Working With Dance And Movement As Therapy For Children In Difficult Circumstances

Three-month Foundation Course based on 'healing from within.'

From the outset students begin to design short programmes for evaluation by the course tutors. These are a combination of scientific principles learned during the course and their own personal experience of dance and movement to music as a source of joy and fulfilment in their own lives. An Interim Diploma at theory level is awarded on completion.

Unit 1 – Dance and the Growing Child.

Responding to the needs of all children who are deprived or going through difficult times. Sharing the joy of 'exploring and discovering' the magic of dance. Creating trust. Providing a 'safe' environment. Looking after oneself. Starting to design sessions.

Unit 2 – Benefits of the Mini-Disco.

Shared movement has served mankind since the dawn of time. The mini-disco includes all the benefits of moving rhythmically in simultaneity with others as self confidence builds up and self awareness grows. Why 'getting in touch with our roots' is such a bonus for all-round help. Choosing rhythms and dance styles for their therapeutic value.

Unit 3 – Dance-Related Activities for the 'Quiet Time'.

Every period of energetic dance activity should be followed by an opportunity to search out one's own 'breathing place.' This is the time when quiet, reflective creativity-led work has its greatest value. Re-visiting the movements already learned and finding there are unlimited new ways to develop them, sharing ideas for choreography, incorporating other art forms, even introducing one's own favourite hobby, are a great way to bring people together and build up 'group solidarity.' All of this helps us to build up the inner strengths we need for a healthy and enjoyable life, to face challenges and be ready for opportunities.

Unit 4 – Six Approaches to Improvised Dance.

What better way to build on the discoveries of the 'quiet time' than to make the journey into Improvised Dance. We look at Dance Improvisation Inspired by Objects from Nature – Dance Improvisation Based on a Movement Theme – Listening and Responding to a Favourite Piece of Music – Writing and Listening to Poetry - Improvised Dance based on our response to a Painting – Story-telling, Fables, Myths and Legends as source material for Improvised Dance

Unit 5 – Understanding the Role of Rhythm.

This Unit looks at the work of Emil Jaques-Dalcroze and in particular his theories on education and the need for 'wholeness.' We consider his method of 'Eurhythmics' – the first medically approved form of 'dance therapy' in Europe. And learn how Marian Chace, America's 'First Lady of Dance Therapy' found, through 'rhythmic movement to music', answers to many of the problems of a challenging population at the St Elizabeth's State Mental Hospital in Washington DC and placed 'dance therapy' firmly on the medical map.

Unit 6 – Dance, Education and Sport.

This Unit looks at the basic teaching of Rudolf Laban and the value of 'educational and remedial dance' for both children and adults. It also suggests that basic dance training can help children take an interest in and succeed at sport.

FOLLOW ON COURSE (1) – SHARING DANCE WITH OTHERS

Unit 1 – Dance, Education and Healing – The Case for After-School Dance Clubs

When Laban's art of movement system was first introduced in schools – an experiment that worked. 'Knowing in my Bones' – lessons from the findings of Britain's Ruth Foster. Dealing with 'an angry young man'. Changing attitudes. Rhythmic exercise as a way to prevent and remove 'blockages.' Just for You – a self-development and 'rescue' technique for those who are working hard

Unit 2 – What Dance Can Do for Us.

An overview of Community Dance Therapy and its aims: ten reasons why dance can be guaranteed to improve 'quality of life'. Supervision – the need for professional support and a level of supervision for those working in a community setting. If you plan to set up and run an after school dance club on your own, there are steps you may need to take if you suspect all is not as it should be.

Unit 3 – Creating a Structure.

Creative dance and lots of opportunities to participate in the related art forms of music, painting, poetry, literature and drama are an ideal stimulus for inner growth – but first you need to provide a carefully planned and 'safe' environment for your group. Building up trust without the need for words. The need to 'hasten slowly' – and to have endless patience! Restoring calm. Extra help is often a good idea -steps to take . 'Anyone who can walk can learn to dance.' Just for You – another 'self help' technique for building up strength and confidence.

Unit 4 – Working Creatively.

A comprehensive selection of activities, games and strategies for encouraging a group's creativity and helping them make the most of their time together. Just for You – another 'self-help and rescue' technique for you to try.

Unit 5 – Setting up and Running an After-School 'Learn to Dance' Club.

One of the most frequent questions we are asked by students is 'how do I get started?' Some students are already employed, or perhaps volunteering, in a situation where they can ask for permission to add 'dance and movement as therapy' to their usual work programme. But not all. Some of our students, not only in the UK but in other countries too, have managed to start up groups on their own. This Unit provides some pointers you might like to consider.

FOLLOW ON COURSE (2) - WORKING WITH THE ELDERLY

The need for giving a helping to elderly populations has never been more urgent. It is so sad to think that some individuals and even entire residential home populations receive so little in the way of creative stimulation when even a small amount once a week could significantly change their quality of life. No one would pretend that this is an easy option – but those who are prepared to 'go that extra mile' never seem to regret the decision. The course Working with the Elderly is based on the inspired teaching of Eva Desca Garnet, an American dance therapist and specialist in gerontology who has very kindly given permission for her method to be used as a base for this course.

Unit 1 – A Time for Inner Growth

Movement is a gift – Movement is Fundamental to 'Restorative Therapy' – Getting Older: A Time for Joy and Peace – Recognising the Down Side – Maintaining Mobility – Enhancing Quality of Life – An Experience of Rhythm for the Elderly – Making a Start

Unit 2 – Days for the Elderly Should Be Life-filled Days

'Instruction in Dancing Should Continue to a Ripe Old Age' (Plato) – Dance as 'Restorative Therapy' – Psychological Effects – Planning – Establishing Trust – Ideas Contributed by Clients – Watch for Signs of Difficulty or Distress – Understanding 'Dance as a Language' – Using the Body as a Channel of Communication – Security and Peace of Mind – 3 'Ideal' Levels of Treatment

Unit 3 – Working at Fundamental Level

Belonging and Love – Self-development – Making Full Use of the Arts – The Need to Understand Our Bodies – Kinesthetic Awareness – The Sensation of Pressure and Weight – Empathy – Postural Factors – Laughter – Re-discovering the Pleasure of Moving – When Rest is not the Best Answer – When Breathing Becomes Affected – Aim of the Gentle Movement Sessions – 'Imagination Painting'

Unit 4 – Working at Intermediate Level

Setting up the Room – A Holistic View of Health – Motor Skills – Muscular Innervation – Movement Repertoire – Assessing Bodily Movement – 'Getting to Know You' – A Classic Game With Music

Unit 5 – Working at Advanced Level

'Shared Movement' for Elders – Grounding and Centering – Liljan Espenak: Further Thoughts on Working with Older Populations – The Power of Music – When Music Can Be Counter-Productive – Music and Psychodynamic Movement (Mary Priestley Method) – Mary Priestley's Suggested 'Music Repertoire' for Dance Therapists

FEE FOR EACH OF THE ABOVE COURSES:

£90.00 – includes full printed set of course material, individual tuition and study support throughout and career guidance if requested. Kindly make cheques payable to 'ADT (Int'l)'.

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