During the time I was in New York City in the early 60’s I welcomed the opportunity to explore a variety of ways that one could have a profession in dance. Of course, most of my energy was focused on performing and choreographing, especially when I was at Juilliard and studying at the Martha Graham Studio. But I was curious about two other possible options. One was related to reconstructing and preserving dance using Labanotation (a system of dance notation recording movements, directions, timing, etc.) which we were required to take at Juilliard, and the other was the new field of dance therapy. Most likely I learned about dance therapy through attending an American Dance Guild conference at the 92ndStreet YM&YWHA in NYC. I particularly remember a workshop led by Anna Halpern, and while I didn’t relate to it very well I was fascinated with the use of dance to bring people together. I also have a vague memory of being introduced to the work of Marian Chace perhaps at the same conference.
Marian Chace is considered the founder of dance therapy in the United States. She began her dance career as a dancer, performer, and choreographer. She opened a school in Washington, DC and it was while teaching that she noticed the benefits to her students.
The reported feelings of wellbeing from her students began to attract the attention of the medical community, and some local doctors began sending patients to her classes. She was soon asked to work at St. Elizabeth’s Hospital in Washington, D.C. once psychiatrists too realized the benefits their patients were receiving from attending Chace’s dance classes. https://en.wikipedia.org/wiki/Dance_therapy
She began working at St. Elizabeth’s Hospital in 1942. She developed a program called “Dance for Communication,” and that was really the start of a new mental health profession called dance/movement therapy. In 1947 she was employed full time at St. Elizabeth’s as a dance therapist. In 1966 she was one of the founding members of the American Dance Therapy Association which continues to play an active role with a strong membership of dance therapists. Here’s a link for more information about her life: https://www.adta.org/marian-chace-biography.
I remember reading a book and some articles Chace wrote, and being totally fascinated. I was also aware of the American Dance Therapy Association that she founded in 1966. In the 1970’s, living in Tallahassee, Florida I found myself in need of therapy and sought out both individual and group therapy in the then popular Transactional Analysis. The therapists that I worked with also offered training in Transactional Analysis and soon I was attending workshops and training to be a Permission Educator using movement as the main tool. Some of these workshops were held at the Creative Dance Center Studio that I build in the mid-70’s. At some point I also began leading movement workshops in the psychiatrist floor of Tallahassee’s main hospital. At the same time, The Avodah Dance Ensemble was growing, and I realized that being a choreographer and director of the dance company was much more satisfying, so I eventually stopped leading workshops and focused on just the dance company.
When we began working with women in prison, some 15 years later, some of the training in Transactional Analysis came in handy but mainly in an indirect way. The concept of a nurturing parent giving permission to the creative child was at the core of what I had learned and begun practicing when leading workshops. However, as a dance company, and as myself as director, I clearly did not view what we were doing as therapy in any kind of traditional sense. Instead we had a clear agreement with the women participating that the goal was for them to join the dance company in a performance and to share what they had learned and experienced with other inmates. Feedback from teachers and the participants themselves indicate that they had a great sense of pride and accomplishment that they had stayed with the week-long workshops and followed through in the performance. For many of them that was a major achievement.
Later when I worked with women from a domestic violence shelter I found that there were two different ways I approached the work. When I went into group sessions it was to give permission to express one’s feelings through movement and to relate to another person in a safe non-verbal way (i.e. mirroring with a partner). Alternatively, we offered the option for some of the women to participate in a more intense way and become part of a film project using movement and meditation for healing. Each participant was required to sign an agreement that they would attend a certain number of rehearsals and that they would be performing for an invited audience, and that both rehearsals and performances would be filmed. Again there was feedback from the women expressing satisfaction and enthusiasm for having followed through. And when the film was accepted into film festivals, there was additional pleasure.
While working with a therapist in a private setting or as part of a group is important in growing, healing and recovery, for some people the participation in being part of a performing group, when led with the right approach, can be very beneficial! This was clearly apparent to me and, based on feedback, to the participants too. Observations included gaining new skills in teamwork, completing an agreed on task, having fun and as one woman remarked, “getting high in a legal way.”
When directing a performance piece with a group of non-dancers, particularly when they have experienced physical abuse in their lives, I am glad that I had the Transactional Analysis training as it guides me in how I lead. I am aware that I am giving the participants permission to use their body in a new way, to be creative, to be part of a team and to share what they are learning with others. I also strive to help them do their very best. In leading groups with the assistance of well trained dancers we are able to guide them in a short amount of time to reach a pleasing performance level. I have found this very rewarding work. I have a lot of respect for those who go into dance therapy and a keen awareness that while I was glad to have had the training that I had, I needed to follow a different path.
Nine women from Esperanza Shelter join four dancers in the finale of “Through the Door,” an example of building a team and sharing for an invited performance. Photo by Judy Naumburg. Here’s a link to view the film: (https://vimeo.com/259920776).
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