Thursday Intensives

October 17th

All Day Intensives, 8:30 am – 3:30 pm

Dance/movement therapy theory and practice will be utilized to demonstrate the importance of implementing embodied methods to treat patients with eating disorders. Helping these patients transform their habitual thoughts and behaviors into more productive ways to cope with overwhelming problems is integral to reclaiming connection to a fuller experience of living in their bodies. Attendees will learn to trust their innate ability to “attend” empathically, respond authentically and translate non-verbal experiences into cognitive insight. Collaborative interactions will include discussion aimed at identifying specific evidence based practices that can pair with dance/movement therapy methods to guide clinicians in facilitating meaningful experiences. (NBCC CE hours; ADTA CE hours; NY LCAT CPE hours)

Movement:- 51-75%

Touch: Yes

Target Audience:- All levels

Objectives:

  1. Name three dance/movement therapy concepts that can promote the eating disorder patients’ ability to “be in their body”
  2. Identify one issue that demonstrates practice based evidence in dance/movement therapy
  3. Identify one issue that demonstrates how evidence practice can be incorporated into the dance/movement therapy process

Susan Kleinman, MA, BC-DMT, NCC, CEDS, is creative arts therapies supervisor and dance/movement therapist for 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 has published extensively, presented widely, is the Sierra Tucson’s 2012 “Gratitude for Giving” honoree, the recipient of the American Dance Therapy Association’s 2013 Lifetime Achievement Award and The International Association of Eating Disorders Professional’s 2014 Spirit of iaedp Award. Her work is featured in the documentary entitled Expressing Disorder: Journey to Recovery.

Concetta Troskie, MA, R-DMT, RDT, LPC, is owner and therapist at Mindfully Embodied, LLC, Dallas’ premiere outpatient center specializing in expressive arts and eating disorders. Concetta is also the Embodied Movement Director for immersive theater company Artstillery, where she facilitates embodied rehearsals for theater artists. Concetta is a local advocate and presenter for the application of expressive arts therapies in the treatment of eating disorders, trauma, depression and anxiety. She is the President of the Texas Chapter of the American Dance Therapy Association, and a frequent presenter at national conferences.

Dance/Movement Therapy (DMT) interventions support and deepen subjectivity, engage relational and communication skills, invite agency and motivation, and evoke our capacity for joy. This offers a wide spectrum of therapeutic, learning, and engagement options for the clinician, educator, or community leader. Recent and evolving developments in neuroscience can help dance/movement therapists better understand, articulate, and engage the nuanced potentials of our work.

In this intensive, participants experience neurophysiological state shifts through a range of dance/movement therapy approaches.  A movement warmup explores the structure of the nervous system and the impact of interoceptive sensing on regulation. Interactive movement highlights how embodied attunement engages empathy, memory, and affect. Authentic Movement invites creativity and supports cognitive insight through engaging the right hemisphere. Moving together in group supports neurofluency through a collective experience that  includes multiple perspectives. Through embodiment and dialogue, we will develop a deeper understanding of how dance/movement therapy engages and supports the brain as a part of the body.(NBCC CE hours; ADTA CE hours; NY LCAT CPE hours)

Movement: 50%

Touch:Yes

Target Audience:Mid Level/Advanced

Objectives:

  1. Participants will consider three versatile and effective dance/movement therapy interventions that can be used with a wide range of populations across the developmental spectrum.
  2. Participants will be able to articulate how interoception supports neurophysiological regulation.
  3. Participants will be able to describe how interactive movement can engage implicit processes that build empathy and trust.
  4. Participants will be able to demonstrate how authentic movement activates creativity and supports cognitive insight through engaging the right hemisphere of the brain.

Kalila Homann, MA, LPC-S, BC-DMT, is a dance/movement therapist and licensed professional counselor and supervisor based in Austin, Texas. Currently an affiliate faculty member in the Dance/Movement Therapy Department at Antioch University, Ms. Homann has taught and supervised at the graduate and postgraduate level in dance/movement therapy and expressive arts therapy for over 20 years, alongside an active clinical practice. Kalila also teaches nationally through Embodied Neurobiology, part of the Southwest Dance/Movement Therapy Collaborative., and received the 2018 Excellence in Education Recognition Award from the American Dance Therapy Association. She is passionate about preparing and empowering dance/movement therapy students to embark on successful, innovative, and rewarding careers.

Growing together toward a more socially just experience of humanity is of profound concern within communities across the nation, and is of essential relevance within the dance/movement therapy community, in particular.  Acknowledging individual difference is pervasive. However, rationale for shifting the focus to “shared experience” and its benefits is highlighted in this intensive. Dance in Rwanda, and its cultural relevance to resilience and connection before and after the 1994 genocide, illustrates the invaluable healing impact of this relationally based approach.  A service project that encompasses dance/movement therapy and other body mind strategies for widows of genocide will be described as a salient example of the efficacy for developing resilience, unity, and connection.

(NBCC CE hours; ADTA CE hours; NY LCAT CPE hours)

Movement: 51-75%

Touch:Yes

Target Audience:All levels

Objectives:

  1. Learn about cross-cultural applications of dance/movement therapy and other body-mind strategies in Rwanda to support widows of genocide
  2. Adapt this model to developing cultural awareness models in this country to enhance cultural humility, social dexterity and inclusivity
  3. Conceptualize how “shared experience” can impact the ongoing developing of social justice across clinical, educational, and other professional settings.

Susan Carey Orkand, MA, BC-DMT, CMA, ERYT, has worked as a dance/movement therapist and certified movement analyst for 35 years with people across the lifespan and across differing abilities in psychiatric, medical, palliative care, and community based settings. The aim of her work has always emphasized a sense of wholeness, body-mind connection, and awareness, as well as a deep desire to get to understand the contexts of someone else’s life. Susan’s career has included diverse opportunities in research, publication, clinical work, supervision and education; both nationally and internationally. Her ongoing passion for incorporating holistic practices led her to become a registered yoga teacher and a Reiki III practitioner. Currently, she is a professor and the education clinical coordinator in the graduate dance/movement therapy department at Sarah Lawrence College, Bronxville, New York; and conducts a small private practice in her home office.

An extended continuation of the work Moving Blind Spots: Cultural Bias in the Movement Repertoire of Dance/Movement Therapists (2018). This intensive will provide a more in-depth look at presenting dynamics that contribute to the lack of awareness and cultural bias in the field of dance movement/therapy. With a lack of cultural diversity in the profession, there may be unconscious bias as it relates to cultural rhythmic patterns, movement styles, and music choices in therapeutic practice. Well-intentioned dance/movement therapists may be versed in the language and skill of cultural competency; however, therapists’ personal movement repertoire may subconsciously communicate that a client’s movement preference, music choice or rhythmic pattern may not be beneficial to the client’s own internal and emotional regulation. Furthermore, tools and language used for observation and assessment in dance/movement therapy practice, such as Laban Movement Analysis, cannot accurately depict polyrhythmic styles often observed in movement patterns of diverse populations specifically movements of the people of the African Diaspora. This workshop will explore these dynamics, create dialog and offer action steps toward resolution on ways to become more aware and minimize these concerns.(NBCC CE hours; ADTA CE hours; NY LCAT CPE hours)

Movement:26-50%

Touch:Yes

Target Audience:All Levels

Objectives:

  1. To provide a perspective of how dance/movement therapy can become more inclusive as a practice.
  2. To offer a viewpoint from the experience of statistically labeled marginalized populations in a way that creates dialog and meaningful change for a more equitable profession.
  3. To assist in creating research and systems beneficial to diverse populations.

Ebony Nichols completed her Bachelor of Arts at The College of New Rochelle in psychology and is pursuing her master’s degree in Mental Health Counseling with a specialization in Dance/Movement Therapy at Lesley University. Ebony has been the proprietor of Locks of Nu Natural Hair Spa for 15 years. Utilizing their mission of “Healing the Community Follicle by Follicle”, her primary focus was to create a therapeutic environment within the African American community; this was her genesis for connecting artistic/aesthetic expression and psychology. Trained in ballet and modern dance, Ebony found her love for the freedom of movement in the NYC house dance community. She co-founded Afro Mosaic Soul Dance Collective, using social dance and music as a tool for emotional healing and expression. Most recently she co-presented her research, Moving Blind Spots: Cultural Bias in the Movement Repertoire of Dance/Movement Therapist at the American Dance Therapy Association’s Annual Conference (2018). Ebony has worked nationally and internationally utilizing various techniques of expressive art as therapy toward personal/communal healing while exploring the dynamics of statistically labeled marginalized and underrepresented communities. Her research is based in cultural/race identity with plans of pursuing her PhD in Social Psychology.

Stephan Isijia Reynolds, MFA, MEd, is a dancer, choreographer, creative producer, life coach, and studio owner. Stephan is already a seasoned veteran of live on stage performance. His dance training includes Alvin Ailey American Dance Center, Dance Theater of Harlem, Paul Taylor and the Martha Graham School. He worked with Christina Aguilera, Deborah Cox, Debbie Allen, Deborah Gibson, Whitney Houston, Michael Jackson (30th Anniversary Celebration on NBC), Al Jarreau, Monica, Mya, Usher, Jill Scott, Martha Wash, Crystal Waters, Kristine W, RuPaul, Celine Dion in A New Day, and most recently The Braxtons, 2 Chainz, Janelle Monet, Kandi Burruss, D Woods, Angie Stone, Q Parker, Pastor Shirley Caesar, Keke Wyatt, and Tony Terry.  He choreographed for Knick City Dancers, New York Liberty, Memphis State University, SUNY at Purchase College, University of Nevada at Las Vegas, Las Vegas Gladiators, Southern Methodist University, The Polish National Ballet, and danced and taught master classes in over 50 major cities and countries including Paris, Warsaw,  Alexandria, Norway, Greece, London, Montreal, Quebec, Dortmund, Africa, Argentina, Singapore, Sydney, and Zurich, to name a few. While doing all this, he has performed full time, since 2003, as a name character Le Travesti (meaning the transvestite) in Cirque du Soleil’s production of “O” at the Bellagio Hotel in Las Vegas and assisted Cirque in Choreographing “Love”, at the  Mirage hotel also in Las Vegas. Many may remember him for his work in Married to Medicine, The Braxton Family Values, or Housewives of Atlanta. He is also a principal dancer in the HBO movie Bessie starring Queen Latifa; World’s Away Directed by James Cameron; and Bolden starring Gary Carr and Robert Ri’chard.  Most recently, went back to school to earn his PhD in Expressive Therapies at Lesley University, where he will continue to use the arts as a means of healing and understanding.

Angela M Grayson, PhD, LPC, NCC is the Proprietor and CEO of Good Fruit Expressive Arts Counseling & Psychotherapy LLC, a counseling and creative arts psychotherapy practice. Dr. Grayson is a long-term adjunct professor for graduate students at Drexel University in the Creative Arts Therapy and Counseling Department. In addition, she has served as an adjunct professor for undergraduate students in the Psychology department at Wilmington University. Dr. Grayson is a Transformational Healer, Speaker, Author, and Educator. She is passionate about the interconnection of culture and spirituality especially in relation to healing practices through dance and has taught nationally and internationally regarding multicultural aspects of sacred dance and dance/movement therapy. As a member of the ADTA, she served on the Board of Directors for six years as a charter member and inaugural Chair of the Multicultural and Diversity Committee, Past President of the Pennsylvania Chapter of the ADTA, current Vice President of the Black American and African Descendants Affinity Group and member of the Standards and Ethics Committee.

Charné Furcron, EdD, LPC, BC-DMT, NCC, ACS, NCC, BCC, MAC is Director of Education and Program Officer for Moving in the Spirit (MITS). She has been actively involved with MITS for over twenty-eight years and currently manages program evaluation to provide evidence that proves the impact of the program on the dancers’ self-concept, youth development goals, and dance technique. In addition to her role at MITS, she is an Adjunct Professor for Lesley University in the dance/movement therapy program. Within the ADTA, she serves as the Multicultural Diversity (MDC) Chair for the ADTA and Vice-President of the Southern Chapter of the ADTA. In her role as MDC Chair, her vision is to have all members embraced, represented and respected throughout the ADTA. Dr. Furcron has presented her work with dance/movement therapy and Positive Youth Development locally, regionally and nationally. Her TED Talk-style presentation on Dance: Positively Changing Lives of Urban Youth was featured by the ADTA. She has co-authored articles with Dr. Leon Rodgers on MITS’s program evaluation process for the American Journal of Dance Therapy and multicultural competence of school counselors for the International Journal for the Advancement of Counselling. She is highlighted in the Profiles of Dance/Movement Therapists on the ADTA website, and in “A Short Primer on Innovative Evaluation Reporting” book, and the International documentary of the Moving Child.

Ambria Cunningham, MA, R-DMT, LPC is from Huntsville, Alabama where her passion for the power of movement began. She received a Bachelor of Arts in Dance with a minor in Psychology from Western Kentucky University in 2012. With hopes of bridging the connection of the mind and the body. She went on to pursue a Master of Arts in Dance/Movement Therapy and Counseling from Antioch University New England where she graduated in 2015. Ambria works full time as a Licensed Professional Counselor (LPC) on a medium secure forensic psychiatric unit. Ambria also works at Moving in the Spirit where she serves as a teaching artist and dance/movement therapist where she utilizes movement as the driving force in tackling prominent issues within their age group and empowering students through the connection of the mind, body, and spirit.

Morning Intensives, 8:30 am – 11:30 am

Despite the alternative incorporation of the body and creative practice in therapy, dance/movement therapy continues to subscribe to the profitable and ableist compulsion to address individual “deficits” from a biomedical approach.This workshop will locate dance/movement therapy within the medical-industrial complex in order to discern how clinicians are complexly impacted by moral injury, while also holding the potential to perpetuate trauma from oppression. Learning from current models of transformative mental health practices practiced and disseminated by the Institute for Development of Human Arts (IDHA), participants will conceptualize anti-oppressive and accessible forms of dance/movement therapy through experiential integration.

(NBCC CE hours; ADTA CE hours; NY LCAT CPE hours)

Movement:up to 25%

Touch:No

Target Audience:Entry Level/Student  – Mid Level

Objectives:

  1. Participants will develop understanding of the medical-industrial complex and locate dance/movement therapy within the web of power/profit/oppression/trauma.
  2. Participants will learn about the history and vision of current models for transformative mental health practices.
  3. Participants will develop at least one action item to implement accessible and anti-oppressive dance/movement therapy in inpatient settings.

Lauren Milburn, R-DMT is a dance/movement therapist and healing arts activist. She completed her Dance/Movement Therapy and Counseling MA at Columbia College Chicago with a participatory research thesis project exploring embodied practices for social change. After finding work in a behavioral health hospital system, Lauren began to understand how dangerous inequities of the inpatient setting can and often do recapitulate trauma despite claims to be “trauma-informed.” Lauren experienced immediate burnout, which she prefers to name as moral injury, or the psychological damage done after working within a broken system and witnessing preventable events that transgressed her values and ethics. Lauren currently researches embodied social justice theory and practices and incorporates findings into the non-coercive dance/movement therapy groups she offers within behavioral health hospital settings.

Jazmine Russell, NYCPS is a holistic counselor, mental health educator, certified peer specialist and trauma survivor. She received her degree in Applied Psychology from New York University. After becoming disillusioned working in the mental health system as a crisis counselor, she started organizing with grassroots mental health initiatives and became a certified peer specialist, utilizing the open dialogue approach and working with those who experience extreme and altered states often labeled as‘ psychosis’. Jazmine has personal experience integrating extreme and altered states, deep spiritual awakening, and healing from trauma. Jazmine has been trained in holistic practices, herbalism, intuitive development, energy work, totality therapy, the realization process – embodiment, and other spiritual and somatic techniques since 2011, which she uses to help others navigate the healing process. In 2016, Jazmine co-founded the Institute for the Development of Human Arts (IDHA-NYC.org), a non-profit that merges professional and lived experience of mental health issues to advance transformative and rights-driven mental health education and community development. She is also on the board of directors of Samadhi Recovery Community Outreach center for mindfulness-based freedom from addiction. Jazmine currently consults with local mental health organizations, developing online education and training curriculum. You can find more about her work and upcoming events at jazminerussell.com

The Institute for the Development of Human Arts (IDHA) is a community of mental health workers, clinicians, psychiatrists, current and prior users of mental health services, advocates, artists, and survivors of trauma and adversity, who are interested in exploring the link between personal and societal transformation. At IDHA, we advance holistic, democratic, and transformative mental health practices. Our goal is to create opportunities for critical dialogue, mutual support, and advanced education and training for those in the field.  https://www.idha-nyc.org/

This workshop will invite participants to start making connections with the current code of ethics, and explore how it can inform their education, training, and clinical work. The workshop will address the complexity of ethical issues through examination of local and international case conceptualizations. Participants will be able to practice applying the code of ethics to the case conceptualizations and workshop potential approaches and subsequent outcomes. Participants will be able to practice using dance/movement therapy skills and techniques to aid in the ethical decision making process. Multicultural competency, and use of touch will be some of the key clinical areas that will be discussed.  This workshop aims to provide an opportunity for participants to discover how the code of ethics can adapt and support their journey in dance/movement therapy.(ADTA CE hours)

Movement:minimal or no movement

Touch:No

Target Audience:All Levels

Objectives:

  1. Participants will deepen their understanding of the ADTA code of ethics as it pertains to multicultural issues, and the use of touch.
  2. Participants will strengthen the use of dance/movement therapy skills in ethical decision making.
  3. Participants will practice working collaboratively to delineate potential approaches to ethical dilemmas outlined in case conceptualizations.

Joan Wittig MS, BC-DMT, LCAT, is the co-founder and former director of the graduate dance/movement therapy program at Pratt Institute in New York City, where she continues to serve as a full time faculty member. She developed and is the Program Director of the first dance/movement therapy training program in China, Inspirees International. She is the co-founder and director of the New York Center for the Study of Authentic Movement. She has contributed to several journals and books, including the first book on creative arts therapy published in Japanese. Joan is the subject of a film on dance/movement therapy, “Moving Stories – Portraits of Dance/Movement Therapy”. She received an Outstanding Service Award and an Exceptional Service Award from the American Dance Therapy Association. Joan is currently serving as the Chairperson of the ADTA Standards & Ethics Committee. She teaches and presents internationally, and has a private practice in New York City.

Rosey Puloka, LCPC, R-DMT, GLCMA, RYT is a dance/movement therapist, counselor, and restorative yoga teacher who specializes in working with trauma from a relational and embodied place. Rosey’s experience includes residential rehabilitation with adolescents, Cook County Jail in the Sheriff’s Women’s Justice Program, and community mental health with LGBTQIA+ and HIV impacted communities. Rosey is interested in decolonizing and queering trauma work through ritual, storytelling, and the arts. Rosey continues to teach locally and nationally on cultural humility and the politics of inclusion.

Akiko ”kiki” Nishida Yokokawa LPCC, BC-DMT, GL-CMA currently lives in the Bay Area in California. She recently returned to the States after living in Kyoto, Japan for 3 years. After graduating from Columbia College Chicago, kiki mainly worked with children and adolescents and provided supervision for students and professionals working towards licensing and credentialing. In Japan, kiki facilitated various dance/movement therapy workshops for students and professionals and taught dance/movement therapy coursework for undergraduate and graduate students at Nara Women’s University. She also found her passion in providing therapy for bilingual/ bicultural students studying in Japan while working at Ritsumeikan Uji High School and Doshisha University. Kiki has been active in the ADTA. She is the co-founder of Asian/Asian-American Affinity Group (AAAAG) and a member of the Standards and Ethics Committee. She is also the Co-Chair of the Global Membership Sub-Committee (GMSC). Kiki can be reached via email at kiki.nishida@gmail.com

Stefanie D. Belnavis, R-DMT, is a Jamaican-born Dancer, Choreographer, Disabilities Advocate, Dance Movement Therapist/Consultant, Early Childhood Mental Health Clinician and Founder of A Bucket For the Well, who specializes in minority and multicultural mental health advocacy for varying populations within the Caribbean Diaspora. An immigrant herself, Stefanie’s work is charged by seeking to create intersectional dialogue around diverse, inclusive and equitable trauma-informed, healing-focused mental health approaches, namely dance/movement psychotherapy, within marginalized communities that marry culturally empathetic and affirming mental health practices, creative arts therapy interventions, and, intergenerational studies.

Hang Yin Candy Lo, MA, BC-DMT, RDT,CCLS, is a Board-Certified Dance/Movement Therapist, a Registered Drama Therapist and a Certified Child Life Specialist. She is currently the President of Hong Kong Child Life Association and Hong Kong Dance Movement Therapy Association. Candy has been serving at the ADTA Standard and Ethics committee from 2017. Upon graduating from Antioch University New England, Candy moved back to Hong Kong and started her private practice; Piece of Sky-Creative Arts Therapy and Counseling. Candy started teaching at the University of Hong Kong’s Master in Expressive Arts Therapy program in 2014 and taught at the University’s Medical School’s Medical Humanities program (Performing Arts Module) for 3 years . Candy holds a BA(Hon) in Musical Theatre Dance and a Diploma in Drama, she worked at Hong Kong Disneyland as a singer prior to her therapy career. Candy lived in Hong Kong, Belgium, the UK and is recently relocated to the US.

 

Afternoon Intensives, 12:30 pm – 3:30 pm

An examination of Blackfeet Native American rituals and healing dances through the dance/movement therapy lens. These cultural dances will be presented through the dance/movement therapy lens as a way to encourage therapists to educate themselves and find cultural connections when working with Native Americans. The presentation hopes to provide embodied community and healing dances as a way to inform and educate participants to attain identity, understanding, and effectively cultivate culturally inclusive dynamics. Further, it will encourage therapists own native history, encourage utilization of their history, and ability to recognize the elements of dance/movement therapy that relate and provide theories behind how Blackfeet rituals are healing. Presenters will briefly cover the origins and history of Blackfeet Native American rituals and healing dances. Additionally, we will compare Blackfeet healing dances with dance/movement therapy principles and theories. A community piper holder, Dugan Coburn, and dance/movement therapists will further explore multiple Blackfeet rituals through a DMT lens.(NBCC CE hours; ADTA CE hours; NY LCAT CPE hours)

Movement: 26-50%

Touch:No

Target Audience:Mid Level

Objectives:

  1. A better understanding of Native American cultures.
  2. Learn the connection between dance/movement therapy and origin of traditional dances.
  3. Acknowledge ways to cultivate culturally inclusive dynamics.

Dugan Coburn, BS, in Medical Technology, State of Montana Educators License Endorsements 06Z BLA Blackfeet K-12.

Selena Coburn, R-DMT, LPC-I, Master of Arts in Clinical Mental Health Counseling specializing in Dance/Movement Therapy from Lesley University, Selena has a BFA in dance at SUNY Purchase College, NY.

Rachel Smart is a student at Lesley University studying for her Masters of Arts in Clinical Mental Health Counseling specializing in Dance/Movement Therapy (expected graduation May 2019), Rachel is currently working with her tribe in Port Gamble S’Klallam.

Have you ever found yourself being called “the music lady,”  “recreation person,” or the “exercise teacher,” when someone tried to describe you to another colleague at work? Have you found yourself in a perfect situation to educate someone who is curious about dance/movement therapy but find yourself stumbling for the right words to say? Important components of our profession sometimes become minimized by the general public when they hear the words, “dance therapy.” As professionals who are distinct from therapeutic dance, body psychotherapies, and other creative arts therapies, dance/movement therapists need to be articulate in describing our unique contributions as mental health professionals. Please join us for this workshop where you will learn how to confidently describe yourself and your work as a professional dance/movement therapist.(NBCC CE hours; ADTA CE hours; NY LCAT CPE hours)

Movement: 33%

Touch:No

Target Audience: All Levels

Objectives:

  1. Learn how to verbally introduce oneself in a professional manner.
  2. Generate an elevator pitch that is clear, concise and generates further interest from the listener.
  3. Create descriptions of dance/movement therapy that can be described to two different fields (science and the arts) and for different levels of understanding (children, adults, academia, news)

Jennifer Frank Tantia, PhD, BC-DMT, LCAT is a somatic psychologist and dance/movement therapist in private practice in Manhattan. In addition to practice, she has been a research advisor for dance/movement therapy and somatic psychology graduate students for the past nine years and has taught research at Pratt Institute, Lesley University and Adelphi University. Currently, she is a  board member and chairperson of the Research and Practice committee of the ADTA and is associate editor of Body, Movement and Dance in Psychotherapy journal. Dr. Tantia’s publication topics include: dance/movement therapy for treating trauma, embodied research methodologies, clinical intuition, and qualitative research. She is a co-editor with Helen Payne, Sabine Koch and Thomas Fuchs, for the forthcoming publication, “Embodied Perspectives in Psychotherapy,” and chief editor of the two-volume textbook, “Embodied Research Methods” to be published by Routledge in 2020.

 

This presentation will introduce the field of dance/movement therapy to students, those interested in learning about dance/movement therapy, allied mental health professionals, and individuals new to ADTA conferences. Participants will explore the pioneering work of Marian Chace, basic Effort/Shape concepts, and dance/movement therapy methods which provide the material for therapeutic interventions and personal growth. By engaging in individual and interactive movement activities, participants will learn how dance/movement therapists utilize the body/mind connection in the therapeutic process, how group movement activities can achieve specific therapeutic goals, and how dance/movement therapy can enhance or awaken one’s own kinesthetic experiences. In addition to the ½ day intensive, the group will meet informally throughout the conference for ongoing support.(NBCC CE hours; ADTA CE hours; NY LCAT CPE hours)

Movement: 51-75%

Touch:Yes

Target Audience: Entry Level/Student

Objectives:

  1. To introduce participants to the field of dance/movement therapy
  2. Participants will explore the pioneering work of Marian Chace
  3. Participants will learn how dance/movement therapists utilize the body/mind connection

Dawn Lyon, MA, BC-DMT has over thirty years of clinical experience working with adults in in-patient psychiatric, day treatment, and residential facilities. She has worked with children, adolescents, and seniors in in-patient and community settings. Dawn is a former faculty member of CMER, the Center for Movement Education and Research, where she taught and supervised alternate route dance/movement therapy students in both California and South Korea. She has been an on-site supervisor for DMT graduate students; Dawn also developed the dance/movement therapy internship program at Metropolitan State Hospital. In addition to her clinical work, she has taught creative movement with toddlers, preschoolers and elementary school age children. Dawn recently completed her term serving on the Sub-Committee for the Approval of Alternate Route Courses. She is currently practicing dance/movement therapy in a community hospital, as well as on Skid Row in Los Angeles and offers supervision for dance/movement therapy students and R-DMTs.