Method for correcting a human's psycho-emotional state

Abstract

FIELD: psychology.SUBSTANCE: used to correct a person’s psycho-emotional state. 4 dance exercises are performed in a row or one at a time, and the exercises are combined. The client performs the exercises independently after a session with a psychologist, where the psychologist explains how to perform each exercise. The following exercises are performed: “Baba Yaga’s Dance”, “Algae”, “Eva-Lilith”, “Colored Paint”.EFFECT: method ensures the release, experience and integration of suppressed negative feelings, partial removal of control over the bodily manifestations of feelings, a reduction in psycho-emotional tension and an increase in bodily awareness.1 cl

Description

[0001] The invention relates to psychology and can be used in psychological counseling, psychotherapy and correction of a person’s psycho-emotional state.

[0002] The stated “Method for Correcting a Person’s Psycho-Emotional State” is aimed at achieving relaxation, reducing conscious control, releasing the client from suppressed negative feelings, reducing psycho-emotional tension and increasing physical awareness.

[0003] The stated method includes four dance exercises that the client can perform either sequentially or arbitrarily. The exercises can also be combined and combined, depending on the desired result at the time of performing the technique. All exercises in the "Method for Correcting the Psycho-Emotional State of a Person" are aimed at achieving relaxation, reducing conscious control, and releasing repressed negative feelings in the client. However, the effects of each exercise vary.

[0004] The first exercise of the method - "Baba Yaga's Dance" - involves asking the client to reproduce active movements to music that evokes irritation and negative emotions. It is necessary that the movements be ugly, with the use of growling and grimaces.

[0005] The second exercise of the method, called "Seaweed", involves the client being asked to perform oscillatory movements with the whole body like seaweed for 1-5 minutes while listening to slow, relaxing music with the sounds of the sea, relaxing and raising their arms above their head and swinging them in different directions.

[0006] The third exercise of this method, "Eve-Lilith," involves a three-step sequence. First, the client is asked to perform pelvic movements for 1-5 minutes, accompanied by fast, aggressive music of their choice: drawing circles and figure-eights with the pelvis, making wave-like, rocking, and percussive movements. Second, the client is asked to perform wave-like movements with the arms and chest for 1-5 minutes, accompanied by slow, melodic music of their choice. Third, the client is asked to perform simultaneous movements with the pelvis, chest, and arms for 1-5 minutes, accompanied by music that the client finds melodic yet dynamic, such as a rock ballad.

[0007] The fourth exercise of the method, "Colored Paint," involves the client being asked to lie on their back, for example, on a yoga mat, and imagine that above them, about a meter away, above their chest, there is a faucet from which a pleasant, beautiful paint of the client's favorite color is pouring. The client's task at this stage is to paint the entire surface of their body, without using their hands, by placing their body under this stream.

[0008] The technical result of this technique is the release, experience and integration of suppressed negative feelings, partial removal of control over the bodily manifestations of feelings, a decrease in psycho-emotional tension and an increase in bodily awareness.

[0009] Patent RU 2033818, March 17, 2011, is known. A method of psycho-emotional relaxation based on audiovisual influence, including influence by sounds of nature, previously recorded on a tangible medium, in combination with demonstration of images on a screen, characterized in that an isolated, poorly lit, ventilated room has acoustic insulation, providing a significant reduction in the level of external noise - no more than 35 dB, a theatrical atmosphere is created in the room due to sound insulation, dark color of walls or upholstery, a comfortable chair, semi-darkness and decorative design of a screen with a size of no more than 50 cm diagonally.

[0010] However, this method requires a fairly high level of technical equipment and cannot be used as a generally accessible procedure in large cities and in the immediate vicinity of workplaces, since they, in most cases, are associated with a preliminary diagnosis of the patient, the use of sometimes very complex diagnostic methods and therapeutic methods, and the presence of appropriate medical centers with a high level of personnel training.

[0011] A known method (application RU 2003129938, 2005) for rehabilitation of the human body in various diseases and injuries is "therapeutic dance", which consists in performing static and dynamic breathing exercises, exercises for static muscle tension, their relaxation in a dance form, emotionally realizing a mental image that arises in the patient under the influence of music, while the exercises are performed with a smooth, gradual increase in the overall physical load in the following sequence: from an initial position without tension "lying", "sitting", "standing"; breathing dynamic exercises with an impact on small muscle groups, then medium and large; static tension alternates with relaxation exercises, the "therapeutic dance" exercises are performed at least once a day.

[0012] The disadvantage of this method is that it only achieves results in the form of rehabilitation, whereas the stated method solves a broader problem - in addition to relaxation and restoration of the body, the client undergoes a deeper transformation to integrate their internal parts, the contradiction of which could interfere with living a full life.

[0013] What distinguishes this method from its closest analogue is the use of not only color therapy, but also a clear sequence of actions: through the release of suppressed feelings, the removal of psycho-emotional tension and control, the client is able to relax as much as possible, so that in the final part of the method they can express spontaneity, be filled with positive sensations and increase physical awareness.

[0014] "Method of Correcting a Person's Psycho-Emotional State" is aimed at achieving relaxation, reducing conscious control and releasing the client from suppressed negative feelings.

[0015] The first exercise of the method is “Baba Yaga’s Dance”, which refers to dance and movement therapy.

[0016] The official definition of the American Dance Movement Therapy Association (DMT) is: “the use of movement in a psychotherapeutic context to enhance the emotional, cognitive, physical, and social integration of an individual” (ADTA, 2024).

[0017] Dance movement therapy is a method of development, change and expression of the conscious and unconscious aspects of a person’s psyche through creativity in various forms and types of art (Churashov, 2018).

[0018] Dance movement therapy is used in rehabilitation in medical, psychiatric and educational institutions, nursing homes and orphanages, in correctional institutions, developmental, corrective, preventive and health programs for infants, children and adults, families and couples. (Biryukova, Kiseleva, Solokhina, 2016)

[0019] The "Baba Yaga Dance" exercise is performed to music. The exercise is mastered in the psychologist's office, then the client performs it at home. Initially, the therapist models the movements and leads the client through them, then the client performs them independently at home. Performing this exercise together allows the client to release control and receive a kind of permission to release it, as the psychologist demonstrates non-judgmental acceptance. Conscious contact with others (the therapist or other group members) is an important mechanism for change in TDT.

[0020] The musical accompaniment during this exercise is particularly important: don't choose a favorite, pleasant, calm, or good music that the client is accustomed to, one to which they can move gracefully. This exercise has the opposite goal. Its purpose is to reduce conscious control in order to trigger an emotional response and trigger an ergotropic response. Accordingly, if the client prefers a certain genre of music, it's necessary to play the opposite, disliked genre.

[0021] Instructions for performing the exercise:

[0022] The "Baba Yaga Dance" exercise is initially performed with a therapist in the office for several minutes, then the client performs it independently at home. The therapist can also demonstrate movement examples, thus, through their own example, giving the client permission to release control and perform the movement sensually and spontaneously. In the office, the practice can be performed for about five minutes. The client is encouraged to move freely to music that is contrary to their tastes and aesthetic preferences. For example, if the client typically prefers jazz and dislikes rock, then this technique would encourage them to move specifically to rock.

[0023] The purpose of choosing this musical style is not to irritate or evoke negative emotions in the client, but to push them beyond their usual boundaries and offer a unique experience. When performing movements, avoid a dance-like quality, as clients associate dance with elegant movement. Instead, they should move as awkwardly as possible, with a distorted face, actively moving their eyes, and making guttural sounds.

[0024] The goal of this exercise is to help the client release control, fear of being ridiculous or awkward, and simply enjoy free movement to the music. The "Baba Yaga Dance" exercise can also help the client recognize how they limit themselves and their expressions, allowing themselves to be more authentic and free.

[0025] To music chosen and contrary to the client's tastes, the participant removes their shoes and begins performing movements. These movements should be uneven and unattractive, yet at the same time relaxed, powerful, and aggressive. Grimacing is allowed and encouraged. The sequence of body movements can be any: one can begin with arm and shoulder movements, or with leg movements, or even without any thought about sequence at all, moving spontaneously.

[0026] It is recommended to perform movements with an emphasis on expressiveness, with active physical manifestations such as grimacing, intense eye rolling and vocalizations such as growling.

[0027] Initially, some clients may find this expressive practice uncomfortable. However, the therapist's support and joint practice of the technique gradually bring relief and allow the client to release pent-up tension. Affectation gives way to naturalness, and control disappears. Many clients reach a cathartic state by the end of the practice, expressing their emotions through tears, laughter, and other vivid expressions. This practice can relieve tension and alleviate anxiety.

[0028] Thus, the image of Baba Yaga is reproduced, opposite to the client's social self. A greater release of emotions will be achieved by engaging the extralinguistic system: screams, growls, etc. The exercise takes 5 minutes to complete in the office, and 2 minutes as homework. The frequency of homework is 5 days a week.

[0029] At this stage of the practice, the client's aggressive emotions are expressed. Aggression does not necessarily have hostile intentions. Movement is, in fact, the basis of aggression. Aggression is also the force that drives us to encounter, confront, and cope with stress (Lowen, A., 2000).

[0030] After completing the "Baba Yaga's Dance" exercise, if you've been practicing the dance exercises consistently, you can move on to the next, second stage of the method – "Algae." This exercise is aimed at shifting the client's psyche from a tense state to a slower, smoother, and more relaxed state.

[0031] To do this, the client needs to do some preparatory work:

[0032] 1. Select a relaxing, pleasant musical composition, such as sounds of the sea, nature, trance, meditative, or calm instrumental music. The music should be without lyrics or with lyrics in a foreign language the client doesn't know, so as not to distract the client from perceiving the words.

[0033] 2. The client selects a specific image of seaweed that he likes.

[0034] The client is asked to imagine themselves as a beautiful piece of seaweed, smoothly moving, agile, and flexible. They gently raise their arms above their head and perform gentle, flowing oscillating movements, starting from above (arms, head, neck) and ending with their ankles and feet. This exercise should be performed for 1-5 minutes.

[0035] After completing the "Algae" exercise consistently, you can move on to the next, third exercise of this method: "Eve-Lilith." This exercise is aimed at releasing the internal tension that exists between the "split" parts of the client's psyche, specifically between the "good," socially acceptable part of the personality, and the "bad," socially unacceptable, shadow part of the personality. The client independently sets the timing for this exercise.

[0036] The exercise begins with the client selecting three musical compositions. The first composition should meet the following guidelines: fast, loud, aggressive, and dynamic; the second composition should be slow, melodic, and pleasant; and the third composition should include both melodic and dynamic elements, serving as a transition between the first and second compositions. It should feature dynamics, rhythm, and volume, but also include melody, such as a rock ballad. The first two compositions are polar opposites, while the last one is unifying.

[0037] Step one: the client is asked to perform pelvic movements for 1-5 minutes, accompanied by fast, aggressive music of the client's choice: drawing circles and figure-eights with the pelvis, making wave-like, swaying, and percussive movements. Step two: for several minutes, the client is asked to perform wave-like movements with the arms and chest, accompanied by slow, melodic music of the client's choice. Step three: for 1-5 minutes, the client is asked to perform movements with the pelvis, chest, and arms simultaneously, accompanied by music that the client finds melodic yet dynamic, such as a rock ballad.

[0038] To the first musical composition, for several minutes (one to five), perform pelvic movements, circles, kicks, and figure eights. The psychologist emphasizes the importance of focusing on the body part being moved and performing the movements that come to mind as the client performs the exercise.

[0039] In the second step, the client performs wave-like movements with their arms and chest to melodic, slow music. The psychologist emphasizes the importance of focusing on the arms and chest, imagining that the arms are an extension of the heart, and performing as varied movements with the arms and chest as possible.

[0040] During the third musical composition, the client is asked to perform movements with the pelvis, chest, and arms simultaneously for several minutes, combining the first two movements. The client should maintain their focus on the pelvis, chest, and arms, performing as varied and spontaneous movements as possible. During this part of the exercise, the "good," socially acceptable part of the personality and the "bad," socially unacceptable, shadow part of the client's personality are integrated through working through a bodily metaphor. Through this practice, the splitting of parts of the personality is eliminated.

[0041] The final exercise in this method is "Colored Paint." This exercise is designed to relieve tension, break free from established dynamic patterns and memorized movements, and develop the skill of moving spontaneously, authentically, and naturally. It also relieves physical and emotional tension. It can be performed morning and evening in bed, on the floor or a yoga mat, and can be performed daily or weekly, depending on the client's readiness. The recommended duration is from 5 minutes to 1 hour.

[0042] For this exercise, the client lies on their back, for example on a yoga mat, and imagines a faucet about a meter above their chest, pouring a beautiful, pleasant color of paint. The client's goal at this stage is to paint their entire body, without using their hands, by placing their body under this stream of paint. During the exercise, the client can roll onto their side, stomach, or twist. However, using their hands and "dousing" themselves with paint is prohibited.

[0043] The exercise ends when the client realizes their entire body has been colored. All those places they've never paid attention to should also be colored: every fold, every dimple, between the fingers, behind the ears. Thus, through visualization, fantasizing, and scanning of body parts, bodily awareness develops, which in turn enhances the client's sensitivity.

[0044] Mechanisms and explanation of the operation of the “Method for correcting the psycho-emotional state of a person”.

[0045] All exercises in the proposed method train attention—developing the skill of attention management, shifting attention from external objects to internal, bodily sensations, and maintaining attention for a specified period of time. Applying these skills helps establish contact with one's body and feelings, which, among other things, allows one to later expand this skill to other areas of life.

[0046] Also, all exercises in the proposed method utilize the mechanism of authentic movement, allowing for the expression of a wide variety of feelings, emotional states, and bodily reactions. During the performance of TMT exercises, conscious control is reduced. Spontaneous, dance-like movement improvisation occurs, stemming from internal sensations and incorporating emotional experiences. The exercises help develop the skill of spontaneity, naturalness, and relaxed movement, which can later be integrated into other areas of the client's life. During this exercise, the client breaks away from memorized movements and tension, allowing themselves to relax.

[0047] The psychocorrective effect of dance therapy is based on the important role of the body in a person's life, as it is the primary means of cognition and expresses our essence. A person's feelings can be read by their body posture. Emotions are bodily manifestations, movements or gestures within the body, the generalized result of which is some external action. It is easier to express feelings and one's state through the body than through words and consciousness (Churashov, 2018).

[0048] During dance therapy sessions, elementary game tasks are used - these are body training (basic exercises and work with the whole body), play with movement (rhythmic play), free exercises (improvisation) (Churashov, 2018).

[0049] The physiological effects of music, its ability to evoke pleasure and a positive emotional response, are directly correlated with the cardiovascular system: calm—a slower pulse, dilation of blood vessels, and a decrease in blood pressure; irritation—an acceleration and weakening of the heartbeat. Music also influences motor activity, favoring changes in muscle tone. The perception of music is accompanied by silent singing. According to L. Perejogina's commentary, "musical stimulation reduces motor reaction time, and this increases the lability of the visual analyzer, activates memory, and renews conditioned reflexes. Music influences cholesterol metabolism: calm music promotes a switch in the autonomic nervous system in a trophotropic direction, while stimulating music evokes an ergotropic response."This is why the emotional coloring of images that arise when listening to and actively perceiving music regulates mood, but a dance therapist must take into account individual characteristics” (Perejogina, 2018).

[0050] Peripheral theories of emotion posit that the origins of emotions stem from bodily reactions. This concept was reformulated in neurophysiological terms by Damasio, who argued that emotions are generated by transmitting the current state of the body to the brain via interoceptive and proprioceptive afferent input. The resulting patterns of brain activation represent unconscious emotions and correlate with conscious feelings. This assumption implies that through deliberate control of motor behavior and the resulting proprioception and interoception, a person can regulate their emotions and influence their feelings. This concept is used in dance movement therapy (psychotherapeutic), where by guiding movement in a specific way, the therapist helps the client evoke, process, and regulate specific emotions. Exploring and practicing new and unfamiliar movement patterns can help the client experience new, unfamiliar feelings.The idea that certain movement qualities enhance certain emotions is also used by the therapist when she mirrors the client's movements or movement qualities in order to feel what the client is feeling and empathize with them (Shafir T., 2016).

[0051] Mechanisms and explanation of the operation of the “Method for Correcting the Psycho-Emotional State of a Person”, in particular the “Dance of Baba Yaga” exercise.

[0052] When a person tries to move gracefully, making an impression, these actions are accompanied by control. Anxiety and worry arise when a person is unable to accept reality as it is, and when a gap arises between how they perceive a situation and objective reality. If a person feels fear, it means they have an inaccurate map of reality. As a result, anything outside this map is perceived as a threat or danger. In healthy fear, the assessment of danger is appropriate to the situation: something unexpected happens, not predicted by the map, but it is objectively dangerous. In this situation, fear helps people survive. However, in unhealthy fear, the threat and danger are exaggerated. One way to protect against danger in the case of unhealthy fear is to try to control the situation.

[0053] The goal of this exercise is to reduce conscious control. This technique is valuable for clients who are accustomed to controlling their emotions and behavior, demonstrating their positive qualities in society, being liked and being "good," but who also exhibit similar behavior in personal relationships and feel constant tension. Music in the context of this exercise should evoke negative emotions, irritation, and aggression, which stimulates the reproduction of powerful movements. Music can be used in various forms in complex corrective interventions. Three forms of receptive psychocorrection are known: communicative, reactive, and regulatory (Churashov, 2018). This technique is reactive and aims to achieve catharsis, relieve negative feelings, and internal tension.Therefore, when conducting the exercise, a person is faced with the reaction of emotions through the body in a safe group environment or with a psychologist. The person releases suppressed emotions, negative thoughts, and also reduces the level of control, which has a therapeutic effect on the client.

[0054] In modern psychology (in particular, in psychoanalysis, psychodrama, body-oriented therapy, symboldrama) catharsis is understood as an individual or group process of releasing mental energy, emotional discharge, which helps to reduce or relieve anxiety, conflict, frustration through their verbalization or bodily expression, leading to a therapeutic effect and a better understanding of oneself (Reich V., 1999; Rudestam K., 1999).

[0055] "Catharsis" is a strategy for overcoming stress, particularly anxiety, fear, anger, and other negative emotions, by experiencing emotional agitation and releasing emotions, which leads to a weakening of the traumatic factor's influence. To achieve this, a more significant value system is used as a mediator, a significant event or phenomenon, in comparison to which the traumatic situation becomes less important (Antsiferova L.I., 1994).

[0056] One of the universal psychotherapeutic mechanisms is abreaction, or catharsis. Freud first used it, in the form of hypnocatharsis: he immersed a patient under hypnosis in a repressed, traumatic experience so that the "repressed" (Freud's term) affect would be released and accumulated negative emotions (anger, resentment, etc.) would disappear. A number of modern psychotherapies place a primary emphasis on releasing trapped affects: these include A. Yanov's primary psychotherapy, various forms of body-oriented psychotherapy (W. Reich, A. Lowen, D. Boadella, and others), D. Casriel's scream therapy, spontaneous dance, and others. Acting out allows, firstly, to activate the trapped affect (translate it into an active form), and secondly, to "throw it off," removing it from the energetic and psychological structure of the personality. The release of deeply trapped affect is often associated with a rise in body temperature.

[0057] Catharsis will occur through the following mechanisms:

[0058] 1. Unusual music and the reproduction of movements that a person would never normally perform in a social setting evoke a feeling of shame, as this behavior does not conform to social norms and expectations. However, the therapist's presence, encouraging attitude, non-judgmental acceptance, joint reproduction of the dance, shared experience, and positive emotional environment demonstrate to the client that they are accepted, a therapeutic rapport is formed, and social learning mechanisms are activated (Bandura A., 2000). The client's self-judgment, self-criticism, and self-control are reduced, as is the block to expressing suppressed emotions.

[0059] 2. Active movements and intense, loud music stimulate active oxygenation and induce a trance-like state in the client. V. V. Kozlov, in his book, "Psychotechnologies of Altered States of Consciousness," noted: "Trance dance promotes healing because the body accesses internally stored memories and experiences and brings them to the light of awareness. Our history is stored in our body: evolutionary movement patterns, reflexes of human development, and personal experience. When we close our eyes and allow ourselves to surrender to movement and rhythmic music, an endless variety emerges. A certain combination of movement patterns represents entering a trance through monotonous movements. Dance itself is a perfect and unique way to enter a world of energy, a special state of mind, openness, and ecstasy" (Kozlov V. V., 2005).

[0060] 3. This exercise removes the symbolic mask of a person's social-role behavior, which conceals feelings, experiences, fears, anger, and doubts. The mask has a protective quality, and in this psychotherapeutic context of non-judgmental acceptance, the defense is removed and feelings are experienced.

[0061] Reacting requires abandoning habitual forms of affective regulation (habitual dynamic stereotypes and patterns). One indicator of spontaneity is the involvement of the autonomic nervous system: chills, fever, cold, tingling, nausea, tremors, pain, etc. Thus, reacting is characterized by a low level of control and spontaneity (Burlachuk L.F., Kocharyan A.S., Zhidko M.E., 2012).

[0062] Through this exercise, the client receives permission from the therapist and gives himself permission to reduce control, extending this pattern to the emotional sphere.

[0063] When performing movements, the proprioceptive signal from the muscles and joints to the brain evokes the corresponding emotion. Since our body is always in a certain position, whether we are lying, sitting, standing, or moving, the posture an individual adopts and the type of movements they engage in have a constant influence on their emotional state. Different postures and movement patterns are associated with and evoke different emotions (Duclos, SE, Laird, JD, 2001, Carney, D. et al. 2010, Koch, SC, 2014). This concept is used in behavioral therapy, where patients are encouraged to smile as a behavioral intervention to help them improve their mood, even if the smile is initially artificial. Activating the facial muscles to produce an expression associated with happiness evokes or enhances this associated emotion, resulting in an improved mood.This concept is similarly used in DMT in various ways, activating muscles throughout the body: to help clients evoke and / or process their feelings, dance movement therapists teach clients to move their entire body in a certain way (Shafir T., 2016).

[0064] Marion Chase, a choreographer and modern dance teacher from the United States, began to explore dance as a psychotherapeutic tool. In her practice, she sought to emphasize freedom of movement, improvisation, and the expression of the performer's individual needs. Dance therapy specialist Trudy Shoup places particular emphasis on the spontaneous, cathartic release of pent-up feelings through dance and the exploration of hidden conflicts that are sources of mental and physical tension. According to Shoup, "dance initially addressed the healthy aspect of human nature directly, enhancing any remaining manifestations of health" (Kucherenko, Konopleva, 2006).

[0065] Since the physical body is interconnected with the mental processes of human life, dance, as one of its manifestations, demonstrates individual personality traits, allows emotions to express themselves, relieves muscle tension, and ultimately harmonizes a person's physical and mental state. According to V. V. Kozlov, dance is used not only as a specific psychophysical action but also as an integrative metaphor that allows for the structuring and transformation of the individual's inner world, harmonizing it with the external world by changing behavior and attitudes toward the surrounding reality (Kozlov, Girshon, Veremeyenko, 2006).

[0066] Considering the evidence and effectiveness of the "Seaweed" exercise, it's worth noting that after performing the exercise, the client's psyche shifts from a tense state to a slower, more fluid state. Research shows that slow movements can positively impact a person's psycho-emotional state and physiology. Such slow movements are used in tai chi, health qigong, and yoga.

[0067] Taijiquan (also called tai chi or tai chi chuan) is a mind-body exercise routine that combines a series of meditative, synergistic, dance-like movements that promote energy balance (qi), relaxation, and diaphragmatic breathing (Wang F, Lee EK, Wu T, et al., 2014). Slow-motion exercises, namely tai chi, have been shown to improve overall quality of life, mental health, and physical health, and reduce depression and psychological stress (Taylor-Piliae RE, Finley BA, 2020).

[0068] The use of slow movements in tai chi, health qigong, and yoga exercises had a significant effect on patients with anxiety and depression. Subgroup analysis showed that for anxiety, 30-60 minutes of health qigong or yoga sessions for 24 weeks had a significant effect on patients over 70 years old. For depression, health qigong sessions 2-3 times a week for 30-60 minutes each also had a significant effect on patients (Li Z, Liu S, Wang L, Smith L, 2019). Thus, slow movements can have a positive effect on the psychoemotional state and physiology of a person, including reducing symptoms of depression and anxiety, improving sleep quality, and physical fitness.

[0069] Effective emotional self-regulation is facilitated by the use of imagination or visualization techniques. During the exercise, the client works with the image of seaweed, smooth and soft, which associatively transports the client to a state of relaxation and peace.

[0070] Considering the evidence and effectiveness of the "Eve-Lilith" exercise, it's worth noting that this proposed method helps relieve internal psychological tension that exists between the "split" parts of the client's psyche. This exercise allows one to discover and integrate the shadow part of the psyche, what Carl Jung called the shadow.

[0071] The shadow is a concept coined by Swiss psychologist Carl Jung to describe the part of our personality that is hidden, unconscious, and not expressed in our behavior. It encompasses all those aspects of our personality that we do not recognize or deny because they do not fit our self-image.

[0072] The shadow can contain various personality traits that we usually try to hide, suppress, or not express, such as aggression, envy, greed, fear, etc. Jung believed that ignoring and denying the shadow can lead to emotional and psychological problems such as depression, anxiety, and dissatisfaction.

[0073] Understanding and acknowledging the shadow is an important aspect of self-improvement and personal growth because it allows us to become more whole. By working with

[0074] Through the shadow, we can expand our repertoire of behaviors, improve our relationships, and find greater freedom and satisfaction in life.

[0075] Working with the shadow side of the personality helps liberate oneself by resolving internal conflicts, fears, limitations, and negative beliefs, as well as connecting with repressed feelings, desires, and needs. This gradually leads the client to healthy sexuality. The shadow contains those desires, fantasies, and behavioral patterns that can become the source of our sexual desire and satisfaction. However, if we do not acknowledge and recognize our shadow side, we can limit our sexuality and lead to a lack of satisfaction.

[0076] Releasing and integrating your shadow are important aspects of personal growth and development.

[0077] In his book "The Fight with the Shadow," Carl Jung describes the process of integrating the shadow aspects of the personality and their impact on the emotional state (Jung K.G., 1952).

[0078] Through this exercise, the integration of the “good” and “bad” sides of the personality occurs, the internal conflict, which consists of a split into two archetypal parts, the submissive Eve and the freedom-loving Lilith, is neutralized.

[0079] Lilith is the dark side of the feminine self, symbolically associated with aspects of feminine nature that have been suppressed and forgotten. She represents those aspects that are typically hidden in the female psyche and have escaped the control of the masculine principle. Lilith is active, energetic, possessing the strength and resources to oppose a man, relying on herself, and refusing to accept a man's authority over her. Knowing her strengths, she is sensual and skillfully uses her sexuality. Eve is a submissive wife to her husband, agreeing with him in everything. Eve is a symbol of support for her husband, a potential mother to his children.

[0080] Many women experience a split between these two archetypal parts. One part is responsible for the qualities characteristic of Lilith: she is unpredictable, competitive with men, and beyond their control. Men simultaneously desire and fear Lilith. The second part is characterized by the qualities of Eve: mother, wife, companion in arms, keeper of the hearth and reliable support, understanding, accepting, and self-sacrificing. She is reliable, dependent, and therefore manageable and controllable.

[0081] Women ignore one part of their self, identifying with another, more acceptable one, thereby depriving themselves of the opportunity to be one harmonious whole. By depriving themselves of Eve's energy, a woman loses the opportunity to experience the happiness of a fulfilling marriage. By ignoring Lilith's energy, a woman blocks the energy of healthy aggression necessary for personal development and security.

[0082] The conflict between Lilith and Eve is a conflict between absolute freedom and loneliness versus absolute connection to a man (dependence). The unrecognized part is experienced as a loss of self and one's needs.

[0083] The effect of tension relief is reflected in the acceptance of various aspects of one's personality. The result of this exercise should be a state in which the client gives themselves internal permission to express various aspects of their self, both good and bad, which in turn affects the expression of these aspects of the client's personality in their sexual life.

[0084] Belief system conflicts occur when two or more currently held beliefs lead to contradictory behavior. Circumstances of this kind often create a "double bind." The most problematic conflicts occur when opposing beliefs concern issues of identity, especially negative self-judgment. This kind of conflict almost always underlies self-distrust, hatred, fear, etc. (Dilts, R.D., 1997).

[0085] In NLP, when detecting conflicting beliefs, the technique of parts integration is used; its task is to unite the conflicting parts into a single whole.

[0086] During this exercise, the "good," socially acceptable part of the personality and the "bad," socially unacceptable, shadow part of the client's personality are integrated through work through the body. By connecting these two types of movement through dance, the polar sides of the psyche are integrated. The body is the materialized psyche, and therefore, through the body metaphor, one can work with mental processes. Body-oriented therapy postulates that we can work with mental processes through the body (Van Der Kolk B., 2020). The final exercise of this method is "Colored Paint." Considering the evidence and effectiveness of the "Colored Paint" exercise, it is worth noting that modern life is overstimulated. There are many environmental elements that influence a person. Examples of these elements include urbanization, crowding, noise, media, and technology.A person experiences sensory overload, so medium- or low-intensity environmental stimuli are not perceived as the receptors adapt and their sensitivity decreases. This exercise develops the skill of monitoring one's sensations at the micro level, by focusing attention on areas of the body that were previously unnoticed and out of focus, or "blind spots," and sensitivity develops in these areas, increasing the client's overall sensory awareness.

[0087] To explain the following mechanism of the technique, it's worth mentioning the psychosomatic mechanisms formulated by W. Reich, specifically the theory of muscular-emotional blocks and characteristic armor. W. Reich believed that unexpressed emotional experiences do not disappear, but remain in the muscles and become "stuck" there as muscular blocks. Emotions, in the form of muscular clamps, remaining unexpressed and unconscious in the body for years, form a muscular armor, or characteristic armor, which reflects psychological defense mechanisms (often pathogenic) and the character structure formed under their influence (Feidiman D., Freiger R., 1993). A colossal amount of energy is expended on maintaining the muscular armor, lowering the overall level of vitality. One of the effective methods that helps relieve emotional, mental and physical stress, anxiety, emotional burnout, and depression is dance movement therapy (Shkolnikova L.E., 2008)."Colored Paint," a dance-movement therapy exercise, helps release muscle tension, thereby increasing vitality. Effective emotional self-regulation is facilitated by the use of imagination and visualization techniques. Working with client-favorite images—the image of a favorite paint color—associatively transports the client to a state of relaxation and peace.

[0088] Considering the evidence and effectiveness of the claimed method, the following studies are worth noting:

[0089] The results of the use of dance movement therapy (TMT) showed that performing dance movements has a positive effect on various health-related issues. Most studies found evidence of TMT's effectiveness in treating clinical illnesses, followed by improvements in quality of life and cognitive skills. A trend toward improved interpersonal skills was also noted.

[0090] TDT has been shown to consistently and consistently improve affect-related psychological states by reducing anxiety and depression, and improving quality of life and cognitive skills.

[0091] For interpersonal skills, the effect reached p < 0. Moreover, dance interventions have persistent long-term effects. (Koch SC, Riege RFF, Tisborn K, Biondo J, Martin L, Beelmann A., 2019).

[0092] The use of dance movement therapy has been associated with positive behavioral effects in a variety of populations, including individuals with Parkinson's disease, autism, and various psychiatric conditions. For example, Duncan, R.P., and Earhart, G.M., found improvements in symptom severity in individuals with Parkinson's disease after a dance intervention program, specifically tango dancing, which was not observed in the control group. (Duncan, R.P. & G.M. Earhart. 2012)

[0093] The goal of dance movement therapy is to integrate physical, emotional, cognitive, and social aspects into therapy (Meekums, B., 2002). DMT focuses on embodied experiences arising through body movements, facial expressions, and interaction with the environment (Koch and Fischman, 2011). In DMT, participants can attune their awareness to these embodied experiences of their own self in a group therapy setting with other people. Developing mindfulness and connection with body sensations develops body image, self-attitude, and modulation of actions. This can lead to an improved perception of one's body image, that is, increased awareness of embodied phenomena, a more acceptable and neutral descriptive attitude toward one's body, and increased tolerance for others (Pylvänäinen, P., Lappalainen, R., 2018).From a therapeutic perspective, the process of creative change is a key component of TDT, which includes movement metaphors that are manifested in clients’ postures or movement experiences (Ellis, R., 2001, Karkou, V., Aithal, S., Zubala, A., and Meekums, B., 2019).

[0094] Dance movement therapy approaches are grounded in the experiential process of embodiment and are based on the understanding that the body deeply informs consciousness. Dance movement therapy involves altering attentional states and establishing deeper relationships with oneself and others. Clinical practices include attuned interoceptive perception, somatic awareness, interactive dance, and authentic movement. Dance movement therapy is considered in light of affective neuroscience research on the vagus nerve and its biochemical regulation, interoception, empathy and attunement, memory and affective systems, and brain lateralization. Specific effects of dance training on brain structure and function, testing the existence of a sensitive period in the context of dance, and obtaining neuroimaging support for dance interventions are explored.Research on dance and the brain promises to provide a better understanding of brain plasticity, which may serve as a basis for the development of dance-based therapy programs (Karpati F, Giacosa C, Foster NE, Penhune VB, Hyde KL, 2015).

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Claims

A method for correcting a person's psycho-emotional state using dance exercises, characterized in that the client performs four dance exercises sequentially or one at a time, with the exercises combined and the client performing the exercises independently after a session with a psychologist, where the psychologist explains how to perform each exercise; the first exercise is "Baba Yaga's Dance", in which the client reproduces active movements to music that evokes irritation and negative emotions, while the movements are ugly, with the use of growls and grimaces; the second exercise is "Seaweed", in which the client makes oscillatory movements with the whole body like seaweed, relaxingly raising his arms above his head and swinging them in different directions to slow relaxing music with the sounds of the sea;The third exercise, "Eve-Lilith," includes a sequential execution of three steps, namely: Step one: the client performs pelvic movements for 1 to 5 minutes, accompanied by fast, aggressive music: circles and figure-eights, wave-like, swaying, and percussive movements; Step two: the client performs wave-like movements with his arms and chest, accompanied by slow, melodic music; Step three: the client performs movements with his pelvis, chest, and arms simultaneously, accompanied by melodic, dynamic music, connecting the movements of the two previous steps; The fourth exercise, "Colored Paint," involves the client, lying on his back, imagining that there is a tap above his chest from which paint of his favorite color is pouring, and the client's task is to paint the entire surface of his body, without using his hands, by placing his body under this stream.