EXPRESSIVE

Presented By:
Therapy
Introduction - Sanya Bakshi (22/697)
Dance Therapy - Vansh Sahni (22/700)
- Masira Noor 22/725
Art Therapy - Sudipti Kaviraj (22/715)
- Anushka Gaur 22/730
Play Therapy - Aayushi Saini (22/726)
- Mayank Kumar (22/756)
 INTRODUCTION
Expressive arts therapy— the purposeful application and integration of art, music,
dance/movement, dramatic enactment, creative writing, and imagina tive play—is an
action- oriented and sensory- based form of psychotherapy. While talk is still the
traditional method of exchange in psychotherapy and counsel ing, practitioners of
expressive arts therapy know that individuals have differ ent styles of communication.
Some are more visual, others more tactile, and still others use movement and gesture
as a form of expression. With the increasing recognition of body-based methods for
regulation and recovery, expressive arts therapy is becoming part of the continuum of
somatic practices in work with traumatic stress, attachment problems, addictions, and
other health challenges. Because expressive methods emphasize implicit, embodied
experiences that may be difficult to express in talk therapy, many practitioners now
turn to these meth ods to help individuals quickly communicate relevant issues
FOUR FUNCTIONS OF EXPRESSIVE ARTS
Another way to look at expressive arts therapy is through its four
main and most general functions that are derived from certain
characteristics. These are self-regulation, co-regulation,
exploration, and restoration. They form a continuum of general
goals in therapy, beginning with regulation of mind and body
through practicing and experiencing sensory-based experiences
and attunement with the practitioner to establish safety, trust,
and confidence. These foundations are necessary to the capacity
for exploration during therapy and to eventually experience
restoration of the self.
Self-Regulation
Stabilization and establishing a sense of safety are psychotherapeutic goals for most individuals seen in treatment.
Self-regulation is a term used to describe not only the capacity to control one’s impulses, but also the ability to
soothe and calm the body’s reactions to stress. It is the ability to modulate affective, sensory, and somatic
responses that impact all functioning, including emotions, somatic responses, and cognition.
Many of the art forms used within expressive arts therapy have demonstrated how they can support emotional
self-soothing as well as measurable physiological changes that result in stress reduction. Sensory integration is a
term used to describe processes that help us receive, organize, and respond to the information we take in via our
senses. It is focused primarily on exteroception (tactile, auditory, olfactory, visual, and gustatory experiences),
interoception, vestibular function, and proprioception. While it is often perceived as the realm of occupational
therapists and physical rehabilita tion, in recent years research has supported the premise that sensory integration
may be necessary to effectively address traumatic stress, mood disorders, attach ment problems, and other
conditions that language- based treatments do not.
Co-Regulation
Co-regulation, which is often defined as responsive interactions that provide support, coaching, and modeling, is a
variation of attunement. In order to achieve it, it requires therapists to pay close attention to the individual’s cues
with consistency and sensitivity. It is also dependent on the changing social interactions between therapist and
individual over time. While the term co-regulation began as a way to describe caregivers’ support for infants, it is
now used to describe regulatory support that occurs within the context of caring relationships across the lifespan.
In expressive arts therapy, arts-based co-regulatory interactions are key.
Shared regulation
Shared regulation, a form of mutual regulation, is found in group expressive arts experiences. Define this as reflexive
convergence, relational moments that occur between individuals that enhance mutual understanding, empathy, and trust.
Reflexive convergence is enhanced by sensory-based experiences through movement, rhythm, image making, enactment,
and play. Mirroring and entrainment are two essential techniques used to support co-regulation.
Exploration
The word exploration generally refers to the action of traveling in or through an unfamiliar area in order to learn about it. It
can also mean deeply examining a particular subject or theme. Because expressive arts therapy is an action-oriented form
of psychotherapy, the regulatory experiences described in the two previous sections support the foundation necessary for
individuals to engage in expressive forms of communication with safety and within their windows of capacity.
Possibly the most compelling reason for the use of the expressive arts in psychotherapy is the sensory nature of the arts
themselves.
Restoration
In expressive arts therapy, the goal is to ultimately facilitate restoration of the self through arts-based approaches. That is,
support the individual, family, or group in recovering wholeness, well-being, resilience, and self-efficacy. This restorative
component can be summarized in three “R’s:” reexperience, resensitize, and reconnect. The “rhythm of restoration” often
includes a wider audience through performance of what one creates.
Ultimately, for restoration to occur, it may be necessary for healing and reparation to take place in all three areas—body,
feelings, and thinking.
The expressive therapies focus on the application of various
expressive aspects in therapy, aspects that involve other
modalities in addition to the verbal modality (i.e., art therapy-
visual and tactile; dance/ movement therapy-kinesthetic; music
therapy-auditory; and drama therapy, which combines all the
other modalities). The expression and information processing
accessed in these modalities are multileveled and are therefore
difficult to contain within a particular theoretical paradigm.

This PPT will talk about three types of expressive therapies:

Art Therapy
Play Therapy
Dance Therapy
Art Therapy
The use of artistic media, such as drawing,
painting, and finger painting, as ways of exploring
and working through unconscious conflict.

These productions serve as means of

(i) emotional catharsis,
(ii) vehicles for revealing inner problems, wishes,
and fears.
 Why art?
Fundamental thoughts and feelings, derived from the unconscious, often find
expression in images rather than in words (Naumburg, 1966).

Who benefits?
Patients who find it difficult to talk freely.
Though untrained in art, individuals can often
project their conflicts into visual forms, to which
they may then expeditiously associate freely.

Dreams, fantasies, and childhood memories may

also more readily be represented in a pictorial
way rather than in speech.

 hrough art a method of symbolic communication

T
develops between patient and therapist.

The therapist uses those symbols to understand

and talk about feelings.
 The therapist encourages the patient to look at
their artwork and think about what it might
represent in their own life or emotions.

This is very much similar to what happens in the

Rorschach test.

The art therapist accepts the patient’s projections without

punitive or judgmental responses.

Interpretations are offered to the patient at strategic times.

The symbolized content permits of an expression of inner

impulses without too many guilt feelings.
Methods of Conducting Art Therapy
They draw or paint :
(i) during the therapy session,
(ii) other times they make art at home and
bring it to the therapist later to discuss.

Art therapy can be done individually or in groups.

Especially useful for children, because kids often express themselves

better through art than through words.
 Materials and Setup

Casein paints Poster paints

Semi-hard pastels

Simple, easy-to-use art materials,

especially if the person is new to
drawing or painting.
 Scribble Technique
Patient is instructed to draw without a conscious plan by making a continuous line
which may assume an irregular pattern as it meanders over the paper in various
directions.

The patient is then encouraged to search for a design, object, animal or person while
holding the paper in different directions.

Once the patient has done this, he or she is enjoined to work in art as spontaneously
as possible using different materials.
Using Art to Unlock Emotions
Drawing helps clients express blocked or unspoken emotions.

Client controls the drawing → feels in charge of their emotions.

Therapist may ask for drawing that contrast current mood.

Depressed clients → draw something happy or cheerful

Anxious clients → draw something calming and peaceful
 (A)

A child feeling vulnerable after 9/11 in his

New York community equips himself with
weapons and an army for battle.
 (B)

Drawn by a girl when she

was asked to draw
something peaceful.
 (C)

A girl feels disoriented and hopeless.

This represents her alone in a forest,
standing in a puddle during the midst
of a storm.
Therapist’s Role & Involvement
The therapist may take on various roles:

Observe quietly or engage in discussion about the

drawing.

Ask about specific images, memories, or people

represented.

Suggest additions or draw alongside the patient.

Art Therapy in Group &
Family Settings
Members are encouraged to draw on a common
theme to promote interaction.

Discussing and comparing drawings builds

understanding and bonding.

Creates safe space for expressing individual

perspectives.
Play
Therapy
 Introduction

Play therapy is a form of psychotherapeutic approach of the

children and a psycho-diagnostic tool.
Play therapy is a form of therapy that requires the therapist to
come to the child’s level and speak in his own language.
It is widely used to treat emotional problems and behavioral
disorders of children because it fully meets their unique
developmental needs.
In most children under 11 years the capacity of abstract
thinking, which is a prerequisite in order to express a word with
meaning and understand complex issues, motivation and
emotions, is not fully developed.
 DEFINITION

Play therapy is the systematic use of a

theoretical model to establish an
interpersonal process wherein trained play
therapists use the therapeutic powers of play
to help clients prevent or resolve psychosocial
difficulties to achieve optimal growth and
development. (Association for Play Therapy,
1997)
 Heart & Soul of Play Therapy
20 core therapeutic powers of play (Schaefer & Drewes, 2014).
 History

The concept of play has been discussed since ancient times,

beginning with Greek philosophers Plato and Aristotle, who linked
play to education.

After a long gap during the Middle Ages, formal theories about
play emerged in the 19th century, when scholars like Schiller and
Spencer proposed that play resulted from children’s excess energy
and served primarily for enjoyment.
 Theoretical Foundation

Jean Piaget
Piaget considers play as part of the whole intellectual development of the
child. He classifies play into three types. Practice begins in the first months
of life, symbolic begins when the child is about two years old, and social
occurs in the 7-11 year old group.

Piaget observed that most of the children, in the first decade of their life,
could not understand complex issues, motivations and feelings, because they
lacked the ability of abstract thinking.
 Theoretical Foundation

Anna Freud
Anna Freud developed a system that uses the play of children in a manner
similar to the one that the dreams are used in adult psychoanalysis. She
supported that the child’s ability to play is based on precocious interactions
with his mother, where, playing with his own body and the body of his
mother, learns to differentiate himself from others, and in extension, to
differentiate reality from fantasy.
Melanie Klien
Melanie Klein stated that play therapy furnishes direct access to the child’s
unconscious and the spontaneous play of the child is a substitute for the free
association of the adults
 Theoretical Foundation

Winniecott
Winnicott argued that the child’s task in the first three years of life is the
development of the close relationship with his mother, then a move to separation and
individualization. The process of individuation is developed through the use of
transitional objects and transitional space between mother and child, and suggests
that there is a direct development from the transitional object to playing. The play,
according to Winnicott, is central to the therapeutic experience.
Virginia Axline
Axline was the one who saw the conceptual expression in the process of play and the
one who introduced play as a form of therapy, as she believed that it was by itself
a wound healing process. Axline proposed eight key principles that she considered as
necessary in play therapy.
 MAIN OBJECTIVES

Based on its therapeutic character, play therapy

has as its main objectives as :
• Child’s socialisation,
• Development of creativity and improvement of the
child’s functionality,
• Understanding and expressing feelings,
difficulties and conflicts,
• Management of “ego”,
• Understanding of “ego” and “want”.
 Types of Play Therapy

Directive Play Therapy Non-Directive Play Therapy

With directive play therapy, the Non-directive play therapy
therapist takes a hands-on approach and makes use of a less controlled
leads the child through guided play environment.
activities to help them express The therapist leaves the child
themselves. to engage in whatever play
They’ll typically give specific activities they might enjoy and
instructions and supervise the child as express themselves with limited
they go through it. interference.
 Types of Play Therapy

Filial therapy
Filial therapy focuses on training and empowering parents or caregivers
on how to interact with their children in a positive way through play.
The goal of using play as a method is to bring parents and children
closer together, improve communication, and promote a collaborative
form of emotional growth.
Sandbox Therapy
This is a form of therapy where a child is provided with a small box filled with sand
and a bunch of miniature toys which may include animals, people, buildings, trees
etc. Using the resources, the child is asked to create a scene that reflects their life
and challenges. Based on how the child perceives their own situation, the therapist
provides advice on how to overcome hurdles and promote the ability to be confident
in oneself.
 Types of Play Therapy

Child-centered play is based on the theory that the child’s development is a

dynamic journey and a process of becoming (awareness or self-awareness). Carl
Rogers (client-centered therapy) and Virginia Axline were giving emphasis to
face-to-face process of coping with the child by encouraging the creation of a
climate that helped him to grow up with his own rhythms. The child is the one
who directs the session, and his relationship with the therapist is the key of
promoting a positive change.

Bibliotherapy‍
This form of play therapy encourages a child to explore their thoughts through
book reading as they are introduced to new concepts and ideas. The therapist
enables the child to communicate their thoughts and feelings as they delve into
different themes.
 Types of Play Therapy
Cognitive-behavioral play therapy uses play in making cognitive changes. It introduces
children to different, more adaptive responses to their difficulties, which are then
used as models utilizing developmentally appropriate tools.
Group play therapy also focuses on coping with behavioral problems, habits or mental
disorders of children, who are playing in groups with the presence of a therapist,
whose role varies from meaningful leadership to that of a simple observer.

A study was conducted to examine the effects of intensive sibling group play therapy
on children who witnessed domestic violence. It found that children in the therapy
group showed improved self-esteem and reduced behavior problems, anxiety,
depression, and aggression. The therapy was found to be as effective as individual play
therapy, supporting its use as a beneficial intervention.
Tyndall-Lind, A., Landreth, G. L., & Giordano, M. A. (n.d.). Intensive group play
therapy with child witnesses of domestic violence. International Journal of Play Therapy.
Indication of Play
Therapy
(Elbeltagi et al., 2023).
 Principal for play therapy
Virginia Axline (1969) developed eight foundational principles that guide the
practice of Child-Centered Play Therapy. These principles emphasize creating a
warm, accepting, and permissive environment where the child leads the process
and discovers personal growth through play
 Process of the Sessions &
Its Application
Play Therapy follows a structured, evidence-based process designed to
help children express and resolve inner conflicts
Core Stages Therapeutic Environment:
Initial Phase – Building safety and trust Safe, toy-rich, emotionally
Working Phase – Facilitating expression accepting space
and healing Sessions last ~30–50 mins,
Termination Phase – Reinforcing self- 1–2 times per week
reliance and closure

“Play is the child’s natural language, and toys are their words.”
— Landreth (2012)
 Initial Phase
Focuses on Rapport building and observation Warm-Up Stage 4-6 sessions

Working Phase

Focuses on Expression, processing, and Aggressive Growing The longest

therapeutic change Stage phase phase

Termination Phase

Focuses on Consolidation and closure Mastery Stage Gradual decrease to the

number of sessions

(Elbeltagi et al., 2023).

 Ideal Playroom Setup
For individual sessions, Landreth (2012) suggests a room size of 12 x 15 feet, while group
sessions may require 12 x 25 feet. Many private practices, hospitals, and agencies have
spaces specifically designed for play therapy. However, even in non-ideal conditions,
therapists can effectively use child-centered techniques.

Essentials of the Playroom

Child-appropriate furniture & storage for Low-noise environment to reduce
toys distractions
Small sink (or bowl of water) Acoustic tiles for confidentiality
Whiteboard/chalkboard for activities
Optional attached bathroom for
Cleanliness & disinfection of toys and
convenience
surfaces (CDC, 2020)
 Ideal Playroom Setup

Essentials of the Playroom

Self-reflection in toy selection and room layout
Avoid “precious” items; toys must withstand play
Washable walls for child self-expression
A chair, and/or pillow or other type of seating for the therapist so that the
therapist can comfortably navigate the playroom while therapeutically serving
the child.
 Adapting TO Limited Spaces

In many grant-sponsored programs and in agencies serving

impoverished neighborhoods, space is not always [Link]
space is far from ideal, privacy, confidentiality and trust become
concerns the therapist should work to achieve by altering the
physical space layout and/ or processes involved in play therapy.

Challenges in Non-Ideal Spaces Practical Solutions

1. Privacy, confidentiality, and trust 1. White noise machine to buffer sounds
concerns 2. Clear drop-off/pick-up routines for
2. Limited waiting room or proximity smooth transitions
issues 3. Distance between play area and
waiting area to ensure privacy
 Limitation

play therapy may not translate uniformly across cultures.

In the Indian context, play therapy may face significant feasibility challenges.

Play therapy may be limited by parental emotional constraints.

Parent-inclusive play therapy models may not be suitable for many institutionalised
children
Dance-Movement
Therapy
 Dance Therapy
Dance therapy differs from regular dance - it’s not
about learning steps, but about using movement as
therapy.
The content of a session is the patient’s own
movement patterns, not a set choreography.
The therapist “tunes in” to the patient’s movement to
form an empathic connection.
Focus is on expression, interaction, and healing
through movement, not performance.
Example:
A psychotic patient who only rocks slightly - the
therapist engages with this movement to help expand
it and support awareness.
What Dance Therapy Does
Dance therapy enables multiple therapeutic processes:
1. Bodily Integration – Awareness that body parts are
connected and movement affects the whole self.
2. Appropriate Affect – Helps express submerged
emotions through movement, reducing inappropriate
behaviors (e.g., autistic movements, sporadic laughter).
3. Insight into Behavior – Encourages awareness of how
movement reflects emotional states or past
experiences.
4. Social Interaction – Builds nonverbal connection and
emotional expression within groups.

Through movement, patients reconnect with their bodies,

emotions, and others.
The Science Behind DMT- Polyvagal Theory &
Presence
According to Geller & Porges (2014) and the Polyvagal Theory,
a sense of safety is created when the nervous system
perceives calm through facial expressions, gestures, and
tone of voice.
In therapy, embodied presence helps both therapist and
client reach a state of physiological safety, essential for
healing and growth.
Therapists provide visible and perceptible cues (voice,
posture, movement) that help clients co-regulate and
gradually learn self-regulation.
This internal–external dance forms the core of
Dance/Movement Therapy - a process where movement
becomes both a mirror and a bridge between self and other.
DMT - A Psychotherapeutic Art Form
DMT connects the internal experience with external expression,
promoting whole-body inclusivity in therapy.
American Dance Therapy Association defines DMT as “The
psychotherapeutic use of movement to further the emotional,
cognitive, physical, and social integration of the individual.”
Association for Dance Movement Therapy (ADMT) UK, in 1977
defined DMT as “The psychotherapeutic use of movement and
dance through which a person can engage creatively in a
process to further their emotional, cognitive, physical, and
social integration.”
This definition places DMT firmly within psychotherapy,
challenging the long-held notion that therapy must rely only on
words.
 Allied Approaches to
Dance/Movement Therapy
Body Mind Centering™ (BMC) – (Cohen, 1980, 1984)
Based on developmental movement and anatomy.
Used for both performance enhancement and therapeutic work.
Some DMT practitioners integrate BMC principles in therapy.
Gabrielle Roth’s Five Rhythms (Flowing, Staccato, Chaos, Lyrical,
Stillness) – (Roth, 1990)
Viewed as a form of shamanic movement.
Centers around five rhythmic structures for expressive
improvisation.
Circle Dance
Rooted in global folk dances with archetypal, healing symbolism.
Used to promote empowerment, connection, and closure in group
therapy.
Encourages participants to choreograph their own dances
reflecting session themes.
 Dance Movement Therapy (DMT)?
DEFINITION
DANCE MOVEMENT THERAPY HELPS PEOPLE INTEGRATE PSYCHOLOGICAL AND
PHYSIOLOGICAL PROCESSES THROUGH EXPRESSIVE MOVEMENT.
CLIENTS USE BODY MOVEMENT TO EXPLORE FEELINGS, MEMORIES, IMAGES, AND
Word Chain
INTERPERSONAL EXPERIENCES.
GOALS OF DMT
TO PROMOTE PERSONAL GROWTH AND EMOTIONAL AWARENESS.
TO INTEGRATE MIND–BODY PROCESSES THROUGH MOVEMENT.
TO IMPROVE SELF-EXPRESSION, SELF-UNDERSTANDING, AND EMOTIONAL REGULATION.
TO ENHANCE INTERPERSONAL CONNECTION THROUGH GROUP MOVEMENT AND
SHARED EMBODIED EXPERIENCES.
KEY FEATURES
THERAPISTS DO NOT TEACH DANCE STEPS; THEY ENCOURAGE SPONTANEOUS,
CREATIVE MOVEMENT.
MIND–BODY CONNECTION IS CENTRAL, SEEN IN POSTURE, TENSION, RHYTHM, AND
EVERYDAY MOVEMENT.
MOVEMENT WITH MUSIC ALLOWS CLIENTS TO EXPERIENCE EMOTIONS PHYSICALLY AND
EMOTIONALLY AT THE SAME TIME.
 Core Techniques Used in DMT
THERAPEUTIC APPROACHES
EXAGGERATION TECHNIQUE: CLIENTS INTENSIFY A GESTURE (E.G., SHRUG) TO
UNCOVER THE UNDERLYING FEELING.
Word Chain
MIRRORING: THERAPIST SUBTLY REFLECTS A CLIENT’S MOVEMENT TO SHOW
EMPATHY WITHOUT IMITATION.
MOVEMENT TRANSLATION: TURNING PSYCHOLOGICAL THEMES INTO PHYSICAL
ACTIONS
E.G., A CLIENT WANTING SEPARATION STEPS BACKWARD ACROSS THE ROOM.
THERAPISTS ADAPT TECHNIQUES TO THE CLIENT’S CULTURAL BACKGROUND,
STRENGTHS, AND NEEDS.
WHO CAN BENEFIT?
PROFESSIONAL DANCERS
AUTISTIC CHILDREN
INDIVIDUALS WITH NEUROLOGICAL DISABILITIES
CLIENTS WITH SEVERE PSYCHOLOGICAL DISORDERS
GROUPS IN THERAPEUTIC COMMUNITIES
Key Principles Underpinning DMT
Body and mind interact, so that a change in movement will affect total
functioning (Berrol, 1992; Stanton-Jones, 1992)
Movement reflects personality (North, 1972; Stanton-Jones, 1992).
The therapeutic relationship is mediated at least to some extent non-
verbally, for example through the therapist mirroring the client’s
movement (Chaiklin and Schmais, 1979; Stanton-Jones, 1992)
Movement contains a symbolic function and as such can be evidence
of unconscious processes (Schmais, 1985; Stanton Jones, 1992).
Movement improvisation allows the client to experiment with new ways
of being (Stanton-Jones, 1992).
DMT allows for the recapitulation of early object relationships by virtue
of the largely non-verbal mediation of the latter (Meekums, 1990;
Trevarthen, 2001).
 Clinical Examples from Practice
EXAMPLE 1 (STEINER, 1992)
IN A MEN’S THERAPEUTIC COMMUNITY, CLIENTS EXPRESSED STORED ANGER
THROUGH:

Word Chain
PUNCH-LIKE CLAPPING
STOMPING
SHOUTING
“MIKE TYSON” IMAGERY EMERGED AS A SYMBOL OF AGGRESSION.
ONE CLIENT TRANSLATED OBSESSIVE THOUGHTS INTO VIOLENT SHAKING AND
KICKING, RELEASING NERVOUS ENERGY.
AFTER EXPRESSING THE MOVEMENT, HE ACCESSED THE DEPRESSION UNDERNEATH
AND ALLOWED THE GROUP TO HOLD AND SOOTHE HIM.
EXAMPLE 2
GROUP BEGAN WITH REPETITIVE MOVEMENTS LIKE PATTING AND CLAPPING.
A CIRCULAR BAND CREATED A SHARED MOVEMENT: “STIRRING THE CAULDRON.”
MEMBERS PLACED EMOTIONAL “INGREDIENTS”: SORROW, ANXIETY,
CONFRONTATION, FRUSTRATION.
THIS SYMBOLIC MOVEMENT CREATED A CONTAINER FOR DIFFICULT FEELINGS AND
STRENGTHENED GROUP EMOTIONAL PROCESSING.
 The Dancing Mindfulness Approach to
Expressive Arts Therapy
Mindfulness can be understood as the self-
Mindfulness-based interventions have regulation of attention to one’s present
become highly popular in the helping experiences with curiosity, openness, and
professions. Over the past two decades, acceptance (Bishop et al., 2004). Though rooted
mindfulness, which originated from ancient in Buddhism, similar practices exist in other
faiths, and mindfulness has been adapted for
Buddhist practices, has been used as a
secular use.
therapeutic tool to improve distress
Jon Kabat-Zinn popularized Mindfulness-Based
tolerance and emotional well-being. Since
Stress Reduction (MBSR) in healthcare, while
2012, more than 500 peer-reviewed studies Marcia Linehan used Zen meditation principles to
are published every year, highlighting its develop Dialectical Behavior Therapy (DBT) for
effectiveness. Research shows that mental health.
mindfulness treatments lead to better This approach raises important questions—
outcomes in addiction recovery and are
equally effective in reducing anxiety, how can mindfulness be more fully integrated
depression, and stress compared to other into expressive arts teaching and therapy?
psychological therapies. It also improves And
emotional regulation, well-being, and
can expressive arts themselves be used as a
resilience, especially among children and
primary way to cultivate mindfulness
youth.
attitudes and skills?
Dancing Mindfulness Defined
What It Is: Dancing Mindfulness is a trauma-informed approach to expressive arts
therapy that uses dance and other art forms to teach mindful awareness and
healing (Marich, 2015).
Seven Elements: Breath, Sound, Body, Mind, Spirit, Story, and Fusion shows that
mindfulness can be expressed through all forms of experience.
Mindfulness Attitudes (Kabat-Zinn, 2011): Nonjudging, Patience, Beginner’s Mind,
Trust, Nonstriving, Acceptance, and Letting Go. all guide how the practice is
facilitated.
Flexibility: Can be adapted for everyone, including people with limited mobility (e.g.,
using breath or small movements). It encourages patience and nonjudgment.
Trauma-Focused Approach: It Goes beyond awareness to actively heal trauma.
Helps connect body and mind using bottom-up interventions(van der Kolk, 2014)
that restore control and empowerment.
Role in Expressive Arts Therapy: Allows people to process trauma without words,
connecting unhealed memories with adaptive responses (Shapiro, 2018).
Applications: it is Useful in group therapy, individual counseling, coaching, and
education.
Impact: It Studies show participants experience emotional and spiritual healing,
increased acceptance, and nonjudgment, especially among those in recovery
(Marich & Howell, 2015).
 Elements of Dancing Mindfulness
Element Meaning Element Meaning

Our life force. Staying aware of our breathing

The unseen or higher power we
helps us stay mindful and know our comfort
Breath level during dance.
connect with and that could be

Spirit
through religion, the universe, or
personal belief. All paths are
respected.
The vibration of life which includes music,
heartbeat, breath, clapping, or any sound
Sound that moves us.
The experiences or emotions we
express through dance that can

Story
be real or imagined, but should
Our physical self that holds emotions. always come from honesty and
Listening to the body helps in understanding without judgment.
Body feelings through movement.

The blending of all the above

The thinking part that takes in and sends out elements and at the end of
information. It can hold both negative and Fusion practice, we pause and reflect to
Mind positive thoughts. Mindfulness helps us focus let everything come together.
on the positive.
References - Dance Therapy
Malchiodi, C. A. (Ed.). (2023). Handbook of expressive arts
therapy. The Guilford Press.
Schmais, C., & White, E. Q. (1986). Introduction to dance
therapy. American Journal of Dance Therapy, 9, 23–30.
Meekums, B. (2002). Dance movement therapy: A creative
psychotherapeutic approach. SAGE Publications.
Sharf, R. S. (2012). Theories of psychotherapy and counseling:
Concepts and cases (5th ed.). Brooks/Cole, Cengage Learning.
THANK YOU