Everything You Need to Know About Becoming A Dance Therapist
You don't need to be a performer to make a positive impact through dance. Dance/movement therapists use movement to approach a patient's health holistically, working with populations as diverse as teenagers dealing with anxiety, veterans suffering from trauma and elderly patients with dementia or Alzheimer's. What makes for a good dance therapist? "They've seen the power of movement in their own life. And they have empathy for other people and for what's going on in the world," says Nancy Beardall, dance/movement therapy coordinator at Lesley University.
What is Dance Therapy?
The American Dance Therapy Association defines dance/movement therapy as "the psychotherapeutic use of movement to promote emotional, social, cognitive, and physical integration of the individual." Practically, what this means depends on what kind of setting the therapist is working in, says Beardall. Dance therapists can work in private practice, nursing homes, schools, hospitals, rehabilitation centers and other environments, where they combine the work of a traditional therapist with a deep knowledge of the body and how movement is connected to our overall health.
How Do You Become a Dance Therapist?
Antioch students and faculty. Photo by Melinda Garland, courtesy Antioch
There are two ways to get accredited in the U.S.
1. Earn a master's degree from one of the seven ADTA-approved programs lasting two to three years:
• Antioch University
• Columbia College Chicago
• Drexel University
• Lesley University
• Naropa University
• Pratt Institute
• Sarah Lawrence College
Programs are about 60 credits and include two internships, plus lots of experiential learning.
2. Students with a master's degree in a related subject can participate in Alternate Route, a self-guided program that allows students to combine coursework, fieldwork and an internship to earn accreditation.
What About Undergrads?
Undergraduate DMT programs don't offer certification. Photo via colum.edu
These schools offer preparatory dance/movement therapy programs and courses for undergraduates:
• Columbia College Chicago
• Drexel University
• Endicott College
• Goucher College
• Lesley University
• Manhattanville College
• Nazareth College
• Queens College
• Seton Hill University
Studying dance therapy in undergrad is by no means a requirement for pursuing it in in graduate school; Beardall says the majority of her students majored in dance and minored in psychology, or vice versa. (Some psychology prerequisites are required for ADTA master's programs.)
What Should You Know Before Becoming a DMT?
Erica Hornthal works with a variety of patients at her DMT practice. Photo courtesy Hornthal
Tomoyo Kawano, director of Antioch University's dance/movement therapy and counseling program, emphasizes that DMTs may find themselves having to advocate for movement as a viable psychotherapeutic treatment. "They need to have that conviction," she says. "It's important to explore if that's something they want to pursue for the rest of their lives."
How can students be sure that dance/movement therapy is right for them? Erica Hornthal, founder of Chicago Dance Therapy, suggests undergraduates talk to a DMT or try to shadow one. Students can also attend ADTA conferences, and watch the organization's video series at adta.org/adta-talks.
How Much Dancing Is Involved?
The amount of actual dancing depends on the setting and the patient. Sometimes patients dance to "have someone witness what they want to express," says Hornthal; other times sessions are sedentary, with the DMT trying to connect a patient's experience to their breath or their posture. For Beardall, it's less about dancing and more about patients being expressive, and their feelings, patterns and preferences coming out through movement.
- American Dance Therapy Association ›
- Dance / Movement Therapy ›
- What is Dance/Movement Therapy? | ADTA ›
- What Is Dance Movement Therapy? | Psychology Today ›
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.