As a cultural force, Whiteness is insidious in dance/movement therapy (DMT) education. In the process of learning, East Asian international students and educators may aspire to White, middle-class, able-bodied, heteropatriarchal norms of what constitutes healthy movement and relational styles while excluding others, particularly within a group dynamic that privileges modern dance technique and overt emotional and verbal expression. The reach of educational neocolonialism in East Asian countries further perpetuates this force. As the foundational form of the discipline of DMT, “modern dance” is the standard of the expressive practice. And although “other” dance forms are starting to be welcomed, there is still a gap regarding how these are included into DMT education and applied in practice. This co-created critical autoethnography emerged from an embodied reflexive dialogue between two East Asian former international students on their experience of Whiteness in DMT education. Through counternarratives, we illustrate ways towards a decolonizing praxis of DMT that is situated within the educational environment and with the students with whom we work as educators and supervisors.

中文翻译：

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“我真的可以诚实吗？” 共同创建了关于舞蹈/运动治疗教育中的白人的批判性自民族志

作为一种文化力量，白人在舞蹈/运动治疗（DMT）教育中是阴险的。在学习过程中，东亚国际学生和教育工作者可能会追求白人、中产阶级、身体健全、异性父权制的规范，这些规范构成了健康的运动和关系风格，同时排斥其他人，特别是在一个重视现代舞蹈技术和舞蹈的群体动态中。明显的情感和言语表达。教育新殖民主义在东亚国家的影响进一步延续了这种力量。“现代舞”作为DMT学科的基础形式，是表现实践的标准。尽管“其他”舞蹈形式开始受到欢迎，但如何将其纳入 DMT 教育并在实践中应用仍然存在差距。这种共同创造的批判性自我民族志源于两名东亚前国际学生就他们在 DMT 教育中的白人经历进行的反思性对话。通过反叙事，我们展示了在教育环境中以及与我们作为教育工作者和督导人员一起工作的学生中实现 DMT 去殖民化实践的方法。