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2019 Introductory Workshops


Dance movement events have the potential to alter an individual’s perceptual frame of reference, thereby allowing maladaptive patterns to be released and new behavior to be developed’ (1993) Dr Marcia Leventhal (founder of IDTIA)

The International Dance Therapy Institute of Australia Inc (IDTIA) has been running training and short courses in Dance Movement Therapy since 1989.

The IDTIA offers a three-year Advanced Clinical Training for professional dance movement therapy, including a 16 month Foundation Course training for dancers and health workers who are interested in the application of dance movement in groups for those with a social or health issue. The current IDTIA Advanced Clinical Training including Foundation Course commenced in 2018

The Introductory Workshop will provide experiences of dance movement for a therapeutic context. Further information on training and examples of the application of dance movement therapy in fieldwork placements will be provided. Participation in an Introductory Workshop is a pre-requisite to starting the Foundation Course training.

Further Information: Karen Nankervis
Facebook: International Dance Therapy Institute of Australia

Refund Policy

Provided a minimum of 7 days notice of cancellation is given. we will issue a refund of 75% of your fees. The remaining 25% will be retained to cover administration costs

April 7, 2017

Virginia Woods

Virginia Woods, Queensland
2004 Diploma Graduate & IDTIA Interstate Tutor & Training Supervisor
Work with People with Eating Disorders in a Psychiatric Setting

Eighteen months ago I applied for a position as a casual psychologist (psychologist being my other hat to my dance therapy title) with New Farm Clinic. NFC is a private psychiatric hospital in central Brisbane. When I spoke to the allied health manager I suggested running dance movement therapy for their patients, highlighting my interest in working with the patients with eating disorders as I have been working privately in this area for a number of years. He was very keen but subsequently left the organisation!

Since then I have been running therapy groups for them on a regular bases and regularly reminding them of my other skills. Finally this year the new allied health manager became enthusiastic and has employed me on a Wednesday to run 3 movement sessions. These have been very successful, having a good response from both patients and staff. I run 2 groups for the general patient group which consists of people with psychosis, depression, anxiety and related mental illnesses. I also run 1 group for the eating disorders inpatient program.

The challenge with this population and setting is that each week the people in the group change and their mood and energy level can vary within the group markedly. I have had to truly rely on responding to the group as they are and being flexible about the content of the group. I have found working with Marcia’s “Five part session” really helps me to work through the 45 minutes I have with them. The theme for the group usually appears out of the warm-up and release. Some of the themes have been: describing mood states through movement, “who am I”, soothing agitation, experiencing change in mood from heavy to light for example. They loved the group I did on experiencing joy!

The eating disorders group has been exploratory and interesting. One of the features of people with eating disorders is their poor sense of self – sometimes seeming non-existent. They do not generally respond well to creativity and prefer structure. They tend to be low in energy and resistant to engaging in a group setting. The sessions for this group then is entirely different to the other more creative flexible group and I decided to use structured activities which would allow for the movement experiences that would develop sense of self, body awareness and comfort with their body and also change in energy level.

Warm-ups usually consist of a rhythmic activity which provides a structure and social interaction while allowing for some creativity possible for those who are ready and willing to develop that sense of self. The middle sections of the session I choose a theme, usually discussed with the coordinator of the eating disorders program, and design a yoga style program with the theme in mind. For instance when the group was working on boundaries and sense of self the activities emphasised personal space, returning to centre of the body, balance toward and away from centre. I offer a more creative exploration of the theme as centring and preparation for closure, for instance using elastics to personally mark out personal space and a group exercise with the elastics.

The response has been very good to the program by the participants with a very good attendance rate, unusual with this population. I will continue to explore ways of processing their experiences to increase the integration of the information gained in the experience.

April 7, 2017

Alexandra Jordan

Alexandra Jordan, Northern Territory
2004 Certificate Graduate
Mums and bubs dance in Darwin

When people move to Darwin, after the crocodiles and jellyfish, one of the first things people generally remark upon is the large number of mums and bubs around, as well as pregnant mummas!

Generally, if all goes well, from birth for a good few years, babies’ lives are full of wonder; in their own bodies, in sounds, sensations, rhythm and motion…and of course in mums and dads…in short, babies and parents make a wonderful captive audience for any dance or movement activity… I figured beginning some sort of mother-child dance movement session would be a good first step for me as an independent dance movement practitioner.

I began Baby Bounce as a dance and movement session for all parents and kids aged 0-3. The main aim of these sessions was to assist parents to facilitate new and varied sensory and movement experiences for their babies and toddlers.

In developing these sessions I have drawn on my experience of working with Elizabeth Loughlin, a Dance Movement Therapist working with mothers with severe post-natal depression and their babies in Melbourne. For these couples, the mother’s post natal depression may disrupt the mother-child bonding and, and thus the infant’s emotional connection and later attachment to the mother. Dance movement therapy provided a perfect forum to work with these couples on developing a physical bond and connection, and finding comfortable ways of moving together. The program also encouraged mothers to play and communicate with their child in new ways. Relaxation and release for these depressed mothers was also an important part of these sessions.

The Baby Bounce sessions similarly focus on parent-child connections as well as trying to provide parents with a chance to relax and release into their own dance a little.

In structuring the sessions, I’ve also drawn heavily on the writings of Jane Guthrie (1988) who has worked mainly with older disabled children. Each week I choose a few main contrasting movement themes or moods, for example bouncing and swishing, or heavy and light. All activities are open to interpretation by parent-child couples, and are guided so that either a parent can move their child or with their child, or the older children can move alone or with the group.

We begin with a welcoming song where each child gets a big hug and clap, then move onto a stretching and massaging warm-up, to remind the babies and kids of their different body parts, and to show them different ways they can move them. We then start to explore our movement themes with parents providing tactile experiences for the children: for example, walking their hands in heavy steps over their baby’s body, then tickling scurrying ones. Gradually the movement themes are carried through into locomotion, individual and group dances and other movement activities throughout the space. The sessions generally end with relaxation or a gentle dance, then a goodbye circle and song, and claps for all the kids and mums.

Of course, the sessions are always planned loosely, and adapted according to the participants present on the day, the age ranges and energy levels present and other unanticipated moods and happenings. As the months have progressed my confidence in improvising based on attunement to the group has grown, and I have challenged myself to go into sessions with just a lose theme and structure and go with the flow.

The groups have been a great hit in Darwin and I have ended up running them in three different locations due to demand. There is a core group of able and energetic mums and bubs who come regularly to each session. It has been a joy for me to watch them grow and develop (some have attended for up to three months now). I’ve watched the kids, (and mothers!) make huge steps in physical and social confidence. Babies, who initially were on blankets at the side of the room, have come to join the circle, and now greet us with enormous smiles as soon as the circle is formed. Some of the older ones have started to hum along, and lead us in to new activities as we go. It has also been amazing to watch the parent-child dynamics of the different couples who come along, and to continue to learn about and work with the varied types of physical and emotional bonds that can develop.

I’ve met a few couples whose bond is not so easy… some young mothers whose bubs seem to mirror their mums restlessness and awkwardness, and children with special needs who definitely dance to a slightly different tune. In each of these cases, we’ve managed to find moments of peace or smooth movement between mother and child, and smiles.

Basically, I’m learning a great deal as I go; about children and parent’s varied styles and capacities, and varied ways of working with these. Perhaps a next step will be to narrow the age range I’m working with, or to focus on couples with certain needs or issues.

1988: Jane Guthrie with Jan Roydhouse: Come and Join the Dance; A creative approach to movement for children with special needs. Hyland House, Melbourne
March 2007

April 7, 2017

Advanced Professional Training in Dance Therapy

Successful completion of the Foundation Course in Dance-Movement Therapy is a pre-requisite to continue training in the IDTIA Advanced Professional Training in Dance-Movement Therapy.

The 20 month Advanced Professional Training course deepens the theoretical and experiential components covered in the first year and extends the clinical application of dance therapy.

April 7, 2017

Foundation Course in Dance Movement Therapy

The Foundation Course in Dance-Movement Therapy is the first 16 months of the IDTIA Advanced Clinical Training  programme.  It is a 16 month, part time course of study comprising six modules. Teaching Faculty are IDTIA graduates who received their training from American dance therapist and educator, Dr Marcia Leventhal PhD CMA ADTR. All are experienced professional dance therapists and teachers. The training is highly experiential, supported by theoretical teaching and practicum.


The Foundation Course training comprises 6 study modules, 188 training hours in total (slightly less for interstate students). Each module consists of a three-four day weekend intensive workshop running from Friday morning until Sunday/Monday early evening, and two week day evening tutorials (or one tutorial for interstate students on an agreed day). Students will complete three assignments, together with practical exercises and short papers; a 20 hour dyad project (first 8 months) and a 10 week/20 hour practice project (second 8 months) with four week self initiated fieldwork practicum.

The Foundation Couorse in Dance-Movement Therapy is awarded upon attendance at all modules and tutorials and satisfactory completion of all course work, assignments, dyads and the dance therapy practice project.

Curriculum Overview

Training modules include:

  • dance movement processes
  • history of dance therapy as a healing art
  • creative processes and group processes
  • human development related to movement studies
  • theoretical frameworks and healing modalities
  • therapeutic application

Dance therapy practice project: observation and participation in a group that uses dance for therapeutic purposes
Leading part of one session with supervision. Visits of observation to other site(s)
The training is in three major areas

  1. Personal movement experience – to understand the power of dance in contributing to growth or change
  2. Theoretical/conceptual – including relevant developmental, humanistic and psycho-dynamic frameworks
  3. Practical application of dance to populations with therapeutic needs



The following criteria are required for entrance into the Foundation Course Programme:

  • attendance at an IDTIA ‘Introduction to Dance Therapy’ workshop (within a two year period prior to application)
  • minimum age of 24, as a relative indication of maturity
  • past and continuing dance-movement experience including creative and improvisational dance
  • ability to research and write at a standard consistent with the printed materials and learning of the course
  • self awareness; the capacity to relate in a facilitative way with others and to reflect on and examine the impact of these actions
  • voluntary service or paid employment in the community, in clinical populations, or in a related and appropriate sector (such as work with people with disabilities or in aged care)
  • a capacity to understand and practice ethical behaviour and be prepared to follow a code of ethics, which is an integrated part of the training program
  • a capacity to reflect on and learn from experience, including being open to new experiences
  • capacity for self-critique
  • ability to accept and reflect upon lecturers’ and peers’ comments, criticism and support.

The following criteria are deemed desirable for entrance into the Foundation Course, but in their absence must be acquired prior to entry into the Advanced Professional Training Course.

  • completion of a course in Counselling or other psychotherapeutic relational training, minimum of 30 hours.
  • an undergraduate degree or equivalent, in which the student has demonstrated both literacy and the intellectual capacity to productively synthesise the materials and experiences of the course

Attendance at an Introduction to Dance Therapy workshop is expected for selection and orientation to the approach to dance therapy taught through IDTIA.

On application to the course, prospective students may be interviewed by Faculty member(s) or an interstate tutor before acceptance into the program.

Interstate students are required to attend the 6 intensive Modules in Melbourne. Major tutorials and the dance therapy practice project will be based in the home state (where possible).



Fees are payable in advance. An additional enrolment fee is payable on application to the course. The total fees (including enrolment) for the Foundation Course are currently $9,900.

Commencement of the course is subject to sufficient numbers enrolling. Course fees may increase yearly. IDTIA does not cover any additional costs associated with the dyad or practice project.

For more detailed information on the Foundation Course, or to obtain an Expression of Interest form for the next course, please contact the IDTIA Administrator.

April 7, 2017

Introduction to Dance-Movement Therapy Workshop

A full day experiential workshop to introduce dance-movement therapy and its potential for discovery, change and healing.

The Institute welcomes people who may be considering training for the Foundation Course in Dance-Movement Therapy ; those interested in gaining some insight into dance-movement therapy and what it has to offer for their practice in dance, health, welfare or education settings; and others who may simply be curious to explore a different application of dance.

Further Introductory Workshops will be scheduled for 2019
(dates tba).

Sandra Kay Lauffenenburger (ACT)

Prof Member DTAA
Prof Member ANZAP, AASP
Dip(adult psychotherapy)
Registered Somatic Movement Therapist ISMETA
Registered Psychotherapist PACFA
Certified Laban Movement Analyst LIMS
Certified Pilates Method Practitioner APMA

Sandra specialises in working with personality disorders, chronic pain, trauma, and anxiety, and grounds her movement work in Self-psychology (Kohut).

She teaches Laban Movement Analysis and Bartenieff Fundamentals as well as Developmental Issues for the Grad. Dip. in Dance Therapy at the Wesley Institute. She also tailors workshops and training in Laban Movement Analysis, and Bartenieff Fundamentals for particular populations and specialties.

She has been in private practice since 1985 and in Canberra since 1992 (The Ouldeah Centre).

Tracey Nicholson (Tas)

Tracey Nicholson

Prof Member DTAA

Dance therapist and dance educator, Tracey Nicholson, has worked in education for 20 years and therapy for the past 13, both in private practice and public sectors.

Tracey has experience in working with people of all ages and abilities, specialising in special education, mental health, and exercise rehabilitation.

Most recently Tracey completed her training as a Pilates instructor and finds this a valuable base for some of her movement therapy work.

She is currently working with adult sufferers of chronic pain, adolescents with disabilities, children with terminal illness and children who have witnessed domestic violence.

Beatrice Lucas (North QLD)

Beatrice Lucas

Prof Member DTAA
MEd Melb Uni
GradDipMovt&Dance Melb Uni
BA(Ed) Deakin
DipTeach Switz
DipProfCouns Australian Institute of Professional Counsellors, QLD
Certificates in Emotional Release Counselling (ERC) for Children/Adolescents Expressive Therapies Institute of Australia, Brisbane and in Solution-Focussed Counselling Ampersand, Melbourne/Cairns

Beatrice has extensive experience in using dance therapy with children who have ASD (Autism Spectrum Disorders), learning difficulties, behavioural and psychiatric disorders internet viagra.

She has also worked with adults in psychiatric care, and with women, exploring feminine themes in mythology through dance and the arts.

Beatrice has been tutoring and supervising interstate IDTIA Certificate and Diploma students since 2004.