Master in Dance Therapy

PRACTICE-BASED RESEARCH IN DANCE THERAPY Handbook 2014-2017 September 2014

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Handbook Practice-Based Research in Dance Therapy 2014-2017 Foreword Chapter 1. Introduction: Practice-Based Research within the Curriculum

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Chapter 2. The Journey as Didactic Approach

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Chapter 3. General Information

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3.1. Roles and functions

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3.2. Assessment

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3.3. Teaching methods

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3.4. Ethical issues

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Chapter 4. The Research Modules

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4.1. Module I. Research as a Journey of Discovery

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4.2. Module II. Practice and Social Context: Questions from the Field

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4.3. Module III. Enquiry and Evaluation

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4.4. Research Proposal

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4.5. Master Thesis and Final Presentation

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Chapter 5. Practical Guide to the Research Project

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Appendix A. Research Committee Dance Therapy

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Appendix B. Preparatory Course Basic Enquiry and Research Skills

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Appendix C. First Year Paper – How to choose a topic

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Appendix D. First Year Paper Feedback Form

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Appendix E. Letter to the dance therapy field asking for research questions

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Appendix F. Critical Literature Review Feedback Form

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Appendix G. Research Proposal Concept Feedback Form

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Appendix H. Research Proposal Evaluation Form

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Appendix I. Thesis Evaluation Form

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Appendix J. Sample Codarts Exam Form for Practice-Based Research

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Foreword

The handbook Practice-Based Research in Dance Therapy 2014-2017 presents both substantive and practical information with respect to the role of enquiry, evaluation and practice-based research at the Master in Dance Therapy, Codarts Rotterdam. It is a handbook for the dance therapy students, the members of the Research Committee Dance Therapy, and the teaching faculty. It will guide students through the process of designing their research project, helping them to become reflective dance therapy practitioners who bring an enquiring, creative, reflective, critical and open attitude to their practice.

Rotterdam, September 2014 Henrice Vonck, Chair of the Research Committee Dance Therapy Ditty Dokter, Consultant/Tutor Raluca Popa, Research coordinator/Tutor

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Chapter 1. Introduction Practice-Based Research in Dance Therapy within the curriculum of the Master in Dance Therapy and the dance therapy profession. Description The Practice-Based Research in Dance Therapy course and the research project leading to a master thesis offers professional tools for the dance therapy student at two levels. First, it generally contributes to an increased understanding of dance therapy (DT). Second, it introduces enquiry, reflection, evaluation and research methods that help the DT practitioner understand and develop practical approaches to treatment. The students learn how an enquiring approach adds value to the therapeutic profession. They link therapeutic experience with theoretical knowledge and acquire the skills of a reflective practitioner. Practice-based research is a broad concept that may cover any form of practice-oriented research. Within practice-based research, the process of investigation evaluates and explores issues and questions arising from professional dance therapeutic practice. This distinguishes practice-based research from other scholarly types of research that ask broader professional and meta-professional questions (requiring, for example, large samples and the use of statistics). Practice-Based Research in Dance Therapy opts for a systematic and structural approach, including the following elements: - Posing a research question (What do you want to find out?) - Identifying and critically reviewing the area and context of enquiry (Why?) - Using appropriate methods of data gathering and analysis (How? Why?) - Documenting and presenting research findings, evaluation and reflection on the research process. By engaging in practice-based research, the DT practitioner evaluates issues that emerge from the DT practice and seeks to develop new insights and uses of dance and creativity in a therapeutic context. It is important to reflect on and evaluate the therapist’s experience in the work setting (practice-based evidence) because this helps to demonstrate the therapeutic value of dance therapy (evidence-based practice). By describing the methodology, methods and findings in a clear, systematic and transparent manner the DT practitioner enables others to use the same inputs (interventions) in a comparable therapeutic situation in order to explore and observe the effects. This improves and increases the replicability of the study and, thus, the trustworthiness of the research findings.

The goals The goals of the Practice-Based Research in Dance Therapy course and of the research project leading to the master thesis are to support: 1. The student’s development as a reflective dance therapy practitioner with an enquiring attitude: a creative, reflective, critical and open approach to his/her work as a dance therapist.

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2. A commitment to practice-based evidence in dance therapy, through conducting evaluation/case studies. 3. Contributions to the dance therapy profession and a focus on the uniqueness of dance therapy by including both verbal and non-verbal modes in data collection, in documenting the research process and in presenting the findings. 1. The reflective dance therapy practitioner The dance therapy student has the ability to apply appropriate knowledge, theories, concepts or research findings to practice-based questions and to use them systematically in reflecting on and monitoring his/her own therapeutic practice. Developing an enquiring attitude (asking about and seeking information) starts from the beginning of the dance therapy training. An enquiring attitude needs to be emphasized and practiced throughout the programme. It will be introduced from the beginning of the training in all modules, gradually encouraging the students to develop a critical approach and embodied reflection. 2. Commitment to Practice-Based Evidence in Dance Therapy The research in this programme is at master’s level and focuses on seeking information and evidence about practice-based dance therapy issues. The research question has to be relevant for the dance therapy profession(al), and should relate to ‘arts therapy’, which is different from ‘arts for health’ (Karkou and Sanderson, 2001). While the course introduces several major research methodologies and methods, the focus will be on evaluation and case study. The programme opts for the single case study because this research method fits the programme’s objective to train reflective dance therapy practitioners. It also offers opportunities for approaching the research question from different methodological perspectives. The commitment to practice-based evidence translates in the curriculum as a commitment to studying the context of the triangular therapeutic relationship: client-therapist-medium (dance) (Karkou, V. and P. Sanderson, 2006; Jones, P., 2005). This can be achieved by crosschecking several methods of data collection and analysis to enhance the trustworthiness (reliability and validity) and depth of the research, such as: self-reflection notes, session notes/ other client records, supervision notes, movement observation, interviews, focus groups, outcome measures and dance/movement explorations. The students write a master’s thesis based on their research design, findings and conclusions, including a reflection on the research process itself. It is essential to document the learning process and to share all important experiences (successes as well as setbacks). This documentation makes the research transparent and replicable, and contributes to the body of knowledge in the specific area of the research. 3. Contributing to the dance therapy profession It should be apparent from the title, the research question and the approach that the student’s research project is centered in dance therapy and aims to contribute to the profession. In order to facilitate replication of the research and to strengthen practice-based evidence, the student must ensure that the dance elements of the research are explicit and clearly visible. He/she pays attention not only to a description of the observed effects (outputs), but also to a description of 5

the inputs, i.e., the dance therapeutic instruments, methods, approaches and techniques borrowed from various dance forms, as used in the therapeutic intervention. Students are encouraged to use Laban Movement Analysis, which is a frequently used observation tool in DT, taught during the training.

Learning outcomes The goals of the course Practice-Based Research in Dance Therapy and of the research project leading to the master thesis correspond with the final qualifications of the Master in Dance Therapy. Within the domain ‘Research and Development’ there are two final qualifications explicitly related to the Practice-Based Research course curriculum:  ‘The dance therapist reviews information critically’. This final qualification is consistent with the first course goal focusing on the student’s development as a reflective practitioner.  ‘The dance therapist furthers the broadening and development of practice-based professional knowledge.’ This final qualification is in accordance with both the second and third course goal concerning the commitment to practice-based evidence in dance therapy and the contribution to the dance therapy profession. Translation of the final qualifications into learning outcomes of the Practice-Based Research Course results in the following: o The dance therapist is a reflective practitioner with an enquiring attitude, having a creative, critical and open attitude to his/her own practice as a dance therapist and to related research activities. o The dance therapist is able to evaluate, reflect on and review the practice of dance therapy. o The dance therapist demonstrates search skills to be able to find relevant information. o The dance therapist shows commitment to evidence-based practice drawing upon literature in the fields of dance therapy, arts therapies, psychotherapy, social science, medicine, education, anthropology and dance. o The dance therapist knows how to design and implement a practice-based project, demonstrating a critical approach to enquiry and evaluation and involving original thought. o The dance therapist is able to distinguish which types of research are (or not) appropriate in dance therapy. o The dance therapist is able to evaluate research papers critically and to use methods of data collection and analysis commonly applied in arts therapies research. o The dance therapist is able to use arts-based methodologies (such as embodied reflection, movement exploration or artistic inquiry) as part of the research process and the presentation of findings. o The dance therapist contributes to the development and dissemination of evidencebased practice within professional contexts. o The dance therapist recognizes the value of research and other scholarly activity in relation to the development of the profession and of patient/client care.

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The Place of Dance inside DT Research Since dance therapy is predominantly a non-verbal therapy, students include a non-verbal component in their research processes, using embodied reflection on observational material and/or session notes, or linking their artistic expression to their research findings through other types of dance/movement explorations. Therefore, the research report includes:  a written document (thesis) discussing the relationship between the specific research findings and literature in the field, and  a presentation which strives to make visible the dance component of dance therapy through an embodied performance and/or a video report (see 4.5).

Preferred Domains for Practice-Based Research In order to strengthen the body of knowledge and the level of evidence of research in the field of dance therapy, and to promote the co-development within the professional field, the programme chooses to focus on the following:  Medical conditions (e.g. cancer), including psychosomatic conditions (e.g. medically unexplained symptoms, fibromyalgia) and neurophysiologic conditions (e.g. Parkinson’s, Dementia, Korsakov, Alzheimer)  Psychiatric issues (e.g. autistic spectrum, developmental disorders, attachment disorders, trauma, forensics, depression, personality problems)  Prevention Students have to focus on one of these domains for several reasons:  practical reasons, such as the availability of practice – internship placements and /or observation of DT practice  strategic reasons, e.g., the trends and needs of the profession, future developments inside Codarts  organizational reasons, such as the expertise for research coaching and advising available within the Research Committee DT Within this structure students are free to choose an age group (e.g. children, youth, older adults) and population.

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Build-up of practice-based research inside the curriculum Per year of study, this is how practice-based research is embedded in the curriculum: YEAR I: THE PERSONAL First semester: Find a personal question The students are encouraged to constantly reflect on their dance and movement experiences in all the modules and identify a personal research question that might be relevant for the dance therapy practice as well as for their personal development as dance therapy students. Preparatory Course: Basic Enquiry and Research Skills (optional, see Appendix B) Written Assignment: Two short assignments Second semester: Research the personal question The first Practice-Based Research module coaches students in the steps of an enquiry process from research question to report and leads to the first year paper (written report) and the presentation of the results through an embodied performance. Module I: Research as a Journey of Discovery (see Chapter 4.1) Written Assignment: First-year paper (deadline 11th of May 2015) YEAR II: THE DANCE THERAPY FIELD First semester: Shift from the personal to the professional The second Practice-Based Research module introduces students to practice-based research questions coming from the dance therapy field, coaches students in how to write a critical literature review to answer one of those questions and familiarizes students with different theoretical perspectives, methodologies and methods of doing research. At the end of the first semester the students write a critical literature review. Module II: Practice and Social Context (see Chapter 4.2) Written Assignment: Critical literature review (deadline 31st of January 2016) Second semester: Start working toward a research proposal The third Practice-Based Research module prepares students to undertake a research project, centered in dance therapy: moving from problem formulation to ethical considerations, literature search, research proposal, data gathering and analysis and presentation of findings. The students are encouraged to find a setting where they can research their own or someone else’s dance therapy practice and are coached in class and during consultation hours in how to formulate a question and write a research proposal concept. Individual timelines of the research processes are allowed from this semester onwards. Module III: Enquiry and Evaluation (see Chapter 4.3) Written Assignment: None, students work towards a research proposal concept

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YEAR III and on: RESEARCHING THE DANCE THERAPY PRACTICE First semester: Research support groups By now, students may be at very different levels of completing their requirements in relation to the professional practice (internship) and research project. Some may choose to study their own dance therapy practice as therapists or interns, some may choose to study another dance therapist’s practice. Research support groups based on the different timelines of the research projects meet regularly to support each other’s research and learning processes. The research coordinator and/or one of the members of the Research Committee facilitate some of these meetings. Research Proposal (see Chapter 4.4) Written Assignment: Research Proposal (2016, submission dates based on individual trajectories)

Second semester: Thesis submission and presentation Students may find themselves at very different points in their research processes. Deadline for submitting the master thesis is the 1st of May 2017 (the last possibility of this academic year). Presentations of the research project are organized in June 2017. Master Thesis and Final Presentation (see Chapter 4.5) Written Assignment: Master Thesis (submission date 1st of May 2017)

References: Karkou, V., P. Sanderson (2006). Arts Therapies: A Research-based Map of the Field. Edinburgh: Elsevier. Jones, P. (2005). The Arts Therapies: A Revolution in Health Care. London: Routledge.

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Chapter 2. The Journey as Didactic Approach The Journey, a didactic model for development and growth is embedded in the Master in Dance Therapy curriculum. The Journey was designed by Frank Heckman during his Professorship Sustainable Performance at Codarts (2009-2013). The Journey connects the metaphor of the Hero’s Journey (Campbell, 1949, 2008) to the principles of positive psychology and Csikszentmihalyi’s theory of flow (1990) as well as to open system thinking and social ecology (Emery and Trist, 1965). The Journey has been introduced in Codarts’ Master in Dance Therapy and Master of Music programmes as a fitting didactic approach towards learning in general, and being involved in research in particular. Since an enquiring attitude requires a reflective, open mind, students are encouraged to experience their research process as a journey of discovery, a journey into the unknown. This journey enables a sense of discovery, creativity in new learning, new insights, a new reality – all of these together referred to as Flow. The design of The Journey is cyclical and iterative, based on five archetypical dimensions: Calling, Fellowship, Dragons, Performance and Return. Each of the dimensions represents a specific quality the students meet during their journey of discovery – in their research processes, as well as in their individual process of growth and development. Both processes are deeply interconnected: Dimension

Research processes

Individual learning process

Calling

motivation, goals, focus of the project, (research) question. social context: peer, tutor, coach, supervisor, professional colleagues, clients, public, society; resources: literature, audio-visual material, and other data. risk management: planning and SWOT-analysis, facing personal biases in the data collection and analysis, ethical issues.

dreams, challenges, realistic goals.

Fellowship

Dragons

Performance Carrying out and presenting the (research) process and product, and (research) related performance. Return reflection on process and findings, evaluation; explaining and sharing learning; disseminating and implementing the findings into the community of practice.

social environment with key relationships and other sources; with individuals and groups; society. facing, embracing and overcoming challenges; risk management of mental, physical, social and economic issues. the moment of truth; a higher state of consciousness and flow. self-reflection and evaluation.

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Explanation: Calling / Call for Adventure: about dreams, knowing purpose, knowing yourself and setting goals. This is about setting the course, setting challenging but realistic goals, big and small, in the short and in the long term. At the same time one gains insight into one’s own ambitions, fears and self confidence and works on the feeling of self-worth and ‘learning to learn’. There is a focus on physical awareness, visualization and affirmations. Fellowship: about key relationships, the social fabric, reciprocity and the environment. Key to this dimension are the fellow travelers: a good social environment is indispensable to a good performance. Key concepts are ‘team spirit’, ‘shared learning’ and ‘shared space’. Dragons: about truth, facing and embracing the ‘shadow’ and overcoming set-backs. Setbacks are intrinsically connected to The Journey and they incite the development of a mental fighting spirit, resilience and risk management of mental, physical and social matters. Performance: about stepping in the middle of the moment, being fully present, giving the best, the state of flow. One becomes aware of one’s own flow experiences and learns to recognize and use them. Return: about bringing home the ‘treasure’, celebrating, explaining and sharing the learning. You have either been successful or not; after the sensation you have to pull yourself together, take the lessons and move on. Evaluation and feedback not only helps the performer, but also the community. The connecting thread running through all dimensions of The Journey is ‘Flow:’ the phenomenon of optimal experience. Csikszentmihalyi’s definition of ‘Flow’ describes it most clearly: “the feeling when things were going well as an almost automatic, effortless, yet highly focused state of consciousness.” (Csikszentmihalyi, 1990). The Journey’s approach aims at tapping into the students’ genuine curiosity, as the journey continues after the final exams: the reflective practitioner moves forward on the path of life-long learning. More information about The Journey is available:  www.sustainableperformance.nl, the website of Codarts’ professorship Sustainable Performance;  De Reis. Nieuwe didactiek in kunstvakonderwijs and The Journey. New didactics in art education. (Schrijnen-van Gastel & Heckman, Codarts brochures, 2013);  Flow on Stage. The Art of Sustainable Performance (Heckman, interactive publication on www.flowonstage.wordpress.com, 2012-2014).

References: Campbell, J. (2008). The Hero with a Thousand Faces. New World Library. First published in 1949. Csikszentmihalyi, M. (1990). Flow: The Psychology of Optimal Experience. New Work: Harper & Row. Emery, F. E. and E. L. Trist (1965). The Casual Texture of Organizational Environments. Human Relations, 18, 21-32. 11

Chapter 3. General Information 3.1 Roles and Functions

Research Tutors

Assessment Committee

Research Coordinator

PracticeBased Research Ethics Committee

Research Team

Research Committee

Research coordinator The research coordinator is meant to bridge the gap between the students, the members of the Research Committee, the programme management, the rest of the faculty and the DT research community. The main role associated to this position is to gather and disseminate information from and to all parties involved. Other tasks include coordinating the process of appointing a research coach to every research proposal, and – if necessary – a DT/LMA advisor. When needed, the research coordinator organizes consulting hours with the students, for individual talks or in small groups. The research coordinator samples 20% of all the research proposals and theses of one generation, in order to ensure that a fair assessment has taken place across different markers. The research coordinator is Raluca Popa. Research tutors The practice-based research tutors teach and coach students in formulating a research question, developing critical literature review skills, identifying suitable methods for data gathering and analysis, presenting research findings and engaging in critical reflection. The research tutors offer all students general feedback once on their research proposal concepts. The feedback will be communicated in class or during consulting hours, and in writing. The tutors are: Ditty Dokter and Raluca Popa.

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Research Committee Dance Therapy The Research Committee DT aims to connect the master research projects with developments in the therapeutic and scientific field through links with other institutes and universities. The committee develops the research policy of the program. Members of the Research Committee are involved in coaching, advising and / or assessing research proposals and theses. The members of the Research Committee have a variety of clinical, research and teaching backgrounds in dance therapy and/or other arts therapies or Laban Movement Analysis. The members of the Research Committee DT with a broad research experience are available as a research coach; the other members with specific experience as a dance therapy practitioner or Certified Movement Analyst are available for advice and/or as a second assessor of the thesis (see also below “research coach,””DMT/LMA advisor” and “second assessor”). See Appendix A with names, email addresses and biographical notes of all members of the Research Committee DT. The Research Committee chair:  helps develop, innovate and implement the research policy of the Master in Dance Therapy programme  chairs 2 to 3 meetings of the Research Committee per year;  mediates misunderstandings and conflicts;  is a member of the Research Team. The chair of the Research Committee Dance Therapy is Henrice Vonck (see Appendix A). Research Team  sets forth and implements the policy and vision developed by the Research Committee for the research part of the curriculum  monitors the quality of research inside the programme. The members of the Research Team are the Research Committee chair, the research coordinator/tutor and one other member of the Research Committee. Research coach At the moment when students are ready to start thinking about their research projects (mostly at the end of the second year and beginning of the third year of study) the Research Committee DT provides every student with a research coach. The research coach has a double role of advisor and assessor. In its advisory role, the research coach advises the student during the whole research process, from research proposal concept to draft thesis, focusing on the student’s learning process and progress. After receiving the digital feedback of the research tutors on the proposal concept, the research coach ensures that the process of writing a research proposal moves forward, assesses the proposal and continues advising the student during the period of data collection, data analysis and writing up of the thesis. After giving feedback on the draft thesis, the role of the research coach changes from advisor into assessor. In this role, the research coach is solely responsible for Part I of the Thesis Evaluation Form 13

(Attitude), and will join the second assessor in evaluating Part II of the Thesis Evaluation Form (Quality of research). DT/LMA advisor In some cases, a student might need additional input on the research design and/or literature review coming from either the dance therapeutic practice or the field of Laban Movement Analysis. One of the members of the Research Committee with professional expertise in the needed field will be asked by the research coordinator to advise the student. This might happen at the initial phase of writing the research proposal, or later in the research process. Second assessor In order to strengthen the impartiality of the assessment, a second assessor (a member of the Research Committee) will be asked to assess Part II of the Thesis Evaluation Form (Quality of research). The research coordinator will appoint the second assessor. Ethics Committee The Ethics Committee functions as an advisory group, making sure that both sides, the students and the programme (tutors, Research Committee, study management), commit to and follow through an ethical way of acting. This is a parallel process to the mutually negotiated and continuously restated ethical framework normally used in a clinical context. As they enter the programme, the students gradually build-up awareness of ethical issues and responsibilities. This growing awareness for ethical issues mirrors the learning process of a student being gradually exposed to ethical responsibilities in a clinical situation. When they enroll in the programme, the students commit to the best of their abilities to do everything possible to assist their own and their peers’ learning. As they mature in their roles of dance therapy students, interns and clinical practitioners, the students get to know and commit to two professional codes of practice: ADMP’ s “Code of Professional Practice:” http://www.admt.org.uk/documents (UK code specific for dance therapy) and FVB’ s “Beroepscode voor vaktherapeuten:” http://www.vaktherapie.nl/pages/nl/over_vaktherapie/downloads (Dutch code covering all the arts therapies). As ethical issues are a very important part of dance therapy research, the programme also offers advice on ethical aspects related to doing research in a clinical setting. The Members of the Ethics Committee are involved in the feedback given to students’ research proposals to ensure that the students act ethically in their roles as interns and researchers. The research coordinator contacts the Ethics Committee in order to arrange one of its members to look individually at students’ research proposals. The member of the Ethics Committee uses an ethics checklist to make sure the proposed study meets the clinical as well as the research ethical guidelines and advises the student and his/her research coach about ethical issues (See below 3.4). The members of the Ethics Committee have clinical and research experience in dance therapy. The members are Penelope Best, Julie Kil and Annemieke Plouvier. They are all also members of the Research Committee (see Appendix A).

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Assessment Committee The student’s presentation of the thesis will be assessed by an Assessment Committee. The students are asked for:  A final presentation of 20 minutes, including verbal and non-verbal elements, which shows that the research process and product can be embodied and performed;  An appropriate research abstract (English, max. 330 words). Assessment criteria are:  General presentation skills and stage presence  Artistic design of presentation in balance to the content  Visibility of the dance component of dance therapy The members of the Assessment Committee have clinical and/or research experience. One of the members is an external assessor not connected to Codarts. The composition of the Assessment Committee will be announced in time by the study management.

3.2 Assessment 3.2.1. Means of Assessment The Master in Dance Therapy programme believes in constructive feedback for any kind of test, assignment or examination. There are two forms of assessment which Codarts uses to follow or administrate study progress. Written assignment

First year paper

Formative or summative Who assesses

formative

Criteria Feedback form Evaluation form Codarts exam form

yes yes no no

research tutor + DT tutor

Critical literature review formative

Research proposal concept Formative

Research proposal

Master thesis

summative

summative

research tutor + feedback from the DT field (optional) yes yes no no

Feedback from research tutor once in class and/or written yes yes no no

research coach + advice from Ethics Committee member yes no yes yes

Research coach + second assessor yes no yes yes

Formative assessment No credit points are awarded for this kind of assessment. Homework is used to monitor and guide the student’s process and development, and to give feedback and advice. The feedback form will be sent digitally to the study management and the students. No official signatures are needed. Examples of formative assessment within Practice-Based Research in Dance Therapy: the first year paper, the critical literature review and the research proposal concept (See also appendices D, F, G) . Summative assessment Credit points are awarded for this type of assessment where at a given moment the result or the product must be passed or not passed. Codarts exam forms must be used, 15

including the specific criteria on which the student is assessed. This form requires the signatures of the assessors. Examples of summative assessment within Practice-Based Research in Dance Therapy: the research proposal and master thesis (See also appendices H, I, J). 3.2.2. Criteria and deadlines for submission and assessment Word limit: For all written assignments: word limit refers to the written text excluding the title page, the abstract, the keywords, the references and the appendices. If the announced word limit is not adhered to, the tutor, coach, advisor or assessor will return the assignment to the student with the request to shorten the length and resubmit. Assignment First year paper Critical literature review Research proposal Master thesis

Word limit 2.000 2.000 2.500 10.000

The research proposal: The research proposal can be submitted at any time, after the end of the last Practice-Based Research module (exceptions only for the dance therapy bachelors: a shortened route to be approved by the study management). The student sends the final version of the research proposal to the research coach and the research coordinator. The research coordinator approaches one of the Ethics Committee members for the ethics check-up. Once the feedback of the ethics committee has been received, the research proposal is assessed by the student’ s research coach. The research coach assesses according to the guidelines described in chapter 4.4. The research coach sends an email to the student and to the research coordinator with the result of the assessment and a digital version of the evaluation form. This email with the result of the assessment is to be sent within 20 work days of the submission of the research proposal (see also chapter 4.4). The master thesis: The master thesis can be submitted two times every year around the 1st of May and the 1st of December. The students who have submitted on the 1st of May 2017 and have not received a PASSED on their thesis will get a second chance to submit the same academic year. The deadline for this second chance is the 3rd of July 2017. Students who missed the 1st of May deadline can submit again on the 4th of December 2017. The student sends her/his final version of the master thesis to both assessors in order to be evaluated. The first assessor is the student’ s research coach. The second assessor will be announced in time by the research coordinator. Both assessors will assess the final thesis according to the guidelines described in chapter 4.5. The two assessors get 4 hours each to read and assess the master thesis (including feedback to the student). The first assessor integrates the assessment and feedback of the second assessor in one common Thesis Evaluation Form. This form is sent to the research coordinator. The research coordinator informs the student of the final result in an email including the thesis evaluation form. This email with the result of the assessment is to be sent within 20 work days of the submission of the thesis (see also chapter 4.5).

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3.3 Teaching Methods The programme offers classes, consultation hours, coaching and research support groups, to ensure that the students’ research processes move forward and that the students receive regular feedback. Classes The classes of the three Practice-Based Research modules are taught by the two research tutors (see 3.1, page 12). Students are asked to present and share enquiry experiences in class (successes as well as setbacks) through presentations, practical assignments in class and written assignments. Thus, they are attempting an arts-based inquiry based on their personal journey as dance therapy students in the first year paper, followed by an attempt to answer a question coming from the dance therapy field through a critical literature review during the second year of study. The classes of the Practice-Based Research module end at the end of the second year of study. Consultation hours Because the students follow individual research trajectories, the role of the tutors continues until the research proposal concept is submitted. Once the classes are finished one of the tutors offers consultation hours for those students who did not yet submit a research proposal concept. The tutors give feedback once on the research proposal concept of each student, regardless of the moment when the concept is submitted. Thus, the consultation hours and the feedback on the research proposal concepts make the transition from classes to coaching. Coaching The second part of the second year of study and the third year are devoted to finding a practicebased research question, writing a research proposal and setting up a small-scale practice-based research project that leads to the master thesis. Once a research proposal concept is submitted, the research coordinator starts looking for a suitable research coach for the student among the members of the Research Committee Dance Therapy. In specific cases where more content-related expertise is needed, a second advisor may be appointed to support the work of the coach (see 3.1, page 14). The research coach (and the DT/LMA advisor where applicable) further helps the student develop the research proposal concept into a full research proposal and continues to coach the student during the data gathering, data analysis and writing up of the thesis. The research coach focuses on student’ s research process and progress. The involvement of a particular member of the Research Committee (coach, Ethics Committee member, DMT/LMA advisor) regarding research proposal and thesis depends upon the available expertise within the committee, but also on the student’s timeline in relation to the availability of the Committees’ members for feedback and assessment. Students have the right to receive feedback twice on their research proposal and five times during their research process (including the draft of the thesis). The feedback will be communicated in writing, and/or verbally. A research coach gets 6 hours to guide the student from the research proposal concept to a full research proposal (including direct contact, written feedback, reading and assessing). A research coach gets 20 hours to guide the student from the research proposal to the first draft of the master thesis (including direct contact, reading and written feedback). After the fifth 17

feedback (on the draft of the thesis) the student completes her/his thesis into a final version and sends it to both assessors in order to be evaluated. The first assessor is the student’ s research coach. The second assessor will be announced in time by the research coordinator. Research support groups During the third year of study the programme facilitates research meetings for small “buddy-groups” of 5-6 students. These meetings are meant to help the students keep in touch with each other. The students share research experiences, find a sounding board in peers, re-gain confidence in their research skills and boost their motivation and passion for their research project. The “buddy-groups” are formed by clustering together the students whose projects have a comparable timeline (for instance: the students who are in the process of gathering their data form one group, the ones who are still in the process of writing a research proposal another group, the ones who are in the initial stages of writing-up another group). It is also possible that groups are formed around a similar research theme (for instance: DT and quality of life), around a population (for instance: DT and trauma) or around a common interest for a certain methodology (for instance: arts-based methods). Some of these meetings will be mediated by the research coordinator or another member of the Research Committee, and the students themselves have the freedom to run and organize these meetings to suit their research needs.

3.4 Ethical Issues Ethical issues form an essential part of the training programme. Their relevance for DT practice and DT research is emphasized from the beginning and throughout the training programme. Both sides, the students and the programme (tutors, Research Committee, study management), commit to and follow through an ethical way of acting, also regarding research. Ethical responsibilities of the programme The programme offers and facilitates classes, coaching, ethical advice, consultation hours and research support groups to ensure that the students’ research processes move forward and that the students receive regular feedback. The programme keeps track of each student’s individual research trajectory and makes sure that the student gets feedback on time. The programme monitors the roles in which different faculty and staff members are involved in student’s research projects, monitors that no conflicting dual roles are involved (for instance: the students’ clinical supervisor cannot also be the student’s research coach) and makes sure that there is no conflict of interest. Ethical responsibilities of the students Ethical issues are present at every stage of the research process: research design, subject recruitment and selection, measurement tools, treatment interventions, data gathering and analysis, interpretation of findings, study implementation and research reporting (written, verbal, nonverbal). The thesis should show awareness of ethical considerations throughout the whole research process. Getting adequate and appropriate informed consent from clients/subjects is of paramount importance for the research process. The research faculty considers that ”informed consent” starts with a standard form signed by clients/subjects or caregiver in some circumstances. Informed consent goes beyond a form: it is an ongoing process of open, careful and attuned communication, 18

continuous disclosure of thorough information, based on the complete freedom to participate or withdraw at any time from the research process. Additionally, attention to issues of power and diversity are an essential aspect of practice and therefore a core feature within practice-based research. The therapist-researcher will pay attention to ways in which their status influences, silences or enhances certain voices within their practice. Relevant codes of practice have been formulated by the following professional organizations: ADMP (Code of Professional Practice: http://www.admt.org.uk/documents); NVDAT (Beroepscode voor vaktherapeuten: http://www.vaktherapie.nl/pages/nl/over_vaktherapie/downloads) Within practice-based research, the process of investigation evaluates and explores issues and questions arising from professional dance therapeutic practice. Usually the research projects emerge from one of the three situations outlined below:  the internship placement (student = intern + researcher)  the workplace within a professional setting (student = dance therapist + researcher)  another dance therapist’s practice (student = observer + researcher). The Research Team strongly advocates students choose one of these three practical situations because the professional context in which they take place protects the student in respect to liability/accountability and indemnity insurance and guarantees that ethical procedures are in place and followed throughout the research process. In some situations, a student may express a preference to organize an independent research project, based on an ad-hoc therapeutic context, unaffiliated to an existing professional and clinical setting. The Research Team advises against such a construction since it puts the student in a vulnerable position (in respect to liability/accountability and indemnity insurance) and it raises complex ethical questions. For ethical reasons, excepting the rare cases when the student already has a registration with one of the dance therapy professional associations, our students are not allowed to run a private DTpractice or to offer DT-sessions and workshops during their education at Codarts. In exceptional circumstances this may be allowed, provided that the following criteria have been met: 1. A professional, practicing dance therapist offers the student clinical supervision and on-site guidance and takes upon herself/himself the clinical responsibility for the therapy work of the student. 2. A registered supervisor (specialized in any of the arts therapies) offers the student additional clinical supervision on a regular basis. The clinical supervision offers feedback and advice on the functioning of the student as an emerging dance therapist on all the ethical aspects of direct client contact. 3. The student assumes financial responsibility for the extra costs that these forms of guidance and supervision might involve.

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Chapter 4. The Research Modules The course Practice-Based Research in Dance Therapy offers: Module I. Research: a Journey of Discovery. - Organizing a research project - Formulating a research question - Identifying relevant information sources Module II. Practice and Social Context: Questions from the Field of Dance Therapy - Writing a critical literature review - Introducing different methodologies - Introducing different data collection methods Module III. Enquiry and Evaluation - Designing a research proposal - Methods of data analysis - Managing the research process Research Proposal Thesis and Final Presentation The practice-based research within the programme takes place at the Master’s level, and thus draws upon previously acquired enquiry skills at the Bachelor’s level. The Preparatory Course in Basic Enquiry and Research Skills (see Appendix B) is recommended for those students who need a refresher course in basic research skills. Class periods, contact time and European Credits Module I: Second semester, 2014-2015, 20 contact hours, 2 EC. Module II: First semester, 2015-2016, 20 contact hours, 3 EC. Module III: Second semester, 2015-2016, 20 contact hours, 1 EC Research Proposal: 2016, 4EC Thesis and Final Presentation: 2016-2017, 18EC The conditions to pass each of the practice-based research modules are a minimum of 80% attendance, active participation and engagement in class, and completion of the practical assignments, such as the first year paper and presentation and the critical literature review. These assignments given during the practice-based research modules, unlike the research proposal and the master thesis, are assessed formatively (see 3.2.1). They are seen as exercises to sharpen the research skills of the students in preparation for their research project. Teaching and learning methods are: lecture, discussion, reading assignments, practical individual and group assignments in class, written assignments, presentations, self-evaluation, peer evaluation (buddies) and embodied reflection through creative movement phrases about their process. The tutors are: Ditty Dokter and Raluca Popa. The tutors teach and coach students in formulating a research question, developing critical literature review skills, identifying suitable methods for data gathering and analysis, presenting research findings and engaging in critical reflection. 20

4.1. Module I. Research: a Journey of Discovery Master in Dance Therapy Practice-Based Research in Dance Therapy Tutors: Ditty Dokter, PhD and Raluca Popa, PhD

Semester 2 (first year of study) Module I: Research as a Journey of Discovery

Description and position within the curriculum During the first year of study the curriculum focuses on the student’s personal growth and the development as a reflective practitioner with an enquiring attitude - creative, critical and open through embodied knowledge. The first Practice-Based Research module is designed to connect and contribute to these general teaching goals. The concept of the Journey makes students aware of important phases of enquiry that they will experience and connects these to their personal growth processes. Core questions to be answered are: What is research? Will I be able to do it? How do I organize it? The didactic concept of The Journey (used by Codarts master programmes as a metaphor for the research process) encourages students to discover the possibilities and richness of doing research, to expand knowledge and insights, to advance their own professional development and to enjoy the multi-layered processes involved (the research process interconnected to the personal process). The first module Practice-Based Research focuses on organizing a research project, choosing a research question and searching for relevant information. Several modules of the programme jointly introduce the final assignment. It consists of a written paper (first year paper) and a movement exploration. The movement exploration will be presented on June 26 and 27, 2015, and will be assessed by a committee. Formally this presentation is part of the DT I and 2 modules assessment. According to the general Practice-Based Research course goals, during this module the student:  develops into a reflective dance therapy practitioner with an enquiring attitude: a creative, critical and open approach to his/her work as a dance therapist. Contact time 20 hours Dates 9 January, 16 January, 13 February, 13 March, 20 March 2015 Self-study time 36 hours Credits 2EC

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Learning outcomes The student gets acquainted with:  organizing a research project;  formulating a research question;  identifying relevant information sources. Qualifications The module contributes to the final qualification 1.1, 1.4, 4.1, 4.3. Methods Lectures and seminars including discussion, reading assignments, practical individual and group assignments, paper writing, presentations, self evaluation, peer evaluation (buddies) and embodied reflection through words or movements about their learning process. The tutors teach and coach the students in the stages of a research process, formulating a research question, developing critical literature review skills and critical reflection. Conditions to pass the module  Student’s class attendance at a minimum of 80%  Active participation in class  Completion of the written assignment – first year paper (submitted on time and within the word limit) Written Assignment First year paper including description of movement exploration process. The assignment will be given at the beginning of the first year of study (see appendix C). Forms of assessment Formative assessment for the first year paper. Formative feedback will be given on the following criteria (see appendix D):  identification of a topic of interest and questions arising from personal experiences in the movement-based programme activities during the first year;  description of the personal learning process emerging from exploring the topic of interest in movement and in thought  ability to contextualize the topic of interest and related questions within the field of dance therapy  ability to find relevant sources of information to meet the student’s need for more knowledge on the chosen subject. Who evaluates The first year paper is assessed formatively by one of the research tutors plus one of the dance therapy theory and methods tutors. Both tutors will give written feedback on the first year paper according to the criteria presented above. The feedback is meant to contribute to the students’ learning process and prepare them further for the research processes of the second of third year of study. 22

Practical guidelines First year paper:  word length: 1.500 – max. 2.000 words, excluding references  language: English  format: Word  to be sent to: Ditty Dokter ([email protected]) ([email protected])  submission date: before 11th of May 2015

and

Raluca

Popa

Suggested design:  Separate title page with title, author and word length  Abstract and keywords (approx. 50 words)  Introduction identifying the area of interest and (research) question  Motivation (rationale) for the choice of topic  Motivation (rationale) for selection of literature  Presentation of the creative and research processes and describing the interplay between the two  Conclusions  Reflection on (research) question and process

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Required readings (prior to teaching): General reading: Csikszentmihalyi, M. (2009). Flow. The psychology of optimal experience. New York: Harper & Row. Cruz, R. F. and C.F. Berrol (eds.) (2012). Introduction. In Cruz, R. F. and C. F. Berroll (eds.) Dance/Movement Therapists in Action: A Working Guide to Research Options (2nd ed.) (pp.524). Springfield: Charles C. Thomas Publisher. Hervey, L. W. (2012). Embodied Artistic inquiry. In Cruz, R. F. and C. F. Berroll (eds.) Dance/Movement Therapists in Action: A Working Guide to Research Options (2nd ed.) (pp. 205-232). Springfield: Charles C. Thomas Publisher. Kapitan, L. (2010). Introduction to art therapy research & Overview of art therapy research. In Introduction to Art Therapy Research (pp. XVII-XXVII, 1-48). New York: Routledge.

Additional reading: Callahan, A. B. (2011). The parent should go first: A dance/movement therapy exploration in child loss. American Journal of Dance Therapy 33 (2), 182-195. Popa, R. and P. Best (2010). Making sense of touch in dance movement therapy: A trainee's perspective. Body, Movement and Dance in Psychotherapy, 5 (1), 31 – 44. The Basic of APA Style. American Psychological Association. Retrieved from http://www.apastyle.org/learn/tutorials/basics-tutorial.aspx

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4.2. Module II. Practice and Social Context: Questions from the Field of Dance Therapy Master in Dance Therapy Practice-Based Research in Dance Therapy Tutors: Ditty Dokter, PhD and Raluca Popa, PhD

Semester 1 (second year of study) Module II: Practice and Social Context: Questions from the Field of Dance Therapy

Description and position within the curriculum: In the second year of study the focus of the curriculum shifts from personal development and growth to learning how to work, professionally and ethically, with different populations in a dance therapeutic setting. The second Practice-Based Research in Dance Therapy module is designed to connect and contribute to these general teaching goals. Students get acquainted with research questions arising from the therapeutic field and the community of practice (such as Trimbos Instituut, KenVak, professional working groups around certain therapeutic settings), and learn to search for relevant information and to write a critical literature review in answer to these research questions (see appendix E). Different research methodologies and methods are introduced. The focus is on evaluation / case study, including differences between case study and case study research. According to the general Practice-Based Research course goals, during this module the student:  develops into a reflective dance therapy practitioner with an enquiring attitude: a creative, reflective, critical and open approach to his/her work as a dance therapist and to related research activities;  commits to practice-based evidence in dance therapy, through conducting evaluation / case studies. Contact time 20 hours Dates 2015 (to be announced) Self-study time 64 hours Credits 3EC Learning outcomes  deepening the search and research skills obtained during Module I  writing a critical literature review The student gets acquainted with:  research questions arising from the therapeutic field and the community of practice  different methodologies and methods 25

Qualifications The module contributes to the final qualifications 1.2, 3.1, 4.1, 4.2, 4.4. Methods Lectures and seminars including discussion, reading assignments, practical individual and group assignments. The tutors teach and coach the students on identifying questions coming from the field of dance therapy and turning them into clear research questions, developing critical literature review skills, identifying suitable methods for data gathering and critical reflection. The seminars support the students with their practical assignment and enable them to write a critical literature review. Conditions to pass the module  Student’s class attendance at a minimum of 80%  Active participation in class  Completion of the written assignment – critical literature review (submitted on time and within the word limit) Written assignment Critical literature review Forms of assessment Formative assessment for the critical literature review Formative feedback will be given on the following criteria (see appendix F):  basic scholarly writing skills  good search skills (including keywords or search terms, inclusion and exclusion criteria)  rationale for the chosen research question (framing the topic within the field of DT)  breadth of reading (minimum 15 references: books, articles, internet sources, etc) including:  DT sources (at least 50% of all sources used)  sources from related fields of knowledge (e.g. psychology, arts therapies, etc.)  being able to show a clear development from past to current research  sound grasp of relevant literature (showing emerging critical reading skills)  conclusion showing influence of review on the research question and identifying gaps in the literature Who evaluates The critical literature review is assessed formatively by one of the tutors of the Practice-Based Research module.

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Practical guidelines Critical Literature Review:  word length: 1,500 – max. 2,000 words, excluding references  language: English  format: Word  to be sent to: Ditty Dokter ([email protected]) and Raluca Popa ([email protected])  submission date: before 31st of January 2016 Suggested design:  Separate title page with title, author and word length  Abstract and keywords (approx. 50 words)  Introduction with area of interest and (research) question  Motivation (rationale) for selection of literature  Conclusions: main opinions (both supporting and opposing)  Reflection on (research) question and refinement or reformulation of the research question Required readings (prior to teaching): General: Cruz, R., C. F. Berroll and J. Chodorow (eds.) (2012). Dance/Movement Therapists in Action: A Working Guide to Research Options (2nd ed.). Springfield, IL: Charles C. Thomas. Karkou, V. and P. Sanderson (2006). The Arts Therapies. A Research Based Map of the Field. Edinburgh: Elsevier.

Additional reading / Case research: Hervey, L.W. (2000). Artistic Inquiry in Dance/Movement Therapy. Creative Alternatives for Research. Springfield, IL: Charles C. Thomas. Keken, H. van and T. Maaskant (1995). Casusbeschrijvingen, een schat aan onderzoeksmateriaal. Tijdschrift voor Kreatieve Therapie 14 (4), 3-5. Smeijsters, H. and J. van den Hurk (1993). Research in practice in the therapeutic treatment of a client with symptoms of anorexia nervosa. In Heal, M. and T. Wigram (eds.). Music Therapy in Health and Education. London: Jessica Kingsley. Smeijsters, H. (1997). Multiple Perspectives. A Guide to Qualitative Research in Music Therapy. Gilsum NH: Barcelona Publishers. Wheeler, B. (2005). Chapters 17 and 18. In Music Therapy Research Perspectives. Gilsum NH: Barcelona Publishers,.

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4.3. Module III. Enquiry and Evaluation Master in Dance Therapy Practice-Based Research in Dance Therapy Tutors: Ditty Dokter, PhD and Raluca Popa, PhD

Semester 2 (Second year of study) Module III: Enquiry and Evaluation

Description and position within the curriculum: The third module Practice-Based Research in Dance Therapy prepares the students to undertake a research project, centered in dance therapy: moving from problem formulation to literature search, data gathering and analysis, ethical considerations and presentation. The module focuses on the research process, deepening and refreshing the research skills, methods of data gathering and analysis, ethical issues, and on designing a research proposal. The module will also look at different steps in researching a dance therapist’s practice. According to the general Practice-Based Research course goals, during this module the student:  develops into a reflective dance therapy practitioner with an enquiring attitude: a creative, reflective, critical and open approach to his/her work as a dance therapist and to related research activities.  commits to practice-based evidence in dance therapy, through conducting evaluation / case studies.  contributes to the dance therapy profession and focuses on the uniqueness of dance therapy by including, besides verbal, also non-verbal modes in the data collection, in documenting the research process and in the presentation of the findings. Contact time 20 hours Dates 2016 (to be announced) Self-study time 8 hours Credits 1EC Learning outcomes The student gets acquainted with:  the different stages of a research process, in preparation for designing the research proposal  different methods of data collection and analysis  ethical issues connected to research  the different steps of developing a research project to evaluate an (aspect of) dance therapy practice.

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Qualifications The module contributes to the final qualifications 4.1, 4.2, 6.3, 7.4. Methods Lectures and seminars including discussion, reading assignments, practical individual and group assignments. The tutors teach and coach the students on formulating a research question, developing critical literature review skills, identifying suitable methods for data gathering and analysis, presentation of research findings and critical reflection. The students are encouraged to start thinking of their research projects and attempt writing a 2-page research proposal concept. The research proposal concepts of the students who choose to follow a quicker timeline will be used in class for group assignments. The seminars support the students with in-class practical assignment: exercising methods of data analysis in small groups of peers (using excerpts of interviews or movement observations). Criteria to pass the module  Student’s class attendance at a minimum of 80%  Active participation in class  Involvement in the peer group assignments (see below) Assignment In class: Exercises in methods of data analysis of texts (interviews, session notes, etc) and of video material using mostly qualitative methods (such as identifying units of meaning, coding, labeling – for texts; movement observations and arts-based methods of embodied reaction – for video material). Students work in small peer groups. During the module and beyond: Students are encouraged to start thinking of their research projects and submit a 2-page research proposal concept when they are ready. Forms of assessment Evaluation of class participation and involvement Who evaluates The tutors of the Practice-Based Research module

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Required readings (prior to teaching): General: Cruz, R. F. and C. F. Berroll (eds.) (2012). Dance/Movement Therapists in Action: A Working Guide to Research Options (2nd ed.). Springfield, IL: Charles C. Thomas.

Additional recommended reading: Aldridge, D.(2005). Case Study Designs in Music Therapy. London: Jessica Kingsley. Hervey, L.W. (2000). Artistic Inquiry in Dance/Movement Therapy. Creative Alternatives for Research. Springfield, IL: Charles C. Thomas. Karkou, V. and P. Sanderson (2001). Dance movement therapy in the UK: a field emerging from dance education. European Physical Education Review, 7 (2), 137-155. Karkou, V. and P. Sanderson (2006). The Arts Therapies. A Research Based Map of the Field. Edinburgh: Elsevier. Smeijsters, H. (1997). Multiple Perspectives. A Guide to Qualitative Research in Music Therapy. Gilsum NH: Barcelona Publishers. Wheeler, B. (2005). Music Therapy Research Perspectives. Gilsum NH: Barcelona Publishers. Yin, R.K. (2003). Case Study Research: Design and Methods. London: Sage Pubs.

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4.4. Research Proposal Master in Dance Therapy Practice-Based Research in Dance Therapy Tutors: Research tutor + Research coach

2016 (end of second and beginning of third year) Research Proposal

Description and position within the curriculum: For the research project leading to the master thesis students focus on dance therapy and link practice to theory, integrating knowledge and insight from all the modules of the programme. Each student starts her/his research project at the end of the second year of study with choosing their research question, which is related to dance therapy practice and aims to further the knowledge in the dance therapy field. The formulation of a good research question is important for the success of the research. The research proposal and its research question have to show relevance to dance therapy practice and have to relate practice to theory. The research proposal includes a critical literature review, a sound research question and a discussion of the selected methodology and methods which address the research question. A clear research question:  emerges from the student’s personal interests and/or builds upon concrete cases from the dance therapy field.  sees a central role for dance therapy.  can be explored in a dance therapeutic situation.  is supported by a review of literature in the field. The Research proposal:  shows an enquiring attitude and the ability to conduct a small-scale study.  demonstrates the student’s ability to select a topic and formulate a sound research question.  cites relevant and up-to-date sources, relating to both dance therapy and other relevant literature and sources.  uses concise keywords and defines them (note: using Wikipedia as a source for definitions is unreliable and does not meet the level required for studying at the Master’s level).  uses appropriate references and citations (direct quotes need original source, author, year and page numbers).  draws conclusions from the literature review which show an influence on the research question.  describes the therapeutic context, including a discussion of both constraints and opportunities, as well as client group’s resources and needs.  offers appropriate information on methodological approach and methods for data gathering and analysis.  shows awareness of ethical guidelines and how to implement them.  is appropriately presented (accurate typing and spelling, clarity, scholarly writing style, appropriate structure and organization) and includes a timeline.

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Research Topic: In order to strengthen the body of knowledge and the level of evidence of research in the field of dance therapy, and to promote the co-development within the professional field, the programme chooses to focus on the following:   

Medical conditions (e.g. cancer), including psychosomatic conditions (e.g. medically unexplained symptoms, fibromyalgia) and neurophysiologic conditions (e.g. Parkinson’s, Dementia, Korsakov, Alzheimer) Psychiatric issues (e.g. autistic spectrum, developmental disorders, attachment disorders, trauma) Prevention

Students have to focus on one of these domains for several reasons:   

practical reasons, such as the availability of practice – internship placements and /or observation of DT practice strategic reasons, e,g, the trends and needs of the profession, future developments inside Codarts organizational reasons, such as the expertise for research coaching and advising available within the Research Committee DT

Within this structure students are free to choose an age group (e.g. children, youth, older adults) and population. Under special circumstances, students are allowed to choose a different research population and/or theme. Such proposals will be subjected to a strict selection and will need to follow an approval procedure from the Research Committee and the Ethics Committee. The Research Committee Dance Therapy aims to connect the master research projects with developments in the therapeutic and scientific field, through links with other institutes and universities. Contact time and individual feedback A minimum of 9 hours per student, as follows: Research tutors: 2 hours (minimum); research coach: 6 hours; member of Ethics Committee: 1 hour Self-study time 112 hours (4EC) Learning outcomes, the student:  learns how to set up a small-scale research project showing an emerging enquiring attitude and sensitivity to ethical questions which form the stepping stones for developing into a reflective dance therapy practitioner  shows commitment to practice-based evidence in dance therapy, through the planning and setting up of a small-scale research project  focuses on the uniqueness of dance therapy by setting-up a research project that proposes verbal and non-verbal methods of data collection, data analysis and/or presentation of the findings.

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Qualifications The module contributes to the final qualification 4.2 Methods In order to ensure that the process of writing a research proposal moves forward, the student will get coaching, written feedback and advice on ethical issues as follows: Coaching towards a research proposal starts during the third Practice-Based Research Module by the research tutors, continues during consultation hours at the end of the second year of study and is taken over by a personal research coach at the moment the student submits a 2-page research proposal concept. The research tutors offer written feedback once on the research proposal concept. The research coach guides the student in the process of transforming the concept into a full research proposal and offers written feedback twice on the research proposal. A member of the Ethics Committee also offers advice once on the ethical issues implied by the research proposal. Assignment Research proposal Forms of assessment: Summative assessment. The four credit points are awarded the moment the student gets a PASSED on the research proposal. The students who do not get a PASSED get a second chance to incorporate the feedback and submit a new version the same academic year and, if necessary, a third chance the next academic year. Assessment criteria The research tutors use the Research Proposal Concept Feedback Form (Appendix G) to give feedback on the concept, once, according to these domains:  Attitude  Research Question  Research Design  Ethical issues  General Presentation The research coach uses the Research Proposal Evaluation Form (Appendix H) to assess the Research Proposal according to these main domains:  Attitude  Research Question and Literature  Research Design  Methodology and Methods  Ethics Members of the Ethics Committee send their advice on ethical issues to the research coaches according to the Master in Dance Therapy Ethical Checklist (to be announced).

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Who evaluates The Research Proposal is assessed summatively by the research coach, including the advice of a member of the Ethics Committee (for the names of the Research Committee Dance Therapy members see Appendix A). Practical Guidelines Research proposal concept:     

length: maximum 2 pages (excluding references) language: either English or Dutch format: Word to be sent to: the research tutors: Ditty Dokter ([email protected]) and Raluca Popa ([email protected]) submission: Students follow individual timelines. First concepts can be sent during the third Practice-Based Research module (second semester of the second year of study). The students who aim to finish within three years can use September 2016 as an orientative deadline.

Research proposal:     

word length: 2,000-max.2,500 words (excluding references) language: either English or Dutch format: Word to be sent to: the student’s research coach with a copy to the research coordinator (Raluca Popa: [email protected]) submission: Students follow individual timelines. Not earlier than the end of the third Practice-Based Research module (students who are already practicing dance therapists can be exempted from this rule: individual cases to be discussed with the study management). The students who aim to finish within three years can use December 2016 as an orientative deadline for submitting the research proposal.

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4.5. Master Thesis and Final Presentation Master in Dance Therapy Practice-Based Research in Dance Therapy Tutors: Research coach

Third year of study (2016-2017) Master Thesis and Final Presentation

Description and position within the curriculum: Researching and writing the master thesis offers each student the opportunity to demonstrate both integration of and insight drawn from the Dance Therapy Theory and Methods modules, Laban Movement Analysis, Psychology/Psychotherapy, Practice-Based Research and professional practice (internship). This process enables the student to link therapeutic experience in the field with theoretical knowledge and insight, and supports the student in understanding and developing application possibilities. Research at the master level focuses upon learning about research. The student needs to demonstrate this learning during the research process as well as in the thesis itself. During the research process, it is important to critically reflect on the dance therapy treatment, with the aim of discovering possibilities for reconsideration and change. What is the dance therapist doing, how and why? The choice of research methods and techniques depends on the research question, the student’s interest and the practical possibilities: the specific setting where the dance therapy takes place (e.g. internship, work setting, observation within someone else’s therapy practice), the possibility to use (existing) video material, connection to other research either completed or ongoing at Codarts or another institution. All enquiry / evaluation work needs to obtain relevant ethical approval from the setting where the dance therapy takes place, as well as from the Ethics Committee of the programme (see chapter 4.4 above). The masters research usually takes the form of a case study. The main data collection methods encouraged are session notes, self-reflection notes, supervision notes, movement observations, interviews, focus groups, arts-based methods of data collection (such as dance explorations, embodied reflection, etc). After data has been collected, it is analyzed and the findings are considered within the context of the literature review. The student interprets the findings and draws conclusions. The students are recommended to do a case study with one or two peers. Although they share the case study, the students still follow an individual track in the literature review, data collection (observation/interviews) and analysis, in the reflection on the research process, and in the presentation of the findings. In order to ensure that the research can be replicated and that practice-based evidence will be strengthened, the student ensures that the dance elements of the research are explicit and clearly visible. In practice this means that in the data collection and analysis attention should be paid not only to a description of the observed effects (outputs), but also to a description of the interventions (inputs). It is relevant to be informed about the dance therapeutic instruments, methods, 35

approaches and techniques borrowed from dance that were used in the therapeutic intervention. Doing so will make it possible for others to use the same inputs (interventions) in a comparable therapeutic situation, and to observe/explore the effects. This will improve the replicability of methods and thus the trustworthiness of the research findings. The research project culminates with a Final Presentation, where the findings and the research process are presented verbally, and also with a dance/movement presentation and/or a video report. Both the Master Thesis and the Final Presentation include also a reflection on the research process. The Final Presentation aims to make the dance component within dance therapy visible. This can be accomplished in many ways: by turning the findings into an artistic product, by using embodied reflection to illustrate the research process, by using a video report including dance elements, by asking (some) members of the audience to dance/move/embody/role play, by presenting arts-based methods of data collection or data analysis used in the thesis. The students choose one or more of these or other forms of presentation as most appropriate for the methodological framework of their Master Thesis. Contact time and individual feedback 28 hours per student, as follows: coaching by the research coach, including five feedback moments: 20 hours; written feedback from the first and the second assessor: 8 hours (4 hours each) Self-study time 500 hours (18EC) Learning outcomes, the student:  develops into a reflective dance therapy practitioner with an enquiring attitude: having a creative, critical and open attitude to own practice as a dance therapist.  demonstrates commitment to practice-based evidence in dance therapy, through the conduction of evaluation of practice/case studies.  contributes to the dance therapy profession focusing upon the uniqueness of dance therapy by including besides verbal, also non-verbal (arts-based) methods of data collection, data analysis, presentation of the findings and of the research process (embodied reflection). Qualifications The module contributes to the final qualifications 4.1 and 4.2 Methods In order to ensure that the research process moves forward and to encourage the development of the student into a reflective practitioner, the student gets coaching and written feedback as follows: The research coach advises the student during the period of data collection, data analysis and writing-up of the master thesis. The research coach offers regular (written) feedback, to a maximum of five times. The research coach and the second assessor assess and offer written feedback on the final version of the master thesis (Thesis Evaluation Form Part I and II). Assignment Master Thesis and Final Presentation.

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Forms of assessment: Summative assessment. The study points (18EC) are awarded the moment the student gets a PASSED on Part III of the Thesis Evaluation Form (Part III: Final Presentation). The student is invited to do a Final Presentation only after getting a PASSED on Part I and II of the Thesis Evaluation Form (Part I: Attitude; Part II: Quality of Research). The students who do not get a PASSED on Part I and II of the Thesis Evaluation Form get a second chance to incorporate the feedback and submit a new version of the master thesis the same academic year and, if necessary, a third chance the next academic year. Assessment criteria The Master Thesis is assessed according to the following domains (Part I and II of the Thesis Evaluation Form, Appendix I) Part I: Attitude:

  

Research and thesis show development of an enquiring attitude Thesis includes critical reflection on research process and on learning process Research and thesis show awareness of ethical guidelines and arising issues and how these have been addressed.

Part II: Quality of Research:

   

General presentation Research design Literature review Methodology and Methods

Students receiving a PASSED on Part I and II of the Thesis Evaluation Form can proceed to prepare a Final Presentation of their research findings and experiences. The Assessment Committee will ask the student to submit an appropriate thesis abstract (in English, max. 330 words) and to prepare a Final Presentation, including verbal and non–verbal elements (max. 20 minutes). The Final Presentation is assessed according to the following criteria (Part III of the Thesis Evaluation Form, Appendix I):  General presentation and stage presence  Artistic design of presentation in balance with the content  Visibility of the dance component in dance therapy Based on the Final Presentation, the Assessment Committee will subsequently invite some students to present their research for alumni of the programme and other members of the dance therapy field in a setting that will be announced at a later date. Who evaluates The Master Thesis is assessed by two members of the Research Committee Dance Therapy: the first is the student’s research coach, the second is a blind assessor (second assessor). Part I of the Thesis Evaluation Form is assessed only by the research coach. Part II is assessed by both the research coach and the second assessor. The Final Presentation is assessed by the Assessment Committee (using Part III of the Thesis Evaluation Form) (see appendix I). 37

Practical Guidelines The Research leading to the Master Thesis: Data collection can begin as soon as the research proposal gets a PASSED from the research coach (see also Chapter 4.4) The research coach offers regular feedback (to a maximum of five times), according to the following recommended guidelines (see also Chapter 5):  the student submits draft chapters in Word format  the coach offers feedback, preferably by email with additional verbal contact if necessary  in the fifth and final feedback round the coach focuses on the complete draft of the thesis. This evaluation indicates any modifications or changes that are necessary in order to obtain a PASSED on the final version  student incorporates the feedback and submits the final version of the Master Thesis  this final submission should be planned around two yearly deadlines: 1st of May and 1st of December. Submission of the thesis after the 1st of May implies having to register again for (a part of) the next academic year. Master Thesis  word length: max. 10,000 words (excluding references and appendices)  appendices: a maximum of six, no more than 40 pages in total  list of references: contains only sources that are referred to in the text  general presentation: accurate typing and spelling, clarity, scholarly style of writing, appropriate structure and organization, correct citation according to the APA Guidelines (www.apastyle.org)  language: English or Dutch, except for the Abstract which should be in English  format: Word  to be sent to: the student’s research coach with a copy to the research coordinator (Raluca Popa: [email protected]) and the study management (Nicki Wentholt: [email protected])  submission: Students follow individual timelines. For the students who aim to finish within three years, not later than the 1st of May 2017. Next possibility to submit: 4th of December 2017. For those students who are already practicing dance therapists a two-year trajectory is possible (in concert with the study management and if the necessary exceptions are obtained). In this case submission on the 1st of May 2016 may be possible. Suggested design:  Abstract: keywords, clear summary of research issues, procedures, major outcomes, conclusions (max.300 words)  Introduction: clear outline of project (setting and context), including questions posed that are relevant for the development of the dance therapy field, definition of concepts  Critical literature review: sound grasp of relevant literature, rationale, inclusion and exclusion criteria, keywords and conclusion showing influence of review on the research question, variables and factors that are the focus of study reflected in literature.  Research methodology and methods: methods of data collection and analysis set out comprehensively and clearly, rationale for methods employed, appropriate to the needs of 38

 

 

the research; awareness of problems/biases and actions taken to prevent or reduce the problems/biases, data collected in acceptable and ethical manner, ethical considerations. Findings: relevant findings laid out in accessible manner; the findings are presented in a style that matches the type of research; personal learning through supervision and reflection Discussion and reflection: critical findings are made clear; inconsistencies are highlighted; awareness of implication of findings; innovative critical thinking evident; conclusions drawn; relevance for the dance therapy profession(al); ideas for future development and research included; critical reflection References: complete and in accordance with APA guidelines (www.apastyle.org); appropriate and comprehensive list Appendices: clearly laid out and containing relevant material only. For instance: consent form, information letter for clients, interview questionnaire, coding sheet, movement observation protocol, etc

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Chapter 5. Practical Guide to the Research Project Here the steps are outlined that carry the research process from the research proposal concept, to the research proposal, to the master thesis and final presentation. 5.1. From research proposal concept to the start of the coaching The first ideas leading to a research proposal become crystallized during the third practice-based research module (Module III. Enquiry and Evaluation). The students are encouraged to write a 2 page research proposal concept and bring it to class. The tutors incorporate these initial concepts into their teaching and the practical assignments given in class. Since students are allowed to follow different timelines for their research project, not all students will send their concepts in time to be incorporated into the teaching of the third module. However, all students will get written feedback once from the research tutors on their concepts, regardless of their timeline. 1. Student is coached by the research tutors, Ditty Dokter (DD) and Raluca Popa (RP), during the research classes towards choosing a field of interest and formulating a question. The students who start reflecting on a possible field of interest and question after the end of the Practice-Based Research module classes will be coached by RP during the consultation hours organized on Fridays during the lunch time until the end of the second year of study (July 2016). 2. Student sends the research proposal concept (max 2 pages without references) to both tutors (DD and RP). 3. The research tutors give written feedback, once, to this research proposal concept. They get 1 hour for every student to give this written feedback. The students who send their research proposal concept before the end of the Practice-Based Research module classes have the advantage that the tutors can incorporate their concepts into the teaching and refer to their concepts in class. 4. Once the feedback of the research tutors is received, the research coordinator (RP), finds a research coach and, where applicable, a DMT/LMA advisor, for every concept. 5. The research coordinator sends an email to the student and the respective coach (and, where applicable, the DMT/LMA advisor), announcing the name of the coach to the student and includes the written feedback from the research tutor in the attachment. 6. All further communication happens between the student and the research coach directly. The next version of the concept or research proposal goes to the coach directly. The coach further helps the student develop the concept into a full research proposal. 5.2. Coaching the research proposal up to a PASSED on the research proposal The research coach gets six hours (including two written feedback moments) to help the student develop a full research proposal, from proposal concept to a PASSED on the research proposal. Out of these six hours (which include reading, assessing, writing feedback, talks with the student, etc) the student gets two main feedback moments: one after submitting to the coach the first draft of the research proposal, and one together with the final assessment (which hopefully gives a PASSED and

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the green light to start the data collection). Besides these two main feedback moments the student can email the coach with questions, unclarities or concerns, or to ask for an appointment. 1. The research coordinator (RP) sends an email to the student announcing who the research coach is and including the feedback of the research tutors on the research proposal concept 2. The student contacts the coach and sends an updated research proposal concept or already an attempt at a research proposal (on the basis of the feedback got from the research tutors) 3. The coach helps the student develop a draft research proposal which the student submits 4. The coach gives feedback on the draft 5. The student includes the feedback in an updated version and submits the research proposal for assessment to both the coach and the research coordinator 6. The research coordinator approaches one of the Ethics Committee members for the ethics check-up. The Ethics Committee member will send advice to the student’s research coach within 10 working days of the coordinators email. 7. The research coach assesses the research proposal and writes feedback for the student, including the advice of the Ethics Committee member. This happens in an email sent to the student and the research coordinator within 20 working days from the submission moment 8. If the result of the assessment is PASSED, the student can start the data collection 9. If either the feedback of the coach or the advice of the Ethics Committee asks for some modifications, the student needs to comply with those first and submit again, before starting their data collection. 10. If this second submission does not result in a PASSED, the student gets another chance to submit in the next academic year. 5.3. Coaching during the research project up to submission of master thesis The research coach gets 20 hours to coach the student from the research proposal to the master thesis. Out of the 20 hours (which include reading, assessing, writing feedback, talks with the student, etc), the student gets five feedback moments. The student and the coach are free to negotiate when and how the feedback moments will be given. The last of the five feedback moments is on the draft of the whole thesis. The other four can be, for instance: one during the period of data collection, one during the data analysis, and two on different chapter drafts. Besides these five feedback moments the student can email the coach with questions, unclarities or concerns, or to ask for an appointment. Important note: The student is strongly advised to start data collection only after getting a PASSED on the research proposal. This ensures that the research coach is well informed and agrees with the planning and procedures around data collection and thus increases student’s chances for a PASSED on the master thesis. 1. First feedback moment: The student makes a tentative plan together with the coach about when the following feedback moments will take place and when the various chapter drafts will be submitted. A tentative table of contents may be discussed at this point. 2. If necessary, a DT/LMA advisor can be approached for specific expertise. 41

3. Second feedback moment takes place. 4. The student incorporates feedback and sends the agreed drafts/chapters. 5. The research coach meets the student or sends feedback on the sent material according to the mutually agreed plan, or no later than within 10 working days. NOTE: if students plan together with the coach and stick to an agreed plan as much as possible the waiting time may be shortened to (much) less than 10 working days. 6. The procedure repeats for the third and forth feedback moments 7. After the forth feedback moment the student incorporates feedback and submits a draft thesis to the coach and the research coordinator 8. The research coordinator appoints a second assessor to the thesis and lets the student know who the assessor is, with email and postal address of the assessor 9. The coach assesses and gives the last (fifth) feedback on the draft thesis on the commonly agreed date, or within 10 working days of submission 10. The student gets the chance to incorporate the last feedback and officially submits the master thesis. This final submission is accepted twice a year, around these dates: 1st of May and 1st of December (depending on the date of the first working Monday). 11. In order to officially submit the master thesis the student has to send three soft-bound prints of the master thesis to the postal addresses of: the research coordinator, the research coach and the second assessor. Additionally, the student has to submit a digital copy of the thesis, in Word format, to the same three people and the study management. 12. The research coach and the second assessor will separately fill-in the Thesis Evaluation Form (Part I + II). The coach will fill-in both Part I and Part II, the second assessor only Part II. Subsequently, the two assessors will discuss their differences and come to an agreement about a final Thesis Evaluation Form. This final thesis evaluation form will be sent by the research coach to the research coordinator. 13. The research coordinator will inform the student of the result of the assessment (Part I + II), within 20 working days of submission. 14. The students who get a PASSED on the Thesis Evaluation Form (Part I + II) will be invited to present their thesis for the Assessment Committee. They have to submit an English abstract of the thesis in advance (max. 330 words) and to prepare a 20 min. Final Presentation. 15. Following the presentation, the Assessment Committee will fill-in Part III of the Thesis Evaluation Form. Students who get a PASSED on Part III too will be awarded the 18 EC belonging to the master thesis. The Assessment Committee members will sign the Codarts exam form belonging to the module Master Research, Thesis and Final Presentation.

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Appendix A Research Committee Dance Therapy The committee is composed of the following members: Penelope Best, Judith Bunney, Irina Cleff Häussler, Katharina Conradi, Ditty Dokter, Phiny de Groot, Julie Kil, Simone Kleinlooh, Annemieke Plouvier, Raluca Popa, Marijke Rutten-Saris, Rosemarie Samaritter, Rozemarijn Schalk, Henrice Vonk (chair), Ciel Werts.

Research Committee Chair Henrice Vonk, PhD Musician, researcher, educator, mindfulness trainer and event organizer. She is currently working as Leader Artistic Research of the Master of Music at Codarts Rotterdam, in which capacity she developed the artistic research curriculum. Henrice Vonck was trained as a pianist at the Amsterdam Conservatory, and further developed as a world music specialist at the University of Amsterdam. Her dissertation, entitled Manis and Keras, represents one of the few musicological researches on North Balinese music so far. Since 1987 she is artistic leader of the Amsterdam based Balinese gamelan ensemble Irama, which has a long history of music projects and theatre productions with renowned Balinese artists in the Netherlands. Since 2006 she initiates and coordinates world wide gamelan events, like the Conference and Festival for North Balinese Art and Culture (www.northbali.org). She is currently organising the third edition of the International Gamelan Festival Amsterdam (IGFA), that will take place in the Muziekgebouw aan het IJ, Amsterdam, in September 2015.

Research coaches Penelope Best, MCAT, SrDMP, Hon. Fellow of ADMP UK, Fellow HEA (Higher Education Academy) Senior adviser to ADMP Council; Coordinator of first Polish Dance and Movement Psychotherapy Training, Warsaw; Creative Director of first Croatian DMT professional training, Zagreb; External Examiner for Derby University DMT Masters, UK. Honorary Visiting Research Fellow in CREATE at Exeter University, UK. Co-convenor of first UK DMP Supervision Training, Roehampton University; Teaching at Codarts since 2004. Current clinical work: individual private practice and individual/ group Relational Creative Process Model supervision. International workshop facilitator, regular conference presenter and published author focusing upon research area: interactional supervision. Involved in developing DMP within UK & internationally (as clinician, supervisor, lecturer, convenor & research consultant). Chair of PDC (Professional Development Committee); on Ethics Committee, ADMP; former Chair of ADMP (Association Dance Movement Psychotherapy) UK; former President of European Network for Professional Development of Dance Movement Therapy (2007- 2010). Clinical practice over past 25 years include group DT and individual Movement Psychotherapy within adult psychiatric in-patient and outpatient settings, (acute and chronic); educational settings with individual young people with attachment disorders, and group DT work in social care settings with adults with physical and neurological disabilities. Former dance & choreography teacher at Laban Centre, London. 43

Related publications: Best, P. (2010). Observing interactions being shaped: Multiple perspectives within supervision. In: Bender, S. (ed.) Movement Analysis of Interaction. Berlin gmbH: Logos Verlag. Best, P. (2010). Creative tension: Dance psychotherapists shaping Laban’s ideas. In Preston-Dunlop, V. Sayers, L. (eds.) The Dynamic Body in Space: Developing Rudolf Laban's Ideas for the 21st Century. London: Dance Books. Best, P. (2010). Die Choreografie der Beziehung: interactional Shaping in der Supervision. In Sinapius, P., Wendlandt_Baumeister, M., Neiemann, A. & Bolle, R. (eds.) Bildtheorie und Bildpraxis in der Kunsttherapie: Bd. 3 der Reihe „wissenschaftliche Grundlagen der Kunsttherapie (pp. 277-292). Peter Lang Verlag. Popa, M.R. & P. Best (2010). Making sense of touch in DMT: a trainee’s perspective. In Body, Movement and Dance in Psychotherapy: An international journal for research, theory and practice 5 (1), 31-44. Best, P. (2009.) Swim alongside, block and then seduce: building blocks of relationship. In Scoble, S. Ross, M. & Lapoujade,C. (eds.) Arts in Arts Therapies: A European Perspective. Plymouth: University of Plymouth Press. Best, P. (2008). Interaction reflections: Moving between modes of expression. In Supervision Models within Dance Movement Therapy. London: Jessica Kingsley. Address: [email protected] Ditty Dokter, PhD, MSc, SRDMT, RDth, UKCP, HPC Registered drama therapist, dance movement therapist and group analytic psychotherapist. Ditty Dokter has thirty years clinical, teaching and research experience in the arts therapies. She undertook the systematic review of dramatherapy practice based evidence for the British Association of Drama Therapists and is a member of the advisory boards of the KENVAK and ICRA arts therapies research centres. She is course leader MA Dramatherapy at Anglia Ruskin University, Cambridge. She was course leader of the Postgraduate Diploma Dance Movement Therapy at the University of Hertfordshire (UK) from 1992 – 2001. Her most recent clinical post was Head of the Arts Psychotherapy Department and Arts Therapies Professional Lead in the Hertfordshire Partnership Foundation Trust (an adult and elderly mental health trust). She has been a visiting lecturer in Research Design and Methodology at the Master in Dance Therapy at Codarts Rotterdam (2003-ongoing). Ditty’s clinical experience includes working in adult and young people's psychiatry, with learning disabled adults and refugees. She has taught and published worldwide, her main research interest is intercultural arts therapies practice. Related publications:

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Dokter, D. et al (eds.) (2011). Dramatherapy and destructiveness. Developing the evidence base: playing with Thanatos. London: Routledge. Dokter, D. (2009). To join or not to join the dance. Embodiment in dramatherapy. In Jones, P. (ed.) Drama as therapy, Vol.2. London: Routledge. Dokter, D. (2008). Intercultural supervision. In Jones, P. and Dokter, D. (eds.) Dramatherapy supervision. London: Routledge. Dokter, D. (ed.) (1996). Arts therapists, refugees and migrants. London: Jessica Kingsley. Address: [email protected] Phiny de Groot, PhD, MA After two Bachelor degrees (Social works and Social studies), MA in Sociology was obtained from Erasmus University in Rotterdam (Education & Culture). Doctor in Science of Arts, University of Gent (Belgium), 2003. The thesis concerned an investigation into Emotion in Dance, a search for the punctum of Dance. The thesis is written from a psychological, psychoanalytical and (classical , art & female) philosophical perspective. The thesis contains two empirical parts: an investigation into the personality of dancers and a search for emotion in the dance/choreography of Pina Bausch, Merce Cunningham, William Forsythe and Anne Teresa De Keersmaeker. Lecturer at de HZ University of Applied Sciences in Vlissingen (Netherlands) until 2014, in the subjects: Philosophy, Ethics, Sociology, Psychology and analogous communication. Responsible for the research quality of professors, lecturers and students of the HZ University of Applied Science (until 2014). Designed a system for quality assessment and evaluation of research, an application of the National system of Quality Assurance in research for the HZ. Since 1992 has supervised students (Dutch and foreign) in their graduation dissertation, students of the HZ and from the University of Gent (Belgium). Some relevant examples of subjects of the dissertations are: non-verbal communication in psychotherapy, the relationship between mind and body in a question for socio-cultural help, beyond verbal therapies, children with Down’s syndrome in a theatre production. Address: [email protected] Julie Kil, MSc, MDaT M.A. in Dance Therapy (Codarts University, Rotterdam), registered Senior Creative Therapists (NL). Graduated at the Rotterdam Postgraduate Programm in Dance Therapy (1994) and Master in Dance Therapy (2008). Topic Master Thesis: Dancing behind bars (2008), Case-research with LMA as analytical tool in forensic psychiatry. She works as a dance therapist in the Forensic Psychiatry with both women and men in Bedburg-Hau, Germany since 2000. There her specialty is working with trauma, personality disorders, and aggression problems. Also she developed with the psychologists a way to work with crime analysis, as a combination of psychotherapy and dance-movement therapy. She has been working with depressive and gerontopsychiatric patients. Furthermore, she has been 45

working with the research department at KenVak (a joint venture of several Dutch universities of applied sciences: Zuyd, Utrecht and Artez). There she collaborated in a research on the effects of arts therapies for young offenders in secure care. At present, she is involved in developing a new research on the effects of arts therapies on adults in TBS (Dutch forensic care). Also she is a board member of the NVDAT, the Dutch dance/movement therapy association. There she has the responsibility for the knowledge innovation. She teaches as a guest-teacher regularly at Hogeschool Arnhem Nijmegen (HAN) (Master and Bachelor programs), Hogeschool Zuyd and Stenden Hogeschool. At HAN she also guides the students during their bachelor research. Until 1998 she worked as a dance teacher (BA in dance education, 1980) in private setting, and at HAN. Related Publications: Smeijsters, H., J. Kil, H. Kurstjens, J. Welten, G. Willemars (2011). Arts therapies for young offenders in secure care—A practice-based research. The Arts in Psychotherapy 38, 41–51. Kil, J. (2010). Dancing behind Prison Bars – From movement to interaction in forensic psychiatry. In Susanne Bender (Hrsg.). Bewegungsanalyse von Interaktionen – Movement Analysis of Interaction. Berlin: Logos Verlag, 221-240. Kil, J. (2010). Kwalitatieve effectevaluatie van de interventie dans-bewegingstherapie in de JJI en GJ. Heerlen: KenVaK. Kil, J., Braun-de Bijl, T. & Prins, E. (2010). Praktijkonderzoek naar interventies. Dansbewegingstherapie en psychomotorische therapie in Justitiële Jeugdinrichtingen en Gesloten Jeugdzorg. Tijdschrift voor Vaktherapie 6 (3), 11-19. Kil, J. & Prins, E. (2010). Handleiding danstherapie in de JJI en GJ. Heerlen: KenVaK. Address: [email protected] Raluca Popa, PhD, MA Dance therapist (SRVB registration undergoing) with extensive research experience in the arts therapies, the social sciences and the humanities. Member of NVDAT, ADTA and DAIMH. She has published articles in peer-reviewed journals, professional journals and yearbooks, articles in books, book chapters and book reviews. Collaborates as an author and reviewer with the journals Body, Movement and Dance in Psychotherapy and Tijdschrift voor Vaktherapie. She undertook several research projects commissioned by Codarts Rotterdam, including the most recent “The Place of Dance inside Dance Therapy Education at Master Level: The situation at Codarts Rotterdam put in the larger context of dance therapy education in The Netherlands and abroad” (2011) Member of the Research Committee and teaching assistant for the research modules at the Master in Dance Therapy at Codarts since 2011. Clinical experience and interests include working with elderly with dementia, older adults with the Korsakov syndrome and acquired brain damage, adults with mood disorders, children and youth psychiatry, mother/parent – baby relationships and infant mental health. 46

Related publications: Simons, J, J. Simons, C. Leitschuh, M. R. Popa (2012). The effect of body awareness training of preschool children based on the Sherborne Developmental Movement method versus regular physical education class. European Psychomotricity Journal 4, March 2012, 38-50. Kruijf, Channa de, M. R. Popa (2012). Leven in Beweging: Interview met dans- en bewegingstherapeut Zvika Frank. Tijdschrift voor Vaktherapie 8 (2), 37-41. Popa, M. R. (2012). Tussen de dansstudio en de turnzaal: Hoe gebruiken danstherapie en psychomotorische therapie ‘beweging’ in therapie met kinderen. Actuele themata uit de psychomotorische therapie, Jaarboek 2012, 35-43. Popa, M. R., P. A. Best (2010). Making sense of touch in dance movement therapy: A trainee's perspective. Body, Movement and Dance in Psychotherapy 5 (1), 31 – 44. Simons, J., M. R. Popa, I. Vanderbussche (2009). Geïntegreerde dans- en psychomotorische therapie bij kleuters. Actuele themata uit de psychomotorische therapie, Jaarboek 2009, 105-116. Address: [email protected] Rosemarie Samaritter, Dipl Rhythmik, SrDBT, PMT Training background: Dalcroze Rhythmic, modern dance, DMT, Kestenberg Movement Profile & Movement Psychodiagnostic Inventory, PDBO integrative movement psychotherapy, experiential dynamic therapy; currently PhD candidate for the University of Hertfordshire working on interlaces of dance therapy and neuroscience in autism spectrum disorders. Work experience: Since 1978 – ongoing: dance movement (psycho)therapist in German and Dutch outpatient psychiatric services with children, adolescents and adults and private praxis. Specialised in DMT in post-trauma treatment (war survivors and sexual trauma) and disorders with disturbed sense of self (early psychosis, attachment trauma and autism). She has worked in training programmes in The Netherlands, Finland and Germany. For ORBIS mental health she coordinates movement-oriented research. Trainer and supervisor for DMT professionals. Paper presentations and articles on DMT. Participating in the development of guidelines for NHS. First chair of dance therapy section in the association of creative arts therapies (NVCT) (1993-1997). Member of the visitation commission for the creative arts therapies bachelor training programmes (1992/93), of the visitation commission for the MA creative arts therapies (2009). Member of the board of Dutch Register of Creative Arts Therapists (2007-2009). She has been closely involved in the initial development of bachelors DMT programme (Hogeschool Zuyd) and has been teaching DMT theory and methods (1984-1988). 47

Related publications: Samaritter, R., & Payne, H. (2013). Kinaesthetic intersubjectivity: A dance informed contribution to self-other relatedness and shared experience in non-verbal psychotherapy with an example from autism. The Arts in Psychotherapy 50 (4), 143–150. Samaritter, R. & T. Maagdenberg (2012). Bewogen levens. Tijdschrift Ciëntgerichte Psychotherapie 40 (1), 325-338. Samaritter. R. (2010). A nonverbal approach to intersubjectivity. In S. Bender (ed.), Movement Analysis of Interaction (pp. 241-257). Berlin: Logos. Samaritter, R. (2009). The use of metaphors in dance movement therapy. Body, Movement and Dance in Psychotherapy, 4 (1), 33-43. Samaritter, R. (2008). Het Kestenberg Movement Profile. Meetinstrumenten in de vaktherapie. Tijdschrift voor vaktherapie, (3), 57-59. Samaritter, R.(2008). Casus beschrijving: “So he took these broken wings”. In Smeijsters, H. (ed.) De kunsten van het leven (pp. 153-158). Amsterdam: Veen. Address: [email protected]; www.therapie-in-beweging.nl

Second assessors and DT/LMA advisors Judith Richardson Bunney, MA, BC-DMT (Board Certified Dance/Movement Therapist) Pioneering Dance/Movement Therapist and trainer from Santa Fe, New Mexico, USA. Lifetime Achievement Award by the ADTA in 2011.

Awarded

Her work spans 50 years having been trained by Marian Chace, a recognized innovator in the field. She is a founding member and a Past President of the American Dance Therapy Association. She served as the first President of the National Coalition of Creative Arts Therapies Associations and was selected to serve on the President's Commission for Mental Health: Role of the Arts Task Panel. Her clinical work encompasses inpatient and outpatient psychiatric hospital sessions as well as training graduate interns. She has expertise working with adult psychiatric, forensic and geropsychiatric patients. Her private practice includes work with artists and writers enhancing the creative process and dealing with blocks. She has led team building workshops for corporations and government agencies. Her experience teaching Dance/Movement Therapy extends over 35 years in a number of colleges and universities in the US and for the past 18 years in several training programs in Europe. Teacher at the Master in Dance Therapy at Codarts from 1995-1998 and 2005-ongoing. Address: [email protected]

Irina Cleff-Häussler, Dipl.Sozialarbeit, MDaT, R-DMT, BTD Dance therapist, Child and Youth Psychotherapist (Institute for Psychoanalysis and Psychotherapy Munich), Registered Social Worker (Dipl. FH Bielefeld, 1985).

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She trained at the first Rotterdam dance therapy training with dance therapy pioneers Miriam Roskin Berger, Judith Richardson Bunney and Robyn Flaum Cruz. Her master thesis reflects her interest in movement analysis: A Comparison of the Movement Psychodiagnostic Inventory and Kestenberg Movement Profile. A social worker and a dance therapist, she developed a theoretical concept for a dance therapy group in a shelter for multi-ethnic, homeless women and implemented it, and also conducted outpatient dance therapy groups for survivors of sexual abuse. Her clinical experience as dance therapist includes child and youth psychiatry, adult psychiatry and rehabilitation. In her private practice she has conducted dance therapy for individual clients and has taken further education to conduct groups in oncological dance therapy. She has been working several years in a Psychosomatic Clinic with mothers with personality disorders and their children, groups for teenagers and young adults with eating disorders, and adults with psychosomatic disorders, including pain disorders. She also works as a verbal psychotherapist-in-training with outpatient children and their families. Her experience teaching dance therapy: since 2002 includes workshops at international institutions, such as the University for Applied Arts in Cairo, the Dance Therapy Program at the Institute for Practical Psychoanalysis in Moscow, Outpatient and Creative Arts Centre in Prague and with the NVDAT in Holland. Ms. Cleff-Häussler has been vice president of the German Dance Therapy Association BTD (20102012). Address: [email protected] Katharina Conradi MDaT, CMA Master in Dance Therapy (2006, Codarts), bachelor in dance and choreography (1991, Hogeschool voor de Kunsten Amsterdam), Certified Movement Analyst. Works as a choreographer and movement teacher (contact improvisation, composition, releasetechnique, a.o.) in the Netherlands and abroad (1991 - on-going) and as a tutor at the Hogeschool voor de Kunsten Amsterdam and Codarts Rotterdam. Clinic experience in Psychiatric Centre Delta, Spijkenissen and private practice (www.dansentherapie.nl) . Experience in working with clients with personal disorder, severe depression, forensics and clients with body-image disorders. Coaching clients in their creative development and growth process. Runs a dance therapy group for different kind of (learning) therapists. Katharina’s company Fresh Tracks produces Artistic and Cultural projects within and outside Holland. Some of her recent projects include: the dance film “Der Schnee und das Mädchen” with filmmaker Josje van Erkel, “Leeuwenhart” a performance about courage with 8 children and a dance performance with dancer/choreographer Fabian Chyle, which was filmed in an old grain factory in Amsterdam. For many years Katharina Conradi has been interested in artistic social-cultural projects. 49

She worked with Fabian Chyle in a prison in Stuttgart, Germany and made a project in Utrecht integrating different cultures with Sharon Varekamp in the Tweetakt Festival Utrecht GE:HE?IM! . She recently finished her second dance film “Horizon” with filmmaker Sergio Gridelli (https://www.facebook.com/HORIZONthefilm). Adress: [email protected] www.katharinaconradi.nl Simone Kleinlooh, MDaT, R-DMT Dance therapist registered (R-DMT) with the ADTA, Senior registered dance therapist (SRVB) and registered supervisor (LVSC). Graduated at the Rotterdam Postgraduate Programme in Dance Therapy (1994) and Master in Dance Therapy (2008). Topic Master Thesis; Male with a history of childhood sexual abuse: ‘A meaning in suffering. Nine meaningful events in dance movement therapy in a man’s journey towards recovery after childhood sexual abuse.’ (2008). BA in Dance Education, private ballet school since1985. Over ten years of clinical experience with adults at a.o. the Boumanhuis (addiction), the PAAZ in Tilburg (crisis) and Delta Psychiatric Centre in Poortugaal (anxiety and mood disorders, personality disorders, post-traumatic stress disorders) in the Netherlands. Clinical specialty is DMT with clients with a borderline personality disorder. Private practice in dance therapy, coaching and supervision (www.kleinlooh-danstherapie.nl) Teacher, mentor and supervisor at Zuyd University in Heerlen, Faculty of Healthcare, Arts Therapy/Dance and Movement department. Member of KenVak; research centre for the arts therapies, a joint venture of Zuyd University of Applied Sciences, Utrecht University of Applied Sciences and ArtEZ University of Applied Sciences. Guest teacher at the Master in Dance Therapy at CODARTS, Rotterdam, the Fontys University of Applied Sciences, Tilburg and offering training for professionals working with clients with BPS in the Netherlands and a.o Germany. Address: [email protected] Annemieke Plouvier, MA, BC-DMT Senior dance therapist registered, BC-DMT (ADTA) and senior registered psychomotor therapist (NVPMT/SRVB) both since 1994. Registered Supervisor (LVSC)(SRVB, since 1994). MA from UCLA, USA (Dance Movement Therapy, 1989). BA in Dance Education (Codarts Rotterdam, 1984). Outpatient and clinical experience in psychiatric and psychotherapeutic settings 24 years. De Viersprong, Halsteren, 1990-1992. RIAGG- Rijnmond-Zuid, 1990 - 2006. PSYQ Poli Psychotrauma Rotterdam Rijnmond, 2006-current. Member of landelijke werkgroep Psychotrauma, NVPMT.

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Her clinical specialties include working with female clients from family backgrounds with multiple problems, including diagnoses of complex post-traumatic stress disorder, dissociative disorders, personality disorders, eating disorders, pain disorders, mood and anxiety disorders, or body dysmorphic disorders. Private supervision and DMT practice, 20 years. Teacher and developer of the curriculum of theory and methods in DMT at Hogeschool Zuyd, Department of Creative Therapies /Dance and Movement, Sittard; 1990-1995. Assistant coordinator Master in Dance Therapy, Codarts Rotterdam, 1995-2000. Was also involved in curriculum development at this Programme. Member of the Advisory Committee Dance Therapy 1995-2003, Teacher of dance therapy theory and methods (2000-2003 and 2007-ongoing) and group supervisor (2007-ongoing) at Codarts. Member of the Research Committee since 2002 Address: [email protected] Marijke Rutten-Saris, PhD SRCT registered Art therapist and LVSB registered Supervisor. Participative ethological developmental research focusing on shared body motor movement (cocommunication), resulting in the method Emerging Body Language (1980-1990). Developmental research focusing on drawing motor movements, resulting in a diagnostic instrument for the assessment of interaction-structures in drawing (as a motor activity) (1992-2002). Creative art-therapist in forensic and child psychiatry of the Rheinische Landesklinik, lecturer methodology at the Initial and the Advanced Art Therapy Education of the HAN and supervisor of the psycho-therapeutic teams of the rehabilitation institute Werkenrode and the forensic clinic Kairos (1992-2002). Copyright holder of the method Emerging Body Language (EBL), Body Directed Drawing Therapy (BDT) and the diagnostic instruments RS-index Graphic- and Movement Elements. Currently director of the international EBL Arts Therapies Centre. Several related publications (books, reports, articles and video films). Address: [email protected] Rozemarijn Schalk: MSc, MDaT Master of Science in Developmental & Educational Psychology at Leiden University (2006) (Social anxiety and performance anxiety: The relationship between these anxieties and the influence of these anxieties on adolescents in the context of giving a presentation). Master of Science in Health Psychology at Leiden University (2009) (Effectiveness of a cognitive behavioral group intervention in breast cancer patients). Master in Dance Therapy at Codarts Rotterdam (2009) (How body language skills which are developed by dance movement therapy influence the self-esteem of young

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adolescents with learning problems). Currently following the postdoc education to become health care psychologist (Wet BIG). Clinical experience: Worked as a school psychologist with multi problem youth and their families (2005-2010). Internships within clinical health care settings as a dance therapist (2007-2008). Currently working as a psychologist and dance therapist at PsyToBe, medical psychiatric centre in Rotterdam, a specialized health care centre for adults with chronic somatic diseases of which the recovery processes are complicated by psychological disorders (2009-onwards). Teaching experience: Guest teacher at Codarts Master of Dance Therapy: Developmental psychology, member of the Research Committee, Interview techniques, Introduction course psychology, Psychopathology (2010-onwards). Publication: Blöte, A.W., Duvekot, J., Schalk, R.D.F., Tuinenburg, E.M., and Westenberg, P.M. (2010). Nervousness and Performance Characteristics as Predictors of Peer Behavior Towards Socially Anxious Adolescents. Journal of Youth and Adolescence 39 (12), 1498-1507. Address: [email protected] Ciel Werts, CMA Member of the Codarts Dance Therapy advisory committee. Studied Laban Movement Analysis in New York with Irmgard Bartenieff (1980-1982). Registered as a Certified Movement Analyst (CMA). Tutor in the Certificate Program of LMA in Rotterdam and Berlin and Agape Belgium. Tutor LMA, dance improvisation andcomposition at Codarts Rotterdam and the Hogeschool voor de Kunsten, Utrecht. Professional career as a dance teacher in elementary schools, high schools, colleges and universities in The Netherlands and abroad. Choreographer and performer (collaboration with a.o. Hans Tuerlings, Piet Rogie, Ine teRietstap, Ping Chong) Advisor in several dance/movement theater productions. As a researcher she has been involved in the project ‘Muzikale Blessuretijd (2007 /2009) and in The professorship ‘Sustainable Performance’- The Journey. Address: [email protected]

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Appendix B Preparatory Course in Basic Enquiry and Research Skills Tutor: Raluca Popa, PhD Place in the curriculum The module Preparatory Course in Basic Enquiry and Research Skills is an optional module for students who are enrolled in the Master in Dance Therapy at Codarts and who do not possess sufficient basic skills in practice-based research. The student can use the skills and knowledge acquired in this module during the whole trajectory of his/her Master’s programme, especially during the practice-based research modules and the research project leading to the Master’s thesis. After the completion of the module, the student will have acquired or honed the following skills. Having these skills is a requirement for enrolling in the first Practice-Based Research module in January 2015:  is able to identify a clear search question;  is able to seek out relevant information in a focused and efficient manner. The Codarts library, its online catalogue and digital collection provide the laboratory for developing these skills. Other libraries, networks and collections, as well as the Internet, will also be included  can start to evaluate literature, providing a rationale for the selection of items  is able to summarize, analyze and evaluate articles, documents, reports, and books relevant for the profession  is familiar with basic research terms  is able to reflect on his/her learning process. Rationale for the course In order for the Master in Dance Therapy to offer a curriculum that meets the requirements for studying at Master’s level, all students should possess basic research and enquiry skills and be ready to do research at the Master’s level when they start the programme. Students who take the preparatory course will start from a stronger basis and will most probably derive more satisfaction from their research project. Course Content The preparatory course consists of sharing of knowledge and practical individual and group assignments, such as assignments to seek out information, written assignments, peer review and self-evaluation and reflection methods (written and oral).

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Planning The preparatory course will be given during the first semester of study of the academic year 20142015. The course is designed as a refresher course of 12 contact hours spread over four days. Contact hours: 12 Self-study time: 24 Dates: 13 September, 21 and 28 November, 12 December Assignments Two short assignments will be given to students to complete in small peer groups in preparation for the next class. The assignments will include a literature search and a summary/critical appraisal of an article. The final class takes the form of an evaluation: successes and drawbacks encountered while completing the assignments.

Recommended reading Kapitan, L. (2010). Models of good research: conducting the study and reporting results. In: Introduction to Art Therapy Research (pp. 203-241). New York: Routledge. How to conduct an effective and valid literature search. Nursing Times.net. Available at http://www.nursingtimes.net/nursing-practice/217252.article. A framework of questions to be asked of research evidence. HertNet/HRDSU Research Training Programme. (provided by the tutor) Summarizing a scholarly journal article. University of the Fraser Valley Writing Center. Available at http://www.ufv.ca/media/assets/writing-centre/handouts/Summarizing-A-ScholarlyJournal-Article-2009.pdf What

constitutes Plagiarism? Harvard Guide to Using Sources. Available http://isites.harvard.edu/icb/icb.do?keyword=k70847&pageid=icb.page342054

at

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Appendix C Practice-Based Research (September-December 2014) First Year Paper – How to Choose a Topic Welcome to the Master in Dance Therapy! Practice-based research is one of the important pillars on which our programme rests and an important ingredient in the training of a reflective dance therapy practitioner. Although the first Practice-Based Research module will start only in January 2015, an enquiring attitude is encouraged in the students from the beginning of the programme. The first year paper is the assignment for the first Practice-Based Research module. It will be your first encounter with systematic enquiry in dance therapy, the trademark of a reflective practitioner. With this first assignment you will get a chance to exercise some research and writing skills you will later revisit when writing your master thesis. The first year paper is based on movement and dance experiences gathered during your first year of training (studio work). It emerges from and reflects your personal development process, both as an individual and as a becoming dance therapist. The period September to December 2014 we regard as an “incubation time.” During this period, before you start your first Practice-Based Research module, you will gather many experiences, impressions and questions during the studio work in the dance therapy modules, the LMA and the Developmental Lab. Hopefully, a theme will emerge out of this “incubation time” which can later become the topic of your first year paper. For your orientation, the topic of your first year paper could be presented like this: Wh y is . . . . r e le v an t f or t h e p r act ice of d an ce t h e r ap y ? “. . . . “ is an e m b od ie d con ce p t t h at y ou h av e e n coun t e r e d an d e x p lor e d in y our st ud io w or k t h at h as aw ake n e d y our cur iosit y an d in t e r e st . Examples of possible such concepts: rhythm, touch, breathing, grounding, spatial distance between two people or in a group, spatial patterns, gaze, kinesphere, level of movement (low, middle, high), use of music, silence, stillness, the use of voice of the teacher, body parts, LMA concepts (different efforts, body, shape, etc). The list of possible topics can be very long. Please be as creative as you want but remember to keep the concept simple and embodied. The first Practice-Based Research class is scheduled on the 9th of January. By that time you are expected to have identified and explored one or several embodied concepts, so that you will be able to choose your first year paper topic. You will be further coached and guided in this first enquiry journey during the first Practice-Based Research module. Hopefully this short reminder will help you focus and organize your experiences during the first semester. It is not meant to take away anything from the exploratory nature of your studio work. You can remain open, curious and responsive to all new experiences, while you already plant the seed of future enquiry work.

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Appendix D: First year paper feedback form Name student: Feedback by:

Feedback date:

1. Identification of a topic of interest and questions arising from personal experiences in the movement-based programme activities during the first year Feedback:

2. Description of the personal process emerging from exploring the topic of interest Feedback:

3. Ability to contextualize the topic of interest and related questions within the field of dance therapy Feedback:

4. Ability to find relevant sources of information to meet the student´s need for more knowledge on the chosen subject Feedback:

5. Presentation and writing style Feedback:

6. What needs to be improved to achieve the level required for a Master programme Feedback:

Space for additional feedback:

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Appendix E Letter to the dance therapy field asking for Critical Literature Review questions Dear dance therapists,

Ditty Dokter and Raluca Popa, as the tutors of the Practice-Based Research modules, would like to invite you to contribute to the next research assignment for our current students: writing a critical literature review based on questions coming from the dance therapy field! If you have one (or several) burning questions related to your dance therapy practice (be it private practice, a large psychiatric institution or anything in between) that you always wanted to (further) research but never had time to, this is your chance: Please send me at this email address, before the 6th of September 2015 one (or several) research questions arising from your dance therapy practice, and we will match one of our second year students to each question with the assignment to write a critical literature review. This will be a win-win situation: the second year students will get to learn about the (research) needs of practicing dance therapists and to come into closer contact with the DT field than in their first year of study. You will get a critical literature review on a question that you always wanted to know more about. It will surely benefit your practice and your further development as a reflective practitioner. If you do send us questions, please also mention if you would be open or not to have a closer contact (email, visit, maybe interview) with the student that will write a critical literature review on the question you suggested. This possible extra contact will take place somewhere during the first semester (September to December 2015). The critical literature review is due at the end of January 2016. If you would like to contribute with a question but wish no further contact with the student, that would be absolutely no problem. Please let me know if this is clear and if you have questions. I hope many of you will respond to our call. I am personally very excited about this opportunity to bring dance therapy education and practice closer together. Please feel free to forward this message to potentially interested colleagues.

Best regards, Raluca Popa, PhD Practice-Based Research Tutor Master in Dance Therapy Codarts Rotterdam

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Appendix F: Critical literature review feedback form Name student: Feedback by:

Feedback date:

1. Rationale for the chosen research question; aims and hypothesis Feedback:

2. Search skills; inclusion and exclusion criteria; keywords or search terms Feedback:

3. Framing of the topic within the field of DT and breadth of reading of DT sources Feedback:

4. Breadth of reading of related fields sources (psychology, arts therapies, etc.) Feedback:

5. Sound grasp of relevant literature with a critical analysis of the level of evidence provided Feedback:

6. Identifying gaps in the literature and how this influenced the research question Feedback:

7. Conclusion showing influence of review on the research question Feedback:

8. Presentation and writing style Feedback:

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Appendix G: Research Proposal Concept Feedback Form Name student: Feedback by: A

Feedback date:

Attitude -

proposed project enables the development of an enquiring attitude proposed project can be explored in a dance therapeutic situation

Explanation: …………………………………… B

Research Question -

title and research question include DT clear research question

Explanation: …………………………………… C

Research Design Concept shows awareness of basic research principles: - description of the setting - realistic timeline - proposed methodology and methods fit the research question - data collection and data analysis have been considered Explanation: ……………………………………

D

Ethical issues Concept shows awareness of basic ethical issues Explanation: ……………………………………

E

General Presentation Concept shows: - basic scholarly writing skills - pages are numbered - attention for grammar and punctuation - accurate quotations and references in the text (APA style) - a minimal bibliography is included (APA style) Explanation:………………………………… Recommendations:

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Appendix H. Research Proposal Evaluation Form Name student: Evaluation by:

Evaluation date: +

A

-

+/-

Attitude: -

proposed project enables the development of an enquiring and research attitude research project is relevant for the DT profession research project can be explored in a dance therapeutic situation research proposal shows the ability to design a small-scale study

Explanation: …………………………………….

B

Research Question and Literature: -

title and research question includes DT; up-to-date literature review relates to both DT and other relevant fields

Explanation: …………………………………….

C

Research Design Focus of research question and design shows appreciation of basic research principles: - identification of the research question is more focused through the literature review - description of the contextual setting - the small-scale study can be completed within one year Explanation: …………………………………….

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D

Methodology and Methods Research methodology and data collection methods are appropriate to the research question Suitability of data collection methods within selected methodology Explanation: …………………………………….

E

Ethical issues Research proposal shows awareness of ethical guidelines and how to implement them specifically for this study. Explanation: …………………………………….

Total A to E: 3 + or more of 5 = PASSED

Result: PASSED or NOT PASSED / EDITING / RESUBMISSION

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Appendix I. Thesis Evaluation Form Name student: PART

I

Attitude: Research process and thesis Research coach:

Evaluation date:

Attitude:

+ +/-

-

+ +/-

-

A. Research and thesis show development of an enquiring attitude B. Research and thesis show awareness of ethical guidelines and arising issues and how these have been addressed. C. Thesis includes critical reflection on research process and on personal development process

Total grade for PART I: PART

II

Quality of research: Thesis Research coach:

Evaluation date:

Second assessor:

Evaluation date:

Quality of research A. -

General presentation: scholarly writing style appropriate structure accurate citation and referencing style (APA style)

B. -

Research design research project demonstrates student´s ability to conduct a small-scale study identification of research question, more focused through literature review description of contextual setting

C. -

Literature review up-to-date literature review relates to both DT and other relevant fields identification of research question, more focused through literature review complete citation and references

D. Methodology and methods - research methodology, and data collection and analysis methods are appropriate to the research question - research methods and presentation of findings are coherent with the overall research methodology

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Total grade for PART II:

Total PART I + II:

PASSED

NOT PASSED

(two +/- is PASSED) If PASSED, the student can prepare for PART III PART

III

Final Presentation Assessment Committee:

Date:

Final Presentation   

+

+/- -

General presentation skills and stage presence Artistic design of presentation in balance to the content Visibility of the dance component of dance therapy

Total grade for PART III:

Part I: Part II: Part III: Total PART I + II + III:

PASSED

NOT PASSED

(three +/- is PASSED; three + is PASSED with distinction)

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Appendix J Sample Codarts exam form for Practice-Based Research, Module II Name: Student number: Class: Academic year: Exam: Test:

MDT-14-16 2015 - 2016 Practice Based Research 2 1

Opportunity: 1 Osiris-code: DT-PBR-M-02 EC points: 3

Evaluation criteria

+

+/-

-

1. Student’s class attendance at a minimum of 80%. 2. Involvement and engagement in class 3. Ability to write a critical literature review which responds to a question from the professional field

Passed

Date:

Result:

Name:

Signature:

Ditty Dokter

…………………………..

Raluca Popa

…………………………...

Not Passed

For feedback please see other side.

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