The convergence of dance art and therapeutic culture engendered the development of dance‐movement therapy in the mid to late 20th century internationally. This article traces the sociopolitical, institutional, and aesthetic influences that coalesced in this process by contrasting histories of dance‐movement therapy in Hungary and in the United States. The professionalization dance‐movement therapy, through which it established its own theory, practice, and training institutions, occurred first in the United States in the late 1940s. Modern dancers in the United States began to conceptualize their activity as therapeutic, and the dancer as a (secular) healer, a therapist. The influx of therapeutic concepts into the field of dance is viewed as an example of therapeutic discourse permeating various areas of life in the 20th century. The Hungarian case provides a contrasting history of therapeutic culture, one that deviates from the predominant view of the phenomenon as a product of the global spread of Western modernization and the growth of free‐market capitalism. Hungarian movement and dance therapy indeed developed independently from its American predecessor. Its history is intimately tied to the sociopolitical context of state‐socialist period, particularly to the institutionalization of psychotherapy in public hospitals, and to the adaptation of Western group psychotherapies within the informal setting of the “second public sphere.” The legacy of Michael Balint and the British object‐relations school provided its theoretical framework. Its methodology was rooted in postmodern dance. The methodological differences between American dance‐movement therapy and the Hungarian method reflects the shift in dance aesthetics that occurred internationally between 1940 and 1980s.
A tanulmány a Judith S. Kestenberg és mozgáskutató csoportja által kidolgozott mozgáselemző módszer elméletét és embodiment-felfogását mutatja be. Tánc- és mozgásterapeutaként és Kestenberg-mozgáselemzőként igyekszem bemutatni azt az embodiment-felfogást, amelyet Kestenberg a pszichoanalízis eszmerendszerén belül képviselt. A Kestenberg Mozgás Profil (KMP) a mozgás pszichodinamikus elméletének tekinthető, mely a személyiségfejlődést a mozgásfejlődési folyamatokon keresztül értelmezi. A mozgást, mozdulatokon keresztüli kifejezést és testi tapasztalatokat előtérbe helyező megközelítés a korabeli pszichoanalitikus körökben egyedülálló gondolatokat fogalmazott meg az érzelmek, a kogníció és a kapcsolati mintázatok szomatikus interakciókban való megtestesüléséről, amelyeket a személyiségfejlődés tapasztalati fundamentumának tekint. A KMP használata leginkább a táncmozgás-terápia területén terjedt. Alkalmazása a tánc- és mozgásterápián kívül a nonverbális viselkedéskutatások, a pszichoanalitikus terápia, a gyermek-pszichoterápia, illetve a gyógypedagógia és a családsegítés területein is előfordul. A tanulmány elsősorban a KMP integratív, dinamikus elméletének bemutatására vállalkozik, az embodiment-paradigmával összehangzó gondolataira fókuszálva.
This theoretical study is part of my doctoral research on the history and development of the psychodynamic theory movement, the Kestenberg Movement Profile (KMP). This paper attempts to introduce the KMP within the historical context of its origins, the psychoanalytic circles of 1940-1980 New York outlining the main lines of influence on Kestenbreg's work. The KMP forms a complex integrative approach of movement assessment and analysis that examines the interplay between movement development and the process of self-formation. The paper explores the theoretical foundations of the Kestenberg Movement Profile in general, concerning infl uences from Freudian drive theory and ego-psychology in particular. The paper aims to illuminate the field of scientific thought that the KMP emerged from as a psychodynamic assessment tool of movement behaviour.
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