danza Movimiento Terapia‖ (The body in psychotherapy-Theory and practice of Dance Movement Therapy). As a co-founder she served as the president of the Spanish Association for Dance Movement Therapy, ADMTE for four years. She lectures in DMT at different universities and institutes in Europe and her clinical practice includes group and individual work with children, adolescents and adults in special educational institutions, different psychiatric settings and private practice in the UK, Germany and Spain.

This study investigates metaphoric expression within the scope of dance movement therapy (DMT), cognitive linguistics and embodiment theory. It explores to what extent movement stimulates and enhances the metaphorical use of language. A workshop with frontline workers of a social integration programme for unaccompanied refugee minors in Greece was organised, following methodological procedures that intertwine writing and moving. A process of writing-moving-writing helped to elicit the recollection, reframing and clarification of prevalent thoughts and feelings about a significant event in the work with the refugees. The written data was scrutinised along the lines of ethnography inductive thematic analysis and summed up with the outcomes of a follow up focus group. The findings suggest that metaphors provide a valuable connection between mind and body, offering thus a valuable implication for clinical work in DMT and, perhaps, other embodied psychotherapies.

Moments of meeting (MoM) are characterized by being instants of special intersubjective connection between the therapist and patient, which causes a change in the implicit relational knowing (IRK) of both individuals. MoM have been widely described for verbal therapies, but there is little information about their characteristics in dance/movement Therapy (DMT). This study seeks to explore and characterize the MoM in DMT from the perception of professional therapists. Nine dance movement therapists (dmts) were consulted using a multimodal approach that travels between writing and movement (Panhofer, 2011) and data were examined using qualitative content analysis. The results show that the characteristics of MoM can be grouped into three categories: (1) relationship (shared experience, experience of fusion, security and kinesthetic empathy) (2) emotion (emotional intensity and genuine affection) and (3) movement (physical closeness, eye contact, emergency, irruption of the present and release of the flow). These results are contrasted with what was originally proposed by the Boston Group (Lyons-Ruth et al., 1998) and recently by Duarte et al. (2021) and Lauffenburger (2020), finding similarities and new elements exclusive to DMT. This work contributes to a deeper understanding and conceptualization of MoM in the specific field of DMT and its clinical practice.

The purpose ofthis study was originally to support the voices of African American adolescents and the emergence of their stories through the use of mentors hip, dance/movement therapy, and the production of an artistic performance. But what I truly ...

This paper will present an art-based frame of reference to psychotherapeutic intervention. Structures form clinical Dance Movement Therapy (DMT) will serve as an example to investigate the specific contributions of kinaesthetically informed interactions to (experiential) psychotherapy. In DMT the working alliance between patient and therapist is informed mainly through nonverbal engagement. The mutual engagement is perceived and regulated in movements and actions by the sensing and expressing body. The kinaesthetic encounter between patient and therapist will be conceptualised from this somato-sensory perspective as (kin)aesthetic intersubjectivity. Structures from dance as an art form will be described to inform our understanding of the kin(aesth)etic, non-verbal characteristics of interpersonal attunement during psychotherapy. In DMT non-verbal structures of interpersonal attunement are used to create a situation that addresses and supports the patient to engage in corporeal shared, improvised, movement experiences. We propose that this engagement may contribute to the co-creation and co-regulation of the therapeutic relationship. Kinaesthetic relating may contribute to participatory pre-conceptual sense-making between patient and therapist. Embodied as they are, the experiences of mutual non-verbal relating, social engagement and understanding transfer easily from the therapeutic context ahead into everyday life.

The role of embodiment within contemporary psychotherapy practice and its discussion are gathering momentum, and are part of a paradigm shift in psychotherapy in which theory and practice are being reformulated. Body Psychotherapy (BP) and Dance Movement Psychotherapy (DMP) are playing a leading role in these deliberations. Although these two professions have separate professional bodies, distinct theoretical grounding and clinical methodology, they both place enormous value on the central role of the body and its movement as indicators of relational problems, and as agents of therapeutic change. There are few authors comparing and contrasting Body Psychotherapy and Dance Movement Psychotherapy although they have much in common as they are both embodied, enactive psychotherapies. However, neither their overlaps in theory, methodology and some of their clinical practice nor their distinct character have been sufficiently delineated. This article elucidates some similarities and differences in fundamental assumptions, compares and contrasts definitions and terms, and considers common and contrasting theoretical perspectives, techniques and methods. It is expected that this will contribute to the ongoing discussion of the articulation of core characteristics in both professions and will facilitate a better understanding and collaboration between them.

The psychotherapist's sensory, physical responses-a form of countertransference phenomena-may play an important role in communication between therapist and client. This article describes kinesthetic responses, suggests ways therapists can increase their awareness of such phenomena, and discusses possible interventions based on these responses.

In this age of unprecedented expansion of media and information dissemination and sharing, the use of electronic means should be reconsidered. The use of new technologies should be studied to understand how it may affect the relationship between patient and therapist during psychotherapy or psychoanalytic treatments. This study offers a critical discussion of the effect of technologies on clinical practice, and vignettes are used to describe their impact on frame, anonymity, abstinence and therapeutic neutrality. Transfer and countertransference issues resulting from these changes are also discussed. The potential benefits of new technologies in psychotherapy are appreciated, but the authors draw attention to the need to reflect about the presence of the therapist in those technologies and the preservation of the therapeutic setting, so that a satisfactory progression of the work of the dyad is ensured. This study also discusses the use of technologies in the expansion of learning a...

This paper takes a new look at the methods of embodiment for psychotherapy supervision. It makes a rigorous distinction between knowledge derived via language and knowledge derived via the body without the intervention of conscious thought and above all language. In an account of a study whereby the principal researcher and her co researchers, all professional practitioners of dance movement psychotherapy, the genesis and development of new tools designed to capture the connection between movement and the possibility of "languaging" the embodied experience (Sheets-Johnstone, 2007, p. 1) is shown. An unexpected outcome resulted in which the methodology developed for the study proved to be useful for clinical supervision. Of the several different models developed, one, a model for self-supervision, is presented here as a practical example of how to access the knowledge of the body. In putting forward implications for practice, the authors suggest that the integration of movement and writing may be beneficial not only for clinical supervision in dance movement psychotherapy, but also for body psychotherapies, arts therapies, and for any verbal approaches of psychotherapy supervision that aim to integrate and explore the embodied experience.

The conference attracted participants from various disciplines within the psychotherapeutic field who do not often attend the same conferences (e.g. Psychoanalysts, attachment oriented psychotherapists and bodypsychotherapists). The common denominator being that regardless of their specific field, they all worked with Relational Psychotherapy. 1 This conference became a great inspiration to me. Focusing on the relational aspect of psychotherapy and the interplay between very diverse psychotherapeutic approaches aroused my curiosity about how I, myself, deal with the relational aspects of my own professional psychotherapeutic work. It occurred to me how I, in a way, took the relational aspect for granted -and therefore didn't fully reflect on it or took the time to describe it comprehensively. I realize this limited reflection was part of my training in various traditions where nonverbal exchange was the focus. My training in Bodynamic Analysis 2 has its' foundation in psychomotor skill training 3 (or relaxation therapy as it is also called in Scandinavia and taught at Skolen for Kropsdynamik). While body-based techniques and non-verbal exchange also work by means of relational interaction between therapist/teacher and client/student, these techniques have not been named or described as "relational". In this paper, I will reflect on the relational aspect of ROST -also named Motoric Haiku. 4 I also drew important inspiration from literature published in recent years on neurobiology, neuroaffective development and the link to psychotherapeutic contact and attachment. 5 This new knowledge supported me to anchor theoretically what my sensory awareness has always told me when in contact -the fact that I can sense or "know" another person's state inside me, and that the other can sense me as well. It is a relief to not have to try any longer to make this experience fit into a strict I-you description of contact -but to be able to work with both kinds of experience as equal and valid parts of reality within a relationship. Thank you to: Tom Warnecke who invited me to the Cambridge conference and who through conversations opened my eyes to "Relational Psychotherapy", especially in the UK. Steen Jørgensen for ongoing exchange and support with regards to the development of ROST as a psychotherapeutic method. Ian Macnaughton for continuous loyalty and personal support in my writing process. Kolbjørn Vårdal for your introduction to Jane Kroger's book on identity development in the teenage phase. Today this is a corner stone in my theoretical frame of reference which I will use in the latter part of this paper. was to use the principle of "dosing" as a core element of skill training. I was interested in how the contact field between facilitator and student/client is transformed by focusing on individual dosing. I was also curious about how my own inner experience as a facilitator changed from focusing primarily on structure and clarity to focusing more on curiosity, unpredictability, resonance, and reality testing. The goal of studying the essential role that relational aspects play in ROST is to illustrate how this method is not merely a "technique" but rather a piece of lived life between facilitator and student/client which provides an opportunity for transformation on both sides.

In this age of unprecedented expansion of media and information dissemination and sharing, the use of electronic means should be reconsidered. The use of new technologies should be studied to understand how it may affect the relationship between patient and therapist during psychotherapy or psychoanalytic treatments. This study offers a critical discussion of the effect of technologies on clinical practice, and vignettes are used to describe their impact on frame, anonymity, abstinence and therapeutic neutrality. Transfer and countertransference issues resulting from these changes are also discussed. The potential benefits of new technologies in psychotherapy are appreciated, but the authors draw attention to the need to reflect about the presence of the therapist in those technologies and the preservation of the therapeutic setting, so that a satisfactory progression of the work of the dyad is ensured. This study also discusses the use of technologies in the expansion of learning a...

This thesis describes the application of an original approach to art-based research (ABR) developed by Carol P. Hodson and used in in collaboration with two participants. In this method, called the Virtual Response Art (VRA) method, the researcher created digital response art based on participants’ original art and wrote in self-reflective prose during and after the digital art process. Results in this study illustrate how the researcher’s use of the VRA method over six months allowed her to gain increased empathy for the participants and identify, process, and manage the countertransference she experienced in response to each participant and their art. Because the research on which this thesis is based was focused on the effect of the VRA Method upon the countertransference management of the researcher herself, the introduction, results, and discussion sections of this paper were deliberately written by Hodson from a first-person, singular point of view.

Para nosotras quienes somos del mundo de la danza y del movimiento y quienes dedicamos muchas horas de nuestra vida trabajando con y a través de nuestros cuerpos, la noción de un cuerpo que siente, un cuerpo que sabe y se acuerda, no es nada nueva. Sin embargo, durante los últimos siglos, nuestro entorno se ha visto impregnado por un discurso Cartesiano que separa cuerpos y mentes: por un lado, lo mental, lo conceptual, lo racional, lo cognitivo y lo teórico y, por el otro, lo físico, lo perceptivo, lo imaginativo, lo emocional y lo práctico. Y más aún, la escisión Cartesiana privilegia la mente ante el cuerpo (Meekums, 2006), infravalorando un cuerpo denigrado con respecto al intelecto.

T he Third European Arts Therapies Conference, sponsored by ECArTE 1 in collaboration with Art Therapy Italiana, 2 was hosted by the University of Ferrara, Italy (September 14-17, 1994). The medieval walled city, with its imposing castle and narrow, cobbled streets, an important center for the arts during the Italian Renaissance (15th-16th c.), embraced an impressive number of participants interested in the arts for therapy and education. They came from all over Europe and other parts of the world to join in the hundreds of presentations and to strengthen networking between Art, Dance, Drama, and Music Therapies. The conference addressed the current clinical, professional and theoretical issues affecting the practice of arts therapies in Europe. Special panels discussed research issues, training requirements, performer's, educator's, and therapist's roles, Art, Dance, Drama, and Music Therapies' 1The European Consortium for Arts Therapies Education (ECArTE) is a consortium of universities and higher education institutions working to provide nationally validated and professionally recognized courses in the arts therapies-Art Therapy, Dance Therapy, Dramatherapy, and Music Therapy-within Europe. 2Art Therapy Italiana was established in 1982 in Bologna, with the purpose of promoting the practice of art and dance/movement therapies in Italy. Art Therapy Italiana,

The role of embodiment within contemporary psychotherapy practice and its discussion are gathering momentum, and are part of a paradigm shift in psychotherapy in which theory and practice are being reformulated. Body Psychotherapy (BP) and Dance Movement Psychotherapy (DMP) are playing a leading role in these deliberations. Although these two professions have separate professional bodies, distinct theoretical grounding and clinical methodology, they both place enormous value on the central role of the body and its movement as indicators of relational problems, and as agents of therapeutic change. There are few authors comparing and contrasting Body Psychotherapy and Dance Movement Psychotherapy although they have much in common as they are both embodied, enactive psychotherapies. However, neither their overlaps in theory, methodology and some of their clinical practice nor their distinct character have been sufficiently delineated. This article elucidates some similarities and differences in fundamental assumptions, compares and contrasts definitions and terms, and considers common and contrasting theoretical perspectives, techniques and methods. It is expected that this will contribute to the ongoing discussion of the articulation of core characteristics in both professions and will facilitate a better understanding and collaboration between them.

This paper presents a literature review of research into interventions with people with medically unexplained symptoms (MUS). The review forms the basis for the research questions, provides a rationale for an innovative approach to intervention for patients with anxiety/depression with MUS and describes the most suitable methodology for its study. An overview of the problem is provided as backdrop to the rationale. Patients with MUS make up a substantial percentage of all Primary Care (PC) consultations, are notoriously difficult to treat and make huge demands on resources. A pilot study took place in the National Health Service (NHS) in the UK between 2004 and 2007 receiving full NHS ethical approval for delivery in PC. Following on from the systematic search of the literature the argument for, and description of, the bodymind (BMA) approach to group psychotherapy (based on the discipline Authentic Movement from within the field of dance movement psychotherapy) is presented. The in...

Cultural issues in music therapy have been well documented for many years. The author herself, originally from China, has encountered cultural dilemmas in various situations. Given that, the author feels it is important to understand the issues of cultural transference and countertransference in a therapeutic dyad. However, when looking through music therapy literature, there is a clear lack of debate on how cultural aspects of transference and countertransference influence the therapeutic relationship. This paper seeks to contribute to this area. The introduction explains that the starting point of this paper is drawn from the author's own cultural background and life experience. The second section highlights how culture influences both therapists and clients in the therapeutic dyad. Borrowing from the psychodynamic psychotherapy principle, the third section presents the concepts of transference and countertransference and their demonstration in music therapy. The following section describes what cultural transference and countertransference in therapy entails, with particular focus on Comas-Diza and Jacson's (1991) ethnocultural transference and countertransference concepts. Two case vignettes illustrate how cultural transference and countertransference are being recognised and used in therapy. The final discussion highlights three main themes that have emerged during the exploration of these issues, and they are: culture-centred music therapy; minority therapist/mainstream client dyad and minority therapist/minority client dyad; and the examination of cultural transference and countertransference in therapy.

Although almost every debate about artistic research highlights its novelty in references to «uncertainty», »indefinability», and to its lack of identity whilst «bound to a tradition external to itself», this novelty has lasted for a few decades already. Many of the problems raised today are to be found back when research and art education began to relate within the academic context in the 1980s. So where is the speculative discussion on its uncertainty taking artistic research to? Is a solution intended to be found? Is there a problem to be solved? Through ‘productivitism’ this text argues that the aprioristic idea that artistic research is problematic has been securing its state of pendency and increasing its fragility. The final part of the article suggests a creative potential and a challenging dimension in the process of institutionalization, and ends by pointing out possible topics of work for a shared agenda with contemporary art.

This qualitative arts-based heuristic research explores the concept of self-care through the frameworks of the Intentional Witness Process and the Expressive Therapies Continuum (ETC). The research examines the potential implications of both frameworks by assisting art therapists in finding balance and well-being. The literature review investigates the existing concepts of self-care from a philosophical, clinical, and arts-based perspective, considering the connections between self-care, self-awareness and self-knowledge. Through the lenses of arts-based methodology and Moustakas’ (1990) six-step heuristic inquiry, the researcher examines her personal experience exploring various art materials and engaging in a five-week process combining both frameworks. The author investigates her personal process and resistance and further explores through her findings, the themes of emotional pain, presence and authenticity, creating a frame, self-esteem and strength. The researcher discusses he...

In this chapter we review some of the themes that have emerged from the rest of the book. We also take a look at trends that suggest themselves for further work and development in the field of embodiment and professional and higher education. Key ideas that emerge are: action, practice, story/narrative, arts, performance, intersubjectivity, emotion/affect, healing, technology, intersectionality, and institutional structures. Taking the lens of embodiment to these themes can reveal insights that offer the chance to deepen our understanding of what professional education (and professional practice) is all about. Embodiment also offers us a means to engage with the ontological aspects of professional education, and practice, and integrate these with the epistemological. The goal is to provide our students with a more integrated education that prepares them for the realities of professional practice by addressing their humanity in its fullness.

Part of the difficulty in conducting embodied research is that embodied awareness is not just physical or emotional, but a fusion of experiences that culminate into something larger than its parts. Because of embodiment’s descriptive complexity, it can be too easily generalized to, “it’s energy!” or limited to a distant metaphoric comparison (“It’s like a….”). Ritchie and Carruthers (2013) argue the need to differentiate bodily awareness among different types of perception. “The label ‘bodily sensation’ is unfortunate, however, since it invites the grouping together of many different phenomena (including the vestibular system and proprioception) under one label, as if they could be treated uniformly (e.g. Armstrong, 1962)” (p. 355). In lieu of talking about embodied experience, there is a vocabulary for embodied data that provide specific meaning and properties for recognition. By utilising direct, descriptive words that closely describe the feeling that emanates from an embodied experience, one may capture the complexity of it more completely. 

Embodied data are points of unconscious information brought to consciousness by attending to oneself in the present moment (Tantia, 2019a). They are living sources of knowledge that provide more personal information about an experience than can be deducted logistically (Hervey, 2007; Koch & Fuchs, 2011; Todres, 2007) and they arise prior to meaning making (Gendlin, 1981). Embodied data emerge from attention to one’s subtle visceral sensations, posture, or movement, and are collected from either sharing one’s own embodied experience, or by observing and inquiring about another’s body.

Taylor and Francis. Her clinical work influenced her approach to DMT and Authentic Movement both of which are also informed by her extensive research. She trained in Laban Dance, Person-Centered Counselling and Group Analysis and has been developing her own form of Authentic Movement with groups and individuals for 25 years. 0044 1438 833440

This article will present an experientially focused, process-centered approach to group supervision that may be used in practice and fieldwork settings, as well as in the classroom. The approach is derived from a combination of relational psychoanalytic theory, rooted in interpersonal and object relations theory, and social constructionism. Beginning with a review of the concepts of acting out, projective identification, and parallel process, this article will examine how these concepts are applicable to process-centered group supervision. A detailed description of the approach will be provided, along with a review of the group guidelines. Through actual case vignettes of two process-centered supervisory sessions, elements of transference and countertransference occurring between and among participants will be identified, and their utility for supervision and practice will be examined.

This article concerns embodied knowledge closely connected to dance experience. I position my research project primarily on three autobiographic dance narratives concerning my involvement with the dance genre known as contact improvisation (CI). In making the argument that practicing CI creates experience and knowledge that become embedded in the body, I attempt to give the dancing body an "audible voice", and apply theoretical concepts that are helpful in interpreting and elaborating my narratives.

This article concerns embodied knowledge closely connected to dance experience. I position my research project primarily on three autobiographic dance narratives concerning my involvement with the dance genre known as contact improvisation (CI). In making the argument that practicing CI creates experience and knowledge that become embedded in the body, I attempt to give the dancing body an "audible voice", and apply theoretical concepts that are helpful in interpreting and elaborating my narratives.

This paper explores how trauma enabled embodiment to be forcefully felt and later usefully used in doctoral research. The shocking murder of my sister by her husband created intense physical reactions within me (Caldwell, 1997; Sidoli, 2000). Previous years of teaching enabled observation of the body as a source of information but nothing prepared me for the shock and impact