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Holistic Marketing for Dance/Movement Therapy:

A Heuristic Study

Kimberly Schmidt

Published online: 21 September 2011 American Dance Therapy Association 2011

Abstract Literature suggests that dance/movement therapy is still relatively

unknown in the healthcare profession and that marketing, when used effectively,

can increase job opportunities for dance/movement therapists. This heuristic study is

based on the assumption that holistic marketing, as described in Andrea Adlers

books The Science of Spiritual Marketing and Creating an Abundant Practice,

reflect the integrity and values of dance/movement therapy. By focusing on the

experience of being initiated into the holistic marketing paradigm as a dance/movement therapist, the following themes were revealed that allow for insight into

the relationship between holistic marketing and dance/movement therapy: aware-

ness of core values, connection, and communication. Recommendations are made

for future research to expand the presence of dance/movement therapy in healthcare.

Keywords Dance/movement therapy Holistic marketing Business

Introduction

As a student, I was frustrated with an inability to communicate what dance/

movement therapy is to those in and outside the mental health field. With this

personal experience in mind, I wondered what external factors might contribute to

the heavy and burdensome feelings I carried alongside the light, energetic qualities I

experienced with dance/movement therapy. I reviewed literature on the mental

health system in the United States to get a clearer picture of the structure in which

the modality of dance/movement therapy exists. Many articles illustrate mental

health care as a struggling system. First of all, in a complex health matrix, themental health system trails general health care in funding and is broken and

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DOI 10.1007/s10465-011-9116-4


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unorganized, resulting in a myriad of social ills from insufficient care for both

children and adults with severe mental illness (Frank & Glied, 2006a, b; Grob,

2005; Presidents New Freedom Commission on Mental Health, 2003). Todays

mental healthcare system is a complex network largely managed by state and

federal governments outsourcing valuable decisions to companies with littleknowledge of the system but whom adhere to a bottom line, extinguishing consumer

voice in the process (Frank & Glied, 2006a, b; Huang & Provan, 2007; U.S.

Department of Health and Human Services, n.d.). The holes left from this process

are filled to some extent by foundation donations, but these foundations do not list

mental health as a top priority in their giving (Brousseau, Langill, & Pechura, 2003).

Government commissions and those who research and analyze health care policy

and economics suggest studying the current system and the nonprofit sector to look

for solutions (Brousseau et al.; Frank & Manning, 1992; Huang & Provan;

Presidents New Freedom Commission on Mental Health, 2003).While these suggestions address the issue of health care at large, literature also

exists that addresses health care professionals struggling to bring in clients and

revenue on the small business and private practice scale. Sohnen-Moe (1997) and

Adler (2003) address this concern by outlining ways in which these health care

professionals need to incorporate business tactics into their practice while

maintaining their caring values. The stereotype of business people being

concerned only with making money and caring people being concerned with

people and not the money polarizes the values of business and caring

professionals, and results in the health care professions being turned off by thenotion of business (Adler, 2007; Sohnen-Moe, 1997). However, such shying away

on the part of the caring people is futile to successful health care practice, while

becoming educated in business tactics allows one to choose what business strategies

to utilize (Adler 2003, 2007; Sohnen-Moe, 1997). Although Adler and Sohnen-Moe

speak to small business and private practice, the fundamentals of their business

strategies might have some bearing on the dance/movement therapy and mental

health world at large. To examine this further, I have investigated the business

paradigms of marketing and public relations because I believe they could help

inform people about dance/movement therapy.

When referring to the term marketing, I am describing any contact with the

outside world through disciplines including arts, science, and psychology working

in conjunction with sales, sales promotion, merchandising, marketing research,

advertising, and public relations in order to influence behavior to attract and keep

clients (Levinson, 2001; Saffir, 2007; Sohnen-Moe, 1997). Riggs (1982) described

public relations from a healthcare perspective as policies and procedures that the

public cares about, weighs in on public opinion, and formulates ways to gain

understanding and acceptance from the public; Shankman (2007) described public

relations as taking any story, dressing it up, and presenting it in a way to get the

media and the public to talk about it. While I found Riggs, Sohnen-Moe, Saffir, and

Adler the most helpful in my pursuit of understanding the paradigms of healthcare

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Marketing and Dance/Movement Therapy

While Kirschenmann (2006), dance/movement therapist and certified corporate

business coach, presents marketing body/mind for dance/movement therapists,

Geer (1990) attempts to demystify marketing in order for dance/movementtherapists to be able to craft new positions and increase job opportunities.

Both Geer (1990) and Kirschenmann (2006) acknowledge that dance/movement

therapists know how to connect to clients in therapy and assess their needs, skills

that are the foundation of successful marketing. Geer (1990) also addresses a

challenge:

Dance/movement therapy as a relatively new and different human service faces

some unique marketing barriers. In particular the creative fleeting nature of the

modality makes hard scientific research methods difficult to employ and its value

a challenge to communicate to those who have not experienced it. (p. 47)

Kirschenmann (2006) also acknowledges that because dance/movement therapy

is based in non-verbal communication, translating it into spoken and written word

might be a difficult task. Addressing this challenge in his article, Geer (1990) gives a

detailed example of a dance/movement therapy marketing plan. In his conclusion,

Geer (1990) provides practical suggestions on how to establish marketing practices

as part of the dance/movement therapy profession.

In her address The Rhythm of Entrepreneurship at the 2005 American Dance

Therapy Association (ADTA) national conference, Kirschenmann (Appel & Welsh,2006) guided those present in six steps to what she calls the Entrepreneurial Exhale for

Dance/Movement Therapists as a way to explain dance/movement therapy to others or

help ones business. These steps consist of getting in touch with your enthusiasm and

importance of what you do, envisioning the action youll take, following through with it,

and writing about what you did to complete the commitment.

Kirschenmann (2006) presents five strategies for developing the body/mind

marketing:

(1) Become familiar.

(2) Focus.(3) Be intentional with thoughts and feelings.

(4) Think differently. Use your imagination. Be in conversation.

(5) Take action. Move it into the world.

Kirschenmann (2006) brings awareness to obstacles to promoting dance/

movement therapy, and emphasizes the human potential to expose the body/mind

to new ideas and ways of being. She suggested that with the intention of learning

and developing the fundamental verbal and body communication tactics of

marketing, dance/movement therapists can further their success. In so doing,

spirituality and creativity become byproducts of supporting a body/mind approach.

Levy (2005) includes spirit as an important component of dance/movement therapy:

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Creativity in Business

While dance and dance/movement therapy cannot exist without creativity (Levy,

2005), creativity in business is often thought as separate from joy and self-

expression. In Guerrilla Creativity, Levinson (2001) continuously notes thatcreativity is used with the intent of changing peoples minds to generate profits,

taming creativity, and limiting its depths: [creativity] may not inspire thoughts of

love, of holiness, of the magnificence of humankind. Those are not its tasks. Its task

is to create a desire for your product or service (p. 8). Aburdene ( 2005), Adler

(2003, 2007), Bryan, Cameron, & Allen (1998), and Sohnen-Moe (1997) say instead

that business prosperity will result from meaning and purpose being channeled in a

creative approach. With the right tools, creativity and success within a business do

not have to be compromised.

In a concrete example of this point, Bryan et al. (1998) tailored a 12 weekprogram in The Artists Way at Work to business professionals on the premise that

spiritual enlightenment and knowledge of self through creative processes lead to

expanded sense of intuition, confidence and satisfaction heightened awareness of

and appreciation for your particular gifts and challenges (p. xxi). Saffir (2007) and

Shankman (2007) also agree that such spiritual electricity leads to innovation and

allows one to enjoy work and life in a productive, successful, authentic manner.

Spirituality and the Whole in Business

Creativity has an energetic, spiritual component (Bryan et al., 1998; Saffir, 2007;

Shankman, 2007; Sohnen-Moe, 1997).

Definitions of spirituality include a desire for meaningful and purposeful knowledge

of ones self coupled with a connection to others, the larger world, and a larger force

(Aburdene, 2005; Adler, 2003, 2007; Sohnen-Moe, 1997). This larger force is also

identified as God, described as everything from quantum energy, to a collection of

energy, a source, or somesense of a helpingforce (Bryan et al., 1998, pp. 104105).

Aburdene (2005, p. 4) breaks spirituality down into the following features:

(1) Meaning or purpose(2) Compassion

(3) Consciousness

(4) Service

(5) Well being

When I speak of spirituality hence forth, I am referring to these five features.

Although I have not found a specific definition of spirituality in the context of

dance/movement therapy, in her survey of dance therapists, Levy (2005) found a

shift toward the incorporation of spirituality in dance/movement therapy practice.

Levys research in dance literature exhibited that every form of dance acknowledges

faith or spiritual aspects, and dance has served as a form of prayer and meditation

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growing trend not only increases the demand for these services, but also spills over

into every day businesses and care, including Western medicine.

Aburdene (2005) further states that spirituality in general business, which has been

growing for decades, is now a trend and shows no sign of stopping. Many magazines

and newspapers report on this trend, universities chart a rise in spiritually and faith-based nonprofits, as well as large and small companies incorporating spiritual, self-

awareness practices, transforming business and the people involved in it (Adler, 2007;

Bryan et al., 1998). By restoring spirit and ethics, values of humanity are brought back

into commerce. A study from DePaul University shows that companies with strong

ethics outperform the rest of the S&P 500 by ten percentile points (Aburdene, 2005).

As ethics and values are inherent to clinical practice, so a spiritual and ethical

marketplace is a natural fit for dance/movement therapists.

Caring and Integrity in Marketing

The five features of spirituality Aburdene (2005) articulated are also prevalent in the

literature for caring-based health practitioners, moving them to expand their services

while keeping their values and integrity (Sohnen-Moe, 1997). Sohnen-Moe speaks to

the person-centered nature of dance/movement therapy when she says that to maintain

the integrity of caring while engaging in business, one does not have to subscribe to

traditional views of marketing which may seem offensive, such as selling. Value

centered marketing, and holistic marketing, are alternative forms that allow health

care concerns to align with business and feel distinctly different from more traditionalmarketing and public relations (Adler, 2007; Sohnen-Moe). It is a current trend in

marketing literature to find personal passion for the work and let it guide the process

(Levinson, 2001; Shankman, 2007). In the value-centered and holistic marketing

processes, this energy creates the marketing materials and is reflected in their

marketing messages (Adler, 2007; Levinson, 2001; Shankman, 2007; Sohnen-Moe).

After accessing passion and integrity in the value-centered and holistic marketing

approaches, the next step is to present the ethical story of the service providers and

their profession to educate people who will then be well informed to decide if their

service or product is right for them (Adler, 2007; Sohnen-Moe, 1997).

The idea of having knowledge of the markets, which is the audience the

practitioner wants to attract, has always been a piece of the public relations and

marketing puzzle (Riggs, 1982; Watson & Noble, 2005). In new paradigms of

marketing, this means knowing ones target audience so one can translate the

concepts into a message the target audience will understand (Adler, 2003, Gladwell,

2000; Riggs, 1982; Saffir, 2007; Shankman, 2007; Watson & Noble, 2005).

Spiritual and Holistic Marketing

Dance/movement therapy shares characteristics with value-centered and holistic

marketing: striving for authentic expression from oneself, clarifying communication

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marketing perspective is rooted in the centuries old practice of meditation coupled

with her 30 years of business experience. Adler pairs spiritual philosophies with

sensible exercises to create steps toward marketing success.

The first exercise in The Science of Spiritual Marketing (Adler, 2007) guides the

participant to comfortably and safely envision their most magnificent future in oneyear, 3, 5 years, and at the end of ones life. Through this process, participants are

asked to write down the vision they see and the feelings they experience at each of

these stages. The point of the exercise is to connect with the felt sensations, which

serve as the guide to make marketing materials and choices that are in line with

these desired feelings. Adler (2007) explains, How you feel while you are

connected to your future is key. It is only by connecting to these feelings, as often as

you can, that you find the courage to make the necessary leaps that will change your

present (p. 32).

Adlers books (2003, 2007), with chapters ranging from the importance ofenthusiasm to giving back to ones community, writing resumes to formulating

press releases, offer clear philosophical and practical advice, with a strong emphasis

on emotions and the body, key elements of dance/movement therapy.

Research on Marketing and Dance/Movement Therapy

The literature reviewed on marketing showed elements of the very fabric of dance/

movement therapy: mind, body, spirit, and creativity (Aburdene, 2005; Adler, 2003,2007; Bryan et al., 1998; Kirschenmann, 2006; Levinson, 2001; Levy, 2005;

Shankman 2007; Sohnen-Moe, 1997). It also highlighted two gaps: a lack of

marketing in dance/movement therapy and a lack of acknowledgement of

spirituality in dance/movement therapy and dance/movement therapy marketing

literature.

Thus, the first step in my research is to understand and explore my experience of

each of these together, guided by the research question, What is the experience of

being initiated into the holistic marketing paradigm as a dance/movement

therapist?

I chose Adlers holistic marketing concept for the reasons she described in The

Science of Spiritual Marketing: The initiation revealed in these chapters will not

only drive you deeper into your true nature; it will expand your relationship to your

own creativity, your business, and the many marketing concepts available to you

(2007, p. iii). As defined by Adler, holistic marketing uses the intention and

background of a business to tell a comprehensive story of the service or product.

This narrative is clarified with the envisioning exercise and must carry emotional

significance reflecting the business. The emotions are what ignite others to share and

spread the story. Holistic marketing requires the person or people involved in the

business to journey inside themselves through practices, such as meditation, to gain

the most accurate, all-inclusive picture. Adler (2007) describes spirituality as part of

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The holistic marketing initiation and heuristic methodology pair well together

because both require deep self-reflection followed by concrete applications to utilize

the self-reflective findings. Practical applications such as preparing resumes and

creating flyers are a given in marketing, but the most transformative and revealing

pieces of holistic marketing are the envisioning and meditation.

Methods

The heuristic methodology is a process of internal search resulting in the

researchers self-awareness, self-knowledge, and the discovery of the essence of

an experience (Moustakas, 1990). Part of this search includes gaining validation to

the investigation by sharing findings with others connected to the material and

eliciting their feedback. Heuristic methodology (Moustakas, 1990) was a natural

choice for my research as I was already engaged in its characteristics: I was deeply,personally connected to dance/movement therapy and its relationship to marketing,

as well as the paradigm of holistic marketing, and I immersed my whole being into

it, while retaining the essence of myself (Douglass & Moustakas, 1985).

Subjects/Participants.

I was the sole participant in this heuristic process, conducting this research as a

25-year-old Caucasian dance/movement therapy student living in Chicago.

Procedure.

Throughout the process of reading Adlers books The Science of Spiritual Marketing

and Creating an Abundant Practice over a period of 3 months, I collected data

through what Moustakas (1990) calls inference, self-dialogue, and self-

disclosure by writing in my daily personal journal as well as my thesis seminar

notebook. I also drew images on the pages when I felt moved to illustrate in form

and color beyond what words could describe. In my journal, I also reflected on the

exercises I completed from Adlers books, including the vision quest, brain

gymnastic drills, creating two biographies, a resume, three soundbites, wrote a

personal mission statement, wrote down the nature of my ideal job, networked with

potential job sites and others working in the mental health care field, made offerings

to volunteer my dance/movement therapy skills at a homeless shelter agency,

volunteered my expanding marketing skills and enthusiasm by joining the ADTA

public relations committee, increased my effort to talk to people about dance/

movement therapy and dance/movement therapy jobs, and created a job-hunting

notebook. Finally, I discussed my experience with two other dance/movement

therapists.

Throughout data collection, I provided myself time to meditate, dance at least

once a week, and attend yoga class once or twice a week to allow myself time to self

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(Adler, 2003, 2007). It was also important for me to immerse myself in the

phenomenon through journaling and conversing with different types of people to

expose myself to a variety of ways of understanding this process (Moustakas, 1990).

Each stage of a heuristic study has to unfold organically, and I found myself having

to intermix the incubation and immersion periods by leaving the topic fromtime to time to let it simmer in my unconscious, which allowed for another level of

understanding to take place before I immersed myself in it again (Moustakas, 1990).

The entire heuristic process occurred over 6 months time.

Data Analysis.

At various points of immersing and incubating, illumination naturally began to

take place as I wrote in my journal and notebook (Moustakas, 1990). In my data

analysis, I went into explication. With the research question, What is theexperience of being initiated into the holistic marketing paradigm as a dance/

movement therapist? I highlighted words or phrases in my data that struck me as

pertinent to the qualities dance/movement therapy and holistic marketing have in

common, so as to capture my emotional experience and then wrote these words and

phrases on a separate, clean sheet of paper.

To further illuminate the process and analyze it, as well as to understand my

emotional experience about the themes extracted (Moustakas, 1990), I underlined

the words in colored pencil, assigning one color to each theme. The color codes

existed as follows: the words communication or connection were underlined inthe pencil color aqua green, I used maroon for a word or topic of personal

significance (because I often associate this color as a representation of myself), I

underlined something I became excited about in magenta (because the brightness of

the color mirrored my inner energy), and I used light blue for personal spiritual

themes.

Results

The experience of being initiated into the holistic marketing paradigm provided me

with a language to speak about marketing that reflects the integrity of dance/

movement therapy as well as a way to spiritually connect back to myself, and then

clearly connect with others to share the power of dance/movement therapy. The data

analysis revealed three broad themes of personal importance in my journaling and

class notes: communication, connection, relationship to my core values and the

roots of the paradigms I work in.

All three broad themes of personal importance are related. Core values are the

desirable qualities and ideals an individual or group hold in high regard, which

inform all interactions, communication, actions, and goals (Hitlin, 2003). Partic-

ularly for those in a creative and body-based field, it is important to not only know

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about having a relationship in the communication process, joining with another

individual or group in shared interests and beliefs relating to the material, which, in

this study, was dance/movement therapy and its marketing.

To be an effective marketer, one must identify his or her core values; and find,

establish, and strengthen connection with ones market and/or peers to creategenuine communication. These three pieces are what allow an individual or a group

such as our professional organization, the ADTA, to have a clear voice and send one

clear message to prospective students, potential employers, and investors.

Communication

Following the characteristics of the heuristic methodology (Douglass & Moustakas,

1985), I also shared a list of my themes and experiences via email with two other

dance/movement therapists, Donna Newman-Bluestein and Jeanine Kiss, who werealso initiated into the holistic marketing paradigm. Each therapist agreed with the

themes I articulated as being personally important to them in their experiences.

Newman-Bluestein especially agreed with the concept of being in touch with core

values and roots, and that as therapists we cannot do our work without self-

knowledge of these values. She also pointed out that dancers need to be connected

with the core of their bodies as well as their alignment, breath, strength, and

flexibility to be successful. Kiss articulated that dance/movement therapy and

holistic marketing both ask one to search within themselves and promote the

authentic, discovered self. Both dance/movement therapy and holistic marketingpromote growth, productivity, change, development, and healing. These therapists

validated my experience and elaborated on my words, providing me with a deeper

understanding of my findings.

Discussion

The elements I most value in dance/movement therapy and marketing are

communication, connection, and being in touch with my core values. Adlers

books (2003, 2007) gave me specific tools to integrate the spiritual vehicles of

meditation and body awareness into my personal life for professional growth, such

as crafting resumes and applying for particular jobs in alignment with my desired

future. Integrating these practices revitalized my spiritual life, and it reverberated

into my dance/movement therapy practice by providing me with the newfound

consciousness, compassion, well-being, and a sense of purpose, as well as

confidence in my marketing materials. By being connected not just to my own body/

mind, but also to the heartfelt spiritual elements of holistic marketing, I discovered

that informing, educating, and increasing peoples awareness of this field is a large

part of my identity as a dance/movement therapist. The holistic marketing principles

guided me through exercises such as the vision quest to create the concrete tools to

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Honoring body/mind/spirit, both holistic marketing and dance/movement

therapy support transition, change, healing, growth, development and

productivity. Both access the inner self-meditation, focusing, authentic

movement, etc. Both share the goal of communication with the self what

is my truth; what is my body felt experience; what are my desires; what is mynext step.

With the ability to communicate more clearly and tune into myself, I found it

easier to reach out and connect with others. During the time I reviewed my notes in

data analysis, I noticed that every time I wrote about feeling connected to other

people my emotional state was more optimistic and happy. My notes and journals

also showed that a lack of connection with others and myself resulted in feelings of

loss, loneliness, being overwhelmed, and mildly depressed. I craved connection

with my co-workers, the dance/movement therapy community, clients, friends, and

family.

Being validated by other dance/movement therapists who have experienced

holistic marketing had a great impact on my emotional state as well. Knowing that

others in the dance/movement therapy profession shared my sentiments and could

add details I was unable to articulate myself, let me know that I am not alone in my

quest to communicate dance/movement therapy principles to others. I very strongly

wanted to communicate the power of the body and my passion for dance/movement

therapy, movement and body awareness. This improved my mood and revitalized

my energy, so that even in my personal life, I attempted to communicate more

efficiently in order to strengthen personal connections.Upon self-reflection and inner search, I was better prepared to create the

marketing materials necessary for job hunting. By clearly knowing how I wanted to

feel in my job and in my life, I used Adlers guidelines for a resume, biography,

mission statement, and soundbites. I also networked with other creative art therapist

professionals who shared my enthusiasm and optimistic vision, which led me to

meet more like-minded people and uplifted my spirit. I connected with agencies that

reflected my values and feelings. Although these activities did not secure me a job

right away, they helped me to further clarify my goals and feelings, gave me

practice on how to articulate dance/movement therapy principles and my uniquequalities, as well as showed me that there are more people and agencies aligning

with my values than I had thought.

This process also required me to make change in my life, confront fear, and

experience loss. In my envisioning exercises, I felt a strong urge to be closer to my

family in the Northeast, as well as be employed as a dance/movement therapist in a

supportive environment where I worked with a diverse population and had a flexible

schedule. The feelings associated with these visions included: strong love, balance,

challenge, grace, abundance, hope, family orientation, giving, space, and possibility.

While I ultimately accepted a job in a setting I believe will make my vision cometrue, I had to leave a life in Chicago with a supportive community, friendships, and

t l ti f ti T t i i d f li I h d t f th f

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Both the spiritual and practical steps of this process were necessary for me to move

toward manifesting my vision. The envisioning, meditating, and staying connected

to my feelings gave me the heart to stick with the process, while the concrete

marketing materials and marketing strategies carried me into my new life.

Limitations and Future Research

The experience I have just described is a singular, first attempt to connect the points

highlighted by the literature: in a struggling, disorganized, and broken mental health

care system, creative, emotional and person-centered people such as dance/

movement therapists can use their qualities for a successful marketing approach

(Adler, 2003, 2007; Frank & Glied, 2006a; Frank & Manning, 1992; Huang &

Provan, 2007; Presidents New Freedom Commission On Mental Health, 2003;

Shankman, 2007; Sohnen-Moe, 1997). Holistic marketing contains the elements ofcreativity, self-awareness, and business sensibility (Adler, 2003, 2007). A limitation

of this research is that my successful experience does not mean that Adlers

approach necessarily works for other dance/movement therapists or the entire field.

This thesis research is only the beginning of an investigation into the holistic

marketing and dance/movement therapy relationship. Being a heuristic study, it only

concentrates on my subjective experience and is therefore limited in its scope and

depth. It only focuses on my goals and feelings, which do not necessarily reflect

those of any other dance/movement therapist or the ADTA.

The literature review and my personal experience have highlighted that dance/movement therapists seem to have limited experience and knowledge of marketing.

If dance/movement therapists enhance their knowledge and build their marketing

skills, such education can yield great benefits for the whole field of dance/movement

therapy as well as dance/movement therapists individual careers. Integration of the

holistic marketing approach should occur in our dance/movement therapy masters

programs, alternative route programs, local ADTA chapters and their conferences,

and the annual ADTA conference. The curriculum of this education can include

reconnecting with personal reasons and intentions for becoming a dance/movement

therapist, practical means to implement this message to communicate ones

professional worth (to obtain a job, for example), and become familiar with the

ADTAs marketing efforts.

Conclusion

Through my experience of being initiated into the holistic marketing paradigm, I

have understood the value in reconnecting with my core self as a way to

communicate about and connect to my dance/movement therapy practice. In my

search for a job as a dance/movement therapist, holistic marketing meditation

guidelines and practical marketing tools have enhanced my preparation, confidence,

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dance/movement therapist. This paradigm has done so much for me in a short span

of months, I believe that other students outfitted with these tools and personal

commitment to the process can gain as much as I did. Currently practicing

professionals can also fine tune their dance/movement therapy careers using holistic

marketing, and the ADTA can enhance its public relations efforts, as well asstimulate new energy into its membership with this same approach.

The literature presented within this article shows that body/mind awareness,

creativity, and spiritual/holistic concepts are more prevalent in our Western society

than ever before (Aburdene, 2005; Adler, 2003, 2007; Levinson, 2001; Shankman,

2007; Sohnen-Moe, 1997). To take advantage of this trend, dance/movement

therapists need to gain knowledge of value-centered marketing ideas and learn to

use our dance/movement therapy skills for marketing aimed at increasing our

presence in local and global markets (Appel & Welsh, 2006; Geer, 1990;

Kirschenmann, 2006). It is my hope that further research will explore all thepossibilities of marketing from a holistic perspective, and expand our dance/

movement therapy profession.

References

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Roads Publishing Company, Inc.

Adler, A. (2003). Creating an abundant practice: A spiritual and practical guide for holistic practitionersand healing centers. New York: Bantam Books.

Adler, A. (2007). The science of spiritual marketing: Initiation into magnetism. Santa Fe, NM: Prasad

Publishing.

Appel, C., & Welsh, D. (2006). Co-editors report: The rhythm of entrepreneurshipThe art of getting

out in the world. American Journal of Dance Therapy, 28(1), 4144.

Brousseau, R. T., Langill, D., & Pechura, C. M. (2003). Are foundations overlooking mental health?

Health Affairs, 22(5), 222229.

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Humanistic Psychology, 25(3), 3955.

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1950. Baltimore, MD: The Johns Hopkins University Press.

Frank, F. G., & Glied, S. (2006b). Changes in mental health financing since 1971: Implications for

policymakers and patients. Health Affairs, 25(3), 601613.

Frank, R. G., & Manning, W. G., Jr. (Eds.). (1992). Economics and mental health. Baltimore, MD: The

Johns Hopkins University Press.

Geer, D. (1990). Adopting a marketing orientation: Marketing made accessible to dance/movement

therapists. American Journal of Dance Therapy, 12(1), 4559.

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Brown and Company.

Grob, G. N. (2005). Public policy and mental illness: Jimmy Carters Presidential Commission on Mental

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Kirschenmann, A. (2006). The marketing mind/body. In Choreographing collaboration, a joint

conference: 2006 conference proceedings (pp. 513). Long Beach, CA: National Dance Education

Organization and American Dance Therapy Association.

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York: Houghton Mifflin Company.

Levy, F. J. (2005). Dance/movement therapy: A healing art. Reston, VA: AAHPERD.Moustakas, C. (1990). Heuristic research: Design methodology, and applications. Newbury Park, CA:

SAGE Publications.

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them. Hoboken, NJ: Wiley.

Sohnen-Moe, C. (1997). Business mastery: A guide for creating a fulfilling, thriving business and keeping

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Author Biography

Kimberly Schmidt, LMHC, R-DMT

A registered dance/movement therapist and licensed mental health counselor, with a Masters fromColumbia College Chicago, Ms. Schmidt works in a substance abuse facility in Boston, MA, where she

and a colleague are currently developing the facilitys first movement therapy groups. Ms. Schmidt has

served on the New England American Dance Therapy Association (NEADTA) board and is one of the

founders of a monthly gathering for Boston area dance/movement therapists.

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