THE USE OF MOVEMENT IN GROUP THERAPY by Lois K. Diller

THE USE OF MOVEMENT IN GROUP THERAPY

by

Lois K. Diller

Presented To

The Honors College of the University of Oregon

in partial fulfillment

of the requirements for the degree of

Bachelor of Arts - Independent Studies

December 1974

UNIVERSITY OF OREGON L1BRAIrt EUGENE. OREGON

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Table of Contents

Preface 3

A View of Dance Therapy 5

The Therapeutic Significance of Dance Therapy 10

The Project

Organization 16

Journal 18

Conclusion 26

Appendix 28

Bibliography 63

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Preface

Some time ago, first as a student and later as a teacher of

modern dance, I became progressively more aware of the therapeutic

effect of dance and expressive movement. It was some four years ago,

when I began to read the works of Alexander Lowen, which set forth

his theories of character structure and body energy, that I made a

distinct turn toward dance as a therapy. At this time I also became

interested in the current use of group methods in psychotherapy.

The bringing together of the two modes, therapeutic movement

techniques and group psychotherapy, seemed to me a natural evolution

toward a therapy that would deal with the total experience of the

person.

The Independent Study program of the Honors College provided me

with an opportunity to study in the areas of psychology, group

process, and counseling along with expanding my knowledge of the human

body, its processes and functioning. Concurrently, I involved myself

in the fields of psychotherapy and dance therapy outside the

University by attending group therapy workshops, American Dance Therapy

Association conferences and workshops, and by participating in a

therapy group based on the theories of Alexander Lowen. This work has

enabled me to prepare for and carry through my project of leading a

therapy group that integrated movement with verbal interaction.

This paper will present some of the theories and practices that

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form the basis for the work which I have undertaken. The

accompanying video tape attempts to communicate something of the

experience of the process.

I would like to gratefully acknowledge the assistance of my

committee: chairman Saul Toobert, Counseling; M. Frances

Dougherty, Dance; and Lou Osternig, Physical Education. They

gave generously of their time and made possible the use of University

facilities. Also, I was most fortunate in having the experience of

working with William Kirtner, Counseling, whose guidance and

training were invaluable.

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A View of Dance Therapy

The practice of dance therapy has been traditionally and basically

non-verbal. Currently, however, some dance therapists are beginning to

deal more directly and therapeutically with verbal expression in

patients and clients. At the same time, traditionally verbal

psychotherapists are turning toward non-verbal approaches, i.e.,

bioenergetics, sensory awareness, and meditation, dealing more

directly with the body in the therapeutic process. In the field of

group therapy, the gestalt mode and the human potential movement have

increased the focus on movement behavior and body image. As Milton

Ehrlich writes, "Body awareness has the potential for transforming

the self."l Spoken attitudes, according to Chaim Shatan, are

accompanied by and cannot be separated from a change somewhere in

the body. He maintains that insights are gained by observing changes

2in body tension and movement.

These current trends in the field of dance therapy and in the

realm of psychotherapy lead to the possibility of directly integrating

the two. As Alexander Lowen states, "The forces that create emotional

lMilton Ehrlich, "The Role of Body Experience in Therapy",

Psychoanalytic Review, 57 (1970), 181.

2 Chaim Shatan, "Unconscious Motor Behavior, Kinesthetic Awareness

and Psychotherapy", Journal of Psychotherapy, 17 (1963), 17-30.

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3problems operate on the body as well as the mind." This concept

calls for the inclusion of the energy of the body in a person's moving

toward mental health, and forms the basis for this study.

The American Dance Therapy Association defines dance therapy as

"the psychotherapeutic use of movement as a process which furthers

the emotional and physical integration of the individual.,,4 The

approaches and techniques used by dance therapists are varied, the

unifying concept being the use of movement as a therapeutic tool.

A conceptual model has been devised by the Association to establish

a framework within which individual dance therapists could develop

and define their own approaches. The four levels of the conceptual

model are:

1. Awareness: developing the inner sense of self and body

image, connecting the external and internal stimuli with

motion and emotion.

2. Range of response: expanding ability to move with

flexibility and choice of movement behavior.

3. Authentic movement: moving from inner directedness

3Alexander Lowen, "The Body in Therapy", American Dance Therapy

Association Proceedings, Fifth Annual Conference, October 1970, 2.

4American Dance Therapy Association, National By-Laws.

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as a response to individual perception of self

and others.

4. Integration: behavior and experiencing that is

directly related to and in harmony with the external

and internal world.

The therapist's role is to guide the patient or client through

movement experiences that will facilitate each of the four levels of

the conceptual model. The natural, functional movements of the body

,that are elicited by a dance therapist are a means not only of se1f

expression for the client, but a mode of communication with the self

and others. "In dance therapy, basic movements and their form, dance,

are utilized to create situations in which patients can learn more

5about their own behavior and the reactions of others."

Through movement exploration, the client may contact unresolved

conflicts, enabling a release of tension and an experiencing of

heretofore repressed emotions. In the following summary of techniques

used in dance therapy, it must be remembered that they are all

inter-related and may be expanded in many different directions

depending on the therapist and on the client population.

In the first area of emphasis, body awareness, dance therapists

direct their clients toward finding areas of chronic tension and toward

discovering how they use their bodies to block stimuli and repress

5Rhoda W. Ellis, "Motion and Emotion", Dance Magazine, August 1958.

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feeling by bringing their body image into consciousness. This is

accomplished in part through the use of the following techniques:

1. Relaxation and breathing exercises.

2. Sensory awareness practice.

3. Study of the reflections of tension i~ posture,

attending to body alignment.

4. Movement exploration concentrating on isolated parts

of the body.

5. Movement exploration involving the whole body.

Throughout these practices, the therapist is not asking the client

to make changes but to explore, discover, become aware.

Through such movement exploration, clients can learn about

inadequacies in their movement patterns and about their potential for

moving and sensing. The basic elements of dance are called upon in

this working for increased range of movement; elements that are, of

course, inherent in all movement:

1. Space; moving in and through the available space, using

direction and level change.

2. Time; moving with changes in tempo and rhythm.

3. Energy; the dynamics of movement having to do with the

amount and focus of energy expended.

In these experiences, the client is encouraged to become aware of

movement responses without any concern for "right" or "wrong" ways of

moving.

9

In working with expressive movement, another area of dance therapy,

it must be remembered that every movement a person makes is expressing

some aspect of his or her being. The dance therapist facilitates the

bringing to consciousness of past and present conflicts, attitudes,

and feelings through movement. Some of the methods, using both

internal and external stimuli, are:

1. Imagery and fantasy.

2. Varied themes and feeling states.

3. Responding to music.

According to Elizabeth Rosen, "Repressed conflict, which is the source

of psychological tension, can be expressed in dance, and in the

expression, anxieties are diminished and inner tensions reduced.

Creative dance offers a means of releasing both physical and

6psychological tension."

In a therapeutic context, as repressed conflict and emotions are

expressed in movement, the client gains motility, a release of energy,

and an ability to flow from a state of disequilibrium to a state of

equilibrium without undue tension. This leads to the goal of dance

therapy -- authentic movement of an integrated individual who

experiences the self moving in harmony with his or her world.

6Elizabeth Rosen, Dance in Psychotherapy (New York, 1957), p. 53.

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Therapeutic Significance of Dance Therapy

The infant's first experience of the world is one of muscular

contraction; and so, through the body, begins the process of learning

about the world and the self. Reaching out with its whole body for

comfort and satisfaction of needs, the infant experiences the world

through body sensations. The answers given by the environment to

that reaching are recorded in the infant's musculature and nervous

system. The ebb and flow of the ensuing tensions shape the

individual. Each person's particular ability to respond to stimuli

and the environmental response to that individual is the basis of

self image which is intrinsically a body image.

Body image is a term which refers to the body as a psychological experience, and focuses on the individual's feelings and attitudes toward his own body. It is concerned with the individual's subjective experiences with his body and the manner in which he has organized these experiences. 7

All too soon, in our culture, communication through language takes

precedence and the learning and experiencing that has gone on through

the body begins to fade. In the development of our civilization,

cognitive functioning has gained dominance and physical awareness has

been submerged, at times forceably. We have, as a result, lost the

integrity of mind and body. When the child is told to sit still,

7seymour Fisher and Sidney E. Cleveland, Body Image and

Personality (New York, 1968), p. x.

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be still, not to act in accordance with his feelings, he is being told

that his body messages and the resultant feelings are not acceptable

to the environment. He must begin to turn off what his body is telling

him. Neural impulses are blocked and a desensitization process takes

place which in the extreme is found in neurotic and psychotic

personalities.

The process begins with the contraction of muscles as they react

to suppress conflicting stimuli. Most stimuli can be equated with

needs or a state of disequilibrium characterized by muscular tension.

When an appropriate action is completed, then satisfaction and a state

of equilibrium ensues with corresponding muscular relaxation. If,

however, appropriate action is not taken, some muscle tension remains.

The musculature adapts to the residual tension and a new level of stasis

is established. This residual tension increases and becomes chronic

when appropriate action is continually inhibited. As a result, the

body becomes progressively insensitive to stimuli.

Wilhelm Reich advanced this theory of physical-psychic

8interaction in his concept of "body armor". He described how

defensive processes result in chronic muscular tension in specific

areas of the body. Reich called these areas of tension "body armor",

which he proposed could shape not only body structure but also the

structure of character traits.

8 Wilhelm Reich, Character Analysis (New York, 1945).

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The concepts set forth by Reich were further elaborated on by

Alexander Lowen, who has written extensively on the role of the body

in the development of character structure. He maintains that on the

psychic level, the superego prevents certain thoughts from reaching

consciousness while on the biological level muscle contraction prevents

the impulses from reaching the surface, thus restraining action. The

musculature involved becomes unconsciously chronically tense ,and its

function becomes repressed, resulting in reduced motility of the

person. This relates to the desensitization process described above.

Lowen writes that one could "determine the nature of the superego from

analysis of the states of tension in the muscular system" and that

the "pattern of muscular tension determines the expression of the 9

individual and this expression is related to the character structure."

The significance of the interrelationship of psyche and soma is

reiterated in the studies of Paul Schilder, who states:

I have always believed that there is no gap between the organic and the functional. Mind and personality are efficient entities as well as the organism. Psychic processes have common roots with other processes going on in the organism ••• perception and action, impression and expression, thus form a unit and insight and action become closely correlated to each other. 10

9Alexander Lowen, Physical Dynamics of Character Structure (New

York and London, 1958), p. 33.

lOpaul Schilder, The Image and Appearance of the Human Body (New

York, 1950), pp. 7-8.

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In his extensive investigation of the physiological, psychic, and

social aspects of body image, Schilder points the way towards

psychotherapy that would fully consider the relationship of the body

to psychic wholeness.

According to both the Schilder and the Fisher-Cleveland studies,

the degree of body-mind integration that a person is able to develop

and maintain will depend on experiences in and interaction with the

individual's world and the individual's particular physical-psychic

construct. If the world is a nourishing one, a complete and

satisfying body image develops. Where there has been inhibited motor

development and repressed expression, there will be an undeveloped or

weak body image. In addition, Fisher and Cleveland point out that if

interaction with others is faulty, then the individual's body image

is inadequate, and distorted body image co-exists with distorted

personality. II The schizophrenic's sense of being alienated from his

or her own body and the experiencing of unrealistic body distortions

is one example that validates this theory.

A person's state of being is described by his or her body posture,

muscular tensions, and by the manner in which he moves. Freud

recognized the value of attending to a patient's movements and facial

expressions as they could indicate unconscious mental processes and

attitudes. He makes reference to learning about people from their

11 .Q£. cit., Fisher and Cleveland.

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actions and what we now call IIbody 1anguagell and says, IIS0 let us not

under-value small signs: perhaps from them it may be possible to corne

12 upon the tracks of greater things." The importance of taking into

account what a person does, his movement, in relationship to what that

person relates, is noted when Freud, in writing about lI accidenta1

performances" and lIapparent1y purposeless acts ll states, "I maintain

that all such performances have meaning and are explicable in the same

way as are errors, that they are slight indications of other more

important mental processes, and are genuine mental acts.,,13 From this

we perceive that he means to include the body in the search for the

unconscious. This is evident again when he refers to the body image

distortions of regression and fixation and when he writes, liThe ego

is first and foremost a body ego; it is not merely a surface entity

but it is itself the projection of a surface."14

In our culture, where cognitive functioning has precedence, we

still see the neglect of integration of the physical and psychic in

the healing arts. One significance of dance therapy is that it can

and does bridge the arbitrary division of body and mind. Developing

12Sigmund Freud, A General Introduction of Psychoana1ysi~ (New

York, 1960), p. 27.

13Ibid ., p. 55.

14 , The Ego and the Id (London, 1927), p. 31.

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body awareness opens the pathways for impulses that have been

blocked, reversing the desensitization process and allowing for more

freedom of expression, both physical and verbal. The muscular tension

of conflict can be released through movement and new, more integrated

movement patterns established. New motor foundations for a healthy

body image can be formed. If we accept the premise that the human

being is an ongoing reciprocal process of mind and body, then these

changes in body image, movement patterns and flow of expression can

facilitate related changes in the psyche, and we are working for a

common goal as stated by Lowen, "The goal of any therapy is to help

a person become a free and integrated individual, free to experience

and express the full range of human emotion and integrated so that

his thinking reflects his feeling and vice-versa.,,15

15 QE. cit., Alexander Lowen, "The Body in Therapy", p. 5.

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The Project

Organization:

The purpose of this project was to explore the ways in which the

elements of body movement and awareness could be made an integral part

of a therapy group for non-psychotic persons seeking personal growth.

The group for this project was organized through the University of

Oregon Counseling Center. Dr. Andrew Thompson, Counseling Psychologist

of the Counseling Center, was the co-leader.

An advertisement soliciting participants was circulated. It read

as follows:

Movement Awareness, Personal Growth Therapy Group. This therapy group will focus on movement awareness experiences as motivation for discussion of self, attitudes and individual potential.

Each prospective participant was interviewed individually before

the first group meeting to make clear what the group would be doing and

to have a release form signed for the video taping. The Tennessee

Self-Concept Scale was administered at that time and each person did a

drawing of how he or she imaged his or her body, the results of which

are included in an Appendix.

A number of adverse conditions were known when this group was

formed. First, the co-leaders had never before worked together. The

importance of co-leaders having a high degree of rapport and

familiarity with each other's method of dealing with a group and the

therapeutic process was realized, but in this situation, where no one

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at the Counseling Center had had any experience with a movement

approach, Dr. Thompson's offer to participate and assist in this attempt

at integrating movement with verbal interaction was gratefully accepted.

The second problem was room size. The group room at the Counseling

Center was too small for incorporating movement, and the ballet studio

that we had to use was much too large for developing a feeling of group

intimacy. An ideal space would be one large enough for ten people to

move about freely, and yet small enough to come together for

discussion without being overwhelmed by the vastness of the room.

The diversion of summer was the third handicap. Two participants

dropped because of unexpected summer employment opportunities, and two

because of personal reasons. Interestingly, only two participants

attended the group meeting that fell on the first really warm day of

the summer.

The video taping was an added difficulty. Not being able to secure

the assistance of someone experienced with video equipment, assistance

was obtained from a dance student who had an interest in dance therapy.

Not all of the sessions were taped successfully, due partly to

inexperience and partly to the resilient dance floor that made the

camera unstable. In choosing sections for the composite tape, not only

content but quality of the taping had to be considered.

The participants in the group were all University of Oregon

students and of the six who remained through the seven meetings, five

were undergraduates and one a graduate. Only one student had any formal

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dance training. The age range was from nineteen to twenty-five; two

men and four women. All of the participants gave as their main reasons

for choosing the group an interest in experiencing the movement approach,

a felt need for improving their ability to relate to others, and

increasing self-confidence.

Group Journal:

When the group came together for the first meeting, it was

obvious that there was a moderate to high level of anxiety. This was

verbalized by each person as we went around the group asking for a

statement about how he or she felt about being there. The consensus

was that they were wanting the experience but feeling some anxiety

about what was to take place. It seemed that the group, with one

exception, was rather low in energy. Four of the members were

especially self-conscious, one being quite rigid in body structure.

(The Tennessee Self-Concept Scale showed all members to be somewhat

low in self-esteem. See Appendix)

Before asking the group to participate in any movement, the point

was stressed that if they were to develop their own body awareness,

they must try to discover their own ways of moving. I tried to dispel

the notion that there would be "right and wrong" ways of moving even

though there would be directions to motivate movement within a given

framework. My general procedure was to give suggestions for movement

and some specific directions, but rarely did I act as a model. I did

join in at times when the group was moving as a whole, and I at all

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times made myself a part of the verbal interaction.

At this point, introductions were made by each person saying

his or her name and doing a simple movement with one part of the body,

followed by all of us joining in to do the movement. My purpose in

this exercise was for us all to get a feeling for each person through

sharing his chosen movement. It was interesting to note that

although I went first to set an example, everyone in the group did a

large movement involving most of the body. Moving one part of the

body in isolation requires concentrated body awareness, something I

hoped the participants would develop.

The next objective was to become more comfortable with the room

and a little more at ease with each other. This was attempted by

having the whole group walk about exploring the room, and when they

had finished, to bring their awareness to the others, making eye

contact as they passed by. I then asked them to attempt to make

contact with someone by walking with them for as long as it was

comfortable and then to break contact, going on to someone else.

When the moving about came to an end, we sat down to discuss

their reactions to the room and to the group. The aspect of making

and breaking contact was quite difficult for several of the group and

almost impossible for one. Two others could not seem to omit making

verbal contact although it was specifically asked that this be done

non-verbally. They were able to relate the feelings that came up

during the movement problem to how they felt in general about making

contact with people.

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.

The feeling that the room was too large led us to ask that

everyone move out and claim one part of the room for their own and

become aware of their feelings in their own territory. This led to

talk about boundaries and how space was used. We ended the session

with moving about the room to fast-paced music. I felt a little regret

later about not having directed an activity that would have brought

the group to a feeling of moving together. Seven meetings are so few

to build a group culture.

The second meeting began with talk about the previous session and

some feelings that had been generated during the week. I then directed

movement of isolated parts of the body for discovery of flexibility

and awareness. Progressing from being aware of one's own movement to

being aware of how others move, we had the group work in pairs, taking

turns mirroring each other's movements. The pairs kept exchanging

until all had had a turn with each other. There was quite an

interesting variety of movement and mood. (Unfortunately, there is no

segment of this session on the video tape, due to faulty taping.) The

experience generated much verbal interaction regarding the effect of

moving in competition or cooperatively with people. One man, whom I

shall refer to as Jack, had difficulty in allowing himself to move. He

kept shaking his head and saying, "I don't get it. I don't know what

I am supposed to do." I reassured him that whatever he did was

acceptable to me and that I was only asking that he be aware of how he

used his body. My thought was that becoming aware would be a long,

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difficult process for him with his body as rigid as it was, but his

being there and moving was at least a beginning.

The people seemed a little more at ease with each other by the

third session. There was more mingling and talking before we sat down

to begin. The group began by talking abo~t how they felt about being

there that day. The energy seemed especially low. I had them lie

down to do breathing exercises and inner sensing to see if they could

release some energy. From there, I suggested that they stretch out

with each breath to get the feeling of energy moving out and then in.

After a while, I asked that the group try this in a standing position,

forming a shape or movement. We then came together for discussion and

discovered that most participants related the movement that they had

done to their usual pattern of energy flow. Jack was again very

concerned with "limits" and not knowing exactly what he "should" do.

Some members of the group answered by encouraging him to rely on

himself for the answer. We ended the meeting with moving freely to

music and with a coming together in a circle, holding hands and

swaying. There seemed to be a warm group feeling.

The next meeting started out with simple warm-up techniques

involving all parts of the body, first in isolation and then in

combination, allowing the participants to discover their own ways of

moving and their own tempo. This was followed by a directed movement

of straightening and rounding of the back to gain flexibility and

awareness, leading into a rocking movement in any position that they

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found comfortable. The group was asked to allow the movement to

expand into different patterns and to focus on the sensation of the

primal motion of rocking. We talked some about the feelings that

rocking brought out and then tried rocking while standing, first alone,

then in dyads with mirroring, followed by a larger swinging movement.

Again, we began verbal interaction. It wasn't productive and I

wondered if there wasn't as yet enough trust built to allow for sharing

of the strong feelings that can come forth when rocking.

Taking a different tack, I had the group start walking around for

awareness of their own walk, trying to find any imbalances or

distortions. They were then directed to exaggerate any pattern they

found, after which they were to pair up to take turns following behind

their partner, imitating each other's walk and showing the imitation to

their partner. The next step was for each couple to take turns moving

from opposite sides of the room toward each other for the experience

of making focused contact. They were asked to try varied locomotor

movements and ways of meeting.

Each participant shared a meaningful discovery that he had made

about his own walk. The group also talked about their feelings when

"on display" and they related their approach and meeting with another

person in the exercise to their usual mode of meeting. I had the

feeling that the discussion was somewhat superficial and could have

become much more personal and meaningful. We ended the session moving

freely to ragtime music, which seemed to release some of the tension

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that had not been dissipated verbally. ~/

Jack was still feeling ambivalent about being in the group and

when he arrived for the fifth session, it was to tell us he did.not

want to continue. He felt that he couldn't "understand the

directions" and "wasn't doing it right ll and yet would feel guilty if

he quit. I sat with him letting him talk out his feelings. When Dr.

Thompson arrived, he joined us and suggested that perhaps Jack

wanted permission from us to quit. Dr. Thompson and I gave him

"permission" in what I felt was a reassuring way and Jack left the

room. In a few minutes, he returned without saying anything and we

began the session even though only one other member was present. (This

was the very warm day mentioned earlier.) In a way, I felt the

circumstances of the others being absent was fortunate for Jack. It

would give him an opportunity to attend to his own feelings and

movement without the pressure of so many others present.

Following my feeling that this would be an opportune time to do

some careful individual work, I directed a flow of sensory awareness,

moving from one part of the body to another. This led into moving

from a low position to high, continuing up and down, at their own pace,

and finally ending in the space that was most comfortable. I asked how

the position felt and if it had any meaning for them. They were each

able to share some of their feelings and discoveries.

We started the sixth meeting with simple warm-up stretching

movements followed by relaxation techniques. I asked that they then

24

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bring their awareness to their own breathing and their state of being

at that time. The next step was to allow their bodies to take a shape

that would convey how they felt, and when they had spent enough time

in that position, to let themselves move in whatever way their shape

and feeling dictated. They then were to move through space and reform

the shape.

Most of the participants were able to get deeply into their feelings,

which they did share afterward with the group. One woman found the

exercise especially helpful. She had taken a very twisted, tied-up

shape which, she reported, was exactly how she had been feeling for some

time. She found that forming and reforming the shape had clarified her

feelings and she came to realize that she could make a choice, in

moving and in life, of either becoming twisted and tied-up or of

releasing tension and moving freely.

When the verbal sharing was finished, I suggested that they

consciously put their bodies into a shape that gave the message of

anger, and if the shape began to generate any feelings of anger they

were to allow themselves to move with it. After a few minutes of

working in this mode, Jack stamped across the room, grabbed up his

belongings, stamped over to where I was standing and yelled that he

couldn't show anger, giving a perfect display of anger all the while.

I pointed this out to him and let him talk it out. Dr. Thompson came

over to join in the conversation and by that time almost everyone

else's attention was directed towards us. I suggested that we all sit

25

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down and discuss what was going on. Jack was quite willing, as was the

rest of the group and there was then a good deal of verbal interaction.

His tension subsided as he examined his feelings and received support

from the group.

The beginning movements of the last session led into a reaching

out with each breath and then into a period of tension awareness. I

asked that the group allow their tense areas to move with each

exhalation, to continue moving with each breath, expanding the movement

and exploring space with the energy of their breathing. This moved on

into a flowing feeling and swaying with the music. From there, I

directed the movement into a problem of balancing.

The group explored positions of balance individually and then

with a partner, taking turns giving support and then trying to put

their partner off-balance. The purpose was to generate sharing of

feelings regarding risk-taking, trust, giving and receiving support.

We went on into moving together as a group, going into positions of

balance while giving each other support. It was a good feeling of

sharing and seemed to be a satisfying ending.

Enough time was allowed at the end of this session for the

participants to do another drawing of themselves and to retake the

Tennessee Self-Concept Scale. They were also asked to complete a short

evaluation. *

*See Appendix.

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Conclusions:

Most members of the group stated that they had achieved some

personal satisfaction in moving t and that important body image

discoveries were made. (See Appendix for evaluations made by group

members.) They felt it was a good opportunity to deal with their

feelings and mode of relating to others t although the interactions had

produced some anxiety. The groupt in thebeginning t had a rather

restricted range of movement which seemed to equate with their general

insecurity in social situations. However t there was a general

progression toward less inhibited movement response and freer discussion.

A real sense of group cohesiveness did not develop though there

was some degree of mutuality and spontaneous interaction. The lack of

cohesiveness could be due to the individualized focus necessary during

the initial phase of working for body awareness t not enough analysis or

processing in verbal interaction t and/or to the fact that we met only

seven times.

Dr. Thompson's suggestions for "enhancing the psychological

significance of the group" were as follows:

1. Deal with shorter t more definitive aspects or segments of

bodily movements.

2. Incorporate the use of fantasy more in the exercises t asking

members to search for fantasies that match or enhance their

experience.

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3. Follow these segments with more of an analytical

focus on individual experiences and movements.

These are helpful suggestions that I agree would further the

integration of movement with verbal interaction.

A preliminary investigation of the instruments used in

this study is offered in the appendix. This includes the

present author's rating scale devised for the self image draw

ings together with the Tennessee Self Concept Scale findings.

As this was not a controlled experimental study no attempt

has been made to show change in the subjects as a result of

the group experience as measured by these instruments. The

findings do point to the direction future research might take

and some speculations are offered regarding the findings.

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APPENDIX

Tennessee Self Concept Scale

It is generally accepted that an individual's concept

of himself is reflected in his behavior and his state of

being. The Tennessee Self Concept Scale was designed to

measure a person's self image. The Scale is se1f

administered and consists of 100 self-descriptive statements.

The following descriptions of the test scores are

abstracted from the "Nature and Meaning of Scores" in the

test manual:

Self Criticism - scores between the 50th and the 99th percentile indicate healthy capacity for self criticism. Scores above the 99th percentile indicate a lack of defenses [excessively critical] while scores below 40th percentile indicate a trend toward defensiveness.

Total Positive Score - reflects overall level of self esteem. High scores indicate feelings of self value and confidence; low scores indicate doubt of self worth and little confidence.

Three Row Scores - representing the frame of reference individual uses to describe himself:

Row 1 - Identity, what he is.

Row 2 - Self Satisfaction, how he accepts himself.

Row 3 - Behavior, how he acts.

29

Column A - Physical Self - individual's view of his body, state of health, physical appearance, skills and sexuality.

Column B - Moral Ethical Self - moral worth, relationship to God, feelings of being a "good" or "bad" person.

Column C - Personal Self - sense of personal worth, feeling of adequacy and evaluation of self apart from body or relationship to others.

Column D - Family Self - feelings of adequacy, worth and value as a family member and in reference to closest and immediate circle of associates.

Column E - Social Self - self as perceived in relation to others in a general way.

Variability Scores - measure of amount of vari ability, or inconsistency, from one area of self perception to another. High scores indicate subject is quite variable and low scores indicate low variability which may approach rigidity if extremely low.

1. Total - amount of variability for entire record. High scores reflect little unity or integration. Well integrated people generally score below the mean but above first percentile.

2. Column Total - summarizes the variations within the columns.

3. Row Total - sum of the variations across the rows.

Distribution Score - the way one distributes his answers across the five available choices in responding. Measures certainty about the way one sees himself. High scores indicate the subject is very definite and certain about what he says about himself while low scores mean the opposite. Extreme scores in either direction are most often obtained from disturbed people.

30

The Self Image Drawing

The participants were asked to do a quick drawing of

themselves both before the first meeting of the group and

at the end of the last meeting. The instructions were

given as follows:

"Please do a quick drawing of your image of yourself. Try not to be concerned about your artistic ability, just draw as quickly as you can while imaging your body self."

The following was devised as a rating scale for the

drawings:

Whole Drawing

1 2 3 4 5 6 7

ROUND FREE ----------------(Relaxed)(Tense)

________________MOVINGSTATIC

WEAK ___________STRONG

DISTORTED BALANCED

BODY ALIGNMENT BODY ALIGNMENT

VAGUE DEFINED

Parts of Body: VAGUE DEFINED

ARMS

HANDS

LEGS

FEET

TORSO

Four persons not involved with the therapy group

were asked to do the rating, two from the Department of

Dance and two from Phys~cal Education. Consensus was

31

,-----:--._. -~-:-~--;'

reached regarding the terms being used. All twelve

drawings, a before and after drawing for each of the

six subjects, were numbered randomly and handed to the

raters. The raters were then instructed to check each

item on the scale of from oen to seven as quickly as

possible. The ratings were made twice for each drawing

by the same raters with a three day interval between.

The reliability of the ratings was statistically determined

by computing correlation coefficients between means of the

two sets of scores for all four raters.

Future Direction

A future research project could compare the drawings

done before and after this group therapy w~th those done

by a control group not offered the experience. In ad

dition, changes measured in the drawings could be compared

to changes in self-concept as measured by the Tennessee

Self Concept Scale.

32

SUBJECT til


This subject's Scale profile was well below the 50th

percentile which indicates an extreme lack of self esteem.

The retest profile dipped even lower in percentile scores.

Self Image Drawings

The reliability on the before drawing was .83 and on

the after .92.

Rated on a Scale of 1 to 7

Rater Rater Mean Mean Before After Difference

Whole Body: 3.5 2.75 - 075 Bound -) Free

2. 75 2. - .75 Static ----7 Moving

4.25 3.75 - .5 Weak ~ Strong

Distorted Balanced 3. 3. -0- Body Align.~Body Align.

5. 4.25 - .75 Vague Defined

Parts of Body: Vague ~ Defined

4.5 2. 7 5 -1. 75 Arms

5.25 4.75 - .5 Hands

3.75 3.75 -0- Legs

3.5 3. - .5 Feet

4. 4.25 .25 Torso

Note: The subject stated he became more aware of his body rigidity and a wE?akness in his right leg that was due to an injury.

-'. - ._- ... -0 ._ - - .- . ~ -- - " .. -. -

- .~

PROFILE SHEETC"') Tennessee Self Concept Scale Counseling FormC"') - -- ~/2~/7'1

I

I

I

i

I

NAME

.~ <J '. 0"" • ~ # ISCHOOL GRADE ISEX ~ ~ IAGE IDATE 9/7/7'1"

TIME STARTED ITIME FINiSHED rOTAL TIME

~, A.aeY- I T PERCENTILE SELF POSITIVE SCORES (SELF ESTEEM) VARIABILITY T

CRITI· 0

I SCORE SCORES CISM ROW ROW ROW COL. COL. COL. COL. COL. COL. ROW SCORE

TOTAL ..1. 2 3 A B C 0 E TOTAL TOTAL TOTAL

~ 5&lf \-::' ~ .~ ~ - C f-

:Tl_d f-

I ts: u. :;) \J .....0-'" Ji ~ - VI

s: - f-

e~lte", ~ f-

oJ - r- et"' V °90- i; f--

Em- ~ ·

~. f-... '50 _.0 ~O

~ yO 20 J'

I J - 450 - V) ..... QS

~ • f-= tI)99.99 H Q) ~- 0 • f-- \/)· ~ ~ ~ • f-- 50 - · • f-440 150 195 ·1== . · f-

· · "0_ 70 -, · 45 -; - 1457 145 -=- 85_· 430 · 190 -=-- - 99.9 - · f-· on

uu '40 .....

65

== · 105_· 40 ....

~· · · · · 100_ 60- · '85 _· 420 - · · · · - · · · · 95- · · f-

180

= 410 -

I- 99 - · · 135-140 -=- · 85 .:.

90-55 .;. 35 .: '75 _ f-· · · 85 _ f-- 'T · · 145 - · 80-;-f----50 :

· · '1. f-

- ·· · · · 80- f- .,,,85 '70'v = l 130 -;- B5- · · I: =400 - · '35 .: 85 .:.. · 75 t · '65_ -

lsi · ,

390

· ·- · · · ·- f- 95 - · · · · · · · 45 -=- '60-e-· '25 • · · 70

vv

::==

45 -'l \ '40 -f- 90 -

I-

· 130 - · 75- · 80- · \ 155-E· · · · ·· · · ·-380 - · · · · · 65t '50 -

· '20~ · 80 - 80-;- · 80- · 40 -;. f-

· - "n· -145 80 -

1\ \ 370 ~ · 125 .... · · · 75 - 60-' · · · · \ 1'40--·

· ·'35 "- "5~ · · · · ~ · 75- 70- · 551-1\ " ·· f-- · · · 135-'-

70 40

=I- 60 - \ 360 ~ · 110-:- '20 - 75 :- · · 75-

!J~ \O~: ·

·

·

! ~ 130-1=· · 70 -· - · '30 :- · · · ~ • 20r-1=- · 350 - 105-'- · "5 : · · · · 20 -50 · 65 ';1'•

~.

- 35 -

\ 3\0 ~ 125 ,;, 70- 70-· · · 14 •

f-· \/-f- 40 - · · · · · · · · I 45-:-

'5_f-- · · · 100-=" 1=- · · · · · 110 70 -;- ·30 · 6 11

~ I- 20 - lJ20 -

· V30

~ · 95+ · · · · 1140~ 25 -

65- 'O~ -30 - '20 "- · · · 60- · · 100--= · 65 .:.. · · · 9~1--'05 :

65-; · "'Ii · · '5 - on

- xot · · · 1;~ ".i · " 60":'~/ · · 35~

95 _

E· · · · ·-',5 -=- 90_· · =I- '0 - · 85-'- · · 20 ..:

100 .: 60 .:.. 60":' 55-=- · · ·

"'~V ·

25 3

lis_= 8

- ~~ .·

·

11~t-~ · · 30~ · · 80 -: /~ 1==f- 5 - · ~ · · 28\ ~ "" : 75 ........ 95.!.

50": 55 .:. 15 .: · f- ~n

75-f-- · 105 : • ,/ 55- :

"u 70

:: ~ , : V sol 50~ ·25 -;-

'\.~ 20 :. 27~ :' .......-.s5 ... · 10 - 70-f-

Ai I\.. 85-:- · · f-

- c-- 1 - · 260 65~

50--· · · · 65-c--

· · · 20.!. 50 · f-

250 - · 240 -=- 95 :-

· ~ -40':' ·

55- / · 45 :- 15-10 - 60-1=:: 60..!. · · ·

'5 =- 230 .... 55-1=· 45 .:. · · · ·220 "- · · 4 50- ~n· 10 5

~.

::"- 0.1 - 90 "- 75 - : · ~= 1=2'0 =- 50- ·· :1-" 35-;'- 40 .:. 5-=-· 85 - 70 -

4~ 40~ · 5- 1=200 =- 45~ · · 35 -- · · · · 30

~I- 0.01 -· '90 - 80 - 45- 65 - : · 30-; · 35 .;. ·0- E180 -=- 40 .;. · 35~ · 75 - ·

-7 35 · · 40- 60 - · 25-'- ·I · 170"':" · 0 0 .n .u :: 10 - 160 -=- 65 - 35 - 55 - · · · · 30-

~ , 35 -'- : · 30-"-

= 150 _ 60 _ 30_ 30-=" 20':'

I

..J

c.'J Z ::-:------ .rl H >~ - ....-..

* <l~

P::I [-I r:='\ 0 ]:i1 E-~

I-:> cD p:-:rX1

~ H.-'U) Pt1

- -----_.. ~ ..~ ~-

~----------:---

•

36 Subject ill COpy

Evaluation

List any insights gained from this group experience:

I've become more aware of myself, good and bad; 1.e., my r. -leg

resistance and rejection, feelings of strong dislike, etc., how

I interact with others, how I'm perceived -- things I hadn't

been aware of for awhile.

What did you find valuable:

Others' perceptions of me, which led to self-confrontations with

old feelings, etc., which have strong influence on my present

behavior.

List any disappointments or negative aspects:

The room wasn't quite appropriate at times and didn't lend itself

to expression of personal feelings; people didn't show

disappointment. Also, too short a length of time (both 2 hours

and 8 weeks). Frustrated and short-cut more intimacy.

Would you consider continuing with this group?:

Yes~

Other comments:

I'd enjoy more verbal expressions of feelings (not talking) such

as yelling, screaming -- they,. too, work as therapy things as the

movements do in getting away from mind-tripping, etc.

37

SUBJECT tl2


Although this subject's scoring for self criticism

falls within the "healthy" boundary, the balance of the

scores are well below the mean indicating low self esteem.

In the retest the Moral-Ethical score became noticeably

more positive while the other scores were lowered.

Self Image Drawings


the after .74.

Ratings on a Scale of 1 to 7


Whole Body: 2.75 2. 25 - .5 Bound ------3>' Free

2.25 3.5 +1. 25 Static ------7 Moving

2.25 3.75 +1. 5 Weak ~ Strong

Distorted Balanced 1. 25 3 • +1.75 Body Align.~Body Align.

1.5 3~75 +2. 25 Vague ~ Defined

Parts of Body: Vague ~ Defined 2.25 3.5 +1.25 Arms

1. 25 2.5 +1.25 Hands

1. 4.25 +3.25 Legs

1. 3.75 +2.75 Feet

2.5 3.25 + .75 Torso

Note: As you will see he did not allow himself to finish the first drawing.

M --_•..~~~--,.:----- - ---- . -

~

~--

I PROFILE SHEETI co Tennessee Self Concept Scale Counseling Form C")I -- - (,/~(J7Y

NAME

$uJ~~_L .~ r CHOOL

GRADE ISEX nnIAGE IDATE e/7/7'1 I""«STARTED r'ME FlN'SHED TOTAL TIME

2v

T PERCENTILE SELF POSITIVE SCORES (SELF ESTEEM) VARIABILITY T SCORE SCORES CRITI

ROW ROW COL. COL. COL. ROW D SCORECISM TOT*

ROW COL. COL. COL. ..1 2 3 A B C D E TOTAL TOTAL TOTAL

~ (J.~ ~'

""" s. - - ~ S) -0 <$ cs - r

~t:A li (J..01\ - - F G 1=-:i6 > v

~ \J -90

\I)(.jJ " ~50 ;;. - ~ 90 ;. :i 90

r- :::;',50 (,., I- ftft200

~. - 450 - H Vl ~ ~

~i-~ a • r=f 99.99 - V\ --S:

~ ~ ·::- 50 - · 0 · '"too440 150 195 •

= · · · =· . · 110 _ 70 _ 45 -;

=I- 99.9 - 1457 145 ..: 85_ · 190 .:. =· · · <>" v· 430

140 .... 65 - · 105 _ 40 .... -- · · · · · · 100 _ 60 · 185 _ =- · · ·- 420 - · · · 95 · -· 180- f 99 - · · 135

140 ..: · · 85 .:. 90

55 .; 35 ..: §- · · 115 _ - · 410 - · · 85 _ · ·- 145 _ · · · · 80 · · 85 8 50 : 17A ..,,,

! ·u

= 130-; 85 · · t=· 400 - · 135 ..: 85 ..:... · 75 t · 165_ - : · · · · 95 · · · · · 45 ..: ·- - - · · · · · 160-r

i 390 · 125 • · 70 30

= 45 - 140 - · 130 75 80: · 155 -~- 90 - · · · · · · · = · 380 - · · · · · · 65 -; · .N. 150 - 1=I · · 120~ · 80 - 80-; · 80 40 -;.

"''' I. 145u· - - 80 - · 125 ..... · · · 75 -

::t· /f' ~ - · · : · · · 140

= 135 .!.. 115-; · · · ·

"35 ~ I' · 75": · 370 : · · · 70 · 5 • · 135-I-

70 40; 110~I = 360 - · 120 : 75 : · · 75 t : '.' j 20 ~ \

130~

I - 60 - · 130 : : · · r1 -! = · · · · 70 -~ 30 ..:.

125-f=50 350 - · 1OS....!.... 115 • : · · · ""65 120

I - 35 -

~ · 125 ;" · · 70 · 70 "" If: '\:1/

r

= · · · · · · \,

115 -r- 40 - 340 - · · · · r- · · 100":" · 707' · · · oc· I

30 110 6 110

! ~ · \V30

:

· 95+ · · · /fo~ 25~ \ 05_

r30 - 120 .!.. · · · 65 j · · ~· 65 ..:.

60- 20 - 320 - · 90+-105: 65-; · · · 15 - 1'00 ,,,

- · \'0~ · · : · · I. 60 -: II · 95 _ I- · 35 : · I- I 10 - · 115 : 85....... · ·

60;' 20 ..:

l~-1=",l • 100 .:. 60 ...: 55 ..: 10": ·- · · , . · · ~

25 - /.1\ · hi~ · Ij"'\~'l ~

I-I- 5 - · ~~.:. 110 -; 80~ ><. 95';' · 30~ · · ~ ~ · · 28 ,i · 50": · 15 .: · · 105 : r · I- ~n

..u -20 :.

27:l W:+ ~ ~-i · \45~1//soi 5~ 25 -; · 10 - 70-r- .......... : · · I- · 260 I\.. ~ · · · 65-I- l- I - · ...... 1llll~ · · 20-= · I-250

~ 50

:: · · ~ ·

\~v · 10 - 60g! 240 :.. 60~ · 15 ..: · · 45 ~ 15 · ·230 ..... 80 ~ · 45":' · 55- · · · 55 · · · 50 ?"220 4 10 5~u

=I- 0.1 - 90 .!. 75 - · · 35~ : · ~g= 1=210 :. 50 · · 40 : 5":' - · 85 - 70 - · 40~ 5 1=200 .:. 45~ · 35- · : · · ·40 30 - · 190 - 80 - 45 65 - : · 30: · 35 .;.. · · 1=-180 ~ 40 -: · 35~ 0 ·I =f 0.01 - 75 - · · 1=40 60 - · 25--' · ·· 170"': · · ."

'u -7 · 35 · 0 0

= 160 .:. · · 30 I'0 - 65 - 35 - 55 - 35..!.. · · 30~

§~ -= 150 _ 60 _ 30_ 30~ 20"':

:

-~,

,

..J

• f

.'. WI"

"

11 .f I ~

.,

. .

41 Subject #2 COpy

Evaluation, Page 1


Group tried to help me even though I wanted to quit, helped me

decide to stay. But groups are difficult for me to fit in or

belong to. Was hard being misunderstood by the group or leaders

of the group. Very tense, and fast in my body movements not slow

and relaxed like (name of another group member) ••• I have trouble

creating in movement what I feel, or even being sure I am doing

the exercises right.


Some of the exercises with the other gpo members - balancing with

one other, trying to copy one another's movements, jumping and

leaping around the room free as a bird (on a good day).


Not being able to understand directions, not feeling I could express

myself when I was feeling happy or depressed in body movements.

Often being tired - so when I tried to respond I had greater

difficulty (work - job at night interfered). Not making more of

an effort to concentrate on how my body might be feeling or not

discussing openly what I had experienced to the gpo Failure to

be at ease in this group, though I sometimes tried.

Would you consider continuing with this group?

No, it was hard enough going this far. Perhaps with another group

that met late in the afternoon ••• yet, I doubt I would risk

another such difficult time.

42 Subject 112 COpy

Evaluation, Page 2

Other comments:

Most of the insights I already knew concerning myself - like

how I demean myself, have difficulty accepting criticism, walk

fast, difficulty in relaxing, or following directions ••• It is

not a reflection on Lois, sometimes I didn't try••• sometimes I

did, and it still did not work out. Perhaps I felt this gpo

would be different in format than it was - trying to analyze my

feelings into movement was especially painful.

43

SUBJECT If3


The self criticism score for this subject remained

fairly consistent while the positive scores increased.

Especially note the increase in percentile score for

Row 2, Self Satisfaction, and Row 3, Behavior.

Self Image Drawings

The reliability on the before drawing was .93 and

on the after.96.



Whole Body: 5.25 5.5 + .25 Bound ~ Free

5.5 6.25 + .75 Static ~ Moving

4.25 4.75 + .5 Weak ~ Strong

Distorted Balanced 5.25 5.25 -0- Body Align.~Body Align.

3.75 3.75 -0- Vague ~ Defined

Parts of Body: Vague --7 Defined 3.75 3.25 - .5 Arms

1.5 2.5 +1. Hands

3.5 3. - .5 Legs

1.5 2. + .5 Feet

3.75 3.5 - .25 Torso

Note: The inclusion of the feet and definite direction in the second drawing might be equated with the subject's statement made in the evaluation, "I'm not as inhibited about going right ahead moving or doing what I want. "

PROFILE SHEET Tennessee Self Concept Scale Counseling Form - - - '/et;/7'I

iOTAL TIME[TIME FINiSHED

#3NAME

POSITIVE SCORES (SELF ESTEEM)T

SCORE PERCENTILE

SCORES SELF CRITI· CISM TOTAL ROW ROW ROW

-l 2 3 COL.

A COL.

B COL.

C COL.

o COL.

E

VARIABILITY o T

SCORE

- £ t-::~ u.. t; ~ "7 -;; .3"\ d' -~ ~ ~ ~ u.. VI ~. v ~ ~ g90 -:90 - _ ~ - ~'\I) ~'50--t--,-..r-""'-';-;T-t-e;;~"'~'50 ,J\ c: - V\ {: \.1 9o-l---+----+----t--zoll--lI---.ge...---i

~'=_I- 99.99 _ \fl ~ -. t1' J) ~ ~'. ~ ~ -:e. ~ ~ () .=

- 50 - VJ r,p. 1t ~ m 6!-. t-r '" : = f-----+-------_+---_+_-440--j----+---I50-+----+-~'-----_+"'---=-_+_----'-'--~+_~~-_+_---_+_---+----t_---t--I95--j------1= . . .: . 110 70 45 -; : = =1_ 99.9 _ 145~ 145:" 85_. : 190':' = on

=_ ..... .. 100= 60-; 40 ~ 185_= . . . -

f----lu:Kl-u--+--------+----+--430-l---,-----t--'-4-0--...;.-r----.1----+----1------1-----+----4-----,,"'0""5-+--65---11_-...,..,_--,.:-t----+---i()-----i

- 4Z0 - '.. • 95 • • 180----1----_----1=1 99 - .: 135 140':' • •• 85': 90 55 -; 35':' 175_=

= • 410 - 145 _ : : • • 80_ • • 85 • --,nf-----'16---+--------+----+--~.--/---~+---~+---~t----t---85--+----1--85 • 8 5 : 17nlJ-+--_---J~-_i

'U _= • 400 _ • 130-; 135':' 85':' • : • • ;,;.. : • 165-~ 95 _ • • • • • : • • • • 75. 45:" • 160-t:

f------+I----------I-----+-390--j----"·+---IZ5-"·+---~I_---t_---I_-'--....:·'+----+-r----+---70 30-+--"':"':":'--'-+.-------1

=1 90 - 45 ~ 380 :.. 140: : 130: : : 75~ 80' _' c(:tr :. 65~. • : ::~ =r=1f------;66-_=-+ -:-: -+____'.'-t + __----::.+_--'Z-0~-=-·+--r__~.+_--8-0--_+---80-.!1-==r-__~·'-+--------1----=-.....-\--...,..,_-:-+---40--:--,,:+_-Z'· '45 "n

vv -I 80 - •• I~ 1Z5 : • L'" . 75 - 60 .;-. '-+I------lW----1 - 1\ .....: 35 -= . 140-1= . 370 -; 135 : II ; I\.: . . 70 : • 55 -' • • 135-:= 1-----+---70----+---40-::-:-t---~---....-+--_J_--+----'I-+---_t_-__J'----;f't_-__"I;___'+----'+_---+_---+------=-+----+------11_-------1

~I_ 60 - , 360 -: 130 ; 'r~ \'Z0 ~ 75 -; / ~ \ \ 75 -: 70 ~ 50 i : ~ ::~ =1= f-----!~;e-,-_+ __-50 ~~ 350 - • 105~ ~ . / , 65 • .. • 30":" 20~ lZ0-l-1------:">l.I-n---1

v=_I 40 _ 35:\34~.\ lZ5~ j,: .~ .//,O~ \ :\70-: /: 45i : /':1'\'15_~ • 100';."' 70 •• • • ,. • 1\ . ,--

~_-+---30 • ~O _ \1: / 91:' 110: ~ I . ~,. ~ / 6,,-+-..>,---\---t-.-Z-+-5_ -j-t_--'+-,:~~'-+-_~-----l _=_ 30 - 3 _.. zo~. 9"7". 0 6. 40':· ~.I-

I_----,..tftv -=1-----:0

-0 ------I-1-----:+--

31 -0~,-.:-+---,...,}~:: +'I/f--/--I:9C51-'~~'+--I~ _65 ~ I 65~ ~ : 60 ~ / ~: ~ , ZO ~, J /'5~ V~~ =~ on

=1 -.. 15~ 100~ '!60~ 60":' 55:'" 60 ... ' \; ,".1 . :l-~ f----~-+I-----5----_-+----,2""5-::=±--;:'().~-~:,...".---,-,0--....:+1/---~-~~-·+---95-; -'-~: 1----:-+---55~_: f---5-0~-:,...j--'--'-5-5-....=+/----:>/;5""5'-~-+---3-0 ...~.+~--..., ~_-.:l:.7d---:t--~g~:~rl-§-----\

• I_~_-_+-------+-----.:·=+_-'--'--~,.j_-IO 70-+---_+---...-j---..:.:...+--..:.:....-+----'-'--,.t---~,.j_--~+------::+_---+_-~,---1___-~~.~'n_-!"V _ Z70 - - 90 - 55 - • :. 25 -; • 10 - 70 -

=1 1 ZO : Z60':' • 65+ 85 • : 45-' 50";' 50-: :. 65-= 1_----+--------+----'.+-250 • 100 ~ •• 50 •• • ZO -'.. -

~V=_I 0.1 - Z10 ~ 90 ....

- • Z40 _. •• ••• 10 - 60 -- 15~ Z30.... 95 7 60":" 80~ 50":" : 40":' • 45~ 15 • • 55-=

1_---iffi--=-+---:-:----+---·+-220 • 55 • 4 • • 45":' • 10 • 5 • 50-

50 _ 75 - : • 35~ : 40': 5";" ~5 =~ _ • ZOO':' 85 - 70 - 45 ~: 40 ~ • 5 • • 35 -i=

f-----+----..,..-----I-----+----.,.f----_+_---_+_---t_----"-t---40 30'--+-----1= . 190 - 80 - 45 - 65 - • : 30~ 35 ;. 35 .;. 0 _ • • := f--_1&_=-+I 0._O_l -+ .+__:~~~1___~5 - 40 60 40: 35: Z5..!. :: 0 : O-·t-------1~___l'Q-n--l

-- '0 - 160 65 - 35 55 - 35 ~ • 30~ f= 150 _ 60 _ 30_ 30":" 20":' 1=

•• 30 I

.." ........."--..;.._~..;,.,.,~,."J:'. ~ . .:

\(] ,

c.!:l Z

fO, H ~

~ ~ E:-i R 0 ~ E-~ tJ cD

p:-j P H ~

0) ~

"'-,

~ , -

\ .....

(') Z H .~

/'C\ :~ ~~ p::

n E-I 0 ~

1-.7

~ 0 ~

~ 0 r-, rLl~j

(f]co.

47 Subject 1/3 COpy

Evaluation


My movements don't look the way (as bad) as I once thought they

did. I still think people are judgemental, but I can choose not

to change or to change for other people. The person to satisfy

is myself.


Even though I'm still thinking about how others see me, I'm not

as inhibited about going right ahead moving or doing what I want

to in a less inhibited, more natural way.


I really wanted to learn to move more gracefully, but that's not

what happened. I think I move more naturally, yes, but the group

was geared for inward and outward acceptance rather than actual

physical change.


Not at this time. I feel it's time to concentrate less on this

analytical side of myself now, and live, move, and feel. Problems

are far fewer at the moment than 6 months ago.

Other comments:

Lois, you didn't always (or often) express your feelings

verbally. This made you a threat, sometimes, to my paranoid side.

In a way, that's good because I must deal with my feelings of

being judged which stem from others' silence. Can't always be

worried about it, but I noticed my awareness of your facial

expressions as clues to what you thought.

48

SUBJECT f/4


The total pqsitive scores for this subject increased

on the retest. Again, the highest increase in percentile

score was for Row 2, Self Satisfaction, and Row 3, Behavior.

Self Image Drawings


the after .90.



Whole Body: 5. 3. -2. Bound~ Free

3.75 3. - .75 Static ~ Moving

3.75 4.25 + .5 Weak ~ Strong

Distorted Balanced 3.75 4.75 +1. Body Align.~Body Align.

2.5 4.25 +1. 75 Vague ~ Defined

Parts of Body: Vague -;, Defined 2.75 4.5 +1. 75 Arms

1.25 4.5 +3.25 Hands

2.5 2. 75 + .25 Legs

1.25 2.5 +1. 25 Feet

3. 3.75 + .75 Torso

Note: The second drawing includes more detail and seems to have a firmer stance than the first.

PROFILE SHEET Tennessee Self Concept Scale Counseling Form

[T'''' FINISHED !TOTAL T'''E

T SCORE

PERCENTILE SCORES

SELF CRITICISM

POSITIVE SCORES (SELF ESTEEM)

TOTAL ROW ROW ROW COL. COL. COL. oJ 2 3 ABC

COL. o

COL. E

VARIABILITY o T

SCORE

- u. ~ l-= ~ t ~ d d :r' - f_

=_ - (IlJ rs= V- til·; ~ - V E -90 - ~ E t--~"•.uft---t=------+------HIl~Ht"f~_+-3-'Qt~0--+-1;:l'I-I-.....~-2-1---"';.--':~150 ~. ~ ~; ~90- ~~ ~ 90-j----1----+----+--200 • ~ ~,

=1 99.99 - "'~O'- £' VI VI dl . ~ ~ 9 ~. \f) :f=

1 --j + __5_0--\---440-·+----T--'50--:-+---+....;\,~---I__"'>::::....-__\---_+-"'-'---+---+~--+---+_---1--195-·-+1-----_--1

_ =_ . . .: . 110 _ 70 _ 45 -; .1= 99.9 - 145: us.:. 85_. • 190.:.1= on

l--.,ulll.'viT--_-+----'--'--'----+----+--430--lr----+---,-4-0.....-+---.-+-----+----+-----1-----1-----1----,,:":0'::"5-+_-- 65--1,---4-0--:.....+----+-I----4IIU----l = ..,:. • 100_ 60: : 185-f=

1 --+ -:-: + +--4-20---t----+--~•._t__---.+_---t----.+----.+ t ·I-_---,95_'--I ·+-----=.+--I80 f_=- 99 - '. 135: '40':' '. • 85': 90 55'; 35 .:. 175 _1= = • 410 - 145 _ : : • : 80 • • 85 • f_

1---'1fj---+-------+---+--~t---~I_--......._j---_+---__t---+---_j_--85--11-----:.+---810-::-+--50: 170 r= • 400 - 130: 135 ~ 85':' 85:-: ..;.:' 165_t:: =1 95 _ • . ' :.'. 75: 45':' • 160-t::

1----_+-------+--c-+-390-j---,:.·-I-----II25,:.·+---....;..t-----'!----t---=...·+_---I_---:-::----I,--701-71--.;.;:.....-\---30-t_-.:..:..:.'--+--------\ =1- 90 _ 45 - • 140 -: : 130: • • 75-; • 80: • • : 155 -~ - • 380 - •••• • 65'; • • 150-f- • • 120~ • 80 - 80-; 80 -. 40 -; 2"' 145 '- ~n

=1 80 - • • • 115"f ".~. : 75 -; 60t • • 140--t_f=-~>U---j 1------1=---,--70----+'--40 • 370: 135 ~ ,. : \ : 75f~. 70~ : • 55.... 35 -: • 135-L

= - 36y'!1 • l/07 120 \:5-=-. I:. ~ 75-: ,.J;; • : • 130-~ _f 60 - ['\~" .:...'\ 130 ~ ': • /10 ~ \'. 50: • 125-1

I--lPSl"'nr----+--- 50 / 350 -, \ /105.... 115 : • .,.. 65 ll.", I' \ 30 ~ 20 - '20...-f-f------:";)IJ-n---l

=_f 40 _ 35~. \\_,". \125~ / r:i'. : \. / 15-: -.......: .~ l' \\, 45 i. . . 115_~ 1_----+----30----1-----+-----,-::'1---\~--=''-t+_,.._10_0''':''~_~. 70 \ .1' . . I 6" • ~\' • • 1101-+1- --1

- • 330 ... :~ ~ _I-. ',', 25 - I' ........= 30 _ ~ 95+ 1--: '" . . \65 , 4~ • JI _~!l".:::= -f 20 - • 320 :.. ~ • ; • .~;., 65 60-: • I : \.\ . % ~OO-L

1----...tt,'u;----I_-------+-----I-----+--'--;,j---9O-:-,---I05 : • II .... ,~. • _ • 310-' .::. \.,T 60-; 35~~'': ._ 95_~ =1 10 - : • 115: 85.... 100 ~ 60":' 60':' 55':' 60~ • • ~ • 90-f=

1----_-j--------+--.....,.25...-'=t---3001-T----1---....-I---~.+----.-+--- •.-I---~.~-----.-:1----I-----I---....,.----t--85--+-1-------l

=f 5 - • 290 ~ 110 -; 8705~= '" 55 ~ 30';" • • 80-1_ • 280":' ,~ 95~ : 55":' 50":' 55":' • • 15': • 75-~ __

1-~~-_+-------+----=·+--~+_-I05-':'-t---70_l---_+---_+_--'-'-+----'-.:.....+_-----.-j_--_I--_~---__:+---__+--=-+---3.,onG-'-1 ~v = 20 :.. 270 - • 65;........ 90 55 -: : • : 50: 25 -; : 10 - 70-f=

- 1 _ • 260 .:. '00 ;.. 85:.' 45.... 50":'. .' 65-1-1�

- • ••••• 10 - 60-f_ = 15':" ~~g~ 95: 60~ 80";' 50':' : 40":' • 45: '5 • : 55-r=

1---.,Z!lT_--+ :-:" + ·+-_220_·+__~+_--55-'-_+---+---·+--45-·1--__._+_--4-5~-·rl=_--.. -·+--_I0_1,---__:·cI__-_5-t_--50-I--+-f---4J.,',n~---l =1 0.1 - 2'0 ..:. 90 ~ 50 _ 75 - : : 35~ : 40': 5,,;.:g=~ = • 200 .: 85 - 70 - 45 ~ : • 40 ~ : 5 • • 35 -f=

1------+-------+---.+--'-90--..+---8-0--+--4-5--1---65--+----':':+_--40 -.1---30--.+--~.·f----+--

0 -1 _+----1.1----.+--30--+f------l

=_' 0 01 - 180 ~ 75 _ 40 .;-: 35: 35 -; '. f=1-l---ifr---t----·----II_--....;·+-170..:.1----7,"<>-+__4_0__\---6-0--+---:-.+--_35-·+-----=.25:-i-=-_.J-----:":+------'+---+_--O-·-\---O-t_----+---lJ","-~---l

'v = 10 _ 160': 65 _ 35 _ 55 _ 35 -= : : 30";" 30 1= = 150 - 60 - 30_ 30":' 20":' t=

o Lf'\

CJ ~ H q ~.

~ ~~ ~

A E-J 0 A ~ ~ t-:> 0 p:) 0 >-t- J i:L1

(jJ81

Subject 1/4 .COpy 52

Evaluation


I liked getting better in touch with my body, and finding the

places I hold tension. I re~ized that I am still uncomfortable

with doing movements with another person who I don't know well. I I


i


I wish it had a little more structure. I


I would like to continue with such a group. Ii

Other comments:

Ii I

J

53

, l'

SUBJECT #5


This subject's total positive scores were quite low

on the first test, but showed an increase on the retest.

The greatest increase was in the category of Family Self,

Column D.

Self Image Drawings

The reliability on the before drawing was .63 and

the after .81.



Whole Body: 2.75 2.75 -0- Bound~ Free

2.5 3. + .5 Static --7 Moving

2. 75 3.5 + .75 Weak ~ Strong

Distorted Balanced 3.25 2.75 - .5 Body Align. ~Body" Align.

2.5 4.75 +2.25 Vague ----=) Defined

Parts of Body: Vague ~ Defined 2 • 4.5 +2.5 Arms

1. 3.25 +2.25 Hands

1. 75 2.5 + .75 Legs

1. 75 3. +1. 25 Feet

2.5 3.5 +1. Torso

Note: The second drawing is much more defined than the first and seems to correspond to some of the subject's statements in the evaluation.

II

---J I _ ..._-----1_ _ I

-----

--

:-",

PROFILE SHEET Tennessee Self Concept Scale Counseling Form

NAME S-. .fA Y ~J- -# ~ /"CHOOLGRADE/"EX nnlAGE /DA.T.E SJ/'/1tfITlMESTARTED riME FINISHED rOTALTIME r----T"'""-~~tr--- --"'T ...,- L....- ....L-~~l..._.u... _ ___L. ....:..._..:._ _1_.J..-__r__---...J..------....,....J...--r__---__l

POSITIVE SCORES (SELF ESTEEM) VARIABILITYSELFT PERCENTILE TCRITI· DSCORE SCORES SCORETOTAL ROW ROW ROW COL. COL. COL. COL. COL.CISM

." I 2 ~3 A 8 C D E

=_- ~~' ~'~~ u. ~'~ ~-:; ~ 1 ~o- d ~_ ~ t: _.-" ~ ';) '"0

90l_~tlT--_+-------+---__h__n__T.V\*_+-~O .... ~ ISO So- - C 1 901-1------1---_+---_+--200

~u ~_ _ _ VI W ~ ~ ~ ~ ~ . i. .E ~ cE . 1~ ~ .~ ~99.99 50

t-----+----�= . . .: . 110 - 70 - 45 -;- • = =- 99.9 - 145t 145":' 85_'. 190': = ftft l_-iu:l6-u-- 4":"0"'":+-----+_-~W----l_t----="-----tI------\--430-1------+--1,...,4..,.0~4----.I-----r------\------+----+----!---;-10"'S:--I_;--65'-I---.....

= "':.' :.' 100 _ 60 --: : 185 _ = 4Z01-- -_t-------+---+-- - - ~.+__---·+---+-----=:.+_--~+__---I_---·+----'9:.::5___+- -j -+ ----~·+_------'-.+_-180__t------I=- 99 - .: 135- 140': •••• 85': 90- 55";' 35': 175_=

= • 410 - 145 _ •• • 80 • • 85 - . \-----'16---+-------+---+--~+_---+_---. \---50 :+__--~·,..j_---·+--8-5_-·+----J--t---85--J;----:.+---8<l-;-. 170'--If----..pJ."',,-_1

'v :: • 400 _ • 130--;- 135:- 85':' . • : • • 75\~ • 165-~ -I- 95 - • • . ' :.... 45 ..:. • 160-C

1---� -+'------1 - 45 - 140 - • 130-. 75-. 80 - • 155 -f =1- 90 - • 380 -=- . : . . :. : 65t : 150-1=

l_--1vFit,'v:r--_--+,----=-----1---~If'----+----...:..· _ ....+- ·.-\-__ - "..,-~.+--_=_=+_--4-0-' 145-t1------'~w--n--I+- ~1_-=-=-:.+---80_+----80-'- 8_0---\__ -:".!.:t---Z·· -- r- 80 - ': IZ5.... •• • 75- 60-;- --~

- ,. 35 ~ /" i\ 140-~ = 370 :- 135:- 115-;- : • 75':' 70- • • 551-i'.... 135-1=

\------1;---70 ----+--40-~,.---=..:.� = 60 _ •••• ~ 360- • 110Y 120- 75- : '. 75-:- • ': ~~ \:30-~ - - • 130:- • • • 70 - 5'1'"""",-. 125-f

f--~n:.ft........--I-I__--50---_+---_+-\-......;.35;..0_--+--......::.r--l0-5.....:..·+-_115-·+--......::..,...---·+---65 • • rfl ~ - ZO -I\. ZOI--+f-----:~)l,:,"I___l

~v ~_ _ ~ \340~ lZ5~ 100i ~ 70~ 70: : J~~ : JI'~ : : \\-g40 35

f------+--30----+--------'+--'-'.\b---t---t~~110~. 6S-+----II--t-- _t-------+-----+-/~\ "-=-+-25--+---'l:~Ot;;-!f------I=1- 20 _ 30- .330_-=- lZ0~ 95~ : 65-: • 60":'. 65~ : 40~ : • 10 f=-1_---,1lfT--+--------1----·+-+-\·\-+_--~·+_~--~9 • ,---105' 65-:- 15 - 100 t= 'ft

'v ~I- 10 _ : \1:\ ~V851 '"', ~ ; i~ :V 6A \60~ 135~ ZO ~ • ::=~ 1-----+-------+-....... -::.:..:±-_3f-.ll.....""'--__ 10_0_-_+_----,6~0t£--. __'#-.;j".-f-'....:"-...",,..,-...;..j_-----=...... ·+---~+_---::.... ~1- 6 ~t----+_·l-/,r----·+---·+----+-_8.S-j_f-----~

25=r- 5 - • 2:\-=- 110 7 ~~I }~V:. I: \: /: ~~l 30~' ~g=~ ........--<tfl----I--------+------=-:+--_Z_8-10',..-'+--105-':'+-~'-ro . '" 9'" J 55--=-5Q": ~ 55":" \ \. ~ : 15 ..: '

.;>v:: ZO:'" Z7~_~ ~' ~O- 55- r: 451' : \5~.1 25-;- : 10- :~=~ -I_ 1 - : ~:~-.-~ 65-;- ~~~ :/50: • 50":" \ 20":" : • f

r-----=-+-------+-----'·+-Z40 -=- 95 ~. 60~ : ~ I -:+---~·+----.-·I---A--'-~-t---,-5-+_--,...,10,...,--.+---~.+---:-60:-1--+-1---'----f

- 15':" 230...... 80 -=- "~O -.' • 40':' • 4·V 55-~ 1_---;26----+---::-:----+---·+-ZZ0--l----=+---5-5--+----+------"~f---4,5-.·_t_-__.t---4-5~-·._j=_---·+---lo-+_--_:_·+_--5i-·_t_--50-I-_1f-I__-...w.,n-_1

..v =f- 0.1 - 210 .:. 90 ~ 50 _ 75 - ~ : 35-;- : 40::"" 5";" i~ =1= = • ZOO': 85 - 70 - 45 ~ : : 40 -:- • 5 - • • 35 _1=

1-----_+-------+---+--~,..j_---+_---+_---j-----=...j--40 -+---..-+---~rt_--~ot----+_---+_---+_-30_+----~= . 190 - 80 - 45- 65 - : : 30-: 35;' 35 ~ °_ : . :==1- r0.01 - 180 ..: 75 - 40.;-. : • l--_ttT_-t- + __--=·+_170...:\---7D-ot---4_0-t-__6_0_--+ "':f-_35-·+___Z_5-=-_·+_---:o-t------:·=+----+---0-·+---0-1----__tI----lJ','''If---1

'v __ • '. 30- I10 - 160 - 65 - 35 - 55 - 35 -=- • • 30-=" I

- 150 60 _ 30_ 30-=- 20~ t=

,

~ ... -=-~~\

~

.I

h-. -- ..-Q h-

It.· t

~..~ i.. (.J+\l(

~~i'< ···,r

1,J

c.!J Z H--.l1\

* ~ tT, A

8 0 A ~ \-;) ~ I=Q 0 P ~ CfJ. W.

\.

-----

57 Subject 15 COpy

Evaluation


I am interested in consciously expressing myself in bodily

movement, which is something I have discovered in this group.

I like being in touch with my body, in tune with its capacity

for movement and expression. I also learned I think to share

more of myself with others and to be more receptive to them.

Instead of turning all of my energy inward I let some of it flow

outward and I liked it.


I found the discussions to be helpful. Some exercises put me

more in tune with myself than others.



yes or in some other kind of group based on expression through

movement.

Other comments:

1"

1 58

SUBJECT 116


This was the only subject with positive scores all

above the 50th percentile. There is very little differ

ence in the retest profile.

Self Image Drawings


the after .93.

Ratings on a Scale of I to 7


Whole Body: 4.75 6.25 +1.5 Bound.....---) Free

2.75 3.75 +1. Static~ Moving

4. 5. +1. Weak -----? Strong

Distorted Balanced 5.75 4.25 -1.5 Body Align.~Body Align.

6.5 4.25 -2.25 Vague ~ Defined

Parts of Body: Vague ~ Defined 4.25 1. 25 -3. Arms

4.25 1. -3.25 Hands

4.5 5. + .5 Legs

3.75 2.75 -1. Feet

6.5 3.75 -2.75 Torso

Note: The second drawing is quite stylized and symbolic which could account for the decrease in rating scores.

--PROFILE SHEET

tennessee Self Concept Sea e Counse ing Form

'0

[TIME FINISHED S>J7/7 'IITIME STARTED NAME

POSITIVE SCORES (SELF ESTEEM)T SCORE

PERCENTILE SCORES

SELF CRITICISM TOTAL ROW ROW ROW COL. COL.

1_ 2 ,3 A B COL.

C COL.

D COL.

E

VARIABILITY

T AL COL. ROW OT TOTAL TOTAL

D T

SCORE

uv

\.L:-~' U:.9 d I _ - S"7 _ f

== ,:ij~ f$ J,J.V\ ~ .V _0 <$ - t5 =_

~~~:J"v:~~~:-~~~~~9~9~'9~9 ~~~~-:~~~~5~0~_::'~~_4::l:lVI::}'_'_.:~~~_Cl_-+---~_~-+_~_~_o~.:~~o:~~:~~:_~~~:~~~~_-~~-+_-_-~:~~~o~-.:'_-lf_~i:_9-0_'_--++_-_-.~~J_o~:~~~~~~~~~~~~:~~~~~~:~~200'--~:~~~:n:.'n:~: r «0 1~-: I~ = . . .: . 110 70 45 -; • =

f-----I!l&-----_--+-------'9.:,9;.:.9----t +-_430-f-----t---14-5....;-=-:+---1-45---·t----t_---+---85-'-+---+---.+---;;;;-+_--65-1_---,-,---:-,1_-'9-0 --°-tf=_----lft!ll.'n}-----l

• "'40~. 0 • 105 40 ....= '.' .' 100_ 60-: : 185_=

f --+ -::-:: + _+--4~2~0--+---+_--_.r1-----.+_---+_----=-.+_----.--1--------1----·+_----=9..:.5--+----~·+_--~·+_-180'---l-------= 99 - .: 135~ 140': . ' 85':' 90 55'; 35":' 175_=

- • 410 - 145 - /;A : . : 80 85-·-+-----:·+--:;~~50-':4_--~·+_-170---t=----;'AJ_ft--

'v ~_ 95 _ : 4 3 0 9 0 0 ~ : !J.5·

L ~ '\ 135 t 85 ~ 85~ ~ : ~ 75 t 45 i : ;::=~

r-------:::t---'-'------t-----:j"5;±:::~~\t""-w~:r~t'! 70'~---=--_._t_--30-+_---I-----___I

~f- 90 - 45: "~_3~~ ~~ '40: ! 120i \30 ~ 80 ~ ;fo~.~ 80 ~ ~S \ 65 t 40 ~ :~;f ~ ~n= 80 - • .1\\ 35 ~I /, 1151 ''f<= : // -: "'-... ://"75 -: \ 60t 35 i 25: /'4:'=!-1-=-~----1

-

-l

-1

- • 370-; '.'{.J : \~ .,j "75":' 70-" ~ • 55~ ° • /'3/-=+------t--- 70 ----+---40-+--::..:..:.....!....f---\--T.......jJ.-...---~----.l~_==~-ff_-'-'-_+---'-.-t---'=---:--''-I7''---+t__~..:.-+_---+_----b"----==---+_----l

:: 60 - : 360~ ~3~1 1101' 12~~ : : ~ 70~' \~ : 2 2 l~=~ I_---!le---j-r---- 50 "350 - \: 105..!.. 115 • • • 65 • • 0 '{ 30 .:.. 1,y.: ";O--t----:")l,,,ftl---l

=f 40 _ 35: 340':" 125~ : : • 70-: : 70-: : \45\........ :/:J_ 1'5-= - :. 100-=-'. 70-: • • • 6< • ,......... 110 -

1----+---30----+----'.+---3-30,-,_-+-----=:+----7+---"O-.+---...;:'-t---~+----o+-----.+--5-.+---\-~.+----=~2~;;:::-rV-----If-.-, -+_-----l :: "95~.. 65 _ • 2 ° • '05 __ -f 20 _ 30 = 320 _ 120: • 65':" 65-; 60-: • : 4~:- 15 - { 100-=

1----,ffi--_+-------I------+---+---+---9~-105-:+----+----....!...f----+-----.+----1-------.H----t-----'-=---f--...:.,:.::---I--''v _ • • •••••• J7 . _ 95 __

f =-+f ,0 -+_---,,.....::::±-_:~().0--.+_--'-'5-_...;..·t_--8_5-'-~:+_-_1_00_,..:.~:1_--6-0--:_+--6-0--:.-t---5-5~-:rt_--6-0..,_.+_--6-0-...,-:+_--3-5li;-':+_----20-,--:+_..-----.+_-:~...'--+-=----_\

::f 5 - 25. 290'='" 1'0-; ~~~ 95~ : : : : 55-: 30';' • • ~~== 1--~'tfl-_-_+-------_+---:'+_--2-8-0~-'.-1-- 'D5....::'+----70-:-t----+- ~·+__55_-'+__50_-·.-t__ 5 _ 5 ...,-.0+----.+----:+_--'5_,-:-.t_----:-t_----=,---t------2.~~-_j

o>v _ • 270 - 90 55 - • : • • 25 -; • ,0 70 -= 20 = 260:'" " 65+ 85 " : 45-' • 50-: :. 65-= 1_-----+f-----'-----+---·+-250-·+__'0_0....;~:+--___:+--___,·+_---·+_--50_"+_---·+_--50-)- ...·+_---.+_--20-,.:..+---:-:-.+---+---::-::--+-----4

:: 15 ~ m~ 95: 60";' 80~ 50-=" : 40';' : 45: 15 'O-= • :~== 1_---;~---+---::_:_---+---·+-220 _"+__---:+__5_5--+ _+----.+_--4<5--·+_---·.-t---4-5~-·r1=_--~·+--,O---l----:·+_--5• 50 -_. =f 0.1 - 210 :... 90 ~ 50 _ 75 - : : 35~ : 40 .:. 5 ..;. • ~ = = = . 200 .:. 85 - 70 45 ~: 40 ~ • 5 - 0 • 35 _ = f-----+--------+----+----:::--t-----::-+--::-+----,,=--t-----:-t_-- 40 -+----..-\----.-1----0+----+----+----+---30'-+------1= . '90 - 80 - 45 65 - • : 301' 35";' 35 -; 0_: =

-_f 001 - 180':' 75 - 407'. • -_ f--"f1,vfT--_--+----· -+ ·-+__170...:..-7'0--+--4-0---t----60---+-----:.+---35-:+---2-5-'--:+_----=-:+---3-0-'_=-t----+--O-·+---O-t------I_---+'\In--t

- 10 - '60 .:. 65 - 35 55 - 35 -=-. • 30-' = = .~ .o~ .o~ ~

-4G---4

_ 00 _r------- ---

,.....

0 ~

\..0 H t->

~:: ~ P:i

E--l !=1

J 0 !=1 pq ...".

\-;) f'--!

Pl 0 0

P ,I'YCD (;'2

62 Subject 1/6 COpy

Evaluation


1. how I walk and make contact with the ground

2. watching others move and seeing how they are different.


talking, reflecting after moving. moving slowly.


I would still like to watch each person move alone and have

my turn.


yes

Other comments:

..........I

I 63

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--l

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65

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----ol

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THE USE OF MOVEMENT IN GROUP THERAPY by Lois K. Diller

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