Embodied Concepts of Neuroscience and Trauma: An Exploration of Interpersonal Neurobiology and Dance/Movement Therapy

Cara Hazel

This qualitative case study explored the benefits of dance/movement therapy (DMT) by investigating the possible neurological impacts it may offer through embodied concepts of interpersonal neurobiology, questioning the relationship between DMT and interpersonal neurobiology, and the similarities or differences of practice in regard to the healing of trauma in each. With the research question of how these fields may align to further understand the healing of trauma, this researcher hypothesized that DMT can serve as a catalyst for changes in neural functioning and structure.

A qualitative study was designed to conduct interviews via phone with practitioners in the clinical practice of DMT whose work includes embodied concepts of neuroscience, Board-Certified Dance/Movement Therapists (Kalila Homann and Jean Seibel. An interview was conducted with Dr. Daniel Siegel, who proposed the interdisciplinary framework or theoretical perspective of interpersonal neurobiology in 1999. Interview questions were designed to be specific to the work of each practitioner, focusing on their utilization of embodied concepts of neuroscience, their theoretical framework, and investigate more deeply any connections.

The content analysis extrapolated five themes: transformation, relational emersion, embodiment, becoming resourced through liberation, and integration in healing. Findings indicate that the mechanisms of healing trauma suggested by Dr. Siegel are strengthened by the presence of an empathic witness, embodiment, and creativity. This comparison between the content analysis of the interviews seem to suggest the idea that DMT may offer opportunities and conditions necessary for this form of therapeutic change, including possible changes in neural architecture described by Dr. Siegel. The theory and practice found in the clinical practice of DMT and theory of interpersonal neurobiology have many parallels, which may deepen our understanding of trauma healing. The researcher acknowledges that specific assumptions might have shaped the semi-structured interviews. These findings may inform future studies addressing the possible neurological impacts of these concepts on DMT participants in trauma healing.


Cara Hazel is currently working as a licensed creative arts therapist at Mount Sinai in the adult inpatient psychiatry unit. She holds a bachelor's degree from the University of Tampa with a dual degree in psychology and applied, and a master's degree from Pratt Institute in dance/movement therapy.

Dance and the Executive Functioning Skills of Children: A Scoping Review

Jessica Mattingly, Courtney Trevino, and Emily Lund

Dance requires focus, working memory, and sequencing; however, little is known about the impact of dance on developing these executive functioning (EF) skills in children. The purpose of this study was to review existing literature on dance’s impact on children’s EF. A scoping review, following Joanna Briggs Institute methodology (Aromataris & Munn, 2020), was conducted, using scientific databases, Google Scholar, and citations. The searches were limited to published or unpublished, qualitative or quantitative, original studies in English. Study participants were children from any geographical location ages 3 to 18 years. The participants received one or more weekly structured dance sessions by a trained dance therapist/teacher. Outcomes objectively measured one or more components of executive functioning including, but not limited to, memory, attention, or inhibition. After removing duplicates and reviewing abstracts for relevancy, the initial search (991 results) yielded 26 suitable papers for full article review. Two reviewers independently screened and extracted data that met the inclusion criteria and discussed their reviews, resulting in 13 papers. Data were analyzed according to the following aspects: duration/frequency of dance instruction, measures of executive functioning, and author-reported outcomes. The final data set of 13 studies represented 579 participants. Dance intervention studies ranged from 3 to 25 weeks, with sessions occurring 1 to 5 × weekly for 20 to 120 min per session, utilizing a variety of dance forms. EF skills measured included attention, memory, task shifting, inhibition, cognitive flexibility, interference control, processing speed, and organization/planning. 85% of studies reported a positive outcome in at least one EF, providing support that dance can have positive impacts on children’s EF. This finding means that dance/movement therapists can address the cognitive needs of pediatric populations. The combination of mindfulness and movement inherent in dance/movement therapy makes it a research-proven means of building EF.


Jessica Mattingly, M.S., CCC-SLP, is a second-year PhD student at Texas Christian University and has degrees from Calvin University and Vanderbilt University. As an active speech-language pathologist and dancer, Jessica’s research on how dance interacts with cognition and language will help integrate dance therapy and speech-language therapy.


Courtney Trevino, M.S., CCC-SLP, is a second year Ph.D. student at Texas Christian University. Courtney earned her Bachelor’s and Master’s degrees in Speech-Language Pathology from Texas Christian University. Prior to pursuing a Ph.D., Courtney practiced as a school-based speech-language pathologist, primarily treating language disorders.


Emily Lund, Ph.D., CCC-SLP, is an Associate Professor and Associate Dean of Research at Texas Christian University. Consistently funded by the National Institutes of Health and the American Speech Language Hearing Foundation, she investigates how oral language use contributes to spoken and written language learning in children with hearing loss.

Dancing Through the Trauma: DMT with Male Identifying Survivors of Sexual Assault

Morgan Ose

Recent studies suggest that trauma is stored within the physical body. One approach to working with trauma is through the use of dance/movement therapy (DMT), a body-centered psychotherapeutic approach. There have also been multiple studies recently on sexual assault (what it is, how it affects a person, and ways a survivor can cope or heal), but noy much of this research has pertained specifically to the male identifying population. This thesis explores the use of DMT with male identifying survivors of sexual assault by testing the hypothesis that DMT can decrease measurable symptoms of PTSD in male survivors of sexual assault. The participants for this study were found online through Facebook groups and a Craigslist advertisement. All four of the participants were male identifying cisgendered people between the ages of 18 to 30 who self-identify as survivors of sexual assault. Of these participants, four were black and one was white. Due to the Covid-19 pandemic, this study was run entirely through the video conferencing tool entitled “zoom”. For this study, participants met twice a week for two weeks with a licensed dance/movement therapist. They took the PTSD Checklist for Diagnostic and Statistical Manual of Mental Disorders 5 (PCL-5), which is a 20-item self-report measure of the DSM-5 symptoms of PTSD. The participants took this test prior to the start of the sessions, completed the four sessions of dance/movement therapy, and then took the test again after completion of the session in order to account for any measurable changes. Results were rendered inconclusive in that there was not a statistically significant change in the group data. However, on an individual level, three out of four participants showed regression at completion, meaning that their individual scores brought them closer to being statistically significant for likelihood of PTSD development. The group average, however, showed a progression, meaning that the group as a whole was less statistically significant for likelihood of PTSD development. One of four participants showed a major progression, which brought the group average into a progressive state. These results suggest that more research needs to be done to properly analyze the effectiveness of DMT in healing this specific population. Some suggestions to gain more clarity on the effects of DMT with this population would be to utilize more sessions with a larger sample size. Another option could be to utilize specific dance/movement therapy interventions, in order to discover what may be the most and least effective.


Morgan Ose is a Pratt Institute 2022 graduate. She holds her Masters of Science in Dance/Movement Therapy, R-DMT, and is currently in the process of obtaining her Creative Arts Therapy license. She works in hospital settings where she utilizes her practice to aid her patients both psychiatrically and medically.

Doctoral Research Project: To Describe and Explicit the Competencies of the Dance/Movement Therapist: A Phenomenological Study

Laura Demay, Nicole Harbonnier and Florence Vinit

Many studies on dance/movement therapy (DMT) demonstrate the positive and therapeutic effects of this practice, but there are limited writings that describe what is done by the dance/movement therapist to support this psychotherapeutic process. The quality of methodologies on DMT also varies, and many qualitative studies are limited to clinical illustrations. This overview leads us to formulate the following research objective: to describe the professional activity of the dance therapist from his/her perspective and to document the competencies he/she uses in his/her relationship with his/her client. Our study therefore sheds light on DMT by describing the lived experience of four certified dance/movement therapists with over five years of professional experience. The present research is based on a qualitative research methodology and presents a phenomenological and interpretative theoretical approach. Using two interview methods, the semi-structured and the explicitation interview, three individual interviews were conducted with each of the dance/movement therapists. Following the method of interpretative phenomenological analysis (Smith and Osborn, 2003), the analysis identified ten transversal competencies common to the work of the dance/movement therapists, organized according to three competency domains: (a) relational and ethical competencies, (b) somatic attunement competencies, (c) and competencies related to the therapeutic process. The analysis also demonstrates that the core competency of dance/movement therapists lies in their ability to resonate and sensitively attune to the lived bodies. This study offered a space for the dance/movement therapists interviewed to tell their professional stories, to elaborate on their already constructed representations of their work and to describe the implicit actions they implement in their practice. These findings provided a deeper understanding of the dance/movement therapist's expertise and of the elements on which they base their interventions, which can support the training, supervision and professional identity development of dance/movement therapists.


Laura Demay is a doctoral candidate in psychology at the University of Quebec in Montreal under the supervision of Florence Vinit (psychology) and Nicole Harbonnier (dance). In parallel to her doctoral studies, Laura provides psychological services (supervised practice) to young children, children and adults.

Developing Competency in Psychoeducation Team Staff Using Dance/Movement: Online Program for Girls With Autism Spectrum Disorder ASD

Miho Yamada

This study investigated the competencies needed by graduate students in psychoprofessional training program when working as part of a psychoeducation team for girls with autism spectrum disorder (ASD) using dance/movement therapy (DMT) skills.

The co-researchers were four female graduate students pursuing their master’s degree in clinical psychology. They delivered a four-session psychoeducation program over the course of a  two month period with a seven-year-old girl and her mother, focusing on somatic and psychological challenges that are unique to ASD. The program was conducted online due to COVID-2019 restrictions. It was developed and supervised by two professors who are both are psychologists, specializing in the psychology of women with ASD and in DMT, respectively. Before beginning of the program, the co-researchers attended lectures on ASD and experiential training in DMT skills; breathing, body mapping, safe touching, and mirroring.

In this study, the co-researchers’ verbatim transcripts of (a) questions and comments during staff meetings and (b) individual interviews following the program were used as textual data to extract narratives related to the knowledge and skills needed for the given practice. A content analysis was conducted comparing them to the 53 psychoprofessional competency items (Iwakabe, 2015); this was performed before and after the implementation of the program. Narratives that were not accounted for by the existing items were categorized, and new items were generated.

The results identified 19 psychoprofessional competencies that were specifically needed in this practice. Of these, three assessment competencies (e.g., observing and characterizing the client’s facial expressions, tone of voice, gestures, and clothing) and five intervention competencies (e.g., using appropriate physical movements to convey empathic understanding to clients) were particularly relevant to DMT skills.

This study suggests that training staff in DMT skills can effectively support the development of psychoeducation competencies, particularly in nonverbal participant understanding and interventions based on that.


Miho Yamada is an associate professor at the Graduate School of Humanities and Sciences, Ochanomizu University, Japan. After working as a clinical psychologist in medical and welfare facilities, she began her career as a university faculty member in clinical psychology and dance/movement therapy training at Embodied Neurobiology in Austin, Texas. She is exploring the therapeutic and educational uses of dance and movement for Japanese people.

Embodying Hope: A Theoretical Exploration of Dance/Movement Therapy for Family Caregivers to Foster Spiritual Coping Resources

Eden Champagne and Heather Hill

Family caregivers of a loved one with dementia are at risk for developing relational and personal challenges. While caregiving can negatively impact one’s life, it can also lead to redefining meaning of life and can foster personal growth experiences1. Importantly, older adults are the most likely group to integrate spirituality into their life, and accessing spiritual resources (e.g. finding solace in the sacred) can help them to cope with life’s challenges. While dance/movement therapy (DMT) has been shown to offer benefits for people living with dementia, research on DMT programs designed for caregivers is limited. What if DMT could foster spiritual coping skills for caregivers? This is the research question which will be investigated in my doctoral dissertation research. Much research has demonstrated the associations between both leisure and spiritual well-being6 and DMT and spiritual aspects, such as finding meaning, and experiencing relationship to self, others, and the sacred through improvisation. Yet, the support options for caregivers remain mostly on the verbal level. The proposed project will recruit approximately fifty family caregivers who have a loved one with dementia to experience a DMT program designed to foster spiritual coping resources. A mixed-method approach of survey measures administered pre and post intervention and qualitative interviews will be utilized to gain insight into the participants’ experience. Analyses will include considering quantitative changes over time in spiritual well-being and phenomenological analysis of interview data. Some movement interventions which may be used in the DMT group include exploring caregivers’ feelings on an embodied level, finding strength, using sacred texts as material for movement explorations, and witnessing others’ movement journeys to truly see and acknowledge the person and their journey. This proposed research will have implications for how DMT can support caregivers to find hope amidst the challenges they face.


Eden Rose Champagne is a PhD student at the University of Waterloo in Aging, Health, and Well-being. Since graduating with her MA in Psychology and from the Alternate Route DMT program at Les Grands Ballets, she has been working as a dance therapist with older adults, and in long-term care homes.


Heather Hill worked as a dance movement therapist for over 30 years in Australia and has a PHD in person-centered dementia practice. She has a special interest in working with couples where one partner has dementia, supporting them to navigate the challenges of dementia.

The Use of Auditory Rhythm in Dance/Movement Therapy: A multi-Methodological Study Utilizing Quantitative and Qualitative Measures

Amber Supernor

Two studies were conducted including a survey to test the role of auditory rhythm (AR) within an individual's life and an interview series to investigate it in Dance/movement therapy (DMT). AR is the use of the body to create sound that corresponds to a specific meter or pulse. In Study I, it was hypothesized that a non-directional relationship between the participation of AR and their happiness rating on an Oxford Happiness Questionnaire (OHQ). This survey aimed to demonstrate the potential use of AR as a tool for improving general happiness by seeking a relationship between happiness and AR. Posted online, it reached 87 individuals through a convenience sample of the USA. The two-tailed T test indicated no significant difference between happiness score and participation in AR t(85) = − 1.24, p > 0.05. A one-way ANOVA was performed to test the relationship between the hours per month of AR (0–3, 3.1–6, 6.1–9, and 9 +) an individual participated in, and their score. It was determined that no significant difference between the happiness score of at least two groups F(4,84), p = 0.954 existed. For Study II, a semi-structured interview series was conducted, with a pre-set list of questions of six current dance/movement therapists (DMTs) who were contacted through a convenience sample. This study aimed to discover what the generalized thoughts and opinions individual DMTs currently have about the topic of AR. All responses were compiled, and each participant was provided the opportunity to redact or edit their responses prior to their inclusion within the study. Within the results, responses were organized by finding commonalities and differences between the responses to allow the reader to navigate the information in a concise manner. These results can be used by the community as a guide for DMT in the use of AR in practice or in future research studies. There are many further investigations that can be made based on the interview responses such as specific AR interventions to use and the connection of AR to the specific emotional change of the participants. Study I needs more replication to investigate any generalizability between happiness and AR.


Amber Supernor received a Master of Science in Dance/Movement Therapy from Pratt Institute. Her experiential work at North Bronx Central Hospital, Kingsboro Psychiatric Center, and Bronx Psychiatric Center will continue in her position at Kings County Hospital. Her performance experience includes Metropolitan Youth Tap Ensemble as well as FutureSTEP Tap Company.

Embodied Exploration of Belonging Through Participation in the hip-hop and Dancehall Dance Cultures

Rotem Peles

The purpose of this autoethnographic research was to conduct an in-depth exploration of an Israeli dance/movement therapist’s sense of belonging through participation in the hip-hop and dancehall cultures in NYC. This study utilized heuristic and art-based research methods to examine the author’s sense of belonging and how hip-hop and dancehall fostered reclamation of belonging. Data was gathered in multiphases, beginning with detailed journaling following participation in online freestyle sessions and club parties. Content analysis of the journals determined the presence of three themes, where each theme was further explored by a recorded movement improvisation and journaling. The three emerging themes present a comprehensive outlook on components of belonging including internal belonging within the self, external belonging within a community, and ancestral belonging. Among the findings were how hip-hop freestyle flow and music expanded the author’s presence and fostered deeper internal belonging. The author reflected upon internal barriers to belonging in groups, discovering how the role of cyphers and shared dance moves contributed to an external sense of belonging. The writer also explored her fractured ancestral sense of belonging as a third-generation holocaust survivor navigating the impact of intergenerational trauma. Movement experiences in these dance styles promoted ancestral belonging through expression of intangible ancestral knowledge. These findings provide an understanding of belonging and support the notion that elements in hip-hop and dancehall can assist dance/movement therapists facilitate an embodied exploration of belonging with clients as well as in their own self-reflection journeys. Trustworthiness and credibility in autoethnographic research were addressed through preservation of personal integrity, expression of a researcher’s stance to limit bias, examination of issues of cultural appropriation, and accountability actions. The validity criteria of reflexivity were supported by ongoing engagement with the author’s thesis advisor and prolonged cultural engagement to promote critical self-evaluation and consideration of multiple perspectives.


Rotem Peles, MS, R-DMT is a Pratt Institute alumna, currently based in Israel. Rotem is an accomplished dancer in multiple dance styles, which she utilizes as a healing modality in her work with adolescents in schools, clients in inpatient/outpatient psychiatric units, and most recently clients in a substance use facility.

Kestenberg Movement Profile and Digital Transformation

Yukari Sakiyama, Haruhiko Takase, Hiroharu Kawanaka and Atsushi Inoue

Kestenberg Movement Profile (KMP) can be for an early-stage developmental disorder detection in order to support daily lives of parents and children. The most significant feature of KMP is that the profiling results are shown as consistent, qualitative diagrams. Analysis of the Notational KMP has been conducted over time by selective and dedicated qualified analysts. As a result, it can be predicted that digitization of such analytic techniques with IT support is essential for further and better advancement. This poster presents our progress in the KMP digital transformation and our aim toward Computer-Aided Dance/Movement Therapy (CADMT), that supports from the rhythm line capture to its various analytics; and further, to decision/diagnostic support in a comprehensive manner.

Initially, an inter-institutional and interdisciplinary team has been formed in order to achieve this long-term goal (i.e., CADMT). The first step in this process, is to develop input devices to effectively yet naturally capture Tension Flow Rhythm (TFR) lines–i.e., to maintain consistency in captured data while therapists may naturally use those devices.

This work consists of the four projects as follows:

  • Project 1: Development of a Synchronization for Video and Rhythm Lines by Slider Switch System (the lines were drawn close to hand-drawn).

  • Project 2: Development of a digital input device based on the physical sensations of the notator (Squeeze ball System which is addressed to improve for accuracy).

  • Project 3: Developed a pen-tablet system similar to hand-drawn lines (all lines can be drawn the same with handwriting).

  • Project 4: The issue of Kinesthetic Empathy of notator to the input device (Exploring possibility for quantification)

Note that the first three projects have focused on device development while the last (forth) project focuses on Kinesthetic Empathy as a key performance index and feature selection criteria (for data sciences).

Advancement of CADMT is expected to unleash Dance/Mmovement Ttherapy, as an “analog” world where therapists use their own personality and experiences in their own ways  to create better standardized profiling, analytics, advising and diagnosis as a result of digitized rhythms and their analytical results as a ‘big data’. As KMP becomes more automated, therapists may draw diagrams with ease (or complete automation). As a result, therapists may overlay their own experiences based on the quantitative data and relate to the client with their qualitative movements. This likely leads the responses that have been based only on instinct and personalized experiences to more consistent and grounded responses based on data science.

*This research project is funded by the Japan Society for the Promotion of Science (JSPS) 21K02426 as “Ongoing Research on Automated Movement Analysis Techniques for Developmental Support in Childcare Settings.”


Yukari Sakiyama, Ph.D. BC-DMT, Certified KMP Analyst and Trainer, is a professor at Mukogawa Women’s University teaching Physical Expression and Activities focusing on early childhood development.


Haruhiko Takase, Ph.D. in Engineering, is a professor at Mie University in Japan. He specializes in Neutral Networks and Image Processing and Educational Technology. His current interests are in time series signal processing with spiking neural networks and in educational support systems enhanced by natural language processing.


Hiroharu Kawanaka, Ph.D. in Engineering and Medical Science, is an associate professor and a special assistant to the president at Mie University.


Atsushi Inoue, Ph.D. in Computer Engineering and Science, is a visiting professor at Mie University. He specializes in Artificial Intelligence (AI). He has recently kicked off the PiLab in order to promote the low-cost platform such as Raspberry Pi for innovations and entrepreneurship.

A study on the Effect of DMT Groups Integrating Process Model of Positive Emotional Regulation on Emotional Regulation and stress Reduction for Female Inmates

Pei-Shan Tsai

This research explored the effect of dance movement therapy (DMT) groups integrating the process model of positive emotional regulation on emotional regulation and stress reduction for female inmates in the detention center using a mixed method design.

Two DMT groups were conducted sequentially from July to October in 2021. There were 6 sessions per group once a week, and 2 h per session. 10 female inmates for each group were selected by the staff from the detention center. The dance therapy group was designed based on the concepts from the positive self-emotional regulation model and group dance therapy methods, in which five families of emotional regulation strategies, namely situation selection, situation modification, attentional deployment, cognitive changes, and response modulation, were transformed into DMT group practice. The groups were led by a BC-DMT, co-led by a mental health professional, and observed and recorded by a clinic psychologist. The research team met once a week to discuss group progress. Weekly group progress notes and group reports served as the basis for the qualitative analysis of the study were recorded by the observer within 7 days after each session ended and at the end of the group, respectively, and were collected and analyzed after the group terminated. The Body Appreciation Scale, Life Satisfaction Scale, Short Symptom Scale, and Emotion regulation questionnaire were utilized as measurement tools to understand the effect of DMT groups. Group participants were instructed to complete the above questionnaire before and after the group.

Three out of 20 participants were removed from data due to early termination and incomplete data. Data from the remaining 17 participants from pre-and post- tests were analyzed using paired-samples t-test to examine group effectiveness. The results showed a slight increase in life satisfaction and emotional regulation strategies used, a slight decrease in mental health problems, and significant increase in body appreciation and acceptance after DMT groups. Through phenomenological content analysis with 12 group progress and 2 session reports, the data were clustered into three themes: movement changes in shaping as changes in relation to self and others, levels of engaging in one’s inner experience, and mutual support and interpersonal adaptation. Results from qualitative data showed that participants’ growing in shaping correlated to their being more confident in expressing their emotions which were suppressed before. As stated by participants that life in prisons felt restrained and pressured due to the high degree of monitoring, complex interpersonal and unchanging environments, coming to the group through the music and dance helped them a lot in terms of releasing the pressure and emotional catharsis. In addition, with positive interpersonal support in the group, they gained a sense of acceptance with less blaming or criticizing.

In conclusion, the group provided therapeutic support to foster enhancement in stabilizing the prisoners' emotional status. It can be said that the six-week DMT group has a positive impact on emotional regulation and stress reduction of female inmates. In the future, it is expected that the group will increase in length to make the group effect more obvious and integrate more connotations into the group. As the body images of co-researchers improved significantly after DMT group, further empirical research is recommended to explore the correlation of the emotional regulation and stress reduction and body images of female inmates.


Pei-shan Tsai received academic DMT and GLCMA training from Columbia College Chicago. The arc of the 18-year career firstly in Chicago then Taiwan including counseling and DMT work, lecturing and supervising. Is currently a Ph.D. student in Guidance and Counseling at National Changhua University of Education in Taiwan.

Investigating the Mutual Influence Between Ballroom Dance and Dance Movement Psychotherapy: An Embodied Autoethnographic Inquiry

M Gallego

This study investigated the mutual influences between ballroom dance and Dance/Movement Psychotherapy (DMP) by comparing, contrasting, and connecting DMP theories and practices to ballroom dance teachings. Through personal experience as a ballroom dance instructor and DMP trainee, the researcher was interested in understanding how ballroom dance can serve as a therapeutic embodied process within multi-cultural client groups in clinical, experiential, and community mental health settings. An autoethnographic methodology was used to include the embodied experiences as a form of knowledge production. Data was produced through interviews, autoethnographic journaling, and embodied response video recordings. The four participants consisted of two DMP’s and two ballroom dance professionals. Participant one is a DMP whose private practice uses ballroom dance in couples therapy. Participant two is DMP who uses Salsa dance in her practice while working in Columbia. Participant three is a male professional ballroom dancer who is known for his work with Dancing with the Stars. Participant four was the researcher, a female professional ballroom dance instructor who was interviewed by her personal Dance Movement Psychotherapist. The participants engaged in conversation by answering four questions, a movement reflection in closure, and a verbal reflection. Embodied reflective video recordings supported data collection for a ten-minute embodied solo performance. Autoethnographical journaling supplied personal reflection alongside qualitative thematic analysis. The data presented a convergence of multi-cultural diversity by highlighting the importance of touch, connection, nonverbal communication, and musicality in supporting clients embodied processes through the use of ballroom dance with a DMP lens. Consequently, this investigation expressed the importance of shared experiences through cultural embodiments while affirming the therapeutic benefits of connection through physical contact. This investigation expressed how globally accessible DMP can become through ballroom dance. This study has been presented as a graduate thesis and marked with distinction.


M Gallego is an RDMP who graduated with distinction from the University of Roehampton in London, currently works as a DMP in a ASD school and a Neurodiversity Support Specialist in a Community Drug and Alcohol recovery center in London. She continues to teach ballroom dance alongside her profession.