Introduction: Dance Movement Therapy (DMT) is described as a movement-based framework that relies on the connectedness of mind and body, movement as a currency of one's native language, an assessment tool, an instrument of intervention and widely used one of the effective art therapy modalities. However, the important challenge remains in understanding how DMT actually works. Mirroring is commonly used and important technique of DMT practise and the technique involves the therapist's imitation of a client's movements, emotions, or objectives. Synchronisation is a crucial element in mirroring, enabling the effectiveness of the exercise. Goals: In this study we aimed to reveal which axes of movements contribute the most (or least) this synchronisation, exploring synchronisation levels and movement characteristics between participants in dyadic and triadic DMT interactions. Hypothesis: We hypothesized that (H1) synchronisation levels will vary across the three spatial dimensions (X, Y, and Z axes), (H2) dyadic mirroring tasks will result in greater synchronisation across all axes compared to triadic mirroring tasks and (H3) movement patterns during mirroring tasks will differ between male and female participants. Method: Three brief (15-min) DMT sessions were recorded involving one male and one female participant engaging in dyadic and triadic interactions with a DMT psychotherapist using motion capture technology. Furthermore, semi-structured interviews were performed with the participant to illustrate their experiences. The DMT therapist identified the significant moments of the session where the mirroring exercise occurred. Quantitative analysis included cross-correlation, time lag, and Euclidean distance assessments, examining movement discrepancies through velocity, acceleration, and residual measures. Qualitative analysis involved thematic analysis to gain insight into participants’ experiences. Results: (1) The results showed that the level of synchrony varied in three dimensions; in fact, the results revealed that vertical movements are more salient and easier to mirror in DMT practice, (2) greater synchronisation is found in dyadic intervention compare to triadic setup, (3) lastly significant discrepancies on movements characteristics of male and female participants were observed. Conclusion: This study reveals that during mirroring exercise in DMT session, vertical movements are perfectly synchronized, whereas synchronization is less consistent along other axes. Dyadic interactions show higher synchronization levels than triadic ones, and distinct movement characteristics were observed between male and female participants. These findings contribute to understanding synchronization dynamics in DMT and its impact on therapeutic outcomes.

Introduction: Dance Movement Therapy (DMT) is described as a movement-based framework that relies on the connectedness of mind and body, movement as a currency of one's native language, an assessment tool, an instrument of intervention and widely used one of the effective art therapy modalities. However, the important challenge remains in understanding how DMT actually works. Mirroring is commonly used and important technique of DMT practise and the technique involves the therapist's imitation of a client's movements, emotions, or objectives. Synchronisation is a crucial element in mirroring, enabling the effectiveness of the exercise. Goals: In this study we aimed to reveal which axes of movements contribute the most (or least) this synchronisation, exploring synchronisation levels and movement characteristics between participants in dyadic and triadic DMT interactions. Hypothesis: We hypothesized that (H1) synchronisation levels will vary across the three spatial dimensions (X, Y, and Z axes), (H2) dyadic mirroring tasks will result in greater synchronisation across all axes compared to triadic mirroring tasks and (H3) movement patterns during mirroring tasks will differ between male and female participants. Method: Three brief (15-min) DMT sessions were recorded involving one male and one female participant engaging in dyadic and triadic interactions with a DMT psychotherapist using motion capture technology. Furthermore, semi-structured interviews were performed with the participant to illustrate their experiences. The DMT therapist identified the significant moments of the session where the mirroring exercise occurred. Quantitative analysis included cross-correlation, time lag, and Euclidean distance assessments, examining movement discrepancies through velocity, acceleration, and residual measures. Qualitative analysis involved thematic analysis to gain insight into participants’ experiences. Results: (1) The results showed that the level of synchrony varied in three dimensions; in fact, the results revealed that vertical movements are more salient and easier to mirror in DMT practice, (2) greater synchronisation is found in dyadic intervention compare to triadic setup, (3) lastly significant discrepancies on movements characteristics of male and female participants were observed. Conclusion: This study reveals that during mirroring exercise in DMT session, vertical movements are perfectly synchronized, whereas synchronization is less consistent along other axes. Dyadic interactions show higher synchronization levels than triadic ones, and distinct movement characteristics were observed between male and female participants. These findings contribute to understanding synchronization dynamics in DMT and its impact on therapeutic outcomes.

Exploring Dyadic and Triadic Interactions in Dance Movement Therapy: A Mixed-Methods Study Combining Motion Capture and In-Depth Qualitative Insights

UFAK, BUSE
2023/2024

Abstract

Introduction: Dance Movement Therapy (DMT) is described as a movement-based framework that relies on the connectedness of mind and body, movement as a currency of one's native language, an assessment tool, an instrument of intervention and widely used one of the effective art therapy modalities. However, the important challenge remains in understanding how DMT actually works. Mirroring is commonly used and important technique of DMT practise and the technique involves the therapist's imitation of a client's movements, emotions, or objectives. Synchronisation is a crucial element in mirroring, enabling the effectiveness of the exercise. Goals: In this study we aimed to reveal which axes of movements contribute the most (or least) this synchronisation, exploring synchronisation levels and movement characteristics between participants in dyadic and triadic DMT interactions. Hypothesis: We hypothesized that (H1) synchronisation levels will vary across the three spatial dimensions (X, Y, and Z axes), (H2) dyadic mirroring tasks will result in greater synchronisation across all axes compared to triadic mirroring tasks and (H3) movement patterns during mirroring tasks will differ between male and female participants. Method: Three brief (15-min) DMT sessions were recorded involving one male and one female participant engaging in dyadic and triadic interactions with a DMT psychotherapist using motion capture technology. Furthermore, semi-structured interviews were performed with the participant to illustrate their experiences. The DMT therapist identified the significant moments of the session where the mirroring exercise occurred. Quantitative analysis included cross-correlation, time lag, and Euclidean distance assessments, examining movement discrepancies through velocity, acceleration, and residual measures. Qualitative analysis involved thematic analysis to gain insight into participants’ experiences. Results: (1) The results showed that the level of synchrony varied in three dimensions; in fact, the results revealed that vertical movements are more salient and easier to mirror in DMT practice, (2) greater synchronisation is found in dyadic intervention compare to triadic setup, (3) lastly significant discrepancies on movements characteristics of male and female participants were observed. Conclusion: This study reveals that during mirroring exercise in DMT session, vertical movements are perfectly synchronized, whereas synchronization is less consistent along other axes. Dyadic interactions show higher synchronization levels than triadic ones, and distinct movement characteristics were observed between male and female participants. These findings contribute to understanding synchronization dynamics in DMT and its impact on therapeutic outcomes.
2023
Exploring Dyadic and Triadic Interactions in Dance Movement Therapy: A Mixed-Methods Study Combining Motion Capture and In-Depth Qualitative Insights
Introduction: Dance Movement Therapy (DMT) is described as a movement-based framework that relies on the connectedness of mind and body, movement as a currency of one's native language, an assessment tool, an instrument of intervention and widely used one of the effective art therapy modalities. However, the important challenge remains in understanding how DMT actually works. Mirroring is commonly used and important technique of DMT practise and the technique involves the therapist's imitation of a client's movements, emotions, or objectives. Synchronisation is a crucial element in mirroring, enabling the effectiveness of the exercise. Goals: In this study we aimed to reveal which axes of movements contribute the most (or least) this synchronisation, exploring synchronisation levels and movement characteristics between participants in dyadic and triadic DMT interactions. Hypothesis: We hypothesized that (H1) synchronisation levels will vary across the three spatial dimensions (X, Y, and Z axes), (H2) dyadic mirroring tasks will result in greater synchronisation across all axes compared to triadic mirroring tasks and (H3) movement patterns during mirroring tasks will differ between male and female participants. Method: Three brief (15-min) DMT sessions were recorded involving one male and one female participant engaging in dyadic and triadic interactions with a DMT psychotherapist using motion capture technology. Furthermore, semi-structured interviews were performed with the participant to illustrate their experiences. The DMT therapist identified the significant moments of the session where the mirroring exercise occurred. Quantitative analysis included cross-correlation, time lag, and Euclidean distance assessments, examining movement discrepancies through velocity, acceleration, and residual measures. Qualitative analysis involved thematic analysis to gain insight into participants’ experiences. Results: (1) The results showed that the level of synchrony varied in three dimensions; in fact, the results revealed that vertical movements are more salient and easier to mirror in DMT practice, (2) greater synchronisation is found in dyadic intervention compare to triadic setup, (3) lastly significant discrepancies on movements characteristics of male and female participants were observed. Conclusion: This study reveals that during mirroring exercise in DMT session, vertical movements are perfectly synchronized, whereas synchronization is less consistent along other axes. Dyadic interactions show higher synchronization levels than triadic ones, and distinct movement characteristics were observed between male and female participants. These findings contribute to understanding synchronization dynamics in DMT and its impact on therapeutic outcomes.
Dance Therapy
Dance Movement
Neuroscience & Dance
Motion Capture
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/20.500.12608/79324