Running Head: THE THERAPEUTIC VALUE OF DANCE

The Therapeutic Value of Dance

Kelly Boyer
Seattle University

THE THERAPEUTIC VALUE OF DANCE

Introduction
At a young age, it became clear to me how much of an effect dancing had on my
life. It would continually increase my mood after partaking in a class and I also found a
community within the culture of dance. As I became interested in the counseling field
through the years, I would make comments of dance being my therapy and as it
progressed I learned of such a thing called Dance Movement Therapy (DMT). Not only
was DMT available to study and get an education in, it became important to find out how
effective it can be for others who have not grown up with dance in their life as I have.
Pistole (2003) emphasized the importance that dance can have as an outlet for not only
emotional pressures but as an expressive way of showing the pangs, ecstasies, passions,
moods, and aspirations the heart can feel (234). The relation I had with that comment
furthered my interest in how others feel through DMT. To be consistent with various
studies, the definition for DMT I will use throughout this proposal is that it is a form of
therapy that helps with areas in an individuals life such as emotionally, socially,
cognitively and physically (Leseho & Maxwell, 2010; Meekums, 2008; Nauert &
Johnson, 2011; Payne, 2004; Strassel, et al, 2011). Future goals of mine involve using
dance as a tool for my students well being and it seems crucial in my own curiosity to
study how DMT affects the participants involved.
Review of Literature
My plan is to somewhat replicate methods in similar studies that have been done
such as Leseho & Maxwells (2010) study which involved in depth interviews with 29
different women to grasp a better understanding on how dance and creativity support
them through the difficult parts of life. Although the researcher used a qualitative study

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with open-ended questioning, the use of positively biased questions may have led
participants to disclose only on the resilient nature DMT had on their experience. A
sample question showing this positive bias from the study is I am interested in the
resiliency of the human spirit. Tell me a story of how your participation in creative
movement has contributed to your survival and growth (Leseho & Maxwell, 2010, p.
20). This limitation allows my design to account for that possible problem with the topics
and questions in which I will initiate interviews.
Strassel, et al. (2011) discusses the idea that the body and mind are interrelated,
hence making room for dance therapy, however the artistic outlet of dance does not
become therapy unless there is a certified therapist leading the session. I would be
interested to look into those who participate in both DMT and also an average dance class
to examine the differences they have seen between the two. The possibility of my own
participation would be beneficial to this interest as well. Strassel, et al. (2011) reviewed
multiple DMT articles and found that studies were poorly designed yet did not specify
many of the reasons why. Their comment on the small sample size in many of the studies
reviewed causes me to question what the average number of participants are in a DMT
setting. In this respect, the grant I have received to complete this research allows me to
perform multiple interviews and observations not only nationally but worldwide. My goal
is to stress the effect DMT has on its participants of various backgrounds in numerous
groups ranging between a one participant to therapist ratio to a ten participant to therapist
ratio.
Therapy is not a place for a certain population of people. Rather it is a space for
human beings with innumerable ranges of difficulty in their life to find help. Its

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important through this process to dig deep as I observe and interview my participants
because each person will have a different reason for being in therapy. Young-Ja, et al.
(2004) did not allow subjects to have had a present or past diagnosis of psychiatric or
internal illness, past therapeutic treatment, and could not be in the habit of smoking or
drinking, upon various other qualities. Although this criteria was important to their study
they then assessed their subjects on symptoms of depression with the Symptom Check
List-90-Revision to view the symptoms these girls were experiencing (Young-Ja, et al,
2004). Instead of using criteria to only allow certain people and their participation in
DMT I will use purposeful sampling in order to understand the realistic way DMT is
being done and affecting its participants in actuality. I want to study anyone involved in
DMT and not discredit his or her reason for being there.
The research I studied used various forms of pre and posttest design (Leseho &
Maxwell, 2010; Meekums, 2008; Pistole, 2003; Young-Ja, et al, 2004), which
strengthened my view of how to implement the various topics I would use in the
interviews. Meekums (2008) used triangulation with gathering her qualitative data by
using pre and post interviews not only with the participants but with the therapist and
teaching staff involved with the participant as well. I plan to model my study after hers by
not only talking in depth with the participants over a course of two years but also with the
people involved closely with their life along with the therapist. The threat from
conducting pre DMT interviews is evident, however triangulating this technique with the
therapist and various other sources will help control for increasingly credible data
collection.

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Background knowledge in this study will be relevant, and as Strassel, et al. (2011)
developed a base of expertise on the history of dance, its important for me to do so as
well. I will seek out various Dance Movement Therapists to interview them on the
process and to understand their therapeutic techniques. The lack of member checks
throughout the studies I examined (Leseho & Maxwell, 2010; Meekums, 2008; Pistole,
2003; Young-Ja, et al, 2004) is an area I will also make amends with by allowing my
participants to review the data and themes I develop through each year.
My intention is to develop a comprehensive amount of knowledge on how DMT
is used and how it affects those who are involved. I want to know why people choose to
participate in DMT over other forms of therapy and also develop themes for not only
those reasons but also for how DMT affects them in the short or long term. What goals do
they have by participating in DMT? How do they feel one month after participating in
DMT, six months after, one year after and so on? I hope to cultivate and maintain a
trusting relationship with my participants in order to conclude with credible results.
Research Methods
Subjects. Initially, I will make visits to Alexandra, New Zealand; Kyoto, Japan, Port
Elizabeth, South Africa; Murcia, Spain; Atacama, Chile; and more locally New York City
and Boulder, Colorado. These seven cities were purposefully chosen by the availability of
DMT in each location. Using purposeful and convenience sampling I will seek out one to
two educational or rehabilitation settings that provide DMT in each city. Discussion and
agreements will be made with each institution as to my visits across the following two
years. I want to make sure I have full disclosure from not only the participants in each
DMT group but also the therapists, parents if applicable, significant others and teacher

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figures. Credibility in my sampling method will be accounted for by not only

triangulating the use of multiple sources like Meekums (2008), but also on choosing
facilities that vary in demographic characteristics such as age and socioeconomic status.
The amount of participants I use from each country will depend on the specific number of
people in the actual DMT group. I will keep each countrys sample to a minimum of
seven and a maximum of ten participants, resulting in a combined amount of 49 to 70
participants total. Criteria for my sample are wide ranging to decrease the possibility for
bias. The criteria I have for the participants involved in this study is that they are willing
to self disclose their experiences and again that I have 7-10 participants from each
country. This study will also examine those who are just beginning their journey through
DMT or have at a maximum been involved for one month.
Instruments. Pre-DMT interviews will be conducted after the first six months focusing
on topics such as reasons why they are in DMT and the background and experience of
other (if any) forms of therapy they have tried prior. Reasoning behind conducting the
interviews six months in is because I will be observing completely for the first months. I
have hired several videographers to assist me in my research who will record not only the
sessions but my interviews as well. Sample semi-structured questions to begin Pre-DMT
interviews will include: Tell me about why you are participating in DMT and what is
your experience with any other form of therapy or dance in general? Use of post
interviews will also be used after the initial six months. A sample post interview question
to begin the process will be similar to: Tell me about your experience today in DMT?
Comparable to Leseho & Maxwells (2011) study, both the pre and post interviews will
last between thirty and sixty minutes as to not force responses out of the participants.

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These interviews will be semi-structured in that I will guide them in a way to discover
their background, motivation and experience of DMT, however I want to keep this time
with the participants flexible and comfortable to develop an honest experience.
To assure credibility throughout these interviews, the triangulation process
between the responses of participants, therapists and other valid sources will not be
shared. Participants will not have any knowledge of my interview process with their
therapist. Responses of each source will also be in their own words throughout the entire
process. Video recording also helps to assure this aspect. I will conduct interviews with
the therapists and outside sources the entire two years. These interviews will involve
topics of the therapists role and the techniques they use during the therapy session.
Sample questions to begin the interview include: How does a typical DMT session look?
What have you seen throughout your experience? What do you see happening as far as
changes or behavior in (each participants name)? It will be as critical for my
understanding in how congruent the therapist is with each client as it is for my own
interaction with each participant. In depth interviews along with videos will help in this
experience.
Credibility to these instruments will be justified by again, not leading the
participants to a positive or negative view of their experiences; rather my initial questions
must stay neutral the entire two years. Beginning each interview relatively the same way
not only for pre-DMT but also post-DMT interviews also warrants credibility. Although
participants may take the interview in various directions themselves, it is critical to this
study keep a general system going through my own process and control of how I ask
questions and respond.

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Research Design & Procedures. A qualitative grounded theory study will be used for
this research. Essentially I want to uncover what happens over participants entire time in
DMT and also their intent for the initial participation and eventual ending of therapy. To
be clear, my work these entire two years will be based solely on this research. While
seeking the institutions I plan to use for this study I will initially investigate how
beneficial it will be to have the participants journal throughout their time in DMT. If
therapists agree that this will not hinder the actual therapy, I will have each participant
continuously journal over their time in DMT. Because I will not be able to continuously
be in any location the entire six months, every videographer in all locations will send me
recordings after each session is complete. An internal threat to validity during observation
will be the varied themes that come up in my field notes between a setting where there is
no other option than my presence or the videographers presence in the room DMT is
taking place and if there is an observation window as there many times is in a setting
where dance takes place. I will use Skype much like Carmichaels (2012) study of DMT
to conduct interviews in the locations I am unable to be in as to ensure prolonged
engagement with the participants. The first six months involve journaling, video
recording, complete observation of the DMT clients, and interviews with therapist and
other outsides sources again such as significant others or teacher figures outside of
therapy. I will continue to code and observe themes from the data I collect and then
continue to add on as the data is generated.
For the remaining months of this study I will continue to visit each location
monthly. Pre and post interviews will begin with the clients of DMT in each city as I also
continue interviews with therapists and outside sources. I will continue to have all

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sessions and interviews recorded as well. Due to the possibility that participants may end
therapy earlier than the two year time period, I will have final interview processes ready
and will make visits at this time or conduct through Skype. A threat to internal validity
will be in the difference between in person interviews and Skype interviews. It will be
important to pay critical attention to the differences observed between the two. During
final interviews with participants I will use member checking to account for credibility of
my observations and coding. A threat to external validity will be the accuracy to how I
can generalize the themes that arise from a participant that completes two years of DMT
in comparison to those who will complete therapy earlier on in the research. I will
control this by keeping data separated by length of time DMT was completed. Depending
on if DMT was ended because it was complete or due to the client deciding it isnt a good
fit will range on how this aspect limits my study.
The exhaustive effort to collect data will involve the constant upkeep of
organization and descriptive coding of video recorded interviews and sessions, field
notes, and journals. I will make sure to keep separate my observations in the initial six
months from the final year and a half. Individual files for each of the participants and also
cities will be used in the organization of data but as the study nears end, themes will be
made from codes that pop up from my observations. Various codes will be used in my
qualitative analysis. Although I want the data to suggest the coding, general categories
will include the setting, techniques of the therapist, reason for DMT, past experiences of
therapy, age, gender, length of DMT, effect on therapist, effect on client (before and after
sessions), and outside source observations. The general categories for each location will

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stay consistent. These categories will then be broken down to more specific codes I will
gather from my data.
Summary & Conclusions
Through my initial process of seeking out the DMT institutions that will be
involved in my study to final interviews that take place, researcher bias is important
because of my general positive experience in dance. Not only can questions not be
positively biased but also responses will be carefully thought out as to not lead
participants in one direction of their experience. I will stay open and flexible as the study
evolves and use poor debriefing by having my work reviewed by several colleagues who
are proficient in qualitative research but have an objective view on DMT. The key to this
entire study and process is to develop a significant understanding to how DMT affects its
participants. This qualitative study was designed to gather a comprehensive amount of
data in order to generalize the effects of DMT, rather than singling out specific reasons to
why clients are in DMT and if symptoms are lessened like much of the literature
reviewed (Leseho & Maxwell, 2010; Meekums, 2008; Young-Ja, et al, 2004). The
purpose is to spread awareness to not only prospects of therapy and how effective in
multiple areas it can be, but also to dance movement therapists to grasp how DMT is used
in other locations of the world with people of different backgrounds.

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References
Carmichael, N. (2012). Turning Towards Multicultural Diversity Competence in
Dance/Movement Therapy. American Journal of Dance Therapy, (1). Retrieved
from www.adta.org/Default.aspx?pageId=1176148
Leseho, J., & Maxwell, L. (2010). Coming alive: creative movement as a personal coping
strategy on the path to healing and growth. British Journal Of Guidance &
Counselling, 38(1), 17-30. doi: 10.1080/03069880903411301
Meekums, B. (2008). Developing emotional literacy through individual Dance Movement
Therapy: a pilot study. Emotional & Behavioural Difficulties, 13(2), 95-110.
doi: 10.1080/13632750802027614
Nauert, R., & Johnson, P. (2011). Adaptive Music/Dance Therapy: An Activity to
Improve Quality of Life in Long Term Care Settings. International Journal Of
Health & Wellness, 1(1), 91-105.
Payne, H. (2004). Becoming a client, becoming a practitioner: student narratives of a
dance movement therapy group. British Journal Of Guidance & Counselling,
32(4), 511-532. doi: 10.1080/03069880412331303303
Pistole, M. (2003). Dance as a Metaphor: Complexities and Extensions in Psychotherapy.
Psychotherapy: Theory, Research, Practice, Training, 40(3), 232-241. doi:
10.1037/0033-3204.40.3.232
Strassel, J. K., Cherkin, D. C., Steuten, L., Sherman, K. J., & Vrijhoef, H. M. (2011). A
Systematic Review of the Evidence for the Effectiveness of Dance Therapy.
Alternative Therapies In Health & Medicine, 17(3), 50-59.

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Young-Ja, J., Sung-Chan, H., MyeongSoo, L., Min-Cheol, P., Yong-Kyu, K., & ChaeMoon, S. (2005). DANCE MOVEMENT THERAPY IMPROVES EMOTIONAL
RESPONSES AND MODULATES NEUROHORMONES IN ADOLESCENTS
WITH MILD DEPRESSION. International Journal Of Neuroscience, 115(12),
1711-1720.