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The Co-regulatory Narrative Arc of early playful interaction in typical development.
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F1
Over time, we explore a huge variety of co-regulatory narrative arcs (Figures 1, 4) across both simultaneity and complementarity in synchrony.
The "Monster Belly Blow Game" (Twin TD, Typically Developing; Twin A = with Autism). The Arousal and Attention variables are aggregate scales drawn from combining relevant interactive behaviors from a tailored list developed for this micro-analysis (please see, for details). Here, Arousal corresponds to Social Engagement System arousal. Re-presentation of findings - with authors' permission.
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Twin A displays asynchrony in attention, behavior, and motor tonus, and her behavior lacks any coherent build-up of arousal or anticipation (Figure 2).
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The Co-regulatory Narrative Arc of early playful interaction in typical development.
fpsyg-13-793258-g001.jpg
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F1
Over time, we explore a huge variety of co-regulatory narrative arcs (Figures 1, 4) across both simultaneity and complementarity in synchrony.
The "Monster Belly Blow Game" (Twin TD, Typically Developing; Twin A = with Autism). The Arousal and Attention variables are aggregate scales drawn from combining relevant interactive behaviors from a tailored list developed for this micro-analysis (please see, for details). Here, Arousal corresponds to Social Engagement System arousal. Re-presentation of findings - with authors' permission.
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F2
Twin A displays asynchrony in attention, behavior, and motor tonus, and her behavior lacks any coherent build-up of arousal or anticipation (Figure 2).
The Rhythmic Relating skill set: overview.
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We attempt to connect with a particular aspect of their behavior - selective mirroring (initial) (section "Embodied Mirroring Skills" and Figure 3). If we are able to pick up on a repetitive, somewhat looping quality within the client's movement, sound, or object-play - use rhythmic synchrony scaffolding (initial) (section "Rhythmic Support Skills" and Figure 3). If not, we can use rhythmic grounding to add pulse (section "Rhythmic Support Skills" and Figure 3). An even phrase is marked by both partners traveling alongside each other, through an even pulse, in simultaneity (exactly in-sync): walking; jumping; rocking; blinking; sharing a regular sonic pulse; placing Lego bricks with regularity etc. After orientation and an extended moment of experiencing our even synchrony, we can pause and seek response (preferably), or respond ourselves through selective mirroring (modified) (section "Embodied Mirroring Skills" and Figure 3) and or rhythmic synchrony scaffolding (modified) (section "Rhythmic Support Skills" and Figure 3). We can facilitate sensorimotor integration, depth of relatable vitality, and a range of emotional and arousal experiences, all through our sensitive practice of layering the senses - mirroring (vitality) (section "Embodied Mirroring Skills" and Figure 3) and rhythmic synchrony scaffolding (extended) (section "Rhythmic Support Skills" and Figure 3).
The Rhythmic Relating Play Progression: An overview (in pictures).
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Over time, we explore a huge variety of co-regulatory narrative arcs (Figures 1, 4) across both simultaneity and complementarity in synchrony. These co-regulatory arcs are like hills and mountains in the tonescape we travel through together (section "Recruiting Acoustic Brain-Stem Turbulence: Evolutionary Sounds That Move Us" and Figure 4).
The Rhythmic Relating Play Progression: An overview (in words).
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Or, as a possibility - use link in the loop (section "Orientating Skills" and Figure 5) and/or jazz gaps and activation contours (section "Orientating Skills" and Figure 5).
A non-exhaustive list of possible ways a client with Autism(TherapeuticNeeds) might initiate an orientation.
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Part of our practice is a continual tuning-in to possibly non-intuitive orientations from the client (Figure 6).
A Phrase of playful interaction.
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Each phrase (Figure 7) starts with an orientation.
Case example. Rhythmic relating within dance movement therapy: Suzi Tortora.
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Case example. Rhythmic relating within improvisational music therapy: Ulla Holck and Monika Geretsegger.
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Case example. Rhythmic relating within play therapy: Stuart Daniel.
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Case example. Rhythmic relating within musical interaction therapy: Judit Elias-Masiques, Marie-Claire Howorth, and Dawn Wimpory.
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