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Viernes, 21 Diciembre 2018 - Miércoles, Enero 6 2021

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Seminar 1: Attunement in Expressive Arts Therapy: Towards an Understanding of Embodied Empathy

Mitchell Kossak

This webinar will address how the arts in practice and in therapeutic contexts offer expanded ways of being attuned to emotional states and life conditions with individuals, groups, and communities. Many people are out of tune with themselves and those around them, and out of tune with their environment. This disharmony can lead to feelings of isolation, alienation, anxiety and depression. Attunement has been described as a feeling of being at one with another being, the environment and a greater universal presence. Attunement is also defined as a felt embodied experience that can be individual as well as communal. Artists who ‘play’ or create together understand this kind of shared communal connection and often talk about this kind of experience as being in a state of flow, transcendent, sacred or spiritual.
In the webinar we will look at the basic underlying principles of therapeutic attunement including concepts of resonance, rhythm, improvisation, misattunement, embodied empathy, attachment, interpersonal neurobiology, entrainment, and intimacy. Participants will be introduced to a multi-arts approach that can lead to a felt embodied sense of attunement with others, and with the communities we live and work in.

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21:00

Seminar 2: The history of dance therapy in US

Elissa Queyquep White

Dance Therapy, now known as dance/movement therapy (dmt), in the United States (U.S.) began in the early 1940’s. One of the recognized pioneers, Marian Chace, was asked to conduct dance classes at St. Elizabeth’s Hospital in Washington, D.C. Men who served in the armed forces during World War II were returning in great numbers with “shell shock” (now trauma) and needed to be treated in all kinds of group modalities. In other parts of the country, modern dancers whose foci were on psychosocial themes in their dances were acquainting themselves with the increasing popularity of various psychology theories. It took some years for these pioneers to educate others in their methods and it was not until the formation of the American Dance Therapy Association (ADTA). In 1966 that dmt became recognized as a discrete profession. In l971, the first graduate program to offer a comprehensive, sequentially organized curriculum was offered in New York City. It is important to understand that various dmt methods were developed in relation to the populations with which the pioneers worked even though all used the basic elements of dance.

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Seminar 3: Music therapy in global perspectives

Annie Heiderscheit

Music has been an integral component of health and healing practices in cultures all around the world for centuries. These historical accounts are the precursors to the development of music therapy as a profession in regions throughout the world. This webinar explores the development of music therapy in countries around the world and provides an update of music therapy trends from a global perspective. This includes information related to music therapy training, clinical practice, global demographics of music therapists, advocacy efforts, and information regarding development of sustainability of the profession. Important issues and concerns impacting music therapists around the world will be discussed including employment, funding, public awareness, licensure, networking and mentoring, and access to academic training. Resources available to music therapists around the world will be shared, as well as ways to engage with international colleagues. Case illustrations will be shared relating to how international organizations, academic training programs and colleagues are working to support the development of music therapy globally. The growth of music therapy as a profession is impacted by how it is developing globally and not simply nationally. Discover how developing a global perspective of music therapy can help to advance the profession in your own respective part of the world.

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Seminar 4: Out of our Mind: Art Therapy and mindfulness, resilience, adversity and refugees

Debra Kalmanowitz

This webinar presentation will look at the combination of art therapy and mindfulness meditation in work with refugees. The integration of the two (art therapy and mindfulness) will be explored in relation to the challenges of the refugee experience, political violence, resilience, trauma, suffering and wellbeing. Consideration will be given to how these approaches can be combined to help individuals build strategies for safety, support resilience, and work with multiple levels of loss, after extreme and traumatic experiences. Case examples from work and research with refugees in an art therapy and mindfulness studio (named Inhabited studio) in Hong Kong will be drawn upon and the significance of different aspects of the combination of the two in this context will be discussed.

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Seminar 5: Evidence-based research in dance therapy

Iris Bräuninger

This webinar invites participants to dwell into the exciting world of research. In the first part, we will explore questions such as “What is research?”, “How do I progress from an idea to a research question?”, “What makes a question a research question?” We will discover dance therapy research examples thereby applying the lenses of evidence-based Medicine and their Levels of Evidence: systematic reviews, randomized controlled trials, outcome studies without randomization (control studies, intervention studies without controls), qualitative studies, expert opinions. We will learn about examples of dance movement therapy research for each of these study types. We will briefly touch on other research methods used in dance therapy such as artistic inquiries. But above all, we will learn about the most recent dance therapy studies that have been conducted in various fields such as health science (including mental health, somatic medicine, oncology), education, special needs, well-being, and others.
In the second part of the webinar we will explore what is meant with qualitative research methods, quantitative research methods and mixed methods designs with regard to dance therapy research. Finally, the possibilities and limitations of these options and of online research in the field of dance therapy will be highlighted.

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Semianr 6: Art and Brain - A neuroscientist’s perspective

Dick Swaab

We are human because of our typically human brains that make culture and self-reflection possible. Our immense creativity manifests itself in an unending flow of new technological and scientific developments, and in art and music. Our large, creative brains with their extra cells and connections enable us to adapt faster than other species to a changing environment.
The history of the visual arts goes back some 30,000 years when the human brain weighed about 1500 grams. In order to experience the feelings and emotions that art can arouse we use the same brain systems as we do to function in our daily lives. Artists make unconscious use of neurobiological principles. Art can be used in the treatment of mental illness, while mental illness can exercise a profound effect on the work of the artist. Music can influence the structure and function of the brain and thus the way we function at all stages of life. It exerts its influence on many areas of the brain and on chemical messengers, and consequently on our emotions. As a result, it can alleviate pain and have a therapeutic effect in the treatment of brain disorders. Dance too can have a beneficial effect, for example in the case of Parkinson’s disease.

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Seminar 7 : Dance for the health - A EU social-economic module for health management

Andrew Greenwood

Sedentary lifestyles have deleterious consequences for mental health, increasing depression and anxiety, and in the longer term increase the risk for serious NCDs. The mental health of young people is a growing concern and especially young women in highly competitive study and work environments are suffering from high levels of psychological distress (Pl).
Dance has an essential role to play in positive health. Backed by evidence-based research, Andrew Greenwood promotes adapted dance interventions and the training of dancers to deliver effective, creative approaches that enhance health and mental wellbeing. Such interventions are primed to provide a much needed ‘buffer’ for our healthcare systems as they support positive health, preventing against deterioration to more serious mental health complications and the need for specialist treatment.
The aim for this seminar is to offer more public participation and create unity in community. To encourage more Physical, Mental and Social interventions within the realms of the creative arts.

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Seminar 8 :Application of Music therapy in China

Xijing Chen

This webinar will broadly introduce the development of music therapy as a discipline and profession in China. It will present an overview of music therapy practice in mainland China, and then briefly introduce several ongoing music therapy projects in the filed of psychiatry, drug use disorder, and autism.

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Seminar 9 :Drama education and therapy: interface

Clive Holmwood

This seminar will consider the development of dramatherapy alongside the history and development of drama education in the UK. The two areas are I feel intrinsically linked through such luminaries as Peter Slade who coined the phrase ‘dramatherapy’ – one word, first used in the 1958. I will then chart its development through key practitioners such as Sue Jennings and her creative expressive, theatre model approach and Marian Lindkvist’s Sesame approach developed during the 1960’s, through to the influence of modern practitioners. We will also briefly consider the current and future state of the profession from a UK perspective and consider key international developments and connections.

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Seminar 10 : Outsider arts in China and Europe

Haiping Guo

Hans Looijen

Chinese and European Outsider Art has striking similarities. Themes such as passion, religion and power, but also the body, nature, dream and nightmares are vastly represented in in their art. Chinese artist Yang Min and that of Dutch artist JannemiekTukker are an perfect example of these striking resemblances. Both artists depict an extraordinary spiritual world. Their ‘moving’, meticulously drawn parallel lines summon forth an abstract reality. Their imaginary worlds dominate the entire surface of their papers.
Hans Looijen was stricken by the likenesses: ‘I discovered many similarities with Western Outsider Art. Monsters, menacing figures, but also effervescent numbers and scrawled patterns. The joint Chinese-Dutch exhibition in the Outsider Art Museum provided us with the chance to delve deeper into these intriguing works. All around the world, Outsider artists are following their inner voice: freed from the path well trodden, the artists transport you into their vivid inner worlds’.
Guo and Hans will share in this seminar about his understanding of healing by nature’s power in creating Outsider art. Nowadays, when people have mental problems, they usually ask help from different kinds of people who majors in different works, which means they ask for some certain professional knowledge and skills. The method of Outsider art curing mental problems are providing an undisturbed creating environment, where patients can choose and decide by themselves. Patients can do their best when creating arts to cure and help themselves. This is what we talked about ‘healing by nature’, which is what is claimed as ‘doing nothing is doing everything’ by Chinese philosopher, Laozi.

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Seminar 11 : BodyMind Approach for medically unexplained symptoms

Helen Payne

This webinar introduces an innovative, new intervention derived from dance movement psychotherapy and the arts called The BodyMind Approach specifically designed for supporting people with medically unexplained symptoms (MUS) to learn to self-manage. MUS are very common worldwide, affecting women, young people and non-native speakers mainly. Symptoms are persistent and do not fit into any known diagnosis. There are few treatments available. Symptoms include fibromyalgia, IBS, chronic fatigue, shortness of breath, chest pain, abdominal pain, dizziness, numbness, swelling, insomnia, backache, headache etc. in this webinar we will explore a definition, the scale of the problem, the costs and the patient profile. TBMA works with lived body - a perspective informed by experience, non-linear and unpredictable, in this approach the individual’s experience of the physical symptom acts as gateway to the mind or “Playing with the symptom so it does not play on you” as one participant said. TBMA promotes wellbeing, self-regulation and resilience leading towards ‘recovery’ – always in recovery. Sensation, perception, emotion, cognition are all integrated through the various experiments and practices. The patient mind-set is reflected in the design of The BodyMind Approach as a group intervention to promote learning for the self-management of symptoms. Reliable change clinical outcomes are also presented.

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Seminar 12 : Multi modal dance therapy

Fran J. Levy

While we search for ways to express ourselves and to be as genuine as we can, there are often aspects of our lives that are ambiguous, conflicting and seemingly out of our control. We may experience parts of ourselves that are at odds with other parts, creating frustration, anger and feelings of depersonalization.
The expressive arts can open pathways to a deeper understanding and acceptance of one’s self. This Webinar will illustrate the combined use of art, dance, writing, drama, imagery and verbalization for self revelation.

Each art medium is used for its unique expressive properties. In combination, the arts are a powerful tool that must be used intelligently and with a broad understanding of personality.
Case material and exercises will be presented to help illustrate the work.

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Seminar 13 : Neuro-Dramatic-Play: The Joyous Development

Sue Jennings

Neuro-Dramatic-Play creates the core of playful attachment with babies and infants. Research shows (Jennings 2011) that mothers often become playful with their unborn child, and continue the process after birth. This underpins the development of attachment, empathy and later resilience. Dramatic play which includes sensory play, messy play, rhythmic play and interactive play makes an impact on brain building Cozolino (2013) as well as body growth. The presentation charts the development of the social brain in relation to play and attachment.

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Seminar 14 : Poetry therapy: the experiences of US and the tradition of China

Yongwen Peng

Since the birth of poetry, people have used it to express their sincere and strong feelings so as to maintain their psychological balance and health. Chinese poetry boasts a history of three thousand years and Chinese people have mainly express their will or release their suppressed emotions by writing, reciting or even chanting poetry in order to obtain self-therapy. The "poetry therapy" in the modern sense began in the United States. American poetry therapists and researchers have accumulated lots of experiences and put forward some important principles such as ritual, safety, mastery, freedom, creativity, containment, witness, connection.
I will refer to their experience and combine my own practice to analyze the key factors in the healing tradition of Chinese poetry and explore the poetry therapy with Chinese characteristics. It has integrated Tai Chi's body and breathing exercises to promote the movement of internal energy, the voice training which helps the release of the natural voice and suppressed emotion. All of these will help the clients step into the spiritual world of poetry, inspiring their will of life and enhancing their meaning of life, so as to obtain the effect of healing.

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Seminar 15 : Music therapy development in South Korea

Min-Jeong Bae

Music has been an intimate part of Korean society and culture through rituals, social gatherings, and healing. Since the implementation of the first academic curriculum in the 1997, music therapy as a professional healthcare field has blossomed into a resourceful and versatile tool to help people manage their symptoms and maximize their potentials in physical, social, psychological, and emotional aspects of health. In addition to many of the first generation in the field who were initially trained in the United States who now work as faculty at universities and clinicians in the clinical facilities throughout Korea, there is growing number among Korean music therapists who identify the cultural sensitivities and the needs unique to Korean clients. Researchers and clinicians in the Korean music therapy field continue to search for effective music therapy approaches and techniques that can meet the cultural aspects within the clinical needs of clients with various clinical conditions and settings through rigorous research including interdisciplinary works, and evidence-based clinical work by professionally trained clinicians.

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Seminar 16 : Narradrama: Optimizing Action Methods and Creative Arts

Pam Dunne

This dynamic workshop explores the narradrama process, which integrates narrative therapy, drama and the creative arts. Narrative therapy began with Michael White in Australia and David Epston in New Zealand in the 70’s and 80’s and the first Narradrama Conference was held in 2008 in Avigliana, Italy. Both narrative and narradrama have spread worldwide. This webinar explores the development of narradrama in countries around the world and provides an update of narradrama fundamentals from a global perspective. Narradrama represents the paradigm shift, in clinical and therapeutic settings, to move away from a focus on what is wrong with people to what is strong in them. Stories, which form the basis of narradrama, throughout history, have transformed lives. Through action-oriented, discovery, webinar attendees will be introduced to new ways of viewing embodied identity supported by positive emotions and agency (Fredrickson, 2009 and Siegel, 2011). Webinar attendees will learn the steps to facilitate therapeutic games as metaphor, which invite the client to become an agent of change. Then, primary to narrative and narradrama processes is the concept of externalization, which separates a person from a problem. Webinar attendees will learn specific ways to achieve this separation through the use of scaffolding questions, objects and art. Then they will study the strategy of doubly listening to improve their clinical skills of helping a client to bring forth alternative stories ranging from unique outcomes, to healing stories to self-identity change stories in which the client will expand and play different roles-- from director, to client to audience member. This leads into a culminating process of restorying which will be cover in steps, which determines the new meaning ascribed to experience. By the end of the Webinar, students will walk away with an understanding of some of the basic principles of narradrama, the global perspective, and the skills to begin to facilitate narradrama in clinical and educational practice.

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Seminar 17 : Birth Shock: Using the arts to Explore the Transition to Motherhood and Exploring Iatrogenic Illness
Births can be traumatizing for all involved. Obstetricians and midwives are subject to very different stresses to the women they serve. Yet all those witnessing the birth (and death) of babies may also be traumatized - both professionals and birth-partners.

Furthermore, hospital protocols, coupled with the unpredictability of birthing itself, can override what women want and expect in terms of a birth experience, leaving some women frankly in shock, which then can have a knock-on effect on infant development. The arts are used to interrogate this complex topic.

In The Birth Project, led by Professor Susan Hogan, obstetricians, midwives, doulas, birth-partners and new mothers are given the opportunity to explore their experiences of compassion fatigue, stress, birth suffering and post-natal readjustments using the arts: photo-therapy, photo-diaries and art elicitation in groups, which then join together in ‘mutual recovery’ events in which perspectives are shared, primarily through elucidation of the art works produced.

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Seminar 18 : Dance Movement Therapy and Music Therapy: a marriage of empathy in the special school setting

Sara Owen

Sara is delighted to be given the opportunity to share examples of her collaborative work with Music Therapists at an academy of schools for children with additional needs. Sara has written about her work, which will be published in 2017 as a chapter contribution for the book: “Dance Movement Therapy; Theory Research and Practice” commissioned by Routledge and to be edited by Professor Helen Payne. Sara’s presentation will share this work from a theoretical perspective as well as through clinical case examples. The main focus will be to reflect on how the art forms of music and dance movement combined in therapy can provide a vehicle for forming strong therapeutic alliances with a client group, which is often highly anxious and hard to reach, highlighting the advantages of cross arts collaboration in the Creative Arts Therapies, contributing to an area of research, which is currently little explored.

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Seminar 19 : Drama education and therapy in Taiwan

Hsiao-hua Chang

Late of 20th century, university world raise to establish and research in drama applications. Compare with traditional drama education, the main diversity to the drama application is the scope of object. Drama is not only necessarily localized in playwriting and theatre production, but also could broadly applied in education, social service and psychotherapy. Therefore, while we refer Drama Application, it means that drama applied in education, society and therapy.
In this seminar, the presenter is trying to applying the documents research methods and personal teaching experience to explore and induce the connotation of drama applications in this field in Taiwan, and hope that more learner and researchers would apply drama to benefit more people.

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Seminar 20 : The Creative Arts Therapies in New Zealand and Australia

Amanda Levey

The profession of arts therapy has emerged relatively recently in Australia and New Zealand. The early professional association was comprised of visual art therapists who had trained overseas, mostly in the UK and the USA, and represented diverse theoretical approaches. The first masters level arts therapy training courses in Australia began in the early 1990s. In 2005, graduates of the only master’s level training program in New Zealand were accepted as professional members, and the name of the organization became The Australian and New Zealand Arts Therapy Association (ANZATA). Maori (indigenous) models of health have influenced relatedness between all the arts modalities (visual art, dance/movement, and drama) within the arts therapy program in New Zealand. This in turn has influenced the development of ANZATA, both in terms of cultural sensitivity and in the integration of other arts therapy modalities, to become a more inclusive arts therapy association. In more recent years increasing numbers of members have joined from Singapore, Hong Kong and other Asian countries. In July 2018 the association changed its name to ANZACATA (Australian New Zealand and Asian Creative Arts Therapy Association) indicating an even greater degree of diversity and inclusivity of cultures and creative modalities.

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Seminar 21 : Physical Conversations between the East and West: An Arts Based Inquiry into the Cross Cultural Emotional Climate

Steve Harvey

Our contemporary world is developing a complex emotional climate. Current news accounts point to several issues that contribute to this emergence including: controversies about climate change, political conflict, negative effects from internet communication, and unease in the relationship among countries. In this project, a group of dancers from China and USA joined together to use physical storytelling, art making, and creative writing as an arts based inquiry to investigate personal experiences and what commonalities we in the East and West may share in this present social context. The central question we wanted to address was “what does it feel like to live in the world today?” As we are from different cultures and do not share a common primary language the question emerged concerning how we could communicate about these private experiences together. During this webinar we will introduce physical storytelling and show video and the art and writing we generated to illustrate what we discovered. Importantly we found that improvisational dance offered us a common language to create shared physical conversations to explore our common human experience. We will discuss how this experience can be applied to cross cultural situations, in therapy and education.

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Seminar 22 : Drama therapy core processes and the nature of change

Phil Jones

How can we account for change in drama therapy? How do we theories and communicate its effects? Since the modern emergence of drama as therapy, these questions have been a natural part of its presence and of the reactions of those who have come into contact with it. One response has been the proposal that dramatherapy can be effectively understood as a series of connected core processes which interact to create opportunities for change. The most cited text on dramatherapy (Jones 1996, 2007, citation index Google Scholar) has, at its heart, this concept of interconnected processes. A review of research literature shows that the text ‘Drama As Therapy’ (1996, 2007) has received over six hundred and fifty citations in publications. Many of these relate to the ways researchers in different fields have drawn on, and adapted, the core processes. Langley (2007) analyses them as a framework that foregrounds process over method in understanding the nature of therapeutic change, and sees the ‘core processes… as (a) guide for dramatherapy’ (2006, p. 22).These core processes are defined as: ‘dramatic projection’, ‘playing’, ‘role’, ‘empathy and distancing’, ‘embodiment; ‘active witnessing’, ‘the life-drama connection’, ‘transformation’ and the ‘triangular relationship’ (Jones 1996; Jones 2005). This webinar will look at some of the core processes and the ways practitioner researchers have made use of them in their work.

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Seminar 23 : Dance for Parkinson

David Leventhal

Dance for PD® offers internationally-acclaimed dance classes for people with Parkinson’s disease in Brooklyn, New York and, through a network of partners and associates, in more than 250 other communities in 25 countries. In Dance for PD® classes, participants are empowered to explore movement and music using the creative, cognitive and technical strategies that professional dancers utilize throughout their training and careers. Launched as collaboration between the Mark Morris Dance Group and the Brooklyn Parkinson Group, the Dance for PD® program also provides teacher training, creates innovative instructional media, and nurtures relationships among other organizations so that classes based on this acclaimed model are widely available. Thirty-eight published studies point to the wide range of benefits that dance provides to people living with Parkinson's (PD). This webinar, led by David Leventhal, Dance for PD's program director and founding teacher, will outline the program's methodology and underlying principles while underscoring the unique benefits of focused dance activity--in comparison to other physical modalities--for those living with chronic neurological conditions. After exploring Dance for PD's acclaimed collaborative model that integrates dance organizations, healthcare institutions and community groups, the webinar will wrap up with a report from the front lines of research that's investigating the benefits of dance for people with Parkinson's and a look to the future of neurologically-focused creative programming.

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Seminar 24 : Laban movement analysis and neuroscience

Karen K. Bradley

Neuroscientists have discovered that the body and mind are not engaged in separate processes, nor does the mind control the body. Laban Movement Analysts have understood the ways on which function and expression are intertwined and serve each other. Recent experiments using Laban Movement Analysis to correlate with brain-based patterns will be discussed, and a case made for further such experiments.

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Seminar 25 : Dance Therapy in Chinese Culture – Eastern and Western Bodies

Joan Wittig

Cultural influences on the body are many, and impact every aspect of life. These cultural influences effect how dance/movement therapists approach using movement and the body as essential elements in therapy. In addition, cultural attitudes toward the body can have an important influence on ethical practice of DMT as well. Definition of ethical practice will differ from culture to culture. In this webinar we will explore how culture and diversity affect therapeutic theory and ethical practice. How can we use dance therapy, a Western concept, in a way that is relevant and ethical in China, a country of vast cultural identities? Participants will be invited to examine and identify their own worldviews and personal identities across a range of cultural influences, as a way to consider ethical clinical practice through a multicultural lens.

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Semianr 26 : Photography and Drama therapy
In this intimate portrait, Robert Landy reflects on his life and work as an international pioneer of Drama therapy. Robert speaks of his education in theatre and English Literature and a diverse range of personal and professional experiences, which influenced his unique contributions to the profession of Drama therapy.

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Semianr 27 : Development of art therapy with Chinese perspectives

Shiming Miao

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Semianr 28 : Dance Movement Psychotherapy perspective from South Americans

Diana Fischman

To describe the state of DMT field in Argentina and other South American countries, instead of telling you about our expansion all over the continent, which is being done quiet similarly to many other regions of the world, I prefer to share our DMT weltanschauung (German word for cosmovision).
Adding to the ADTA definition we say that DMT focuses on “movement sensing and the sense of movement”. By this play on words we mean that we point out sensory motricity and sense making. Relational, Embodied and Enactive perspectives will be presented as a frame to understand our DMT definition and point of view. Autopoiesis, Enaction and Emodied mind are concepts developed and deeply explored by the Chilean neurobiologists Francisco Varela and Humberto Maturana. Their view, together with the Relational Psychoanalytic perspective, which underlines the implicit knowledge, will help us to understand a vision in which cognitive postracionalist and psychoanalytical perspective come together to give theoretical support to our practice. Lakoff´s and Johnson´s ideas about the embodied origin of verbal language and metaphor as emerging from body movement experience will contribute to understand how we came to kinesthetic empathy, achieving the possibility of human understanding, which is the first and last one of the goals psychotherapy pursues to develop well-being.

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Seminar 29 : Working as male therapist in dance movement therapy

Vincenzo Puxeddu

Gender identity is an essential element in the more general and complex dimension of one’s own self. In his formative process, the dance/movement therapist needs to define and redefine his own identity in encounters and exchanges with others. The therapeutic relationship affords a special opportunity, in which, as Bolognini (2006) underscores, the empathic process of understanding each other’s affective states by “merging” with the other, also requires the ability to differentiate oneself from the other, to separate oneself from the other, while maintaining the ability to think critically.
The presence of a male therapist allows male and female clients to activate transferential processes linked to the paternal figure or other significant authority figures. The dance/movement therapist thus has the opportunity to work with such transference for his patients’ benefit. With male clients, a male therapist may facilitate the process of identification with a male figure that is “good enough.” We know that, during infancy and adolescence, it is imperative for boys to be able to rely on an adult male figure so as to learn how to accept their own complex inner selves and develop a stable identity.
The creative process inherent in DMT fosters integration of less known or unrecognized parts of one’s own self by experiencing the feminine and masculine polarities, and thus increasing the ability to be, on one hand, more receptive and reflective and, on the other, to affect the ways in which we act and make choices.

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Semianr 30 : Dance & Drama Composition in China
Drama composition, as a kind of function, tool, method, or a kind of identity, career, has gradually been introduced into the creation practice of the contemporary dance theatre, and established, consciously or unconsciously, a close connection with the present art world. In recent years, through close cooperation with drama composers or taking basic principles of drama composition as the mode of creation, more and more pioneer dance practitioners have engaged in dance creation, or composition of dance works. These representative performing groups include not only Wen Hui, Tian Gebing and Jiang Fan who are clearly cooperating with the drama composers, but also producer directors, such as Xiao Ke, Zi Han, Huang Lei, Li Ning et al, who are engaging in theatre exploration. Though they did not mark clearly their participation in the drama composition, yet have actually already completed that part of the content - the role played by drama composition in the theatre. Therefore, the spread and penetration of drama composition in the Chinese experimental drama and dance theater creation has become the basis for us to clear up the concept, content, and characteristics of dance & drama composition, as well as its localization process in China, thereby providing a practical basis for us to further explore the development status of dance & drama composition in the dance theatre of China and its role played in the choreography process.
In the lecture, with the frontier dynamics of China's latest dance theatre as support for practice, capture the working mode of dance & drama composition, a frontier emerging phenomenon or artistic creation, and define its concept on the one hand; and on the other hand, through research and interview to the pioneer experimental groups and art performance troupes, collect the first-hand dance & drama composition materials, and try to make clear dance & drama composition “localization”. The most important of all, is to peel off the concepts of drama composition, dance & drama composition, and China’s dance & drama composition layer by layer, define and, on the basis of academic carding and literature review of the above concepts, focus on its related "dance theater" concept, define its related Chinese dance theatre, and summarize its characteristics.

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Seminar 31 : Arts therapy in Russia

Irina V. Biryukova

The webinar gives a survey of development of arts therapy in Russia including major arts therapy associations and programs that exist nowadays. Leading arts therapy schools that represent different accents in arts therapy theory and practice will be discussed.
As an example of integration of Russian and Western experience in this field, a school of multimodal creative arts therapy and the concept of helping relationship, of play and modes of imagination, of expressive body will be discussed to illustrate the theory development in arts therapy field.
Special attention will be given to applications of arts therapy in different context with different populations in Russia: with adults and children, with families, groups and communities; in psychiatry, in oncology, with children with special needs, etc.
Several vignettes from clinical practice will be presented to illustrate the applications of arts therapy.

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Seminar 32 : Application of music therapy in well-being of children in healthcare

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Seminar 33 : Assessing outcomes of dance movement therapy

Kim Dunphy

Responsible health practitioners are increasingly expected to undertake evidence-based practice. This includes the need for effective assessment of change that occurs in the therapeutic process. Dance movement therapists are often challenged to consider how to measure outcomes of their work. Dance movement therapy training and practice often focusses on processes rather than outcomes for the client. As yet, few tools exist to support assessment and evaluation in DMT.
This workshop assists participants to develop skills in thinking about outcomes for their clients, utilizing theory, research evidence and practice knowledge. It introduces a Framework for Dance Movement Assessment developed by the author that supports therapists to think holistically about outcomes of their practice. This conceptual tool is supported by an iPad app, MARA (Movement Assessment and Reporting App), also created by the presenter to utilize technology to address these issues. The app is introduced and its features, including photo and video recording, voice recording, drawing, as well as quantitative assessment and note taking are shared.

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Seminar 34 : Symmetry movie – When art meets science

Ruben van Leer

Reflecting the growing interwoven nature of scientific and artistic inquiry, SYMMETRY (0’28) is a cross-disciplinary film illustrating through opera, dance and science a modern and interrelated journey into the unknown. Filmed on location in Switzerland at CERN, the largest particle physics laboratory in the world – the film follows a modern physicist (choreographer Lukas Timulak) as he grapples with the theory of everything and seeks to unlock the very building blocks of existence. Discovery unfolds as a dance between imagination and reason, and captivated by the music (soprano Claron McFadden) Lukas’ reality begins to blur. Director Ruben van Leer skillfully utilizes a unique interplay of choreography and sound to transform the backdrop of the Hadron Collider to that of Lukas’ inner world.

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Seminar 35 : Arts education in Chinese university: tradition and innovation

Tina Chen

Ying Wan

As a primarily practical art form, the teaching of Dance in China has up till now, been more focus on technical training. Following in the footstep of the Beijing Dance Academy, which set up its first Undergraduate degree program specializing in performance, teacher training or choreography in the late 80s, there began, a ‘Dance Degree Boom’ from the mid 90s, to currently over 700 undergraduate dance degree program on offer, provided by a mélange of institutions and universities as diverse as imaginable. What then, are the differences between these programs? Apart from the seemingly uncross able boundaries between the ‘Practitioner’ and the ‘Academic’, what are the challenges confronting Dance teaching (Training or Education) in the context of Higher Education? These would be the themes explored by this webinar.

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Seminar 36 : Connecting Jewels: Art Processes to promote learning and social Inclusion

Teresa Torres de Eça

With this paper it is intend to raise questions such as 1) What kind of artists are interested in working with people with disabilities 2) How can we involve artists in lifelong learning programs for special needs and 3) What kind of lifelong learning inclusive programs can be implemented through the arts . The questions will be further developed by describing a case study conducted in Portugal during 2017 with the project: “Connecting Jewels”. The project was conducted in the city of Viseu, during the period October 2016- September 2017 with 11 young adults with disabilities from 2 ONGs; 13 students from 2 high schools ages 16-18 years old ( 5 special needs and 8 non special needs); 5 young Portuguese goldsmiths; 1 designer; 2 community artists; and 8 Teachers/Educators. The project aimed to establish situations for learning about arts and improving personal and social skills. Contemporary art practices were used in the 10 one day long sessions where the participants engaged in group dynamics through the art and developed a collective design for a jewel.

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Seminar 37 : Moving forward in human society: Resilience and Evolution
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