A touching relationship

Since its inception in 1966, the American Dance Therapy Association (ADTA) has worked to develop standards of professional training. The initiation of a registry procedure was the organization’s first attempt to identify and set forth standards for clinical training. This task was often difficult due to three important factors: (1) the lack of in-depth training opportunities during the early years of the association; (2) the desire and motivation of the ADTA to establish a professional identity; and (3) the lack of a clearly defined body of knowledge. The emergence of graduate programs in dance therapy has positively affected the quality of training, lent credibility to the profession, and facilitated the discovery and exploration of a body of knowledge. This paper traces the historical development of dance therapy training in the ADTA.

Depression is a debilitating condition affecting more than 350 million people worldwide (WHO 2012) with a limited number of evidence-based treatments. Drug treatments may be inappropriate due to side effects and cost, and not everyone can use talking therapies.There is a need for evidence-based treatments that can be applied across cultures and with people who find it difficult to verbally articulate thoughts and feelings. Dance movement therapy (DMT) is used with people from a range of cultural and intellectual backgrounds, but effectiveness remains unclear. To examine the effects of DMT for depression with or without standard care, compared to no treatment or standard care alone, psychological therapies, drug treatment, or other physical interventions. Also, to compare the effectiveness of different DMT approaches. The Cochrane Depression, Anxiety and Neurosis Review Group's Specialised Register (CCDANCTR-Studies and CCDANCTR-References) and CINAHL were searched (to 2 Oct 2014) together with the World Health Organization's International Clinical Trials Registry Platform (WHO ICTRP) and ClinicalTrials.gov. The review authors also searched the Allied and Complementary Medicine Database (AMED), the Education Resources Information Center (ERIC) and Dissertation Abstracts (to August 2013), handsearched bibliographies, contacted professional associations, educational programmes and dance therapy experts worldwide. Inclusion criteria were: randomised controlled trials (RCTs) studying outcomes for people of any age with depression as defined by the trialist, with at least one group being DMT. DMT was defined as: participatory dance movement with clear psychotherapeutic intent, facilitated by an individual with a level of training that could be reasonably expected within the country in which the trial was conducted. For example, in the USA this would either be a trainee, or qualified and credentialed by the American Dance Therapy Association (ADTA). In the UK, the therapist would either be in training with, or accredited by, the Association for Dance Movement Psychotherapy (ADMP, UK). Similar professional bodies exist in Europe, but in some countries (e.g. China) where the profession is in development, a lower level of qualification would mirror the situation some decades previously in the USA or UK. Hence, the review authors accepted a relevant professional qualification (e.g. nursing or psychodynamic therapies) plus a clear description of the treatment that would indicate its adherence to published guidelines including Levy 1992, ADMP UK 2015, Meekums 2002, and Karkou 2006. Study methodological quality was evaluated and data were extracted independently by the first two review authors using a data extraction form, the third author acting as an arbitrator. Three studies totalling 147 participants (107 adults and 40 adolescents) met the inclusion criteria. Seventy-four participants took part in DMT treatment, while 73 comprised the control groups. Two studies included male and female adults with depression. One of these studies included outpatient participants; the other study was conducted with inpatients at an urban hospital. The third study reported findings with female adolescents in a middle-school setting. All included studies collected continuous data using two different depression measures: the clinician-completed Hamilton Depression Rating Scale (HAM-D); and the Symptom Checklist-90-R (SCL-90-R) (self-rating scale).Statistical heterogeneity was identified between the three studies. There was no reliable effect of DMT on depression (SMD -0.67 95% CI -1.40 to 0.05; very low quality evidence). A planned subgroup analysis indicated a positive effect in adults, across two studies, 107 participants, but this failed to meet clinical significance (SMD -7.33 95% CI -9.92 to -4.73).One adult study reported drop-out rates, found to be non-significant with an odds ratio of 1.82 [95% CI 0.35 to 9.45]; low quality evidence. One study measured social functioning, demonstrating a large positive effect (MD -6.80 95 % CI -11.44 to -2.16; very low quality evidence), but this result was imprecise. One study showed no effect in either direction for quality of life (0.30 95% CI -0.60 to 1.20; low quality evidence) or self esteem (1.70 95% CI -2.36 to 5.76; low quality evidence). The low-quality evidence from three small trials with 147 participants does not allow any firm conclusions to be drawn regarding the effectiveness of DMT for depression. Larger trials of high methodological quality are needed to assess DMT for depression, with economic analyses and acceptability measures and for all age groups.

Experiential classes that use dance/movement as the primary means of learning are universal in dance/movement therapy (DMT) graduate education programs in the United States. Yet, there have been no studies to determine what competencies develop in movement based experiential classes in DMT education. This is a report of a qualitative study that used thematic analysis to identify competencies that DMT students develop from movement based experiential learning (MBEL). Competencies identified in this study were compared to the education standards set by the American Dance Therapy Association (ADTA). As expected, MBEL was most instrumental in developing competencies for clinical practice and professional development. MBEL was less effective in developing competencies for multiculturalism and theoretical knowledge. The study identified a set of new competencies related to emotional intelligence that is not in the ADTA’s standards and is unique to student experiences in MBEL. This study focused on the student perspective, which can help address some of the weaknesses of current education practices. The article ends with the benefits and limitations of a competence based education for DMT.

The author, as co-editor of the American Journal of Dance Therapy, introduces six essays by a small group of experts, invited to share reflections on the social, political, economic, scientific, and cultural context for the development of the profession of dance/movement therapy (DMT) over the first half century of the American Dance Therapy Association (ADTA). Through allusions to pivotal events in the United States circa 1966, this introductory editorial characterizes the U.S. zeitgeist around the year of the ADTA’s founding. Specific references are made to the signing of the Voting Rights Act, the establishment of Medicaid and Medicare, the founding of the National Organization for Women, as well as the violent targeting of civil rights marchers in Selma, Alabama, and the spontaneous launching of the modern LGBT rights movement with the Stonewall Rebellion in New York’s Greenwich Village. Commentary on the six essays to follow the editorial includes discussion of DMT as a female-dominated profession, which has apparently suffered the economic consequences of gender bias. Strategies for countering devaluation of the profession and building respect for it—including improving dance/movement therapists’ cultural competence, upgrading both quantitative and qualitative research, and fostering alliances between the ADTA and sister institutions—are likewise advanced.

Social connections are crucial for today’s middle and high school students. We address this social need through a 3-H Social and Emotional Learning (SEL) Cycle. Through the Three Sisters Garden activity presented here, we teach secondary school students about biodiversity and sustainability as we integrate the arts into STEM (STEAM). Students investigate the growth and development of organisms from a crosscutting lens of systems. Students initiate the sensemaking process by paralleling their own need for companionship to plants. Students end the lesson by initiating a scientific argumentation for a Three (or Four) Brothers/Others Garden. The 3-H learning cycle begins and returns to social and emotional connections, giving equal weight of importance to the heart (social and emotional), hands (problem-solving), and heads (sensemaking). The lesson presented here exemplifies school garden-based learning and students’ ability to initiate sensemaking of the indigenous Three Sisters Garden intercropping method. Analyzing gardens from a systems lens allows students to make emotional and cognitive connections between their own need for social connections and plants increased growth and productivity in a polyculture. When students emotionally, socially, and cognitively participate in the process of science, they begin to see themselves as a part of the scientific process.

The 50th anniversary of the American Dance Therapy Association (ADTA) is a celebration of our achievements over the last half-century and a time for analysis and reflection regarding all facets of the development of the profession of dance/movement therapy. This is an excellent occasion to look back at the history of the credentials process, and the evolution to Board certification. This article will trace the major historical events in the development of the ADTA credentials process from it’s inception to the current day, and explore both the internal and external factors that moved this process forward. It will also examine our credentials with a focus on some of the issues raised within the current health care climate.

The cultural turn of the 1980s suggests re-visiting the definition of Dance Movement Therapy (DMT) for the purposes of understanding the power the language has in shaping the profession. Such re-examination of the original American Dance Therapy Association (ADTA) definition and its historical development reveals an ambivalence that upholds a dualistic view of the profession; a troublesome idea for a practice based in body-mind integration. This paper is not a critique of the ADTA or the field, but is meant to act as a springboard for discourse on how the very description of the work can contribute to level of recognition of the profession.KeywordsDefinitionCultural turnDualismMeaningLanguage

Book reviewed in this article: Looking for Me. 1970. A film by Norris Brock and Virginia Bartlett, produced by the American Dance Therapy Association Dance Therapy: The Power of Movement. 1982. A film by Norris Brock produced by the American Dance Therapy Association

The association between socio-cultural factors and well-being among young adult Middle Eastern migrants in Australia

Communication, which begins by a consignor who verifies the signal of the communication needs and a receiver who recognizes it, is one element in the construction of relationships with others. Expression through language is effective for beginning to communicate with others. However, such expressions might produce social risk, because language expressions are explicit signals that cannot often ignore the receiver's communication needs. For example, the fatigue caused by social networking is one social risk that obstructs the construction of amicable relations. Instead, people often communicate by nonverbal expressions that provide vague information to reduce such risks. In this study, we analyze physical interaction based on mutual communication needs and build a model that will establish more sustainable relationships. We investigated the adjustment of the necessary communication needs to make a model in this experiment. We tested in a situation where we coordinated the communication needs using a mannequin. In this experiment, participants approached it, went around it, and started communication from a position that showed more intimacy to a partner when the partner's communication needs are low.

BackgroundArts therapies, encompassing art therapy, music therapy, drama therapy, and dance movement therapy with the broader practice of expressive arts therapies, have demonstrated positive outcomes in the treatment of neurodevelopmental and neurological disorders (NNDs). Integrating arts therapies into telehealth has become increasingly important to improve accessibility for people with mobility impairments or those living in remote areas. This study aims to map the existing body of literature to provide an in-depth overview of telehealth in arts therapies for individuals with NNDs.MethodologyThis scoping review followed the PRISMA guidelines. Six databases were systematically searched, with 2,888 articles screened for eligibility. Inclusion criteria focused on primary research peer-reviewed articles in English that addressed telehealth arts therapies for NNDs.ResultsSeventeen telehealth studies published between 2009 and March 2024 were included, with a notable increase in publications after 2020. The studies covered various neurodevelopmental disorders, including autism spectrum disorders, attention deficit hyperactivity disorder (ADHD), Rett syndrome, and neurological disorders such as stroke, epilepsy, cerebral palsy, central nervous system (CNS) tumors, dementia, Alzheimer’s disease, Parkinson’s disease, spinal cord injuries, and mild cognitive impairment. Music therapy was the most widely studied modality. Interventions ranged from therapeutic singing and songwriting to virtual reality experiences. Different platforms and specialized virtual environments were used alongside pre-recorded sessions. Positive benefits included psychological enrichment, social connectivity, cognitive improvements, and brain changes, although some studies reported mixed or no significant effects in certain areas.ConclusionTelehealth in arts therapies significantly benefits individuals with NNDs, improving accessibility and providing psychological, emotional, social, and cognitive benefits. The positive benefits observed highlight the potential of these interventions to improve overall well-being and daily functioning. Future research may focus on high-quality qualitative studies and neuroimaging assessments to further validate the impact of telehealth arts therapies.

The Experience of Social and Emotional Distancing Among Health Care Providers in the Context of COVID-19: A Study from North India

Including others in a playful activity fundamentally changes the concept of play into social play. This thesis focuses on social play in digital gaming. Previous studies have revealed the crucial part of social interaction in play, as the intrinsic need to belong seems to be the core motivation for engaging in such activities. Besides interacting with the game and focusing on the game content, gamers are confronted with emotions, behaviours, opinions and performances of others that can easily be perceived when playing side by side (co-located co-play). However, the widespread penetration of the Internet also allows for social play without the restriction of co-players having to be in the same room (mediated co-play). In online co-play settings a smaller amount of social information can be exchanged compared to co-located co-play. These settings therefore differ in the way gamers can interact with each other, which has an influence on how digital gaming is experienced. Focus groups, contextual inquiries, and four experimental studies were employed to uncover which aspects of social play in digital gaming make mediated and co-located co-play feel different. The first study was conducted to explore the motivations of gamers to physically meet others to play digital games, compared to meeting them online. Based on interpersonal communications, focus groups and contextual inquiries, findings revealed that the appeal of co-located above online co-play results from the sociable, warm, sensitive, personal and intimate interactions that are possible when playing side-byside. Furthermore, co-located co-play offers the possibility to experience social fun before and after game play, which often is not afforded in online co-play. The first lab experiment was conducted to empirically demonstrate to what extent player experience is influenced by the way co-players are present; e.g. as a virtual (human controlled), mediated or co-located co-player. Results on self-reports indicated that playing sidebyside significantly adds to the enjoyment and involvement in games compared to playing against a virtual (i.e. computer controlled) or distant co-player. These results could be explained by introducing the concept of social presence, which is defined as the feeling of being together with another individual. Results demonstrated that social presence mediated the enjoyment in social play. In the second and third lab experiment the possibilities for verbal and non-verbal interaction were manipulated between coplayers in co-located co-play. One experiment investigated this for competitive play; a the other for collaborative play. Self-reports showed that interactions through auditory cues positively influenced player experience. Interestingly, the presence of visual cues of one’s co-player had no significant influence on play. Observation data of players confirmed that audio cues (e.g., talking, laughing) were far more often used than visual cues (e.g., eye contact, making gestures); visual cues were only used before and after play. Furthermore, we demonstrated that social presence – due to interaction by audio cues – mediates the enjoyment in social play. A final lab experiment was conducted to investigate the importance of the connection between players through the game for our results in the previous chapters. In this experiment players were colocated, but not always played together and/or were not always able to see each other’s scores. Results showed that a subjective shared experience increases the strength of the social connection between players, and positively affects feelings of social presence, enjoyment and involvement. Similar to the previous findings, social presence mediated the increase in feelings of enjoyment and involvement. In sum, our set of studies offered empirical support for when, why and how social interaction influences players’ experience in co-play settings. Furthermore, the results indicate the importance of social presence as a mediating factor of enjoyment and involvement in social play. This provides new theoretical insights for communication experiences in other media, and social presence in general. Furthermore, findings may be useful to game designers who may want to enhance players’ experiences in during digital play.

The longitudinal effect of social media use on adolescent mental health in the UK: findings from the UK Longitudinal Household Study

The Importance of Video Visits in the Time of COVID-19.