Introduction

An introduction to my background in Dance and Dance Movement Psychotherapy

My earliest memory of embodied awareness is the Summer of 2018, 2 years after I graduated from Laban (FYI, I have been training since I was 8/10, jazz modern tap and ballet (typically), after school local church hall (of course), GCSE, A-level, BA - I didn't go BRIT because I can't sing if my life depended on it (and nobody was going to make me). Multiple factors, work, money, and relationships, all turned to a decline at the same time and spiralled me into an emotional plummet. I sat in my Mum's spare room, heavy, on a gradual decline as my chest was on a mission to connect with the floor. It was an outer body experience I am still yet to realise in a creative research project. The silver lining is that it inspired curiosity. What was happening? How do I get out of this? I had never felt such an intense embodied sensation before that. I soon after discovered Somatics. Somatic meaning "of or relating to the body, distinct from the mind" (Oxford University Press, 2023) and therefore 'somatic practice' focussing on "bodywork that foregrounds the internal physical sensations, perceptions, and experiences of the body." (Johns Hopkins Medicine, 2023). I studied Dance and Somatic Well-being for 3 months before venturing on tour with Robyn and the Band. The tour greatly impacted my process and understanding of the subject. Some days, I was exhausted and emotional. I bonded deeply with those around me; a lot happened internally throughout the year to discover and explore.

I had many opportunities to dive into improvisation as each of the 45 performances we did was predominantly improvised - including a solo that took roughly 4-6 minutes. So, my opportunities to explore a somatic, explorative and embodied experience were abundant. However, in a performance setting, this begs different challenges and questions. The experience is shared, and judgement is looming with an expectation to 'deliver'. Whatever that 'delivery' looked like. A vulnerability remains created by the external eye, which differs from the mover and witness dynamic from authentic movement pioneered by DMT and somatic practitioner Mary Starks-Whitehouse. Authentic Movement is described as "A form of dance movement therapy that sources unconscious material in the body (mover) in the presence of a compassionate other (witness)" (Dance/Movement Therapy: Authentic Movement on Youtube).

So the concept of mover and witness contains a mover in a space of vulnerability exploring an internal landscape while allowing that to manifest, however so, in the physical body and through movement or ‘authentic movement’. So fairly different from stage as there was undoubtedly judgement and a lot of vulnerability. In a recent essay, I speak on how I value its importance (authentic movement) in building a therapeutic alliance within a humanistic integrative approach in DMT. You can read it here in the first full essay of the course I wrote.

I am grateful to Robyn for that opportunity, as I wouldn't have been able to regularly explore improvised movement in such generous spaces. Sometimes, your kitchen doesn't cut it. Clip from Alexandra Palace (April 2019) here:

Shortly after the tour, I discovered Dance Movement Psychotherapy. DMT is described as the 'psychotherapeutic use of movement to promote emotional, social, cognitive, and physical integration of the individual, for the purpose of improving health and well-being' (American Dance Therapy Association). The Somatics course got cut after the tour due to COVID setbacks, so it was aligned perfectly to find a new Masters. Additionally, I will graduate from this course as a registered and qualified therapist ready to practice (Summer 2027). To qualify for the application, I was required to work a minimum of 1 year in a setting providing care for those with disabilities and/or learning challenges. I worked in multiple settings such as SEND College (18-25), Primary Schools (3-12) and a 1:1 full-time nanny position (male, 13) throughout (just over) 3 years. I was fortunate to work closely with the early years/under 30s and have enjoyed it. My patience grew drastically, my empathy expanded, and my understanding and curiosity blossomed. A challenge I faced in this period was being inspired for various creative/research topics while not feeling ethically equipped to handle them. Though now studying that's developing, I look forward to sharing my voice, concepts and processes with you.

Arriving in September 2024, I enrolled at Roehampton University on a part-time master's studying DMT. There are 12 of us in the group. Surprisingly, I'm not the only person of colour, which is terrific. Yay, progression (finding a local POC DMT to be my therapist was a challenging eye-opener; though we are here, training and developments are happening). What have I learnt so far? A LOT OF THEORY. The first term was jam-packed theory. We looked at DMP Pioneers, different therapeutic approaches (humanistic, psychodynamic, cognitive), attachment styles, theory of creativity, ethics within therapy, anatomical systems, somatic resourcing, specialist settings (CAMHS, rehabilitation, schools, etc.), and many more. All I will be sharing info-bites very soon. It was a full-on first term, and my revision process continues. Part of that takes shape in these info-bites (Writings, clips, etc) I am posting on my feed for both your information and curiosity as well as my learning.

Today, I am about to begin my second term, where we are focusing on safe practice and facilitation skills. I have just started my work placement at icandance.org.uk. This fantastic charitable organisation offers a wide range of aspiring dancers sessions to 'enrich lives, connect communities and celebrate differences with the vision to make dance possible for all'. Please read about it because it is fantastic, and I am learning a lot. They have two sites, one for the early ages of 4 to 12 and another for the ages of 12 to 25. The practice and sessions draw heavily from Dance Movement Psychotherapy practice and principles. They're incredible.

My intention with these blogs is to share insights, perspectives and stories reflecting on my training process and creative personal projects and the skills/knowledge I develop. Additionally, I will soon be seeking collaboration, and support in these research projects as well as participants for workshops I will soon be facilitating. It is a learning process, and I may get things wrong occasionally. Again, approach with grace.

Since I was a teenager, I have recognised the value of reflection in processing my experiences and learning about others. Questions, curiosities, and feedback are always welcome via my website or email info@canhamspence.com.

Thank you for reading this. I look forward to sharing more with you as I find my voice and feet as a Dance Movement Psychotherapist and Contemporary Dance Artist.

Kind regards,

Theo