Am J Dance Ther (2017) 39:267–269

https://doi.org/10.1007/s10465-017-9265-1

FILM REVIEW

The Moving Child: Supporting Early Development

Through Movement
An educational documentary by Hana Kamea Kemble (Film
Length: 59:05).

Fran J. Levy1

Published online: 28 November 2017

Ó American Dance Therapy Association 2017

This excellent film, The Moving Child, is written, produced and directed by Hana
Kamea Kemble and edited by Rheanna Toy and Gloria Mercer. The film is a deeply
touching and inspiring look at dance and movement through the eyes of the child as
well as the parent, guardian and therapist.
Many pioneering dance/movement therapists who specialize in treating children
are featured in the film. The hands-on work of these practitioners is beautifully
illustrated and interwoven into the theories that they espouse. This powerful
integration of theory and practice through the mediums of film and narration
illustrates what we, as dance/movement therapists, know when we work with
patients but cannot always put into words. The Moving Child shows us in elegant
cinematography the importance of touch, dance-movement, rhythm and music in a
child’s life.
The film, focusing on child development spanning prenatal experience through
age seven, includes the following topics: movement in utero; prenatal anxiety; early
attachment, bonding and self-regulation; birth trauma; neurological, physiological
and vestibular responses to dance/movement; repatterning and sequencing in early
intervention; and the use of mirroring and creative dance for physical, social and
emotional development.
There are many poignant images in the film. An extremely touching sequence is
when a newborn infant uses his own body, while lying on top of his mom, to find his
mother’s breast and to nurse. The verbal narration linked to the moving image of the
infant is also very powerful. Another beautifully illustrated segment shows a group
of 4 year olds swinging scarves in pairs while looking into each other’s eyes in a
mirroring relationship. The joy and satisfaction that this synchronous movement

& Fran J. Levy

franjlevy@yahoo.com
1
New York, NY, USA

123
268 Am J Dance Ther (2017) 39:267–269

experience inspires in the children is palpable. This exercise was used to help a
distracted child to focus in class.
One other example of a simple and effective intervention was when a toddler was
having trouble using his foot. The limitation was hardly visible to the untrained eye.
Gentle stimulation was applied to the foot with a feather like object. Feeling this, the
toddler immediately responded with a more complete use of his leg.
There are also vignettes showing how creative dance can help children to express
their feelings as well as become comfortable with and identify their feelings.
Methods for supporting and transforming aggression and anger into meaningful
movement are illustrated. The film stresses that emotional flexibility and tolerance
in later life are enhanced through the child’s early dynamic movement experiences.
The catch all diagnoses of hyperactivity, attention deficit disorder (ADD), or
attention deficit hyperactivity disorder (ADHD), are challenged in the film. The
hypothesis is that children are too often not getting enough movement time in the
classroom and this is the reason they are having trouble sitting still and
concentrating in class. A major tenet of the film is the connection between
movement stimulation, focus, self-regulation and brain development.
There is a brevity to the film that makes me want to learn and experience more.
That is both its strength and its shortcoming. There were times I wanted to know and
see more on a specific topic. That said, the film does cover a broad spectrum. In so
doing, it gives the viewer a rich introduction to many important theorists and
practitioners from multiple backgrounds. The following disciplines are represented:
dance/movement therapy, occupational therapy, psychiatry, family therapy, psy-
chology, early childhood education, neurology, and physiology.
Kemble has undertaken an extremely ambitious project and one that will benefit
many. It clearly inspires further learning and can be used to help individuals outside
of the field to understand the importance of dance and movement for children. She
has made many essential ideas more accessible by integrating theory and practice
with the vividness and beauty of the visual image. One walks away from the film
with a real appreciation for the power of movement. Furthermore, Kemble
introduces the viewer to many renown practitioners. Therapists wanting to learn
more on a specific topic can look up the practitioners that most interested them. I
watched The Moving Child twice and fell in love with it even more the second time.
The following is a list of the Board Certified Dance/Movement Therapists, or the
equivalent, who are featured in The Moving Child: Dr. Charne Furcron, Janice
Geller, Kalila Homann, Janet Kaylo, Susan Kierr, Jeanine Kiss, Hana Kamea
Kemble, Rena Kornblum, Susan Loman, Dennis McCarthy, Renee Ortega, and Dr.
Suzi Tortora.
Also featured are child development experts and health professionals: Myrna
Martin, RN, RCC, Dr. Bruce Perry, Psychiatrist; Dr. Carla Hannaford, Neurophys-
iologist; Judith Bradley, Physiotherapist, Dr. Annie Brook, Movement Psychologist.
Finally, other contributors include Bonnie Bainbridge Cohen who is known for
her work as an Occupational Therapist and is the founder of the School for Body-
Mind Centering. Also, Dr. Martha Eddy, who is known for originating Dynamic
Embodiment Somatic Movement Therapy. In addition, the following Certified
Movement Analysts are included: Birthe Kaarsholm, Saliq Savage, Mariko Tanabe.

123
Am J Dance Ther (2017) 39:267–269 269

And finally Steve Nadel, who specializes in Feldenkrais and the Anat Baniel
Method.
Kemble has organized a formidable amount of knowledge and experience in this
poignant film. For more information or to download the film, go to the website
www.themovingchild.com. It is rich with information. Kemble is now working on
The Moving Child Two. That’s a good thing!

Fran J. Levy
LCSW, BC-DMT, has a private practice in Brooklyn, NY where she trains therapists and works with
patients. As an expressive therapist, she incorporates her experiences as a writer, artist, dancer, and
psychodramatist. Levy emphasizes the importance of uncovering and utilizing the unique expressive
capacities in all of us as part of the healing process. She asserts that ‘‘releasing the creative potential in
individuals can, in and of itself, be transforming.’’ This concept is highlighted in her work in multimodal
psychotherapy. Levy teaches and lectures in educational and mental health settings in the US and abroad.
She is a former fellow in the American Society of Group Psychotherapy and Psychodrama.

123