{"value"=>"<p> <span class=\"title\">An exploratory look at the dance/movement therapist's role and practice with a group of deaf adolescents</span></p> <p>This paper describes the differential role and practice requirements of the dance/movement therapist working with adolescents who are deaf. A review of the literature reveals the historical reporting of pervasive social-emotional and behavioral problems for deaf youth. These behaviors are reframed by both a human developmental perspective which recognizes common biopsychosocial stressors of the adolescent period, as well as by a sociocultural perspective which recognizes the often misunderstood cultural and linguistic behaviors of the deaf community.</p> <p>The dance/movement therapist's role and practice with one group of deaf adolescents is described to illuminate group needs and practice responses. Similarities and differences are noted between working with hearing and deaf populations, respectively. Whereas actual dance/movement therapy activities and group development were found to unfold in an average expectable way, major differences were noted in the areas of communication mode, transmitting messages/cueing, use of music, lights, and props, and verbal (signed) processing. Dance therapy practice with hearing persons typically relies upon the use of music and the ability to call out directions while movement exploration is carried out. With deaf individuals, colorful props were found to provide the emotional shading and stimulation that music provides to the hearing. In addition, to transmit messages, American Sign Language, a visual-manual language, requires conversants to make eye contact presenting challenges to the therapist who, in promoting immersion in an activity or movement experience, must find alternate ways to impart information without inhibiting the mover/participant.</p>"}