부산대학교 도서관

The origins of dance movement therapy (DMT; also known as dance therapy; dance/movement therapy; or dance/movement psychotherapy) are deeply intertwined with the development of modern dance. In the early 20th century, as ballet and commercial dance performances took the spotlight with their technical prowess, pioneers of modern dance began emphasizing the expression of emotional content and universal themes, integrating dancers' personal experiences and insights into self-states. This innovative form of self-expression laid the foundation for DMT. DMT pioneers firmly believed in the therapeutic potential of the body. They internalized training in dance dynamics and somatic as bodily knowledge, naturally applying it to facilitate healing and growth for those they worked with. To this day, DMT, as an interdisciplinary fusion of psychology and art, relies on a body of knowledge that combines scientific rigor with artistic sensitivity, supporting its practice, education, research, and professional communication. The Laban Movement Analysis (LMA) system, which emphasizes the process of movement transformation, the plasticity of human movement, and the possibilities of expanding the reference and movement repertoire, gained prominence in East Coast DMT in the United States starting in the 1960s. To gain deeper insights into the practical application of LMA in DMT, this research focuses on a discovery oriented research on the actual use of LMA in DMT groups with female drug abuse inmates. The findings, analyzed through group records and reflective discussions, reveal five main themes of LMA in DMT: 'observational impressions,' 'identification and interventions,' 'bodily resonance,' 'inner dialogue,' and 'external dialogue.' These themes are categorized into the roles and contributions of LMA in DMT group therapy and auxiliary leadership outside the group. Additionally, possible suggestions for future developments and research in the application of LMA in DMT practice and research are presented for reference.