Dancing from a psychological point of view. Psychological foundations of dance

Human life is filled with movements: often we don’t even realize how many of them we make in a day and that each has its own meaning. From birth, a person does not have the developed ability to speak, and therefore he can express his desires and feelings only through actions. But speech is not always able to accurately and quickly convey a person’s state: sudden joy makes you throw up your hands, sometimes it’s easier to nod in agreement, and sharp pain involuntarily forces you to shrink. In the animal world, all information is transmitted through the body: dissatisfied cats arch their backs, joyful dogs wag their tails, and an impatient horse kicks its hoof. That is, movements, in addition to the main function of maintaining physical condition, carry communicative function.

In addition to communicating with a visible interlocutor, movements were (and in some tribes are still used) to communicate with spirits, which developed into ritual dances. A certain set of movements, visualizing words, accompanied ceremonial events, made it possible to establish a connection with God and ask for favor, harvest, rain, etc. Over time, the dance from the intuitive acquired a standardized form and has the form that we know today. The dance industry is constantly evolving, new directions are emerging. However, they all have a single goal - to convey in movement their experiences, their state, and tell a story.

Dance in a broad sense consists of three aspects:

• emotional - those feelings that dance evokes in the performer and spectators;
• physical - human data;
• psychological - self-esteem, which affects openness in dance.

All three parameters are closely related to each other, and the degree of development of these aspects affects the quality of the dance. Psychologists use this feature in their work: a person’s personality traits are revealed through dance in informal conditions.

Communication abilities can be traced in a person’s involvement in dance: a sociable and confident person is more likely to become the “king of the dance floor” than an introverted and shy person. By the choice of musical accompaniment, by the nature of movements, one can determine the emotional state: happiness, sadness, love, anxiety. Sharp movements characterize brighter feelings, smooth ones – deeper ones. The richer the inner world of a person, the more filled it is, the more diverse the movements will be, the greater the number of styles will be available.

Dance can be used not only in diagnostics, but also in correctional activities. So, for example, by teaching a person to dance beautifully (i.e. developing the physical aspect), you can raise his self-esteem (psychological aspect) and thereby improve his overall emotional background. You can develop communication skills in pairs or group dances: there partners learn to feel each other, to successfully interact, which can later be transferred to other areas of life.

The ideas of holistic development of man and his movements underlie developmental dance. Body, emotions, consciousness and spirituality - everything in a person is interconnected, and when one aspect is influenced, all the others are affected. Developmental dance is based on 2 main directions:

• creative dance, using motor activity to reveal expressive and creative abilities;
• development movement, which reveals unused motor and psychological potential hidden behind gaps in the path of motor development of a person.

The result of work in this direction is development of body awareness, which makes it possible to express one’s state (physical, emotional, cognitive) through expressive movement and dance.

Dance is a unique phenomenon that allows us to express thoughts and feelings that are sometimes difficult to translate into words. Dancing is a great way to maintain physical fitness. By developing the sensitivity of one's own body, a person develops the ability to understand himself, which leads to a harmonious life.

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.

Year of publication and journal number:

Dance movement therapy (DMT) is a field of psychotherapy. As a separate direction, it took shape around the 50-70s of the twentieth century, first in the USA, and then in the 60-80s in Great Britain, Germany and Israel. In the 80-90s, TDT was developed in other countries of Europe, Asia, Australia and Russia. The official year of birth of TDT in Russia can be considered 1995, when the Association of Dance and Movement Therapy (ADMT) was created in Moscow. It is clear that unofficially everything began much earlier.

TDT is an interdisciplinary field; it exists at the intersection of psychotherapy and dance art. In addition, it is closely related to many other areas of knowledge. Among them: anatomy, physiology, psychophysiology, kinesiology, neuropsychology, a variety of theories of movement and dance, psychology, etc. - i.e. almost everything that can be attributed to the areas of knowledge about the body, movement, dance, psyche, the creative process and creative expression.

MAIN SOURCES OF TDT

It is impossible to understand the essence of SDT without referring to the main sources that feed it as a separate school of psychotherapy. In this regard, four historical aspects should be highlighted:

1. The first is the development of science, and primarily of psychoanalytic schools associated with the discovery Z. Freud mental reality and consideration of the psyche as the dynamics of conscious and unconscious processes in human ontogenesis. S. Freud gave impetus to the development of depth psychology, where three main schools can be distinguished:
- Psychoanalysis by Z. Freud;
- Individual psychology by A. Adler;
- Analytical psychology of K. G. Jung.

By the 40-50s, psychoanalytic trends had become quite strong in psychotherapy as an alternative to traditional hypnosis. Many other schools emerged that either refuted or developed these basic theories and practices - thus making invaluable contributions to the general understanding of psychological laws.

TDT was born, already relying on traditions and new psychotherapeutic schools and directions. Dance therapists (depending on their inclinations and general psychotherapeutic training and experience) could use the universal language of movement to relate and contrast their practice with any psychological concepts. TDT is a kind of meta-level that can draw parallels and combine knowledge, experience and concepts of various psychotherapeutic directions. At the same time, TDT develops its theory based on the idea of ​​psychosomatic unity.

2. The beginning of the century became the era of modernity in art: new forms, new principles were tried. The dance also went beyond the usual. Isadora Duncan is one of the most famous dance innovators in Russia. She was unique as a performer and expressed exactly those ideas that were the banner of modernist art. She did not create her own school. The foundation of new dance forms and dance pedagogy is associated with other names. And first of all, it is worth highlighting the Austrian dancer, choreographer and philosopher Rudolf von Laban. He was an outstanding teacher and theorist of movement and dance. It was R. Laban who put into practice the principle of the value of individual expression in dance. Having abandoned the usual ballet training, he developed his own approach to teaching and staging movement techniques, which made it possible to maximize the individual expression of each dancer. In addition, he created a system for recording and describing any human movement (like notes for recording music), which is currently the theoretical basis and method of analysis and diagnosis in TDT. His teachings in the 60-70s were developed by Irmgard Bartenieff, who developed a special system of exercises ("Basics of Bartenieff") harmonizing movement and teaching the correct and economical use of the body in movement. Currently, Laban analysis and Bartenieff Basics are an integral part of the TDT methodology, as well as its separate direction.

German dancer and choreographer Mary Wigman became the founder of dance expressionism. She was most interested in human affects. Emotional experience gave birth to bodily form and determined the quality of movement. In ballet, on the contrary, a set of certain forms serves to express different contents. Mary Wigman brought improvisation to dance pedagogy and choreography.

Dance improvisation is methods of spontaneous movement. When a person moves spontaneously, he expresses himself very accurately and honestly: in spontaneous movement, unconscious aspects of the personality can materialize. The unconscious can become visible, take shape, thus a person is able to reconnect with lost parts of himself, his psychological resources. And if you realize this, then the opportunity opens up for self-knowledge and gaining greater personal integrity and integration - and this is the main part and goal of the psychotherapeutic process. Those. it turned out that improvisation itself confronted dancers and teachers with the healing power of dance.

It is no coincidence that all the first dance therapists were students of R. Laban and M. Wigman or their followers.

For example, Marian Chace had her own studio. And gradually her interest shifted more and more from performing arts to the process of exploring individuality in dance improvisation. She saw her students open up and change as individuals, becoming more whole, more themselves. There is a legend that among her students there were people who were simultaneously in psychotherapy. And psychotherapists paid attention to the improvement in the condition of their patients, which was associated with classes with M. Chase. Gradually, some psychotherapists began to refer their patients to dance improvisation classes at her studio. And in 1946, Marian Chase was officially invited to work at the psychiatric hospital. St. Elizabeth in Washington, DC, where her method was born in close collaboration with psychiatrists. Probably, this date can be considered the birthday of TDT. It should be mentioned that this clinic is one of the most advanced psychiatric hospitals in the United States. She is known for her humanistic approach to psychiatry and remains an innovator in the use of creative expression therapies in psychiatric treatment to this day. Other pioneers of TDT include Trudy Shoop, Mary Whitehouse, and Lilian Espenak.

3. It is worth mentioning separately about Wilhelm Reich and his teaching about muscular-emotional blocks and characteristic armor. He was one of the most talented students of S. Freud, who was the first among analysts to pay attention not only to What says the patient, but above all, How He says. Reich believed that unexpressed emotional experiences do not disappear, but remain in the muscles and are “stuck” there in the form of muscle blocks. Emotions in the form of muscle clamps, remaining unexpressed and unconscious in the body for years, form a muscular armor, or characteristic armor, which reflects the methods of psychological defenses (often pathogenic) and the character structure formed under their influence.

V. Reich, being an analyst, proposed not just verbal analysis, he directly influenced muscle blocks in order to release them and the emotions hidden in them and, on this basis, analyze situations, relationships with people who caused these feelings and experiences.

TDT refers to this understanding of psychosomatic mechanisms, formulated by W. Reich, but practically does not use his methods of work.

4. It is impossible not to mention the original purpose of dance, which has been completely lost in modern civilization, and the ancient healing practices where dance was an integral attribute.

Even before the advent of language, primitive people used movement and gestures as a means of communication. And in the first human communities, dance was one of the main components of community life: both an individual way of expression (fear, sadness, joy, etc.) and a way of transmitting cultural heritage. Until now, in Aboriginal tribes, instead of the question: “What tribe are you from?” They ask: “What dance are you doing?”

The dance accompanied all rituals (birth, wedding, death, etc.), all holidays and celebrations, events of everyday life (hunting, fishing, etc.), military campaigns. It was in dance that a person conveyed his attitude towards the unknown and unknown, towards nature, and expressed his connection with the Universe and with gods and spirits. Dance served as a means of spiritual and healing practice. And the basis of this is not an aesthetic form, but an expression of the Innermost in a person.

And TDT, after many, many centuries of treating dance as an elite art form, returns it to its original meaning: no matter How you move, it's important What you sense, feel and think, what matters is what you express with your dance. After all, the body is the only thing in a person that does not lie and can help him reveal and express himself in all his fullness and truth.

Abraham Maslow said that "...just as man has instinctual needs that are part of his biological nature, he also has higher needs, such as the need to be significant, the need for esteem and the need for freedom of expression." If we translate this into the language of dance therapy, this is a need be visible, which is only possible in motion.

So, to summarize the above, dance therapists turn to the healing power of dance, to the power of creative expression in movement, and also use the achievements of modern dance pedagogy and turn to movement research and the experience of various psychotherapeutic schools (primarily psychodynamic, existential, humanistic and transpersonal) .

BASIC PRINCIPLES AND OBJECTIVES OF TDT

1. The body and psyche are inseparably connected and have a constant mutual influence on each other. For a dance therapist, it is an axiom that the body is a mirror of the soul, and movement is an expression of the human “I”. By making the body more flexible, we make the soul more flexible, and vice versa.

Therefore, the goal of therapy is to achieve self-awareness by exploring the body's reactions and actions.

2. Dance is communication, which is carried out on three levels: with oneself, with other people and with the world.

Thus, the task will be to create a safe space, a therapeutic relationship, so that by analyzing the relationship with the therapist and/or with other people, if this is group work, the person can find more effective ways of interacting in his environment.

3. Holistic principle, i.e. the principle of integrity, where the triad of thoughts-feelings-behavior is considered as a single whole and changes in one aspect entail changes in the other two.

The task is to find a way to match thoughts, feelings and actions. Often a person thinks one thing, feels another, and does a third, which is a reflection of some kind of internal conflict. It explores how thought, feeling and movement can express one content, and also analyzes what in personal history led to such division within, i.e. to loss of internal integrity.

4. The body is perceived as a process, and not as an object, object or subject. The word “process” emphasizes that we are not dealing with something given, static, but with something constantly changing. The essence of such a process is best reflected by one of the principles of Tao: the ability to see statics in movement and movement in statics.

We have learned to control the body, give it certain forms, appearance, restrain it and think that it will remain unresponsive and will not give any feedback. And then inexplicable symptoms and pain arise, a constantly felt tension in the body appears, stiffness appears, and the range of movement becomes more and more limited.

Task: following a person’s process (one might say, his psychosomatic Tao), the dance therapist helps to release and reveal the information that underlies symptoms, pain, various kinds of bodily discomfort and restrictions in movement - a person learns to understand the language of his body and thus restores dialogue with yourself. This work also develops the ability to use movement and dance to express a full range of feelings and to find constructive ways of dealing with one's feelings without denial and suppression (which would be destructive to psychological health).

5. Appeal to human creative resources as an inexhaustible source of vitality and creative energy.

Objective: development of self-esteem, self-acceptance and deep trust in oneself and in the life process, development of constant contact with one’s life resources. Here TDT addresses creative dance directly: these are moments of exploration and expression of emotional material (dreams, fantasies, memories) through symbolic movement.

WHO SEEKS A DANCE THERAPIST?

These are primarily people (sometimes called kinesthetics), for whom movement is a way of processing information. To fully understand something, they need to feel it in the body and find expression for it in movement. For them, movement is a way of self-expression, self-knowledge and development.

These can also be people of a different type (you can distinguish the auditory or visual type), who at a certain stage of their lives began to understand that in order to solve their problem, they need to turn to their body, learn to understand its language and enter into communication with it. dialogue.

What they can all have in common is that at a certain moment these people may feel that they are not whole, that they have lost contact with themselves or would like to change the quality of this contact. Psychologically, loss of contact with oneself is identical to loss of contact with the body.

WHAT CAUSES LOSS OF CONTACT WITH THE BODY?

Stromstad answers this question as follows:

Any kind of physical, emotional and/or psychological abuse.

Early childhood illnesses, difficult childbirth, birth defects, body injuries received at a very early stage of life.

Other injuries to the body, including accidents and surgery.

Poor early object relations, where the “mirroring” by parents, so necessary for the child to develop a healthy sense of self, was inadequate.

Inappropriate or violated boundaries in interpersonal relationships of family members.

The feeling of shame and criticism that parents project onto the child (when adults are not at peace with their bodies). These feelings may also be caused by a rejecting or intruding parent.

Early abandonment or neglect of a child. The child's feeling that his body or the quality of his life does not correspond to the cultural ideal or family pattern-style.

Religious devaluation of sensuality, needs and the role of the body as the most important basis of our perception, point of view and access to the world of sensations.

Surviving disasters such as the Holocaust, natural disasters, wars. (see T.Stromsted "Re-inhabiting the female body" / Somatics(r). 1994-1995. V.10. N1. P.18-27.)

So, TDT is a huge area. There are no age or nosology restrictions for TDT. The only limitation is the limitations of the dance therapists themselves (depending on their specialization).

In Russia, TDT initially developed as a type of personal growth group for adults. Now the range of its application has expanded significantly. There is group and individual work with children and adults, with the help of which you can solve your personal problems related to relationships with other people, anxieties and fears, crisis life situations, loss of meaning in life, and misunderstanding of yourself. There is also family TDT, where family problems can be solved; There are children's groups for preschoolers and schoolchildren that develop the child's creative abilities and communication skills, helping them prepare and adapt to school. There are unique programs for children (child-parent groups) that correct the disharmonious development of the child (such as mental retardation, minimal brain dysfunction, etc.); We work in groups and individually with people suffering from eating disorders (anorexia, bulimia, compulsive overeating - classification according to DSM IV-R); with psychogenically caused bodily symptoms and other psychosomatic disorders. TDT is used as a way to prepare couples for parenthood before childbirth, as well as for postpartum support - special groups for babies from 0 to 3 years old and their mothers.

Work with people suffering from post-traumatic disorders, disabled children, and refugees is beginning to develop.

TDT in Russia is still a very new specialization. The Association of Dance Therapy (ADT) is gradually taking steps to develop the profession with the support of the American Dance Therapy Association (ADTA), the European Working Group on the Professional Development of DDT (a board of directors of 12 training programs in DDT in Europe) and the International Association for Creative Expression Therapies (IEATA). ). Since 1995, there has been a 4-year training program in TDT in Moscow. In 1999, a TDT specialization was opened at the Institute of Practical Psychology and Psychoanalysis.

Notes

Bartenieff Fundamentals(tm)

A. Maslow. The reaches of human nature. N-Y., 1972.

T. Stromsted. Re-inhabiting the female body. /Somatics. 1994-1995. V.10. No. 1. p. 18-27.

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.