The Body Politic: The relevance of an intersectional framework for therapeutic performance research in drama therapy

Sajnani, Nisha

doi:10.1016/j.aip.2013.05.001

Cited by 25 publications

(13 citation statements)

References 16 publications

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“…That is thought to be not accidental, as long as in her study of Ukrainian national clothing and in assembly of her own outfits she had always been quite meticulous, considering every detail of the costume. That is why, there is no doubt that she presented us with the description of clothes, while having completely predetermined images with corresponding implication on her mind (Sajnani, 2013;.…”

Section: Resultsmentioning

confidence: 99%

Stage costume and problems of theatrical symbolism in Ukraine

Nesen¹

2021

lingcure

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Theater as a form of cognition of the phenomenon of man and society is of interest to researchers in various fields. This is a consequence of the syncretism of all the elements that shape the art of theater. An important place in the art of theater is a costume, according to modern theater critic Patrice Pavi, as one of the main elements of the organization of stage space, which directly affects the integrity of the scenery and its integration with the actor's body. They open the image of each character: by determining the age, sex, character, profession, emphasize individuality or typify the person. The costume is a sign of a person and at the same time a means that allows reincarnation into another person. With the help of staging, the principle of the inner composition of the play is determined: the interaction of the costumes with each other in terms of cut, shape, color, material and place in the overall scenography of the design. The problems of costume in the system of Ukrainian theater remain little studied, in contrast to folk costumes or the history of fashion.

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Section: Resultsmentioning

confidence: 99%

Stage costume and problems of theatrical symbolism in Ukraine

Nesen¹

2021

lingcure

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“…For me, not only does this mean creating a safe boundaried therapeutic space; it also means providing a safe space free from prejudice and prejudgement. In particular, not providing a reductive approach that assumes that sex, gender, race, class, sexual orientation, faith, age and ability are all experienced homogenously (Sajnani 2013). Instead, placing the unique individual experience of these aspects at the heart of the therapy.…”

Section: Resultsmentioning

confidence: 99%

Dramatherapy and Gender: Shattering Norms and Unearthing Possibilities

Wilkinson

2018

Dramatherapy

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This critique was initially written as part of my MA Dramatherapy Independent Scholarship at the University of Derby, standing alongside a 30-minute solo performance. Together, they created an overall body of work; an autoethnographic research project into a topic based upon personal experience. Originally titled “Dramatherapy and the Glass Slipper: Utilising the Story of Cinderella to Challenge What It Means to Be a Woman”, this theoretical and embodied investigation navigated my experience of gender within western society through the medium of dramatherapy, with Cinderella as its metaphor. One year on, I am proud to be returning to this investigation as part of the Dramatherapy journal LBGTQ+ special edition, enabling me to reflect upon my continuing journey with, and experience of, gender, society and dramatherapy. Utilising both my original research and recent reflections, this article will present how dramatherapy enabled me to explore, question and challenge the social construct of gender. Ultimately, igniting a personal transformation to a more authentic self, as well as unearthing a professional endeavour to create a therapeutic experience that can acknowledge the spectrum of individual experiences; one based on humanness.

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“…When considering systems of oppression and power, this concept of tension has also been illustrated as the contrast of social inequities between groups of those who are marginalised and those who experience social advantage (Hadley & Thomas, 2018). Sajnani (2013), suggested that adoption of an intersectional lens by creative arts therapists can assist them to identify the interactions and internal experiences causative to feelings of otherness and tension by the therapist and people with whom we work with aim to cause disruption.…”

Section: Theme 1: Disclosurementioning

confidence: 99%

The Great Reveal: The Experiences of a Registered Music Therapist with a disability: an arts-based research project

Kalenderidis¹

2020

Voices

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Abstr Abstract actDisability is a human phenomenon experienced not by a small minority but a large percentage of our global population. Disability is encountered by people of all ethnicities, religions, genders (and non-conforming), sexualities, socio-economic backgrounds, and ages. Recent music therapy literature has advocated for a diverse workforce and others describe the value in music therapists adopting an intersectional lens, which considers the interconnectedness of social and political identities. However, there is limited dialogue featuring lived experiences of music therapists of underrepresented identities, such as disability. This research sought to canvass the experiences of Australian Registered Music Therapists who identify as having a disability and to explore how their disability may impact or inform their practice. One Australian Registered Music Therapist (RMT) who identified as disabled was interviewed. The student-researcher engaged with arts-based research through music composition to allow an embodied analysis and to present results in an accessible format. Several themes were revealed, including; hidden disability, disclosure of disability, alliance, positive transference, visibility, and identity. These findings demonstrate the importance of lived experiences in the music therapy community and calls to amplify diverse voices of those with disabilities and other intersecting identities within our profession. Acknowledging the work of disabled music therapists may further challenge ableist attitudes in our society and provide options to participants who might prefer to work with therapists who have relevant lived experience. K Ke eywor ywords: ds: disability, disabled identity, lived experience, disclosure, music therapy, arts-based research R Rationa ational le e As a person with a lived experience of disability, I chose to explore this topic for my music therapy minor thesis. My music therapy studies were diverse in exploring tra-

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The Body Politic: The relevance of an intersectional framework for therapeutic performance research in drama therapy

Cited by 25 publications

References 16 publications

Stage costume and problems of theatrical symbolism in Ukraine

Stage costume and problems of theatrical symbolism in Ukraine

Dramatherapy and Gender: Shattering Norms and Unearthing Possibilities

The Great Reveal: The Experiences of a Registered Music Therapist with a disability: an arts-based research project

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