HILDA WENGROWER DANCE THEN AND NOW: In history and in the individual ‘Why dance in therapy? Every epoch that has understood the human body and experienced at least some sense of is mystery its resources, ts limits, its combinations of energy and sensibility has cultivated and revered dance. (Paul Valery, 1964: 197) Introduction ‘This paper focuses on Dance as or for therspy. It does so by bringing syntheses af: 1. Major historical conceptualizations of Dance. 2. Changes in this artform leading to contemporary Dance Movement Therapy. Analysis of some of Dances intrinsically therapeutic characteristics ‘The epistemological approach used here is the social constructionist, This considers that concepts are built through complex processes of social-cultural-hstorical ‘character as well as through discourse. For the seke of easy reading I will use the acronym of DMT for Dance Movement Therapy and dat when referring to therapists From the earliest times Dance has been equated with healing. The earliest sprouts of contemporary discipline of Dance Movement Therapy appeszed in the ance studios during the frst half of the 20 century, From there it went on to ‘other institutions offering psychotherapy and rebabilitaion, As M, Chace stated: “InJune of 1942 Tstarted at Saint Elizabeth's Hospital with a dance program. We ‘stil did not call it dance therapy. We spoke oft only as dance for communication”. (Chaiklin, 1975: 12). DMT continues to develop and gain respect as a serious discipline Every human phenomenon unfolds due to multi layered causes. Concurrently with these beginnings there were social changes that contributed tothe maturation of this profession. Socio-economic and cultural processes at the beginning of the twentieth century, including the gradual loss of supremacy of the Cartesian paradigm with its pre-eminence of mind, were playing a role. The emergence of modern dance, paralleling new psycho-dynamic theories, also played their roles in “the rise of DMT as a profession. ‘Today, new research in neurology, in cognition, developmental psychology, epistemology, and other disciplines contiaue to validate the importance of Dance snd Movement in human development, communication and therapy. ‘Movement plays a great role in developing language. Thoughts are constituted by using body-movement metaphors, body shapes and movements influence thoughts and language. They even have a besring on our ability to conceptualize and categorize (Lakoff and Johnson, 1980, 1999). The gestures which accompany 100 DANCE THEN AND NOW i speech become anintegral prt of our cognitive processes (McNeil, 2006)Fhereisa delicate interweaving between emotions, motor activity, perception and motivation (Shahar Levy, 2008) and well as between metephors, their motor exploration and ‘therapy (Dascal, 2008). Dance is an art that serves to integrate the physiological, cognitive, emotion, socio-cultural aspects of human beings. For all these reasons itis very suitable asa medium for reaching the person in need of therapy. Some words and thoughts about dance ‘Therapists, clients end the general public entertain certain questions about dance: hatisit, when do we dence, what for? Such conceptions ere culturally constructed. ‘They have ther origins in the long past of Bumity and they continue to change. Popular ideas about dance ae also embedded in certain traits ofthis art. As dts ve recognize thet one of our tools isthe great wealth of dance sples and genres, their features and mesnings, which are thee for sto call on ‘When a patient asks me fo help her to dance in ballet style, Lam led to wonder ‘whether is she searching for lightness, feling ethereal, perhaps seeking to fulfill a it's dream, or maybe all ofthese simultaneously? ‘Which image arses in the reader withthe word dance? Ballet, modera, post modern or contemporary, folk, social dancing (including al fashions of disco, techno, rap, et. or one of them in particular, the ballroom, cba, ethni, tango, an explosive jump of joy? Consequently, itis helpfl to define dance and to be dodymind acquainted vith ite history, aesthetic quolies, and styles, These will guide and enrich our therapeutic interventions and we will more easily engage the patient in his/her movement. Defining Dance has been a dificult task For decades, perhaps di to lack of reflection about it as an art (Sparshott, 1988), or perhaps due to its diverse, ubiquitous and universal manifestations in daily life and onstage, Dance as such «scaped formal definition. Paradoxically these characteristics are partof the factors contributing tothe establishment ofthis profession. Of course definitions of Dance can be found, many them are dependent on their time and culture. shall borrow Birringer's statement, and addtoitbetween square brackets ‘is. danoe... something that moves us and creates meaning [in cognitive level or in the emotional and sensorial] through complex transitory phenomena ‘of moversent quality, energy [spec], and composition embodied in dancers who act outa score and articulate the story they tel [which not always may be translated into words)" (Birringer, 2005: 13) Lv delete the mention of an ated ou core, the ret mae related to dance in therapy. ‘Another proposal of definition, specifically oriented to our subject is: ‘By dance we mean body movement in its broadest sense, from a simple _gesture to one implying the total use of self. It lasts over time, for either short or long intervals, and may or may not involve a certain rhythr. Ii may require 4 large space or only shat which the body fills. Ire always moveriens donem HILDA WENGROWER 43:4 person responding to internal sensations or to the perceptiog of extersal simul’. (Cheiblin and Wengrower, 2009) ‘Sondra Fraleigh goes back to her experience es dancer and chooses to ask: wien is dance happening? “When I dance, Iam subtly attuned to my body and my motion ja a totally ifferent way than 1 ordinarily am in my everyday actions. That i, I seldom take notice of my ordinary comings and goings [, ..| But, when I dance, 1 ‘am acutely aware of my movement. I study it, try out new moves, study and perfec them, until T eventually urn my attention to their subtieties of feeling ‘nd meaning. Finally, Ifeel free in them. In other words, lembody the motion [.. J And in this, experience what I would like to call ‘pure presence’, @ radiant power of feeling completely present to myself and connected to the world...) These ate those moments when our intentions towards the dance are realized.” (Fuaeigh, 1998: 140-141, my italics) Fraleigh’s description is so close to the ultimate therapeutic goal or the vital aim for everybody... Certainly in many eases, our endeavor as therapist isto stir up this desire im our paients, ‘Many scholars have argued that dance isthe eatiest artistic form in cute; as Lacian in the 2* century (163 A.D.), Before him, Plato included itin the education {the young. Dance and music were considered as the first arts in human life by ‘many philosophers and poets, Research proves this, at wll be shown below. | shal bring some ofthe ideas elaborated during various epochs which I consider offer implicetions for therapy. There are others that serve as building blocks of our ‘own culture (Ley, 2003) and so play azole in how people (patients, their families and we ourselves) approach Dance. As DMTS using this artistic medium, knowledge is necessary of cultural ‘preconceptions as wll as personel experience with movement and psychotherapy. There are cultures in which dance is associated exclusively with joy and collective expression in which people might feel in danger of contravening an important norm ‘when using dance as an expression of sadness, When a client told me he could not enter the studio because he doesn't fee! like dancing, Iwas able to explain to him that dance can express different kinds of feelings. In a training situation, I once alluded to & dialogue in Kazantzaki's Zorbe the Greek. Zorba says that when his three year old son died, he went out ofthe house to the courtyard and danced in ‘order to avoid going crazy. For more about dance, DMT and culture, see Chang, (2008), Hanna (1995, 2006). Another possible reason for avoiding dace in gloumny _Aeelings might be its association with vitality During history there have been various discussions emphasizing one aspect of ance over others. These discussions can be organized in polarities: sacred vs. profane or vicious; mimesis vs. pure movement; for enlightenment of the spirit or {for amusement, catharsis, ete. This paper will consider some of these issues, DANCE THEN AND Now 103 Narrative or movement (Over the centuries there has been & seesaw in the promineace gh dence on the one hand or to pure movement on the other. Aristotle in his stated that dance imitates charscter, emotion and action by rhythmical moventent, ‘This statement influenced much of the Western development of our art, with the term of imitation receiving diverse interpretations. During neo-clasecism especially there were very limited attitudes often produced by misunderstanding of the original Greek text. Another aspect of this assertion was that it placed dance closer to literature, stressing narretive over the kinesthetic manifestation of the performer and is impact onthe viewer (Halliwell 1990) In 1830, during the ‘Romantic era, the appreciation of abstract movement in dance began to flourish, being regarded asthe expression of the soul Cultures also differ in the accent they place either on narrative or pase movement in dance, and the structuring or improvisation allowed (Capello, 2007, Carter, 2000; Hanna, 1995). These wil give different forms ta the exptession ofthe elient in DMT, and itis something of which tobe aware. Note too thet children aged 511 are prone to create narrative dance. For Langer (1953) every dance motion is [expressive] gesture, Even in those much codified, there is always a personal manifestation because everybody moves in a ‘unique way. She mentions the work of Laben, who created a system of mevesent observation and analysis that enables us to detect and identify those personal differences which actually produce expression and uniqueness. For Langer the most substantial aspect of dance resides in it being a virtual realm of power smagaetian between dancers, and/or between them and the spectator, a subjective experience of will and volition, of vital power. feel certain that many of my readers have Zlt this magnetism while dancing in a circle, with another person. ‘Many poets, dancers, philosophers, et., who have written about dance, allude to ‘the experience of vitality while dancing or watching others doing it, feeling which surpasses the issue of mere mimesis, to narrative “Poetics” "We go to see dance because we love movement and enjoy dancing ourselves asit isa vital part of our... culture, and perhaps the oldest sense we have of feeling alive im our bodies”. (Bictinger, 2005: 10, my italics) Lucian of Samosate ‘Regarding the importance of movement itself, we shall go back again in time, In his defense of dance, Lucian of Samosata (163 A.D) spoke for is unique beneticial characteristics. Although be refers to pantomime that goa ply performed ie his time, many of his commentaries allude to dance in liter situations. (Rodrigues Valls, 2006). Some of his statements are easily connected to the practice of DMT. ‘They will be presented followed by their connections with DMT. 1) Dance helps people control their activity by means of rhythes, which acts as {experiential law. He offers the example of soldiers training that includes lesrning to march, because by this they subdue (end on the other hand induce) force and violence in order to ule. ‘Rhythm is stressed with patients who need a clear structure and organization Like soldiers they leam to control their movements while obeying the ziythaaws HILDA WENGROWER Eiyee Schott Blmann (2000) in the DMT modality called Pini Expression “ute £0 percussion end rhythm, as Lav. Chace often enplayed the mesd “frie” dance when sefering othe ancient use of shythm (Coals 1975: 68) im appears earlier than the use of space. Before he is & year old, the baby will gladly move to beat J he feeling and evareness of subjectivity can be developed crough body ssandrituslisticdancing (See also Wosien, dei. |2 DMP we have countess examples about this process, erecaly due ce fe techniques of empathic miroring and attunement (Wengnomes 20038), JD) Compared to actor’ work, the dancer achieves maximal im eration of body andmind Referring to professional dance, Lucan meant pantomires ie a pee, ing, The dancing would be very moving wh ‘movement and mastery of expression DMT is used with patients in order to foster body awareness, bodymind ‘nteeration, to facilitate expression (psychotics, autistic spectrum, or to Belp ther Teeulate their emotions and actions as is done in prisons, for the treatment of Wielence (Asensio and Alfaro, 2008; Milliken, 2002)* ‘t IV) Through dance the body transforms itself into symbol, DMT relates not Gn} tothe body lived through the senses including the Kinesthete, enteroceptive and proprioceptive, but tothe symbolic and metaphoric body a5 wal ‘The body is much more th symbolic significance tories of relationships and 1979, 1989) Fairy tales or strong emotions Another axis arounil which dance developed, is whether itis for amusement or for janmiual and emotionally deep experience. Since Baroque times, performance dance in the Western world has dealt with fairy or princess sti, or fe “peo: Sted Political pover, and was a minor art compared to ethers (Hemiphrey 2752: Spershot, 2988). There were beginnings of change with Romantic Balla akter the American and French revolutions, This status changed in particular with ser tent ofTsedora Duncan (i878-1977) She could be labeled ¢ revolutionary if Wie field although there are antecedents in the work of Georges ovens 2727-1810) and Frangois Desert (1811-1881). All of them claimed expronton cf ‘eelings, natural movements and lighter clothing for the dancers, Isadors exiled for Ganee asa personal expression of erntions and freedom of spirit At practically bails 9 say eeebion Sictuitint, i DANCE THEN AND Now 1s the saine time, Ruth St, Denis used ritual and religious da cultures, Iti t be noted that one ofthe DMT pioneers, Marian Chace daneas the Denishawn Company in the early 1920', Slow, the scope of emotions, themes and characters to be presented and fepresented on stage was broadened. There was an expeusion of the sees ‘ocabulay, witha shiftin the emphasis from technique to expression For Martha Graham, dance was “a revelation of experience, regerdless of how lumplesant the result might be" (Cobea, 1986 19), Modern dance considered ane Grotions are expressed through movement, especialy when arises spontaneous Mech improvisation (Martin 1986). Contemporary to St. Dens in Gensasy, Mary Wigmas, the foremost figure in Expressionist dance, moved nithost mac. tothe chythm of a drum emphasizing the pain of life as welts glory. She woekea With Rudolph Laban, whose theories of movement as a way of harmoniing the of being, and whose system of movement observation are bedvook ji tories of Freud became a source of inspiration for artists ofall media, including dancers and choreographers. They transformed form and ponte Zhurepersonal and interpersonal conflict, Greek tragedy, contracted movtmenn, performers crawling twisted, began to be seen, replacing the floating, sthereg dancers ofthe ballet. ion, Hike automatism in painting, was also a consequence of Ik blends features that allow for emotional, coguitive end mation. It is based on spontaneous acting thet ath for the unconscious, By reducing tion from usual meanings and responses, Ff guances examining something rom diferent aspects and offers oppor owtics expetiential innovation or transfor s¥ehodynamically is understood as including the physical, conceptual and entoticn 2000; 182; Wengrower, 20098). Chace, Whitehouse and later other dancers, took these changes in the dance xr fhente and created dance-for-herapy. Etery movement is Welcomed, evry emotion is accepted. The boundaries are thote established by the setting and he Potsibiltes of transformation within the art or the speci Dance as an art of time . Rhother characteristic of dance which is sigitican for tepepy, lies in ts being a emporal art. Movements and body shapes are performed afd gone instantly, ‘the {evelopment over the whole length of a dance is based mostly on unite of ou, aesthetic time patern in other words, their duration, repetitions, imlarticn ” (Nadel and Strauss, 2003: 272). nike authors deconstruct the word performing in an enlightening way. Pig pees per means through, allover, by means andduring:tsignities actions ding {ime. Form sa structure or outline of something, i. a figure or embodiment tee Suffix ing is the progressive course of an action,105 HILDA WENGROWER intersubjective development andthe qualities of dance as emporal art Manyresearchersofearly human developmentagreethatithassimtsreharacteristics tothe temporal srs, with qualities that continue troughout fe, Teva then (1982) states that dance and singing are excellent channels for expressing felings and ‘moods, This would seem tobe in contrast to language Which degeribes events and identies of objects, gives details of concrete activites and interpersonel relations Dissanayake (2001) and Stern (1985, 2004) deseribe ean human interactions a6 performances in which sound facial gesture and movement create communication and attachment. Stera sees in language soquison both progress and loss of the richness of nonverbol qualities and suites, Researcher Eepagol (2005) acct that che language of dance allows talking sbout these eatly interactions without loosing their enchantment. Sbe even considers thatthe pleasure experienced by the baby in these interactions is the precusr of aesthetic contemplation. The exchanges between babies and caregivers are movement sequences with gestures, dynamics, direction of gaze, eychrony,aterastion, reciprocity; all elements sad staracterstis of dance. Trevarthen assumes tht the ability to stapathize is related {0 the rhythmic sensibility of the child, which enables him to grasp the other's emotions. (1999/2000), Stern depicts the ways the first imterpersonal relationships take form: through {imitation and through attunement, The later consists ofa spontaneous selection made bythe adult ofsome characteristics of the infant's motor expression mazifes the intention and effort to get tothe emotional care ofthe baby's state in 2 given ‘Graoment, Motor labeling isthe verbel description the adult makes f the childs ‘movement. Both imitation and attunement convey shated affective states. ‘The internal states shazed may be one of two types of afecs: distinct feelings (oy. fear, sadness, anger, et) and affects of vitality, the latter being a less Enowa category ‘or concept. Affects of vitality materialize through “dynamic, kinetic terms’, and are closely connected to basic functions and behaviors, such as the ‘ay the person breathes, gets hungry, falls asleep, or wakes up, and the flow and intensity of his emotions (Stern, 1965: 54), Internal sates can also be seen in the ‘way in which functional as wll asexpresive bebaviorsare performed: embracing (cudidenls, strong, et), the mode of walking picking up the telephone, and so om, This notion will let ws enrich the concepts and vocabulery, often impoverished ‘that we apply to nonverbal experience’ (Op. et. $4) Dance movement therapists willremember ouraystms of movement observation, Laban Movement Analysis (LMA) and Kestenberg Movement Profile (KMD) (omen and Sossin, 2009; White, 2003) which focus cirecty on this, ie. the quality Of the gesture or action, more than its identity, how is the gesture performed, not {So muck wharis performed. Tae affects of vitality may also be associated withthe ~ Géncept of temperament, although Stera favors Lange's stance, alteady mentioned above, She asserts that theory or account of pyeological experience must relate to those forms of feeling intimately related to the vital processes of lf. ‘The baby is more likely to apprehend itself and others thorough these kinds of experiences, which are compared to the abstract contemporary dance experience ofan aduk, than through the discrete affects of oy, ange, ete. (The Teader may reraember how dance as been associated with vitality). In contemporery dance, it [ssensatons, modes of feelings and relating that are exposed on stage, more then be teitteine lta os tile a pe DANCE THEN AND NOW 107 stories in the traditional narrative sense. This is why form and content become ‘inextricable. Form is content. This is also related to the analogical quality of dance 8s communication, that shal introduce later on. A duo moving os the tame lines in space in a diferent hythm and intensity is expressing a relationship dissialar to another duet where lines and dynamics are shared. Following these contributions and the psychotherapeutic approaches thet learn from the normal development and introduce some of its charscteristics 10 the therapeutic setting and relationship, DMT enables us to establish en alliance and 4 process which isthe best option for chiléren with developmental arrest. This iz especially true with those who are within the diagnostic renge of PDD (Pervasive Developmental Disordes), communication disorders and with very young children ingeneral, Through the embodied knowledge of the therapist itis possible to create ‘bond thet wil help to lay down the path for communication, where spontaneity by itself could not help. This expertise may also be the basis for dyacic interventions Alvarez (1996) submits that when there is a massive deficit in ego and internal object, when the projective end introjective procestes are very weak: and there is ‘po language development, therapy has to approach the child in the mode ia which hhe functions, ie. the nonverbal (Chace intuitively sed much ofthe above knowledgeia her workin the psychiatric ‘hospital in the 1940's (Chaikin, 1975; Sandel et al, 1993). She met adult people ‘im hyperkinetic or catatonic states, in a time when there was no psychotropic medication. Chace developed her craft mainly out of her embodied awareness ‘and sensitivity as « dancer, and pursued it to establish communication, to meet the patients where they were, using all the components of nonverbal exchange, She called one of her techniques mirroring. Sandel (1993) later denominated it ‘empathic reflection, Both ofthese terms remind us ofthe concept ofthe role ofthe ‘mother as a mirror, developed by Winnicott, According to this metaphorical term, ‘when the infant looks at his mother's eyes, he sees himself, and what she looks like is related to what he sees there’ (Winnicott, 1971: 131). Ifa mother is depressed, this is how she sees her child, and therefore how he sees himself Chace established a therapeutic relationship on a movement level. She perceived the patients’ inner states and motility kinesthetically and visually, and so was able to have empathy with them. The rhythm inherent in almost every human interaction was enacted and gradually fine tuned through shared moventent. These {interventions are close to the descriptions made by Stern regarding sttanement. would ike to propose that the therapist's sensitivity to nonverbal comaunication is a key for establishing a therapeutic relationship, independent of theoretical ‘approach and the media used for contact and evaluation, be it other art or mainly verbal communication. Two elements support this idea, The frst is that aonverbal communication plays @ major role in every interpersonal exchange (Stanton Jones 1992: 61). Second, in different meta-analysis, the therapist's personality as experienced by his patients, communication or the quality of the working alliance have beenidentifiedasdeterminantsof positive outcomes, independent oftheoretical background, frequency and length of treatment (Hovarth aad Symonds, 1991). Due to the substantial input of the nonverbal in communication, the impact of vital affects and attunement in relationships, cating and understending conveyed im unspoken ways, all ofthese are meaning‘ul. Therefore, I believe that awareness1 HILDA WENGROWER ot nonverbal communication» néesay toi for all eras, ndependent ot themedium they choot for thei pastes ‘The inanimate world in dance and in human development Dance forthe stage has made use of props in many ways, from the rich decorations of ballet (Sets); fo more minimalist mise en scene. The passage trom uaitulive ballet to modern and contemporary dance stresses the presence of tye dancer With 5s body-movements asthe essential aspect of this art. Nonetheless, beginning with Lois Fuller (19° century) and Isadora Duncan, painted backdrops were left aside {ora variety of scarves and then fora huge array of props. These began tO appear ‘onstage, mainly with the purpose of being used as an extension of the occesion, or 45 a partner for the movement experience. What seems quite obvious for us NOW, ‘was once a matter of strong debates (Humphrey, 1959). The pioneers in DMT were likewise aware ofthe possibilities inherent in the use of props. ‘The objects by themselves, their different shapes, forms, sizes, ete may carry socio-cultural and or individual symbolic meaning. Laban and his followers attributed importance to their use, since they enhance space and the exploration of movement dynamics, Human development is an intersubjective process in which objects (things) exist and ploy a role. During the first months of life, an interest in the inanimate ‘world emerges which is explored and msnipulated by the baby. The process of relationship with objects goes from observation to manipulation, The infant “gradually realizes that objects are independent entities to be mastered, shared and enjoyed. The: dyadic structure includes the world of objects, be they for observation orfor play. The ability toreproduce actions, matches the establishment ofa structure of two persons relating to an event of to an item, This in tara constitutes another kind of relationship, « secondary intersubjectivity (Espatol, 2006). Play with objects is thus another important element in development. It enlarges the perceptual, cognitive and emotional aspects of the body image (Schilder, 1950), Dance therapists bring to their work a familiarity with the experiential, aesthetic land psychological potential of props for attunement, body image end more I shall present some of the roles these accessories may take, followed by some examples, ‘without entering into very specific details. As in almost every analyse proposal, there is some artificial fragmentation of experience, Many times, pops may fill ‘more than one single role or purpase. According to the therapeitic situation or ‘goal «particular aspect might be singled out or addressed. 1, Props as mediators in an interpersonal interaction can be a bridge that at one ‘and the same time unites and separate, allowing the subject in some cases, to overcome the anxiety of contact or intimacy, or even the horror of melting boundaries. Adolescents with autism in the first stages of DMT, can share a circle While hoiding scarves instead of holding hands 2, Objects can extend and enlarge movement in space, they can provoke kinetic and aesthetic pleasure; they can stimulate more involvement, especially when Participants are limited in their motility, as the elderly, mentally or physically ae DANCE THEN AND NOW 109 2 flower handicapped, Elderly patients will extend themselves in offered to them. The use ofa flower, as in this example, can become the mucleus of a session seeking o foster vitality, interpersonal contacts, cognitive and emotional activation, 23, Props constinnta supplements that allow ford image. Shaving foam may encourage autistic children to rab their hands, look at them, and play with them and those of their partner during the experience, A person wrapped in a big cloth may sense his/her body as a Whole, its shepe and size; may discover unconscious fantasies, aspects of the unconscious body image (Dolto, 1984). Pressing balls of different sizes with different body parts stimlates proprioceptive sensations. Hula hoops delimitate the personal space in order to emarcate it fom the general space ofthe room and others present, Moving in ad ‘out of these spaces, exploring the movement possibilities inside, around, ee, may gradually build a rich experience of being in space, alone and with others, 4, Props facilitate experiencing different movement dynamics, efforts, which ar cardinal for a sense of self Pushing and pressing cushions or objects that offer resistance and resilicace to exertion of strength, sllows feeling one’s personal impact on the world, as wel as differentiation, me-not me, ete, Dancing with light scarves or balloons gives an opportunity to feel other ways of Being in the world (paraphrasing Heidegger) to person whose movements are characterized by ‘qualities, and viee versa nt arpects of work on body strong, dire 5. Objects can act as accessories for projection and symbolic expression in en abstract way or in a narrative way. E¥patiol (2005) proposes a classification of thematic and noa thematic props. She employs the criteria of things thet have or have not a specific treatment. The non thematic have mare potential of being used with projective and symbolic meaning. This characteristic is well known to arts therapists, Analogical characteristics of dance/movement Watzlawick et al, (1967) state that communication involves both digital and snalogical codes, Inthe latter there is almost no distance between signifier end signified, itis based on similarities and equivalences, suchas holding up two fingers to indicate the number two. In every culture, true expression of feslings entails aa analogical code, even if there are some cross cultural differences, In digital mode, such as verbal language, the distande between signifier and ‘meaning is arbitrary, and can be highly codified. Each mode of communication has its advantages and its disadvantages, Due to its anelogical nature, motor expression offers great trensparency for the viewer/therapist. For example: a much contracted torso, elong with bound ‘movements and shallow breathingiisa clear expression of what the person is feling. Itmight symbolize something, but itis also expressive ass, This is why movement isnot only a tool but a goal in itself (Ruiz, 2009). In order to understandempethize with clients, one of the techniques employed in DMT consists of reproducing in ‘one's own body, the posture or movements ofthe client, This helps the therapist to be aware of what such bodily states produce in onesel.10 HILDA WENGROWER suinmary Jn this paper T intended to bring forward the justifications for dance in psychotherapy. Majar concepts of dance, some historical processes of this art some of its characteristics, and recent developmental and psychological research ‘were presented. 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