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Dance and Movement Therapy I
Study Course Description
Course Description Statuss:Approved
Course Description Version:11.00
Study Course Accepted:04.03.2024 09:06:03
| Study Course Information | |||||||||
| Course Code: | VPUPK_009 | LQF level: | Level 7 | ||||||
| Credit Points: | 6.00 | ECTS: | 9.00 | ||||||
| Branch of Science: | Clinical Medicine; Sports Medicine and Rehabilitation | Target Audience: | Rehabilitation | ||||||
| Study Course Supervisor | |||||||||
| Course Supervisor: | Kristīne Vende-Kotova | ||||||||
| Study Course Implementer | |||||||||
| Structural Unit: | Department of Health Psychology and Paedagogy | ||||||||
| The Head of Structural Unit: | |||||||||
| Contacts: | Riga, 5 J. Asara Street, vppk rsu[pnkts]lv, +37167061587 | ||||||||
| Study Course Planning | |||||||||
| Full-Time - Semester No.1 | |||||||||
| Lectures (count) | 12 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 24 | ||||
| Classes (count) | 12 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 24 | ||||
| Total Contact Hours | 48 | ||||||||
| Full-Time - Semester No.2 | |||||||||
| Lectures (count) | 6 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 12 | ||||
| Classes (count) | 6 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 12 | ||||
| Total Contact Hours | 24 | ||||||||
| Study course description | |||||||||
| Preliminary Knowledge: | Professional activity in arts therapy and its legal basis. | ||||||||
| Objective: | To provide the opportunity for MA students to develop the diversity and creativity of their movements, their attitude and experience in the process of dance movement therapy, to gain knowledge about the history of dance movement therapy, the contemporary situation in Latvia and the world and leading theories; to develop skills for assessment based on body and movement observation. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Body awareness, grounding, balance, allingment and coordination of the body. | Lectures | 1.00 | auditorium | |||||
| Classes | 1.00 | auditorium | |||||||
| 2 | Movement categories. | Lectures | 1.00 | auditorium | |||||
| 3 | Movement in space, planes, qualities of effort. | Classes | 1.00 | auditorium | |||||
| 4 | Dance and movement functions. | Lectures | 1.00 | auditorium | |||||
| 5 | Dance as communication, expression, ritual. | Classes | 1.00 | auditorium | |||||
| 6 | Variability of language of dance. | Lectures | 1.00 | auditorium | |||||
| 7 | Variability of movements and rhythms, development of movement vocabulary. | Classes | 1.00 | auditorium | |||||
| 8 | Basics of contactimprovisation. | Lectures | 1.00 | auditorium | |||||
| 9 | Improvisation – work individually, in pairs, in group. | Classes | 1.00 | auditorium | |||||
| 10 | Movement as comunication in DMT. | Lectures | 1.00 | auditorium | |||||
| 11 | Attunement, mirroring, expanding. | Lectures | 1.00 | auditorium | |||||
| 12 | DMT pioneers – Marion Chase, interpersonal approach. | Lectures | 1.00 | auditorium | |||||
| 13 | Marion Chase interpersonal approach – four basic principles. | Lectures | 1.00 | auditorium | |||||
| 14 | Analytic and psycho-dynamic approach in DMT – Mary Whitehouse, Trudi Schoop, Liljan Espenak. | Lectures | 1.00 | auditorium | |||||
| 15 | Analytic and psychodynamic approach in DMT – authentic movement, movement in depth. | Lectures | 1.00 | auditorium | |||||
| 16 | Art-based approaches and development approaches in DMT – Rudolf Laban, Judith Kestenberg. | Lectures | 1.00 | auditorium | |||||
| 17 | Art based approaches in DMT – LMA, KMP. | Lectures | 1.00 | auditorium | |||||
| 18 | Principles of developmental approach – feeling good in their own body and in relationships with others. | Lectures | 1.00 | auditorium | |||||
| 19 | Developmental approach in DMT – Veronica Sherborn, Judith Kestenberg. | Lectures | 1.00 | auditorium | |||||
| 20 | Integrative eclectic approach. | Lectures | 1.00 | auditorium | |||||
| 21 | Integrative eclectic approach – creative process cycle. | Classes | 1.00 | auditorium | |||||
| 22 | Development of DMT in Latvia in context of European DMT development. | Lectures | 1.00 | auditorium | |||||
| 23 | Presentations about comparison of DMT approaches. | Lectures | 1.00 | auditorium | |||||
| 24 | Assessment and evaluation in DMT: traditions, experience, definitions. Aims of assessment and evaluation in biopsychosocial context of DMT. Types of evaluation. | Classes | 1.00 | auditorium | |||||
| 25 | Laban's movement analysis: effort, body, space, and shape. | Classes | 1.00 | auditorium | |||||
| 26 | Laban's movement analysis: the basic categories: body, space, shape, effort. | Classes | 1.00 | auditorium | |||||
| 27 | LMA – effort qualities, states and drives. | Classes | 1.00 | auditorium | |||||
| 28 | Bartenieff's fundamentals – main categories. | Classes | 1.00 | auditorium | |||||
| 29 | Bartenieff's fundamentals – stages and their manifestation in movements. | Classes | 1.00 | auditorium | |||||
| 30 | Kestenberg's movement profile. | Classes | 1.00 | auditorium | |||||
| 31 | Kestenbergs movement profile – tension flow; movement experiential. | Classes | 1.00 | auditorium | |||||
| 32 | Expressive therapies continuum. | Classes | 1.00 | auditorium | |||||
| 33 | Expressive therapies continuum – exploration of movement and methods. | Classes | 1.00 | auditorium | |||||
| 34 | Assessment and evaluation protocols. Ethical considerations. | Classes | 1.00 | auditorium | |||||
| 35 | Movement observation systems in context with client/patient needs. | Classes | 1.00 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | In the improvisation part: 1) a personal experience diary, 2) an essay about the evaluation of movement versatility after the analysis of a video material. In the part of DMT history: 1) analysis of 3 research studies in DMT, 2) preparation to test work. In the evaluation part: 1) preparation for the interim test work; 2) the execution of the protocol of one art-based evaluation instrument and the analysis of evaluation results, evaluation of the movement profile of two clients / patients. In order to evaluate the quality of the study course as a whole, the student must fill out the study course evaluation questionnaire on the Student Portal. | ||||||||
| Assessment Criteria: | Active participation in lectures and seminars by asking questions and making references to the read sources. In the improvisation part – keeping of a professional development diary has been commenced and improved, appropriate evaluation of their own and classmate's versatility of movement according to the given criteria (20%). In the part of DMT history – analysis of 3 research studies in DMT; the interim test – successfully written test work on DMT theories (30%). In the evaluation part – a passed interim test – test work, an appropriately completed initial evaluation protocol, including art based assesment for two clients/patients according to the given structure. One case deeper analysis – setting goals and hypothesis (50%). Student in academic control work that test a specific knowledge (a test, for example) can not use artificial intelligence (AI). AI can be used creatively to complement self generated text, for example illustrative images. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | |||||||||
| Learning Outcomes | |||||||||
| Knowledge: | In the part of DMT history – describe and compare various DMT theories and explain the peculiarities of DMT process organisation while dealing with various groups of clients/patients. In the evaluation part – MA students name and describe the aims and types of evaluation and assessment in dance movement therapy and the art-based instruments. Explain the application of the art-based instruments to the groups of patients/clients | ||||||||
| Skills: | In the improvisation part – observe, describe and characterise traits of body and movement habits (verification – an analysis of a video material). In the evaluation part – demonstrate the skills to plan and conduct the art-based evaluation, to use appropriate assessment instruments in simulation and can choose DMT methods and techniques appropriately for various groups of clients/patients. MA students partially can integrate and analyse information from assessment process and make conclusions. MA students can in an argued manner discuss the approaches of dance movement therapy and their suitability for dealing with different groups of patients. | ||||||||
| Competencies: | In the improvisation part – self-reflection ability, assess their own and coursemates' movement habits. In the evaluation part – analyse and integrate the results of art-based instruments into practice, adhering to the ethical principles, can partially write the hypothesis and set the respective aims of dance movement therapy. | ||||||||
| Clinical Skills: | |||||||||
| No. | Skill | Level | |||||||
| 1 | Application of the body language and facial expression in consulting | B2 - Intermediate level | |||||||
| 2 | Discrepancies | B2 - Intermediate level | |||||||
| 3 | Eye contact in consulting | B2 - Intermediate level | |||||||
| 4 | Noticing of body language in counseling | B2 - Intermediate level | |||||||
| 5 | Noticing of facial expressions in counseling | B2 - Intermediate level | |||||||
| 6 | Observation in counselling | B2 - Intermediate level | |||||||
| 7 | Professional self-reflection in consulting | B2 - Intermediate level | |||||||
| 8 | Self-help; Self-care | B2 - Intermediate level | |||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | Karkou, V., Oliver, S., & Lycouris, S. (Eds.). (2017). The Oxford Handbook of Dance and Wellbeing. Oxford University Press. | ||||||||
| 2 | Mihailova, S. (2014). Dance movement therapy in Latvia. Rīga: Drukātava. | ||||||||
| 3 | Mārtinsone, K. (Red.) (2011). Mākslu terapija. RaKa: Rīga. (akceptējams izdevums) | ||||||||
| 4 | Ciane, F. (2015). The moving researcher : Laban/Bartenieff movement analysis in performing arts education and creative arts therapies. Jessica Kingsley Publishers | ||||||||
| 5 | Cruz, R. F. (2006). Assessment in dance/movement therapy. In: Creative arts therapies manual: A guide to the history, theoretical approaches, assessment, and work with special populations of art, play, dance, music, drama, and poetry therapies, Charles C Thomas Publisher, Chapter 14, 133-143. (akceptējams izdevums) | ||||||||
| 6 | Bloom, K. (2006). The embodied self: Movement and psychoanalysis. Karnac Books. (akceptējams izdevums) | ||||||||
| 7 | Davies, E. (2006). Beyond dance: Laban's legacy of movement analysis. Routledge. (akceptējams izdevums) | ||||||||
| 8 | Hastie, S. C. (2006). The Kestenberg movement profile. In: Creative arts therapies manual: A guide to the history, theoretical approaches, assessment, and work with special populations of art, play, dance, music, drama, and poetry therapies, Charles C Thomas Publisher, Chapter 13. 121-132. (akceptējams izdevums) | ||||||||
| 9 | Loman, S., & Sossin, K. M. (2009). Applying the Kestenberg Movement Profile in dance/movement therapy. In: The Art and Science of Dance/Movement Therapy. Life is Dance. New York: Routledge, 237-265. (akceptējams izdevums) | ||||||||
| 10 | White, E. (2009). Laban’s Movement Theories. A Dance/Movement Therapist’s Perspective.’. In: The Art and Science of Dance Movement Therapy. Life is Dance. New York: Routledge. 217-236. (akceptējams izdevums) | ||||||||
| Additional Reading | |||||||||
| 1 | Vende, K., Orinska, S., Majore-Dūšele, I., & Upmale, A. (2016). DANCE AND MOVEMENT THERAPY FOR PATIENTS WITH EATING DISORDERS: MODEL OF EXPRESSIVE THERAPIES CONTINUUM. In: Creative Arts Therapies and Clients with Eating Disorders, London: Jessica Kingsley Publishers, 241-262. | ||||||||
| 2 | Deja, kustība, ķermenis = Dance, movement, body (2013). Red. Mihailova, S. & Mihailovs, I.J. Mārupe: Drukātava. | ||||||||
| 3 | Ļevina, J., Mārtinsone, K. (2016). Konsultēšana un konsultatīvā psiholoģija, Rīga: Rīgas Stradiņa universitāte. | ||||||||
| 4 | Hackney, P (2015). Making Connections: Total Body Integration Through Bartenieff Fundamentals. London: Routledge | ||||||||
| 5 | Karkou, V., Sanderson, P. (2006). Arts Therapies: A Research-based Map of the Field. Edinburgh: Elsevier. | ||||||||
| 6 | Mārtinsone, K., Mihailova, S., Mihailovs, I.J., Majore-Dūšele, I., Paipare M. (2008). Mākslu terapija un tās attīstības konteksti (integratīvi eklektiskā pieeja Latvijā). Rīga: RSU. | ||||||||
| 7 | Meekums, B. (2008). Pioneering dance movement therapy in Britain: Results of narrative research. The Arts in Psychotherapy, 35(2), 99-106. | ||||||||
| 8 | Levy, F. J. (2005). Dance/Movement Therapy. A Healing Art. AAHPERD Publications, PO Box 704, Waldorf, MD 20601. 2nd ed. | ||||||||
| Other Information Sources | |||||||||
| 1 | The Arts in psychotherapy | ||||||||
| 2 | Body, Movement and Dance in Psychotherapy | ||||||||
