Dancing In/ Inside of/ With/ Around/ Through a Fragmented World

November 25, 2024

BY DONNA SCHOENHERR

Note: This article was first published in Stance on Dance’s fall/winter 2024 print issue. To learn more, visit stanceondance.com/print-publication.

I had the honor of being a guest at a think tank recently in London at the headquarters of TEAM LEWIS Foundation. This foundation has been supporting my registered charity Move into Wellbeing® as well as directors and founders of other charities from all over the world. During one session at the think tank, we were asked, “How do we continue to lead in such a fragmented world?” This question really struck me. The way I work and lead is by pulling together and uniting during the chaos, fragmentation, and adversity that may surround me. I reflected on this topic and thought more about how my two dance organizations help to continually maintain a sense of belonging, structure, motivation, and inclusion for people. These important ingredients and assets to society also reinforced in my mind the value and necessity of dance organizations to be accessible for all.

I am the founder and director of two well-established dance organizations in London, England: Ballet4Life and the nonprofit Move into Wellbeing®. Originally, I hail from Rochester, New York, and I received my comprehensive dance training at the prestigious Enid Knapp Botsford School before training in New York City under full scholarships with the David Howard Dance Center and with Melissa Hayden, Bobby Blankshine, Wilhelm Burmann, and Marjorie Mussman at Melissa’s studio (yes, the one where the elevator opened directly into the studio, and no one warned me of that awkward entrance). My professional dance career embarked with Cleveland Ballet and later I expanded and explored modern dance, working with Robin Staff’s Colloquium Contemporary Dance Exchange, Milton Myers, and later the Michael Mao Dance Company, plus a lot of freelance work with individual choreographers. I also worked on, strengthened, and expanded my portfolio of skills with my own teaching, choreographing, and taking on roles of rehearsal director and assistant to the director. My performance career-ending knee injury provided a bridge to the other side of the performing arts world. I was able to eventually create a self-sustaining life and to finally be in a position of self-leadership. This huge transition is something that gave me great joy, a sense of civic duty, gratitude, and inspiration! My heart and soul go into every endeavor I approach and create. I try to utilize all the decades of my professional dance experiences, both from my home country and from my work abroad, to bring dance to thousands of people in an attempt to enrich, bond, reduce anxiety, and empower others.

Ballet4life celebrates its 20^th anniversary this year. The strength, growth, and longevity of it is a direct reflection of needs I see in society. When I founded Ballet4Life here in the UK, dance classes for adults were not common nor respected, and I was met with skepticism from many. “Why? How? This will never succeed,” were pointed remarks I fielded. I had a vision and a strong idea of what I wanted to attempt to create, build, grow, and nurture. This goal included providing authentic dance classes in proper dance studios with highly qualified and caring teachers, and to provide a warm, welcoming, and nurturing environment in which people would experience the classes.

Our classes at Ballet4Life are offered for adults from age 16 upwards, and our most senior dancers are in their 80s. Due to the sudden restructuring during COVID-19 and the implementation of daily online classes, which I offered free of charge, we also still maintain an online dance program. Ballet for adult learners from complete beginners up to advanced and retired professionals is the main focus, but in addition, regular classes in modern, character dance, pointe work, repertory, and jazz dance are offered. We also hold special masterclasses and workshops throughout the year and focus on different dance styles and techniques such as contemporary ballet and Argentinian tango.

Thirteen years ago, I created a program for dancers age 50+ to enjoy dancing with us in specialized classes, and this became a very popular innovation here! Many other dance organizations in London and throughout the UK followed suit, starting up classes and courses for dancers over 50.

The team of teachers at Ballet4Life comes from all over the world and have very different backgrounds and training. They are all excellent teachers, they genuinely enjoy their work, they are inspired by working with adults, and they help to keep the balance and grounding for the shifting times we live in and the changing needs of the dancers.

Teaching and working with older people who have more mature bodies requires a greater understanding and sensitivity. Movements that might be very easy to execute, maintain, learn, and deliver for younger bodies can potentially be very difficult, stressful, and even harmful for older bodies. I am particularly aware of joint issues and balance problems. And a grand plié is always optional in my plié exercises and is never given in fourth position even as an option. I work a lot on core and ankle strength and balance in incremental and gentle ways such as relevés at the end of barre for ankle strength and fall prevention, but this is not overdone, and these elements are always introduced at the start of a term and are built upon.

My aim is for the group to feel joy and freedom by dancing in a structured class, so although my exercises are dynamic, play with the music, and are good for the mental acuity and memory, they do not overwhelm and try to outsmart anyone. Another important component is to be sensitive to energy levels with older dancers, as this differs a lot from younger dancers. I try to impart a feeling of accomplishment, endurance, and challenge without leaving anyone so winded that they give up on an exercise.

It is a fine balance, but awareness is key in terms of taking care of older dancers’ bodies and minds. I am always open to questions, and I provide alternatives in any barre and center floor exercises. If we do get to an allegro exercise, it is petit allegro, and again, I provide options for using a bouncing action or a chug/slide in place of leaving the floor in a jump. Once I get to know the dancers, I can very easily provide them with a good range of choices to work with that they use as a tool in the classes.

My related dance and movement-based charity Move into Wellbeing® is nearly nine years old. The drive behind forming this was to provide some joy and relief using dance and movement for people living with Parkinson’s. My father lived with this neurological condition for nearly 30 years, and as a result, I longed to utilize my knowledge and experience as a dancer, teacher, choreographer, and director to establish my own movement system and a healthy welcoming place for people to attend classes. The structured classes are with specialized dance teachers who use dynamic music throughout. All material can be adapted for individual needs. The first section of the class is done seated. Creative tasks and exercises are also an integral part of this class, as is a prevailing sense of equality and belonging.

The program was first directed at those living with neurological disorders and mobility issues, but due again to changing times and needs of people, we have expanded and now have attendees who live with a range of challenges. These include myalgic encephalomyelitis, multiple sclerosis, long COVID, dyspraxia, joint replacements, arthritis, post-stroke, balance problems, weakness and stiffness, and early-stage dementia.

Our classes at Move into Wellbeing® very much mimic the setup of a modern or ballet class. There is the teaching of set exercises, and each is done to specifically chosen music for the different qualities and dynamics provided. The class builds in challenge and intensity. It is done seated for the first three fourths of the class and those who can stand move to a standing position using either ballet barres or sturdy chairs for support.

Improvisational play and creative tasks are used in each class, and these provide greater freedom, enjoyment, laughter, and imagination to be on display. One favorite exercise is done seated in a very large circle, and we “pass a movement” around the circle. A theme is usually assigned and it goes free-form around the circle with music in the background. The dancers love this! We also have mirroring exercises, which are also a wonderful part of class. It gives a chance for people to choreograph, bond with each other, be fully in the moment, and let their creativity and self- expression flow full force.

All structured and set dance and movement exercises are fully adaptable. Our classroom helpers can assist with this and/or show different variations on the themes. We demonstrate the options and usually one helper shows an adapted version of an exercise which might have lower arms or lower legs bending less than what the teacher sets. We also encourage everyone to work at a pace comfortable to them, to take breathers when needed, to ask questions, and to feel free to change anything that might feel uncomfortable.

When the standing and moving through the space section comes, we still provide a seated version of the exercises. An assistant teacher sits with those who remain seated, and does the seated version with them. There is the sense of unity and inclusion throughout. No one is singled out as not being able to do something.

The weekly in-person classes held all over Greater London (and livestreamed and online) provide a safe place for all; a place to talk with others, have a giggle, get the endorphins going, and leave feeling refreshed and uplifted. We also have social events on a regular basis and all the coming together, solidifying as opposed to fragmenting, brings forth positivity and unity.

I have been privileged to witness over the past two decades how dance is like a tonic, a soothing, enriching, and unifying experience that all who participate benefit from. This is quite a beautiful thing to witness and facilitate for hundreds of people. As a former professional dancer, to be a founder and leader in this part of my life and career has been hugely gratifying, empowering, and joyful!

At Ballet4Life and Move into Wellbeing®, we have come together in a very fragmented world to take care of ourselves, each other, our communities, and the related families and circles of dancers, colleagues, and caregivers. If we as dancers and dance teachers do this wherever we are located, it will help sustain us through difficult and challenging times.

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To learn more, visit www.ballet4life.com and www.moveintowellbeing.org.uk.