Isadora Duncan and the creative source of dance therapy

Berger, Miriam Roskin

doi:10.1007/bf00843836

Cited by 4 publications

(3 citation statements)

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“…For instance, Isadora Duncan publicly advocated for personal freedom and autonomy, both on stage and in her life, often using her dance performances as a platform for expressing her ideals. Her choreographies celebrated the natural beauty and strength of the female body, promoting a vision of women free from social constraints and conventions (Berger, 1992;Sliwinska, 2021).…”

Section: Modern Dance and Feminist Expression In The 20th Centurymentioning

confidence: 99%

Rhythms of Liberation: Tracing the Dance of Emancipation Through History

Filipović,

Ilić,

Durlević

et al. 2024

SIJ

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The role of dance as a transformative medium for women’s emancipation, tracing its evolution from the Renaissance period to contemporary times. is a topic that necessitates a broad, multidisciplinary analysis. Dance is presented not only as a form of artistic expression but also as a powerful instrument for social change and gender equality. Through historical analysis, the study highlights how dance has facilitated women’s ability to express their identities, challenge patriarchal norms, and advocate for their rights across various epochs. The research underscores significant contributions by key figures and movements that have used dance as a platform for signalling shifts in societal attitudes towards women’s roles and freedoms. By drawing on the works of scholars such as Goldman (2010) on improvisational dance, Hahn (2013) on the role of creative arts in education and social change, Camp (2002) on dance as a form of resistance among enslaved women, and Åhäll (2016) on feminist security studies, the paper elucidates dance’s multifaceted impact on women’s liberation. From the sophisticated court dances of the Renaissance that reflected societal and cultural shifts to the expressive and boundary-pushing performances of the 19th and 20th centuries, dance emerged as a dynamic force in advocating for women’s emancipation. The conclusion reaffirms dance’s ongoing relevance as a medium through which contemporary women continue to explore their identities, challenge existing norms, and promote feminist values, thereby contributing to the broader discourse on gender equality and empowerment.

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Section: Modern Dance and Feminist Expression In The 20th Centurymentioning

confidence: 99%

Rhythms of Liberation: Tracing the Dance of Emancipation Through History

Filipović,

Ilić,

Durlević

et al. 2024

SIJ

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show abstract

“…81–99; Péter, 2019). They viewed dance as a continuation of ancient sacred rituals (Rosement as cited in Berger, 1992, p. 98). They were critical of the adverse effects of urban life such as social fragmentation, restrictive social norms, consumerism, and scientific technocratism (Fuchs, 2007, pp.…”

Section: The Emergence Of Dance‐movement Therapy In the United Statesmentioning

confidence: 99%

Dance becomes therapeutic in the mid to late 20th century

Kormos

2023

J History Behavioral Science

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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.

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“…From developmental research, empathy is seen as attunement (Stern, 1985), emotional availability (Gerhardt, 2015) or resonance (Siegel, 2010) which is reciprocal (Rova, 2017), among other ways of approaching the embodied and enactive nature of this process (Koch & Fischman, 2011). DMT and other bodily psychotherapies with a relational approach pay special attention to the bodily processes of empathic relating, delving into the kinesthetic dimension of empathy (Berger, 1972;Rova, 2017). Similar processes also occur with transference and countertransference, as described by DMT authors and other body psychotherapies, highlighting its somatic component (Dosamantes-Beaudry, 2007).…”

Section: Kinesthetic Intersubjectivitymentioning

confidence: 99%

Moments of Meeting in DMT: Characteristics and Implications from the Subjective Experience of Therapists

López

Panhofer

2023

Am J Dance Ther

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Moments of meeting (MoM) are characterized by instances of special intersubjective connection between the therapist and patient which causes a change in the implicit relational knowing (IRK) of both individuals. MoM have been widely described for non-creative arts therapies, but there is little information about their characteristics in dance/movement therapy (DMT). This study seeks to explore and characterize the MoM in DMT from the perception of professional therapists. Nine dance/movement therapists (dmts) were consulted using a multimodal approach that travels between writing and movement (Panhofer, 2011) and data were examined using qualitative content analysis. The results show that the characteristics of MoM can be grouped into three categories: (1) relationship (shared experience, experience of fusion, security and kinesthetic empathy) (2) emotion (emotional intensity and genuine affection) and (3) movement (physical closeness, eye contact, emergency, irruption of the present and release of the flow). These results are contrasted with what was originally proposed by the Boston Group (Lyons-Ruth et al in Infant Ment Health J 19(3):282–289, https://doi.org/10.1002/(sici)1097-0355(199823)19:3<282::aid-imhj3>3.0.co;2-o, 1998) and recently by Duarte et al. (Psychother Res 31:1–14, https://doi.org/10.1080/10503307.2021.1948138, 2021) and Lauffenburger (Am J Dance Ther 42(1):16–32, https://doi.org/10.1007/s10465-020-09321-y, 2020), finding similarities and new elements exclusive to DMT. This work contributes to a deeper understanding and conceptualization of MoM in the specific field of DMT and its clinical practice.

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Isadora Duncan and the creative source of dance therapy

Cited by 4 publications

References 1 publication

Rhythms of Liberation: Tracing the Dance of Emancipation Through History

Rhythms of Liberation: Tracing the Dance of Emancipation Through History

Dance becomes therapeutic in the mid to late 20th century

Moments of Meeting in DMT: Characteristics and Implications from the Subjective Experience of Therapists

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