Over the past 10 years the International Panel, founded and chaired

Transcription

1 Training Dance/Movement Therapists: The International Challenge Patricia P. Capello Introduction Over the past 10 years the International Panel, founded and chaired by Dr. Miriam Roskin Berger, has met and presented their unique views at the annual national conference of the American Dance Therapy Association. With topics that recently included the role of dance/movement therapy in healthcare throughout the world, and the concepts of renewal and spirituality, the 11th International Panel of 2005 in Nashville, Tennessee focused on International Rhythms in Dance Therapy Education. The goal was to both define and describe the specific criteria and challenges of training new clinicians. The following is a brief overview of the panelist s reports concluding with a sample of relevant audience responses. The Panel Overview The panel presenters approached the topic of dance/movement therapy training and education in relation to their individual experiences. Although not present on the panel, Lee Tsung Chin from Taiwan wrote about the dichotomy in education that occurs in her country. For the dance performers and dance teachers who have strong movement and technique background, it is the psychotherapy theory and methodology American Journal of Dance Therapy Vol. 28, No. 1, Spring/Summer 2006 DOI: /s Ó 2006 American Dance Therapy Association

2 32 Patricia P. Capello that is missing. Conversely, the psychotherapists, counselors, and physical therapists need to learn dance and body movement along with dance therapy theory and practice. The lack of formal academic training of dance/movement therapists and the requirement of a license to practice in a hospital or healthcare facility limits the number of employment opportunities. As President of the Taiwan Dance Therapy Association that was founded in 2000, Lee Tsung Chin raises questions regarding the concept of cultural context and the way we perceive the external world with our cultural body, believing that they influence the education of dance/movement therapists in Taiwan. On the International Panel since 1995, Maralia Reca, ADTR presented her work as founder and director of the Postgraduate Dance/Movement Therapy Course at CAECE University in Argentina. This course of theoretical and experiential study requires a previous university degree (i.e. psychology, music therapy, social work, education, etc.) and relevant experience in movement and dance. Content areas include movement observation, assessment and analysis, and non-verbal communication and development. Clinical application of dance/movement therapy and related psychological theories culminate in a hospital internship. Argentina also offers other dance/movement therapy training opportunities. Ms. Reca described a 4-year diploma program from the Maria Faux School; a non-academic 600 hour training program at Brecha directed by Diana Fischman, ADTR; and a Center for the Practice and Training of Authentic Movement directed by Karin Fleischer, MS, ADTR. In a clear and sensitive manner Nancy Tonsy, DTR documented the myriad challenges facing those who want to train or practice as a dance/ movement therapist in Egypt. As expressed by Ms. Tonsy, acceptance of the dance/movement therapy modality is blocked by beliefs that focus on the value of medication as treatment, the preference for verbal therapy over other methods, and the cultural misperception regarding dancing together as inappropriate and sexualized. Seeking help for mental health problems is further complicated by the stigma associated with it and the impact of religious beliefs and familial ideologies. Ms. Tonsy outlined her hope for the future that features the development of a dance/movement therapy training program in Egypt. She also feels that community outreach programs and workshops will educate and inform the public, bringing attention to the body as a vehicle for self expression, communication, and healing. In France, the first conflict that faces those involved in dance/movement therapy training and education is the lack of a unanimous agreement regarding the definition of dance/movement therapy; the second problem is the failure of the government to recognize dance/movement

3 Training Dance/Movement Therapists 33 therapy as a valid profession. Jocelyne Vaysse, MD, PhD, HDR, ADTR contends that without a state-recognized diploma in dance/movement therapy, universities and private art schools are issuing diplomas which have no academic standards, an unclear theoretical framework, and no regulated admissions criteria. Dr. Vaysse also describes the difficulties of training in France as similar to those in Taiwan: students qualified in psychology with a lack of artistic and technical practice, or professional dancers without any psychotherapy education. She further stated that since 2004, a new law limits the use of the title therapist to graduates of state schools who are recognized as physicians, psychiatrists, or psychologists. She believes the emergence of the European Dance Therapy Association (AEDT) may provide some necessary guidelines for training and educating qualified and credentialed therapists. Returning for her second year on the panel, Theodora Thatcher, MA represented the dance/movement therapy community in Greece. As Ms. Thatcher reports, The Greek Association for Dance Therapists was founded in 1993 with its primary goal, similar to that in France: to establish dance/movement therapy as a state-recognized profession within the mental health field. In pursuing this goal, extensive work was done to compile a detailed source report that outlines educational and training requirements and professional activities of dance/movement therapists in both Greece and other European countries. Despite the lack of postings for employment as a dance/movement therapist in either public or private mental health settings, Ms. Thatcher went on to report that some graduate students have been employed by state-run facilities under the title of special therapists. Another signal of acceptance of the dance/movement therapy modality is the establishment of a semester foundation course at Deree American College in Athens that she was invited to teach. It is her hope that the college will, in the near future, offer a Master s degree in dance/movement therapy. Additionally, she recognized that a major task that lies ahead was the need and importance of designing and conducting research in the field to further support their goals. India is a country that is first developing the use of dance and movement as a therapy. Sohini Chakraborty, MA described how various groups exploring the concept of a new language of modern dance, based on the more classical Indian dance styles, have been struggling to establish their own genres while experimenting with contemporary themes. These themes include spontaneous movement patterns and rhythms that may come from day-to-day activities of life and the expression of natural rhythms present in our bodies. Recognizing and accepting that this innate movement would help people realize their ability to feel, express, and communicate through their bodies is a

4 34 Patricia P. Capello concept that Ms. Chakraborty hopes to spread throughout India. With her academic training in sociology and technical skills as a dancer, she has worked with physically challenged children, marginalized and exploited women and girls, and victims of violence and sexual abuse using dance and movement as a source of expression and healing. It is some of the young women in these programs who demonstrate the potential for dance and leadership skills that she hopes will, one day, be formally trained as therapists. As a pioneer in developing and presenting the modality of dance/ movement therapy in India, Ms. Chakraborty faces the problem of lack of funding to support the necessary formal education and training. She feels confident that slowly the situation is improving with the interest in dance/movement therapy gradually growing throughout India, but acknowledges that much work needs to be done and appeals to the global community for assistance in making the dream of educating dance/ movement therapists a reality. Another nation that is working diligently to expose its people to the practice of dance/movement therapy is the Philippines. In her presentation, Dinghy Baraero-Sharma, MA, identifies with the financial problems that India faces in training and educating clinicians. Because there are no academic programs available, interested students must travel and study abroad which becomes prohibitively expensive. According to her report, dance has always been a part of the Filipino s rich heritage with a culture of ritual, art, song, and dance to mark almost every important milestone in one s life. In only the last 5 years, however, more and more Filipinos are recognizing the value of a healthy mind-body connection and have been attending holistic and alternative classes such as Tai Chi, Pilates, and Shibashi. She feels the climate is right to foster the potentials of dance/movement therapy as a recognized treatment and develop a brand of the modality that is more sensitive to the culture and experiences of Filipinos. Like her pioneering counterpart in India, Baraero-Sharma is working on organizing a support group and raising awareness of the modality by presenting her thesis topic which focused on using dance/movement therapy in counseling sexually abused children. She hopes, one day, to have the funding to invite guest teachers to conduct training classes in the Philippines. Trained in Europe as a dance/movement therapist, Brigitte Puls represented her newfound home of Aotearoa, New Zealand at this year s International Panel. Because it is a small (population of 4.1 million), geographically isolated, immigrant country, she is personally acquainted with all six dance/movement therapists who live there! Without a national organization of dance/movement therapists, New Zealand hosts an umbrella organization which includes all the

5 Training Dance/Movement Therapists 35 creative-expressive modalities. Creative Therapies Association Aotearoa/ NZ (CTAA) has evolved with its main purpose to encourage networking amongst creative art therapists, and offering workshops and conference opportunities. Presently, one of the training opportunities for dance/movement therapists includes a postgraduate certificate in Health Science (Expressive Therapies) at Auckland University of Technology. Taught by Ms. Puls, the program is open to those with a related undergraduate degree (i.e. dance, teaching, nursing, psychology, and occupational therapy) and some experience working or volunteering at a healthcare facility. Those who have equivalent professional experience and demonstrate substantial life skills and academic abilities can also apply to the program without an undergraduate degree. In this way, more students have the opportunity to explore the potential of training in creative arts therapy. The future for training in New Zealand appears promising. Ms. Puls reports that only recently Auckland University of Technology began developing a two-year full-time Master s program in Creative-Expressive Therapies where students will major in either dance/movement therapy or art therapy. She states that efforts are being made now to obtain government approval for this course and hopes to see the program begin in In her comprehensive report from The Netherlands, Josette Rutgers van der Loeff, DTR, describes the four programs that are available for dance/movement therapy training. Established in 1973, and originally located in Amsterdam, the Program for Movement Expression Therapy has a three-year postgraduate curriculum. Currently situated at the Fontys Academy of Dance in Tilburg, the entry requirements are a bachelor s degree and expertise in the areas of dance, movement and/or drama. Graduates can be registered with the Dutch Association for Psychomotor Therapy (NVPMT). Opening in 1995, with a four-year part-time course, the Rotterdamse Dansacademie (part of the University of Professional Arts Education) has now been condensed into a two-year full-time postgraduate program. The staff of this training program, which has both state registration and partial funding, is working towards the curriculum s accreditation as a master s degree. Graduates from here may apply for registration with the American Dance Therapy Association. Another mainstay opportunity is a four-year graduate program called Creative Therapy/Dance and Movement at the University of Professional Education of Limburg in Sittard. With state registration and partial financing from the state, graduates may register with the Dutch Association for Creative Therapies (NVCT). The conservatory at the academy of music in Enschede provides less formal training as part of a Dance Therapy group process. The state does

6 36 Patricia P. Capello not recognize this particular program and there is no potential for registration. Ms. Rutgers van der Loeff completes her report by describing an exciting plan to consolidate various therapy organizations into one federation consisting of five professional associations. This new structure, known as the National Professional Association of Craftstherapy will include: Psychomotor, Visual Arts, Drama, Music, and Dance. This will mark the first time that there will be a professional association for Dance Therapy with its own Board in the Netherlands. Finally, she explains the work of The European Conference for the Professional Development of Dance/Movement Therapy that meets on a yearly basis. The goals of the conference include establishing European standards for registration criteria and the creation of a European Professional Association for Dance/Movement Therapy. As Shoichi Machida, MA, ADTR from Japan reports, the most important issue facing the Japan Dance Therapy Association (JDTA), of which he is the founder and general manager, is the institution of an educational system to train dance/movement therapists. While their 14- year effort has not, as yet, resulted in a college level course, the JDTA has been successful in establishing a dance therapy credential and an intensive training course that supports the required 600 hours of practical clinical experience. Japan recognizes the significance of attaining the DTR and ADTR credential offered by the American Dance Therapy Association through the alternate route and exceptional candidate pathways when attendance at a Master s program is not possible. As of April 2005, new credentials offered by the JDTA are: the Associate Dance Therapist (ADT) and Dance Therapy Leader (DTL). Additionally, the Japan Dance Therapy Association makes a valuable contribution towards the documenting and distribution of dance/movement therapy information by compiling and then publishing the yearly reports of the International Panel presenters. As the President of the Korean Dance Therapy Association, Boon Soon Ryu, PhD, ADTR informed the panel audience about the emerging interest in Korea regarding personal well being, a return to body and nature, and the growing awareness of the therapeutic effects of moving and dancing. She cautions, however, that the public must be made aware of the specific and unique properties of dance/movement therapy as they differ from other body practices such as Pilates, Feldenkrais, ideokinesis, and yoga. Dr. Ryu announced the 2005 launch of a three-year dance/ movement therapy program with juvenile delinquents. This pioneering work is a project of the Ministry of Culture and Information of Korea and is financially sponsored by the government.

7 Training Dance/Movement Therapists 37 The Korean Dance Therapy Academy, which was established in 1998, offers academic training for those with a master s degree and a year of volunteer work. The Korean Dance Therapy Association evaluates the qualifications of dance/movement therapists and can license those who have successfully completed a series of theoretical and clinical requirements. Several other opportunities for studying dance/movement therapy on a graduate level are housed at SookMung University, Seoul Women s University, Myung-Ji University and Won-kwang University. Additionally, more than 20 universities have at least one dance/movement therapy course offered through their dance departments. In her detailed report on the comprehensive and varied dance/movement therapy education opportunities in Israel, Nava Lotan PhD, ADTR, spoke about the four Master s level academic programs located at Haifa University, Lesley University, Kibbutzim College, and David Yelin College. A fifth program at Lewinsky College teaches dance/movement courses as part of the Music Therapy curriculum. All five programs are approved by YAHAT, the Israeli Association of Creative and Expressive Therapies (ICET) that numbers 1500 active members at three professional levels. As the largest association for creative and expressive therapists in Israel, ICET is certified to represent and lobby for the profession and represents clinicians and students from many cultures and diverse ethnic groups. While the training programs may be similar in their theoretical approaches, some are geared to preparing students for employment in the school system and others focus on using dance/movement therapy in a clinical setting. Admission requirements include a BA (in such fields as social work, psychology and behavioral science, special education, and occupational or physical therapy), extensive experience in dance and other bodywork (martial arts, sports, gymnastics, etc.) and both group and individual interviews. Following successful completion of general and dance/movement therapy courses, and a 1200-hour supervised clinical internship; students must present a final project that may include an in-service presentation to other professionals, a choreographed, thematic movement performance, or a final research paper. Although representatives from Spain were not in attendance, Dr. Berger reported that there are now two Dance Therapy Master s Programs in Barcelona, one at the University of Barcelona (public) and one at the Autonomous University (private). It is also important to note that there are countries with programs in dance/movement therapy education that were not represented on this particular panel, including Sweden, Czech Republic, Mexico, Australia, Italy, among others. While the scope and variety of educational opportunities in the United States is as large as the country itself, many changes have occurred since the first Master s programs began in the 1960 s. Patricia P. Capello, MA,

8 38 Patricia P. Capello ADTR, NCC, LCAT, described her personal journey which began in 1979 studying at New York University which, at the time, was one of the programs approved by the American Dance Therapy Association. Graduating from an ADTA approved program after completing a core curriculum in theory and methodology, and a clinical internship supervised by an ADTR, enables the new professional to apply for a DTR (Dance Therapist Registered), the preliminary credential granted by the association. The advanced credential of ADTR (Academy of Dance Therapists Registered) is earned following a required number of professional work hours and supervision, and signifies that the individual may supervise interns and teach dance/movement therapy courses. Currently the USA has five ADTA approved graduate programs: Antioch/New England Graduate School in New Hampshire, Columbia College in Chicago, Drexel University in Philadelphia, The Naropa University in Colorado, and Pratt Institute in New York. A sixth graduate program at Leslie University in Massachusetts has their approval pending. Some students, however, choose to follow a non-traditional academic journey and achieve dance/movement therapy training through the Alternate Route. Alternate Route training in the US is designed for those individuals with an extensive dance/movement background who pursue their study of dance/movement therapy theory after receiving a Master s in a related field such as social work, psychology, special education, counseling, or dance performance and education. While students face the challenges of planning, locating, and successfully completing their courses, they are benefited by the opportunity to study with a variety of seasoned educators in the field. Students who choose the Alternate Route are asked to register their intent to study with the ADTA national office. By doing this, the student can record and then track their coursework and create a personal timeline charting the completion of their classes and internship hours. The Audience Responds Perhaps the highlight of recent International Panel presentations has been the Question & Answer period, which follows the panel discussion. The audience is encouraged to comment on specific information shared by the presenters, compare and contrast issues raised, and voice individual opinions. Continuing the theme of education and training, the audience members questioned the concept of standardized training. Specifically, given the variety of learning styles and cultural differences amongst the panel members, how a systemized training experience may not be a valid

9 Training Dance/Movement Therapists 39 goal. The idea of respect for each countries cultural identity and customs as it relates to dance, body movement, use of space and touch, and eye contact was explored in depth. Alerted to these differences and sensitive to each country s unique approach, the audience identified the need for careful and thoughtful consideration regarding the validity or even necessity for standardized training. The rich diversity in dance/movement ethnic norms and styles and its related therapeutic implications was acknowledged. Finally, many audience members felt strongly that a future International Panel could focus on highlighting and demonstrating the particular dance/movement forms along with the national history of culture and ethnic flavor of each nation represented. The value in moving together and sharing the rich expression of each countries individual dance style was encouraged and applauded by audience members. (This actually was the topic of the 2001 International Panel, but could not be fully explored since many panelists did not attend the American Dance Therapy conference, coming, as it did, so soon after 9/11). As expected, a shared belief became apparent that the mutual experience of dancing and moving together would create a bridge to a clearer and more authentic understanding of both our similarities and differences. Perhaps then, the dance/movement therapy community will consider a comprehensive standard of education that recognizes the core elements essential to good practice, yet at the same time, honor and respect each country s unique cultural identity. Conclusion As evidenced by the proceeding brief summary of the panelists reports and synopsis of salient audience responses, the challenge of the 11th International Panel to present the international rhythms in dance/ movement therapy education around the world was met with wisdom and respect by all participants. It is clear that the unique and often profound knowledge of the dancing and moving body speaks and responds in many languages. We can track the many similarities (i.e., financial constraints, government regulations, and the stigma of mental illness) and differences (i.e. established, formal academic training in universities vs. informal, pioneering training programs and workshops) that influence and affect the creation of a strong core of professionally educated future dance/ movement therapists worldwide. Under the intelligent and gracious guidance of Dr. Miriam Roskin Berger, the International Panel will continue its challenging mission to present and investigate global issues in the field dance/movement therapy.

10 40 Patricia P. Capello Panel chair, Dr. Miriam Roskin Berger (bottom row, far right), members of the th International Panel, and colleagues meet prior to the presentation Photo credit: Shoichi Machida