Transactional Analysis Dmt

To submerge myself in participant observation I first had to learn the basics of the country music dance practice, the “two-step” and various line dances. Once I had sufficiently learned these essentials, I was able to conduct more effective and fluid interviews, and gain the trust and ensue ease of the interviewee. Under the Patton Model, I asked interviewees their personal history associated with country music and dance, and their feelings on the practice. It should be noted that to protect the identities of individuals of my research community, as well as condense similar interviews along with their analogous answers, I employ the use of condensed characters and pseudonyms within this ethnography.

In this article, the author explores males who dance for women, otherwise known as MDW. The article explores two main facets of MDW, the way the male dancers interact with the female patrons and how the male dancers present themselves in a hyper-masculine manner. The author explores these two main topics at a club he calls Dandelion’s. Over 18 months, the author conducted in-depth interviews with 42 male dancers. The dancers ranged from 22-44 years of age and identified as heterosexual. The author goes to Dandelion’s every Friday and Saturday night from September 2009 to March 2011 to conduct observational research.

Dance is explored in a sacred way on the pages of Winton-Henry’s book. This essay identifies the author’s intent for the work as well as summarizes the key points made about the role dance serves in our lives and how to incorporate

This chapter takes a broad look at the relationship between human movement, framed as dance, and important identities such as religion, ethnicity, gender, and social status. While not specifically focused on issues of identity in America, this chapter will provide an important foundation in understanding the broader scope of how dance can be seen as a representation of cultural values, which will underlie the remainder of our coursework.

I decided to do the choreography track for this assignment. I chose to interview one of my favorite undergraduate professor. Dr. Dale Gunn is a professor of both history and psychology. The walls of his office are filled with multiple degrees. He is a US Veteran, and has had many interesting careers such as a diver for Jacques Cousteau, IBM computer programmer, FBI analyst, Police Psychologist, Criminal Psychologist, as well as a college professor. After emailing Dr. Gunn he agreed to answer my questions for this assignment. I called and ask “If your discipline (or your job), were a dance, what kind of dance would it be?”. His response was immediate and precise. As expected, Dr. Gunn began with a brief history of his family. He said, “my ancestors

The chosen elements of music, positive space in bodily contact, and stylistic dance were the aspects of this performance which contributed the most towards his narrative. After shared experiences with students who saw this performance, it seems pertinent to explore the interaction between dance narratives and innate physical somatic reactions towards them that occurred in people’s body. This sensation, will be classified as an “Autonomous sensory meridian response” (or ASMR)2 refers to the onset of tingles that travel up the spine from the back of the head due to various primary sensory triggers. Not everybody has this phenomena occur in their body, and individuals who do have

Through thousands of years, and countless ancient tribal practices, there has been hidden from the majority of those who populate the Earth, a key which unlocks an experience like none other; literally transcending the confines of the human psyche as it is in our physical bodies. This door to another dimension is a substance known by scientific communities as Dimethyltryptamine, or simply, DMT.

This genre of dance created mixed feelings among conservative members of society and although MSNBC’s Mike Brzeznski calls it “disgusting” and “pathetic” (USA Today, 2013) there is a time and a place when the dance should not take place because of it provocative style. Women are using the dance to get in shape and stay in shape, including it in their exercise regime. Regardless of the negative critiques it receives, it is a different way to express sexual feelings for one of the opposite gender when performing, which is no different than lovemaking choreographed into a piece of a contemporary dance scene and a dance that is protected in the USA through freedom of expression the “very heart of our democracy”

Mary Wigman rejected ballet technique in her dance style, perceiving classical ballet technique as artificial and confining. Wigman believed that the emphasis should be on the transcendent nature and spiritual purpose of the dance, while embodying essentialism (pg. 6, Newhall). She knew she was not the best dancer in the room, but she knew how to be in touch with her emotions while dancing. She drew upon sources from what was going on in the world during the early 1900’s from war to the rebellion against the authoritarian tradition of the church, monarchy, and feudalism (pg. 73, Newhall). Wigman freed dance from its slave like overtone with music and reestablished its independence of an absolute language (pg. 7, Newhall). Wigman choose to look within and present the mind, spirit, and imagination to the audience through essentialism (16).

A powerful example of this function and adjustment of the structure is the choreography by Bill T. Jones for the original Broadway production of Spring Awakening. The musical portrays teenagers navigating burgeoning questions of sexuality and figuring how to express them. The choreography of Spring Awakening suggests “only their bodies...can express those feelings, for which they have no words” (Sulcas 1). This idea of the body being able to elucidate what words can’t heavily harkens back to the function of dream ballets. It is especially evident in songs like “Touch Me” and “The Guilty Ones,” which expressly deal with sexual feelings and acts of sex, in which it is really about the thoughts of one character, but Jones utilizes the bodies of the entire ensemble to express the urges the character is experiencing. The dances seem to “interrupt the actions rather than continue it” in order to place emphasis on the inner lives of the characters instead of the narrative plot structure (Sulcas 2). Although these dances do utilize lyrics in addition to movement to express these emotions, it is evident that the legacy of the function that dream ballets established lives on in musical

I believe that within my theory of me, is a vast majority of traits, characteristics and behaviors that helped make me the person I am now. My theory consists of areas that I developed in such as physical aspects, social/emotional aspects, figuring out if the way I turned out was due more to nature or nurture and many more things. My theory of me also shows me if I had periods of discontinuous or continuous change as well as how strong my resilience is now. My theory is made to be a way that describes, explains and predicts my behavior (Berk pg. 7). Within this paper, I’ll explore all the many aspects of my theory of me.

Creative therapy sessions, included dance, drama, music and movement activities, which were implemented over an eight-week period, a minimum of three times a week. Observational outcomes of creative self-expression, communication, pleasure and enjoyment, and general engagement were recorded. As a sample of the study, all patients attending one of the two community units - unit A or unit B, both of which provide day treatment and inpatient care - were invited to take part in dance, drama, music and movement activities. Consent for involvement in the project and the use of photographs was obtained from patients or their family members. The data collection tool was developed by the project lead and the clinical governance support team, and was not piloted. To maintain anonymity all participants using the tool was assigned an identification number that remained with them throughout the eight-week evaluation period. The data collection tool was designed to record information on attendance, activities including warm-up and session closing strategies and outcomes of the creative therapy sessions in relation to creative self-expression, communication, pleasure and enjoyment, and general engagement. The member of staff running the activity recorded the degree of improvement seen in the participant during each session. No improvement was

My purpose for writing this research paper is to explain how dancers at West Side Dance Studio use body movements as language to express

Dancers are constantly reminded about their body images through different sources. As humans, we tend to express

The first part of this essay starts by outlining the key concepts of T.A.; its assumptions, theory of personality and ego-states, transactions, strokes, games and the Karpman Drama Triangle, life scripts and existential life positions. It then goes onto critically evaluate core T.A. concepts and practice from the perspective of Humanistic, Cultural, Integrative and Behavioural approaches.