Fun, Fitness, and Relaxation: Using Participatory Research to Explore Dance/Movement Therapy with Women Navigating the Criminal Justice System in Australia

This paper communicates findings from a doctoral research project which used dance/movement therapy (DMT) to engage two women navigating the criminal justice system in Australia. A feminist-informed participatory research design was applied to learn about each woman’s experience and to explore the possible health promoting benefits of community-based DMT. Women serving time on community correctional orders were invited to attend drop-in DMT workshops which were held in a drug and alcohol recovery centre. Participants were invited to offer feedback which was analyzed using reflexive and interpretative methods of ethnographic data generation. Three themes emerged through the data which were understood to reflect simple notions of fun, fitness, and relaxation in DMT. Although limited to a small number of participants, this study undertook a close reading of each woman’s feedback and considered themes in light of trauma theory. Drawing from the women’s responses, the study articulates the beginnings of an ‘exercisePLUS’ perspective: a theoretical rationale which validates the role of exercise in DMT and discusses its potential therapeutic significance. Neurobiological trauma frameworks are used to articulate the findings, however, the research seeks to challenge assumptions within the medical model, such as the ‘expert’ positioning of the therapist. In doing so, this research aims to contribute toward the further development of community-based perspectives in DMT practice, and, offers a theoretical rationale for the use of DMT within a forensic context.


Introduction
This paper articulates findings from a completed PhD study and offers a critical discussion around the use of dance/movement therapy (DMT) within a communitybased context in Victoria, Australia.The doctoral study sought to address a gap in criminological research, namely, the lack of knowledge about women's1 postimprisonment realities and the need for non-institutionalized and women-centered therapeutic supports in the community (Carlton & Segrave, 2013).The emphasis on women's experiences in this paper aligns with calls for more socially engaged and critical research within the criminal justice sector (Carlton & Baldry, 2013).As such, a feminist-informed participatory approach (Reid & Frisby, 2011) was used to engage two women in bespoke dance/movement therapy (DMT) workshops.Participants were invited to share their thoughts, reflections, and experiences of using DMT in a community rehabilitative setting.
This paper reports on three themes which emerged through the workshops: fun, fitness, and relaxation.These themes were understood to reflect notions of social engagement (fun), dance-as-exercise (fitness), and stress-release (relaxation) through participation in brief DMT sessions.An emerging theoretical perspective was developed using these concepts and is described as an "exercisePLUS" perspective in the written PhD thesis (Dumaresq, 2020).In this paper the notion of exercisePLUS is articulated and the potential therapeutic significance of fun, fitness, and relaxation is explored.It is hoped the ideas presented will contribute toward the further development of theoretical frameworks in DMT practice, particularly in instances where therapeutic engagement takes place outside of a formal therapy room and is housed in the community, rather than a medicalised or clinical practice setting.

A Community-Based Approach to DMT
The study explored a community approach to DMT which was framed by a collaborative and ecological conceptualization of therapy.The use of creative arts therapies in community spaces is widely discussed in the field of music therapy (Ansdell, 2002;Bolger, 2013;Rickson & McFerran, 2014;Steele, 2016;Stige & Aarø, 2012O'Grady & McFerran, 2007a, 2007b), with the birth of Community Music Therapy (CoMT) providing a sound theoretical foundation for the study.Given that theoretical frameworks associated with community-based practice are less prevalent within DMT literature, the paradigm of CoMT offered a meaningful philosophical basis for the study.CoMT proposes an extended notion of therapy which music therapist, Gary Ansdell, articulates as such: "Community Music Therapy involves extending the role, aims and possible sites of work for music therapists-not just transporting conventional Music Therapy approaches into communal settings.This will involve 1 3 American Journal of Dance Therapy (2023) 45:169-190 re-thinking not only the relationship between the individual and the communal in Music Therapy, but also taking into account how physical surroundings, client preferences and cultural contexts shape the work."(2002, p. 12-13) Community-based therapy often involves short-term projects rather than ongoing engagement and reflects a user-led, rather than expert-led, approach (Ansdell, 2022, p. 9).Guided by this perspective, the aim of the PhD project was to listen to individual women and to consider the ways in which client preferences and cultural contexts shape the work.In the case of engaging women in the Australian criminal justice system this meant placing less emphasis on traditional psychotherapeutic concepts and shifting the focus toward broad therapeutic aims, such as social engagement, participation, and wellbeing through DMT.

A Brief Therapy Approach
Drop-in DMT workshops were offered to participants during the formal data generation phase.A brief therapy structure was used to offer participants a greater degree of choice and control over their level of involvement in the project.This reflects principles of choice, partnering, responsiveness, and flexibility in participatory research, whereby processes of shared decision making and ongoing negotiation are not only highly valued, but regarded as empirically essential to the research design and methodology (Herr & Anderson, 2005).
While the researcher-therapist initially anticipated using expressive and communicative DMT methods to co-explore women's experiences of existing prison, the conditions of the practice setting did not align with depth-oriented psychotherapeutic work.In fact, this expectation seemed to clash with the more outward facing nature of the community context, including the physical surroundings, participant preferences, and overall cultural milieu (i.e., the lack of emphasis placed on psychotherapy in community correctional services).Subsequently, the researcher-therapist slowly relinquished her desire to pursue depth-oriented and psychotherapeutic work and adopted a mindset of 'therapeutic dance' in response to the realities of the healthcare setting.In practice, this was actioned through placing less emphasis on interpretation-based techniques and psychodynamicfocused methods and rather, focusing on the possibilities for group dancing and nervous system regulation within the brief DMT workshops.Creative expression was still encouraged, yet minimal focus was placed on symbolizing inner states through 'movement metaphors' (Ellis, 2001;Samaritter, 2009); moreover, deeperrooted psychological themes and biographic narratives were not explored in the short sessions.Specific dance/movement approaches are detailed in the "Methods" section as well as in the Appendix to help provide further context around the choice of DMT activities.

Trauma and the Criminal Justice System
Before inviting women navigating the justice system to participate in DMT, the academic researcher undertook approximately 6 months of immersive fieldwork within the Victorian Department of Justice which led to a more in-depth understanding of the justice system.This cycle of the project reflected a relationship building phase which is sometimes described as the "hangout" period of action research (Bolger, 2015).During this time the academic researcher developed research relationships with case managers at Geelong Community Correctional Services.Co-researchers2 Susan Dandy (Court Manager) and Alyce Morton (Advanced Case Manager) worked alongside the researcher-therapist to embed the project in the local community in a way that was responsive to the specific demands and challenges of community-based rehabilitation in south-eastern Australia.Both Susan and Alyce offered important knowledge and perspectives and drew from their longstanding experiences and expertise in the sector.
Together, co-researchers helped to identify key concerns impacting women.A central concern was trauma, alongside with anxiety, depression, substance abuse, shame, and poverty.Women in contact with the justice system often have histories of trauma which can include complex relational trauma stemming from early childhood abuse as well as other forms of trauma, such as sexual abuse, or traumas associated with intimate partner/family violence.In many instances, dual-diagnose (i.e., alcoholism leading to depression) leads to complex mental health challenges: for this reason, the DMT workshops were sited in a drug and alcohol recovery centre.Broader systemic imbalances and injustices also shape and compound women's experiences of trauma and oppression.For instance, women exiting prison tend to face grim financial realities which are further entrenched through the stigma and shame associated with criminality.This may create barriers for women who are wishing to return to work and can lead to poverty and further criminal behavior (often as a means of survival or coping).Other forms of trauma experienced by women in the Australian justice system are described as 'racialised and gendered' forms of disadvantage (Carlton & Segrave, 2013).Eileen Baldry and Chris Cunneen, for instance, speak to the ways in which race-based and gendered oppressions shape women's experiences of the justice system within the neo-colonial context of Australian society (Baldry, 2010(Baldry, , 2013;;Baldry & Cunneen, 2014).This is particularly poignant to note given the significant overrepresentation of First Nations women in the Australian justice system.
These issues, and many more, led the researcher to consider trauma as a complex, layered, personal and political experience.For this reason, a trauma-informed, rights-focused, participatory approach was adopted.Polyvagal informed dance movement therapy (Gray, 2017(Gray, , 2018(Gray, , 2019) ) was used to guide the DMT approach, alongside other neurophysiological approaches to trauma restoration in DMT 1 3 American Journal of Dance Therapy (2023) 45:169-190   (Dieterich-Hartwell, 2017, 2020 3 ).Furthermore, participatory research principles were enacted throughout the study to establish more neutral power dynamics between the researcher-therapist and participants.This entailed shifting from an "expert" model of therapy toward a more collaborative and contextual (Rolvsjord et al., 2005) approach to DMT.By seeking to share expertise with women, rather than 'treat' trauma, the aim of the study was to better understand what women seemed to want from DMT, and, to draw from women's feedback and responses to better understand the potential value of DMT in community-based care and rehabilitation.

Research Design and Method
Participatory research is one of many emergent designs within the broad suite of qualitative research methodologies.Emergent research designs differ from more objectivist approaches in that no pre-determined protocol is used.Research questions and goals are therefore developed in partnership with collaborating members throughout the duration of the project.A participatory research design was selected to help address power imbalances through a focus on partnership and collaboration.As Lykes and Crosby (2014) put it: "…feminist and community-based participatory action research provide a rich border space in which to engage the community in knowledge creation and challenge systems of power and structures of domination" (p.171).Drawing on the liberationist perspective of Brazilian educator, Paulo Freire (1968), the intention of action research-a form of participatory researchis to address issues of concern that are recognized by local communities (Reason, 2006).Participatory research stipulates that researchers and communities must work together to produce real, practical, and applicable knowledge that align with the selfexpressed interests of local communities and stakeholders (Herr & Anderson, 2005).An extended epistemology is regarded as essential in participatory research; this includes a focus on experiential and practical ways of knowing (Wicks & Bradby, 2011).An 'action spiral' is used to explore different ways of knowing and functions as a core empirical process.Methodologically, the spiral involves cyclical iterations of collaborative planning, action, observation, and reflection.These cycles of shared inquiry are considered fundamental to the research design and knowledge generation procedures (Herr & Anderson, 2005, p. 5).To align with a participatory approach, this study responded to specific questions and trajectories as they surfaced throughout the process of collaboration.Key "players" (Bolger, 2015) included correctional workers at the local government level as well as women serving time on community correctional orders.

Using Participatory Research to Expand on Treatment Model Approaches to DMT
The doctoral research sought to expand on earlier DMT studies within the prison system.For example, a literature review by Batcup (2013) suggests DMT can be used to aid mental health assessment in forensic settings.As indicated in Batcup's review, DMT (known as dance movement psychotherapy in the UK) can support individuals to explore bodily-felt feelings and emotions through symbolic movements and gestures.Batcup's review proposes that DMT/DMP may help to reduce recidivism and should therefore be considered a specialist assessment and treatment method within forensic settings (p.5).Furthermore, DMT has been used to support behavioral goals in a range of correctional contexts, such as developing pro-social competencies and skills (Batcup, 2013;Barton, 2011;Koch et al., 2014;Koch et al., 2015;Kõiv & Kaudne, 2015) and partially improving participants' self-restraint (Tepper-Lewis, 2019).
Participatory research was thought to be valuable in this setting given that most DMT research in the forensic sector to date has focused on treatment-oriented applications, therefore aligning which dominant recidivism models.Recidivism theory focuses strongly on behavioral change at the level of the individual: it is believed that by targeting core criminogenic needs (such as thoughts, behaviours, and actions), reductions in offending will ensue.The behavioural, or 'what works' approach tends to view individuals through a problem perspective and risks ignoring or minimizing the structural and systemic factors which contribute to high incarceration rates, including the disproportionate criminalization of minority groups (particularly BIPOC communities).More research on this is needed, particularly in respect to indigenous women and their experiences of imprisonment and release.

Context: Introducing the Research Community
The project took place in the regional city of Geelong, Australia, on the unceded lands of Wathaurong people and ancestors (https:// www.watha urong.org.au/).A formal research partnership with state government was formed, namely with Geelong Community Correctional Services (Department of Justice, Victoria).The academic researcher engaged key stakeholders in the Department of Justice who agreed to become "co-researchers" (Herr & Anderson, 2005): Susan Dandy and Alyce Morton.The inclusion of co-researchers in the study reflects an action research methodology where academic and non-academic partners work together by engaging in iterative cycles of planning, actioning, observing, and reflecting.Susan and Alyce offered their perspectives and expertise throughout the collaboration and helped 1 3 American Journal of Dance Therapy (2023) 45:169-190 facilitate ongoing dialogue between different parties, including the researcher-therapist, Department of Justice employees, community stakeholders (i.e., leaders of local mental health organizations), and "female offenders" (the term used by the Department of Justice).During this time the researcher-therapist offered introductory DMT workshops which gradually led to study recruitment pathways.Workshops were also offered to correctional staff as well as different community centres to introduce DMT to local groups.Many diverse strategies for recruitment were trialled and are discussed at length in the written thesis.Eventually, these efforts culminated in the recruitment of two participants.Given the small participant group and short duration of therapy, a case study approach was used to closely examine themes arising through the three brief DMT encounters.

Research Questions
The following research questions were used to guide the inquiry: • How might a dance/movement therapist work in partnership with supporting communities such as service providers and outreach workers to create enabling conditions for women to access dance/movement therapy (DMT) within the community?• How might DMT support women in the criminal justice system in ways that are responsive to the health and wellbeing needs, expectations, and desires of its users?
Following the emergent nature of participatory research, these questions were fluid and evolved over time as new learnings came to light.

Three Brief DMT Workshops
Three DMT workshops were held from May to June in 2018, at a local drug and alcohol recovery center.Each session lasted approximately 45 minutes.The third workshop was shorter (1/2 hour) in response to participants' availability.In participatory research methodologies, all decisions are undertaken in partnership with research contributors, including the duration of data collection.The workshops took place on a Friday afternoon and were hoped to supplement an existing six-week recovery program which consisted of behavioral-focused talk therapy, mindfulness meditation, and art therapy.Two women met the research inclusion criteria and were invited to participate in the study.Other group members were present for some workshops but did not meet the study inclusion criteria.Only a small number of participants attending the DMT workshops were undertaking a community correctional order at the time of the project, hence the limited data presented in this research report.While six DMT workshops were offered in total, only three workshops attracted participants and the other three were 'no shows.'These challenging participation rates matched expected outcomes, according to co-researchers, given that engagement and participation were identified as key barriers/challenges from the beginning of the study.It was hoped the research could help shine a light on motivating factors behind engagement in DMT, which could help to promote further participation and the development of user-led services.

The Space Itself: Outside of the 'Therapy Room'
The DMT space used for the workshops was multipurpose and communal.On Friday afternoons it resembled a bespoke dance studio yet on other days it hosted an ad hoc table tennis competition and was used for group therapy.The room included a shared kitchen and housed a small second-hand clothing rack.Unlike a more traditional psychotherapeutic setting, the space seemed porous, permeable, and, somewhat chaotic and uncontained; at the same it felt somewhat homely and welcoming.The DMT workshops were designed to be welcoming of anyone who wanted to join.This emulated the ethos of hospitality and inclusivity embedded in the community center and aligned with the existing purpose of the space and structure of the host organization.However, it contributed toward the need to work in a flexible and adaptive way and to set aside expectations associated with depth-oriented psychotherapeutic work.A focus on physiological stabilization, social connection, and group engagement were considered key: this approach was supported by polyvagal theory-informed DMT and the concept of up and down regulating and stateshifting, which is a polyvagal concept (Gray, 2017).As Gray & Fargnoli (2022, p. 16) put it, state-shifting is based on three 'wholeness' states experienced through social engagement, such as "centered (grounded, contained), mobilized (playful, energetic) and settled (calm, relaxed, restful)".While the community space did not allow for depth-oriented psychotherapeutic work, the concepts of state-shifting and social engagement were key ideas which helped guide the therapeutic intention for each workshop.

Participants: Min and Kaz
Each week the group size ranged from two to five group members.The two consenting participants are discussed using the pseudonyms 'Min' and 'Kaz'.Min had previously spent time in prison and was completing a community correctional order.Kaz had also served time in prison, and at the time of this study was completing her community corrections order, too.No further personal details were known to the researcher, such as cultural background, age, or clinical history.
The researcher assumed the dual role of researcher-therapist.As a qualified professional dance/movement therapist, the researcher-therapist facilitated the sessions and captured data using a method of ethnographic note taking.No prior relationship existed between the researcher and participants.

DMT Activities
DMT is a body-mind modality which uses dance, movement, and somatic methods to support health and wellbeing.DMT methods 4 may include the use of breathwork, creative expression, structured dance improvisation, choreographic work, movement analysis (used to understand behavior and movement patterns), as well as techniques to support grounding (de Torde & Bräuninger, 2015).
There are many definitions of DMT.For instance, the professional association of Australasia describes DMT as the "relational and therapeutic use of dance and movement to further the physical, emotional, cognitive, social, and cultural* functioning of a person" (https:// dtaa.org.au/ thera py/).Another definition-less well known-is offered by Ho et al., (2018), who locate DMT as a hybrid modality that incorporates elements of exercise into a psychosocial approach to therapy.The theoretical rationale for the DMT workshops aligned with both definitions, meaning that a combined focus on moderate physical activity alongside relational and creative dance practices were used to help foster personal expression, connectivity and belonging.
Given that women navigating the justice system were understood to be trauma survivors, the selection of DMT methods was informed by trauma-sensitive recommendations for DMT practice (Gray, 2017;Dietrich-Hartwell, 2017).A 3-stage trauma model published by Dieterich-Hartwell (2017) was particularly influential in guiding the therapeutic approach, with concepts of safety, nervous system regulation, and 'interoception' central to each session plan.Briefly stated, interoception refers to the process of tuning in to the body's signals and noticing internal physiological and metabolic sensations (Hindi, 2012).Warming up and cooling down focused on interoceptive techniques such as attending to breath and noticing sensations in the body.This was balanced by noticing qualities of the external environment (exteroception) such as sounds and visual stimuli, which reflects a 'trauma-sensitive mindfulness' approach to therapy (Treleaven, 2018).The technique of mirroring (McGarry et al., 2011) was also used to establish a game of Pass-the-Dance-Move whereby participants were invited to initiate a dance move and share it around the circle.A full description of workshop activities is available as an Appendix. 4Other methods are described in the literature, for instance, Koch (2020) discusses approaches such as body image work, movement rituals (such as circle dances), 'mirroring' activities which assist with therapeutic attunement and theme development, and symbolic uses of movement to convey emotional states, thoughts, feelings, and sensations.Bräuninger (2014) also discusses DMT methods and their theoretical basis, noting a range of techniques commonly employed: Dance techniques, used to elicit expression, metaphor, and synchrony are common, as are psychodynamic and imaginative techniques to stimulate creativity and body-mind integration.Relaxation, meditation, and focus techniques are also used (Bräuninger, 2014) to support the wellbeing: these methods help to develop interoceptive awareness (i.e., the ability to notice, sense, and tolerate sensations in the body) and can be useful elements to apply in a trauma-informed context (Dieterich-Hartwell, 2017).

Data Analysis
Ethnographic fieldnotes were used to document researcher observations and reflections.A detailed set of notes was entered directly into an excel spreadsheet following each workshop.An array of observations were captured, including a category for embodied reflexivity which is a critical aspect of somatic-based participatory research (Johnson, 2014).Embodied reflexivity allows the researcher to reflect on, examine, and critically interrogate their own subjective and implicit biases and assumptions.In doing so, taken-for-granted notions are challenged and transformed, whilst making transparent the researcher's own relationship to, and embeddedness within, the processes of academic knowledge production (Caldwell & Johnson, 2012;Johnson, 2014).This was evidenced through various artistic outputs incorporated in the written PhD thesis.For instance, the researcher used dance and movement to engage aesthetically and reflexively with the data.One example of this is provided below: it features a video link embedded in the written thesis and shows how the researcher sought to locate herself in the text, thus highlighting the situated, partial, and subjective nature of participatory research: https:// www.youtu be.com/ watch?v= qkWek ibtwds

Evocative Ethnography: Applied Ethnopoetics
After each session the researcher entered observations into an excel spreadsheet and used these notes to record impressions of the workshop.Fieldwork notes were analyzed through an "evocative" approach to ethnography (Ellis & Bochner, 2000).Evocative ethnography utilizes a first-person and embodied approach to research and is founded on the epistemological belief that knowledge is partial, unfixed, indeterminate and open to continual re-interpretation and rebuttal.The method of "applied ethnopoetics" (Blommaert, 2006) was used to make sense of the data, with 'data' referring to participant feedback that was read, and interpreted, through the researcher's situated, embodied, and embedded perspective.Applied ethnopoetics is a form of narrative analysis which stems from performance-based ethnography.It was purposefully applied in this study to convey an inductive, lyrical, and dialogical form of inquiry which reveals visceral and layered dynamics of embodied exchange (Blommaert, 2006, p. 184).

Case Example: Listening to Women's Feedback Through an Ethnopoetic Practice Vignette
According to Ellis and Bochner (2000, p. 745), evocative ethnography may strategically collapse events into a singular narrative to capture a more realistic account of fieldwork interactions as they took place.The vignette below re-constructs the 1 3 American Journal of Dance Therapy (2023) 45:  dialogue which emerged during three sessions into a narrative form.As a method of data representation the ethnopoetic approach is often used to help gather key themes into a coherent picture; it is also used to convey the conversational and embodied manner through which data generation took place.Furthermore, evocative ethnography seeks to construct findings/knowledge in a manner that speaks to the limits of what can be known.As mentioned, it is based on the epistemological premise that knowledge is partial and open to multiple interpretations and truths.The findings do not offer a conclusive theory as to how DMT can 'treat' women navigating the justice system but rather, presents the researcher's understanding and interpretation of participant experience, as was observed throughout the workshops.This included movement-based observations, for instance: Min used her near-reach kinesphere and was often quite held in the torso.She was generally quiet and looked to the therapist for direction.Kaz used more of her kinesphere (i.e., mid-reach) and explored Space with arc-like movements.She appeared to display a preference for quicker movements and was often chatty.Both Min and Kaz appeared quite unsure about moving in a group, though over three sessions appeared to enjoy the chance to be 'silly' and play around a little.

An Ethnopoetic Vignette
After the workshops we are standing about in the kitchen or sitting in a circle.I know the women need to depart in a few short minutes, but we leave time for a check-in and chat nonetheless.Min

Articulating an ExercisePLUS Perspective
The themes-highlighted in dark-which emerged through the workshops were understood to reflect notions of social engagement and enjoyment (i.e., fun), as well as dance-as-exercise (fitness), and stress-release (relaxation).Drawing from these ideas, the data was analyzed through the lens of polyvagal theory (Dieterich-Hartwell, 2017;Gray, 2017Gray, , 2018;;Porges & Dana, 2018).What developed was the beginnings of a theoretical construct, described in the study as an exercisePLUS perspective.This perspective aimed to stay close to participant voice/s: for instance, instead of recasting fun as 'positive affect' or side-stepping fitness to talk about body image issues, the intention of the exercisePLUS perspective was to use language offered by participants as a basis for theory generation.
The notion of 'exercise plus' echoes what dancer and anthropologist, Judith Hanna, has written about dance, health, and wellbeing.For Hanna, dance is associated with physical, cognitive, emotional wellbeing, largely owing to the role of physical exercise which is housed in the art form.As Hanna (2017, p 110) suggests: "Dance is a form of exercise plus the communication of thoughts and feelings, yielding more dividends than other forms of exercise".Furthermore, she states: "Dance is exercise PLUS5 " (Hanna, 2017, p. 105).The following analysis builds on the theory that dance is exercise, plus, aesthetic enrichment and more.It considers the role of dancing as a "key ingredient" (Koch et al., 2019a(Koch et al., , 2019b) ) in DMT and discusses the therapeutic significance of three simple but powerful ideas: fun, fitness, and relaxation.

Fitness: the F Word?
The focus on fitness in this study is inspired by Kaz's responses which seemed to pivot around her fitness goals and her keen desire to shed weight.Rather than psychologize Kaz's intention to lose weight as a body image or self-esteem issue-which may be more relevant if working in a longer term, insight-oriented manner-an exercisePLUS perspective mighty seek to validate an individual's desire to build fitness capacity, and recognize that DMT can accommodate this goal within a therapeutic framework.The notions of functional fitness and exercise does not undermine psychotherapeutic objectives in DMT but rather, refers to the way in which physical exercise can be leveraged as an important therapeutic factor6 within some applications of the work.
While it may seem obvious that DMT can accommodate fitness goals, there is in fact very little literature to support the idea that exercise, strength-building, and conditioning are valid therapeutic aims in DMT.The word 'fitness' for instance is rarely 1 3 American Journal of Dance Therapy (2023) 45:169-190 seen in the literature.Dunphy et al. (2020), however, identify "fitness and release" as a possible therapeutic goal in DMT and go on to associate this with other physical outcomes such as "stamina, strength, flexibility, balance and release of physical tension" (Dunphy et al., 2020, p. 17).Similarly, Koch et al. (2019aKoch et al. ( , 2019b) ) examine the effects of flamenco therapy for trauma survivors and include 'fitness' within the study's assessment criteria.No doubt dance therapists implicitely work with fitness, though there appears to be a lack of explicit discourse addressing the topic of exercise and fitness in DMT literature, perhaps due the theoretical influence of psychotherapeutic and psychoanalytic perspectives in the field (which tend to emphasize the expressive/communicative power of dance over more physical and functional applications and theory).
As indicated throughout this paper, not all DMT applications are practiced with a psychotherapeutic orientation in mind.In some instances, it will be sufficient to focus on fitness goals whilst practicing DMT in a manner that is trauma-informed and reflective of a therapeutic relationship.While this could expand toward psychodynamic methods over time, it is also valid for the work to remain focused around physical health goals, if that is the wish of service-users.As DMT literature frequently points out: the body is the mind, and the mind is the body.Whichever pathway clients choose to explore, a dance therapist can adapt DMT approaches to target physical and/or mental health with the knowing that embodied and aesthetic experiences offer a non-dual and multilayered way into working with body-and-mind.For instance, gentle strength and conditioning work may become an important resource for a client who is in recovery from trauma.In a DMT context this would likely be facilitated differently to Pilates or a fitness class, in the sense that personal expression and creativity could be incorporated into the session alongside a relational approach to movement discovery.Exposure to new movement language can become a process of artistic self-discovery through which personal strengths and resources may be mobilized and performed.This can occur through improvisation as well as through more structured approaches to movement, including activities derived from exercise (such as a wall press or wall hold, or a squat, or aerobic activity within a choreographed dance sequence).
Notably, therapeutic training remains paramount: dance/movement therapists are not fitness instructors or dance teachers.The importance of therapeutic training is highlighted in a meta-analysis by Koch et al., (2019aKoch et al., ( , 2019b) ) who found that specialized use of dance movement interventions within a therapeutic context resulted in larger effect sizes, meaning that studies facilitated by trained DMTs were associated with stronger outcomes compared to dance interventions offered by non-dance specializing experts, such as physiotherapists or exercise instructors (p.3).DMT is clearly not fitness coaching, yet exercise as a therapeutic factor should not be dismissed or down-played in terms of its significance.In contexts where engagement is difficult to sustain (such was the case in this study) it may be valuable to appeal to fitness goals as the core motivation for therapy, upon which further aims can be developed.For some individuals the idea of fitness or exercise may offer a safer or more familiar way of exploring movement to begin with, as opposed to more vulnerable movements associated with symbolic, improvised, or expressive methods.For Kaz, the idea of moving her body, sweating it out, and getting fit, appeared to be a positive motivating factor for her decision to participate in DMT.Of course, there may be intrapersonal and psychological aspects nested within an individual's desire to become fit and lose weight which could be therapeutically relevant to address in a psychotherapeutic context.The simple desire for physical health and wellbeing is a common and relatable goal for many individuals however, and, when sensitively leveraged within the DMT process, may lead toward further engagement in therapy.

For Fun's Sake!
Alongside fitness aspirations, Min and Kaz appeared to identify dance as an enjoyable form of exercise that enabled the group to muck around, have fun (Min) and sweat!(Kaz).This is indicated in research on dance and wellbeing, with literature suggesting that dance can promote positive-activated states such as feeling happy, elated, energetic, and euphoric (Quiroga Murica et al., 2010).Moreover, exercise alone is known to promote a sense of feeling good (Haskell et al., 2007;Penedo & Dahn, 2005;Warburton et al., 2006), meaning that dance-as a form of exercisecan offer a similar 'feel-good' experience.The theoretical basis for an exercisePLUS perspective acknowledges the therapeutic value of moderate physical activity and positions dance-based exercise as key therapeutic factor in DMT (Koch et al., 2019a(Koch et al., , 2019b)), alongside play, pleasure, aesthetic experience, creativity, and several other (psycho)therapeutic affordances identified in the literature (Koch, 2017;Lauffenberger, 2020).
While the two cheeky F-words-fun and fitness-can be difficult to 'intellectualize' they may point toward other significant concepts in humanistic approaches to therapy such as freedom, expression, and social connectivity.Furthermore, the availability of a safe-enough environment in which to 'just have fun,' relax, and sweat it out, cannot be underestimated in criminal justice settings.Importantly, having fun and engaging in relational movement exchanges are recognized as crucial therapeutic factors in trauma recovery (Gray, 2017).DMT offers more than 'just' exercise and should not be reduced to a utilitarian-like fitness routine or dance class activity.DMT can nonetheless accommodate exercise goals-PLUS-it offers a psychosocial and creative/aesthetic outlet.It is perhaps, an enriched version of exercise that incorporates social, relational, and artistic expression alongside physical and functional goals and outcomes.

Up-Regulation and "Sideways-Shifting" Through Fun and Fitness
Unlike other fitness endeavours, DMT can support nervous system restoration in trauma work through the careful balancing of up-and down-regulation of the nervous system (Dieterich-Hartwell, 2017, 2020;Gray, 2017).Gray describes trauma care as multidirectional and refers to up-and down-regulation as well as 'sideways shifting' toward social engagement.Sideways-shifting points to an attuned and relational use of dance, which activates social connectivity.According to Gray's framework of polyvagal-informed DMT, "state shifting in the direction of social engagement" involves an invitation to play, which is essentially an upward mobilization of 1 3 American Journal of Dance Therapy (2023) 45:169-190 the body's energy without the anxious/fearful response (Gray, 2017).This relates to the concept of the "social engagement system," a touchstone of Stephen Porges' polyvagal theory; succinctly put, the social engagement system efers to a third kind of nervous system which helps individuals navigate social relationships (Dykema, 2006;Porges & Dana, 2018).In addition to the parasympathetic and the sympathetic nervous systems which control the flight-fight response, Porges suggests the vagal nerve acts as a socially-oriented nervous system which plays an importance role in the neurophysiology of trauma (Dykema, 2006).Moreover, trauma survivors-according to Porges-need to be able to experience more than down-regulating strategies to combat persistent 'flight' or 'fight' responses (Porges & Dana, 2018).Given that exposure to trauma can result in withdrawal and isolation, the re-activation of social connectivity, along with healthy up-and-downward regulation, is considered essential to recovery.This is particularly meaningful for the creative arts therapies (art, dance, drama, music) which use the arts to support health and wellbeing and emphasis relational and creative processes of aesthetic engagement.Through musicking, mark-making, moving, or play-acting in a social context, individuals may experience flow, or a sense of 'being in sync' with oneself, or, a sense of joy or connection.This is indicated in the PhD study with participant feedback suggesting DMT can offer a socially inviting form of therapy.As Min reflected, 'people could just have fun' and it 'wasn't too serious.'Through experiencing DMT as a vehicle for fun and fitness, participants appeared to access an enlivened (up-regulated) state, without the shame, anxiety, or fear associated with trauma induced up-regulated responses (such as hypervigilance and hyperarousal).Importantly, DMT took place in a social context, therefore encouraging an active state shift toward social connectivity through the physicality of dance.
Furthermore, research indicates that specific dance activities can help shift the body toward a more invigorated state which can also be beneficial for trauma survivors. Dieterich-Hartwell (2017) notes this can be useful when physiological shutdown or immobilization are present.In such instances, the use of vertical movements, such as bouncing or jumping, have been found to correspond with feelings of joy and pleasure (Koch et al., 2007).Whole-body movements, along with the use of rhythmic synchronization, have also been found to support a vitality affect through up-regulating the body's physiological systems during dance activities (Dieterich-Hartwell, 2017).Echoing this, somatic psychotherapist, Resmaa Menekam (2017) recommends at least 20 min of consecutive movement, including dancing, as part of a trauma sensitive approach to therapy.The rationale behind this recommendation is grounded once more in polyvagal theory (Porges & Dana, 2018).Through dancing, the body's "natural defensive and protective urges" (Menekam, 2007 p. 172) are thought to become activated, which is believed to support tension-release through active and full-bodied movement in a safe environment.This can be complemented through downward regulating experiences which are interpreted in this study as 'relaxation' or stress-release.

Down-Regulation: Relaxation
The social engagement system is also self-calming and may allow individuals to enter a more relaxed state, particularly when accompanied by others in an attuned manner.In addition to the sense of relaxation that can be supported through attuned, social connection, feelings of calm are also thought to be associated with a type of muscular release enacted through dance.The physicality of dancing for instance is known to support a "positive-deactivated state" (Quiroga Murcia et al., 2010) such as feeling released, relaxed, and calm.
Relaxation may also be interpreted as a 'rest-and-settle' state which is sometimes linked to the use mindfulness-based methods in DMT.Supporting body awareness, for example, can be a valuable tool when assisting individuals to metabolize unpleasant sensations in the body, such as triggers associated with stress, anxiety, and/or trauma.DMT incorporates somatic techniques such as attuning to the breath, which can support participants to notice, tolerate, and explore different sensations in the body.Methods such as guided body scans (using interoception) or paying mindful attention to the external environment (known as exteroception) are well documented in DMT, particularly regarding the therapeutic benefits of mindfulness-based DMT (Barton, 2013;Major-Dusele, 2021;Tantia, 2014).Through mindfulness-based practice and down-regulation, the foundations for further therapeutic work can be laid.Further to this, dance therapists may choose to offer takehome tools and resources to encourage further practice and self-soothing outside of sessions, particularly if working in a short-term or drop-in manner.
To summarize: from a neurophysiological perspective, one of the hallmarks of trauma-informed work is thought to be the balancing of up-and down-regulation of the nervous system (Dieterich-Hartwell, 2017, 2020) alongside ability to sidewaysshift toward social connection (Gray, 2017) From an exercisePLUS perspective, up-regulation (and sideways-shifting) can be conceptualised through the lens of fun and fitness, while down-regulation speaks to the idea of relaxation.The physical experience of dancing, when combined with activities which encourage relaxation and downward regulation, can help to support nervous system restoration in shortterm as well as longer-term therapy.DMT offers a creative, artistic, exercise-based, and psychosocial approach to therapy and is clearly trauma-informed.While fitness classes alone, such as Zumba or kickboxing, are excellent activities in terms or up-regulating the body system, the structure of a DMT session is likely to include intentional opportunities for calming and soothing, which are offered alongside moderate levels of physical activity (or rather, exercise enriched with creative movement).These ideas also point toward the further research possibilities and directions, including the concept of trauma-informed exercise, fitness and strength training.

Study Limitations
A limitation of the research is the small amount of available data.Of the six DMT workshops offered, only three workshops were attended, meaning that formal data was limited.Given these constraints, the study offers a snapshot of what was possible in a short-term, community-based context and aims to articulate the beginnings of an emerging theoretical perspective.The limited data reflects some very real challenges in this post-imprisonment research, namely, low participation rates and numerous barriers to recruitment.This includes barriers like gender inequality, loss of income, childcare needs, employment challenges, alcohol and drug use, stigma, shame, and abuse.Oftentimes these factors are compounded by racist, sexist and ableist policies.Many women in the prison system face extraordinary difficulties in terms of maintaining base level survival needs, and women on community corrections often manage a full schedule of mandatory appointments as required through the Department of Justice.This may include individualized therapy appointments, hence the desire to provide something 'different' through non-treatment focused DMT.
Future research might aim to engage more women over a longer period to gather more diverse accounts of how different women chose to engage with DMT.As criminalized women do not represent a homogenous population it would be valuable for future iterations of the research to explore the findings through the lens of intersectionality to develop a deeper sense of how women of different ages, backgrounds, cultural identities, abilities etc might engage in DMT.This knowledge could be used to diversity frameworks and practice models used to engage women in the justice sector.

Conclusion
Research participants, Min and Kaz, appeared to associate DMT with fun, fitness, and relaxation.These simple concepts were used to develop the theoretical basis for an exercisePLUS rationale.This perspective explores the value of physical fitness and exercise in DMT and connects these elements of practice to existing trauma discourse.Throughout this study, power relationships were considered and mediated through the establishment of a participatory framework which was underpinned by principles of partnering, collaboration, and researcher reflexivity.By situating participants as experts of their own experience, and through processes of careful listening and interpretation, the research findings illuminate concepts that were thought to reflect what two women appeared to enjoy about DMT, with reference to three brief, situated, and time-bound ethnographic encounters.
This may be a useful framework for those working in preventative health, community health, or, in other non-acute treatment settings.As stated by Bräuninger and Bacigalupe, DMT can be utilized within a full range of "preventative, curative, rehabilitative, and promotional" health contexts (2017, p. 740).DMT is not limited to treatment models of care or psychotherapeutic theory and application.
Working across different settings does however demand further diversification of theoretical frameworks and practice methods in DMT to ensure theories and applications align with the complex and contextual realities, demands, and expectations of diverse therapeutic environments, including the people who seek services in these areas.Finally, it is hoped DMT may continue to play a role for individuals transitioning from prison into the community, and that a deeper understanding of contextually responsive and collaborative practice will continue to emerge with time.This ambition will require energized discussion and exchange, where the voices and experiences of women can be further explored, considered, and meaningfully responded to in the development of user-led therapeutic services.

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That'll help me lose weight, won't it?
and Kaz reflect: [Min] Its good to just muck around and not take things too seriously At the end of the week we are tired of talking!Yeah, it's a lot of talking [Min to me:] um you did it in a relaxed way and people could just have fun and it wasn't too…serious [Min] Its good for the….[touches head] Good for getting out of your head …Forget things that are stressful… [Kaz interjecting:] This would help me, wouldn't it?