Using creative dance as therapy differs from the visual arts or the use of musical instruments in its basic belief of the inseparable connection between mind and body (Levy, 1992 & Espenak, 1981 & Payne, 1990). Its basic premises are that "body movement reflects inner emotional states and that changes in movement behavior can lead to changes in the psyche. [This will promote] health and growth...to gain a sense of wholeness by experiencing the fundamental unity of body, mind, and spirit" (Levy ,1992, p. 1). This form of communication is especially useful for clients who have difficulty articulating their thoughts and feelings. As well, creative dance can be used to relieve the effects of stress, tension, trauma, and emotional problems on the body (Levy, 1992 & Payne, 1990). The physical exercise also improves strength, ROM, flexibility, balance, self-confidence and general fitness (Payne, 1990). Other ways creative dance is therapeutic are:

• the use of imagery to ilicit the sharing of feelings
• facilitation of new ways of seeing, thinking and feeling
• observation of movement and emotional communication
• the absence of performance standards; the client moves at level of own ability which increases the chance for success, leading to a positive influence on body image
• exploration of movement possibilties
• the on-going moving experience (body awareness that extends to activities of everyday life)
• physical expression through movement, gesture, and posture and their rhythm and pattern
• active involvement in self-directed moving and creating (Levy, 1992)

Following are areas that the therapist must consider in order to optimize all the relevant features of the activity and the environment to reach the goals of quality intervention:

• Maintain client autonomy in the therapeutic process to facilitate ownership and responsibility of goals.
• Encourage practice (ie. at home) to establish continuity and to reinforce therapeutic work. As well, to increase confidence and motivation to participate further.
• Specialized knowledge, training, experience and patience on the part of the dance instructor/therapist.
• Emphasis on play (especially when working with children). "Play generates energy because it is pleasurable in itself, an intrinsic end" (Creek, 1997, p.254).
• Each member in the group are familiar and comfortable with each other and with the instructor.
• Before selecting this activity as therapy, each client should attend an initial viewing of an actual dance session and also meet with the instructor.
• The instructor must provide an atmosphere which will allow for a safe and appropriate expression of emotions, whether it be aggression, anger, isolation, silliness, gentleness, or trust. As well, Hawkins (1991) present ways of developing a creative e nvironment for dance classes:
  • -evaluation that is self-directed
  • -relaxation of body and mind
  • -a structural design that is developmentally oriented

Each group, as well as each individual in a particular group, has special conditions or problems that the instructor would have to consider. Also materials needed to be adapted to meet the client's needs. It is important to assess whether the activi ty is unsuitable for the client or even harmful. Thus, the instructor should be aware of the health and safety requirements of each client in order to determine contraindications. However, most clients who are referred to OT service can benefit from danc e therapy provided that some adaptations and gradings be made.

In order for an activity to be therapeutic, the client must want to do it. The following are the reasons why people partake in Creative Dance:

• *People of any age have the faculty and ability to perform, appreciate and benefit from the joys of movement and expression.
• *The relaxed and free atmosphere for social interactions, letting go in group settings, support and having a good time.
• *Joy of dancing with others
• *Excellent media for self-expression & creativity
• *For its aesthetic value
• *For the physical exercise. For some people, it is more satisfying than routine exercise.
• *Low demand upon the client's verbal and social skills

REFERENCES:

1. Creek, J. (1997). Creative activities. In J. Creek (Ed.) Occupational Therapy and Mental Health. New York: Churchill Livingstone.
   

2. Creek, J. (1997) Occupational Therapy and Mental Health. New York: Churchill Livingstone.
   

3. Espenak, L. (1981). Dance therapy theory and application. (p. 5). Illinois: Thomas Books.
   

4. Hawkins, A. M. (1991). Moving from within: A new method for dance making. (p. 11-14). Chicago: Cappella Books.
   

5. Levy, F. J. (1992). Dance movement therapy: A healing art. Reston: American Alliance for Health, Physical Education, Recreation and Dance.
   

6. Payne, H. (1990). Creative movement and dance: In groupwork. Bicester, Britain: Winslow Press.
   

7. Warren, B., & Coaten, R. (1993). Dance: Developing self-image and self-expression through movement. In B. Warren (Ed.), Using the creative arts in therapy: I practical introduction. (pp.58-83). NewYork:Routledge.