Am J Dance Ther (2016) 38:139–150 DOI 10.1007/s10465-016-9206-4
Abstracts from the 2015 Research and Thesis Poster Session of the 50th Annual American Dance Therapy Association Conference Sondra H. Malling1 • Robyn Flaum Cruz1 Lenore Hervey1 • Jennifer Tantia1
•
Published online: 18 May 2016 Ó American Dance Therapy Association 2016
For the past 20 years, the Research Subcommittee of the American Dance Therapy Association (ADTA) has sponsored the research poster session at each annual conference. The research represented in the current abstracts from the 2015 Research and Thesis Poster Session of the 50th Annual ADTA conference features a wide range of scholarly works and thesis projects in current dance/movement therapy trends.
Aesthetically Significant: An Embodied Artistic Inquiry Exploring the Experience of Aesthetics as an Emerging Dance/Movement Therapist The purpose of this embodied artistic inquiry was to explore my aesthetics as an emerging dance/movement therapist, to understand the influence aesthetics have in my clinical work, and to learn how aesthetics are shaping me as a novice clinician. Data were collected through semi–structured journal entries that included both words and images. Concurrent with data collection, data analysis in the form of creative synthesis occurred at the end of each week. Preliminary findings indicated that many of the previously identified 14 dance/movement therapy aesthetics arose during the research process. The most salient were authenticity, depth, connection, patterns, wholeness, and the general in the particular. The aesthetics were experienced consistently in certain parts of my body with certain aesthetics arising more frequently in response to specific populations during this exploration. The findings were presented in a dance performance. & Sondra H. Malling
[email protected] 1
ADTA Research Subcommittee of the Education, Research, and Practice Committee, Columbia, MD, USA
123
140
Am J Dance Ther (2016) 38:139–150
Hannah Bailey recently finished the coursework for her Master’s in Dance/ Movement Therapy at Columbia College Chicago. Hannah did her field placement at Anixter Center’s New Focus Program for adults with traumatic brain injury and her yearlong internship at Alexian Brothers Behavioral Health Hospital where she works as a dance/movement therapist on the Expressive Therapy team.
Holding Our Invisible Disability: The Lived Experience of a Late Partial Visual Impairment Diagnosis for Two Jamaican-born Female Dancers This duoethnographic study aims to investigate the psychosocial, bodily-felt and lived experiences of two adult female dancers from Kingston, Jamaica, diagnosed with a late partial visual impairment (LPVI). Additionally, it seeks to explore how this duoethnographic inquiry might inform the researcher’s lived experience as a visually impaired Jamaican-born female dancer and as a dance/movement therapistin-training. Given the limited research regarding the current cultural understanding of disability specific to blind culture and mental health rehabilitation within the developing country of Jamaica, this current study utilized dance/movement therapy (DMT) interventions and a duoethnographic research method to ascertain the personcentered and bodily-felt experiences of the participants. Participants were two adult female dancers with LPVI between the ages of 25 and 35. Data were collected through a semi-structured verbal interview and a movement-based experiential over Skype that lasted for one hour. The verbal interview was analyzed using Thurston’s (2010) theoretical model on the transition from sight to blindness, while a Laban Movement Analysis (LMA) coding sheet was used to develop the subsequent movement profiles for each participant. Due to the dialogical framework of the duoethnographic approach, the data findings were extensive within the scope of this research. Prevalent themes consistent with Thurston’s (2010) theoretical model emerged for both participants with significant consideration for their individual process of diagnosis, lifestyle impacted by vision loss, physical representation of vision loss in conjunction with rehabilitative services and their acceptance of sight loss, and the reconceptualization of self and location. Main themes that were derived from the LMA movement profile indicated each participant’s interpersonal ability to achieve resiliency and recuperation within their experience of vision loss. Through the person-centered integration of DMT interventions and the duoethnographic approach, the results provided firsthand accounts of the emotional, sensory, psychological, physiological and interpersonal life narratives that could be processed in relation to these lived experiences. These findings provide a preliminary basis for future research within DMT as well as disabilities research on a global scale, and more specifically for developing nations such as Jamaica with limited information about the psychosocial and person-centered treatment interventions that can facilitate a greater integration of self beyond visual impairment. Stefanie D. Belnavis is a Jamaican-born dance artist and choreographer, currently holding a Master’s Degree in Expressive Therapies with a specialization in Dance/ Movement Therapy and Mental Health Counseling from Lesley University along
123
Am J Dance Ther (2016) 38:139–150
141
with a Bachelor’s Degree in Contemporary Modern Dance from Manchester Metropolitan University in the United Kingdom. With her background in Release/ Alexander Technique, contact improvisation, site-specific choreography, contemporary modern dance, spoken word and Jamaican folk dance, Stefanie’s work is founded on the celebration of self through the creative exploration of our lived experiences where strangers/movers/humans connect through movement, the power of storytelling and self-resiliency. As a late partial visually impaired choreographer and clinician, Stefanie continues to integrate dance/movement therapy with her advocacy for the blind, visually impaired, and disability community.
The Development of Dance/Movement Therapy in Israel Analyzed Through the Jewish-Mexican Lens The purpose of this study was to understand how and why dance/movement therapy (DMT) spread so quickly and effectively in Israel after Marian Chace introduced it in 1964. The objectives were to revisit the history of the Israeli people through my lens as a Jewish, Mexican woman and connect it to my personal experience of Israel. This study was conducted as an autoethnography. Semi-structured interviews were conducted in order to understand the strengths and weaknesses of the profession in Israel today and compare them to DMT in the United States. Three dance therapists who are currently working in Israel were interviewed; some had experience working in the United States as well. Through my research, personal experience and interviews, I discovered three things: First, having dance/movement therapists as a part of the regular staff in the education system in Israel has allowed for the widespread recognition of the profession throughout the country. Second, the presence of the Arab–Israeli conflict and the unrest experienced by Israelis has given rise to alternate forms of healing which include dance/movement therapy. Lastly, the fact that there is almost the same number of DMT training programs in the United States as there are in Israel says something about the availability and demand of the profession in Israel. The United States community of dance/movement therapists can learn something from the way the profession developed in Israel, which could help with its expansion and professional acceptance among the different cultures, religions and groups of people inside the United States. Victoria Botvin, MS, R-DMT grew up in a small Jewish community in Monterrey, Mexico where the history, traditions, and values of the Jewish people have always been a very strong part of her identity. She became interested in the power of movement expression after attending a Gaga intensive taught by Ohad Naharin in Israel, and decided to explore her connection to dance/movement therapy through her Jewish roots and connection to Israel.
Performance as Therapy: Moving the Self from Within The purpose of this study was to explore the therapeutic value of performance as therapy as a dance/movement therapy intervention. It sought to discover the effectiveness of performance as therapy by answering: How does performance as
123
142
Am J Dance Ther (2016) 38:139–150
therapy aid in self-growth, specifically in an outpatient setting? Using a qualitative study, this research was inspired by participatory action methodology. Two adult female co-researchers in an outpatient mental health clinic at Morris Heights Health Center (MHHC) in the Bronx aided in the creation of methods and structure of this research. Through a 12-week process, the co-researchers collaborated using movement improvisation, musical instruments, and imagery to create a final dance that was performed for the behavioral health staff at Morris Heights Health Center. This uniquely created structure for performance as therapy allowed the coresearchers to be seen while utilizing their creativity. The data collection included a record that was kept on each co-researcher through a written group process note, a personal written journal, compiled feedback from the MHHC behavioral health staff, and the final performance video. Through theme analysis, the under arching and overarching themes were sifted through and weighed, uncovering themes of connection, spirituality, sequoia trees, goddesses, being seen, and confidence. The co-researchers experienced a heightened sense of awareness, incorporating all aspects of themselves, especially their spirituality, which is a factor for selfdiscovery. The results illustrated how the collaborative creative process, as well as the performance, not only promoted self-growth, but also allowed the co-researchers to expand beyond themselves and make meaningful connections with others within the outpatient community. Lisa Clementi, an audition selector for Eliot Feld’s school Ballet Tech, and a professional dancer in New York City, currently dances for Robin Becker Dance and Kinetic Architecture Dance Theatre. She is a recipient of the Caroline H. Newhouse scholarship and Sono Osato grant awarded through Career Transition for Dancers and is an honors MS dance/movement therapy graduate from Pratt Institute, 2015. She also holds a BA in Dance from Hofstra University, 2004.
How Does Participation in a Dance/Movement Therapy Group Impact the Body Image of Adolescent Eating Disordered Inpatients? Body image dissatisfaction is a hallmark of eating disorders, in which an underlying distortion in the perception of the body has long been assumed (Jongenelis, Byrne, & Pettigrew, 2014; Manley, Tonkin, & Hammond, 1988; Rodgers, Paxton, & McLean, 2014). However, recent studies suggest that a distortion in body image perception and body image dissatisfaction are two different phenomena within the eating disordered population (Roy & Meilleur, 2010). Using quantitative and qualitative data, this quasi-experimental study investigates the impact of the participation in a dance/movement therapy (DMT) group on both body image dissatisfaction (Eating Disorder Inventory) and body image distortion (Quantification of body image distortion). Collected data included patients’ weekly journals (experimental group) and written answers to questions on body perception (both groups), gathered as post-test. Given that DMT stimulates a better knowledge/contact with a participant’s own body, we posit that participation in a DMT group will decrease body image distortion in eating disordered adolescents. A sample of 10
123
Am J Dance Ther (2016) 38:139–150
143
inpatient adolescents will participate in a DMT group (10 controls—regular inpatient treatment). Preliminary analyses on the current participants (n = 3) suggest that both body image distortion and body image dissatisfaction are impacted by the participation in a DMT group. Also, analysis of participants’ feedback will reveal impacts on body concerns, self-awareness, and emotions. Further analyses will include a full assessment of the interrelations among the proposed variables and a comparison between control and experimental groups. E´lysa Coˆte´-Se´guin is a doctoral candidate in psychology (Psy. D.) at the Universite´ de Sherbrooke. She is developing her know-how working with children and adolescents. Her thesis project is about the body image distortion of eating disordered adolescents participating in a DMT group. She is also studying in the Alternate Route Program in DMT at the Centre national de danse-the´rapie in Montre´al.
Short Form Assessment Tool for Dance/Movement Therapy Programs in an Empirical Research Context As the field of dance/movement therapy (DMT) receives more attention, empirical evidence can help inform about its effects in intervention contexts. In order to do so it is critical to have a comprehensive tool for assessment of an individual’s progression from the beginning to the end of the intervention. Some assessment tools have been developed (e.g., Laban Movement Analysis, Kestenberg Movement Profile, Functional Assessment of Movement Scale). However, they require time and are costly to administer. Moreover, usability of these tools is constrained by the level of expertise required, and therefore, their use in other related fields is limited. This project proposes the use of a short-form assessment tool that combines elements from Laban Movement Analysis and the Kestenberg Movement Profile with a Likert scale format for ease in quantification. This tool categorizes elements into four areas of assessment: Structural and Physical Characteristics, Movement Qualities, Participation/Responsiveness and Affect. Preliminary data were collected from a randomized control trial evaluating the progression (Pre-Mid-Post) of a DMT program with both male and female adults over 60 years old. The tool’s potential to track changes as well as its reliability with multiple assessors were of interest. One-hour DMT sessions were held three times a week for 12 weeks. Preliminary results, using 10 participants’ data rated by two dance/movement therapists, suggest that the assessment tool is sensitive to intervention, but interjudge variability was an important factor that needs to be taken into account. A proposal for a new format for DMT participant assessment along with limitations and suggested revisions for its future use are presented. Alida Esmail has completed her undergraduate studies in Contemporary Dance and Psychology at Concordia University. While working as a Research Coordinator with Dr. Bherer in his Cognitive Health and Aging Research Lab (lesca.ca) and in collaboration with les Grands Ballets Canadiens de Montre´al, she is also an
123
144
Am J Dance Ther (2016) 38:139–150
Executive Board Member of the Dance Movement Therapy Association in Canada (DMTAC).
Open Book or Blank Screen: Exploring Performance as Nonverbal Therapist Self-Disclosure Through embodied artistic inquiry, the author explored her personal conflict around continuing to perform dances publically as a dance/movement therapist. This thesis examines performance as a form of nonverbal therapist self-disclosure. The study focused on the potential for accidental self-disclosure on the Internet. The author’s experience belly dancing in a small community plays a significant role in her conflict around therapist self-disclosure. The author asked the research question: As an emerging dance/movement therapist, what is my experience of my own capacity for accidental, nonverbal self-disclosure on the Internet? The author was the only participant in this qualitative form of research, and an extensive literature review on self-disclosure was conducted. Embodied artistic inquiry was utilized to explore the author’s reactions to her past dance performances on YouTube. Data were generated through artistic methods of dance, art, and writing. Collage was used to present the findings. The author found that performance is a vital part of her creative process but that she must require stricter boundaries regarding publication of her performances in the future. The author suggests the art and performance of a creative arts therapist be considered potential nonverbal self-disclosure, especially in the digital age. Lauren E. Peterson Higgins, MS, R-DMT, RYT-200 is a dance/movement therapist and yoga instructor in Chattanooga, TN. A graduate from Bard College (Bachelor of Arts in Psychology) and Pratt Institute (Master of Science in Dance/ Movement Therapy), Lauren works in the field of eating disorders and addiction at Focus Treatment Centers and Solace Clinic. Lauren is the secretary of the Southern Chapter of the ADTA. Lauren is a certified Constructive Living instructor and practitioner of the ancient, healing art of belly dance.
Ballroom Dance/Movement Therapy for Elderly Korean Immigrants in New York City This case study explored ballroom dance and dance/movement therapy (DMT) as compatible psycho-social forms that can establish a foundation for culturally sensitive DMT with elderly Korean immigrants. The researcher hypothesized that use of ballroom dance as a therapy would help strengthen the identities of and add to the psychological security of members of a city-sponsored lunch program. Further, ballroom dance integrates therapeutic aspects of empathy construction, reinforces embodiment, reduces isolation, and enhances social interaction. Korean beliefs and culture, the role of dance in Korean culture and the unique experience of elderly Korean immigrants in America were supported by the literature review. Participant observation was used in teaching ballroom DMT sessions at a Korean senior center
123
Am J Dance Ther (2016) 38:139–150
145
in New York between February and May 2014. Between eight and 43 men and women participated in a 50-minute Chace DMT session with a ballroom dance theme. Additional qualitative data were collected through unstructured interviews, attendance records, participants’ verbal description on their points of view, researcher’s case notes, and comments of the center supervisor. These were analyzed using a narrative method for in-depth investigation. Ballroom DMT offered opportunities for empathy through mirroring, embodiment through the holding position (frame and posture), and social interaction. In addition, improved social and physical health were reported, and reduced stress of acculturation and fear of the aging process among afflicted Korean immigrants were reported. The therapeutic merits of ballroom DMT were highlighted in response to a series of unexpected tragic events that occurred in South Korea during the research period. The experience of dealing with grief through dance/movement reinforced the researcher’s hope that ballroom DMT can be made available to the Korean community and other ethnic immigrant groups seeking to find connection to their new home. Miyoung Kim, MA, MS, R-DMT majored in ballet and studied Traditional Korean Dance, contemporary dance, ballroom dance, and Hawaiian dance at Sunwha Performing Art school, Ewah Woman’s University (BA), and Dongduk Woman’s University (MA in physical education). As the Dance Sport champion of South Korea (2000–2003), she represented South Korea in international competitions and won at the U.S. National Theater Art championships (2008–2010) and placed 2nd in Latin (2003) and Standard (2010). She graduated from the Sarah Lawrence College Dance/Movement Therapy Program (MS) in 2014.
Early Intervention Factors of Expressive Arts Therapy’s Aspect for Preventing Children’s PTSD: Based on 2015 Nepal Earthquake Relief The purpose of this study was to discover what factors are needed in using expressive arts therapies in the early intervention and emergency relief for children at risk for post-traumatic stress disorder (PTSD) due to natural disaster. Factors were explored by using in-depth interviews by two expressive arts therapists and two social workers, specialized in psycho-social support, who led supervision sessions for school teachers and expressive arts therapy sessions for victims of the 2015 earthquake in Nepal. Factors were as follows: first, the children’s bodies were great resources for discharging acute stress energy. Movement activities and dance games helped the children to be grounded and regulated using interventions like breathing practice, finding balance, and defensive survival response (flight/fight/ freeze) movement and dance games. Secondly, every culture has wisdom that can be used to heal. Especially, Nepal has beautiful mountain scenery and many children were very good at drawing and writing poems about the mountains. They expressed their fear, anxiety, hope, etc., through dance and arts work to achieve emotional awareness and relief. Thirdly, there were language differences between the foreign
123
146
Am J Dance Ther (2016) 38:139–150
disaster responders and children. However, they were able to create a variety of arts forms. For example, children and responders created breathing with dance movement for grounding saying ‘‘Bistali,’’ which meant ‘‘slow down’’ in Nepali. Fourthly, local disaster responders’ bodies were a role model for children’s grounding. Local disaster responders were social workers, school teachers, nongovernmental organization (NGO) staff, etc., who were also victims of the earthquake. Their grounded bodies were used to support the children. Fifthly, to create a safe environment was a part of healing process. Most of children lost their houses, so they needed safe space from aftershock. Many NGO supports were used to build temporary learning spaces in a very limited area. There were many observations that some children expressed fear seeing the ruined environment. Factors for early intervention with expressive arts therapy were categorized using bio-psychological, unique cultural, and environmental aspects. For future study, development of an expressive arts therapy program, adapted to these three aspects for early intervention for preventing children’s PTSD, may be useful. Nayung Kim, Ph.D., BC-DMT, SEP, CMA is an assistant professor at the Graduate School of Professional Therapeutic Technology in Seoul Women’s University. She received her Ph.D. in physical education with a focus on DMT for the mentally retarded child. She has conducted training and research in DMT with varied populations in Korea as well as supervision. She is a President of the Korean Society of Dance/Movement Psychotherapy. Her specializations are DMT for children with special needs and trauma victims. She went to Nepal to lead DMT and supervision sessions for 2015 earthquake victims.
Korean Expressive Arts Therapy Students’ Experiences with Movement-Based Supervision: A Phenomenological Investigation This study explored the experience of six Korean expressive arts therapy students (four art, two dance/movement) in five consecutive movement-based supervision (MBS) sessions. Two detailed research questions were studied: (a) How does MBS impact comfort levels within the supervisory relationship and among peers, and (b) How does movement experience impact verbal sharing? Phenomenological analysis was conducted via coding, categorizing, and finding emergent themes based on a total of 30 individual weekly journal entries and individual interviews. Approximately 203 meaning units emerged based on the total of 30 individual journal entries and the individual interview. Finally, four themes emerged: (a) emotional experience, (b) new experience, (c) role of art media, and (d) professional experience related to nine categories that included discomfort, comfort, unfamiliarity, relationship, therapeutic component, nonverbal expressive tool, kinesthetic knowledge, professional development, and professional awareness. The categories were unique to the themes. The findings indicated that movement was significant in creating less authority in the supervisory relationship and enhancing verbal sharing in clinical supervision. Movement-based supervision seemed to be a valuable means of using movement in clinical supervision for
123
Am J Dance Ther (2016) 38:139–150
147
exploring clinical challenges and as a potential tool to overcome cultural barriers in clinical supervision in Korea. Additionally, MBS addressed the supervisor’s need for continued efforts to develop flexible and creative approaches in clinical supervision that provide a safe environment. Kyung Soon Ko, Ph.D., LCPC, BC-DMT, GL-CMA, NCC is a research associate at University of Georgia, and Founder of Institute for Arts in Mind (IAM). Trained at Columbia College Chicago, and Lesley University, she worked as Faculty and Research Advisor at Myongji University and worked for Asian Human Services for Asian clients with chronic mental illness. She led a violence prevention program funded by United Way at Chicago Passage Charter School and published the article, ‘‘Movement-based supervision and Korean expressive arts therapist,’’ in the American Journal of Dance Therapy.
Mutuality in Movement: A Relational Approach to Dance/Movement Therapy with Domestic Violence Survivors This qualitative case study explored the integration of relational-cultural and dance/movement therapy (DMT) with domestic violence survivors in short-term services. This study examined the questions of how clients experience relationalfocused DMT, and specifically how the relationship exists with the therapist. Three counseling clients at a domestic violence agency participated in the study. Three forms of data were collected over six to eight sessions. Following each session, the researcher completed embodied case notes, while the clients completed the Helpful Aspects of Therapy tool. After the final therapy session, a semi-structured interview was conducted with each client to elaborate on themes emerging from the data. Data were analyzed within each case and across cases using Forinash’s qualitative method. Preliminary themes from analysis included safety and trust, illumination through body awareness, and kinesthetic empathy. This suggests that the body played a key role in creating and amplifying growth-fostering relationships, supporting a beneficial therapeutic process for client and therapist. Heather L. MacLaren is currently a master’s degree candidate in Dance/ Movement Therapy & Counseling at Columbia College Chicago. Originally from Toronto, she has found a passion in working with domestic violence survivors and their families in Chicago, and hopes to continue this work in the future.
My Embodied Multiracial Experience While there exists some research on dance/movement therapy (DMT) and people of color, there is no research specifically involving multiracial people and dance/movement therapy. This heuristic study explored the embodied experience of being multiracial and how that experience could inform the practice of DMT to better meet the possible needs of multiracial clients. The researcher was a
123
148
Am J Dance Ther (2016) 38:139–150
24-year-old multiracial (African American/Chinese/Hawaiian) female graduate student. Data were collected for 12 weeks and consisted of experiences in which the researcher’s multiracial heritage was highlighted. Data were recorded through three self-interviews and artistic journaling. The researcher used Forinash’s adapted form of manual analysis to analyze the self-interviews and Moustakas’ organic approach for heuristic research to analyze the artistic journal. Analysis yielded three major themes, each with sub-themes, that captured the researcher’s embodied multiracial experience: Identity (Belonging/ Not Belonging, In-between, and Appearance), Insensitivities (What are you?, Exoticism, External Labeling, and Racism), and Multiracial Pride (Acceptance). Implications for multicultural competency in DMT included; (a) embodying inbetween and finding stability; (b) finding stability within belonging; (c) using embodied self-awareness to investigate patterns of responding to microaggressions and (d) exploring empowering responses. The researcher also found implications for multicultural competency for general counseling practices with this population, and offers directions for future research. Catherine C. Miller, MA, R-DMT, originally from Oakland, CA, recently received her master’s degree in dance/movement therapy and counseling from Columbia College Chicago. As a multiracial person living in Chicago, Catherine saw the need for research in DMT regarding multiracial individuals and their specific needs. Passionate about social justice and community work, she hopes to start her DMT career working for a non-profit or community center in Chicago, IL. Catherine also dances with the company Body Compass Dance Project.
Liminal Spaces Rewound: A Heuristic Study of Belonging as it Relates to a Biracial, Queer Woman/Emerging Therapist Though the essence of belonging and relational connection underpins much of the thematic material in counseling and dance/movement therapy literature, explicit research on how it is experienced by multiple minority identities remains scarce. The purpose of this heuristic study is to answer the question: what is my experience of belonging as a biracial, queer woman/emerging therapist? Data collection methods included semi-structured journal entries, semi-structured self-interviews, and improvisational movement responses. Creative synthesis was utilized to engage the process of self-witnessing for data analysis. Preliminary findings revealed a shift from experiencing belonging as an entangled performative practice to a ritualized and radical practice of forgiveness, reclamation, and self-love. Findings were presented in the form of a dance performance. Rosey Puloka is a second-year dance/movement therapy graduate student at Columbia College Chicago. She received her BA with a distinction in dance from Colorado College. Her work includes applied behavior analysis with children with Autism and residential rehabilitation for adolescent girls. Currently Rosey provides movement groups for women inside Cook County Jail. Her practicum and internship
123
Am J Dance Ther (2016) 38:139–150
149
experiences were conducted at Grace House and IFACES, serving women transitioning out of prison and refugees, respectively.
A Study on Japanese Onomatopoeias Based on Effort Elements for Classification of Simple and Expressive Movements Japanese onomatopoeias have the capability to express movement quality based on Effort elements. This study explores the expressiveness of the selected Japanese onomatopoeias based on a previous study in 2014 to classify the two types of onomatopoeias. One type is simply related to Effort elements and the other is related to concrete images beyond Effort elements. Data were collected from third-year female university students who were asked to express nuances of the selected onomatopoeias based on Effort elements. After the movement experience, they were asked to describe their intentions to express the movement qualities of each onomatopoeia freely. Twenty-eight onomatopoeias were divided into two types; simple movement and expressive movement. Examples of simple movement included: time-quick; ppa, time-sustained; biyoon, torotoro, daradara, space-direct; piin, byuun, zunzun, space-indirect; guruguru, kurukuru, flow-bound; gachigachi, flow-free; surusuru, surasura, weight-strong; dondon, doshidoshi, dosudosu, weight-light; runrun, ranran,. By contrast, expressive movement featured: timequick; shhu, sassass, time-sustained; byuun, oronoro, space-direct; gungun, shyyu,zudoon, space-indirect; kunekune, flow-free; sarasara, surasura, flow-bound; gikogiko, gishigishi, weight-light; pyonpyon and weight-strong; dosudosu. Based on the feedback by students, images for expression of the selected onomatopoeias based on Effort element were: time-quick; shhu (shuriken), sassass (broom), time-sustained; byuun (gum elastic, airplane, noronoro (turtle), spacedirect; gungun (tree, rocket, plant), shyyu (shuriken), zudoon(cannon), spaceindirect; kunekune (snake,seaweed), flow-free; sarasara (hair), surasura (pen), flow-bound: gikogiko (saw), gishigishi (grinding your teeth), weight-light; pyonpyon (rabbit, frog),weight-strong; dosudosu (elephant, sumo wrestler). In conclusion, the Japanese onomatopoeias are hard to replace as translation words of Effort elements. Instead, they can be utilized to form clear images that, in turn, can be expressed physically with ease. The Japanese onomatopoeias are a useful tool for teachers and therapists for expanding expressiveness. For future study, other onomatopoeias based on various emotional expressions will be investigated for students and clients who are not good at physical expression. Yukari Sakiyama, PhD, BC-DMT is an Associate Professor of Mukogawa Women’s University, Junior College Division, Department of Early Childhood Education. Board member and Chair of International Committee of Japan Dance Therapy Association (JADTA). Visiting Associate Professor of Long Island University POST, Department of Health, Physical Education and Movement Science 2014–2015.
123
150
Am J Dance Ther (2016) 38:139–150
Developing Movement Biofeedback Technology to Supplement DMT Biofeedback has been proven to be effective at improving health in areas such as stress reduction and heart-rate variability. However, there is a scarcity of biofeedback technology to provide detailed feedback about movement qualities. Dance/movement therapy (DMT) clients might benefit from a technology capable of reflecting their movement patterns, which might enhance DMT effectiveness by helping the client practice new motor skills at home, reinforce learning of new motor patterns, and expand motor repertoire. In this study we aimed to develop an automated method for recognizing specific Laban motor elements from markerless 3-D movement data captured by the ubiquitous Kinnect camera. Laban Movement Analysis (LMA) is often used in DMT for assessment and planning interventions. Thus, an automated technology identifying LMA elements is advantageous because it provides feedback about client’s qualitative movement in a vocabulary familiar to dance/movement therapists and easy for clients to understand. Our research approach used machine learning to develop algorithms capable of identifying the 18 Laban movement elements found in our previous study to be significant in the experience and expression of basic emotions (Shafir, Tsachor et al., 2015) To teach the ‘‘machine,’’ we created a data set of 550 video clips of different combinations of these elements performed by six Certified Movement Analysts (CMAs) recorded on Microsoft’s Kinect V2 sensor and on video. Some clips were verified by two CMAs to increase accuracy. Data were assessed by recall: how well the system found all the instances of a quality, and precision, and how many of the clips identified as having a quality indeed had that quality. One algorithm obtained an average recall of 71 %, and another showed an average precision of 59 %. Testing the system on clips of non-CMAs performing ordinary tasks obtained only mild degradation in recall and precision, demonstrating that the system is robustly capable of handling any movement. Tal Shafir Ph.D., R-DMT is an Assistant Professor at the Graduate School of Creative Arts Therapies, University of Haifa, Israel. Following several years of clinical work, she completed her master’s degree and Ph.D. in neurophysiology of motor control, as well as postdoctoral fellowships in affective neuroscience and brain-behavior interactions in infancy at The University of Michigan. Her research focuses on movement-emotion interaction and its underlying brain mechanisms and on motor characteristics of emotional expressions as depicted by Laban Movement Analysis. Rachelle Palnick Tsachor, CMA (University of Illinois at Chicago; Senior Research Faculty, LIMS; Alexander Technique Teacher) is a Registered Somatic Movement Therapist working with mind–body connections to support functional and expressive integration. Ms. Tsachor published the article, Laban/Bartenieff-based Somatic Movement Therapy: Methodology and case studies, and is co-investigator with Dr. Shafir in the article, Emotion Regulation through Movement. Certified in Mind–Body Medicine, Tsachor teaches Laban Movement Analysis and Mind–Body Skills for Global Trauma Relief at the Israeli Center for Integrative Group Counseling. Conflict of interest Sondra H. Malling, Robyn Flaum Cruz, Lenore Hervey and Jennifer Tantia declare that they have no conflict of interest.
123