Dorit Amir

Dorit Amir

Supervision in music therapy

I strongly believe that supervision is essential for music therapists. Music therapy students as well as professional music therapists experience difficulties and face many challenges throughout the journey. They need to understand the setting, the clients, themselves and the music. They need to be supported yet to be challenged. In this lecture I will explain the supervisor’s role, describe goals of music therapy supervision and ways to accompany and support the supervisee in order to empower her/him in facing and dealing with the challenges.

Dorit Amir, D.A., CMT, has been the founder of the music therapy M.A. program at Bar Ilan University in Israel, and headed the program for 33 years. Prof. Amir has taught and supervised students and professional music therapists in Israel, USA, Europe and Australia. She published books, articles and book chapters on various subjects in music therapy.

Richard Hougham

Richard Hougham

Union and collaboration in the arts therapies

The lecture will outline the work of ECArTE amidst a fast changing European landscape. The contemporary relevance and resonance of the arts therapies will be addressed in the context of social and political forces that seek to undermine and divide. The work of previous ECArTE conferences and publications have sought to engage with these pressing concerns, for example through the conference in Palermo Sicily ‘Cultural Landscapes in the Arts Therapies’ and the most recent conference in Krakow, Poland ‘Traditions in Transition’. Evident within the work in these publications and in emerging research is the Arts Therapies’ capacity to acknowledge, express and examine individual and cultural difference within a psychodynamic frame. This, in turn, can support an understanding and acceptance of ‘the other’, both in the Self and in the encounter with difference.

Richard Hougham is Principal Lecturer at Royal Central School of Speech and Drama, University of London where he is course leader of the MA Drama and Movement Therapy course. He is Chair of the Executive Board of European Consortium of Arts Therapies Education (ECArTE) and has a particular interest in Jungian psychology.

Stelios Krassanakis

The journey of Dramatherapy in Greece: Spread-Applications-Education

Dramatherapy made its first appearance in Greece in 1985 and ever since it has met an incredible spread. I was there with the first generation of Dramatherapists and we worked all together to bring Greece to the top countries in Europe according to the number of Dramatherapists (almost 200), as I am able to know from my involvement with the Board of Directors of EFD and Wadth.
We have two professional unions and their members work all over the country, in many clinical settings with different populations, applying almost all models of Dramatherapy.
During my presentation I will talk about these clinical settings and the acceptance of Dramatherapy, either as stand-alone or as a complementary method. We will have to underline the fact that in Greece Dramatherpy is considered a psychotherapeutic method and is recognized by the E.A.P. It does not have a typical recognition, but an essential from the moment that Dramatherapists get hired in public hospitals to apply dramatherapy procedures.
I will also speak about the private educational trainings that exist in Athens and Thessaloniki, that provide a four year education of high standards, while require personal therapy of the students. In these educational programs a lot of important international Dramatherapists have participated, not only of the first generation but of the second as well. Unfortunately Dramatherapy Education is still not part of the academical status and only during the past four years has Dramatherapy started as a choice course at the university in the School for Theater Studies of the National University of Athens.
My speech will conclude with all the publications and important international conferences of Dramatherapy in Greece, in which this C.A.I.P.T. –ECARTE Conference is included. It has been a long journey from the beginning until now and the most appropriate way to present it dramatherapeutically is through “The Hero’s journey”.

Psychiatrist, Dramatherapist , Theatre Director, Lecturer in the National and Kapodistrian University of Athens. Founder of the “Institute of Dramatherapy AEON”, in 1994. Member of the board of directors of the Greek Psychiatric Association, Founding member of the European Federation of Drama therapy (EFD) and member of the board of directors. International member of the British Association of Dramatherapists (Badth). Director of more than 20 theatrical performances, founder and art director of festival of Naxos. Many articles are published in books, in scientific journals and in psychiatric reviews.

Anna Lazou

The Concept of Therapy in Ancient Greek Texts and Dance Practices

In the context of the research effort of the ancient orchesis study group to reconstitute the philosophical and wider cultural presuppositions that define the ancient Greek dance culture, from which the Greek-speaking and Roman world was removed, to return with the Renaissance in a new European context, along with the recognition of the basic anthropological, on the one hand, aesthetic, on the other hand, criteria and principles of art and, in particular, of dance expression, we attempt a review of certain concepts like θεραπεία, κάθαρσις, έρως and finally χορεία & όρχησις – which stand for characteristic phenomena of ancient Greek culture .
THE PRINCIPLES AND CRITERIA DIRECTING THE RESEARCH OF ANCIENT ORCHESIS ARE: Considering and understanding the religious and cult background, systematic training in practical skills and dexterity values, aesthetic excellence and aiming at social recognition, educational / therapeutic functionality to be further and more deeply established, promoting self-knowledge experiential workshops and philosophical interpretation of the dancing human activity in antiquity.
Brenda Naso

Brenda Naso

Dance Movement Psychotherapy in Mental Health Services

This experiential workshop aims to give participants a brief introduction to Dance Movement Psychotherapy (DMP), focusing on the connection of body and psyche. More specifically we will explore the role it can play in the lives of those living with severe and enduring mental illness such as schizophrenia. Relevant research and clinical examples will be presented. The workshop will also offer participants the opportunity to have a direct experience of the impact that creative movement and dance can on our own general sense of well-being. In addition they will be encouraged to engage in structured movement tasks individually, in pairs and in groups. Please wear loose comfortable fitting clothes.

Maximum number of  participants: 20

Brenda Naso is a Dance Movement Psychotherapist and Somatic Movement Therapist. She has extensive clinical experience working in the UK with people of all ages in both the charitable sector and the National Health Service. She teaches on the MA & Foundation DMP courses at Goldsmiths College and also internationally.

Evangelos Paraskevopoulos

Active listening to Tailor-Made Notched Music may reverse maladaptive reorganization of tinnitus cortical network

Recent magnetoencephalographic (magnetoencephalographic) studies indicated that listening to music, which contains no energy in the frequency range at and around the individual tinnitus frequency, may considerably reduce the tinnitus-related neuronal activity of primary and non-primary auditory cortical structures. Results of an MEG and behavioral study comparing the effectiveness of (a) active listening vs. (b) learning to play tailor-made notched music, in treating tinnitus symptoms and tinnitus related neuroplasticity will be presented in this talk

Dr. Evangelos Paraskevopoulos is a psychologist, having a master’s degree in cognitive psychology and a PhD in cognitive neuroscience and magnetoencephalography. Along with his studies in psychology he received music diplomas in Harmony, Counterpoint and Fugue. He currently is a postdoctoral research associate in the laboratory of medical physics in AUTH, and a part time lecturer in the Psychology department of the City College, an international faculty of the University of Sheffield.

Krzysztof Stachyra

Krzysztof Stachyra

On the verge of education and therapy: ‘sitting dances’ as an
inspiration for therapists and teachers.

At the workshop preceded by a short presentation an idea of ‘sitting dances’ (dances performed while seated) will be presented. Sitting dances can be an interesting proposal in the classroom or complement to a therapeutic session in situations where physical expression is limited due patients’ physical conditions or if there is a lack of space in which to move. The main advantage to sitting dances is they are simple, have repeatable form and bring joy that is triggered by moving with the music. Sitting dances work with children as well as adults and seniors, healthy persons and people with a variety of health problems or disabilities. It may be used in a school setting, therapy center, and a hospital. The assumptions and aims of incorporating sitting dances to music therapy practice will be shown and discussed during the workshop, and will be illustrated by recordings from clinical practice. Participants will be able to learn a few dances, as well as mutually creating a new dance according to specific clues. Maximum number of  participants: 25
Krzysztof Stachyra, PhD, MT-BC, is a music therapist and a music teacher, Head of Postgraduate Music Therapy Study Program and assistant professor at Maria Curie-Skłodowska University, Lublin, Poland. He is the President of the Polish Music Therapists Association and chairman of its certification committee in Poland, Chair of the Accreditation & Certification Commission, WFMT.

Lida Stamou

The infinite quest of the mother-infant tie: Research findings of an ethnographic study on music student memories

Data from an on-going phenomenological research study, aiming at discovering what constitutes the core of ‘who somebody is today’, and employing so far a sample of more than 150 university music students, reveals an intense relationship that has deeply affected the musical course and identity of the person. Data – memories from the past – manifest the years of our existence as music students to be a conscious or unconscious quest for pleasure and satisfaction in the teacher-student relationship. This relationship is found to closely resemble the mother-infant relationship in the sense that: a) it emerges to be critical for the present and also future well-being and progress of the growing musical person; and b) it needs to be transpired by co-ordination and attunement, otherwise it may easily lead to student’s feelings of distress, anger and isolation, shame, withdrawal from willingness to learn, and low self-esteem. “Relating” emerges as the core of our conscious or unconscious existence in the path of forming our musical self.
Lida Stamou is an associate professor of music education at the University of Macedonia, Greece, Department of Music Science and Art. She is the director of the Program for Graduate Studies “Music and Society”, with specializations in a) music education, b) music therapy, and director of the Baby Artist Early Childhood Music Program (for infants, toddlers and preschoolers)

Alan Turry

Neurodiversity: Considerations for music therapy practice and research with autistics

Autism advocates reject the idea that autism is a problem to be eradicated. Nordoff-Robbins music therapy practice and research has consistently focused on how to understand and build on the strengths of autistics*. This presentation includes brief clinical example illustrating the engagement of musical strengths and discusses the importance of researching developing strengths.

*Autism advocates reject the conventionally accepted phrase person with autism
Dr. Alan Turry is the Managing Director of the Nordoff-Robbins Center for Music Therapy at NYU Steinhardt

Jaap Welten

Workshop Introduction to dramatherapy: A guided tour to discover the essentials of dramatherapy in different playing fields

The goal of this workshop is to introduce dramatherapy to other arts-therapists, being not a dramatherapist. Different principles of dramatherapy will be explored like: discovering and playing with your own dramatic instrument, playing together, the magic as-if, improvisation, encouraging playfullness, being in the spotlight.

Jaap will show different action methods and dramatherapeutic forms and models to illustrate possibilities of dramatherapy. He will use the Intergrated 5 Phase model of Renee Emunah and Developmental Transformations (David R. Johnson)

Jaap Welten MA Dth, CP psychodrama, Graduated DvT practitioner, registered dramatherapist and former lecturer dramatherapy at Zuyd University of Applied Sciences Heerlen, The Netherlands