ظهور رقص/حرکت درمانی در استونی
|کد مقاله||سال انتشار||مقاله انگلیسی||ترجمه فارسی||تعداد کلمات|
|38403||2012||7 صفحه PDF||سفارش دهید||محاسبه نشده|
Publisher : Elsevier - Science Direct (الزویر - ساینس دایرکت)
Journal : The Arts in Psychotherapy, Volume 39, Issue 4, September 2012, Pages 321–327
In 1991 the Baltic nation of Estonia peacefully achieved independence from the Soviet Union. The arts played a significant role throughout this historic process and they continue to be an important in contemporary Estonian society. Out of these roots, there is growing academic and professional focus on the uses of creativity to facilitate health, well-being and other therapeutic goals. This paper is based on the author's experiences as a U.S. Fulbright Scholar teaching at Tallinn University's Department of Applied Creativity in 2011. It examines recent academic and professional developments in the field of dance/movement therapy and other creative arts therapies in Estonia. It also analyzes the academic, cultural, and economic factors that will likely have significant influence on the future of Estonian dance/movement therapy and creative art therapies.
My class is sitting in a circle, bundled against the dampness of early spring. Through the window, I can see the medieval walls of the university's old city campus, which descend to a narrow, curving cobblestone street. Three of my students are practicing leading the group and the rest of the class, despite their supportive good spirits, is struggling to understand and follow the instructions. The facilitators are valiantly, but unsuccessfully, attempting to engage the class in a cohesive closure experience, when suddenly one of the class members jokingly suggests ‘let's sing a song’. Half-heartedly, hesitantly and with much giggling and fidgeting, a few students nod while simultaneously collapsing their torsos and looking at the floor. With a slightly superficial ‘bravado’ tone, someone begins a popular drinking song. A few of the students reluctantly join in, while others become glassily unfocused or look away with uncomfortable smiles. After a few more abortive attempts, someone begins a song with a slow, lyrical melody. Within seconds the entire class joins in. Suddenly, we are all singing and swaying together, even me, although I don’t understand the meaning of the words (Estonian is a challenging language that I had been struggling to learn for months). The mood of the group has shifted and I feel a sense of buoyant calmness, wholeness and strength. As I watch the gentle rhythmic swaying of the group members, I imagine rivers flowing and tall trees swaying gently. When the song ends, we remain in the silence, luxuriating in the mood that our collective breaths, voices and movements have created. This moment is a cherished memory for me. My body easily remembers the power and cohesion that day. However, it was not the only time I witnessed the unifying power of movement, dance and song during my time in Estonia. For Estonians, individually and collectively, the arts and arts experiences have transformative power. Based on my experiences, I believe that the creative and expressive arts will have an important role in the continued growth, healing and transformation of the citizens of this small nation in northeastern Europe. To start at the beginning: I received a Fulbright Scholar Grant1 to teach graduate and undergraduate courses, and to advise and consult about the development of dance/movement therapy (DMT) programming in the Department of Applied Creativity/Art Therapies curriculum at Tallinn University, in Tallinn, Estonia from January to June, 2011. I hoped to introduce American DMT approaches and techniques and help nurture the emerging sprouts of Estonian DMT. I also hoped to excite both students and colleagues with the many ways that psychotherapeutic uses of movement and dance can promote mind/body wellness and transformation. On a personal level, I wanted to learn more about the culture and people of this region and broaden my own understanding of the issues, forms and practices of Estonian, Baltic and European DMT. By the end of my six months teaching, traveling, and learning, I had made many enriching contacts with new colleagues, students and friends. I deeply appreciate all who generously shared their journeys, experiences, stories, dances, and songs with me