Book Description
Dance/movement as active imagination was originated by Jung in 1916. Developed in the 1960s by dance therapy pioneer Mary Whitehouse, it is today both an approach to dance therapy as well as a form of active imagination in analysis. In her delightful book Joan Chodorow provides an introduction to the origins, theory and practice of dance/movement as active imagination.
Beginning with her own story the author shows how dance/ movement is of value to psychotherapy. An historical overview of Jung’s basic concepts is given as well as the most recent depth psychological synthesis of affect theory based on the work of Sylvan Tomkins, Louis Stewart, and others. Finally in discussing the use of dance/movement as active imagination in practice, the movement themes that emerge and the non-verbal expressive aspects of the therapaeutic relationship are described.
Dance/movement as active imagination was originated by Jung in 1916. Developed in the 1960s by dance therapy pioneer Mary Whitehouse, it is today both an approach to dance therapy as well as a form of active imagination in analysis. In her delightful book Joan Chodorow provides an introduction to the origins, theory and practice of dance/movement as active imagination.
Beginning with her own story the author shows how dance/ movement is of value to psychotherapy. An historical overview of Jung’s basic concepts is given as well as the most recent depth psychological synthesis of affect theory based on the work of Sylvan Tomkins, Louis Stewart, and others. Finally in discussing the use of dance/movement as active imagination in practice, the movement themes that emerge and the non-verbal expressive aspects of the therapaeutic relationship are described.
This paper takes a new look at the methods of embodiment for psychotherapy supervision. It makes a rigorous distinction between knowledge derived by language and knowledge derived by the body without the intervention of conscious thought.In an account of a study (Panhofer, 2010) whereby the principal researcher and her co-researchers, all professional practitioners of dance movement psychotherapy, shows the genesis and development of new tools designed to capture the connection between movement and the possibility of “languaging” the embodied experience (Sheets-Johnstone, 2007, p. 1). An unexpected outcome resulted in which the methodology developed for the study proved to be useful for clinical supervision. Of the several different models developed, one, a model for self-supervision, is presented here as a practical example of how to access the knowledge of the body when reflecting on practice day to day. In putting forward implications for practice, the authors suggest that the integration of movement and writing may be beneficial not only for clinical supervision in dance movement psychotherapy, but also for body psychotherapies, arts therapies, and for any verbal approaches of psychotherapy supervision that aim to integrate and explore the embodied experience.► Knowledge can be achieved through the moving body and without the intervention of conscious thought. ► Not all of the embodied experience can or needs to be “languaged” – put into words. ► Movement and writing may be beneficial for clinical supervision in dance movement psychotherapy, as well as for body psychotherapies, arts therapies, and for other verbal approaches of psychotherapy supervision that aim to integrate the embodied experience.
Dance/movement as active imagination was originated by Jung in 1916. Developed in the 1960s by dance therapy pioneer Mary Whitehouse, it is today both an approach to dance therapy as well as a form of active imagination in analysis. In her delightful book Joan Chodorow provides an introduction to the origins, theory and practice of dance/movement as active imagination.
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Dance/movement as active imagination was originated by Jung in 1916. Developed in the 1960s by dance therapy pioneer Mary Whitehouse, it is today both an approach to dance therapy as well as a form of active imagination in analysis. In her delightful book Joan Chodorow provides an introduction to the origins, theory and practice of dance/movement as active imagination.
Beginning with her own story the author shows how dance/ movement is of value to psychotherapy. An historical overview of Jung’s basic concepts is given as well as the most recent depth psychological synthesis of affect theory based on the work of Sylvan Tomkins, Louis Stewart, and others. Finally in discussing the use of dance/movement as active imagination in practice, the movement themes that emerge and the non-verbal expressive aspects of the therapaeutic relationship are described.
…more
This book isn’t an easy read: the autobiographical first section is straightforward and engaging; however, in the second section, when she outlines the theoretical background and underpinnings of her method, it becomes rather heavy going. (The book was based on her dissertation, and it shows here. At least the chapters are fairly concise, but, if you start getting bogged down in this section, skip to the last 4 chapters.) However, in the final section, everything comes together and makes sense: the discussion of the various “movement themes,” what they signify, and where they originate in the mover’s psyche, is clear, understandable, and applicable in practice. For the reader with an academic background in psychology, this is a good introduction to the subject of dance therapy; if you come to the book from a dance perspective, it will increase your understanding of why certain movements are powerfully evocative, and perhaps give you some insight into what your own dance style expresses.
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AbstractDance/movement as active imagination was originated by Jung in 1916. Developed in the 1960s by dance therapy pioneer Mary Whitehouse, it is today both an approach to dance therapy as well as a form of active imagination in analysis. In her delightful book Joan Chodorow provides an introduction to the origins, theory and practice of dance/movement as active imagination. Beginning with her own story the author shows how dance/ movement is of value to psychotherapy. An historical overview of Jung’s basic concepts is given as well as the most recent depth psychological synthesis of affect theory based on the work of Sylvan Tomkins, Louis Stewart, and others. Finally in discussing the use of dance/movement as active imagination in practice, the movement themes that emerge and the non-verbal expressive aspects of the therapaeutic relationship are described
