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• W641264178 abstract "ed and can rarely be put into words (p. 97). CD movers relate to each other through their own movements and sounds, which ultimately guide the whole group's 77 process. For instance, one mover may begin stomping their feet, and the other movers will follow suit, using their own interpretation of the movement and sound. This movement will continue until another movement is initiated. The group continues moving, following the casual rhythms and movements of each group member, until the movements’ natural ending. In creative dance a structured section can include movement sequences suggested by another dancer. For instance, a sequence of bodily felt passivity and aggression can be explored as a structured movement formation (Mettler, 1990). Each mover's experience of being passive and aggressive is integrated through the individual's own creative movements. For the mover, the body becomes the vehicle for expression. Mettler explains is not the body but the movement of the body that changes to express changing (p. 97). The languages of an individual’s movements express their hidden motivations (Dickinson, 2001). Creative dance boosts self confidence by giving the mover the power to create and unleash their inner subconscious movement desires. When individuals practice nonverbal movements they become more comfortable being present in their body. This experience allows them to successfully communicate with themselves and others. These movements can develop into an improvisational dance, the two or several persons involved make their way with each other from moment to moment, giving and taking, offering and withdrawing, opening and closing, rising and falling in posture, gesture, intonation, 78 and rhythm (Dickinson, 2001, p. 211). Creative dancers assume that people’s emotions can be expressed through nonverbal movement modalities. The need to express and articulate the marvels of the human body can be achieved through the creative element of dance. Dance and movement processes can facilitate realistic and articulate forms of communication, which allow individuals to connect to their bodies needs. Researcher and creative dancer Fiona Travis (2001) describes some of CD's core principles: There are few people who cannot dance, there are many who cannot imitate exactly or correctly another persons' dance. When provided with a safe environment in which to explore space, time, force, rhythm, breathing, what moves, where the body moves, and how it moves, beautiful natural dances are created. These dances are expressive; they feel good to the dancer dancing them and exciting and pleasing to the observer viewing them. This process aids people of all ages in developing a realistic and adequate body image and in building a positive sense of self. Learning to trust and enjoy one's own home, ones body, as a valid source of information and enjoyment is certainly a byproduct of creative dance. (p. 214) This quote stresses that CD is a form of movement expression that should not be viewed as performance dance. CD is a movement modality that can help individuals from diverse backgrounds reconnect to their bodies and process their emotions. The next section of this chapter will describe misconceptions about 79 movement processes. Dance and movement processes are often generalized as structured and beautiful. This next segment reveals the ugly, unstructured and frightening experiences that dance can provide. Essentially, dance can be a way for the dancer to unravel and open hidden emotions which can be released through their movements. Misconceptions of movement processes. A common misconception about creative movement processes is that the mover or client needs to have prior dance experience. This is completely untrue. DMT, AM, and CD work at the body level which considers the smallest movements as a healing element of dance. As pioneer creative dance professional Anna Halprin (2000) describes, When you think of dance and movement do you think of ballet, a modern or jazz dance, or some other form of stylized movement? Many people are shy about dance because of this association. This is not the way I think of dance movement at all. Dance can be approached as a direct and natural way to move without any personalized aesthetics imposed from an outside authority. Dance is not necessarily graceful, pretty, or spectacular. Dance can be grotesque, ugly, clumsy, funny, frightening, and conflicted. It can stomp, fall, attack, clutch, and reach. It can open, close, tip-toe, crawl, twist, turn, pound, jump, run, or skip. We can move together, or alone. We can move backwards, sideways, up and down. Movement is happening everywhere all the time. It is the motion of our 80 cells, the pulse of our blood, the rhythm of our breath. It is, as well, the ocean waves rising and falling and the alternating patterns of night and day. Movement is life and movement is the source of dance. Anybody, no matter how old or young, in whatever physical condition, has a capacity to move, even if it is just your little finger, or a movement carried as an image in your mind's eye. (p. 23) A. Halprin's (2000) vivid explanation provides a clear description of the accessibility of creative dance and movement processes such as DMT, AM and CD. Summary Creative movement processes such as DMT, AM and CD offer a wide range of healing capabilities for women recovering from sexual abuse, sexual assault and sexual trauma. These nonverbal movement processes allow movers to access trapped emotions and feelings associated with unresolved trauma. Since trauma is held in nonverbal portions of the brain, body processing allows survivors to safely access painful memories through self guided movement initiatives. Once survivors are able to access, process and release their stored emotions, they will become more apt to transform their trauma. Creative movement processes are powerful tools for transforming sexual trauma since they reestablish a connection between the mind," @default.
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• W641264178 title "The Creative Use of Dance/Movement Therapy Processes to Transform Intrapersonal Conflicts Associated with Sexual Trauma in Women" @default.
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