Social Dance in Support Groups for Female Victims of Male Violence against Women

Lately, the artistic world and the social world are more strongly linked. This article presents social dance being used as an instrument, a bridge and/or tool for groups of vulnerable people exhibiting the social characteristics of risk and/or exclusion. In social dance groups, dance is oriented towards different purposes; among one of which is therapeutic. In this paper, a sample obtained between 2010 and 2021 from support groups for female victims of male violence against women using dance therapy (DMT) is analysed. From this investigation, we observe the participants’ evolution and the benefits gained through employing dance and movement as a support for reorganizing and restructuring situations, joining the trichotomy of thoughts, feelings, and acts so these women are empowered to make vital decisions that will positively affect their recovery. The results show that one of the keys for this recovery is the connection between movement and emotion.

Using the definition and concept of Iranzo-Domingo (2017, 3:15), who define dance with a social impact as projects for people or groups in situations of social risk, understanding social risk as a vulnerability that makes it difficult to fit into society, contributes to stimulating creativity and promoting social aptitudes through education, learning and the benefits of dance and movement.
With the work carried out within social groups, dance becomes an instrument (Rodríguez & Carmona, 2018;Monsegur, 2008) that, when applied to people in vulnerable moments, is a powerful expressive tool to act on which it is not possible to verbalize but needs to be or can be expressed through corporal language (Schott-Billmann, 2015).
While social dance has artistic objectives, its principal aims are psychotherapeutic (Arboleda et al., 2018) with a common denominator: the typology of the group with features of vulnerability, social risk, social exclusion, and inclusion.
Once the social groups have been identified, social dance is employed according to the purpose, characteristics, and elements of the specific group.
For instance: -Psychotherapeutic work using dance therapy (DMT) with the prison population, older people at risk of exclusion, or people with addictions, marginalised or misfits (Schott-Billmann, 2015;Arboleda et al., 2018).
-Different social groups or collectives implementing the process to selforganize a community (Àrea de Drets Socials, 2018) could use social dance as a way to communicate (Bilitza, 2021).
-Groups comprised of people of different ages using Intergenerational Dance, as is possible in some dance spaces in Barcelona, for instance, Mercat de les Flors, Casa de la Dansa.
-Inclusive or integrated dance groups for people with different physical, cognitive/mental capacities (Canàlias, 2014).
In this investigation of social dance, we focused on dance as a therapeutic tool where the "discipline" was Dance Movement Therapy -DMT- (Herrera, 2014, p. 314) and was being applied in support groups for female victims of male violence against women.
International and Multidisciplinary Journal of Social Sciences,11(3) 31 DMT varies its nomenclature by historical moment or country where it is practised (Wengrower, 2008).Currently, some DMT associations and federations have focused their dance therapy towards psychotherapy (Vaysse, 2006;Cruz, 2016;ADTA, n.d.), including movement associated to dance and defining it as a psychotherapeutic use of movement that promotes the psychophysical integration of the individual (Iranzo-Domingo, 2020;Panhofer & Rodríguez, 2005;Vaysse, 2006).At the present time, the associative abbreviations of ADTA (n.d.) continue, where it is known as Dance Therapy rather than DMT.
For instance, in 2012 the UNESCO, through CID -Council International Dance-, organized the 3rd World Dance Research Congress which focused on the Dance Therapy Panorama.In this congress, 146 presentations were given in which the diversity of nomenclatures of dance therapy was clearly observed: 19 referred to Dance Therapy (Catalunya/Spain, Colombia, Greece, Italy, Turkey, France, Chile, USA and Germany); 15 to Therapy Dance Movement (Israel, Italy, Portugal, Turkey, Germany, Spain, USA and Martinican); two to Psychotherapy Dance Movement (USA) and four with other names: dance-rythme-thérapie (France), dance style therapy (Ukraine); integral dance (Spain) and dance movement exploration (Australia).Concretely in Spain, the change from Dance Therapy to Dance Movement Therapy is considered formalism (Wengrower, 2008).In France, Joselyn Vaysse (2006) investigated the different names and validated the one from the Société Française: Danse Thérapie (DT).
Of all of these 23 DMT Associations affiliated to the EADMT -European Association of DMT-: 13 state associations have chosen the name DMT (Portugal, Spain, Cyprus, Slovenia, Italy, Czech Republic, Austria, Denmark, Estonia, Latvia, Lithuania, Russia and Ukraine); seven have chosen the name DT (Hungary, France, Norway, Germany, Sweden, Finland and Switzerland); four DMP (Rumania, the Croatia, Poland and UK); and another three have chosen names such as creative and expressive therapies, movement, dances or body therapies and arts therapy (Israel, Switzerland and Belgium).
For Cerruto (2018), therapeutic dance, dance therapy and DMT are the same.He, like Herrera (2014), considers them to be the language for deep emotions.We position ourselves in the idea that dance therapy, dance movement therapy, therapeutic dance, dance psychotherapeutic movement, and therapy through movement and dance are the same action where basic principles are implied in this practice.These principles talk about the reciprocal relationship of the body-mind developed in the psycho-physical integration of the individual (Chaicklin & Schmais, 1979;Vella & Torres, 2012), therapeutic relationships (Calvo & Camacho, 2014;Melgar et al., 2021) and creativity (Arieti, 1978;Fux, 1998), and expression in movement (Wengrower, 2008;Iranzo-Domingo, 2020;Villena, 2008;Vaysse, 2006).
In the intervention proposal, which we will raise later in the paper, DMT appears as the psychotherapeutic use of movement to promote the psychophysical, cognitive, and social integration of the individual (ADTA, n.d.;Herrera, 2014).In this investigation we emphasize that dance therapy -DMTis a complementary therapy, preventive, cohesive and used in support groups for female victims of male violence against women.
The sample with which we carry out the study is centered in Barcelona, therefore, to determine male violence against women we are governed by municipal, regional and national legislation, beyond international treaties.This refers to the Law 5/2008, 24 April, and its later modification and extension; Law 17/2020, 22 December, the right of women to eradicate male violence against women, defined as "the one that is exercised against women as a manifestation of discrimination and in a situation of inequality within the framework of a system of power relations of men over women and that, produced by physical, economic or psychological means, including threats, intimidation and coercion, results in physical, sexual or psychological harm or suffering, whether it occurs in the public or private sphere."This definition agrees with the UN Declaration (1993) about the elimination of the violence against women and ratified in Article 1 of the Treaty of Istanbul (Council of Europe Treaty Series, 2011), thus being meant as a violation of human rights.With Law 17/2020 as recalled by Vidu et al. (2021), the first world legislation on the Isolating Gender Violence was approved unanimously.This concept is unmarked from the SOSH -Second-Order Sexual Harassment-concept to (Flecha, 2021;Melgar et al., 2021) in relation to second-order victims."The IGV concept is tied to what science and legislation establish as gender-based violence."(Vidu et al., 2021, p. 185).
According to Statutory Law 1/2004, 28 December, Measures of Integral Protection against gender-based or male violence against women, according to article 173.2 Spanish Penal Code, and as named by authors Bosch-Fiol, and Ferrer-Pérez (2012): we understand by gender-based as that which is International and Multidisciplinary Journal of Social Sciences,11(3) 33 exercised by men against women, who are or have been their partners or have been linked to them by relations of analogous affectivity, even without coexistence at the time of the events.
In this way, male violence against women, unlike gender-based violence, determines the masculine concept as "the behaviors of domination, control and abuse of authority by men over women and which, at the same time, has imposed a model of masculinity, which is still valued by a part of society as superior" (Law 17/2020), and can be manifested in the couple, family, work, social or community areas.
According to the above, the main objectives of this study are to provide evidence on the effectiveness of social dance through a case study and to provide evidence on the value of social dance and determine the benefits of the practice of dance in groups of people who are vulnerable and/or at risk of social exclusion.This is achieved through the example of dance with therapeutic purpose, DMT, specifically in support groups for female victims of male violence against women.

Investigation Methodology and Instruments
The investigation is framed in a qualitative methodology, within the interpretative paradigm (Flick, 2012), usually identified with naturalistic or humanist perspectives (Bisquerra, 2014).
This research is based on participant observation (Salazar, 2006;Latorre, 2007) by obtaining data in situ in each of the weekly sessions carried out for 6 months and for each of the groups analyzed over 11 years.
The structure of observation and its systematization is divided into three packages: the first refers to the person and their physical-somatic and psychicemotional actions.The second package refers to the evolution of the group on the interventions of the participants towards them and the relationships established between them.The third package refers to the action carried out with the DMT and the intervention of the interdisciplinary team that accompanies the group.
Therefore, the data collection is qualitative and descriptive, and it was carried out in a natural situation throughout the investigation process.
Evidence was collected systematically with registry techniques, the collection instrument being field diaries (Sierra-Bravo, 2001).
The analysis was made on non-numerical, qualitative primary data.For the reduction of data, categories and subcategories of predominant subjects were established through successive readings of the material obtained.
It is important to note a triangulation of the investigators involved i.e., one on-site and two from the university.To verify the validity of the data, the analysis and the conclusions were sent to the professionals of an interdisciplinary team and to the members of a participant collective to reinforce the choral character of the study (Kara, 2021).

Context of the Study
This investigation covers eleven years, from 2010 to 2021.The sample consists of 36 support groups against male violence against women, with 35 groups of women and 1 group of men.The study focuses on the 35 groups of women (a total of 700 women treated), with an average of 20 women per group.
The sample is made up of women of different nationalities aged between 18 and 70, with an average of 40 years old.They are participants of the annual support groups for female victims of male violence against women of social services of Barcelona city council.
The teams running and supporting these groups are made up of different professionals: a psychologist, a social worker, a social educator and a family worker (if there is a group of children) and always the same dance therapist.

Ethical Considerations
All the processes of the investigation took place with the previous authorization from the women who participated in the sample.All the participants were informed about the objectives, as well as the conditions for participation.Ethical principles assuring the anonymity of the participants were employed when using the data.Sciences,11(3) 35

Procedure
The study is structured around three phases (Table 1) allowing for systematized feedback and evaluation and continuity of the whole process.
Table 1.Project phases for the women of the support group for female victims of male violence against women Group intervention consisted of a weekly session of two hours over six months.These sessions were divided into a verbal process with the psychologist, and a corporal process with the dance therapist.With the spoken 36 Iranzo-Domingo et al. -Social Dance in Support Groups word one enters a linear process and with the art one enters into a process where metaphors and symbols take action (Huss & Sela-Amit, 2018).
The intervention of the specialist in DMT always considers the state of the women individually as well as that of the group at the start of each session.This group's state is determined by the verbal process added to that developed in the preceding session.It is essential to create, over the sessions, a space of security (Arboleda et al., 2018;Villena, 2008), as well as a specific climate to motivate group and individual participation (Echeburúa & De Corral, 2006).We take into consideration, as Bishop and Bettinson explain (2018), that the effects of the continuous abuse and trauma experienced by many victims causes psychological injuries and physiological effects.According to Alfaro in Monsegur ( 2018), the corporal space, for some participants, is an enabling space.This safe space allows them to act and present part of themselves, and to become aware of themselves.A safe space of containment of emotions where danger, either physical or emotional, does not exist (Villena, 2008).

Intervention Methodology
The intervention is fitted into a structure of group movement with experiential and practical participation.We noted the evolution of each woman within its process.We worked with what they contributed, respecting their emotional state, being alerted to containing any situation that arises by mobilizing them to act on their behalf (Chang & Leventhal, 1991).It is key to integrate words following the corporal action on the experience of the moment.In dance therapy, it is about the symbolization (Villena, 2008;Chaiklin, 2008;Panhofer & Rodríguez, 2005;Herrera, 2014;García, 2018) of the verbal relation to the physical expression of feelings and emotions (Chodorow, 2008).DMT can provide access to "emotions that cannot be verbalized" (Hölter & Panhofer, 2005, p. 35).Working with objects, symbols, etc., allows for the excavation of the experience of one's self (Huss & Sela-Amit, 2018;Winnicott, 2002).
Considering that during a traumatic incident the brain dissociates and separates "the conscience, memory, emotions, corporal sensations, thoughts and sensorial perceptions" (Bishop & Bettinson, 2017, p. 15), the work with dance is to once again structure that unstructured body, approaching the experiences to understand them, to recognise them, and to become detached from them (Hirigoyen, 2005) and reinhabit one's own body."L'image International and Multidisciplinary Journal of Social Sciences,11(3) 37 corporelle a aussi une dimension socialisante, que DT exploite."(Vaysse, 2006, p. 206).
The corporal section is structured into three parts (Table 2) making sense of all the therapeutic process (Chaiklin, 2008;Wengrower, 2008): psychocorporal warm-up, central development of the session and final verbalization.

Analysis of the Results
The analysis covered the content of each of the sessions of male violence against women groups over 11 years.From the study objective we extracted three general themes, which we associated with three categories.
By classifying the analysis into three categories, we can more rigorously identify how the activity of movement and dance influences a woman's  3).

Process of analysis
The subjects and categories are established in three rounds.In the first round, an intensive reading of field diaries was carried out.The research team extracted any relevant terms and phrases.These are the fruits of the reactions and manifestations in relation to the context -movement activity-being expressed freely by the women in the sessions.Some phrases are spontaneous, and others are revealed in the verbalization and final closure.From the analysis, a total of 272 textual sequences (assertions -words and phrases), related directly to the objective of the investigation, were obtained.
In the second round, through a process of discussion and reflection, all the sequences were inventoried into two parallel classifications: a) According to its content-meaning aimed at the individual process of the sequences of reconstruction.This first classification emerges from the three categories: recognition, confidence and maximizing resources (Table 3).
International and Multidisciplinary Journal of Social Sciences,11(3) 39 These categories were divided into 8 subcategories: reconnecting with one's own identity; expressing thoughts, feelings, and sensations; connection and expression through the body; individual empowerment; trust in the other; canalizing the emotion; managing the emotion and capacity to respond (Figure 1).Each assertion obtained is related to a category and one or more subcategories.Consequently, the final analysis of the subcategories is made considering this indication.
The subcategories emphasize the own person, the individual itself and the way to recognize themselves physically and mentally.In summary, we treat the work soma-psyche (Damasio, 2006).As a sample, we took the participants' own text sequences.b) Depending on the context (Figure 2).According to what is expressed verbally, it is related to an action with the DMT.This second classification, named State, allows us to discern the repercussion of the movement and the dance interfered with the DMT, as well as to value the expression of the users when they imply soma -body-in the therapy.This second classification is divided into four states: the emotional (psycho), the physical (soma), the decision-making (decision) and the questioning in relation to the present and/or future state (questioning) (Table 4).The contexts depicted in Figure 2 derive from the activities carried out in the group sessions.Phrases were not extracted from all the activities, but those enabling contexts of the verbal expression were indexed.Any context can be represented in the three categories although they are tied neither to the categories, nor to the subcategories or states.It is interesting to observe that contexts are enabling of information, with the empty context being that in which the women expressed themselves without relation to any concrete activity, simply from that caused by its global interaction (body-mind) with the guidelines of the dance therapist.The context is the direct source of information that connects the action of the dance, DMT, with the participants of the social group.

Obtained
Throughout all the process, there are women who can continue and participate, and others who cannot for different reasons; one of which is the difficulty of accepting that they are a victim of male violence against women."To recognize what's happening to me, the best defence against the stress that I had…'' (Assertion 261.Empty context.Subcategory G. State Decision.Group 2019.GUI).Attendance to all the sessions is valued, at least attendance to most of them, as this is an indicator of group commitment and personal commitment.Besides acquiring a social commitment for the co-participation of and in the group, "Now that the group is over my struggle begins"   how women, working with the DMT, begin an identification route, the principal reality they are in, and how they recognize or confront being a victim of male violence against women."Now?We are all processing things.Psychologically we say, "No, I am crushed".Psychologically I must be positive, to enjoy life, to put on make-up and dress up…" (Assertion 33.The complicity of the global work with the person -body-mind-exercised with the dance and concretized with DMT, evidences the highest indexes of answer referred in 47% in the Psycho state of Category 3. Maximize resources, following a 37% result in the Soma state of Category 2. Recognition.In fact, the greater percentages allude to these two states, Psycho, and Soma. Relating the four states to categories 1. Recognition and 2. Confidence, we detect a percentage similarity among them.This similarity demonstrates how women, through DMT, balance the information they receive, reacting based on their vital moment."I associate it with the tunnel where I am now.In my tunnel there also exists an exit."(Assertion 149.Context tissues.Subcategory D. Psycho state.Group 2015.9B).
The misalignment reflected in category 3 attracts attention, to maximize Resources, between the two states Psycho (41%) and Questioning (5%).This fact gives a perspective into how each woman faces her own processes.Table 5. Sample of content analysis of category 1. Recognition.International and Multidisciplinary Journal of Social Sciences,11(3) 45 The final result shows the Questioning of oneself is the most difficult aspect for the participants, followed by the Decisions taken.This makes us think that the women need more therapeutic help or more support in this direction.Despite this, there is a balance between the initial trichotomy: thought (32% Psycho state), action (33% Soma state) and verbalization (35% sum of the states: Decision and Questioning).Therefore, we observe that the DMT is a complementary therapy in the recovery of a woman who is the victim of male violence against women.
Tables 5, 6 and 7 show a representative sample of the content analysis of each category.
The analysis of the content in Table 5. Category 1. Recognition indicates the work carried out by the women on an intrapersonal level.They show negative or positive or distorted emotions through the body, "I realize what is happening!My emotions and feelings are moving.Until now, I was not aware of them."(Assertion 2. Empty context.Subcategory B. Questioning state.Group 2010.9B).As these emotions arise the participants recover, recognizing their circumstances, recognizing themselves in their emotions and interpreting what has happened to them.The analysis of Figure 3. Subcategory A. Reconnecting with one's own identity is related to the self-inquiry, "I am surprised of where I have been able to get to today!" (Assertion 4. Context physical-corporal manipulation.Subcategory A. Psycho state.Group 2011.9B).The women are defeated, and the experience helps them to reconnect with their self.
The analysis of Figure 3. Subcategory B. Expression of thoughts, feelings and sensations is related to the resurgence of the unconscious thing, "I have to return to the psychiatrist, I thought that everything was over, but I see that it still isn't."(Assertion 61.Context dance session.Subcategory B. State Decision.Group 2018.SM).Everything that emerges throughout the sessions is eloquent.
We relate the analysis of Figure 3. Subcategory C. Connection and expression through the body with the self-discovery and body process category, "It wounds me, it wounds my whole body."(Assertion 9. Empty context.Subcategory C. Soma state.Group 2012.HO) being particularly revealing.Through movement and dance the women can connect with soma.
The combinations of the subcategories in category 1. Recognition is directed towards the self-knowledge, "I don't know.Very discouraged.Now I have clarified the doubts where before I didn't find solutions."(Assertion 91.Context before-now-in the future.Subcategory A-B.Questioning state.Group 2019.SM).Or also, "Very nervous and not because of the pregnancy.I am stressed, and the fact of receiving provides me with well-being."(Assertion 87.Context oranges.Subcategory A-C.Soma state.Group 2019.SM).
In relation to Table 6, category 2. Confidence, they transit towards acceptance, self-confidence, "I was not able to and now I am", (Assertion 182.Empty context.Subcategory D. State Decision.Group 2020.SM) along with empowerment to continue towards a second evolutive layer and to introduce to others.The interpersonal level begins from the moment the other person is introduced.The limits themselves are worked on by exploring what is wanted and how it is wanted to generate a relationship based on and within themselves.The combinations of the subcategories in Category 2. Confidence, interrelate and feed on their own and others' experiences, "The contact, the direct physical pressure and moving parts of the body that I never moved has helped me a lot." (Assertion 125.Empty context.Subcategory D-E.Soma state.Group 2011.GUI).
Category 3. Maximizing resources, shown in Table 7, focuses on facilitating tools so that the participants can register what has happened to them and identify certain moments that are not favourable for them."I have a sensation of continuous tension in my body, and I am conscious that it is due to the relationship I had with my partner.I have internalised the exercises for my day to day." (Assertion 197.Empty context.Subcategory G. Questioning state.Group 2012 HO).As well as indicating resources to allow themselves to be good with themselves, to be alone with themselves, to be able to channel their emotions.
The analysis of Figure 5. Subcategory F. To channel emotions, reflects the reactions that the women have had in relation to what has happened in the session, "Today I was very tense, but now it is going very well."(Assertion 251.Empty context.Subcategory F. Psyche state.Group 2018.HO).The combinations of the subcategories in Category 3. To maximize resources, are related to the acquisition of resources, "I have relaxed."(Assertion 267.Context breathing.Lichtenstein method.Subcategory F-G.Soma state.Group 2019.9B), and "My trauma.I have not been able to play with my children.I had very rigid parents, who were never tender with us emotionally: never laughing, nor crying.Absolute repression and zero body… A marriage of convenience with physical abuse… I wanted to caress my children, but my parents said to me that no, that they would lose their respect for me.Now it hurts me very much.I can't carry this load."(Assertion 224.Empty context.Subcategory F-G-H.Questioning state.Group 2014.HO).
The extracted results allow us to reaffirm the importance of social dance with groups for female victims of male violence against women which motivates us to keep on working at the same level with other social groups.

Discussion
This investigation, in agreement with authors, such as Rawdon and Moxley (2016) or Burney (2019) shows that working with dance from a social approach generates a creative strategy that does not follow the traditional preestablished protocol in the social sphere.We also certify, according to Vassey (2006), that creativity involves leaving a scheme and a repetitive mechanism, which facilitates the emergence of emotions.
We observe, as in other studies (Arboleda et al., 2018;Huss & Sela-Amit, 2018), that the arts recreate the connection between cognition, emotions, and the senses.Consequently, dance becomes a mechanism that circulates in the internal conflict of the person and helps in the decrypting/rescuing work carried out in groups with social vulnerability (Monsegur, 2018).Journal of Social Sciences,11(3) 51

International and Multidisciplinary
The investigations carried out by Bybee and Sullivan (2005) and Melgar et al. (2021), demonstrate that to have participated in a therapy for male violence against women has a positive impact on both an individual and social level.Its supports them in accessing community resources and improves their quality of life.The therapeutic work is aimed at identifying psycho-physicalsocial signs to overcome SDM -syndrome of the battered woman 2 -(Àrea de Serveis Personals, 2007).The Ministry of Equality (2019) indicates that 88.2% of the women who looked for formal help ended their abusive relationships.
The innovation of this study lies in the recognition of the recovery of the social dance participants following the DMT intervention and how they relate their evolution to their experience in the experiment.The results demonstrate that the direct relationship between corporal action DMT related to the psycho-emotional part is 32% compared to 33% related to the somatophysical part.This fact corroborates the participant observation of how intervention with dance accompanied by therapy produces changes both in the participants' corporal structure -physical part-and in their body image, projected and introjected -psychological part-.Therefore, for the global concept of body-mind (Damasio, 2006) dance is an ally especially in processes where rehabilitation, changes (Huss & Sela-Amit, 2018;Burney, 2019) and/or improvements are reflected upon and stated out loud.According to Winnicott (2002), structuring the individual, the body and movement are essential.The participants are surprised by themselves, they recognize themselves emphasizing expression through their body doing conscious and unconscious things.
Through group cohesion, the participants give themselves permission to be themselves and to participate with total freedom.Starting with the creative activities performed, the symbolization offers them approaches to change, to reflect and to connect their body with their emotions, thus confirming one of the keys to recovery is "the connection between movement and emotion (Reich, 1949;Bernstein, 1975;Navarre, 1982;Rossberg-Gemptom & Poole, 1992;Payne, 2006)" (named by Vella y Torres, 2012, p. 148).The women can reorganize themselves by combining the trichotomy thought-feeling-acts to structure themselves again, simultaneously acquiring awareness of their situation, being able to make vital decisions.
Over the 11 years of groups with DMT intervention, we perceived that dance used in a social context, social dance, favours problem resolution and aids resilience (Huss & Sela-Amit, 2018).

Limitations and Future Lines of Research
This study has limitations because the analysis is long-term, and the sample size is large, a lot of information has been obtained.This information has been selected and focused solely on the object of study, avoiding information of interest such as that referring to the characteristics of the population: place of birth with respect to immigration; years; or those related to the origin of the women: origin, economic level, training, social network, etc.
On the other hand, the data from this study opens the door to a future line of research focused on a dimension at the community and sociodemographic level that could serve to fine-tune the offer with the social services or with the public services necessary to prevent and/or detect male violence, as well as in other towns with the same support groups for female victims of male violence against women.
Another limitation is that the research has only been carried out with a group of specific characteristics of social vulnerability, for this reason it would be very interesting, in future research, to be able to replicate the study in other social dance groups.

Conclusions
This article examines general questions about the use of dance in groups of social vulnerability, identifying it as social dance and exemplifying it with support groups for female victims of male violence against women.
We consider it necessary to frame the work done with dance in social vulnerability groups, understanding that social dance, with all its dimensions, integrates different narratives, such as therapeutic or artistic.To speak of social dance is to give artistic and social value to the work developed by the professionals in groups which have specific social characteristics.
This investigation emphasizes the fact that dance can be used as a tool, an instrument, a resource and not just a purpose.The data of the analysis corroborate that, when working towards objectives of a social nature, dance is International and Multidisciplinary Journal of Social Sciences,11(3) 53 a support that facilitates, develops, and empowers the social abilities of the participants.
The relevance of dance and movement (in the DMT format) as a tool for female victims of male violence against women support groups is complementary and adds to the work carried out by the entire interdisciplinary team.The sample used here is that of the experiences of all the women who have participated in the different groups throughout the years covered in this investigation (2010)(2011)(2012)(2013)(2014)(2015)(2016)(2017)(2018)(2019)(2020)(2021).
The analysis demonstrates how DMT, approaching the globality of the person, facilitates the expression of feelings and/or memories, with the recovery of self-esteem, own presence, and self-recognition.From the final sessions and the closing of the group, we observed that most of the participants who finished the group work have the tools and empowerment to begin to make their own way and their own decisions about their lives.With recognition and acceptance, the recovery of a woman who is a victim of male violence against women begins.
We conclude that using dance in the social field contributes directly and indirectly to the objectives established when working with vulnerable groups and/or groups at social risk.Proceeding with social dance in support groups for women victims of male violence against women and noting the results obtained, we can see that it is one of the cornerstones for their recovery.

Notes
1 Translated from Catalan: Male violence.According to Catalan legislation, Law 5/2008 and Law 17/2020 refer to p. 27 of this article, male violence expands the concept of violence against women.It's taken to translate male violence as male violence against women from the definition to the APA (American Psycho-logical Association). 2 Translated from Catalan: Síndrome de la Dona Maltractada.

38
Iranzo-Domingo et al. -Social Dance in Support Groups recovery.Relating the context to what she expresses, we know how she experiences it, what mobilizes her interior, how she is regenerated and how she manages her process (Table

Figure 2 .
Figure 2. Contexts It shows how the work with DMT is developed in the emotional part of training and empowerment: in the Questioning state (5%) this figure indicates the indecision about one's evolution."I have a rage against a man, against the experience of a specific economic situation.I am furious at everything as it was before and of how it is now.I have rage against myself" (Assertion 190.Empty context.Subcategory G. Questioning state.Group 2010.9B).This responds to the Psycho state (47%) focused on the emotion-sensationrationalization of real progress, "I think about colliding with something -(the woman was being guided while her eyes were closed) -, I process what he was thinking and the thought disappears."(Assertion 169.Context guides.Subcategory D. Psycho state.Group 2019.GUI).

Figure 3 .
Figure 3. Subcategory A. Reconnect with one's own identity.Subcategory B. Expression of thoughts, feelings, sensations.Subcategory C. Connection and expression through the body.Subcategory A-B.Subcategory A-C.Subcategory B-C

Figure 4 .
Figure 4. Subcategory D. Individual empowerment.Subcategory E. Trust in the other.Subcategory D-E

Table 4 .
States and Valuation Frequencies breakdown Context before-now-in a future.Subcategory B. Psycho state.Group 2015.9B).This type of testimony indicates in which vital moment they find themselves.Recognizing oneself helps them to understand their situation from a psychological perspective; Psycho state: "I feel oppression."(Assertion 50.Context guides.Subcategory B. Psycho state.Group 2018.9B).It helps them to make decisions; Decision state: "To attend the group is 60% of the happiness of my life."(Assertion 89.Empty context.Subcategory A. State Decision.Group 2019.SM).To question one's life from the present moment; Questioning state: "I do not like the most aesthetic part of the people.So, what does it serves?What is it for?For whom?" (Assertion 151.Empty context.Subcategory D. Questioning state.Group 2016.SM).Finally, as they reinhabit their battered body, Soma state: "Calm-word said by the user when making the action."(Assertion 238.Context connection body-emotion.Subcategory H. Soma state.Group 2016.SM).

Table 6 .
Sample of analysis of content in category 2: Confidence.