Dancing, moving and writing in clinical supervision? Employing embodied practices in psychotherapy supervision

Abstract

This paper takes a new look at the methods of embodiment for psychotherapy supervision. It makes a rigorous distinction between knowledge derived via language and knowledge derived via the body without the intervention of conscious thought and above all language.In an account of a study whereby the principal researcher and her co researchers, all professional practitioners of dance movement psychotherapy, the genesis and development of new tools designed to capture the connection between movement and the possibility of "languaging" the embodied experience (Sheets-Johnstone, 2007, p. 1) is shown. An unexpected outcome resulted in which the methodology developed for the study proved to be useful for clinical supervision. Of the several different models developed, one, a model for self-supervision, is presented here as a practical example of how to access the knowledge of the body. In putting forward implications for practice, the authors suggest that the integration of movement and writing may be beneficial not only for clinical supervision in dance movement psychotherapy, but also for body psychotherapies, arts therapies, and for any verbal approaches of psychotherapy supervision that aim to integrate and explore the embodied experience.

Dance Movement Therapy, Past and Present: How History Can Inform Current Supervision

“…Using art in the supervision space even reduces tension (Deaver & Shiflett, 2011); improves the relationship between supervisor and supervisee (Scheiby, 2001); increases self-awareness in the supervisee (Austin & Dvorkin, 2001); and increases empathic attunement (Cooper, 2001). The importance of using the body and its movement in therapy and supervision, as a way of understanding and knowing, has been mentioned by a number of dance movement therapists (Federman, 2011;Meekums, 2007;Panhofer et al, 2011;Payne, 2008). Payne (2008) emphasized the contribution of using writing, moving, or visual art to gain new perspectives on the supervision material.…”

“…Payne (2008) emphasized the contribution of using writing, moving, or visual art to gain new perspectives on the supervision material. Panhofer et al (2011) even suggested a new method of selfsupervision involving movement. Meekums (2007) uses the body as a central listener in DMT supervision, who is waiting to absorb information, bypassing the logical area of the brain and activating the body's wisdom.…”

“…One of the important conclusions of DMT is that deep understanding occurs through the body (Panhofer et al, 2011). On the basis of this insight, the work of 'Authentic Movement' was established.…”

“…It has been proven to improve the professional skills of the therapist (Fiedler, 2008;Jones & Dokter, 2008;Panhofer, 2008). One of these skills is the acquiring of professional language, which is a necessary skill; a shared language also provides a sense of belonging and security (Panhofer et al, 2011).…”

“…One is movement-based, or embodied, models of supervision, in which supervises are invited to do body-movement work; and the other is verbal models of supervision, in which the central way of processing the therapist's work is through verbal discussion. There are also models that combine these two focuses, using both verbal and nonverbal modes of working (Panhofer, Payne, Meekums, & Parke., 2011). However, while movement analysis tools may be incorporated into student-training, or used as descriptive or quantitative tools in research, a literature review on this subject found no supervision models employing movement analysis tools.…”