IJSP Number 8, 2026

International Journal of Supervision in Psychotherapy, Number 8, 2026 Page | 98 This can include touching on uncomfortable moments that have later been forgotten. In her essay ‘Forgotten Moments in Supervision’, Panhofer emphasises the use of expressive movement, drawing, writing and acting to be extremely helpful in the supervision process. Whether or not these “forgotten” moments may be intentional or unconscious, we might easily push the more vulnerable aspects of our being to the back of our minds rather than face uncomfortable realities [18]. Art enables us to process the vulnerable. Winnicott offers us the concept that we are born creative and that playing enables us to use the whole parts of ourselves and it is through being creative that the individual discovers the self [19]. Creativity is most often linked with joy and pleasure which induce dopamine release in the brain. Dopamine release lowers stress and takes us to a more relaxed parasympathetic state [20]. Thus, creativity engages the mind in alternative ways of processing information and emotions which differ from logic, and in consequence instills curiosity and opportunities to view and solve problems with new perspectives [6, 7, 8, 14]. In creative supervision, we use metaphors and engage in symbolism. Color, texture, form and shape are also dimensions that we embrace in the creative methods. Dance movement therapists encourage the use of these symbols and metaphors to reflect the wisdom of the body [8, 16, 17, 18]. Carl Jung asserts: “ From the living fountain of instinct flows everything that is creative; hence the unconscious is not merely conditioned by history, but is the very source of the creative impulse. It is like Nature herself -- prodigiously conservative, yet transcending her own historical conditions in her acts of creation ” [21]. In addition, the creative methods I use offer a particular approach that can be felt in the body, and this opens a dialogue between supervisor and supervisee [6, 7]. 2.2. DANCE MOVEMENT PSYCHOTHERAPY (DMT) AS AN EMBODIED REFLECTIVE PRACTICE IN SUPERVISION Dance movement therapy is defined by the European Association of Dance Movement Therapists (EADMT) as the therapeutic use of movement to further the emotional, cognitive, physical, spiritual and social integration of the individual. DMT respects the lived body as a source of knowledge production [22]. Whilst the body approach is potent, integrating embodied and somatic awareness with creative methods offers structure that can help guide, contain, and develop an evaluative perspective while holding action in supervision [6, 7, 8]. DMT seeks to support people towards more resilience through dance-based experiences. Building resilience is considered one of the core themes in dance movement therapy. In DMT we aim to explore, evaluate and treat the implications of fostering emotional regulation. As a dance movement therapist, I rely on my embodied experience to inform and guide me in my supervision practice. DMT is a creative process integrating the body and mind approach offering neuroscience support in working with trauma and in promoting resilience [23]. Body-orientated techniques such as DMT rely on the body, the non-verbal and somatic responses to tune into the 'felt experience’ as a place of process and reflection [11]. DMT is also used in supervision as a reflexive practice while tuning into the body’s wisdom [16].