While the plan for this week’s blog post was to begin a dive into Dance/Movement Therapy (DMT), that plan has changed because of one article. Basso et al. (2021) wrote an article entitled Dance on the Brain: Enhancing Intra- and Inter-Brain Synchrony. The title and the thought of diving into neuroscience first stuck with me about this article. However, the article inspired another look at ‘why culture’ before DMT.
In the article, the authors draw from several different fields, anthropology, sociology, psychology, dance pedagogy, and neuroscience, to introduce The Synchronicity Hypothesis of Dance. This hypothesis suggests that humans dance to strengthen/intensify intra- and inter-brain synchrony. Another interesting point in their article is the importance of the neurobehavioral processes in seven sensory, motor, cognitive, social, emotional, rhythmic, and creative areas. These offerings were thought-provoking for a couple of reasons. The first is because of how the brain potentially responds to dance and movement - synchrony between brains and activates several areas of the brain. Secondly, the authors did not limit themselves to one perspective; they drew from several fields. Third, the specific areas highlighted in the neurobehavioral process are emotional, rhythmic, and creative. We will push pause for one quick minute and take a quick detour, and then we will come back and weave this in.
Visiting History
As dance/movement therapists in training, we study and learn about DMT history and evolution. As was discussed in the previous post linked here the argument could be made that DMT evolved well before the identified timeline, which usually begins with Marian Chace. Marian Chace is often considered a seminal figure in the field (American Dance Therapy Association, n.d.). Others, such as Blanche Evans, Trudi Schoop, or Joan Chodorow, built on her work or expanded the field. While it is essential to understand the evolution of DMT and the different techniques, something is missing in the timeline - the focus on culture and the exclusion of other pioneers whose work may not be specifically considered DMT but whose work is crucial.
Katherine Dunham
Katherine Dunham was an internationally known dancer, choreographer, author, social reformer, and social activist. She was among the first African American woman anthropologists (Uzor, 2023). Katherine's choreography highlighted a realm where “ruptured histories can be reckoned with and imagined anew” (Uzor, 2023, p. 6). Much of her work came from her experiences traveling and researching in areas such as Martinique. In contrast, other pieces came from places she had not visited in historical times, like Rarotonga (Uzoe, 2023). Through this all, Dunham brought the perspective of dance in the Caribbean region from New Orleans to Black communities living in North America as West African rituals kept alive through the horrors of chattel slavery (Connors, 2014).
Integrating and Critical Thinking
The work of this remarkable woman is not talked about or discussed within the history of DMT. And, yet, she needs to be! A gap in the knowledge leads to a potentially Eurocentric perspective within the field of DMT. So, now let’s bring back the discussion that introduced this post - dancing to strengthen/intensify intra- and inter-brain synchrony, looking at a topic from multiple perspectives, and neurobehavioral processes in the areas of sensory, motor, cognitive, social, emotional, rhythmic, and creative. What is missing when we limit ourselves to one perspective? What happens when we understand that we can enter a creative space to explore history and find healing? What happens when we look across domains, such as the cognitive, social, and rhythmic nature, to see the connection? What happens when we engage with the wisdom of our ancestors, the generations that came before, and the world's cultures? The answers to these questions are for you to consider. I hope you explore the answers to these questions and take some time to learn more about what is missing in history.
What’s Next?
Take the time to answer and reflect on the above questions. They will challenge and encourage you to dive deep.
Do some more research about Katherine Dunham and her work. Below is a great video about how her work is alive today. You can also find some great YouTube videos of her work by doing a general search.
Until next time!
Practical Tips and Suggestions
Take some time to research what information is being left out in your field and consider why it is being left out. For example, if you are a counselor and counseling student, why are Afrocentric theories left out in student curriculums or large organizations providing continuing education? Then, allow yourself to go digging to learn more!
Additional Resources
Das, J. D. (2017). Katherine Dunham: Dance and the African diaspora. Oxford University Press.
CRESTSprogram Related Blog Posts
References
American Dance Therapy Association. (n.d.). Marian Chace biography. https://www.adta.org/marian-chace-biography
Basso, J. C., Satyal, M. K., & Rugh, R. (2021). Dance on the brain: Enhancing intra-and inter-brain synchrony. Frontiers in Human Neuroscience, 14, 584312. https://doi.org/10.3389/fnhum.2020.584312
Author, A. A., & Author, B. B. (Year of publication). Title of chapter. In E. E. Editor & F. F. Editor (Eds.), Title of work: Capital letter also for subtitle (pp. pages of chapter). Publisher. DOI (if available)
Connors, J. (2014). Berenson and Katherine Dunham: Black American dance. In J. Connors & L. A. Waldman (Eds.), Bernard Benenson: Formation and heritage (pp. 363-391). Harvard University Press.
Uzor, T. M. (2023). Tidalectic un/mapping and the performance of African diasporic imagination in the repertory of Katherine Dunham. Dance Research Journal, 55(3), 6-29. doi:10.1017/S0149767723000359
Comments