If a person loves to dance, psychology. « Creative dance and developmental movement

Dance is not just useful, it is healing for the body and psyche, if you take into account your individual characteristics: bodily capabilities, load tolerance, etc. What is the impact of dancing? Dance is built on our natural instincts and needs.

1. How do dance classes affect a person from a psychological point of view?
Psychological effect:

• Dance helps you feel better about yourself, your physical and emotional state - it improves contact with yourself.
• New, unusual movements not used in everyday life help to break habitual patterns and get out of the vicious circle of repeating scenarios in our lives. By opening up to new experiences in dance, we symbolically let something new into our lives.
• In dance, emotional expression occurs - the release of suppressed feelings. Suppression of emotions is a dangerous mechanism that can lead to psychosomatic illnesses. Dance performs a kind of “spring cleaning”, clearing suppressed feelings and reducing internal tension.
• Psychological flexibility increases, which means adaptability and creativity.
• By improving bodily balance, dancing helps us maintain psychological stability in difficult situations and tolerance to stress.

The main thing is to find the dance that you like, and not demand absolute perfection from yourself.

2. Can dancing help solve any psychological problems? If yes, which ones?

• It is no coincidence that dance is used in some areas of psychotherapy; it can transform us psychologically and helps solve problems.
• For example, couples dancing teaches a man to take responsibility in a relationship, to overcome infantilism - to grow up. And it helps a woman to trust and respect a man. And, of course, for both, it increases sensitivity towards the partner, the ability to build relationships, express oneself and “hear” the partner.
• Group dancing is good for those who feel lonely, rejected, unwanted, or a “black sheep.” They help you feel like an important part of the group - a “member of the pack.”
• And there are dances that improve contact with yourself, helping you “hear” yourself. They are good for those who have lost themselves, are confused in their lives and do not know what they want.

3. What to do if a person is embarrassed about his body (he is overweight) or there is a fear that he will look ridiculous while dancing? How can he overcome this in himself if he wants to dance, but his complexes get in the way?

Alas, lack of acceptance of one’s body is a common problem, even among beautiful people, not to mention those who do not fit into modern stereotypes of beauty. We are not taught to love and respect our body...
The first step: decide whether you are satisfied with living with your complexes, or do you still want to change your life? Change is always a risk, it requires courage and does not come without effort. If you are ready for a “feat”, go to the dance hall. You can help yourself in the following ways:

• Remember that you are not the only one who is shy; your neighbors may have the same feelings.
• Find a friendly teacher you can trust. The psychological atmosphere in the classroom largely depends on the teacher; there are groups that “criticize”, and sometimes there are “supportive”.
• Bring a friend with you to class for support.
• If you are shy in a group, you can try starting with individual lessons.
• A successful photo shoot in a dance costume can boost your self-esteem.
• Try to understand exactly what the critical message sounds like in your head. For example: “You are awkward”, “You are fat”, etc. Think about it, at what age and under what circumstances did such a harmful belief appear within you? What can you do to counter this belief now?
• “The glass is half full”, what advantages can you identify? Maybe you have a good sense of rhythm? Expressive facial expressions? Is there diligence? There are always advantages.
• Focus not on how you look while dancing, but on how you feel while dancing. And enjoy the movement, the music...

Remember: everyone has the ability to dance, of course, to varying degrees, but EVERYONE has the ability to dance.

Program « Creative dance and developmental movement. Fundamentals of the psychology of movement and dance" is the result of a synthesis of many years of experience in teaching and researching dance, movement and dance therapy. The program is based on the philosophical and theoretical bases of the most modern schools for the study of the relationship and mutual influence of body and mind, movement and emotions, healthy functioning of the body, mental well-being, creativity, communication with others. This approach allows us to study Movement as a system - from a functional and psychological point of view. It allows you to use creative self-expression through dance consciously and specifically, taking into account the needs of a group, team, couple or individual.

Also, there is another important fact that influenced the emergence of this program. Interest in training to become a TD psychotherapist has increased. But for admission to the specialization in TDT, there are certain requirements, such as: the presence of basic psychological education, long and ongoing dance experience, practice and age and psychological maturity. What to do for those who, for example, do not have a psychological education, but have a huge dance/pedagogical practice and a desire to study movement more deeply, to understand how it is related to the manifestation of personality, age characteristics, communication, creativity, i.e. penetrate into the philosophy and psychology of movement. Or, for example, what should psychologists who are interested in movement practices and dance do, but do not know how to competently and environmentally use this resource when working with their clients and patients. This program will also help those who have not yet decided to enter the specialization in TDT to continue their professional development.

So what do we offer? We offer a program that, on the one hand, can give people practical knowledge and skills in the field of movement and dance psychology, something that is related to the holistic development of a person and help shape motor thinking and vision of the individual. On the other hand, it will support interest in non-standard perception and understanding of the healing capabilities of dance and in the dance-movement direction in general.

Why did we propose this particular name?

Creative (creative) dance is a form of movement and dance that focuses on the holistic development of a person and his personality. Through motor expression, dancers achieve a high level of physical development, learn the language of dance and interact with their emotions and feelings. Creative dance is the only form of motor activity in which physical movement is used not so much to express any motor function, but more as a revelation of personal expression and creative self-display; it educates and nourishes a person’s expressive capabilities, and helps to assimilate emotional experience, forming a new one. motor repertoire. The development of creativity and imagination contributes to the harmonization of all aspects of the personality, and makes it possible to apply this experience not only in the professional field, but also in life as such. Creative dance includes creative dance art forms: expressive movement, dance improvisation and dance performance, elements of TDT, Laban Movement Analysis (LMA) and Bartenieff Movement Fundamentals. One of the close meanings of Creative dance is improvisation. However, we use international terminology that most fully reveals this direction. It is broader than improvisation (which relates mainly to the professional field of its use: in dance, theater and musical performances, performances, movement laboratories) and is used in working with different age categories, most often in a developmental format (children, adults, the elderly ).

Developmental movement is a method that relies on human psychomotor development and is based on a deep understanding of the most important prerequisites for the successful development of a child, all his motor functions and brain activity. Our movements are based on motor patterns, and those in turn are based on reflexes. Each stage of development has a series of motor tasks corresponding to the tasks of psychological development. The result is the formation of functional skills, expressive and communication skills. Therefore, it is important that each stage of human development is effectively completed and the psycho-motor tasks corresponding to each stage are solved. Gaps in the development process are formed into unused motor and mental potential, into the so-called “unsolved developmental problems.” The developmental movement helps to return to these early levels of body organization, and “complete” what was missed or unmastered, awaken the flow of motor energy that once stopped, strengthen the connections that support the integrity of the body and personality. This develops body awareness and motor thinking. Real change happens when a person accepts the “real you.” This opens up development, transformation towards healthy and effective functioning. The range of human expressiveness and presentation of oneself to the world is expanding, which affects interactions with oneself, with others, with the world.

Both of these directions, Creative Dance and Developmental Movement, form the basis for research and study of the psychology of movement and dance, helping to see a person in his holistic development (body-movement-psyche). Bodily functionality (what is related to the Developmental Movement) and its expressiveness (what is related to Creative Dance) feed and support each other. This combination opens up new opportunities for a person, expanding his vision and understanding. These two methods are aimed at revealing the maximum motor potential of a person and his psycho-emotional state, and contribute to the development of all types of his intelligence: bodily (BQ), motor (MQ), emotional (EQ) and cognitive (IQ).

I would like to note that, in our opinion, there are no analogues of such a program in Russia yet, which has a systematic approach and educational standard (advanced training program). We are not “discovering America.” Seminars are held in Moscow and other Russian cities that offer similar experiences. But, as a rule, these are either one-time events or very scattered material and motor development is separated from expressive experience. The uniqueness of the program is that this is the first attempt to collect knowledge about the holistic development of the individual and all levels of his intelligence (motor, physical, emotional and cognitive) into a single systematic training course, which, we hope, will further develop into a large educational program. We are very glad that the program is based on the Institute of Practical Psychology and Psychoanalysis, which gives it special weight and status, and we are grateful to the support of the Department of TDP IPPiP and the creative participation and contribution to the creation of this program by the head of the department Irina Biryukova.

The program is aimed at specialists in both helping and creative professions. Firstly, of course, on choreographers and dance teachers. These are specialists who work a lot with creative tasks, staging and choreographic ones. The question always arises: “Where can I get motor material?” Training helps to find answers to these questions through the study of the laws and principles of movement and the fundamentals of improvisation and composition (through the prism of the Laban-Barteniff movement observation system, Somatic Movement). The training also offers courses related to the holistic development of a person, his body, motor repertoire and psyche. This knowledge helps solve pedagogical problems and better understand team members, incl. their age and personality characteristics. And also find creative and effective ways to help team members adapt and maximize the creative expression of each individual.

Secondly, this may be of interest to psychologists and psychotherapists who use movement and dance in their work. Training will help you better understand the psychology of movement and dance and more consciously involve the motor level of clients in your work.

Thirdly: child psychologists, early childhood development specialists, employees of rehabilitation and habilitation centers and organizations. Knowledge of this material makes the work of these specialists more successful and productive.

“Creative dance and Developmental movement: introduction. Fundamentals of dance improvisation."

“Introduction to Laban Movement Analysis (LMA) and Bartenieff Motor Fundamentals (BF). Introducing the concepts: body, space, time, effort.”

"Empirical anatomy. Culture of physicality. Basics of a holistic approach to working with the body” first seminar.

“Motor development - as the basis for the development of a variety of dance and movement forms.”

Presentation of an individual project. Completion.

Each course logically continues the theme of the previous one, but at the same time has a holistic and complete form. I would like to especially note that thanks to the very logical inclusion of the course “Introduction to Laban Movement Analysis and Bartenieff Motor Fundamentals” in the program, taught by Hilary Bryan (USA), this program has acquired international status. You can read more about the program courses and how to get into it on the association’s website www.atdt.ru or on the website of the Department of TDP IPPiP tdt-edu.ru

We hope to see you soon.

Continuation of the story about the development of the program in the next issue.

Kotelenko E.Yu. (Ryazan)

Fateeva T.A. (Moscow)

About the method

Dance movement therapy (DMT) is a branch of psychotherapy that lies on the border of dance improvisation, integrative psychology, body psychotherapy and personal development training. TDT is a unique method of psychotherapy, the main principle of which is the understanding that our body and psyche have a constant mutual influence on each other, and a creative approach gives a more complete understanding of ourselves and the world around us. TDT is psychological work through movement. Working with dance as a metaphor, dance therapy provides an opportunity to free oneself from physical and emotional constraints, increases social adaptability, expands the boundaries of self-knowledge and opens the way to self-improvement and the achievement of inner harmony. The main objectives of the method will be the development of a holistic and creative experience of one’s own “I”. The leading role and responsibility for the process is given to the client himself; the therapist only creates conditions and provides support.

program

in dance and movement therapy

"If you don't dance

your own Dance,

Then who will dance it then? Gabriela Roth

Dance movement therapy is a branch of psychotherapy that lies on the border of art therapy, dance improvisation, integrative psychology, bodily psychotherapy and personal development training. TDT is a fairly young, but already proven method in psychotherapy. This method is unique of its kind. On the one hand, a third component appears in the relationship between the psychotherapist and the client - movement, dance as a means of expressing oneself, a non-verbal form of interaction with oneself, space, others, the world. There are no established forms, no correct or incorrect movements, here everyone learns to hear themselves, their bodily impulses and tell their story. On the other hand, the natural joy of movement, which is already a resource, allows you to very gently approach the client’s deep experiences, go through them and release strength to change yourself and your life. The leading role and responsibility is given to the client himself; the therapist only creates a safe space and provides support. This method can be used with any category of clients; it has virtually no contraindications.

Purpose of the program

• Introduce training program participants to the basic concepts of TDT;
• Train participants in the basic principles of working with clients and groups using the TDT method;
• Teach participants the basic techniques of working with the body and movement in TDT;
• Form a professional vision of the psychotherapeutic process;
• Practice acquired skills in groups, trios, pairs and individually.

The program is intended for psychologists, students of psychological universities, psychotherapists, dancers, teachers of various dance styles, people interested in this method and wishing to specialize in this area.

The program is designed for 226 hours. At the end of the course, you will receive a certificate of advanced training of the established type, if you have a psychological or medical education; in other cases, you will be issued a certificate of completion of training.

You can also attend individual seminars

• Music and rhythm in TDT

SCHEDULE 2019-2020

Seminar registration form

Reviews

Valeria

Despite the fact that we study very simple and basic things during the training, it turned out to be very resourceful for me. There was a lot of practice and enough theory. I didn’t have a single question that Ekaterina couldn’t answer. Undoubtedly, this will all become a solid basis for further training.

Valeria

A very useful seminar from a practical point of view - you can incorporate the data obtained into your work, and for yourself personally. I would also like to attend art therapy seminars (maybe even one-day ones)

Denis
The seminar was more useful for myself personally (I am not a psychologist). Helped me to update my problem areas and possible ways to work through them. The seminar will be very useful for practicing psychotherapists, there are many interesting exercises, which Ekaterina very skillfully leads and accompanies. I really liked her artistry and dedication to her work.

from Tatiana
Dance movement psychotherapy. Basic course.

Review:
All was good. Special thanks to Katerina, soft, smooth, listening. Comments - the theory part, tables, work with the board should be more organized, I would like the information to be more consistent, so that everything is straight on the shelves. And the presentation of practical material is 5+. Thanks everyone! Thank you, Ekaterina!

from Elena
Dance movement psychotherapy. Basic course.
Review:
I understood a lot about my emotions and body. Thank you very much Ekaterina. A professional and a person who really loves his job. All the days of the training I felt a joyful state of flow, harmony with myself and my body.

from Anastasia
Subject:

Review:
The basic seminar was not enough for me to satiate myself. I want to go deeper. I wish the project development, it is needed. The seminar gives a fairly good understanding of the topic, Katya is pleasant and cozy, the space is comfortable with her.

Dance movement psychotherapy. Dance of the Elements
Review:
I really liked it! Katerina, as always, conducted the event with dignity, at a high level, and took care of each participant. The musical accompaniment is equally impressive. The seminar is deep and interesting. I'm looking forward to new discoveries)))

from Svetlana

Review:
Thanks a lot! I had an interesting experience being a psychotherapist.

from Russians
Dance movement psychotherapy. Basic seminar.
Review:
I liked it very much!!! New acquaintances, discoveries, results! Unexpected turns of events! A state of satisfaction and gratitude! Thank you Katya and the organizers!!!

from Elena
Dance movement psychotherapy. Basic seminar.
Review:
Thanks to Ekaterina for the trusting atmosphere within the group. Thank you for the practical material provided and its presentation!

from Ekaterina
Dance movement therapy. Basic seminar.
Review:
I am very grateful for this seminar to the organizers, coach Ekaterina and the group for new horizons and planes of development!

from Victoria
Dance movement therapy. Basic seminar.
Review:
Thanks to the organizers of this training and Ekaterina personally for their professionalism, sensitive and responsible attitude.

from Ekaterina
Dance movement psychotherapy. Basic course.
Review:
Thank you Ekaterina, an excellent professional in her field, good material, many discoveries!

from Marianna
Dance movement psychotherapy. Basic course.
Review:
Thanks a lot! Ekaterina, your work as a Ψ-therapist is top-notch! The trusting atmosphere in the group created by you and the delicate attitude towards each of the participants makes it possible to open up and go into hidden and deeply hidden areas. Thank you! I'll definitely come again.

from Julia
Dance movement psychotherapy. Basic course.
Review:
Soft, comfortable training. Everyone takes as much as they can take at the moment. The introductory 4 days really introduce you to the TDT space in which you want to be and develop further in it.

from Elena
Dance movement psychotherapy. Basic course.
Review:
Everything is logical and understandable. The main emphasis is on practice, which is good news.

from Ekaterina
Dance movement psychotherapy. Basic course.
Review:
At this seminar, I got an idea of ​​what TDT is, what methods exist in TDT, how TDT can be used in working with a group and in individual work. I really liked the accuracy, delicacy, and tact of trainer Ekaterina during classes and, most importantly, in elaborating a personal request. Thank you so much for this training! :)

from Arkady

Review:
Control over the group is absolute. A clear definition of boundaries, instant stopping reactions, lightness and ease, the ability to flexibly adjust the program to the work of the group - all this indicates that Ekaterina is confident in herself. This helps build trusting relationships and liberate the participants. Well, her movements speak for themselves. This is how she captivates, ignites and teaches.
The learning process is optimally balanced. Just exactly as much as you need. 20 hours literally flew by in a day. There was no information overload or physical exhaustion.
Yes, the seminar program fully corresponds to the stated goals.
If you hear and feel music, sooner or later you will come to dance. You will learn how to do this at the seminar. For those who already dance, this is an opportunity to move to a new level. Body movement has its own language. It must be harmonious. Tensions and deep feelings will manifest themselves in movement. This does not depend on the level of training. The technology is interesting and understandable, even for those who came with a zero base it is quite accessible.

from Aliya
Dance movement psychotherapy. Basic course
Review:
I liked everything very much!

from Maria
Dance movement psychotherapy. Basic course.
Review:
The trainer’s professionalism, attentiveness and tactfulness are fascinating and help in uncovering and overcoming mental problems. Thanks, Kate!

from Evgenia
Dance movement psychotherapy. Basic course
Review:
The whole course was very thoughtful, there was a lot of theory and practice. All classes were very gentle. The trainer skillfully conducted all classes.

from Lyudmila
Dance movement psychotherapy. Basic course
Review:
Thank you.
It is difficult to find the way to yourself and not get confused. The path through the body is the surest. Thank you for teaching me how to communicate with him, hear him and always remember that I have it.

If you look at dancing from the point of view of social psychology, dance stores a lot of important and valuable information about a person, about his individual characteristics, about his interaction with the outside world. The individual characteristics of a person can be traced, first of all, in the manner of performance and in the presentation of the dance. This layer of information is perceived and evaluated at an unconscious level. For example, a dance can be, in its initial characteristics, moving, bewitching, dynamic and stunning. However, if it is performed sluggishly, lacking initiative and rather mediocre, then we think that this dancer is not suitable for such a dance, he does not have the characteristics that the situation requires. And vice versa, there are people who manage to “put on” any image that will fit them like a brand. This is the case of a cognitively complex person with a very rich inner world and ideas about it. Individual characteristics of a person, among other things, also include communication abilities. Psychologists identify several ways to study them in a particular person. This can be done with the help of tests aimed at studying the level of communication of an individual in the world around him, you can observe his behavior (for example, in a communication situation), you can conduct an experiment. Or you can just watch how a person dances, moves to music in an informal setting, in a relaxed state at a party or at a mother-in-law’s anniversary celebration, for example. The communication abilities of a beautiful and well-danced person will differ significantly from the communication abilities of someone who stands at the wall, hesitates and does not dare to invite a lady to a slow dance. Dance reveals openness to the outside world, extroverted attitudes in life, and a desire for novelty. But that's not all.
The mood and internal emotional background are also reflected in the dance.
All of the above can be used in assessing a person according to certain parameters, as well as in correction methods, based on the fact that the mental, physical and emotional are three sides of one whole, they are all interconnected. And through one side you can always influence the other two. For example, if you teach a person to dance beautifully and harmoniously (physical aspect), you can increase self-esteem (psychological aspect) and improve your mood (emotional aspect). Art therapy does this successfully. Psychologists are well aware that the emotional coloring of human experiences can be seen in dance as a manifestation of the unconscious. That is, a person expresses his state through dance. As a result, his physical condition changes, adrenaline is released into the blood, fatigue appears in the body and satisfaction and peace in the soul. He is no longer worried about the problematic situation, stress is relieved. The situation is played out on another level, after which the attitude towards it simply changes.
Now let's directly touch on how communication occurs through dance. Dance, as a work of art, consists of three parts. The first part is what we used to call the beginning or introduction. Here the tone for further action is set, and the viewer gradually begins to understand in what manner it will unfold. Already from the first seconds the emotional load of the action is captured. Gradually, the first part gives way to the second, the main one in terms of events and larger in volume. At this stage, the main meaning of the dance becomes clear, the idea “for what the whole idea is for.” The actions unfolding in the second part, as a rule, reach a peak of development, a climax. After which a decline in events or fading begins, which in turn can be smooth and slow, which creates a complete image in memory, or it can be swift and fast, and then it seems to us that the picture has not been brought to its logical conclusion and the last part is missing from it . This scheme of constructing a dance always takes place, be it an eventful action, or simply an outburst of emotions.
However, it is worth noting that dance implies not only the internal experiences of the individual. We can see something more in him. Traditions, attitudes, patterns of behavior, which have evolved over centuries from the collective unconscious, are always captured in folk dances. In modern dance performances, these traditions are not striking, they are somewhat veiled, but there is a huge amount of work, hard physical work and, of course, the spirit of the times. What we are shown on TV (from modern dances) reeks of aggressiveness, impulsiveness, pressure - all this against the backdrop of very fast, rhythmic music. But this does not mean that modern dance images lack plasticity, harmony and consistency. Both occur equally in contemporary art. But when the negativity becomes a little more than usual, it catches your eye. Therefore, we can assume that dance is a reflection of the era in which it is born. The language of dance, like sign language, is universal. Of course, there are certain gestures that are adequately perceived only in the environment where they come from. This can be either age or professional boundaries, as well as ethnic ones. However, there are also gestures that are understandable in any society. For example, a head and shoulders drooping down indicates depression or melancholy and sadness. In any case, a person will immediately understand that someone is feeling bad. Therefore, speaking about the perception of dance, we can talk about the universalism of its language.
In general, any dance image is very expressive and understandable, if not completely, then at least partially, to any person. And we are talking not only about the language of dance, but also about its internal dynamics. Dance is a kind of symbol that carries ideological meaning and important essential characteristics.