Dance and Movement Therapy I

Title	% from total grade	Grade
1. Individual work	-	-
In the improvisation part: 1) a personal experience diary, 2) an essay about the evaluation of movement versatility after the analysis of a video material. In the part of DMT history: 1) analysis of 3 research studies in DMT, 2) preparation to test work. In the evaluation part: 1) preparation for the interim test work; 2) the execution of the protocol of one art-based evaluation instrument and the analysis of evaluation results, evaluation of the movement profile of two clients / patients. In order to evaluate the quality of the study course as a whole, the student must fill out the study course evaluation questionnaire on the Student Portal.

Title	% from total grade	Grade
1. Examination	-	-
2. Examination	-	-
In the form of an essay, reflect observations and analysis (using video footage of the seminar) about one's and one group member's movement preferences and characteristics according to certain criteria: Body tension - plasticity (which parts of the body are tense, is there any chronic tension?) Movement Diversity - Movement Stereotypes (Laban Analysis Structure) Movement habits - movements that you prefer that are familiar, known, comfortable Emotional habits (which are the leading emotional moods in your movement style) Contact with your feelings (presence) - spontaneity about yourself Contact with other participants in the group (presence) - spontaneity in relation to others. Include an analysis of the experience gained in movement improvisations in the assessment and analysis of your body's characteristics and movement habits.
3. Examination	-	-
Find and analyze 3 studies in the specialization according to certain criteria: research must have been published within the last 15 years, it can be both quantitative and qualitative, incl. also a case study. Research should be diverse in terms of client / patient diagnoses, ages, work environment and theoretical approach.
4. Examination	-	-
Test - to answer in writing 7 questions about what has been learned in lectures / classes. You can get 2 points for each answered question.
5. Examination	-	-
Active participation in lectures and seminars by asking questions and making references to the read sources. In the improvisation part – keeping of a professional development diary has been commenced and improved, appropriate evaluation of their own and classmate's versatility of movement according to the given criteria (20%). In the part of DMT history – analysis of 3 research studies in DMT; the interim test – successfully written test work on DMT theories (30%). In the evaluation part – a passed interim test – test work, an appropriately completed initial evaluation protocol, including art based assesment for two clients/patients according to the given structure. One case deeper analysis – setting goals and hypothesis (50%). Student in academic control work that test a specific knowledge (a test, for example) can not use artificial intelligence (AI). AI can be used creatively to complement self generated text, for example illustrative images.

Body awareness, grounding, balance, allingment and coordination of the body. Description Annotation: Body awareness, grounding, balance, allingment and coordination of the body. Topics covered during the class: Experiential with body awareness, grounding, balance, allingment and coordination of the body. Literature: Levy, F. J. (1988). Dance/Movement Therapy. A Healing Art. AAHPERD Publications, PO Box 704, Waldorf, MD 20601.

Body awareness, grounding, balance, allingment and coordination of the body. Description Annotation: Body awareness, grounding, balance, allingment and coordination of the body. Topics covered during the class: Experiential with body awareness, grounding, balance, allingment and coordination of the body. Literature: Levy, F. J. (1988). Dance/Movement Therapy. A Healing Art. AAHPERD Publications, PO Box 704, Waldorf, MD 20601.

Movement categories. Description Topics covered during the class: Experience with movement qualities and effort categories - space, time, flow, weight.

Movement in space, planes, qualities of effort.

Dance and movement functions. Description Literature: Karkou, V., Oliver, S., & Lycouris, S. (Eds.). (2017). The Oxford Handbook of Dance and Wellbeing. Oxford University Press.

Dance as communication, expression, ritual.

Variability of language of dance. Description Literature: Karkou, V., Oliver, S., & Lycouris, S. (Eds.). (2017). The Oxford Handbook of Dance and Wellbeing. Oxford University Press.

Variability of movements and rhythms, development of movement vocabulary.

Basics of contactimprovisation. Description Literature: Karkou, V., Oliver, S., & Lycouris, S. (Eds.). (2017). The Oxford Handbook of Dance and Wellbeing. Oxford University Press.

Improvisation – work individually, in pairs, in group.

Movement as comunication in DMT. Description Literature: Karkou, V., Oliver, S., & Lycouris, S. (Eds.). (2017). The Oxford Handbook of Dance and Wellbeing. Oxford University Press.

Attunement, mirroring, expanding.

DMT pioneers – Marion Chase, interpersonal approach. Description Literature: Karkou, V., Sanderson, P. (2006). Arts Therapies: A Research-based Map of the Field. Edinburgh: Elsevier.

Marion Chase interpersonal approach – four basic principles.

Analytic and psycho-dynamic approach in DMT – Mary Whitehouse, Trudi Schoop, Liljan Espenak.

Analytic and psychodynamic approach in DMT – authentic movement, movement in depth.

Art-based approaches and development approaches in DMT – Rudolf Laban, Judith Kestenberg. Description Literature: Davies, E. (2007). Beyond dance: Laban's legacy of movement analysis. Routledge.

Art based approaches in DMT – LMA, KMP.

Principles of developmental approach – feeling good in their own body and in relationships with others.

Developmental approach in DMT – Veronica Sherborn, Judith Kestenberg. Description Literature: Hastie, S. C. (2006). The Kestenberg movement profile. Creative arts therapies manual: A guide to the history, theoretical approaches, assessment, and work with special populations of art, play, dance, music, drama, and poetry therapies, 121-132.

Integrative eclectic approach.

Integrative eclectic approach – creative process cycle. Description Literature: Mihailova, S. (2014). Dance movement therapy in Latvia. Rīga: Drukātava.

Development of DMT in Latvia in context of European DMT development. Description Literature: Mihailova, S. (2014). Dance movement therapy in Latvia. Rīga: Drukātava.

Presentations about comparison of DMT approaches.

Assessment and evaluation in DMT: traditions, experience, definitions. Aims of assessment and evaluation in biopsychosocial context of DMT. Types of evaluation. Description Literature: Davies, D. (2006) Beyond Dance. Laban's Legacy of Movement Analysis. New York: Routledge.

Laban's movement analysis: effort, body, space, and shape. Description Literature: Ciane, F. (2015). The moving researcher : Laban/Bartenieff movement analysis in performing arts education and creative arts therapies. Jessica Kingsley Publishers

Laban's movement analysis: the basic categories: body, space, shape, effort. Description Literature: White, E. (2009). Laban’s Movement Theories. A Dance/Movement Therapist’s Perspective.’. The Art and Science of Dance Movement Therapy. Life is Dance. New York: Routledge.

LMA – effort qualities, states and drives. Description Literature: White, E. (2009). Laban’s Movement Theories. A Dance/Movement Therapist’s Perspective.’. The Art and Science of Dance Movement Therapy. Life is Dance. New York: Routledge.

Bartenieff's fundamentals – main categories. Description Literature: Hackney, P (1998). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Amsterdam: Gordon & Breach.

Bartenieff's fundamentals – stages and their manifestation in movements.

Kestenberg's movement profile. Description Literature: Hastie, S. C. (2006). The Kestenberg movement profile. Creative arts therapies manual: A guide to the history, theoretical approaches, assessment, and work with special populations of art, play, dance, music, drama, and poetry therapies, 121-132.

Kestenbergs movement profile – tension flow; movement experiential.

Expressive therapies continuum. Description Literature: Vende, K., Orinska, S., Majore-Dūšele, I., & Upmale, A. (2015). DANCE AND MOVEMENT THERAPY FOR PATIENTS WITH EATING DISORDERS: MODEL OF EXPRESSIVE THERAPIES CONTINUUM. Creative Arts Therapies and Clients with Eating Disorders, 241.

Expressive therapies continuum – exploration of movement and methods.

Assessment and evaluation protocols. Ethical considerations.

Movement observation systems in context with client/patient needs.