Sunday, November 03, 2019
healingdance
Group Description
Welcome to the Healing Dance Network. I have been looking for a web between the various healing dance studies, theories, practitioners and proponents through which to find, share and expand on my own studies. I have been working with dance as a self-healing resource and looking intuitively and through on-line research to open my knowledge and understanding into the possibilities and realities of healing through dance. I am hoping you will let me know about your own search and findings and how we might work together to bring our learning further.
I am in the beginning of a process to create a Healing Dance Network webzine through which to share and get out the word on healing through dance. Any help or advice would be much appreciated.
My work is based on the intuitive feeling I have been developing for quite some time about dance. There is something very primal, very basic in regard to our species and dance, involving healing in the holistic sense and the intrinsic energies of life/form/time. In every culture there has been an emphasis on dance in not only entertainment, but as a healing force. And, then, entertainment is of course part of healing and cultural unity.
Revelation
Weave into the fabric of a tribe of artistic dancers.
Fall under the spell of pure magic.
Silent night, peace and cold
Imbue me with music
In ecstasy, I dance to the stars.
I am in the beginning of a process to create a Healing Dance Network webzine through which to share and get out the word on healing through dance. Any help or advice would be much appreciated.
My work is based on the intuitive feeling I have been developing for quite some time about dance. There is something very primal, very basic in regard to our species and dance, involving healing in the holistic sense and the intrinsic energies of life/form/time. In every culture there has been an emphasis on dance in not only entertainment, but as a healing force. And, then, entertainment is of course part of healing and cultural unity.
Revelation
Weave into the fabric of a tribe of artistic dancers.
Fall under the spell of pure magic.
Silent night, peace and cold
Imbue me with music
In ecstasy, I dance to the stars.
Judith Lynne Hanna, Ph.D.
Senior Research Scholar
Department of Dance
University of Maryland
Senior Research Scholar
Department of Dance
University of Maryland
5-21-04
THE POWER OF DANCE: HEALTH AND HEALING
Judith Lynne Hanna
, Ph.D.
University of Maryland
8520 Thornden Terrace
Bethesda, MD 20817
301-365-5683 (voice/fax)
jlhanna@hotmail.com
Bibliography
American Journal of Dance Therapy
Berrol, Cynthia
1990 "Dance/Movement Therapy in Head Injury Rehabilitation," Brain Injury 4(3):257-265
Boddy, Janice
1988 "Spirits and Selves in North Sudan: The Cultural Therapeutics of Possession and Trance," American Ethnologist 15(1):4-27
Buckroyd, Julia
2000 The Student Dancer; Emotional Aspects of the Teaching and Learning of Dance. London: Dance Books
Chang, M., & Leventhal, F.
1995 "Mobilizing Battered Women: A creative Step Forward. In F. J. Levy, with J. P. Fried, & F. Leventhal (Eds.), Dance and other expressive art therapies: When words are not enough. (pp. 59-68). New York, NY: Routledge
Cruz, Robyn, and Cynthia R. Berrol (Eds.)
2004 Dance/Movement Therapists in Action: A Working Guide to Research Options. Springfield, IL: Charles C. Thomas Publishers (forthcoming)
Dosamantes-Beaudry, I.
1999 "Divergent Cultural Self Construals: Implications for the Practice of Dance/movement Therapy," Arts in Psychotherapy, 26(4), 225-231
Frank, Z.
1997 "Dance and Expressive Movement Therapy: An Effective Treatment for a Sexually Abused Man," American Journal of Dance Therapy, 19(1), 45-61
Friedson, Steven
1996 Dancing Prophets: Musical Experience in Tumbuka Healing. Chicago: University of Chicago Press
Gray, A. E. L.
2001 "The Body Remembers: Dance/movement Therapy With An Adult Survivor of Torture. American Journal of Dance Therapy, 23(1):29-43
Guindy, Howaida El, and Claire Schmais
1994 "The Zar: An Ancient Dance of Healing," American Journal of Dance Therapy 16(2):107-120
Halprin, Anna
2000 Dance as a Healing Art, Returning to Health with Movement and Imagery. Mendocino,CA: Life Rhythm
Hamilton, Linda H.
1998 Advice for Dancers: Emotional Counsel and Practical Strategies. San Francisco: Jossey-Bass
Hanna, Judith Lynne
1978 "African Dance: Some Implications for Dance Therapy," American Journal of Dance Therapy 2(1):3-15
1983 The Performer-Audience Connection: Emotion to Metaphor in Dance and Society. Austin and London: University of Texas Press (Choice, outstanding book)
1987 To Dance Is Human: A Theory of Nonverbal Communication. Revised edition. Chicago: University of Chicago Press (orig. 1979)
1988 Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire. Chicago: University of Chicago Press
1988 Dance and Stress: Resistance, Reduction, and Euphoria. New York: AMS Press (out of print -- see below - updated, revised edition
1988 "Theories and Realities of Emotion in Performance," Polish Art Studies 9:44-66 and Gestos 3(6):27-51
1990 "Anthropological Perspectives for Dance/Movement Therapy," American Journal of Dance Therapy 12(2):115-126
1990 "Dance and Stress: Good or Bad?" Dance Teacher Now 12(1):27-28, 30, 32, 34, 36
1995 "The Power of Dance: Health and Healing," Journal of Alternative and Complementary Medicine 1(4):323-327
1999 Partnering Dance and Education: Intelligent Moves for Changing Times. Champaign, Il: Human Kinetics
1999 "Dance," in David Levinson, James Ponzetti, and Peter Jorgensen (Eds.). Encyclopedia of Human Emotions, Vol. 1. New York: Macmillan, pp. 171-177
2004 "Anthropological Research: Studying Groups within Cultures or Environments," in Robyn Cruz and Cynthia R. Berrol (Eds.). Dance/Movement Therapists in Action: A Working
Guide to Research Options. Springfield, IL: Charles C. Thomas Publishers (forthcoming)
2005 Dance and Stress. Lanham, MD: AltaMira Press (forthcoming)
Katz, Richard
1982 Boiling Energy: Community Healing Among the Kalahari Kung. Cambridge: Harvard University Press
1992 "The Kung Approach to Healing," Parabola 18(1):72-81
Kendall, Laurel
1985 Shamans, Housewives and other Restless Spirits: Women in Korean Ritual Life. Honolulu: University of Hawaii Press
Levy, Fran J.
1988 Dance/Movement Therapy: A Healing Art. Reston, VA: National Dance Association, American Alliance for Health, Physical Education, Recreation, and Dance
Marshall, Lorna
1962 "!Kung Bushman Religious Beliefs," Africa 32:221-252
Messing, Simon D.
1949 "Group Therapy and Social Status in the Zar Cult of Ethiopia," in Culture and Mental Health, M. K. Opler (Ed.). New York: The Macmillan Co.
1958 "Group Therapy and Social Status in the Zar Cult of Ethiopia," American Anthropologist 60:1120-1126
Payne, Helen (Ed.)
1992 Dance Movement Therapy: Theory and Practice. London, New York: Tavistock/Routledge
Perlman, Susan G., et al.
1990 "Dance-Based Aerobic Exercise for Rheumatoid Arthritis," Arthritis Care Research 3(1):29-35
Schoenfeld, Linda
1986 "Dance Does It," Dancemagazine 55(5):131, May
Torrey, E. Fuller
1967 "The Zar Cult in Ethiopia," International Journal of Social Psychiatry," 13(3):216-223
Wilson, Andrew Abrahams
1991 "Rehearsals in the Anthropology of Performance and the Performance of Anthropology: Ritual, Reflexivity, and Healing in a Dance by Men Challenging AIDS," Los Angeles: Master's Thesis University of Southern California
Dance and Physical Injury
Howse, Justin and Moira McCormack
2000 Dance Technique and Injury Prevention. New York: Theatre Arts Books/Routledge
Solomon, Ruth and John Solomon
2001 Dance Medicine & Science Bibliography, 2nd ed. Andover, NJ: J. Michael Ryan
See www.iadms.org International Association for Dance Medicine and Science
Suggested Videos
Dibbell-Hope, Sandy, Moving Toward Health. University of California Extension Center for Media and Independent Learning. 28 minutes. Documentary that demonstrates the use of the dance therapy form "Authentic Movement" in a support group for survivors of breast cancer, 1992
Morrell, Karen and Steven Friedson. Prophet Healers of Northern Malawi. University of Washington's African Encounters Series PC 45, Seattle, Washington, 98195. 30 minutes. Healers use a divination trance achieved through music and dance, 1992
Willke, Claudia, Come Dance with Me. University of California Extension Center for Media and Independent Learning (2176 Shattuck Avenue, Berkeley, CA 94704). 66 minutes. Profile of the movement therapist Trudi Schoop, 1992
Wilson, Andy Abrahams, Positive Motion. University of California Extension Center for Media and Independent Learning. 37 minutes, color 1992, Catalog #38151
General Health and Healing
Atkinson, R. D., G. Martin & D. W. Sue (Eds.)
1983 Counseling American Minorities: A Cross-cultural Perspective (2nd ed.). Dubuque, Iowa: William C. Brown
Good, Mary-Jo Del Veccho, Paul E. Brodwin, Bryon J. Good, and Arthur Kleinman (Eds.)
1992 Pain as Human Experience: An Anthropological Perspective. Mary-Jo Del Vecchio Good, Paul E. Brodwin, Bryon J. Good, and Arthur Kleinman (Eds.). Berkeley: University of California Press
Kane, Jeff
1991 Be Sick Well: A Healthy Approach to Chronic Illness. Oakland, CA: New Harbinger Publications, Inc.
Morris, David B.
1991 The Culture of Pain. Berkeley: University of California Press
Nichter, M., & Lock, M. (Eds.)
2002 New horizons in medical anthropology: Essays in honor of Charles Leslie. New York: Routledge
- May 21, 2004Laurie,
Thank you for your inspiring words. I am jsut finishing a master's
thesis on the use of intuition in dance/movement therapy, which will
be posted on the NYS-ADTA website.
I am, however, hoping to continue this study to develop it further,
since my questions only raised a book load of more questions!
I look forward to continuting this investigation. BTW: Where are
you located? I'm in NYC.
Peace,
Jenn Frank
- Jan 22, 2002Hello,My name is Wilma Carpenter. I am a spiritual filmmakers and I madea Doc/Drama about the Spiritual Fire "THE VIOLET FLAME"www.thevioletflame.net that transmute karma and in the film I put asegment about the movement of energy (a goddess dance), becauseDancing is praying that heals the earth.Let our dance, songs and rhythms be ourprayer that gives life
Hi. My name is Teresa Hawkes. I have a certification in the Shattari Method of Sufi Moving Meditation from Dunya McPherson (http://www.dancemeditation.org). I teach yoga and moving meditation, and write a weekly meditation practice for The Oracular Tree (http://www.oraculartree.com). I have a book coming out this summer called "In the Flow: Moving Meditation Techniques for Creativity and Problem-Solving."
Hello everyone! My name is Chantal Lemire-Carrillo, I am an anthropologist and a holistic wellness practitioner. I work with energy , helping people tune into their own healing at all levels. I use many tools that I've learned throughout many years of training and research.I also facilitate healing dance workshops. I am very excited to have a virtual community to share experiences with! Dance is my passion..not the steps but the freedom!I have danced all of my life and have known that when I get out of balance, dancing will always centre me! It is my passion!
In my workshops, I integrate some basic energy wellness and release exercises in the warm up for the sessions. I really am not an expert in physiology but rather am more knowledgeable about energy..so that is always my focus.
The most common feedback I get from participants in these dance workshops is that they connect to themselves on a deep level. They often remember their dreams, parts of themselves they had put aside to live busy lives etc... Some people cry, some people scream and laugh with joy etc... We dance with veils and let ourselves loose with shakers...
I often use Gabrielle Roth's 5 rhythms to begin sessions and then select music based on rhythm and energetic quality ie: grounding, spiritually uplifting, balancing. I end with a sonic massage played with Tibetan bowls.
It is my experience in energy healing that realizations and changes that happen at the thought and emotional levels must also be experienced in the body. Dance does this beautifully. I also believe that our body, mind & spirit connection is the key to happiness and freedom. The body stores memories that our thinking mind can't recall. Our emotional self often reacts to these and we don't understand what is going on. When we release our body and it moves to our own rhythm, it leads the whole being to its natural state of wellness. Another thought is that our body is our physical reality, so bringing our spirit into our body enables us to live a life that reflects our true self more authentically.
There we go, that is my reflection on dance for today. I look forward to exchanging with all of you.
Chantal
Chantal Lemire-Carrillo MA
ANTHROPOLOGIST
Specialized in Healing and Human Potential
Tipi.Byregion.net
ANTHROPOLOGIST
Specialized in Healing and Human Potential
Tipi.Byregion.net
Please check this out. It is a wonderful ritual performance piece.
Ritual can be healing, and creative expression is our healing grace.
Here is what I got together to send to ThinkHolistic -- and comments,
corrections, controversies?
Healing through Dance
Laurie Corzett (libramoon42@mindspring.com)
La danse, c'est le mouvement, et le mouvement, c'est la vie.
("Dance is movement, and movement is life.")
--Ludmilla Chiriaeff (Founder, Les Grands Ballets
Canadiens)
What is is about dancing, in a group, with an intimate other, or
alone, that can give us that mystical rush and promote wellness on so
many levels? Is it the pre-cognitive memory of the rhythm of the
heartbeat keeping us safe? Is it the emotional-spiritual connection
to the natural world we feel when moving pleasurably in our animal
body? Is it some atavistic source of healing from our primal days?
This is my quest -- to discover the healing properties of dance and
how to best use and promote this simplest and most profound gift of
our physical being.
Throughout our history, dancing has funtioned as a healing and
balancing component, a form of social communication and transcendent
spiritual ritual. Though patterns and forms vary, expressive
rhythmic movement is a very basic means of relieving emotional
tension and has from the beginning been associated with religious
ritual and healing. We celebrate by dancing at weddings and
festivals, and join others in dance as the quintessential romantic
experience. Dancing alone, feeling the rhythmic sway and getting in
touch with the extension and contraction of muscles in a pleasurable
context, is uplifting, healing. Dancing definitely helps to bring up
my mood and promote more sane reflection. When I can get so caught up
in the dance that I no longer feel separate from the music and can
move within it, it seems to free something very profound within me.
In my search I am finding a wide variety of healing modalities,
spiritual activities and holistic therapies based on our natural
expression of energies through dance, as well as community and
individual art projects promoting creativity and wholeness.
Most recently I am pursuing my passion through a new Yahoo group and
project: the Healing Dance Network. I envision a web between the
various healing dance studies, theories, practitioners and proponents
through which to find, share and expand on my own studies. I am in
the beginning of a process to create a Healing Dance Network webzine
through which to share and get out the word on healing through dance.
Any help or advice would be much appreciated.
http://groups.yahoo.com/group/healingdance
corrections, controversies?
Healing through Dance
Laurie Corzett (libramoon42@mindspring.com)
La danse, c'est le mouvement, et le mouvement, c'est la vie.
("Dance is movement, and movement is life.")
--Ludmilla Chiriaeff (Founder, Les Grands Ballets
Canadiens)
What is is about dancing, in a group, with an intimate other, or
alone, that can give us that mystical rush and promote wellness on so
many levels? Is it the pre-cognitive memory of the rhythm of the
heartbeat keeping us safe? Is it the emotional-spiritual connection
to the natural world we feel when moving pleasurably in our animal
body? Is it some atavistic source of healing from our primal days?
This is my quest -- to discover the healing properties of dance and
how to best use and promote this simplest and most profound gift of
our physical being.
Throughout our history, dancing has funtioned as a healing and
balancing component, a form of social communication and transcendent
spiritual ritual. Though patterns and forms vary, expressive
rhythmic movement is a very basic means of relieving emotional
tension and has from the beginning been associated with religious
ritual and healing. We celebrate by dancing at weddings and
festivals, and join others in dance as the quintessential romantic
experience. Dancing alone, feeling the rhythmic sway and getting in
touch with the extension and contraction of muscles in a pleasurable
context, is uplifting, healing. Dancing definitely helps to bring up
my mood and promote more sane reflection. When I can get so caught up
in the dance that I no longer feel separate from the music and can
move within it, it seems to free something very profound within me.
In my search I am finding a wide variety of healing modalities,
spiritual activities and holistic therapies based on our natural
expression of energies through dance, as well as community and
individual art projects promoting creativity and wholeness.
Most recently I am pursuing my passion through a new Yahoo group and
project: the Healing Dance Network. I envision a web between the
various healing dance studies, theories, practitioners and proponents
through which to find, share and expand on my own studies. I am in
the beginning of a process to create a Healing Dance Network webzine
through which to share and get out the word on healing through dance.
Any help or advice would be much appreciated.
http://groups.yahoo.com/group/healingdance
Hello all.
Thank you, Laurie, for putting together this group so that we can all learn
about one another.
My name is Jamie McHugh, and I live in San Francisco. I have been working
in the field of dance as a healing art for the past 17 years, when I came to CA
to apprentice with Anna Halprin at Tamalpa Institute. I staye4d on at the
Institute for many years as core faculty, and then began to grow my own
approach to somatics, performance and ceremony. I still have a very close
connection to Anna all these many years later, and she still inspires me.
My website is www.somaticxpress.com
I am currently finishing up my first book: "Restoring Original Grace: Movement
as Medicine".
I look forward to being in the loop of this community.
Warmly,
Jamie
Thank you, Laurie, for putting together this group so that we can all learn
about one another.
My name is Jamie McHugh, and I live in San Francisco. I have been working
in the field of dance as a healing art for the past 17 years, when I came to CA
to apprentice with Anna Halprin at Tamalpa Institute. I staye4d on at the
Institute for many years as core faculty, and then began to grow my own
approach to somatics, performance and ceremony. I still have a very close
connection to Anna all these many years later, and she still inspires me.
My website is www.somaticxpress.com
I am currently finishing up my first book: "Restoring Original Grace: Movement
as Medicine".
I look forward to being in the loop of this community.
Warmly,
Jamie
Hello All, I am brand new to this group and will, by August 1st, be
relocated to a retreat in Cherokee Park Colorado. It will take me a
little while to get electricty, internet etc, but I will be back up
and running with a healing dance retreat soon. My life's work has
been in healing, aura reading, movement and sound meditation. My
forte has been as a visual artist of the metaphysical light body and
I've made my living doing sessions with people coombining an aura
portrait with energy work and reading. www.skylarkproductions.com
shows it all.
My passion is in healing dance which is why I'm taking time out from
the move from suburbia to the wilderness to join you all. I combine
solo, couple and group movement meditations, with the Arika Mentation
system. The body is seen as 12 parts, hand and feet together are the
first part. (The other 11 aspects complete the bodymind unity.)By
bonding in mind into body, the hands and feet 'turn to light'.
Movement is effortless. When done with 2 people, dance is via the
wind or essence, not one person leading and one following. I call
the workshop, "Dance like the Wind". I just made an audio cd one can
listen to and be guided by. Its $15.00 and a good start. Also if
anyone wants it, they are automastically signed up to get the next
upgdrade free. If anyone wants a copy, my address for the next two
weeks is 2967 Adobe Drive. Fort Collins, CO 80525. phone is 970 225-
6981. And I'm assuming I'll be getting your emails.
Love to get to know you all. Carol Skylark
("Dance is movement, and movement is life.")
--Ludmilla Chiriaeff (Founder, Les Grands Ballets Canadiens)
http://www.annaswebart.com/culture/dancehistory/history/
http://monsite.wanadoo.fr/Artychaud/page6.html
http://www.synergydance.com/staff.shtml
http://www.movingjournal.org/
http://art-therapy.concordia.ca/co_modalitydance.htm
http://www.erowid.org/spirit/dancing/dancing.shtml
http://www.portfolio.mvm.ed.ac.uk/studentwebs/session4/39/psycho.htm
http://www.jsmusic.org.uk/links.html
http://theparty.netraver.org.za/Dance.html
http://www.erowid.org/spirit/dancing/dancing.shtml
http://www.thinkholistic.com/comdir/cditem.cfm?NID=214
http://www.bbc.co.uk/health/complementary/therapies_energetic.shtml
http://www.meaningoflife.i12.com/index.htm
http://www.somaticxpress.com/
http://www.goagil.com/thesis.html
http://www.oasis-dancezone.com/dances.html
http://www.lifeqwest.com/planetary.html
http://www.bodywisdom.org/
http://www.rosicrucian.com/sia/siaeng59.htm
http://www.tanztherapie.com/us_dancetherapy.htm
http://nurturedance.org/nurturedance.htm
http://www.freewebs.com/earthlight/theearthlightproject.htm
http://www.arielagroup.com/pages/resources/articles/dancesurveyarticle.html
http://www.oraculartree.com/dance.html
http://www.dne.org/dancedirectory/
It's all rhythm, cycles of energy -- dance to the rhythm of your life.
http://pages.prodigy.net/stevenmalkus1/currentevents.htm
http://www.fusionanomaly.net/dance.html
http://www.naropa.edu/somatic/christinearticle1.html
http://www.hopedance.org/archive/40/articles/40.html
http://www.gse.harvard.edu/~t656_web/Spring_2002_students/sparkman_pamela_dance_movement_therapy.htm
http://www.medicomm.net/Consumer%20Site/am/dance.htm
http://www.sciencedaily.com/encyclopedia/Dance
http://www.streetswing.com/
http://www.ccdr.org/ccdr.html
http://www.lmu.ac.uk/ces/lss/DAZL/
http://www.lifepositive.com/Mind/arts/performing-arts/performing-arts.html
http://www.cbcn.ca/english/news.php?show&523
http://www.danceonline.com/news/arts=health.html
http://www.wholistichealingresearch.com/Articles/EnergyMed4Internist.htm
http://www.transitiontoparenthood.com/janelle/energy/juhoansi.htm
https://millrace.uoregon.edu/kinpubs/search_collection.cfm?CFID=90819&CFTOKEN=60996929
http://showcase.netins.net/web/ankh/music.html
http://www.shira.net/heal-phys1.htm
http://www.danceforchildren.com/moving.html
http://www.incywincy.com/default?p=7386
http://www.geocities.com/Vienna/Strasse/3622/mer.html
http://hometown.aol.com/lotusdancers/bellydancesacred3.html
http://www.somaticxpress.com/
http://www.admt.org.uk/assets/emotion/e-motion_spring2003.pdf
http://dir.jayde.com/24196.html
http://www.crystalinks.com/dance.html
http://awakenone.freeservers.com/dance.htm
http://www.portfolio.mvm.ed.ac.uk/studentwebs/session4/39/
http://www.ecstaticspirit.com/Bistro/proprietor.html
http://www.mythinglinks.org/ct~natya.html
http://www.healthandhealingny.org/complement/dance_history.html
http://www.ecopsychology.org/gatherings6/html/Movement/movement_dance.html
http://apdept.antiochne.edu/APDegrees/danceintensive
http://homepage.tinet.ie/~bomi/books/dance_therapy.htm
http://www.artsedge.kennedy-center.org/professional_resources/overviews/detail.cfm?pub_id=57
http://www.cancer.org/docroot/ETO/content/ETO_5_3X_Dance_Therapy.asp?sitearea=ETO
http://www.adta.org/research.html
http://www.adta.org/chace.html
http://www.kinections.com/
http://www.healers-network.com/Articles/mesmera.html
http://www.shakticenter.com/spirit_dancing.html
http://members.aol.com/doder1/dance1.htm
http://www.bethdance.com/dancearticle.html
http://www.danceweaver.com/
http://www.artashealing.org/ahfw9.htm
http://www.sacreddancer.com/links.htm
http://www.sacredcircles.com/THEDANCE/HTML/LISTENTC.HTM
http://www.sacreddanceguild.org/resource/WebSite.cfm?websiteid=6&websitewebmenuitemid=34&wt=HoRe
http://www.dance.demon.co.uk/AGC/Articles/LivingRitualDance.html
http://www.issseem.org/
http://www.spiritdancing.org
http://www.magicalmotion.com
listen to the music. Let it take you where you want to go.
Dance can be a gift that you give to yourself (or that your self gives to you).
http://www.lyricsfreak.com/p/phil-ochs/108193.html
Promotes balance
dancing definitely helps to bring up my mood and promote
more sane reflection. When I can get so caught up in the dance that
I no longer feel separate from the music and can move within it, it
seems to free something very profound within me.
- Jul 10, 2004here are some references for research on the effects of dance/movement therapy on the health of the individual, which I am forwarding from the ADTA list:Bojner Horwitz, E., Theorell, T. & Anderberg, U.M. (2003). Dance/movement therapy and changes in stress-related hormones: a study of fibromylagia patients with video-interpretation. The Arts in Psychotherapy, 30 (5), 255-264.Brooks, D. & Stark, A. (1989). The effects of dance/movement therapy on affect: A pilot study. American Journal of Dance Therapy, 11 (2), 101-112.Cruz, R. F. & Sabers, D. L (1998). Dance/movement therapy is more effective than previously reported. The Arts in Psychotherapy, 25 (2), 101-104.Dosamantes-Alperson, E. & Merrill, N. (1980). Growth effects of experimential movement psychotherapy. Psychotherapy Theory, Research, and Practice, 17 (1), 63-68.Erwin-Grabner, T., Goodill, S.W., Schelly Hill, E. & von Neida, K. (1999). Effectiveness on Reducing Test Anxiety, American Journal of Dance Therapy, 21 (1), 19-34.Ritter, M. & Low, K.G. (1996). Effects of dance/movement therapy: A Meta-Analysis. The Arts in Psychotherapy, 23, 249-260.
- Jul 15, 2004Hello All, I am brand new to this group and will, by August 1st, be
relocated to a retreat in Cherokee Park Colorado. It will take me a
little while to get electricty, internet etc, but I will be back up
and running with a healing dance retreat soon. My life's work has
been in healing, aura reading, movement and sound meditation. My
forte has been as a visual artist of the metaphysical light body and
I've made my living doing sessions with people coombining an aura
portrait with energy work and reading. www.skylarkproductions.com
shows it all.
My passion is in healing dance which is why I'm taking time out from
the move from suburbia to the wilderness to join you all. I combine
solo, couple and group movement meditations, with the Arika Mentation
system. The body is seen as 12 parts, hand and feet together are the
first part. (The other 11 aspects complete the bodymind unity.)By
bonding in mind into body, the hands and feet 'turn to light'.
Movement is effortless. When done with 2 people, dance is via the
wind or essence, not one person leading and one following. I call
the workshop, "Dance like the Wind". I just made an audio cd one can
listen to and be guided by. Its $15.00 and a good start. Also if
anyone wants it, they are automastically signed up to get the next
upgdrade free. If anyone wants a copy, my address for the next two
weeks is 2967 Adobe Drive. Fort Collins, CO 80525. phone is 970 225-
6981. And I'm assuming I'll be getting your emails.
Love to get to know you all. Carol Skylark
- Jul 16, 2004
HAPPINESS DOESN'T COME IN BOTTLES
Neuroscientists learn that joy comes through dancing, not drugs
Walter J FreemanDepartment of Molecular & Cell Biology
University of California, Berkeley CA 94720-3200Op-Ed requested by Peter Sylwan, Science Editor for Svenske Dagbladet, Stockholm, Sweden 24 May 1996 (in Swedish). Reprinted (in English) in the Journal of Consciousness Studies 4: 67-71.Too little has been written about the biology of joy. Most of the articles in the medical literature about brains and emotions are devoted to explaining how we feel fear, anger, anxiety and despair. This is understandable, because we don't go to doctors when we are feeling optimistic, happy, and joyful. Most of what we know about the chemistry of our emotions has been learned from the disorders and the treatments of people who are sad and depressed.But we can't just accept this and say, "Why bother?", because too many of us are seeking to find joy by taking chemicals. We need to ask, "What happens inside our brains when we experience happiness? Is there a way to stimulate pleasure in our brains, and what really happens when we do that?"Electrical stimulationWe have known for 40 years what happens in rats, ever since a neurobiologist named Jim Olds learned how to put electrodes deep into their brains, connect the wires to an electric current generator, and give the animals a switch with which to stimulate their own brains. In some locations in the brain, if a rat accidentally presses the switch, the rat jumps away and stays as far distant from the switch as it can get. We call those locations "pain centers".At other places, after discovering the effects of the electric current, the rats press repeatedly for hours. They seem to be addicted to self-stimulation. We call these locations "pleasure centers". But does it make the rats happy? We don't know, because we can't know what they are feeling. We can only know what they do.Some neurosurgeons have placed electrodes into the brains of human subjects, who were suffering epilepsy. The surgeons were trying to locate the places in their brains, in which a tumor or a scar might be triggering the epileptic fits, so that the damage could be surgically repaired. They stimulated the brains with electric current in order to try to control the epileptic seizures.For some locations, patients reported feeling profoundly depressed, as though they were about to die. One of them said, "Doc, don't ever do that again!" In different places they reported feeling pleasure, sometimes sexual, but mostly rather bland. Some other patients, who were afflicted with chronic pain, reported that they got temporary relief from their suffering. They were given the opportunity to go home with a battery and a switch, so that they could treat their pain by stimulating themselves and adjusting their own dosage of electric current.But no one wanted to keep the wires, and no one got addicted. Some doctors feared that a black market might grow, with addicts going to third world countries to get fixed with wires and stimulators. That didn't happen, because whatever the pleasure was, it didn't last, and it wasn't happiness.Chemical stimulationBut a lot of people do get addicted to chemicals - alcohol, cocaine, amphetamine, heroin, and nicotine. Why do they do that, and why aren't they happy? It is because brains have a variety of chemical systems that regulate their electrical activities in waking and sleeping, and the addictive drugs artificially stimulate those systems, but the feelings are not those of joy.For example, a chemical called 'dopamine' is broadly spread through the brain by specialized nerve cells, when a person achieves some kind of reward, such as by satisfying hunger and thirst, winning a game, or passing an examination. Dopamine is often called a "reward hormone". Its chemical actions are produced also by closely related compounds such as amphetamine and cocaine. They give feelings of bouyant optimism, energy, power, and knowledge.It is not surprising that people who have no other avenues to success, living in poverty and hopelessness, will spend their food money on some transient chemical bliss. But that isn't happiness, and even people who are bloated on academic or business success, and who feel elation, aren't liable to confuse that feeling with happiness.Other chemicals called 'endorphins' act in the brain as natural pain relievers. Their action is imitated by heroin and morphine, also alcohol. Again, it is small wonder that people who suffer from the emotional pains of regret, shame, guilt and despair might find relief from their demons in forgetfulness. But that isn't happiness.Yet another chemical called 'serotonin' is important in bringing mental relaxation as an important condition for getting to sleep. We don't really know yet what sleep is for, but we know that we can't survive without it. The relief from agitation and anxiety that is mediated by serotonin leads also to recovery from some forms of depression. That is why the chemical fluoxitine (Prozac) has become so popular. It doesn't act like serotonin, but it prolongs the action of what little serotonin the brain is producing, if it is in short supply. But return to tranquillity from anxiety and depression is not the same thing as happiness.So, is there a chemical for joy? Scientists are beginning to understand that this is a wrong-headed question. There is no such chemical, and even to ask the question is to expose a deep ignorance about how brains - and people - actually work.Lonely brainsThere is more to brain function than chemistry or electricity. Some pioneer neuroscientists have used the new theory of nonlinear dynamics to build mathematical models of brain function. These far-out dynamicists have come to some remarkable new insights, which at first may seem outrageous, but which are turning out to be much more in tune with human intuition about brains and human nature than anyone had expected.One conclusion is that brains don't take in information from the environment and store it like a camera or a tape recorder, for later retrieval. There is no fixed bank of memories in brains, such as we hold in libraries and computer chips. We have been misdirected by the makers of computers and the visionary Canadian neurosurgeon, Wilder Penfield, to search for the hypothetical "memory banks" in the temporal lobes of humans. Human remembering is notoriously fallible.A stimulus that excites the sensory receptors, so that they send a message to the brain, triggers a reaction in the brain, by which the brain constructs a pattern of neural activity. The sensory activity that triggered the construction is then washed away, leaving only the construct. That pattern does not "represent" the stimulus. It constitutes the meaning of the stimulus for the person receiving it. The meaning is different for every person, because it depends on the past experience of the person.Such a stimulus is only successful in triggering the construction, if it already has some relevance to the person, most particularly if it is being sought by the person through paying attention, or if the person has had some previous experience with that class of stimulus.Each successful stimulus also evokes a learning experience, so that the person is changed by each stimulus, and new experience accumulates. As the existentialist philosophers from Kierkegaard to Heidegger and Sartre have concluded, each of us constructs our self by our own actions, and we know our self as it is revealed to us in our actions. The self is in dynamic readiness to act and bring into play its entire experience at each moment. That is not the way a library or set of look-up tables works. It is far more flexible and rapid, though at the cost of reduced accuracy.The implication of this dynamical model is that the meaning of a stimulus is different for everyone who receives it, because the sum of experience for each of us is unique. Because the sensory activity is washed away, and only the construction is saved, the only knowledge that each of us has is what we have constructed within our own brains. We cannot know the world by direct experience of it.Why not? It is because the world is infinitely complex, and an individual brain can only know the little that it can handle through its own body. It turns out that this view is well known to philosophers. It is called solipsism. Many philosophers have been afraid that it is true, but they couldn't prove it or disprove it. Now neurodynamicists have proven experimentally that it is true. Cognitive scientists have also proved that it is true, but in a negative way. Every attempt they have made to make a robot or a computer, using a fixed memory store, that could handle problems in the real world has failed miserably.One reason that philosophers have been afraid is that solipsism seemed to make it very difficult to account for shared knowledge. If everything each of us knows is made inside our brains, how can we know the same things? The answer is simple. We share almost the same things. Almost. That happens only if we go to the same school, or grow up in the same neighborhood, and acquire the same language and the same culture.Another reason for fear is that each brain is isolated from all others. No one can truly feel what another person is feeling, though we can empathize through shared experience. This separation has a good side, in that each of us has the inalienable right to privacy. The bad side is loneliness. And here, paradoxically, is where joy begins to enter.Dancing is a way to happinessWhere we humans find joy is in surmounting this solipsistic barrier between us and sharing our feelings and comforts. We cannot ever really cross it, but, a bit like neighbors chatting over a fence, we can be together. However, there is more to this communion than mere talking. There is trust, which underlies true friendships and partnerships. What is the chemistry of trust?Answers are found when we look back on our mammalian ancestors. Raising a helpless infant to childhood requires intensive parental care, which comes with bonding between the parents and the infant. Now, how does a carefree child, when it has grown up, become a parent? This change in role requires a catastrophic change in beliefs, attitudes and values to make new parents. We humans would say that they fall in love, first with each other, and then with their offspring.Scientists have learned that, when animals mate and give birth, specialized chemicals are released into their brains that enable their behavior to change. Maternal and paternal patterns of nursing and caring appear. The most important is a chemical called 'oxytocin'. It doesn't cause joy. On the contrary, it may cause anxiety, because it melts down the patterns of connections among neurons that hold experience, so that new experience can form. We become aware of this meltdown most dramatically as a frightening loss of identity and self control, when we fall in love for the first time.Bonding comes not with the meltdown, but with the shared activity afterward, in which people learn about each other through cooperation. Knowing another person doesn't come with foreplay and orgasm. It comes in cooperative activities during and afterward. Trust emerges not just with sex, but also with vigorous shared activity in sports and combat, through which people bond into teams by learning to trust each other.So oxytocin is not a happiness chemical, but a brain tool for building trust. Perhaps a million years ago our ancestors learned how to use this mammalian mechanism to promote social bonding beyond sexual union, in order to form groups and tribes. They did it, and still do it, with dancing, rhythmic clapping and chanting, singing and making music together all day and night, into exhaustion and collapse. When they awaken, they are reborn.Nietsche realized this. Emil Durkheim and other anthropologists have shown how people engage in Dionysian orgies and religious ceremonies, as the most effective way in which to create group identities. The joy they experience comes in dancing and singing with each other, thereby forming the bonds of trust. Trust comes when we are able to predict what other people will do, and we achieve that by repeated cooperative actions.Aristotle wrote: "Happiness is activity of the soul in accordance with virtue." That is rather abstract. We can see virtue as a set of shared goals for the good of ourselves and our children. Joy comes with activities that we share with people we have learned to trust, and that enable us to share meaning across the solipsistic barrier that separates each of us from all others.So happiness is not made by a chemical. That would be the same as treating a violin sonata as nothing but rubbing horse hair on strings of cat gut in order to make a wooden box resonate. Violin makers have to know their materials to make one, and physicians have to know about the brain chemicals in order to treat patients, when the chemistry of brains has gone wrong, but they can't give us a pill to make us happy. We create our own joys, and we feel happiest in learning to trust each other.
- Jul 16, 2004presentation notes to:
Why we Dance
Guest Artists:
Cary Altizer, soloist #1
Erin Guthe, soloist #2
Contact Improvisation by:
Circle Modern Dance
Presented by:
Wayles E. Stapor
Presentation April 27, 2001
Paper May 4, 2001
Presented to:
Dr. Neil Greenberg
Art and Organism Class 2001
Why We Dance?
IntroductionThis question has interested me since I began taking formal dance classes at the age of three. I knew that I had been dancing long before I got to the barre and mirrors, but now I had a special place where I was supposed to dance. Not just dancing down the aisles in the supermarket or pounding out a rhythm on the kitchen floor, now I had teachers guiding me to much greater heights than the glories of backyard, neighborhood, gymnastics. Through these forms of play and more, I learned the joys of moving my body early in life and quickly became addicted to movement. I am not speaking about technical dance but movement. I thought that everyone felt the same way about moving as I did. That wherever you are in space, energy will flow from you body with certain forces and join in a dance of being. Everyone is therefore everyone dances right?
Well according to the Cambridge Dictionary dance occurs when you move your body and feet to music. But what if there is no music? Websters dictionary says that dance is when you move rhythmically up, down or about. Except what if you cant move quickly or think you have any rhythm? Clearly we need to delve a little deeper into defining dance.
The English word dance is related to the French word danse, which is related to the German word danson, which means to stretch or drag. The root of all these dance terms can be traced to tan, a Sanskrit word meaning tension. Obviously, dancing has been apart of human existence for a very long time. Ancient manuscripts such as the bible talk of dancing, and even older cave drawings depict dancing as well. How can an aspect of human life that is so ancient and ingrained, be simplified into a one-phrase definition? It cant, not if we really want to understand what dance is, what it feels like and why people do it. Therefore, I propose that we must think radically and alter our concept of what is dance.
Dance is every movement that the body makes. I mean it, from an early morning stretch, to picking your nose, falling down the stairs or cooking dinner, its all dancing. Or let me amend that, it can become a dance as fast as you can think. All you have to do is be aware of your movement and realize that you are dancing to really be dancing. Intent is everything in this definition. Lets try a little experiment and try to experience what it feels like to be a dancer. In the space as you are now become aware of how your body is existing in space. Feel your body from the skin between your toes to the hair at the nape of you neck. Now become conscious of the force that you are exerting in space. The weight of your body against the ground and the force it would take to move one finger. Finally think of the energy that you exert just by being. Breathing, feeling, thinking all of these things takes energy and contributes to your dance of life. I encourage you to maintain this level of awareness for a while or at least revisit it periodically.
Dancing can be a powerful medium of expression and communication. I believe that movement can express sentiment and meaning as well as the spoken word. The presentation of the following work is meant to be accompanied by a troupe of improvisational dancers. The mother of modern dance Martha Graham once stated that the body says what words cannot. Through he dual interpretation of both movement and words, the question of why humans dance can be examined. When approaching this question, we will examine it through the method of D.E.E.P. analysis. This ethnological approach creates an atmosphere where dance can be examined in reference to humans behavior. Environment, physiology, fitness, and personal experience all contribute to human behavior and these aspects of life are important to study to understand how and why dance exists in life.
Developmental
Each dancer has a unique genetic potential for dance. Physical abilities, emotional drives and personal experiences shape individual dances. Some might say that dancing begins in the womb with the first instance you become aware of your body and are amazed at its power to move. I believe, however, that ontogeny has little to do with a dancers unique style. Mainly humans learn about dance through experience. Imitation is a powerful first step in developing a movement style. You imitate actions that appeal and begin forming a movement vocabulary. Sometimes it is easy to see similar movement styles in people who spend a lot of time together like families. You may often hear people say, why you look like you mother and act like her too. As much as you might like to deny this at a family reunion when you are 8, it may be more truthful than not. During formative years our primary caregivers are strong influences on all aspects of life. We will emulate their movement and make them subtly our own. As you develop you will begin create a movements that are uniquely your own. If a certain skill is required, classes can be taken to learn specific patterned movements. These lessons from imitation to formal education help shape and express your genetic potential as you interact with your environment. Your own unique style of movement will form and be expressed in your daily life in countless dances of being.
Ecological
In some cases, the dances of every day being are developed into precise dancers of technical artistry. Dancers take classes to learn more about a particular style of moving that is not their original style. This environment develops trained bodies and minds to execute brilliant feats of technical genius in ways that most dancers would not conceive of moving the body. Yet the small dances are no less important. When the significant forms of technical dance were being formed each was in response to the environment. Ballet for instance was developed in the court of King Louis XIV of France from the popular social dances of the time. This marked the turning point in the Western world when dance became a recognized art form. This change came about because of the rich and indulgent environment of 17th century France. After ballet as an art form was firmly established another technical form of dance would challenge it. In the strict and rigid atmosphere of the ballet world, dancers were eager to create new freer forms of movement. They rejected ballet and created in modern dance a new, more expressive style of movement that explored contemporary issues of the early 20th century. Dance is truly a contextual activity. Whether in the internal or external environment, all authentic dance is a response to emotion and emotion is derived from responses to the environment.
Evolutionary
I define authentic movement as that which comes straight from the heart. Movement that happens naturally and therefore is true to expression and self. Other dancers can tell when a movement is forced or construed. Forced movement is not quite trustworthy and likely to be responded to negatively. If you consider courting rituals of early man, dance was an essential way to catch a mate and ensure fitness. By watching another person dance, one can gage physical health, which factors heavily into choosing a mate. During the Renaissance a book was published that taught all prospective noblemen and women how to act at court. Castigliones The Courtier even had a section on how to rate a partners health and tell if a prospective mate had certain diseases by how they danced. Humans have probably always used dance as a device to facilitate mating and reproduction. The physical act of moving the body is inherently provocative and arousing when executed with specific intent. Whether it was an excuse to hold a person of the opposite sex close or to discern reproductive viability, dancing has long been a favorite method of attracting a mate and consequently of fitness. Dancing is probably more an expression of memes that genes. Meaning that dancing is taught rather than genetically inherited and can be considered a cultural unit of inheritance.
Physiological
Dancing has always been an integral part of cultures since the time of lineage-based societies. People dance for artistic expression, emotional expression, and nonverbal communication in many areas such as spiritual worship, entertainment, courtship, education and therapy. As our bodies exist in space we are constantly receiving sensation from the world, input. It is our brain's job to integrate this information and then tell the body how to respond. Neurobiology has many influences on the art of dance. The training of a technical dancers body takes years of classes. The brain will create new pathways for dance technique as it does with any specialized task. Dance can also influence the brain by being a stress reliever. In many instances taking time for relaxation and gentle movement is extraordinarily effective in reducing stress, for instance the ancient practice of tai chi or yoga. On the other hand, dance can be a great stress inducer. The performance jitters, your first social dance, or the physical and mental exertion of executing steps all increase the levels of stress on the body. The human body needs a healthy level of arousal to push it to excellent but not produce burnout. Dance can be an effective tool to bring balance to either overly tense or relaxed individuals.
Conclusion
So why do we dance? In light of the previous discussion, and through my deep consideration of this question, I still had not discovered an adequate answer. I decided to take Martha Grahams advice. Graham believed that movement never lies and perhaps through an exploration of dance with dance we can discover the essential truth of this question. I wanted to gain alternate perspectives on the issue of why we dance. To this end, I decided to perform a survey and ask other dancer/performers why they danced. I structured dance into two main categories; dancing for others or dancing for self. The answers were unusual, touching, humorous, and often absurd. Drawing from the responses, I compiled lists of motivations for improvisation and composed two poems. From these materials, the improvisation dancers could explore different movement styles that would express the desired concept; people dancing for others and people dancing for themselves. I choreographed two separate solo dances to the two poems that also explore those issues. The choreography for the solos is the way that I personally interpret the words of the poems and how as an artist I try to express the essence of the soul through other bodies. All of these materials are present in the appendix.
Critique
Why we dance? was presented on April 28th 2001 at the home of Dr. Neil Greenberg. The performance was executed by a small group of dancers from the University of Tennessee Dance Company and Circle Modern Dance. The choreographer and creator of the presentation was Wayles E. Stapor a student of the 2001 Art and Organism class. The performance lasted for roughly 20 to 25 minutes and incorporated elements of dance history, audience participation, freestyle improvisation and set movement. I felt that the presentation was ultimately successful in that it clearly conveyed the major theme to the audience.
One could almost classify this performance as a site-specific work. The stage was a plank deck with some exposed metal edges that were potentially dangerous to bare feet. Railing edged the deck on two sides and the wall of the house on one other. The most wonderful aspect of the setting was the brilliant canopy of trees that framed the elevated stage. Because the dancers were approximately 15 feet off the ground, the trees were very close and lent an aura of dancing in a special, air born space. The major drawback of the space was the relatively small dimension of the stage. Also the audience was relatively close the dancers and this does not give much opportunity for perspective on the dance. On the other hand, an intimate setting can sometimes be very effective and personal. When considering the message of the piece, which was that every one is a dancer, it is somewhat appropriate that the audience was almost apart of the performance in their proximity.
Other technical aspects to consider in the presentation were the dancers, costuming, lighting and sound. Because of the outdoor element of the performance, it was completely non-technically oriented. The creator Wayles E. Stapor in the form of her original text provided the sound. Despite the outdoor setting with no sound equipment, she was easily heard and understood. The costuming was of the simplest design. All of the performers wore the same color, black, in different combination of article of clothing. The costuming choice left the body easily seen and unobstructed and directed attention away from the costume and toward the movement. The lighting was totally natural and illuminates the dancers sufficiently. The semi-professional dancers that performed were very well prepared and seemed to be comfortable with their bodies and how to relate to other dancers. They executed the movements with precision and a very absorbed performance quality. It was apparent to the audience that the dancers were taking this journey through the world of dance with the narrator. I really enjoyed the dancers performance and appreciated the commitment that they lent to the project. With these dancers it was easy to see that they believed in the message that dancing was essential for life and that everyone did it.
Wayles E. Stapor composed the text for the performance. Overall, I believe that it was interesting and successful. The first portion of text introduced the concept and defined the role of dance in the artists life and in the lives of others. After engaging the audience to participate in the dance and become dancers themselves, Stapor went on to discuss the roots of dance. In the interest of clarity, Stapor only explored the roots of dance very briefly and mainly concentrated on western European dance. I feel that the presentation would benefit by including examples and references to dancers of other parts of the world. After discussing the roots of dance, Stapor went on to apply the DEEP analysis to the topic of why we dance. Within the structured framework of DEEP, Stapor tried to relate the connections she was making between dancing and the elements to ordinary life. I thought that this was appropriate for the informal setting, but if this work were to be presented as a formal exploration and paper then other examples would be needed. Dance is present in a wealth of historical contexts and this could be brought to play in the presentation. Overall, I thought that the text of the DEEP analysis section was interesting and thought provoking for the context. If this was to be presented as a paper without the benefit of dancers, I feel that it would need to be supplemented with some of the previous suggestions.
The dancing for the first section of text was not rigidly choreographed by Stapor but instead more shaped. I believed that it was designed so that a different improvisational technique was utilized for each element of the DEEP analysis. Such methods such as flocking, sculpting, and imitation were lead by different members of the dance ensemble. It was also obvious that the movement style reflected and somehow supplemented the words. For instance, when Stapor discussed the ecological aspects of dance in society, one dancer sculpted the other dancers and exhibited how the environment creates certain shapes and situations. In another part, one dancer led the group in movement. This was indicative of relationship building in the individual and unique relationship that each dancer had with the lead dancer. This concept of relationships relates to the evolutionary facet that Stapor was discussing. While each dancer was subtly different each was a part of a group evolving together. In a more obvious connection, when Stapor spoke of physiology the dancers moved in moments of contrasting tension and relaxation. This illustrated the extremes of body movement and how humans are always striving for a healthy balance in the body. These movements were supposed to express how this balance is facilitated and achieved through movement of the body. It is clear that the dance while not strictly set by Stapor was skillfully crafted to create a total impression on the audience, one that includes both words and movements to express the meaning. I feel that the effect was successful and that the two components are greater together than they would be presented separately.
The second portion of the text, the original poems, must be considered with in the context of the movement that is linked with its creation. Stapor composed these poems with the intent that they would only be seen and heard in conjunction with the dance. These poems taken from the survey responses somehow create a cognizant impression of the message of the performance without becoming too literal. I feel that upon reflection of the poems alone, they do not impart as much impact as when read in conjunction with the movement. In the same way, I think that the movements created especially for the poems do not have as much meaning with out the words that describe movements. This symbiotic relationship is not unique in that many works of art depend on a compilation of factors and not just one influence. I believe that by exploring this side of art Stapor has become a better artist and more knowledgeable about the importance of collaborative art. Overall, the piece was performed with a degree of polish that made it pleasing to watch, yet maintained an element of engrossing spontaneity. The messages of the work were clear that everyone dances as a part of life and expressing some of the reasons for dance. I really liked the duality of the performance in the movement and words and would like to see more such marriages of mediums. I now know why these people dance but the question begs to be asked why other people dance in other cultures and situations. I feel that a more in-depth exploration is warranted and that this is only the tip of the iceberg. As she suggests in the beginning of her work, I would encourage Wayles E. Stapor to delve deeper into the question of why we dance?