‘At the first ballet school I trained at in San Francisco we performed and toured throughout the year. The emphasis was on learning to be part of an ensemble and how to value an audience by welcoming them into our world with skill, passion and an animated presence.’

Various shape stages and flooring‘Lifelong friends were made by sharing the excitement and sometimes discomfort of eclectic performance spaces, flooring and weather conditions.’

First Arabesque‘At the second school I trained at, we performed once in the Spring and once in the Winter. The theatres were indoor and bigger and we performed with a live orchestra but performance opportunities were infrequent in comparison with the first school and that affected me.’

‘Teaching, over the past couple decades, has resulted in having various points of view on learning, choreography and performance. The view I’ve treasured most recently has come from teaching dancers with diverse learning and physical abilities. This panoramic view is known as “inclusive” practice.’

Can performance help to creatively engage dancers with diverse needs, backgrounds and talents?

‘This research aims to demonstrate the educational influence performance can have on individuals and communities.’

some inclusive values that have been effective in no particular order

‘Welcoming everyone to participate.’‘Setting a tone of encouragement for each person to explore and develop their own unique response to creative stimulus.’‘Explaining any organisational ground rules and protocol for any problems that arise.’‘Establishing the idea of the individual learning to become their own director.’‘Explaining ground rules of personal, professional and social boundaries.’‘Explaining that the only requirement is willingness to participate.’ ‘Giving as much information as possible about what to expect from the session.’‘Asking for permission to direct the group.’ ‘Encouragment toward ongoing individual and group reflection and diologue.’ ‘Eliminating comparison of individual expression.’ ‘Elimination of right and wrong terminologies.’ ‘Celebrating progress and achievements at group level.’

Making dances for adults with no previous theatrical training has impressed us with all of the skills involved‘Learning choreography challenges us to listen and respond so that collaboration is possible. Dancing as part of an ensemble requires reptitional practice, timing and spatial awareness. One of the most leanred skill is perhaps the practice offeeling scared and doing it anyway.’

Arm and Leg eighteen months into training and performance Over three teaching sessions I selected data from extensive journal writing, took and sorted through photos and asked the open-ended question of how these three dancers regard their performance experience.

Arm: “I like people watching me dance. It makes my family happy to see me perform.”Leg: “I feel more creative when I’m on stage. I like myself when I’m doing creative things”.

Arm and Leg with three years practice

Toe with three years training and performanceToe: “I feel more independent and confident when I’m performing. I feel good about myself and it’s fun”.

the confidence I’ve witnessed being gained from perfomance

‘Awareness and comfort with being seen, accepted and celebrated.’

‘Happiness with being seen, being creative, being skilled and free to express.’

‘Awareness of physical and social environment. Belonging to wider world. ’

‘Excitement about going to new places and meeting other dancers.’

‘Sharing work and improvising with other dancers.’

‘Desire to achieve more, learn more, perform more.’

“A mind that is stretched by a new experience can never go back to its old dimensions.” - Oliver Wendell Holmes, Jr. “A mind that is stretched by a new experience can never go back to its old dimensions.” - Oliver Wendell Holmes, Jr.

“A mind that is stretched by a new experience can never go back to its old dimensions.” - Oliver Wendell Holmes, Jr.

Swimming in stage lights

“Being disabled should not mean being disqualified from having access to every aspect of life”.

-- Emma Thompson

A solo‘One performance I didn’t attend because it was raining. Since it was explained to me that the group missed me that night, that my role was important, I’ve been happy to attend every opportunity to perform.’

‘Do I look engaged with what I’m doing?’

‘Being an advocate for dancers who do not have the skills or confidence to apply for funding and/or platform opportunities.’

‘Public exposure of adult dancers with diverse learning and physical abilities may inspire disabled youth to enjoy dance in their community and possibly in the future.’

‘By integrating with inclusive practice non disabled dancers may gain appreciation of their skills and talent and may become less self critical and creatively inhibited by an influence of imposed standards of their past.’

‘Teaching, choreographing, performing and researching within an inclusive practice can inform educators of what values to avoid and how performance experience can promote learning and quality of life while releasing individuals and communities from social divisions.’

access to broader community

thanks to Toe, Arm and Leg• Koren Brown, Suz Oxenham, the dance group at Robert Owen Communities • Dance Network Active at DAISI for giving me the research opportunity• Kerry Chappell at University of Exeter for mentorship• Dance leaders in Devon UK and beyond for leading the way for more inclusive

practice, integrated performance platforms and educational discussions

Presented at University of Exeter November 24th, 2015Questions and comments for discussion welcomeContact Amelia Holst ameliaholst@yahoo.com