Octaband

  • Octabandnofaces
    The Octaband™ is a fun, interactive tool which promotes individuality and group cohesion through movement for people of all ages and abilities. As a dance/movement therapist, Donna Newman-Bluestein was motivated to design the Octaband to stimulate movement in the elderly with dementia. The stretchy material, bright colors, and innovative design stimulate self-expression, spontaneity, and awareness of others. The center circle provides a strong visual focus, and the 5 1/2" hem at the end of each arm allows those with limited grasping ability to participate. Go to www.octaband.com to learn more.

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July 12, 2009

National Launch of the Dizzy Feet Foundation

The Dizzy Feet Foundation’s mission is threefold: (1) to provide scholarships and grants to talented dancers, choreographers and/or teachers working at or through accredited dance studios; (2) to establish national standards for dance education and an accreditation program for dance; (3) to develop, provide and support dance education programs for underserved children by working through and with community organizations.

So You Think You Can Dance - Nigel Lythgoe, Co-Creator of Hit Series “So You Think You Can Dance,” Announces National Launch of the Dizzy Feet Foundation.

Dance around the world - The Big Picture - Boston.com

Check out Dance around the world - The Big Picture - Boston.com.for photos of people dancing all around the world

"We humans are natural dancers. Dances can be celebrations, or for praise, or for an audience - or just a simple act of letting the rhythm move your body. Dancers can communicate ideas, preserve cultural identities, strengthen social bonds, or just have a lot of fun. Collected here are recent photographs of us, human beings around the world, professional and amateur, in motion for all of the reasons above and more. (39 photos total)"

Plus there are links to other dance photographs in the comments.

July 10, 2009

YouTube - Journey through Time

Dance/movement therapists Stacey McGinn Hurst and Shannon Lengerich in a dance piece choreographed by Stacey. I found it quite moving.

Journey through Time


YouTube - Journey through Time.

July 08, 2009

More about Dance Movement Therapy

Lora Wilson Mau says this and more so articulately on her blog about dance movement therapy: "The cutting edge research of 21st century neuroscience supports what dancing humans have know for thousands of years: Dance is Healing."


July 06, 2009

What a Dance Movement Therapy Group Looks Like thru the Lens of 1 Therapist/Client Relationship

This is a group I lead weekly in an Assisted Living program where most of the residents on the floor have moderate dementia.

When I first met F. a couple of months ago, she came up to me after her evening meal and began talking to me. I asked if we might walk around together some, which she was quite agreeable to do. As we walked, she talked non-stop. She talked at some length and repeatedly about how she tried very hard to do the right thing and to be a good person. She told me that she had been a teacher.

In subsequent weeks, I discovered that F could also be quite irritable. She might be pleasant, as she had been during our first visit, but was often more likely to be cranky, muttering and swearing under her breath. Sometimes her swearing seemed to have nothing to do with what was happening around her; at other times she was expressing her highly critical views of others.

Like last week, for instance. When I greeted her, offering my hand in a handshake, she was clearly in a bad mood. Her first comment, oozing with sarcasm, in response to my, “Hello. It’s so nice to see you” was “Oh, you think so?” She went on from there with a stream of swear words. “Full of ____!” I told her I would be back shortly, that I wanted to bring her to group, and that we were going to have a good time together. When I came back for her a few minutes later, she was still swearing and muttering. She came with me willingly, and sat in the seat beside me where I indicated.

As she continued swearing, M., the woman beside her, said, “I can’t quite hear her.” I winked at M., and told her that it was probably just as well that she couldn’t hear F and said, “You probably wouldn’t like what you hear.” That satisfied M, but also made her curious.

I began the group as I always do with my arms open wide, waiting for them to open their arms as well, as we welcome each other into the group. I play music, and invite them to move, naming each person and the way s/he is moving. I used music early on that was culturally specific to F., remembering that she responded positively to it in prior groups. Not so today. She continued her critical muttering. We all danced with black derbys, but that didn’t improve her mood one iota. When I handed out ribbon wands, she took one and first put the end in her mouth. She then began to wrap the ribbon around her neck. As she did so, it reminded me of having watched women put their husbands’ ties on their own necks to begin to tie them, and then lifting them over their heads and putting over their husbands’ heads. I asked her if she tied her husband’s tie for him, to which she responded “of course.” She probably tied that ribbon in about 15 knots, with the stick resting against her neck. It couldn’t have been all that comfortable, but she seemed to be happy with the result.

From that point on, F. sang along with the music, and said what a good time she was having. When group was over, she thanked me many times for the wonderful time. She sat quite still as I untied the 15 knots and she expressed her wish that I would come back again soon. I reassured her that I would be back the following week.

I would not have been able to spend 1 hour with F. sitting and talking with her alone because the level of relatedness could not have sustained my attention. Nor do I believe that would have improved her mood had I done so. The dance/movement therapy group allowed us an opportunity to be with one another, relating for brief moments, and increasingly with a shared focus of attention, one in which she could also see the increasing engagement of others in the group.

July 04, 2009

Progression from Freedom to Awareness to Control

Congress7 Congress4
Congress1 Congress5

That was the order in which Barbara Mettler structured her dance "problems". First, allowing dancers ample opportunity to explore, then for them to become more aware, and finally to exercise some control over their expressions.

July 02, 2009

Michael Jackson on Dance, 1992

"Consciousness expresses itself through creation. This world we live in is the dance of the creator. Dancers come and go in the twinkling of an eye but the dance lives on. On many an occasion, when I am dancing, I have felt touched by something sacred. In those moments, I felt my spirit soar and become one with everything that exists. I become the stars and the moon. I become the lover and the beloved. I become the victor and the vanquished. I become the master and the slave. I become the singer and the song. I become the knower and the known. I keep on dancing and then, it is the eternal dance of creation. The creator and the creation merge into one wholeness of joy. I keep on dancing— until there is only. . .the dance."
 
Michael Jackson 1992

July 01, 2009

YouTube - Le Sacre Du Printemps by Pina Bausch Wuppertal Dance Theater

With the passing on of Pina Bausch, I am just introduced to her.

YouTube - Le Sacre Du Printemps by Pina Bausch Wuppertal Dance Theater.

How extraordinary, the stillness contrasted with the movement.

Teaching Through The Arts: Creative Movement Workshop with Doug Victor October 4th

Just found this new (to me) blog about teaching through the arts, something which I did for Lesley University for many years.

Teaching Through The Arts: Creative Movement Workshop with Doug Victor October 4th.

June 30, 2009

Mettler-based Creative Dance

Last week I had the opportunity to attend the IACD (International Association for Creative Dance) Congress for the first time, and what a wonderful time it was. I had not studied with Barbara Mettler since 1976 except for 1 or 2 brief workshops. When I did study with Mettler, it was for 5 weeks one summer and 7 weeks the next. I knew that Mettler's words and aesthetic were a very strong influence on me, but was surprised to see how much. The workshops at the Congress were led by some very experienced Mettler inspired creative dance teachers and some less experienced. Regardless of who led the workshops, Mettler's commitment to the basics of creative dance was entirely present.

My introduction to the week long Congress was a free dance the first evening. With no verbal introduction to the concepts, we began to dance. I was amazed to find how easy and how beautiful it was right from the start. It was clear that we were speaking the same language and that we knew how to find common focal points and themes. The Congress mostly provided us with the opportunity to hone our small group and large group dances. Given the brief length of time we had to dance with one another and the fact that I have the opportunity to hone my solo dances with other improvisation teachers, I appreciated the focus on group dance. I do not believe that anyone teaches the sensitivity to the group that the Mettler based teachers teach.

If you are interested in the basics, I would highly recommend studying Mettler-based Creative Dance.

Creative Dance for Adults 1 week Summer Course

Taught by Griff Goehring and Mary Ann Brehm

Tucson

Creative

Dance

Center

Monday –

Friday July 27-31, 2009

9:30 am to 4:30 pm

Contact: (520) 323-6711 or  (802) 380-0068

mabdance@aol.com

Find out where you can learn Mettler-based dance.