From October 2025 to April 2026, I participated in the Dance Movement Therapy (DMT) course by Movemental Co.'s founder, Chan Shi Han. Across 10 sessions of 3h each, the non-credential course that introduced some basic theories, concepts and activities of DMT to professionals in the mental health, social work, healthcare and education sectors.
I have been drawn to the idea of dance as a non-verbal (performing) art form that could be used to engage participants/communities - as compared to a sometimes more verbal/text heavy form such as theatre.
In a way, I was building on my encounters with dance and communities through my experiences with Helping Hands, Moving Bodies (2022) and Relations (Live) (2025).
Part of my journey with more frequent dance classes in the past year has been to be more aware of my body and to maintain a physical body for performance. However, the vocabulary for dance and the impact on a participant / community has eluded me.
BACKGROUND
The Dance Movement Therapy Association of Australasia Incorporated (n.d.) defines Dance Movement Therapy as a relational and therapeutic use of dance and movement to further the functioning of a person, with some benefits in a body-mind connection including: a healthier body, improved social skills, and better emotional regulation.
LEARNING POINTS
One of the biggest learning points for me is the taxonomy to dance and the work of DMT. I am thankful for the vocabulary to describe dance (e.g. through the brief introduction to Laban's Movement Analysis) and more importantly, the concept of "authentic movement" - a way movement that is not bound to genres of dance.
These frames of thinking about dance provides some comfort for myself and others who may not have an extensive dance background. However, a lingering question remains about how to explore this range of movement with people who may not be able to move as well (e.g. persons with disabilities or elderly persons with limited mobilities)? Is it possible to illicit these various movement qualities in people with little to no dance experience through scaffolding that bodily awareness?
I got greater clarity on the social outcomes possible from a group process supported through processes such as: different ways of mirroring (side by side, diagonally, by movement quality), a Chacean circle of turn-taking to lead. A particular revealing exercise for me was how an exploration of "yielding" in an improvised movement session crystallised a:
- Relationship with self to be able to initiate movement (e.g. personal space)
- Relationship with an unknown other, not knowing how other dancers will move
- Relationship with gravity - a constant force the individual