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Music & Movement . Anide, Mijin, & Dayna. History. History: tribal communities, humanistic psychology movement of the 50s & 60s Events: critical of mainstream reliance on verbal communication & rational thought Contributors: modern dancers, embodies female consciousness

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Music movement

Music & Movement

Anide, Mijin, & Dayna


History
History

  • History: tribal communities, humanistic psychology movement of the 50s & 60s

  • Events: critical of mainstream reliance on verbal communication & rational thought

  • Contributors: modern dancers, embodies female consciousness

    • Music therapy: work form all theoretical orientations, music used as therapy or in therapy, supportive vs. insight

  • Wiener, D. (Ed.). (1999). Beyond talk therapy: Using movement and expressive techniques in clinical practice. Washington, DC: American Psychological Association.


Terms definitions
Terms & Definitions

  • DMT: Dance/Movement Therapy – “the psychotherapeutic use of movement as a process which furthers the emotional and physical integration of the individual” (soma+psyche)

  • ADTA: American Dance Therapy Association – in 1966 led to the professionalization of the field

  • Music Therapy is the use of music in the accomplishment of therapeutic aims: the restoration, maintenance and improvement of mental and physical health (National Association for Music Therapy).

  • Wiener, D. (Ed.). (1999). Beyond talk therapy: Using movement and expressive techniques in clinical practice. Washington, DC: American Psychological Association.


Advantages
Advantages

  • Non-verbal (mute or autistic)

  • To increase expression of feelings

  • To decrease isolation

  • Increased body awareness, individual expression, spontaneous, creative, intra & interpersonal, inner music starts to play

  • Unexpected insights, repressed emotions expressed

  • Social & ritual interaction in group


Limitations
Limitations

  • an individual may not be drawn to music/movement

  • atypical vehicle of expression


General guidelines ideas to consider
General Guidelines (Ideas to Consider)

  • Appropriateness of activity

  • Role of the leader as it pertains to activity

  • Communicating immediate observations

  • Amount of structure in the activity


Specific guidelines special tasks or actions
Specific Guidelines (Special tasks or actions)

  • All individual & group responses are valid

  • Develop a sense of what the group needs

  • Be flexible

  • Consider participants condition


Activity
Activity

  • Convex/Concave

  • Maypole

  • Feeling Mirror


Convex concave
Convex/Concave

  • Objective: to use the interchange between convex & concave body shapes to amplify the interchange between emotions, instincts & sounds which mirror each other

  • Materials: willingness, imagination, movement, sound, & courage

  • Leads: facilitate client’s movements, behaviors, and emotions

  • Newham, P. (1999). Using voice and movement in therapy: The practical application of Voice Movement Therapy. Philadelphia: Athenaeum Press.


Convex concave cont
Convex/Concave (cont.)

  • Steps:

  • Stand comfortably with arms hanging loose, breath evenly through mouth, and imagine standing in the center of a sphere encapsulating your body.

  • Experience the space – backward, forward, side to side, and up and down. Explore the sphere and find a rhythm/dance. Notice how as one surface of the body stretches to become convex, its opposite becomes concave. Continue to focus on breathing.

  • Now notice the interchange between mirrored emotions as the body moves from convex to concave. Seek to locate opposite feelings and attitudes (defensive/open, giving/receiving, extroverted/introverted). If comfortable, when locating these intense feelings add sound. Exaggerate and amplify these sounds and observe the tone changes as the body moves.


Maypole
Maypole

  • Objective : to provide less verbal members with an activity in which they may participate more fully and to promote socialization via group interaction and cooperation

  • Materials : A maypole and colorful strings, sounds, a large open area

  • Leads : counselor explain maypole and introduce possible movements. the group may decide on some for what is to be done with maypole before dance and one group member leads directions

  • Schulberg, Cecilia H.(1981)The Music Therapy Sourcebook:A Collection of Activities Categorized and Analyzed : Human Science Press, Inc.


Maypole cont
Maypole (cont.)

  • Steps

  • Each person take hold of an end of a string and spread out into a circle, with maypole as its center.

  • Follow the directions of the leader, members walk, hop, skip, and run around in a circle to the left, right, forwards, backwards, turning at different speeds, with an outer circle goes in the other, do dance in time to music.

  • Switching hands in the air, walk-squat sequence, or imitating animals walking can be used in advanced.

  • All movements patterns can be worked out with varicolored strings.


Feeling mirror
Feeling Mirror

  • Objective :

  • Provide a stimulus for feeling to be express and different ways to explore feelings

  • Provide a vehicle for interpersonal contact and processing

  • Encourages self-expression and feedback concerning certain area

  • Leads :

  • See whether members felt the same reaction from the move

  • Discuss how the observers perceive the move. What emotions did they feel were being express


Feeling mirror cont
Feeling Mirror (cont.)

  • Steps :

  • Discuss feelings and different ways in which feelings can be express

  • Have members form two lines facing each other (make sure everyone has a partner)

  • Have one member create a movement and/or facial expression that expresses a feeling as he/she move towards the other member.


Feeling mirrors cont
Feeling Mirrors (cont.)

  • Have the other member opposite that member mirror the feeling as performed while also moving towards the other member

  • After members have each arrived at to the opposite end mirroring the feeling, discuss from each members point of view what the move was like

  • Repeat the same procedure for everyone

    * Plach, T. (1980). The Creative Used of Music in Group Therapy. Springfield, Illinois: Charles C. Thomas


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