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Dancing to the loop

Innovative Ways of Analysing Data with Practitioners as Co-Researchers: Dancing outside the ballroom

Conducting research as part of a PhD study offers students a unique opportunity to explore new methods and methodologies. Although we each based our PhD studies on a more traditional participatory action research (PAR) methodology, we also took the opportunity to experiment with a new data analysis method. Working from a critical social science paradigm (Fay, 1987) that translates into critical and collaborative research practice with an emancipatory intent, our scope of freedom as to how to process data, perform the analyses, then synthesise and report the results, became restricted. We felt that if we were to be genuine in involving practitioners in data analysis, as co-researchers, we needed to adopt approaches that allowed the expression of all ways of knowing. Using the creative arts proved to be an innovative way of working and learning, facilitating the complex interpretation of narrative data, identifying patterns, themes and connections. As in all qualitative research, in order to enhance process and outcome rigour, the (learning) strategies and methods used by researchers should be congruent with the principles characteristic of the chosen methodology. In this chapter, we want to offer you, the reader, a deeper insight into the key principles underlying this method for data analysis, before describing how we "danced" with them in each of our studies. Building on the original work of Boomer and McCormack (2010), who used the key principles of practice development, namely participation, inclusion and collaboration,i we developed a "critical and creative data analysis framework". This framework rests on the three main philosophical principles of hermeneutics,criticality, and creativity. Applying these principles to data analysis we have learned that multiple perspectives usually show more similarities than differences, which we express visually and poetically in Figure 22.1. The interface between two perspectives is not a juxtaposition but a fluid transition, where the sky meets the sea and the sea meets the sand. Each is separate and yet part of the whole, bigger picture.

From Foxtrot to Freestyle : dancing with an alternative logic for complex change.

Dance movement therapy for clients with a personality disorder

Background: People with a personality disorder (PD) suffer from enduring inflexible patterns in cognitions and emotions, leading to significant subjective distress, affecting both self and interpersonal functioning. In clinical practice, Dance Movement Therapy (DMT) is provided to clients with a PD, and although research continuously confirms the value of DMT for many populations, to date, there is very limited information available on DMT and PD. For this study, a systematic literature review on DMT and PD was conducted to identify the content of the described DMT interventions and the main treatment themes to focus upon in DMT for PD. Methods: A systematic search was conducted across the following databases: EMBASE, MEDLINE, PubMed, WEB OF SCIENCE, PsycINFO/OVID, and SCOPUS following the PRISMA guidelines. The Critical Appraisal Skills Programme for qualitative studies was used to rank the quality of the articles. The Oxford Center for Evidence-based Medicine standards were applied to determine the hierarchical level of best evidence. Quantitative content analysis was used to identify the intervention components: intended therapeutic goals, therapeutic activities leading to these goals, and suggested therapeutic effects following from these activities. A thematic synthesis approach was applied to analyze and formulate overarching themes. Results: Among 421 extracted articles, four expert opinions met the inclusion criteria. Six overarching themes were found for DMT interventions for PD: self-regulation, interpersonal relationships, integration of self, processing experiences, cognition, and expression and symbolization in movement/dance. No systematic descriptions of DMT interventions for PD were identified. A full series of intervention components could be synthesized for the themes of self-regulation, interpersonal relationships, and cognition. The use of body-oriented approaches and cognitive strategies was in favor of dance-informed approaches. Conclusions: Dance movement therapists working with PD clients focus in their interventions on body-related experiences, non-verbal interpersonal relationships, and to a lesser extent, cognitive functioning. A methodological line for all intervention components was synthesized for the themes of self-regulation, interpersonal relationships, and cognition, of importance for developing systematic intervention descriptions. Future research could focus on practitioners’ expertise in applying DMT interventions for PD to develop systematic intervention descriptions and explore the suitability of the identified themes for clinical application. Clients’ experiences could offer essential insights on how DMT interventions could address PD pathology and specific PD categories.

Waarom zouden mensen jou moeten volgen?

Op videosite YouTube is een bekend filmpje te vinden over de Dancing Guy. Een jongen staat alleen gek te dansen tijdens een of ander muziekfestival. Vol schroom voegt zich een ander bij hem en geleidelijk aan vormt er zich een groep om hem heen, totdat “we’ve got momentum” en iedereen erop afstormt om erbij te horen.

Webinar on teaching dance in business. Contributing tips with founder & CEO of Leading in Motion, LeeAnn Mallorie