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Creative Dance and
Movement in
Groupwork
Second Edition
Helen Payne
Second edition published 2020
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 Helen Payne
The right of Helen Payne to be identified as author of this work
has been asserted by her in accordance with Sections 77 and
78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from
the publishers.
Trademark notice: Product or corporate names may be
trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.
First edition published by Speechmark Publishing Ltd. 1990
Reprinted by Routledge 2017
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record has been requested for this book

ISBN: 978-1-138-62581-5 (hbk)

ISBN: 978-1-138-60537-4 (pbk)
ISBN: 978-0-429-45967-2 (ebk)

Typeset in Helvetica
by Swales & Willis, Exeter, Devon, UK
 Dedication

This book is dedicated to my mother, Hazel Payne, with

blessings, for giving me something of her love for
dance.
CONTENTS
About the author xi
Foreword xiii
Preface xv
Acknowledgements xx

SECTION 1 Background 1
Introduction 3
Historical development 8
Dance as movement and dance as
performance art 12
The role of the dance and movement
practitioner in relation to the dance
movement psychotherapist 16
Dance movement psychotherapy:
the mode of working 20
Training in dance movement
psychotherapy 23
Conclusion 24

SECTION 2 Practical and theoretical issues 25

Developmental movement processes 27
Non-verbal communication as expression
and communication within the group 43
Developing creative dance as expression
and communication within the group 45
Planning and evaluating a programme 50
Four sample sessions 67
Clients 81
Laban movement analysis 82
Guidelines for you 89
Conclusion 97
SECTION 3 Activities 99
Introduction 101
Warm-up 105
Introduction to theme 143
Development of theme 203
Warm-down 285

SECTION 4 Information 307

Postgraduate education in DMP 308
Dance movement therapy professional
associations 326
Glossary of terms 328
Journals 331
Resource base 331

REFERENCES 343
INDEX TO ACTIVITIES 350

x Contents
 About the author
Professor Helen Payne has been one of the leading pion-
eers in dance movement psychotherapy (DMP) in the UK
and abroad. She holds a Ph.D. (London) and an M. Phil.
(Manchester) and has over 100 publications in book, peer-
reviewed journal or conference proceeding formats. In 1971
she began working in movement and play to develop rela-
tionships with adults and children with profound learning
difficulties in a hospital setting while attending a specialist
physical education course for secondary school teaching.
She went on to work with groups in special education, fur-
ther education, community settings, health and social work.
Her further professional studies embrace training in dance,
special education, counselling and group analysis. She has
held posts on B.Ed., Master’s and other postgraduate pro-
grammes specialising in DMP.
She is a past programme leader for the first UK-
validated postgraduate training in DMP at the University of
Hertfordshire, where she also trained art and drama therap-
ists. She then went on to train counsellors at foundation
and postgraduate levels. Helen has been a UKCP
accredited psychotherapist since 1991 and a senior regis-
tered dance movement psychotherapist (ADMP UK) with
a small private practice. She regularly acts as principal
supervisor and examiner for doctoral candidates and has
examined numerous Master’s degrees and Ph.D.s. Helen is
a professor in Psychotherapy at the University of Hertford-
shire and Fellow of ADMP UK with over four decades of
practice, training, education and research in the arts ther-
apies, psychotherapy and counselling,
She was a major innovator of DMP in the UK, leading
to the development of the professional association, and the
first research and publications. She designed and imple-
mented the first foundation and higher education validated
postgraduate programmes in DMP. She is founding editor-
in-chief for the peer-reviewed International Journal of Body,
Movement and Dance in Psychotherapy published by
Taylor & Francis. Her current research interests include The
BodyMind Approach (TBMA), which supports people in
learning to self-manage their persistent bodily symptoms
for which tests and scans come back negative (medically
unexplained symptoms) in primary care; mental health;
supervisory practice; and the development of therapeutic
presence through the discipline of authentic movement.
She teaches and presents nationally and internationally at
universities, conferences and professional associations. As
well as running a small private practice she conducts train-
ing in integrative authentic movement and The BodyMind
Approach.

xii About the author

 FOREWORD
It was 1993, or around that time. I was looking for direc-
tions, personal insights and professional paths. One way
forward was to remain a teacher. I was doing a Master’s in
dance education, after all. Another was to leave the field
and get into psychology, a long-standing interest of mine.
There was this other field too, dance therapy, neither edu-
cation nor psychology. Or was it both at the same time?
Not sure exactly what it was, curious but scared to leave
a path that was expected of me for an area that was new,
exciting and so much unknown. My academic tutor, Pat,
thought that I needed to explore this new avenue and make
up my mind; my interests seem to be relevant. She handed
over a few books available in the field, those that were
bridging over to therapy. It was early days. Not much was
out there, as yet. One of the few publications available was
this book, a book one of her own students had written. The
author’s name was Helen Payne. Activity-based, it spoke to
my need to see things in practice. It spoke to my desire to
understand how dance could be used in British schools for
several different purposes. It allowed me to see how child-
centred ideas could be implemented. How ideas from
Laban movement analysis could be used so that children
could be supported to find their voice and speak their
truths in ‘body’, ‘shape’, ‘space’ and ‘efforts’. At that time,
I had no capacity to value the text as a dance movement
therapist, as I was not one yet. The teacher in me, however,
was happy with this practical, clear, pedagogically sound
text. It offered structures, ideas, games and lots of practical
support to people like me, keen and ready to enter
a school environment as a dance educator, an educator
that wanted to support children to learn and grow. In those
days I used it all the time.
It is 2019, and I am a dance movement psychotherapist
with qualifications and lengthy experience of working in the
field as a clinician, and as an academic. I have written my
own book, edited a few more, and published in peer-
reviewed journals. I teach dance students and psychother-
apists in training. This early publication is almost forgotten.
When Helen invited me to write a foreword for its new edi-
tion, it reminded me of my first response and admiration for
this practical guide for people working with children
through movement. In a world where things are constantly
changing and text is getting replaced by YouTube videos,
this publication retains its charm. It is still equally access-
ible and interesting. I browse it as an electronic version, as
you do these days. I am in Wales in a little yurt surrounded
by a wooden decking overseeing a field of bluebells. Char-
lie, the dog, is with me. He barks at the fresh wind and the
sound of the cows lowing at a distance. He seems as
happy as I am to be there. As he rolls on the decking with
a stick in his mouth, I am thinking I need to join in the play.
In the spirit of reviewing the book again, I look at a game
that might be relevant for this human/animal dance session.
As an experienced practitioner, I can now use the book as
inspiration and modify things to suit this unique situation
I am in. The book certainly allows me to do this.
Find a few games … I might use all of them, blending
them in unique new ways!
I look at this book again, with fresh eyes, new perspec-
tives and, by now, a different professional identity. I find it
fresh and useful, still. I need to remember to include it on
the reading list for next year’s dance students. I am sure
my new Master’s students who are interested in using cre-
ative methods in psychotherapy will also value it. But,
for now, I am going back to playing with Charlie. We both
need to move more. With sticks as props or simply with
our bodies. In full interactive engagement, in ways that this
book certainly supports.
Professor Vicky Karkou, Edge Hill University

xiv Foreword
 PREFACE
This is a brand new, completely updated edition of the first
edition entitled Creative Dance and Movement in Groupwork.
This thoroughly revised and updated second edition, entitled
Creative Dance and Movement in Groupwork, builds on the
first edition, published in 1990, which was reprinted 12 times
and translated into at least seven languages. Clearly, it was
found to be of immense support as a sourcebook for facilitat-
ing creative dance and movement with a range of people with
different needs in groups, whether for dance movement
psychotherapy (DMP) or as employed by professional prac-
titioners in health, community, social care and educational
settings. This edition clarifies these different and distinct
approaches. The activities can be flexible to suit different
intentions, goals, approaches, settings and populations.
I developed some of the activities from my practice with chil-
dren, adolescents and adults with multiple difficulties, limited
receptive and expressive language, and behavioural, intellec-
tual and/or physical disabilities. Communication was often
problematic. Individual styles were hard to understand some-
times. Due to my background in movement and dance I
started to improvise in movement as a way for clients/patients
to communicate feelings and thoughts. They were invited to
follow my movement as well as initiate and lead the move-
ment conversations. Sometimes sessions included music,
sometimes singing, sometimes percussion. This is how my
journey into DMP began.
It should be noted that the term ‘dance movement psy-
chotherapy’ is employed in the UK. In the USA the profes-
sion is referred to as ‘dance/movement therapy’ or ‘dance
therapy’, in Europe it is ‘dance movement therapy’ (as pre-
viously in the UK) and in India ‘creative movement therapy’
is used. Since the book is published in the UK it will use
dance movement psychotherapy (DMP).
In addition to providing a thoroughly expanded and
updated version of the previously published content, this
timely sourcebook includes new material on DMP, added
references throughout and updated resources in Section 4
to reflect the most current knowledge.

Who is the book for?

This book is for anyone offering creative dance and movement

groupwork whether in educational, health or community set-
tings. It is especially aimed at teachers, many of whom will be
in special education or engaged in inclusive education; com-
munity dance workers/practitioners delivering groups in health,
education and social settings; and dance movement psycho-
therapists working with groups in health and educational
contexts.
The application of creative dance and movement in group-
work in education (particularly special education), health, and
social and community settings is increasing rapidly by all of the
above professionals. Additionally, the growing obesity and
mental health conditions in current society, especially for chil-
dren and young people, mean regular movement-based cre-
ative activity is even more important. Many people are new to
this application and want to establish some starting-points
before using creative dance and movement; and those who
have begun may be seeking to reflect on and develop their
practice.
The book is also written for people without specialist
knowledge of creative dance and movement in groupwork
who are looking for such starting-points. If you have
a professional or practical interest in the educational, health,
recreational or psychotherapeutic use of the arts, this book
may act as one of many guiding lights on your journey.
This book is the only reference book on creative dance
and movement giving practical examples and resources to
a wide range of practitioners from education, community
performance, therapeutic recreation, health and psycho-
therapy fields.
The book is also intended to be a helpful reference guide
for professional practitioners in DMP already familiar with
facilitating groups. For those who (like me) sometimes feel
helpless when working with particularly challenging, disturbed

xvi Preface
or disabled groups, this book can provide new energy and
empowerment; you can do something!

The aims of the book

This is a practical book to refer to frequently: not a textbook or
something to be read once from cover to cover, and certainly
not an instruction manual. It gives essential information and
guidance, but if your aim is to further your skills in this medium
you are advised to attend professional training courses and
read widely (see Section 4); reading this book will definitely not
make you a dance movement psychotherapist.
Whilst the book is essentially a source of activities, it also
emphasises the need to reflect on the work done. I hope,
therefore, that use of the activities will be complemented
by reference to the other sections of the book. However,
the emphasis is on ‘good enough’ practice at all times and
the guidelines presented aim to encourage you to experi-
ment with activities and to act as a springboard for your
own ideas.
It is also important to say that this is not a ‘how-to-do-it’
manual; it neither defines a correct procedure for using cre-
ative dance and movement nor provides a blueprint for suc-
cessful work with your own groups. There is no simple ‘right
way’ to practice that guarantees the achievement of goals.
This may be valid when applied to the assembly of objects,
for example, although the following quotation casts doubt
even on that:
… what’s really angering about instructions of this sort
is that they imply there’s only one way to put this rotis-
serie together—their way. And that presumption wipes
out all creativity. Actually there are hundreds of ways to
put the rotisserie together and when they make you
follow just one way without showing you the overall
problem the instructions become hard to follow in such
a way as not to make mistakes. You lose feeling for the
work. And not only that, it’s very unlikely that they’ve
told you the best way.
(Pirsig, 1976, 160)

Preface xvii
In work involving human relations, self-awareness and
developmental processes, the elements of creativity and
feeling that Pirsig refers to are of even greater significance.
Leading groups is a matter of finding ways of working with
relationships and problems that are unique to each group,
leader and setting. As in many complex situations, much
depends on how information such as that provided in this
book is understood and on how well it is adapted. In each
situation there are many opportunities and possible pitfalls.
My hope is that this book will give groupwork practi-
tioners and psychotherapists a continued feel for their work
and a new confidence in their own way of doing things. If
your response, when reading it or applying it to practice, is
‘That’s right, that’s what I’m doing’ or ‘That’s what I wanted
to do’, then this hope will have been fulfilled. In conclusion,
Creative Dance and Movement in Groupwork aims to help
you to arrive at sound decisions on how to proceed, decisions
about which you feel good and which use your own creativity.

The book’s contents

The book is written in four sections:

Section 1 gives a brief description of the history and
background of movement and dance work. The roles of the
dance and movement groupwork practitioner in relation to
the dance movement psychotherapist are articulated. This
is the section to read if you want to know how creative
dance and movement has come to be used in treatment
and rehabilitation, and why and how it is of value.
Section 2 outlines the principles of movement, including
developmental movement and Rudolf Laban’s movement cat-
egorisation on which creative dance and movement is based.
This provides a brief outline of the main theoretical models
and tools of creative dance and movement. The section also
gives practical advice on the planning, development and
evaluation of programmes of dance and movement.
Section 3, which constitutes both the bulk and the heart
of the book, describes activities that have been found to be
workable with groups of children, adolescents and adults
in a variety of settings. Although written from reflections
of groupwork practice, many of these activities can be

xviii Preface