Dance for

LifeLongWeLLbeing

Project Report 2013Edited by Dr. Victoria Watts

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IntroductionOn behalf of my colleagues in the Faculty of Education at the Royal Academy of Dance, I would like to express my gratitude to the Community Learning Innovation Fund for their generous support of our Dance and Lifelong Wellbeing initiative. This exciting project has enabled Faculty of Education staff to collaborate with experts in dance and longevity in order to train teachers to work with older adults in a variety of community settings, and to conduct ground breaking research assessing the tangible impacts of dance on wellbeing.

The teachers and researchers who have been involved in the project have been inspired by the enthusiastic response by the older adults, and the invaluable insights gained through the project will facilitate further training and support for teachers interested in enhancing their skills in bringing dance to older learners.

This project served as a springboard for the Faculty of Education to host a three day conference on Dance and Lifelong Wellbeing. The event was a celebration of dance as a powerful means of enhancing wellbeing at all stages of the lifecycle, and we were delighted to have the opportunity to introduce this particular initiative to a diverse audience broadly interested in dance. The teachers involved in the project participated in a very well-received panel discussion that touched upon how much they had learned from the experience, and how satisfying it has been to help bring the joy of movement to older learners who may not have danced in a very long time, or at all. It has been an honour for the Faculty of Education at the Royal Academy of Dance to lead on such a wonderful project, and we have every expectation that its findings will fuel further research on dance and longevity, and facilitate opportunities to share the physical, emotional and spiritual benefits of dance to the wider community.

Dr. Anne Hogan

Director of Educationroyal academy of Dance

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acknoWLeDgements / contributors

Dr. Victoria WattsLizz fortDennie WilsonDr. Victoria showunmiclare guss-WestHannah merron

Hannah bailesLynn blackmanana JorgeHelen Linkenbaghsarah Plattannette Walker

Venues60 Plus Café, RoehamptonHestia Age Activity Centre, WandsworthKatherine Low Settlement, BatterseaNightingale House, part of Nightingale Hammerson, Clapham SouthOpen Age, PortobelloPaddington Arts Centre, PaddingtonPrincess Louise Nursing Home, North KensingtonStones Ends Day Centre, Elephant & CastleYork Gardens Library, Battersea

Images by Robert Griffin Photography

The creation of this material by the Royal Academy of Dance has been financed by the Skills Funding Agency through the Community Learning Innovation Fund managed by NIACE. Copyright in this material is vested in the Crown but it is made freely available for others to use under the terms of the Open Government Licence.

Full details are available http://www.nationalarchives.gov.uk/doc/open-government-licence/

Royal Academy of Dance® is a Charity Registered in England and Wales No. 312826

contents

overview of the Project – Dr. Victoria Watts 6

Teaching Dance in An Age Concern Centre – Case Study by Sarah Platt 7

Project Timeline 10

First Experiences and Reflections – Case Study by Hannah Bailes 12

Delivering Dance Classes – Case Study by Ana Jorge 14

Baking Bread – Case Study by Helen Linkenbagh 17

Duty of care – Lizz fort 18

Preparing for Safe Practice Checklist 21

findings: a Preliminary general analysis – Dr. Victoria Watts 28

Evolving Methodology and Reflection on Teaching – Dr. Victoria Showunmi 28

Participation Data 34

Tap on Gloves – Case Study by Annette Walker 42

resources 44

Overview – Dennie Wilson 44

Scientific Foundations of the Benefit of Dance for Older Adults – Clare Guss-West 46

The Dancers – Case Study by Lynn Blackman 48

Continuing Professional Development: RAD Provision for teachers interested in 50 developing their dance practice with adults – Hannah Merron

Creativity for Older Learners – Helen Linkenbagh 52

Sample Lesson Plan 1 – Sarah Platt 54

Sample Lesson Plan 2 – Hannah Bailes 57

Sample Lesson Plan 3 – Helen Linkenbagh 59

Sample Tasks for Older Learners with Dementia – Ana Jorge 62

Selected Bibliography – Dr. Carol Martin 64

templates and appendices 67

Participant Pack Phase 1 68

Participant Pack Phase 2 78

Lesson Plan Template 84

RAD Risk Assessment Form 88

Health Form 90

backgroundInspiration for this project came from an unlikely source. I was reviewing reports on education and training issued by the European Union because I had been tasked with staying abreast of developments in harmonisation across Member States in the wake of the Bologna and Lisbon processes. In a report on modernising vocational education and training1 I came across some stark figures that made me stop and think about the work of the Royal Academy of Dance and its members.

At that point in time it was estimated one in four Europeans would be over the age of 65 by 2030. By contrast the number of young workers, aged 15-24, was predicted to decline from approximately 24 million in 2009 to 21 million in 2030. Population ageing implied that the number of new entrants to the labour market would decrease while the number of ageing workers would increase. Participation in Initial Vocational Education and Training (IVET), the subject of the EU report and a major element of the RAD’s business, would need to increase by 15% to keep graduation rates steady. However, the report also highlighted that there could be opportunities for expansion of Continuing Vocational Education and Training (CVET) with an ageing population. Lifelong learning programmes could play a key role in supporting sustainable labour market participation and could also enable active ageing.

The report noted that, at the time, lifelong learning strategies had been targeted at mid-age populations rather than old-age and as such were not in line with the reality of substantial population ageing projected for the coming decades.

Clearly, this demographic shift presented an opportunity for the Royal Academy of Dance to lead the way in workforce development in relation to lifelong learning and active ageing. Over the next few years I became aware of pockets of activity in relation to dance and older learners, and I also noticed news items, documentaries, and research studies that reported on particular problems facing older people such as social isolation, premature enfeeblement, and age-related cognitive impairment. Exciting research endeavours that sought to use dance to address some of these problems, such as Dr. Sara Houston’s award-winning English National Ballet Dance for Parkinson’s project, were gaining prominence.

Nonetheless, ideas for an RAD-driven project in relation to older learners lay fallow for several years until by chance I came across a call for bids to the Community Learning Innovation Fund. This was the perfect opportunity to investigate what the RAD could do in relation to ageing populations worldwide.

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oVerVieW of ProJect – Dr. Victoria Watts

1 Modernising Vocational Education and Training. Fourth report on vocational training research in Europe: background report. Volume 3. CEDEFOP Reference Series 71 Luxembourg: Publications Office of the European Union, 2009. <http://www.cedefop.europa.eu/etv/Upload/Information_resources/Bookshop/567/3050_3_en.pdf>

case stuDy – teaching Dance in an age concern centre

Gulp! This was going to be harder than I thought. How was I to deliver my meticulously prepared lesson plan without any participants? Did they not appreciate how long I had spent trawling through music in their honour?

In my first placement members arrived in a minibus, were taken to their rather specific chair at their rather specific table, and presented with a cup of tea. I learnt this routine was of paramount importance and until that tea had been consumed nobody was prepared to move anywhere. The manager had asked that the dance class was delivered in the main room, and creating a suitable space and tempting the potential participants forward was possibly the biggest challenge. The centre staff were invaluable in encouraging (forcing?) participants forward, and I learned that changing my questions into instructions - “Come on, we’re dancing now!”, putting on some lively music and becoming Mrs Personality whilst bopping around bought the most success in getting people forward and into our circle.

The members were generally very strong minded as to what they wanted to do. For example, no amount of persuading would cause removal of hats / scarves / handbags, and I had to force a water break. Their non-verbal communication was very clear - If they didn’t fancy an activity they simply wouldn’t react, and I learned not to be unnerved by being stared at like I was slightly crazy... I grasped the suggestion from a colleague that they were taking the opportunity to observe live dance performance. Comments like “OK, get on with it” were not unusual. This group didn’t particularly want to discuss the forthcoming activities, but would – all being well - respond and react spontaneously during them.

I offered a varied class in order to cover a range of objectives and to appeal at different points to the variety of wants and needs. Working in the main room had an impact on non-participants and it was notable how many extra hands went up to receive a pom-pom (“No, I want pink!”). Disconcertingly, one lady announced she had never heard such a terrible noise, but the venue manager declared that the general buzz created was tremendously important, and pointed out that the people on the outskirts who would not join the main group were positively affected to some extent, be it a tapping toe, a little sing-along or a peel of laughter.

I re-evaluated my measures of success and achievement: I was delighted when they made minimal movements, laughed with a participant from a different table, sang and swayed uninhibitedly, and chanted “cross, clap, legs, clap” as they focussed on achieving the combination. In turn they were delighted to have danced and even contributed a movement that was copied by the group; “I can dance!”, “I made a move!” The worst part of the placement was saying goodbye – despite their initial resistance they all gained so much from the sessions, as did I. We simply must enable these sessions to continue... everywhere!

sarah Platt

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Do you want to come and dance?“Oh no, I don’t dance”“How about you? Would you like to join in the dancing today?”“I don’t answer questions

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The call for bids to the Community Learning Innovation Fund (CLIF), financed by the Skills Funding Agency and managed by NIACE, came to my attention during the summer of 2012. The fund aligned with UK Government priorities for publicly funded community learning and was seeking to maximise access to a wide range of learning opportunities for adults. In so doing it sought to promote social renewal. It was particularly concerned to reach disadvantaged populations and those least likely to participate in learning activities. The Community Learning Innovation Fund articulated several key themes and that of Learning for Social and Economic Wellbeing appeared to provide a perfect framework for the development of a dance project with older learners.

The Faculty of Education proposed to conduct a pilot project comprising three main parts: continuing professional development for dance teachers; community outreach; and research into the impact on wellbeing for older learners participating in classes and into the formulation of best practices for dance teachers working in this field.

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tHe community Learning innoVation funD Dance for LifeLong WeLLbeing: the Project

Workforce developmentContinuing Professional Development was addressed in two ways. First, we recruited six qualified dance teachers with an interest in developing their practice with older adults and with a desire to learn more about practice-based research. We provided these teachers with a two day intensive training course which aimed to cover the basics a dance teacher should know in relation to working with older adults, including general health concerns, how to make use of a PAR-Q (Physical Activity Readiness Questionnaire), and appropriate learning outcomes as well as providing practical sessions on developing class content. These same six teachers then had access to peer and faculty mentoring when they went on placement to develop their practice with older learners more fully.

The second element of continuing professional development that was folded into the initial project design was the dissemination of learning resources and guidance on best practices to other dance teachers, both current teaching members of the Royal Academy of Dance and the dance community more broadly. This project report constitutes part of that broader CPD. Clearly, the resources section will be of use to any teacher who is looking to start working with older adults or who has dipped a toe in the water but is seeking inspiration for how to proceed. Beyond that, the analysis of the various elements of our pilot Dance for Lifelong Wellbeing project should equip teachers elsewhere with the knowledge they need to develop similar projects of their own, and might also provide an evidence base upon which to ground future bids for funding.

In addition to the hard copies printed and distributed, this report is available for free as a pdf on the RAD website. Selected items in the appendices, such as the lesson plan template and the health questionnaires, can be downloaded and printed for your ease of use.

The power of choice, such as the colour of their pom-poms, was important to lots of my learners, and using cheap ribbons meant they could take them away which they were keen to do – I made the condition that they had to use them to dance at home.

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September2012

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Link withVenue

partners

January2013

phase 1placements

end

Disseminatepreliminary

Findings

teacherFocus

Group 1

JuLy2013

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Initialteacher cpDtraining for

projectteachers

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begin phase 1placements

march 2013

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teacher FocusGroup 2

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Project timeline

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community outreachThis dimension of the project aimed to reach a diverse set of learners across London and was targeted towards populations that might have least access to recreational activities like dance. In order to offer an experience of dancing to as many learners as possible under the aegis of this multi-faceted project we proposed to work with twelve different groups, six in the first phase and six in the second. We hoped to attract between eight and fifteen learners per group, but had no way of knowing whether we would be able to reach these targets. Our volunteer teachers, newly trained in approaches to working with older learners, were to teach an hour class each week for a period of six weeks in phase 1. For phase 2, we endeavoured to place the teachers in a different teaching context in order to try to give them experience of work with older learners who might need to remain seated throughout a dance class as well as with those who were more mobile.

These courses of dance classes were deliberately short in order to fit within the timeline of the grant and to dovetail neatly with the research and CPD elements of the project. The project team hoped that a six week course of classes would be long enough for older learners to feel some benefit from participation in a regular dance class and that as a result it might instill an appetite for future, more sustained participation in dance. Moreover, by working with up to twelve different groups, we hoped to be able to establish a strong network of local partners who might be interested in exploring ways to make this work sustainable if it were successful. The hope was, following this pilot project, our local partners would be empowered to drive future developments. It seemed sustainability within these communities might be best if local stakeholders had agency in designing and resourcing future dance projects in collaboration with, and with support from, the RAD.

case stuDy – first experiences and reflections

I was nervous to start with as I saw all these lovely women who had so much experience of the world looking at me expectantly. It was very quiet in the room as I pulled up a chair. I took a deep breath and introduced myself. I endeavoured to remember the names of everyone in the group as I hoped that would get them on side!

When I started ‘Let’s Face the Music and Dance’ a few were tapping their feet before I had started demonstrating which I took to be a good sign! Some began to sing and Doris looked like she had been transported to another world! I noticed that some ladies did their own interpretations of movements. As long as they were participating and enjoying it, that was the most important thing! I remembered something Clare Guss-West had said, at our initial training, about making sure that the participants were ‘dancing on the inside’.

Looking around the circle I saw some smiles and nods. I turned to Edith. She had her eyes closed. Was she asleep? I felt a little bemused but being the persevering type I carried on.

In the next song, ‘Hound Dog’, I thought it would be fun, and would also help their movement memory, to ask them to repeat a simple hand jive. This might also begin to improve the fluidity in their joints because it was based on the use of hands, elbows, shoulders and feet. Some were able to follow, some looked sceptical, and some gave each other knowing looks as though sharing memories from their youth.

And finally my pièce de résistance – gold sparkly hats! These were greeted with exclamations of delight, which was exactly the reaction I had hoped for. I decided to finish the session with a big finale of ‘New York New York’ which was all about glamour and feeling good. Precisely what I wanted them to feel when they were dancing! I wanted them all to feel like stars! They were using their arms to do the hat movements and working their legs with the kicks but it was so much fun I don’t think they realised they were working hard! They wanted to get it right so much we did it again. My initial nervousness was rewarded with a lot of smiles and laughter as we got to the end of the song. Such a relief!

When I asked some ladies how they felt after the session Millie said “I feel happy – even if I did the steps wrong we still laughed”. I got a cheekier response from Elaine: “Always wiggle your bum!” This inspired me to include some hip wiggling in later classes. As I was leaving one of the ladies called after me, “Thank you dear. You’ve worked very hard”.

Hannah bailes

I took a deep breath and introduced myself.

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researchThere were two key areas where we hoped to gain insight as a result of the outreach programme: guidance on best practices for dance teachers working with older learners; impact on wellbeing for older learners participating in dance classes. The research undertaking was by far the most ambitious component of the project proposal and, necessarily, the initial aims were revised and refined throughout the training and outreach phases.

For example, the project proposal had suggested we would gather both quantitative and qualitative data from older learners in order to measure impact of participation on their physical wellbeing. However, having submitted the bid it only took a few moments of reflection to realise that this would be fraught with difficulties. Setting aside the ethical problems involved in, and the extra resources in terms of personnel that would be required for, taking measurements for strength, stamina, balance and flexibility from our older participants, it would be nigh on impossible to assess what these measurements might signify in terms of the possible benefits of dancing. Notions of measurable physical ‘improvement’ simply do not apply in any standard way to people in the later stages of adulthood. It may be that measurable gains could be made in, say, balance, following a short intervention. But if measures of balance remained constant, or even worsened, it would not necessarily mean that the intervention had not had an impact on physical wellbeing. The dance classes could have helped maintain this element of physical wellbeing or perhaps just helped to slow down the rate at which the capacity to effectively maintain balance had diminished.

In the end, measures of impact in terms of older learners’ wellbeing as a result of participation in dance classes would rely on qualitative data grounded in learners’ self perception gauged through questionnaires, informal interviews and an end of project focus group with a sample of learners; teacher observations recorded in their reflective journals; video documentation; and observations by the Dance for Lifelong Wellbeing project team. Our notion of wellbeing also expanded from the purely physical in order to encompass facets of emotional and social wellbeing.

Processes of self-evaluation and reflective practice were fundamental to the research on best practices working with older learners. Throughout each of the six week outreach phases our dance teachers were asked to keep a reflective journal and to document their weekly lesson plans. Mentoring and observation visits by the Faculty of Education team were combined in weeks 1, 3 and 6 of each placement. These visits gave faculty members on the Dance for Lifelong Wellbeing project an opportunity to observe teaching, making notes on elements of the class that were most effective and identifying areas for further development or for discussion. At the same time, observations were made of learner engagement in terms of their physical participation, motivation and confidence, and connection with other learners. After the class the faculty member had an opportunity to ‘debrief’ with the teacher in a way that furthered the professional development of the teacher and also allowed the faculty member an opportunity to get further insight into best practices in teaching.

Qualitative data on the teaching practice was also gathered through video documentation, two focus groups with teachers after phase 1 and phase 2 of the outreach, via one-to-one interviews with the project’s research consultant Dr Victoria Showunmi, and as part of our final project evaluation day in April. The project evaluation day on April 26th, timed to coincide with the Faculty of Education’s three-day conference on dance and wellbeing, was an essential element of the overall project design. In order to ensure that a full range of stakeholders in the project were able to contribute to its evaluation we organised an event to which venue partners, teachers, venue support staff, older learners and administrative team members were all invited.

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case stuDy – Delivering dance classes

I had no prior experience working with people with dementia nor had I ever given a chair-based class, but on my first placement I had to respond to both of these challenges.

In the beginning I found it difficult to engage the learners in the movement content of the class. I was aware that there was a lack of self confidence in generating and sharing movement ideas but I also knew that in dementia the body keeps memories of the movements and that creativity, unlike the memory, is not lost so I thought that it with time both creativity and confidence could be built. Going with this gut feeling I slowly started encouraging more creative expression. It was not an easy task and I felt sometimes a certain lack of confidence in myself especially because some of the support staff had lower expectations of what these learners could achieve.

By introducing metaphors while we were moving I helped each learner to enter in the symbolic play using movements to describe their journeys to the beach, to the garden, through the seasons, and so on. Through playfulness, and in a non–judgmental and safe environment, I saw them blossom and in the end they were able to come up with their own movements, sounds and rhythms. I also felt that there was a cohesion among the group members and that the classes where very rewarding for me and for them. The wife of one learner, who regularly joined in the class, said “He only sings and dances when he is in this class. I never saw him doing that anywhere else. It is only these few times during the week that I see him so happy.”

At first I also found it a bit difficult to plan chair based dance classes: I was insecure about working with older adults and fully understanding their mobility issues. Over time I learnt how to adapt movement and dance exercises according to their various needs. The RAD training along with the feedback given by the staff members and my research work helped me to improve substantially the quality of my dance classes and I started feeling more confident in what I was doing.

During the second outreach phase my group specifically asked me to learn ballroom dancing. Fortunately, I had approached these classes with a very open mind about what learners might want to do and so I was prepared for almost anything. The step of cha cha cha was not easy but with time this group was able to learn it and memorize the whole sequence. It was very rewarding to see them so enthusiastic and appreciative of the dance classes.

I have discovered the true joy of delivering dance classes to this amazing age group where the focus beside keeping fit and enjoying the pleasure of dance is mainly on creating bridges with others and with themselves. Through use of props such as scarves, parachutes and ribbons they became more involved in the movement and it served as a way to bring a sense of playfulness and to open the channel of communicating with others.

ana Jorge

The RAD training along with the feedback given by the staff members and my research work helped me to improve substantially the quality of my dance classes and I started feeling more confident in what I was doing.

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Although we could only accommodate a sample of all our stakeholders, participants largely self-selected according to availability. The day began with an inclusive dance class, led by Clare Guss-West. This served as a very effective ice-breaker; it encouraged a sense of unity and equality amongst the day’s participants; and it energised bodies and minds in preparation for a series of focus groups to evaluate the project’s strengths and weaknesses, share ideas about sustainability, and gauge perceptions of the impact our dance classes had had on learners.

DisseminationThe preparation of this project report is the first formal mechanism for disseminating the results of the Dance for Lifelong Wellbeing pilot. Over the following months the project team will continue to develop other mechanisms for sharing the insights gained during this project in order to further the aims of workforce development and sustainability for dance practice with older learners. These mechanisms will include the preparation of audio-visual learning resources, publication of research outcomes (in addition to the very preliminary results articulated later in this document), provision of courses in dance practice with older learners delivered face-to-face and by distance that draw on the knowledge and understanding gained as a result of this project.

case stuDy – baking bread

My baking bread warm-up was designed to facilitate articulation and freedom of movement in the extremities, whilst systematically warming up the whole body. I used this sequence in every session across both of my placements on the ‘Dance for Lifelong Wellbeing’ project.

I designed this warm-up activity to try increase warmth, blood-flow and range of movement in the hands and feet, progressing to the shoulders, knees and hips. We commenced in a circle, bread dough in hand, and began to knead the dough with our fingers. The kneading continues along the arms and down the legs. We kneaded the dough with our feet, and progressed to gentle percussive movements all over the limbs and torso. The final part of the sequence incorporated use of breath in extending the breadth and range of larger movements; slow prances, spirals and soft forward bends in the torso as we placed the bread in the oven and breathed the delicious warm scent of baking bread throughout the whole body.

The participants responded very positively to the baking bread sequence, particularly when we reached the part where we put the bread in the oven, breathing in the warm, delicious smell of baking bread. There were murmurs of “mmmm yes, delicious!” and smiles and laughter as we danced this section of the warm-up.

There was great value in repetition of the imagery for this warm-up sequence throughout each of the six sessions, as this afforded a steady, incremental complication and development of movement vocabulary and tempo. The sequence expanded over the sessions as I complicated the movements, increased the tempo and encouraged greater breadth/extension through the body. By the final class, I could sense that each group had gained a level of agency and self-direction via performance of this sequence, with participants anticipating the next movement and immediately embodying the quality and dynamics of each movement. Once the image sequence (the ‘story’) is learned, the movements, and the required quality/dynamics sit within this structure and can easily be embodied and replicated.

I feel fortunate to have found such a valuable, image-rich ‘story’ for my warm-up. It was a deliciously enjoyable way to get everyone dancing.

Helen Linkenbagh

By the final class, I could sense that each group had gained a level of agency and self-direction via performance of this sequence, with participants anticipating the next movement and immediately embodying the quality and dynamics of each movement.

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introductionWhen planning, delivering and evaluating dance activities, practitioners have a responsibility to ensure that keeping people safe is at the core of their practice. This duty of care extends not only to the participants but also co-leaders, support workers, volunteers and also to themselves. In this section I will discuss how the Dance for Lifelong Wellbeing team implemented and reflected on the implementation of duty of care, particularly in relation to paperwork, the obstacles that it posed, lessons learned and alterations made to these processes throughout the project.

Whilst no space or activity in that space will be completely free from risk, there are measures that can be taken to help reduce the likelihood of any injuries or ill health during a session or post-session. Risk assessments provide a framework to think critically about the space, equipment used, the participants’ needs and planned activities in order anticipate potential problems that may cause harm. Health questionnaires are a way of gathering information about the bodies in the class; this information allows the practitioner to consider whether the planned activities and movement are safe and accessible, or perhaps contra-indicated for certain bodies. This information can guide practitioners to consider individual adaptions/translations of movement so that everyone can join in and enjoy themselves safely.

to learn more about potential participants, we discussed:• Venue purpose & usual visitors

• Were they an established group or did we need to recruit? (if we need to advertise, ask about poster/flyer distribution, mailing list, notice boards etc)

• Age

• Additional needs (learning & physical disability, sensory impairment)

• Previous dance experience or beginners?

• Can we expect regular attendance?

• Other activities/exercise at the venue already?

• Support workers (come with participant or provided by venue partner)?

• Is a support worker pre-project meeting required?

in terms of risk assessing the space, we checked:• Access to building

• Journey from reception to learning space – accessible?

• Size

• Flooring – carpeted, tiled, wooden?

• Ventilation

• Heating

• Any equipment provided?

• Music system provided (CD, iPod doc)?

• Power point location

• Other uses for space (i.e. food on floor, chairs, tables) which might necessitate cleaning and room set-up prior to class. Exclusive use or shared while dance class is going on?• Access to free standing chairs (with and without arms)

• Where is the phone to use in emergencies?

• What are the first aid procedures? Are there qualified first aiders in the building?

• Changing facilities

• Is drinking water available?

• Toilet access - disabled toilet short distance?

• Fire exits

This information was consolidated into a summary table and sent to the teachers for each venue, with pictures of the space.

risk assessing sPace anD actiVities

Pre project visit and venue risk assessmentAfter establishing interest from potential venue partners, I visited venues to meet the main contact and chat further about the project and learn more about potential participants as well as risk assess the proposed spaces that included day care centres, sports halls, dance studios, residential homes concert halls, corridors and lounge areas, libraries and cafes.

I created a ‘venue visit check list’ of things to discuss with the venue contact for the purposes of risk assessment. In addition to assessing the physical space and facilities, I also ascertained how the venues would communicate class information to the potential participants. This included finding out about other members of staff who would come into contact with the project including support workers, volunteers, physiotherapists and, if appropriate, who would be on reception to greet participants and signpost them to the sessions.

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Duty of care – Lizz fort

assessing the risk of proposed activitiesOnce it was established that the venue was safe, the next step was to conduct a risk assessment of the ‘exercises/activities’ that teachers would be delivering. Teachers used the RAD Risk Assessment form to help them assess the activities they planned for the participants. This needed to take into account the needs of participants, use of props and equipment, and potential risks in relation to the differing cognitive/sensory/physical abilities of the learners in each class.

In order to assess the risk activities might pose, it was important for our teachers to have an understanding of the effects of the ageing process. The dance teachers were given a brief overview of some common age-related conditions at the two-day training in October. Nonetheless, feedback from teachers during the end of phase 1 focus group brought to light that they would have liked more knowledge and understanding of this before starting the project. In February 2013, they were each provided with a copy of Age and Dancing2 which has a particularly good section on duty of care and conditions that may affect older people. However, in spite of teachers feeling as though they wanted more knowledge about health conditions older people might be contending with, there were no incidents in their classes during which they were called to draw on any kind of specialist medical knowledge. The project team emphasized to teachers that their work was important as artists and educators: they were not acting as therapists of any kind.

Participant paperworkAs mentioned elsewhere in this report, the project team were aware of the need to balance the demands of safe practice, reporting to our funders, and valid data collection against the possibility of creating further barriers to participation. The use of enrolment forms and health questionnaires came up for particular scrutiny as the project developed.

The paperwork journey took the following path:

• training: At our two-day teacher training in October 2012 we used the standard RAD health information questionnaire for the workshop with teachers, older learners and RAD staff.

[Included in the Templates and Appendices section]

• PHase 1: We developed a comprehensive ‘Participant Pack’ which included a more detailed health questionnaire and disclaimer, emergency contact information, enrolment form (from funder), and photography/filming consent form. [Included in the Templates and Appendices section]

• PHase 2: We reduced the ‘Participant Pack’ considerably, removed the detailed health questionnaire from paperwork and included a simplified and condensed consent statement. [Included in the Templates and Appendices section]

• ProJect eVaLuation Day: For the workshop with teachers, older learners, project staff and funders, we used the RAD health information questionnaire again.

We had come full circle! This may sound a little bonkers and disorganised when it is read without the context and rationale for the changes on our health questionnaire journey. But without this journey, we would not have been able to unpick some of the crucial considerations, challenges and tension points that arose with the paperwork elements of duty of care.

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PreParing for safe Practice cHeckListProject meeting with venue/organisation partner ☐

Venue risk assessment ☐

Activity risk assessment ☐

Partnership agreements ☐

Participant information provided in an accessible format ☐

Ongoing reflection of participant progress ☐

A meet and greet (with tea and biscuits and cake!) ☐

Consent form for taking part, filming, research – all on one page.

Teacher understanding and sensitivity to what happens to the ageing body and mind. ☐

Make sure that participants are aware that you take duty of care seriously; arrive in plenty of time before session so that if people what to make you aware of a health issue in confidence, you have time to do this. ☐Make sure participants know to take responsibilities for their own body in the session, and that they feel comfortable enough to ask for adaptation/translation if they can’t do it on their own. ☐

2 Diane Amans, Age and Dancing: Older People and Community Dance Practice (London: Palgrave Macmillan, 2013).

In the next section I will attempt to explain why we ended up right back where we started.

trainingThere was very little time to prepare project specific paperwork for the initial two-days of CPD for our teachers but given that Clare Guss-West, who was to lead the training, wanted to include a session that worked with a group of older people, we needed to make use of the standard form already in use by the RAD’s CPD team. Clare was happy with the information this provided and made sure to speak directly to any of the learners with whom she needed to clarify anything disclosed on the form.

Phase 1I compiled the Phase 1 health questionnaire after a thorough review of examples of best practice, and in consultation with dance for older learner specialists, dance science faculty members and faculty members with community dance experience. Time and again emphasis fell on the need to be thorough, to ensure our teachers were protected from any potential liability claims, and to evidence the highest degree of duty of care on behalf of the RAD. With no time to test and reflect on the ‘user friendliness’ of this version of the form I compiled, we were left to discover its strengths and weaknesses only when we used it with our participants in Phase 1.

We needed to establish how and when the pre-project paperwork and form filling would be undertaken. Could all participants fill this in themselves? Would venues like it in advance and would they be willing to help participants in completing it?

Venue requests varied:• Some centres said they wanted paperwork in advance to fill it in with participants; they knew who

could consent for themselves and who would need family consent.

• Others did not have the human resources to do this and requested we ran a ‘form filling’ session prior to dance sessions commencing.

• More still simply left the decision to the project team.

It soon became apparent that before any activity could start we would need to arrange a ‘meet and greet’ session at each venue for the dance teacher and participants to meet each other and, in some cases, to get the paperwork filled out.

We asked one of our venues, where we ran two separate sessions, to tell us which participants would not be able to consent for themselves. Given the short lead in time to get the classes started, it was reluctantly decided that those participants who needed family consent would not be able to take part in this phase of the project. Neither the venue nor the Dance for Lifelong Wellbeing team had sufficient time or human resources to absorb this additional level of administration. This seemed unfair but was all we could manage at the time. It was better to offer a class to some learners than to derail the whole timeline of the project trying to accommodate family consent.

In some settings, our teachers and project mentors such as myself helped learners to complete the paper work. In one centre we spent about 10-15 minutes with each person. I found this eye-opening; I was asking learners very personal questions about their health and their past (from the funder enrolment form). In spite of my attempts to be sensitive this still felt uncomfortable and incredibly intrusive at times. Some potential participants did not want to go through the ordeal of completing the paperwork with us and I very quickly began to wonder whether this was the best way of gathering this information, and whether ALL this information was really necessary.

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some of the issues i encountered were:• Some participants did not understand some of the conditions on the health questionnaire

• For hearing impaired participants, I had to ask question with a loud voice in a public space – this felt like an invasion of privacy

• Did I really know what disclosed conditions required GP consent?

• When we have collected all this information, what value would it serve for the teacher if s/he could not understand the implications of conditions or medication listed on the form?

Talking to the teachers at the venues I sensed a similar feeling towards the questionnaires. I fed this back to the project team. At the project evaluation day, when asked to think of something from the project to discard or bin, none of the older learners noted down paperwork. One of the teachers and two of the RAD team members noted paperwork and health questionnaires as a ‘bin’ item. This was an open ended question. Perhaps if listed as a multiple choice, it may have been selected. However, onerous paperwork was remarked on at the teacher focus group on April 14th. Perhaps discomfort with the process of asking potentially sensitive questions to learners is felt more keenly by teachers than it is to learners themselves?

Certainly, as we age, arthritis, circulatory and heart conditions, and neurological conditions such as Parkinson’s and dementia may affect our ability to do day to day activities. With some conditions, it may be that the GP has said that all exercise is contraindicated. For others, the GP may have advised that light exercise is fine, or that learners can exercise but be cautious with certain movements. Armed with this information, the teacher is informed and able to adapt/translate movement and activities so that each learner can participate safely. It may also be the case that the dance classes actually improve and even help alleviate symptoms of some conditions, or slow their progression.

Nonetheless, there remains the complex notion of privacy for learners and the fact that the balance of responsibility for safe practice might lie at a midpoint between the practitioner and the participants themselves. As consenting adults, most learners can choose their own level of participation and make adjustments based on their intimate knowledge of their own bodies and health.

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If I had to give some advice to dance teachers intending to work with older people it would be don’t be fooled into thinking it will be easy. Even experienced teachers will benefit from extra training in this specialised area.

“ ”

Phase 2It is the choice of the participant whether they share health information with the teacher; they have a right to privacy. But how do we keep people safe in our sessions if we don’t collect health information from them, or if they refuse to fill in the health questionnaire?

Diane Amans comments that health questionnaires “are a small part of reasonable care and there are times when it is neither appropriate nor practical to use them – when working with people who do not read, for example, or vulnerable people who do not have an understanding of their own health status.” 3 So, armed with feedback on the paperwork from the phase 1 focus group with teachers and RAD staff, I looked at where we could reduce the form filling without compromising our duty of care and ethical need to gain informed consent for any participation in relation to the research aims of the project. We took the decision not to use the PAR-Q (Physical Activity Readiness Questionnaire) and roll all the ‘consent’ information into one form. For health, this included the following statement:

“I confirm that I am voluntarily engaging in the Dance For Lifelong Wellbeing programme of dance classes for 6 weeks, and understand that classes will include creative dance activities that involve cardiovascular exercise, strength and balance. I understand that these activities involve a potential risk of injury.” 4

If teachers have not had a chance to review PAR-Qs for all learners prior to the first session, they must put measures in place to ensure safe practice. This might happen because there has not been time to properly review forms that have been filled in, or because the decision has been taken not to use any form of health questionnaire. The movement content of a first class with new learners should be accessible, amenable to adaptation for a range of levels of mobility and cognitive engagement and must give the teacher an opportunity to assess the group’s ability in order to enable future planning. The teacher must be cautious and observant in the first sessions with a group. It is vital to give individuals the opportunity to let the practitioner know privately if there are any concerns about their health. But this is their choice. If they choose not to tell the practitioner, the responsibility is theirs.

Arriving early for each session allows time to say hello and chat briefly to individual participants, find out how they have been since the last session, and offer a private opportunity for them to disclose anything they feel they need to pass on before the session starts. For example, knee pain may mean they prefer to stay seated for the whole session. It is equally important that the teacher remain vigilant about the manner of learners’ participation. S/he may observe breathlessness, or tiredness, or someone rubbing a joint after an exercise. If this is the case, the teacher should quietly check this person is OK to continue.

At the conclusion of Phase 2 there were no indications that the level of safe practice had been negatively impacted by the decision not to use a PAR-Q. Nor did it appear as though the high standard of duty of care the team established during Phase 1 had lessened.

Project evaluation dayFor the project evaluation day on April 26th we reverted to use of the simple health questionnaire that had been employed for the training sessions in October. The project evaluation day involved all participants (learners, teachers, venue partners, administrative team members) in an inclusive dance class. This served as an ice-breaker and set the tone for a very lively exchange of ideas. It was important to use a health questionnaire in this instance because it was a one-off session with a large number of participants, led again by Clare Guss-West who had not worked previously with these particular participants. All participants filled in the streamlined PAR-Q. It took just a short amount of time, and the number of older learners who might require assistance in completing this form was very small in relation to the total number of participants. Consequently, teachers, other learners and support workers from venues were on hand to help.

concluding thoughtTrying to write about the ‘paperwork’ elements of duty of care without talking about the wider subject of safe and effective dance practice is a challenge. However, hopefully this section has highlighted some of the potential pitfalls involved. Too much caution can be as problematic as too little.

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3 Diane Amans, An Introduction to Community Dance Practice (London: Palgrave Macmillan, 2008) 37.4 An alternative would be to follow Amans suggestion: “I have read the guidelines for dance exercise and agree to advise the dance leader of any changes in my health condition which may affect my ability to exercise” (147). Diane Amans, Age and Dancing.

teacher observation We decided that as this project was a pilot and the six dance teachers recruited were volunteers, teacher observation was crucial to each of their individual development. The teachers were observed in total four times. The observations lasted for the length of the session. The session lasted for around 1-1.5 hours depending on the groups. Even though the teacher observation was intended for the teachers, as the sessions continued we realised that they were fundamental for the project team and the researcher to map out the different phases of the project.

sessions As an observer I noted that each session started with an ice breaker consisting of simple movements. In some cases props were used to both engage the learner and enhance the learning. The purpose of these was as warm-ups for the participants. I was tasked with the best way to capture data from the session being taught. Initially we thought that focus groups would be the best way to capture the voice of the older person. However, during phase one it was noted that keeping the older people together at the end would not work. In some cases many of the participants would fall asleep or start to lose focus on the dance session. Finding the balance between wanting to ensure that the older learner enjoyed the session and gaining useful information to support the outcomes for the project was key. reflective points The teachers were faced with different challenges each week. Firstly, as the attendance at the session was voluntary some of the participants chose not to attend. However, each venue did appear to have a core group that would keep the theme of the session alive. This was arguably much easier to control with participants that were resident against attending a day centre. Another challenge that the dance teachers faced was mobility. If they had not attended the session previously (had they completed the pre-assessment?) how mobile were they? If the lesson was planned for upper movement and most were only able to participate in restricted movement. All lessons needed to be flexible. Thirdly, all of the dance teachers required good interpersonal skills as the need to establish relationship was fundamental for the success of the project. This is something that needed to be revisited each week.

focus groups“It is so nice for us all to be together ...” (Team Member)

The intention of the focus groups was to have the voices of the participants, teachers and project team included in the research design. A focus group for each was established for the differing groups. The participants’ focus group took part at the end of a session in phase 1 which we felt was difficult as the participants had just completed a dance session. The most successful participant focus group was when it was scheduled in a stand-alone session in phase 2. The teacher and project team focus group became a real resource for the project. The focus groups for this group were scheduled at the end of the different phases. The discussions emerging from the focus groups assisted the team in moving it forward.

A framework of six questions was developed and used in each of the focus groups. This provided me with a rich source of data which is yet to be analysed.

In order to produce this project report within the time frame of the grant it is only possible here to provide a preliminary analysis of the vast array of data gathered. In due course the research team will have an opportunity to look more closely at the hours of video recordings, the multiple lesson observations, the reflective journals, the focus groups and questionnaire data. These various sources of data need to be thoroughly coded and analysed in order to provide a grounded evaluation of the impact of this project.

Dr. Victoria Showunmi worked with the Faculty of Education team as a Research Consultant on the project. Her expertise in qualitative research was invaluable in helping us to select appropriate tools for gathering the data we needed. As a result of her contribution to the project we were able to refine our processes as we went along, critically reflecting on our methodology as an integral part of the project design.

evolving methodology & reflection on teaching – Dr. Victoria showunmi

reflective points emerging from the lens of the researcher

“... the [social] dance experience is not only or simply a beneficial physical experience forolder people, it also bestows other significant benefits for those who enter the third ageand beyond...It offers a way to be sociable and have fun…It promotes a welcome sense of community spirit. It is a way of becoming visible and aesthetically pleasing…dancers can experience the joy of a fit and able body in both real and mythic senses.”

(Cooper and Thomas, 2002, 689)

I came across the RAD project after being approached to deliver a key note to students at the beginning of their course. Victoria Watts informed me about the exciting project with older learners and the need for a researcher to support the work. I decided that this was an opportunity not to be missed, so to put myself forward for the work. Victoria accepted and our partnership began.

The initial challenge for me was how to utilise my research skills in dance. I came to the project with confidence as an established researcher. However, the difference with this research project was its location in the creative arts. As an innovative educational researcher I rose to the challenge. In order for us to overcome this barrier it was important to ensure that the RAD’s voice was heard throughout the research design stage.

Initially, the core group which consisted of the project director and the two full time dance teachers met every three weeks. The research design was presented to the core team for discussion during the first of these meetings. The research design was made up of four interacting components which were; teacher observations, focus groups, interviews and reflective dairies. Each of these components will now be briefly described and reflected upon:

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finDings – a preliminary general analysis – Dr. Victoria Watts

interviews“Being part of this project was a fantastic experience; I had never thought that working with older learners would now form part of my portfolio ...” (Dance Teacher)

All of the dance teachers and dance teacher trainers were interviewed individually for 30mins. The purpose of the interviews was to understand: (1) the benefits of the project and (2) how the project had benefited them. Again the data received is rich and is yet to be analysed.

reflective journal“When I was first asked to do this I really did not know what to write, I was unsure if what I wrote may go against me ... once I started to write it was really useful ...”(Dance teacher)

As part of the reflective process all of the project team, along with the participants, were asked to produce a reflective journal. The dance teachers have been asked to keep a reflective journal to record key aspects of their journey whilst undertaking this new role. The aim of the journal was to log their experience and any noticeable changes that the participants may have. After each dance session there should be reflective time with the group to find out their comments and views. In addition, reflections could be added based on conversation and general observation from the dance leader. The teachers really embraced the reflective journal as their way to capture their individual thoughts whether good or not so good. The teachers were asked to reflect after each of the sessions taught. In total this was twelve journal entries.

The project team thought this was a really great idea; however the lack of time stopped many of the team entering their first journal entry.

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tHe samPLe

Participants “I love attending these sessions ...you know I was a dancer before, I came second in the Fox Trot “ (Male participant)

At each venue the profile of the participants was diverse. The work researched out the following communities; Jewish, English and people of visible colour. All took part in the session through either the use of their whole body, meaning they were very mobile, whilst other participants were less mobile and could perhaps only join in with the use of either their upper and or lower body. Many of the participants have some of loss of memory which meant that they tended to forget what was taught the previous week. The benefits for the participants were a ‘feel good feeling’, a choice of a different activity, a chance to visit pleasurable memories and movement with joints because the music helped with ‘I can do this...’

The participants moved from comments such as “oh you’ll be lucky to get me to do that dear” (response to a new tap exercise, week 2) to “this is great ...look I can do this”. There were many fun comments aimed at the dance teacher which emerged during the many dance sessions “she’s cheating! She has special shoes”.

teachers “I have always had a passion and enthusiasm to get older people dancing and the opportunity given to me to take part was one I couldn’t afford to miss!” (Dance Teacher 2012)

Six (1 x Black & 5 White) qualified and experienced dance teachers volunteered to participate in the unique project. The majority had very little dance teaching experience with older learners. This project was seen as a positive challenge. All of the dance teachers had to attend core sessions that consisted of two and half days training which was delivered by an expert in dance with older people. In addition to this each of the teachers were asked to provide a reflective journal, session plans and a commitment to the six sessions. In return the dance teachers would receive observations, feedback and an updated portfolio.

reflective point When I look back on the project now, it was a success. However, I know that the research design could be much tighter. I would still keep the main components of the framework. In addition to these components I would include a creative section for the participants. This section would provide an opportunity for the participants to show case their stories and understanding of dance. I would anticipate this to be delivered through a collage or perhaps a scrap book. Adding something similar to this would enhance the sessions for both the learners and dance teachers.

There was a noticeable increase in energy and enthusiasm of the participants.

“

”

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ParticipationFor phase 1 of the Dance for Lifelong Wellbeing project we recruited 65 learners, nearly 90% of whom were women. This percentage was even higher for phase 2. Nearly 94% of those learners were female. In part this reflects the gender balance evident in the day centres, nursing homes, and residential settings where we were offering classes: visual inspection alone shows that women far outnumber men in these environments. However, in general the gender split for older people is not nearly so marked. Although women do tend to live longer than men, the 2011 Census data, issued by the Office for National Statistics,5 records 1,765,000 men over the age of 75 against 2,605,600 women. Roughly 60% of the population over 75 are female. Our participation figures may then also reflect widely held preconceptions about dance and gender. The project team did not make any specific attempts to recruit male older learners. Our marketing materials featured a female dancer and may in fact have reinforced the notion that dance is an activity more suited to women.

In this first phase of the project 80% of our learners declared they were over 75 years old. A number of learners chose to give their exact age. Our oldest participant celebrated his 102nd birthday during this time and he was one of eleven learners aged over 90 who joined in our classes. These figures, in tandem with the positive response to the classes evidenced in teachers’ reflective journals, in written and video observations, and through the focus groups conducted at the project evaluation day, suggest that chronological age is no barrier to enjoyable participation in appropriately planned dance classes for residents in nursing care or for attendees at day centres where transport is provided.

Phase 2 continued to offer some classes in more structured care environments but also sought to make dance classes available to older learners who were not currently connected to the care system. Unsurprisingly, data for this phase shows that we attracted a markedly younger group of learners. 64% of these learners were aged between 50 and 75. Moreover, 70% of the learners aged over 75 were based at one residential home. During this phase we also enrolled one learner below the age of 50. It was a deliberate decision not to set a lower age limit when promoting these classes. People do not age uniformly. By way of example, we worked with a very spritely 87 year old who would happily walk half a mile before jumping on the bus and who took great pride in showing me her legs when I first met her. We also worked with learners in their late 60s who were already experiencing severe restrictions to their mobility. To my mind, learners should be permitted to determine for themselves whether they are ‘older’ or not.

Total participation in phase 2 was lower than in phase 1. Feedback gathered at the project evaluation day suggested that, for classes open to the wider community rather than those delivered through an established community group or care setting, a longer lead-in time for marketing and promoting the classes was needed. Word of mouth proved very effective in boosting recruitment for these groups but would need a longer run of classes in order to build a mass of learners. All our various stakeholders had ideas about how to promote these activities in the future, including putting up flyers on notice boards at churches, local supermarkets, hospitals and in community centres. Word of mouth and free taster sessions were most frequently suggested as avenues for recruitment, but it came as a surprise to note that older learners also suggested the use of short promotional videos that would show the kind of activity they might be signing up for. It was also noticeable how frequently the prestige of association with the RAD was mentioned. The umbrella identity of the RAD seemed to assure learners and venues of the quality of dance provision on offer.

5 Office for National Statistics. 2011 Census – Population and Household Estimates for England and Wales, March 2011. Statistical Bulletin. Online PDF. 12th May 2013. <www.agediscrimination.info/SiteCollectionDocuments/2011 census - population and household estimates for england and wales march 2011.pdf>

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Participation broken Down by gender Participation broken Down by age

0

30

60

90

120

Total Participation

Phase 1 Phase 2

Male

Female

total Participation 112

PHase 1 total 65

PHase 2 total 47

Under 50

50 - 75

Over 75

Prefer not to say

50 - 75

Over 75

Prefer not to say

Under 50

50 - 75

Over 75

Prefer not to say

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anticipated outcomesAs part of a wider set of research projects made possible by the Community Learning Innovation Fund this project was designed to work within a framework of pre-ordained themes and possible outcome categories.

Physical wellbeingI suggested in the initial proposal that we would see evidence of change in relation to participants’ physical wellbeing and that change would involve an improvement in the quality of movement for some learners and a greater perception of physical wellbeing and general good health directly after participation in class for the majority of learners. Evidence of this change in performance of movement would be seen in the video documentation of classes and would be reflected in notes from lesson observations and in teachers’ reflective journals. Evidence of learners’ own perception of improved good health and physical wellbeing would be found in learners’ own direct reporting, through interviews and focus groups, and also indirectly and anecdotally through teachers’ reporting of comments and conversations in class. This reporting of improved wellbeing would also be captured in our video documentations and from testimony of partners at our host venues. My general impression from a cursory review of the data we have collated is that there is an improvement in both these facets of physical wellbeing. However, the stronger theme that emerges is that of social and emotional wellbeing. Words such as enjoyment, pleasure, fun, happiness, and excitement are emphasized in all the forms of data we collected. Learners report feeling good, feeling included, feeling an enhanced sense of companionship and togetherness as a result of their participation in the classes. Dance classes for older learners appear to enhance social connectedness, and in the videos of various classes the experience of dancing can be seen to strip years away by enabling playfulness and creativity.

I also suggested that, as a result of these 6-week sessions, learners would develop greater confidence and motivation to continue participating in exercise and would form an intention to continue whenever and wherever classes were offered. Again, data from interviews and focus groups with learners and our venue partners would provide evidence of whether or not we were successful in this regard. It is too early to know how many of our 112 participants will carry on taking classes, but the early indications are extremely encouraging. In particular, the final focus group data reflects a huge appetite on the part of learners and our venue partners for more work of this kind.

challenges of data collection with older learnersAs mentioned in the project overview at the beginning of this report, it was immediately apparent that collecting quantitative data and analysing it in a meaningful way in relation to improvements in physical wellbeing would be far beyond the means of this pilot project. However, the teachers and project team were hopeful of gathering a significant amount of qualitative data in relation to wellbeing, broadly

You can rely on word of mouth to get more learners week on week, so don’t be disheartened if only two people show up to your first class.“

”

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conceived. In order to comply with the requirements of our funder, we had a detailed enrolment form and, as Lizz Fort discusses elsewhere, we had a comprehensive PAR-Q for learners to complete. We had also planned small focus groups before and after the series of sessions.

During those first sessions with learners it was obvious that the comprehensive paperwork could serve as a barrier to participation. Somehow we needed to balance our desire to gather valid and reliable data in relation to older learners’ participation with the fact that the means of collating this data could itself serve as a barrier to participation. It was not simply a matter of revising the paperwork and considering how better to support learners in completing the forms.

The key to finding the balance we needed, and this is not so different from the key to any good qualitative research, was to be found in allocation of sufficient time. It takes time to explain why the paperwork needs to be done and what the benefits to learners are if they complete the paperwork. It takes time spent with those learners who want support in reading small print and in writing legibly. It takes time to put people at their ease such that they don’t mind speaking up in a group of friends and strangers. And it takes time to establish the kind of rapport with people such that you can tell when to enquire further, when to back off, and most importantly when to just be quiet and listen.

For phase two of the outreach work we allocated two extra weeks – one at the beginning and one at the end – purely for the purpose of collating more qualitative data. This made collection of basic data from our learners much less frenetic but for future projects I would recommend allocating more time for one-to-one interviews and for small focus groups away from the dance class itself and with time spent preparing participants for the process and expectations of these discussions.

VolunteeringThe anticipated research outcomes were not restricted to the impact on older learners participating in the project. I had also suggested that the six dance teachers working on the project would gain additional skills for their work through volunteering and may develop a commitment to continuing to volunteer in their local communities. Data gathered from the teachers’ own reflective journals, in interviews and focus groups, and triangulated with data from lesson observations provides strong grounds for asserting that teachers have indeed progressed in terms of their teaching skills in relation to older learners. The various case studies shared here provide very specific examples of the rich and varied ways in which the teachers on the project tackled the challenges they encountered and of the lessons learned in meeting these challenges. Only when the project is fully completed will I be able to assess the extent to which these teachers will be able to continue to volunteer their time in teaching older learners.

Be confident. As an experienced dance teacher you have plenty of knowledge and understanding to be able to adapt a beneficial class for older learners.“ ”

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employmentOur project teachers articulated a range of sound but varied reasons for wanting to volunteer. However, all of them mentioned the prospect of developing their teaching practice in such a way that it might lead to enhanced employment prospects. This too was one of the anticipated outcomes of the project. I anticipated that the skills and experience garnered here would increase confidence and motivation to set up their own classes with older learners and/or to apply for projects that would make use of their newly refined expertise. The findings on this are already conclusive. All teachers have stated their intention to continue working with older adults and under the aegis of the Dance for Lifelong Wellbeing project three of them have already secured on-going employment.

Ambitions for the ways in which this project might enhance employability and increase employment opportunities for dance teachers went much further than the impact on those teachers who participated. Through the dissemination of this project report, through the Dance and Wellbeing conference in April, and through the provision on CPD and online learning resources developed as a result of this project, I hope that all RAD dance teachers will have improved access to information and resources in relation to dance for older learners. Moreover, I hope that the broader contextual information in this report, particularly the testimony from learners and venue partners, might prove helpful if teachers need to persuade local stakeholders of the value of supporting a dance project in a day centre, a nursing home, or with a faith group for example.

changes for organisationsSome of the venues we worked with for this project were immediately enthusiastic about offering dance classes to their clients while others expressed some reservations about either the logistics of making it work in their environment or about the number of clients who would be interested in becoming learners in dance. Nonetheless, I anticipated that successful delivery of a 6-week session of classes would engender a new or enhanced commitment to programming dance activities for older learners and would be accompanied by a willingness to resource such provision. Data gathered during the focus groups at the project evaluation day shows that we have been completely successful in this regard. One venue has already committed to paying for a dance teacher to come along once every fortnight, in the first instance. One of our partners is continuing to employ a teacher from this project to deliver an RAD-branded class for older learners. Others are in discussion about how to collaborate on a bid for funding. All articulated their commitment to continuing to provide dance classes. Not only were the benefits to participants really clear but there appeared to be additional benefits to support workers and carers in those environments in which they were present. The sense of playfulness, creativity and fun spread to other people only tangentially involved and improved the sense of wellbeing and community for everyone.

Many of our clients never imagined they would be able to join a dance class. These sessions have helped take away inhibitions and build confidence.

“ ”

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It wasn’t always obvious to tell if a participant was enjoying the class. Although many smiled and were openly excited about learning dance others had fixed, sombre expressions. One guy who attended all of my classes had a habit of heckling me during the sessions. In the first session he exclaimed “ooooh call the ambulance now” when I introduced a new movement but he always gave it a go. In the final session a volunteer told me that although this particular participant always complained and resisted getting to the sessions he always enjoyed them once he was there. After the last class of phase one he told me in his stern manner, “you made everyone enjoy themselves. Serves them right!”

annette Walker

case stuDy – tap on gloves

As a tap dancer I was accustomed to learning from older performers – I had a private tap dance lesson with Tony Award winner Henry LeTang when he was 89 years old. Older learners occasionally joined my tap dance courses and I remember seeing a lady who was perhaps over 70 and attended the same general tap classes as me. But until I came across the Dance for Lifelong Wellbeing project I had not previously considered teaching an entire group of older learners to dance.

My first thought about teaching older learners was how I would adapt the tap dance technique while also maintaining the vocabulary of movement. The biggest challenge I saw was to make tap accessible for seated participants as well as those with a limited ability to stand. I had once learnt a classic “chair dance” tap routine and so used some of the techniques from that. In my research I came across the phenomenon of “Wheelchair Tap Dancing” but did not really have the resources to develop some of the techniques shown there such as using taps on gloves.

“Taps on gloves” did remind me of body percussion so for one of my sessions I experimented with adding hand and body claps. It can be a challenge for even intermediate tap dancers to follow rhythms using both the feet and hands so I knew I’d have to keep it very simple. But even this proved to be a little too complex for some of the older learners.

Over the first few weeks of phase one I tried different approaches to teaching a simplified version of the Shim Sham but there was quite a wide gap between abilities in following the steps. Tap is technically challenging and it can be quite difficult to cater for all levels in one class but this was exacerbated with different levels of mobility. In the end I found it better to try out new moves and build these together into a simple repeating pattern of movement based on those the group responded to well. With some encouragement from colleagues I began incorporating upper body movement and found it was particularly effective when I alternated this with the rhythmical footwork. By the final session I had developed a new vocabulary of seated, rhythmic footwork interspersed with musical breaks for arm movements.

Although the placements were quite short there were many highlights throughout the sessions. In my third class of phase one a new lady in a wheelchair joined the class. She was very excited about learning tap dance and often reminisced about the days tap dance had been popular in theatre shows. At the end of the session she told me that she had been so motivated to dance that she felt like she wanted to get up out of the chair and join me. She told me her story of how she came to be in a wheelchair and that months of physiotherapy had not helped her to move her left leg. What was amazing was the fact that I would not have known this had she not told me since she had been moving and tapping both her feet throughout the class!

After the last class of phase one he told me in his stern manner, You made everyone enjoy themselves. Serves them right! “

”

overview – Dennie WilsonIn my role as one of the Faculty of Education mentors on the Dance for Lifelong Wellbeing project I had the privilege to observe a wide variety of dance teaching across the full range of contexts in which we worked. This gave me an opportunity to reflect on the ways in which resources can be used effectively to enhance learning and support creativity.

Each teacher had creative control over the resources they used within the classes.

However, those used frequently and which gained good results were as follows

• Music that was familiar to the group

• Music that evoked distinctive locality, historical era, or mood

• Props which were tactile and encouraged different qualities of movement, for example scarves

• Props which were functional and increased confidence, for example hats

• Words and imagery which inspired creativity

• Pictures which helped evoke memory and/or inspired creativity

This is not an exhaustive list of resources, rather an example of how the resources used contributed to the lesson. The resources used related specifically to the content and delivery of the dance sessions and had an immediate and direct impact on the overall vitality of the participants and the sessions. However they were used, they were both highly visual and facilitating in relation to participant mobility, articulation, memory and social interaction. Activities using props were organised to the accompaniment of meticulously selected music and resulted in some carefully crafted dance routines.

There were other resources perhaps less tactile and less overtly visual that stimulated and nurtured the senses. Individual words, images and descriptions, sounds that almost ‘mined the memory’ and resulted in the most exquisite dance improvisations. The resources used to facilitate this work were carefully selected, sensitively administered and were the vital partner to those tactile ‘props’.

This partnership was brought into being through the two most valuable resources a dance teacher possesses: imagination and creativity.

In this final section of the project report we have included a range of additional documentation that might be of use to dance teachers who wish to begin or refine their practice in working with older learners.

44 45

resources

The most rewarding part was the smiles of learners at the end of the final session. Everyone was participating in some way, waving the scarves, singing, tapping their feet or clapping their hands. Two people got up to waltz in the centre of the circle of chairs while others held hands with seated participants and danced with them that way. It felt like an amazing party.

“ ”

46 47

spatial factors and orientation ‘in the moment’ (self, partner and group), following, mirroring, demands for quality and interpretation, when combined with the added external discipline of musical accompaniment in dance, increases the stimulation of the cerebellum9 responsible for balance, kinesthetic learning, and spatial awareness. Continuously challenging the brain beyond its capacity in this multi-dimensional and multi-disciplinary sense is shown to promote the creation of new synapse connections and therefore aids increases in vital cognitive reserve at any age, defending against dementia.

In addition to the benefit of creating cognitive reserve, musical “rhythmic” dance is shown to slow down deterioration in the body and the effects of ageing. Mark Liponis, in his pioneering research on longevity,10 considers ‘rhythmic’ exercise – dance – to be more beneficial to the body’s repair and regeneration than other arrhythmic activities and sports. ‘Rhythmic’ dance affects neuro-transmission signals from the brain, reducing the hyperactive trigger response of the immune system, responsible for premature ageing of cells, brain, and joints. It is, he suggests, as fundamental to healthy ageing as conscious breathing, eating and sleeping.

The latest neuroscience findings on ‘flow state’11 support the understanding that teaching movement consciously using externally focused imagery, maintaining a focus beyond the body, as in my “dancing longevity”® approach, facilitates accelerated kinesthetic learning. ‘Flow state’ is an alpha brain wave state that professionals (golfers, swimmers, musicians) who have mastery of a movement skill are demonstrated to utilize to achieve their expert performance. It has multiple advantages for facilitating movement skills learning, but also has many health benefits and is therefore particularly appropriate to use for the older adult dancer. It induces calm breathing, lowering the pulse rate and blood pressure; it minimizes muscular tension and effort permitting easy fluid movement and increased range of motion in those with otherwise restricted joints and anxiety about falling.

The Dance for Lifelong Wellbeing teachers excitingly discovered that by using a focus beyond the body, such as visualizations that awakened the senses - the sense of touch and/or smell - they facilitated the move into ‘flow-state’ and away from the ‘blocking’ effect of cognitive thinking/frontal cortex activity in the older adult dancers, and they were thereby able to accelerate the group’s ability to move freely and fluidly and to learn new movement skills.

Prepare as much as possible but don’t panic if things don’t go to plan.“

”

scientific foundations of the benefit of dance for older adults – clare guss-West Interest in the hitherto undocumented wellbeing benefits of dance is increasingly gathering momentum in the field of scientific research, particularly neuroscience research. Dance as a holistic physical activity has the capacity to positively impact the human being on every level: physical, mental, emotional and spiritual and, it would appear, at any stage of life. This acceleration of interest is in part due to the shift in the ageing population: by 2020 it is predicted that 20% of the UK population will be 65+ and that one in four of us alive today will live to be over 100 thanks to basic advances in nutrition, hygiene and medicine. The focus of research now becomes not simply understanding longevity but finding solutions to improve the quality of that extended life and support the continued autonomy of the individual.

The health related benefits of involvement in physical activity are well documented and scientific research has established that 75% of the factors affecting quality of life and longevity are lifestyle related and only 25% are in fact hereditary.6 So it is clear that dance, along with other physical activities, has a key role to play in delivering life-enhancing education for a quality, autonomous, extended life. However, recent research now positions dance ahead of other physical activity in terms of the extent of its health promoting benefits including improving balance thereby minimizing falls, calming the immune system thereby slowing deterioration and ageing, and promoting new synapse connection, increasing cognitive reserve at any age.

For the elderly population, on a practical, physical level it is ‘falling’ that represents the most costly risk in terms of healthcare and loss of autonomy. One third of adults aged over 65 falls once per year, with 50% of that third falling more frequently. This is the result of multiple causes that exacerbate each other.

• Reaction time in the body – nerve signals from extremities to the brain can become impaired without regular activation

• Solidifying in joints and muscles and loss of elasticity – particularly in feet, ankle and calf muscles, also hips, trunk and neck

• Peripheral vision diminishes with age

So, the combination of not being able to see, nor turn around or react fast enough, leads to rigid falls that cause a lot of damage.

Sydney University researcher Dafna Merom suggests that, although specially designed balance exercise has been shown to reduce falls in the 65+ age group by 17%, she claims participation in dance with its emphasis on increased flexibility; musically timed and controlled stepping, and smooth movements through the knees and ankles, changes of direction, and increased spatial awareness, to be far more effective, reducing the risk of falls by as much as 37% as seen in the preliminary findings of her research currently in process.7

At a mental level, the 21-year research of the Albert Einstein College of Medicine shows dance to be the most effective physical activity to ward off deterioration of the brain and dementia. Dance scored 76% in this study in comparison to other physical activities such as cycling, swimming, and golf, which scored 0% improvement.8 The key factor seems to be the ‘unknown’ aspect of dance – the constant need to assess

6 Michael P. Brickey, Defy Ageing:Develop the Mental and Emotional Vitality to Live Longer, Healthier, and Happier Than You Ever Imagined (Columbus, OH: New Resources Press, 2000).7 Natasha Johnson, “Dancing could help the elderly keep their feet”, 7.30 ABC News, Australian Broadcasting Agency, 1st April 1 2012, 17th May 2013. <http://www.abc.net.au/7.30/content/2012/s 3402235.htm#>8 Richard Powers, “Use it or lose it: Dancing makes you smarter”, Stanford Dance, online blog, 30th July 2010, 16th May 2013. <http://socialdance.stanford.edu/syllabi/smarter.htm>9 Steven Brown and Lawrence M. Parsons, “The neuroscience of dance”, Scientific American, 299.3 (2008):78-83.10 Mark Liponis, Ultra-longevity (New York: Little, Brown & Company, 2007).11 Gabriele Wulf and Shea C. H. “Enhancing motor learning through external-focus instructions and feedback”, Human Movement Science 18.4 (1999): 553–571.

48

49

case stuDy – the Dancers

When I volunteered to teach on the Dance for Lifelong Wellbeing project I thought my previous teaching experience would be well suited to the work I would be doing. I have been teaching dance to adults for 17 years and have a diploma in teaching in the lifelong learning sector so I thought I was equipped for the task in hand. I had previously taught students in the age range of 18 to 84 years.

My first six week teaching placement was with a group of older people who met once a week for lunch. All of the participants arrived independently and were able to walk, although some required the assistance of walking frames or walking sticks. Some of the group were a little apprehensive about joining a dance class as they weren’t sure what they would be expected to do. However once we had completed the first session more people were keen to join as they had seen what it was all about. About half of the participants wanted to remain seated for the session, so I had to design lessons which engaged both seated and standing participants. I found that pairing a standing participant with a seated one worked quite well.

After the first couple of weeks we started to establish a group and the participants began to see themselves as “the dancers”. The participants started to contribute ideas to the lesson and began helping each other to remember steps and sequences. We began working on a dance routine which we were aiming to have finished by the end of the six weeks. This gave the group a sense of purpose and a goal. I found that older people are more confident about contributing their ideas and I tried to use their ideas as much as possible to give them ownership of the group. This was where my teaching skills were needed in the form of facilitator, to ensure the more enthusiastic contributors did not take over the session.

A couple of the participants who had initially wanted to remain seated during the sessions began to gain confidence, and after a few weeks were dancing without their chairs. I was pleasantly surprised at the progress we had made over the six weeks. As a teacher the most rewarding thing to come out of this six week placement was that the dancers were keen to find a way of continuing the classes on a more permanent basis.

My second six week placement was in a residential care home and was a lot more challenging. After my first teaching session I didn’t want to continue as I felt completely out of my depth. Most of the participants were unable to stand, and all participants needed to remain seated during the lesson. Several of the participants had very restricted movement and were quite frail. Others had hearing and sight impairment. I felt I was unable to engage the participants in any way. After some mentoring from a member of the Royal Academy of Dance I decided to give it another go. I realised I required a completely different approach. Communication was quite a key issue. Many of the participants were not really sure why they were there or who I was. I found it was better to use demonstration rather than too much verbal explanation. I had to spend time getting to know the participants and gaining their trust before they would engage in the lesson. I found the use of props really helped to focus the participant’s attention, and another key factor in making these

sessions successful was the choice of music. The participants need to be able to recognise and relate to the music.

The care home activities manager who had arranged for the dance classes to take place was present at most of the sessions which I found was essential to their success. He was familiar with the capabilities of the participants and they in turn trusted him. Several times during this placement I felt that I was wasting my time and that the participants were not really enjoying the sessions or gaining anything from them. I discussed this with the activities manager and he helped me to understand that my expectations of what was going to be achieved had to change. With this group of participants even very small changes in behaviour could be considered as an improvement to their wellbeing, even if it was just a smile. I learnt not to have pre-conceived ideas about what people can achieve.

Lynn blackman

With this group of participants even very small changes in behaviour could be considered as an improvement to their wellbeing, even if it was just a smile. “

”

continuing Professional Development: raD Provision for teachers interested in developing their dance practice with adults – Hannah merron

50

The Royal Academy of Dance (RAD) is committed to lifelong learning and its Continuing Professional Development (CPD) scheme is a reflection of this. This scheme provides a mechanism for RAD Registered Teachers to evidence that they are up-to-date with professional practice, and that they are able to meet the challenges of changing educational and professional requirements.

Professional development also provides an opportunity to develop new interests and expand business into new areas. One of the fastest growing areas in the dance teaching world is adult classes. Dance is breaking free of its image as a children’s hobby and is being recognised as a veritable form of exercise, acceptable alongside going to the gym. As such, there has been an exponential increase in the demand for adult dance classes in the UK and beyond.

The growing adult interest in dance coincides with the shifting age demographic of many countries, in Europe and further afield, which is resulting in the average age of the population steadily increasing. The interest in dance does not wane with old age. This project has illustrated people of all walks of life and all ages can enjoy and benefit from dance. However, as the average lifespan is ever increasing the generic term of adult, encompassing anyone between the age of 18 upwards, seems more like a catch-all term failing to differentiate the changing physical abilities that may come with age.

This sentiment led the RAD to develop two workshops, Dance Practice with Adults and Dance for Older Learners. These workshops provide teachers not only with the key skills required to adapt practice to deliver dance activities to a wide adult audience, but also provides support on differentiation and advice on how to lead an appropriate dance classes in a range of settings and to adults of widely ranging physical and emotional needs.

The RAD is building on this work to produce a professional award in Dance Practice with Adults, a modular programme of study that will provide students with a formal qualification in this area of practice. This will be available from January 2015.

For further information on the RAD CPD scheme and upcoming CPD activities, visit our website http://www.rad.org.uk/cpd or contact Hannah Merron, CPD Operations Manager, by email cpd@rad.org.uk or by telephone +44 (0) 20 7326 8931.

51

Try to get to know all your participants, be sensitive to their needs and show that you value all their contributions.“

”

The second creative dance concept I will describe is the use of poetry and prose in providing a platform for improvisation. I used three poems:

• Inspirations by David Malouf (from Poems 1975-76)

• A Fine Thing by Rosemary Dobson (from The ship of ice and other poems 1948)

• Valley Song by Irene Cummins (from A Lifetime of Living 1979)

All three of these are by Australian poets, and each of the poems describes nature, or provides a metaphorical projection of nature.

In each of the poetry sessions the participants sat on chairs in a circle a with their eyes closed and listened to me as I read the poem. A discussion followed, where each participant spoke about what they felt was the strongest resonating image from the poem. As we started to move throughout the space I would ‘feed in’ the images, feelings, places, textures and sensations that each dancer had spoken about, working to facilitate quality and breadth of movement through my vocal ‘instructions’, and via my own physicality and embodiment of the movement ideas. Each poem was used only once, so that the imagery and resulting movement was fresh, free and spontaneous.

In other sessions, I used sections of prose from Haruki Murakami’s novel Kafka on the Shore (2002). The following sections of text were hand-written on small white cards:

All these millions of stars looking down on me, and I’ve never given them more than a passing thought before.

Sunbeams everywhere and mist floating like freshly minted souls.

I often lie down in the little round clearing and let the sunlight wash over me. I’m freed from gravity and float up - just a little - from the ground.

The stars are like the trees in the forest, alive and breathing. And they’re watching me.

A huge number of fish falling from the sky like hail. It was positively apocalyptic.

There’s a break in the clouds, like looking out the window to see the leaves of the dogwood gleaming like a thousand blades in the moonlight.

I think of time that can never be regained. I think of rivers, of tides, forests and water, rain and lightening, rocks and shadows.

A deserted library in the morning... All possible ideas are there, resting peacefully.

I used the cards in a number of ways. In some sessions, I placed the cards on the floor and asked the participants to select a card, read it, replace it, and begin to move. In others, each participant took turns in selecting and reading a card to the group, and we all moved together.

In each class, I took care to explain that I wanted participants to feel the movement ‘on the inside’; shedding any preoccupation with what the outer form of the body looked like. I also worked to drain my own body of ‘dancerly’ form so that my movements did not influence or afford a particular energy or dynamic. In each task, I sensed that many of the participants had achieved a deep absorption and immersion in the ‘world’ of the improvisation. Whilst the tasks did not generate a great range of movement or a large variation in dynamic values, the participants completely embodied the imagery of each task, and allowed themselves to ‘drift’ into the improvisation; whether standing under a waterfall, running their fingers through ferns, soaring above cliffs, being buffeted by the wind, floating in the sunlight, or walking through a wheat field.

52 53

creativity for older learners – Helen LinkenbaghCreative work I devised for my classes for older learners was a highlight of my experience as a teacher on the Dance for Lifelong Wellbeing project.

The first creative dance concept I will describe is based on The Self. These two tasks extended over two or three sessions, building on confidence and working towards deeper embodiment with each subsequent exploration.

task 1

Drawing our names in the space; using hands and feet to spell out our names in large and small letters

1. Encouraging detail and precision when writing each letter in the space

2. Paying attention to the form and shape of each letter in terms of dynamics (strong movements for straight lines, soft movements for rounded letters)

3. Paying attention to spatial patterning (filling the space entirely or working with a constrained space and energy)

task 2 - exploration of a childhood place

1. This task commences with an internalised reflection: standing/sitting with closed eyes, imagining a place from childhood, remembering feelings, surfaces, temperatures, objects.

2. The second part of this task involves participant-initiated movement that explored these ‘childhood places’. Participants were prompted to feel, touch and embody aspects of the environment they had remembered (walls, floor/ground surfaces, sky/ceiling, objects, temperatures/wind/air quality/smells).

3. This task ends with each participant collecting a small (imaginary) object from their ‘childhood place’, bringing it to the centre of the space and sharing it with the group.

The participants’ ‘objects’ included:

• Weeds from my mother’s garden

• A grasshopper

• An apple

• An orange

• Some sunshine

• Snow

• A bird chick, collected whilst playing in the reeds near my grandmother’s house

• Flowers

• Some sugar

• A pen

• A ball

This task facilitated an experience where each of the participants imagined and embodied a very happy moment from their childhood. There was a palpable sense of warmth and connection in the circle, as each of us shared these very special moments. It was a wonderful, very welcome escape from the cold London winter outside. I feel that it is significant that many of the objects came from the natural world. The inner yearning for nature and sunshine is indicative of our cold, grey, city-bound existence.

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crea

se fl

uidi

ty th

roug

h jo

ints

: han

ds, e

lbow

s, s

houl

ders

, fe

et•

Res

pond

cre

ative

ly to

a v

arie

ty o

f mus

ic•

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ovin

g co

re s

treng

th a

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ostu

re

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eAc

tivity

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hing

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nts/

safe

ty

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nsRe

sour

ces/

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ic

1:30

pmIn

tro/s

tarte

r

Intro

duci

ng n

ames

thro

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a fu

n ga

me

of c

hang

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plac

es

Spea

k cl

early

, int

rodu

ce

your

self

and

expl

ain

the

exer

cise

Mak

e su

re le

arne

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re

com

forta

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settl

edon

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1:35

War

m u

p st

andi

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cha

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incr

ease

flui

dity

thro

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join

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usin

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e ch

air w

hen

nece

ssar

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earn

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ome

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ach

ieve

this.

Emph

asis

e th

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porta

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of

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brea

th a

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ood

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bal

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3 ro

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sing

pro

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s st

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phas

is in

all

rout

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on

post

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stro

ng

mov

emen

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litie

s.Fu

rther

cre

ative

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k ex

plor

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use

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sca

rf as

a

prop

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timul

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asis

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at th

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an u

se

the

chai

r at a

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Mak

e su

re to

use

lots

of

repe

titio

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lear

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can

ea

sily

follo

w yo

uSp

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clea

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enci

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ead

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aulo

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On

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Beac

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f Ric

hard

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assi

cal C

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0 go

ld fe

lt ha

ts ,

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lect

ion

of c

olou

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scar

ves

sam

ple

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on P

lan

– Ha

nnah

bai

les

11.4

0D

ance

–us

ing

prop

s.

Use

of p

rops

–R

ibbo

ns, c

olou

red

red

and/

or

blue

. U

se ri

bbon

as

a st

artin

g po

int f

or m

ovem

ent,

thin

king

abo

ut fl

ow a

nd c

ontin

uity

; lin

es, c

ircle

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spira

ls; a

roun

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nder

, ove

r. Ke

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our r

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far a

way

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n di

ffere

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irect

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, usi

ng

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ware

ness

. Al

tern

ate

hand

s /

both

han

ds. O

ther

bod

y pa

rts?

Dem

onst

rate

var

ied

mov

emen

t with

out

spec

ifyin

g st

eps

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divid

ual r

espo

nse.

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bove

.

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0C

ool D

own

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ribb

ons

to jo

in to

geth

er in

a c

ircle

, co

nnec

tion

thro

ugh

grou

p. A

dd in

ward

/ ou

twar

d / s

ide

actio

ns.

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r hea

rt an

d br

eath

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rate

. St

retc

h ou

t all

body

par

ts.

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eful

, ret

urn

self

to c

alm

sta

te.

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urag

e co

mm

unic

atio

n be

twee

n gr

oup.

N

ame

each

bod

y pa

rt as

goi

ng th

roug

h so

par

ticip

ants

can

focu

s on

mov

ing

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spec

ified

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rt.

Mic

hael

Jac

kson

-N

umbe

r one

s 20

03[M

P3] J

acks

on, M

. Av

aila

ble

at:

http

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ww.

amaz

on.c

o.uk

/Num

ber

-one

s/dp

/B00

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XWQ

/ref

58

59

Dan

ce fo

r Life

long

Wel

lbei

ng

Roy

al A

cade

my

of D

ance

Facu

lty o

f Edu

catio

n

33

Sam

ple

Less

on P

lan

- Hel

en L

inke

nbag

h Le

sson

aim

(Ove

rall)

: To

intr

oduc

e le

arne

rs to

the

clas

s st

ruct

ure

and

mov

emen

t st

yles

, and

to a

sses

s th

eir l

evel

of a

bilit

y an

d ag

ency

.

Lear

ning

Obj

ectiv

es

1. M

akin

g co

nnec

tions

, bui

ldin

g re

latio

nshi

ps, e

njoy

men

t 2.

Bui

ldin

g co

nfid

ence

to m

ove

free

ly a

nd c

onfid

ently

3.

Intr

oduc

ing

vario

us m

ovem

ent s

eque

nces

D

ate:

25t

h Fe

b 20

13

Less

on 1

of 6

Pa

rtic

ipan

ts: 4

Ve

nue:

RA

D H

eadq

uart

ers,

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ters

ea

Add

ition

al n

eeds

: Ti

me/

LO

A

ctiv

ity

Teac

hing

poi

nts/

safe

ty

cons

ider

atio

ns

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urce

s/m

usic

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5 In

tro/s

tarte

r W

arm

up

stan

ding

in c

ircle

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ings

, sw

ays,

8's

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urag

e ey

e co

ntac

t, in

terp

erso

nal c

onne

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d pr

ojec

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of s

peec

h

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Ben

stea

d Vo

l. 5

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k 4

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0 Ba

king

bre

ad

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hairs

for t

hose

who

may

ne

ed to

sit

partw

ay th

roug

h th

e cl

ass

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urag

e co

ordi

natio

n of

br

eath

and

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t Br

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ntio

n to

bod

y pa

rts

sequ

entia

lly fr

om e

xtre

miti

es

to c

ore

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Ben

stea

d Vo

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Trac

k 7

sam

ple

Less

on P

lan

– He

len

Link

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gh

Show

ing

of s

ome

of th

e cr

eativ

e wo

rk a

chie

ved

in tw

o gr

oups

. Sta

rt to

refle

ct o

n th

eir w

ork

and

appr

ecia

te it

s va

lue

2:40

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l dow

nW

arm

dow

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retc

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ss th

e ʻth

anks

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circ

le

Expl

ain

and

mak

e su

re th

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erci

se is

und

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CD

: Mar

io L

anza

Feed

back

/ple

nary

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cha

t and

con

vers

atio

n wi

th le

arne

rs

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info

rmal

cha

t and

ask

if

they

enj

oyed

it

Eval

uatio

n/ac

tions

to ta

ke fo

rwar

d to

nex

t cla

ssM

ore

use

of th

e br

eath

and

inco

rpor

ate

mor

e im

ager

y. S

ittin

g al

tern

ative

to b

e in

corp

orat

ed in

to th

e ba

lanc

e ex

erci

ses.

How

to u

se

all t

he m

ater

ial l

earn

t so

far i

nto

a co

here

nt p

iece

of c

hore

ogra

phy.

60

61

Dan

ce fo

r Life

long

Wel

lbei

ng

Roy

al A

cade

my

of D

ance

Facu

lty o

f Edu

catio

n

35

3

:20

Co

ol d

own

Gat

her b

reat

h in

to th

e bo

dy -

tors

o, a

rms,

thig

hs,

knee

s, fe

et

Enco

urag

e co

ordi

natio

n of

br

eath

and

mov

emen

t Br

ing

atte

ntio

n to

bod

y pa

rts

sequ

entia

lly fr

om c

ore

to

extre

miti

es

Enco

urag

e pa

rtici

pant

s to

sit

if ne

eded

Bella

Not

te

Davi

d H

unts

inge

r W

ater

mar

k En

ya

3:2

5

Feed

back

/ple

nary

Dan

ce fo

r Life

long

Wel

lbei

ng

Roy

al A

cade

my

of D

ance

Facu

lty o

f Edu

catio

n

34

2

:50

Cr

eativ

e ex

erci

ses

Draw

ing

our n

ames

in th

e sp

ace

- lar

ge le

tters

, sm

all,

fast

, slo

w, s

trong

ly u

nder

line

nam

e w

ith h

and

or fo

ot

Draw

ing

the

win

dow

, the

sun

, the

wat

er, t

he b

oat

- diff

eren

t dyn

amic

s fo

r eac

h sh

ape

- mirr

or m

y m

ovem

ents

- i

ndiv

idua

lly c

reat

e th

e m

ovem

ents

Enco

urag

e us

e of

diff

eren

t dy

nam

ic v

alue

s fo

r eac

h sh

ape

Enco

urag

e us

e of

bre

ath

and

brea

dth

of m

ovem

ent

Enco

urag

e au

tono

my

and

crea

tivity

Le T

emps

de

L'Am

our

Fran

çois

e H

ardy

Th

e G

arde

ns o

f Sam

pson

and

Be

asle

y Pi

nk M

artin

i

3:0

5

Danc

e Se

quen

ce -

partn

er/w

hole

gro

up

Intro

35s

ec (s

tart

afte

r firs

t "I w

anna

be

a da

ncin

' m

an

whi

le I

can"

- C

omm

ence

in tw

o lin

es a

t the

sid

es o

f the

spa

ce

(faci

ng p

artn

ers)

- 4

sw

ays

- 4 s

ets

of g

rape

vine

ste

p - 4

sw

ays

to c

ome

to fe

et to

geth

er

- 4 s

ets

of o

ut, i

n, c

ha c

ha c

ha

- hol

d R

hand

to R

han

d, p

rom

enad

e ar

ound

('t

riple

t' w

alks

) - r

epea

t L a

nd to

L h

and

Enco

urag

e re

latio

nshi

p be

twee

n pa

rtner

s En

sure

cla

rity

and

sim

plic

ity in

to

day's

cla

ss to

pro

mot

e co

nfid

ence

. Onl

y te

ach

part

of

the

chor

eogr

aphy

if it

s to

o m

uch.

I Wan

na b

e a

Dan

cin'

Man

H

arry

War

ren,

Orig

inal

Br

oadw

ay c

ast r

ecor

ding

- Fo

sse.

sample tasks – ana Jorge

class for students with dementia – seated exercises

task 1 – Passing props with developmentThis can aid introductions, connections and break barriers. For example, pass the ball

• to others across the circle

• to someone saying their name

• to someone wearing blue

• to someone with curly hair

task 2 – gentle physical chair based warm up with developed repetitions These can be adapted, depending upon the level of the participants. Here is an example of a mainly chair based warm up.

Hands:

• Open and close hands – 4 times

• Playing the piano

• Rolling the wrists

Arms

• Waving of hands

• Rotate the arm from the elbow

• Circling the arms from the shoulder

Shoulders

• Lifting (shrugging) shoulders

• Roll of shoulders

Feet:

• Rolling through the feet

• Stretching the legs, flexed feet

• One leg in front and then the other one and change on the song rhythm.

• Marching in chair

62 63

task 3 – imageryA few examples of imagery based ideas for movement, led by the teacher

• Opening and closing windows

• Washing the clothes and hanging them up

• Cutting hair

• Baking bread

• Painting (using different body parts to lead)

• Swimming

• Canoeing

• Hula hoop

task 4 – use of soft materialsDifferent textures, props and lengths of materials. These can be visually effective in class and help participants to extend beyond their normal movement range.

• Scarves or ribbons for light movements

• Bubbles or feathers for breath work

These tasks are most effective when coupled with imagery and music to help participants to remember sensations or past experiences.

selected bibliography – compiled by Dr. carol martin

Abbott, Alison. “Ageing: Growing old gracefully”. Nature 428 (2004): 116-118.

Albert, Jane. “Ring in The Old”. Dance Gazette 2 (2006). Education Research Complete. Web. 3 May 2013.

Allen, Christie. “Irish Céil☐ Dance and Elderly Dancers”. American Journal of Dance Therapy 25.2 (2003): 111-122. International Bibliography of Theatre & Dance With Full Text. Web. 3 May 2013.

Amans, Diane. Age and Dancing. London: Palgrave MacMillan, 2013.

Berryman-Miller, Sherrill. “Dance Movement: Effects on Elderly Self-Concept”. Journal of Physical Education, Recreation and Dance 59.5 (1988): 42-46.

Biggs, Simon., Carol Estes and Chris Phillipson. Social Theory, Social Policy and Ageing: Critical Perspectives. Buckinghamshire: Open University Press, 2003.

Bond, John, et al (eds). Ageing in Society: European Perspectives on Gerontology. Third Edition. London: Sage, 2007.

BUPA. Keep Dancing: The health and well-being benefits of dance for older people. Online PDF. 8th May 2013. < http://www.bupa.co.uk/jahia/webdav/site/bupa couk/shared/Documents/PDFs/care-homes/general/shall-

we-dance-report.pdf> Cooper, Lesley, and Helen Thomas. “Growing old gracefully: social dance in the third age”. Ageing & Society 22.6

(2002): 689-708.

Davidson, Paula, and Janet Downey. Evaluation of Gener8; a dance group for the over-sixties run by Scottish Ballet. Edinburgh: SCRE Centre, 2002.

Earhart, Gammon M. “Dance as therapy for individuals with Parkinson’s Disease”. Journal of Physical and Rehabilitation Medicine 45.2 (2009): 231-238.

Eyigor, Sibil. et al. “A randomized controlled trial of Turkish folklore dance on the physical performance, balance, depression and quality of life in older women”. Archives of Gerontology and Geriatrics 48 (2009): 84-88.

Genné, Maria. “The Dancing Heart: Vital Elders Moving in Community”. LLI Review 3 (2008): 88-92. Education Research Complete. Web. 3 May 2013.

Gilliard, Chris, and Paul Higgs. Ageing, Corporeality and Embodiment. London: Anthem Press, 2013.

Guzmán-Garc☐a, Azucena, Leif Johannsen, and Alan M. Wing. “Dance Exercise for Older Adults: A Pilot Study Investigating Standing Balance Following a Single Lesson of Danz☐n”. American Journal of Dance Therapy 33 (2011): 148-156.

Hackney, Madeleine E., Svetlana Kantorovich, and Earhart, Gammon, M. “A study of the effects of Argentine Tango as a form of partnered dance for those with Parkinson disease and healthy elderly”. American Journal of Dance Therapy 29.2 (2007): 109-127.

Hackney, Madeleine E., and Earhart, Gammon M. “Short duration, intensive tango dancing for Parkinson disease: an uncontrolled pilot study”. Complementary Therapies in Medicine 17.4 (2009): 203-207.

___. “Effects of dance on balance and gait in severe Parkinson disease: A case study.” Disability and Rehabilitation 32.8 (2010): 679-684.

Hamblin, Kate A. Active Ageing in the European Union: Policy Convergence and Divergence. London: Palgrave MacMillan, 2013.

Houston, Sara. “Dancing Towards Youthfulness”. Working with older people 9.2 (2005): 15-17.

64

65

Keogh, Justin W. et al. “Physical benefits of dancing for healthy older adults: a review”. Journal of Ageing and Physical Activity 17.4 (2008): 479-500.

Lima, Maristela Moura Silva, and Alba Pedreira Vieira. “Ballroom Dance as Therapy for the Elderly in Brazil”. American Journal of Dance Therapy 29.2 (2007): 129-142.

Lovatt, Peter. “Dance, Confidence, Age and Gender”. Personality and Individual Differences 50 (2011): 668-672.

Matthews, Anna E. et al. “Older adults’ perceived physical activity enablers and barriers: a multicultural perspective”. Journal of Ageing and Physical Activity 18.2 (2010): 119-140.

McKinley, Patricia et al. “Effect of a community-based Argentine tango dance program on functional balance and confidence in older Adults”. Journal of Ageing and Physical Activity 16 (2008): 435-455.

McMullin, Julie Ann and John Cairney. “Self-esteem and the intersection of age, class and gender”. Journal of Ageing Studies 18.1 (2004): 7590.

Mehrotra, Chandra M., et al (eds). Ageing and Diversity: An Active Learning Experience. Second Edition. London: Routledge, 2013.

Nadasen, Krishnavelli. “We are too busy being active and enjoying ourselves to feel the aches and pains.” Quality in Ageing 8.3 (2008): 4-14.

“Life Without Line Dancing and the Other Activities Would be Too Dreadful to Imagine?: An Increase in Social Activity for Older Women”. Journal of Women and Ageing 20.3-4 (2008): 329-342.

Pethybridge, Ruth. Dance and Age Inclusive Practice: Pathways in Practice for Dance Leaders Bringing Different Age Groups Together in Their Communities. Leicester: Foundation for Community Dance, 2010.

Phillipson, Christopher. Ageing. London: Polity Press, 2013.

Rayner, Nicola. “Shall We Dance”. Dance Today 55.118 (2011): 35-36. International Bibliography of Theatre & Dance With Full Text. Web. 3 May 2013.

“Resources”. Age of Creativity. Website. 8th May 2013. < http://www.ageofcreativity. co.uk/resources>

Ross, Fiona. “Company of Elders”. Working with older people 11.4 (2007): 37-40.

Schwaiger, Elizabeth. Ageing, Gender, Embodiment and Dance. London: Palgrave MacMillan, 2011.

Stacey, Gemma. “Dancing to keep young@heart”. Mental Health Practice 11.6 (2008): 34-38.

Thomas, Helen, and Lesely Cooper. Dancing into the Third Age: Social Dance as Cultural text. A Research Report. London: Goldsmiths College, 2003.

Trinity Laban. Dancing Towards Well-being in the Third Age: Literature Review on the impact of dance on health and well-being among older people. Online PDF. 2010, 8th May 2013. <http://www.trinitylaban.ac.uk/media/315435 /literature%20review%20impact%20of%20dance%20elderly%20populations%20final%20draft%20with%20logos.pdf>

Valentine-Garzon, Margaret A., Marianne Maynard, and Sheila Z. Selznick. ”ROM Dance Program Effects on Frail Elderly Women in an Adult Day-Care Centre”. Physical and Occupational Therapy in Geriatrics 11.1 (1993): 63-83.

Wainwright, Steven, and Bryan S. Turner, Bryan S. “’Just Crumbling to Bits?’ An Exploration of the Body, Ageing, Injury and Career in Classical Ballet Dancers.” Sociology 40.2 (2006): 237-255.

Weisberg, N. and Wilder, R. Expressive arts with elders: a resource. Second Edition. London & Philadelphia: Jessica Kingley, 2001.

Wilson, Gail. Understanding Old Age: Critical and Global Perspectives. London: Sage, 2000.

6766

temPLates & aPPenDices

Participant Pack Phase 1 68

Participant Pack Phase 2 78

Lesson Plan template 84

raD risk assessment form 88

Health form 90

68

Dance for Lifelong Wellbeing Royal Academy of DanceParticipant Information Pack Faculty of Education

1

PARTICIPANT PACK PHASE 1

Dance for Lifelong Wellbeing

Information for Dance Participants

Dear Participant,

We are delighted that you have chosen to participate in the Dance for Lifelong Wellbeing classes. We hope that you will find the sessions inspiring and creative. These sessions will promote participation in physical activity which may help to support a healthy lifestyle.

This pack should give you all the information you need for the classes, and includes some paperwork that you should read and, if you are happy to, sign in advance, and bring along to your first class.

Enclosed in this pack you will find the following:

• Participant registration form • Dance Readiness Health Questionnaire • Emergency Contact Details form • Photo/filming permission form

1. Your class details

The venue for your classes is:

The dates and times are:

Your dance teacher’s name is:

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

2    

 

2. Your  First  Dance  Class  

 

3.1  Arrival  

When  you  arrive  at  the  venue,  please  go  straight  to  the  dance  class  space  and  say  hello  to  your  dance  teacher.    

For  the  first  class,  please  arrive  30  minutes  before  the  class  is  due  to  start  and  bring  all  your  signed  paperwork  with  you  for  the  dance  teacher  [unless  this  has  already  been  collected  in  advance]:  

• Participant  registration  form  • Dance  Readiness  Health  Questionnaire  • Emergency  Contact  Details  form  • Photo/filming  permission  form  

 

 

3.2  What  to  expect  

The  Dance  for  Lifelong  Wellbeing  programme  is  an  opportunity  for  you  to  take  part  in  a  creative  dance  class.    The  class  is  open  to  all  abilities.      

You  will  be  working  with  qualified  dance  teachers  who  are  undertaking  further  training  with  the  Royal  Academy  of  Dance.    This  training  will  help  develop  their  teaching  skills  with  specific  regard  to  adult  learners  in  dance.    They  will  use  a  variety  of  music  and  may  use  props  in  the  sessions.    The  teachers  will  all  be  assigned  a  teaching  mentor  at  the  Royal  Academy  of  Dance  who  will  oversee  their  progress  throughout  the  project.  

 

3.3  Your  health,  wellbeing  and  safety  in  the  classes  

Your  wellbeing  and  safety  are  very  important  to  us.  If  you  have  not  taken  part  in  exercise  for  a  while,  you  are  advised  to  speak  to  your  doctor  before  taking  part.    Please  refer  to  the  Dance  Readiness  Health  Questionnaire  enclosed  in  this  pack  for  more  information.    If  you  are  unsure  about  anything,  it’s  best  to  speak  to  your  doctor.  

 

3.4  What  to  bring  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

2  

2. Your First Dance Class 

2.1 Arrival 

When you arrive at the venue, please go straight to the dance class space and say hello to your dance teacher.  

For the first class, please arrive 30 minutes before the class is due to start and bring all your signed paperwork with you for the dance teacher [unless this has already been collected in advance]: 

Participant registration form  Dance Readiness Health Questionnaire  Emergency Contact Details form  Photo/filming permission form 

 

2.2 What to expect 

The Dance for Lifelong Wellbeing programme is an opportunity for you to take part in a creative dance class.  The class is open to all abilities.   

You will be working with qualified dance teachers who are undertaking further training with the Royal Academy of Dance.  This training will help develop their teaching skills with specific regard to adult learners in dance.  They will use a variety of music and may use props in the sessions.  The teachers will all be assigned a teaching mentor at the Royal Academy of Dance who will oversee their progress throughout the project. 

 

2.3 Your health, wellbeing and safety in the classes 

Your wellbeing and safety are very important to us. If you have not taken part in exercise for a while, you are advised to speak to your doctor before taking part.  Please refer to the Dance Readiness Health Questionnaire enclosed in this pack for more information.  If you are unsure about anything, it’s best to speak to your doctor. 

 

2.4 What to bring 

Please bring a bottle of water and any physical aids that you feel you would like to bring to help you move around. Chairs will be provided for those who would prefer to participate in a seated position. 

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

2  

2. Your First Dance Class 

2.1 Arrival 

When you arrive at the venue, please go straight to the dance class space and say hello to your dance teacher.  

For the first class, please arrive 30 minutes before the class is due to start and bring all your signed paperwork with you for the dance teacher [unless this has already been collected in advance]: 

Participant registration form  Dance Readiness Health Questionnaire  Emergency Contact Details form  Photo/filming permission form 

 

2.2 What to expect 

The Dance for Lifelong Wellbeing programme is an opportunity for you to take part in a creative dance class.  The class is open to all abilities.   

You will be working with qualified dance teachers who are undertaking further training with the Royal Academy of Dance.  This training will help develop their teaching skills with specific regard to adult learners in dance.  They will use a variety of music and may use props in the sessions.  The teachers will all be assigned a teaching mentor at the Royal Academy of Dance who will oversee their progress throughout the project. 

 

2.3 Your health, wellbeing and safety in the classes 

Your wellbeing and safety are very important to us. If you have not taken part in exercise for a while, you are advised to speak to your doctor before taking part.  Please refer to the Dance Readiness Health Questionnaire enclosed in this pack for more information.  If you are unsure about anything, it’s best to speak to your doctor. 

 

2.4 What to bring 

Please bring a bottle of water and any physical aids that you feel you would like to bring to help you move around. Chairs will be provided for those who would prefer to participate in a seated position. 

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

2  

2. Your First Dance Class 

2.1 Arrival 

When you arrive at the venue, please go straight to the dance class space and say hello to your dance teacher.  

For the first class, please arrive 30 minutes before the class is due to start and bring all your signed paperwork with you for the dance teacher [unless this has already been collected in advance]: 

Participant registration form  Dance Readiness Health Questionnaire  Emergency Contact Details form  Photo/filming permission form 

 

2.2 What to expect 

The Dance for Lifelong Wellbeing programme is an opportunity for you to take part in a creative dance class.  The class is open to all abilities.   

You will be working with qualified dance teachers who are undertaking further training with the Royal Academy of Dance.  This training will help develop their teaching skills with specific regard to adult learners in dance.  They will use a variety of music and may use props in the sessions.  The teachers will all be assigned a teaching mentor at the Royal Academy of Dance who will oversee their progress throughout the project. 

 

2.3 Your health, wellbeing and safety in the classes 

Your wellbeing and safety are very important to us. If you have not taken part in exercise for a while, you are advised to speak to your doctor before taking part.  Please refer to the Dance Readiness Health Questionnaire enclosed in this pack for more information.  If you are unsure about anything, it’s best to speak to your doctor. 

 

2.4 What to bring 

Please bring a bottle of water and any physical aids that you feel you would like to bring to help you move around. Chairs will be provided for those who would prefer to participate in a seated position. 

69

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

3  

2.5 What to wear 

Please wear comfortable clothing that you can move freely in, and ideally shoes with soft soles (trainers are ideal).  You do not need specialist dance shoes unless specified by your dance teacher – this will depend on the dance style of the class.  Please also bring a warm layer of clothing to wear, such as a jumper or cardigan. 

 

3. More about the project 

“Dance for Lifelong Wellbeing” is a four‐stage project that will include:  

Initial teacher training  Dance classes for adult learners  Evaluation of research  Dissemination of project findings 

The project offers opportunities for adult learners and communities of people in later life in London to improve their health and wellbeing through quality dance provision and supports adult teachers in developing best practices for teaching dance for longevity.  

Throughout the project we will be monitoring and evaluating how participants and teachers are getting on.  This research will be led by Dr Victoria Showunmi from the Institute of Education in London. 

A seminar on dance for longevity will be held at the Royal Academy of Dance from April 26th  to 28th  in 2013 which will present the findings from the project to interested parties including people who work in social care, government, and the dance teaching profession.  We would be delighted if you could join us at this event.  More details will be sent to you nearer the time. 

If you have any questions about the project, please ask your teacher, or contact Dr Victoria Watts, Project Manager for the Dance for Lifelong Wellbeing Project at the Royal Academy of Dance on 020 7326 8068. 

 

With warm wishes, 

The Dance for Lifelong Wellbeing Team 

 

 

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

4  

 

Participant Paperwork included: 

 

1. Participant registration form  

2. Dance Readiness Health Questionnaire  

3. Emergency Contact Details form  

4. Photo/film permission form    

Please complete all forms and bring along to your first class 

   

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

70 71

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

5  

Participant registration form 

 COMMUNITY LEARNING INNOVATION FUND The programme you are taking part in is being funded by the Skills Funding Agency as part of the Community Learning Innovation Fund. There are learning programmes and activities being funded through the Community Learning Innovation Fund all over England. The Skills Funding Agency is collecting information about the people that take part in these learning programmes and activities so that they better understand how many and what types of people the funding is reaching.   

Name    

Full post code    

 

Gender – please tick one  Male   Female   Prefer not to say    

Age – please tick one  Under 19   19‐24   25‐49   50‐75   Over 75   Prefer not to say    

Ethnicity – please tick one  White  Welsh / English / Scottish / Northern Irish / British   

Irish   Gypsy or Irish Traveller   Any other White background, please specify  

 

Mixed / multiple ethnic 

White and Black Caribbean   White and Black African   

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

6  

groups  White and Asian   Any other Mixed / multiple ethnic groups, please specify 

 

Asian / Asian British 

Indian   Pakistani   Bangladeshi   Chinese   Any other Asian background, please specify   

 Black / African / Caribbean / Black British 

African   Caribbean   Any other Black / African / Caribbean background, please specify 

 

Other ethnic groups 

Arab   Any other ethnic group, please specify   

Prefer not to say       

Do you consider yourself to have a disability?* Please tick one Yes   No   Prefer not to say    

* This might include physical impairments, sensory impairments, mental health difficulties, long term health conditions, learning difficulties, disabilities or differences 

Employment status – please tick all of the boxes that apply  I am currently in paid work – employed   I am currently in paid work – self‐employed   I am currently in full time education or training   I am currently in part time education or training   I am currently not in education or training   I am currently not in paid work   Other (please specify)   Prefer not to say    

Age when you completed continuous full time education – please tick one  I completed continuous full time education at age 16 or below   I completed continuous full time education at age 17 or 18   

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

72 73

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

7  

I completed continuous full time education at age 19 or 20   I completed continuous full time education at age 21 or above   Prefer not to say    

Previous experience of adult learning – please tick one  I am currently involved in other adult learning activities;   I have recently been involved in other adult learning activities (within the last three years); 

 

I have been involved in adult learning activities since finishing full‐time education but not within the last three years; 

 

I have had no involvement in adult learning since leaving school.   Prefer not to say    

Thank you for taking the time to complete this form.  

 

   

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

8  

Dance for Lifelong Wellbeing Project : Dance Readiness Health Questionnaire 

Participant Name:                                

Part 1: Please tell us if you have experienced or are currently experiencing any of the following (please circle Yes or no) 

Osteoporosis  Yes / No 

Falls  Yes / No  Arthritis (please specify joints affected)………………………………………………………………………  ……………………………………………………………………………………………………………………………………. 

Yes / No 

High blood pressure (if yes, please tell us if this is being treated with medication below)  Yes / No 

My high blood pressure is being treated with medication   Yes / No 

Low blood pressure / Vertigo   

Recent surgery (in last 6 months)  Yes / No 

Thrombosis (blot clots)  Yes / No 

Diabetes  Yes / No 

Heart problems  Yes / No 

Chest pain whilst doing physical exercise  Yes / No 

Asthma  Yes / No 

Recent viral infection  Yes / No 

Epilepsy  Yes / No 

Stroke  Yes / No 

Fainted, dizziness or loss of consciousness  Yes / No 

Cancer  Yes / No 

Visual impairment   

Hearing impairment   

Prosthetic limbs   

Other (please give detail)   

 

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

74 75

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

9  

If you have answered ‘Yes’ to any of these, please take this information to your doctor, and ask your doctor if this activity is suitable for you. 

If you answered ‘No’ to all, please proceed to the Disclaimer. 

Dance Readiness Health Questionnaire 

Part 2: Disclaimer (please tick) 

  Yes No I have read, understood and answered honestly the questions on the previous page. I agree to advise the dance leader of any changes in my health condition which may affect my ability to exercise.    

   

Medical advice (if relevant): I ticked ‘yes’ to one of more of the boxes in the health check, and have taken medical advice from my doctor who has agreed that I can safely  take part in these classes.  

   

I confirm that I am voluntarily engaging in the Dance For Lifelong Wellbeing programme of dance classes for 6 weeks, and understand that classes will include creative dance activities that involve cardiovascular exercise, strength and balance.  I understand that these activities involve a potential risk of injury.  

   

I understand that the dance teachers are leading these classes voluntarily as part of their training, and that they are being mentored by the Royal Academy of Dance.  

   

 

Part 3: Additional project information 

Attendance: I have read through the dates for the 6 dance sessions and am committed to attending all sessions.  I will advise the dance leader if I am unable to attend a session  

   

 

Participant Signature:                Date:       

PRINT NAME:                         

Witness Signature:                  Date:       

PRINT NAME:                         

Dance Teachers Signature:                Date:       

PRINT NAME:                       

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

10  

Participant Emergency Contact Information 

 

Participant Name:                     

 

Emergency contact 1 

Emergency contact 1 name:                    

 

Emergency contact 1 telephone number:               

 

Emergency contact 2 

Emergency contact 2 name:                       

Emergency contact 2 telephone number:               

 

 

   

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

76 77

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Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of DanceParticipant Information Pack Faculty of Education

1

PARTICIPANT PACK PHASE 2

Dance for Lifelong Wellbeing

Information for Dance Participants

Dear Participant,

We are delighted that you have chosen to participate in the Dance for Lifelong Wellbeing classes. We hope that you will find the sessionsinspiring and creative. These sessions will promote participation in physical activity which may help to support a healthy lifestyle.

This pack should give you all the information you need for the classes, and includes some paperwork that you should read and, if you are happy to, sign in advance, and bring along to your first class.

Enclosed in this pack you will find the following:

• Participant registration form• Emergency Contact Details form• Consent form

1. Your class details

The venue for your classes is:

The dates and times are:

Your dance teacherʼs name is:

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

78 79

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

2  

2. Your First Dance Class

2.1 What to expect

The Dance for Lifelong Wellbeing programme is an opportunity for you to take part in a creative dance class. The class is open to all abilities.

You will be working with qualified dance teachers who are undertaking further training with the Royal Academy of Dance. This training will help develop their teaching skills with specific regard to adult learners in dance. They will use a variety of music and may use props in the sessions. The teachers will all be assigned a teaching mentor at the Royal Academy of Dance who will oversee their progress throughout the project.

2.2 Your health, wellbeing and safety in the classes

Your wellbeing and safety are very important to us. If you have not taken part in exercise for a while, you are advised to speak to your doctor before taking part. Please refer to the Dance Readiness Health Questionnaire enclosed in this pack for more information. If you are unsure about anything, it’s best to speak to your doctor.

2.3 What to wear

Please wear comfortable clothing that you can move freely in comfortable shoes - it would be better not to wear high heels! You do not need specialist dance shoes unless specified by your dance teacher – this will depend on the dance style of the class. Please also bring a warm layer of clothing to wear, such as a jumper or cardigan.

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

80 81

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

3  

3. More about the project

“Dance for Lifelong Wellbeing” is a four-stage project that will include:

Initial teacher training Dance classes for adult learners Evaluation of research Dissemination of project findings

The project offers opportunities for adult learners and communities of people in later life in London to improve their health and wellbeing through quality dance provision and supports adult teachers in developing best practices for teaching dance for longevity.

Throughout the project we will be monitoring and evaluating how participants and teachers are getting on. This research will be led by Dr Victoria Showunmi from the Institute of Education in London.

A seminar on dance for longevity will be held at the Royal Academy of Dance from April 26th to 28th in 2013 which will present the findings from the project to interested parties including people who work in social care, government, and the dance teaching profession. We would be delighted if you could join us at this event. More details will be sent to you nearer the time.

If you have any questions about the project, please ask your teacher, or contact Dr Victoria Watts, Project Manager for the Dance for Lifelong Wellbeing Project at the Royal Academy of Dance on 020 7326 8068.

With warm wishes,

The Dance for Lifelong Wellbeing Team

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

5  

Participant registration form

COMMUNITY LEARNING INNOVATION FUND The programme you are taking part in is being funded by the Skills Funding Agency as part of the Community Learning Innovation Fund. There are learning programmes and activities being funded through the Community Learning Innovation Fund all over England. The Skills Funding Agency is collecting information about the people that take part in these learning programmes and activities so that they better understand how many and what types of people the funding is reaching.

Name

Full post code

Gender – please tick one Male Female Prefer not to say

Age – please tick one Under 19 19-24 25-49 50-75 Over 75 Prefer not to say

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

6  

Ethnicity – please tick one White

Mixed / multiple ethnic groups

Asian / Asian British

Indian Pakistani Bangladeshi Chinese

Black / African / Caribbean / Black British

African

Caribbean

Other ethnic groups

Arab Any other ethnic group, please specify

Prefer not to say

Age when you completed continuous full time education – please tick one I completed continuous full time education at age 16 or below I completed continuous full time education at age 17 or 18 I completed continuous full time education at age 19 or 20 I completed continuous full time education at age 21 or above Prefer not to say

Thank you for taking the time to complete this form.

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

82 83

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

7    

Participant Emergency Contact Information

Participant Name:

Emergency contact

Emergency contact name:

Telephone number: ________________

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

84 85

Dance for Lifelong Wellbeing Royal Academy of DanceParticipant Information Pack Faculty of Education

7

PARTICIPATION CONSENT FORM

Dear Participant

We are delighted that you are participating in the Dance for Lifelong Wellbeing Project. As explained during your first session, these dance classes form part of a research project in which we are investigating ways of teaching as well as investigating the effects of dance classes on older learnersʼ wellbeing.

If you consent to participate in the research project your teacher and/or another representative of the RAD might ask you to answer some straightforward questions about your physical health, your social relationships and your sense of independence. Our research co-ordinator might also ask to interview you about your thoughts on the dance classes. Your identity will not be revealed in our research report, unless for any reason you want to waive your anonymity. You may withdraw your consent to participate in the research at any time and do not need to give a reason for wanting to withdraw. You may participate in the dance classes without consenting to be part of our research on wellbeing.

We will be filming and taking photographs in some of the sessions of this workshop for future training and publicity purposes, and as a way of documenting the project for research purposes.

The photographs/footage may be used for press & publicity purposes in RAD printed and online materials (prospectus, advertising, e-newsletters, websites), and in some cases by local or national press and broadcast media. They may be kept for an indefinite period and may not be used immediately.

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education   

10  

Any personal information provided on this form is strictly private and confidential and for internal RAD Group purposes only, as per the 1998 Data Protection Act.

Please tick as appropriate:

□ I confirm that I am voluntarily engaging in the Dance For Lifelong Wellbeing programme of dance classes for 6 weeks, and understand that classes will include creative dance activities that involve cardiovascular exercise, strength and balance. I understand that these activities involve a potential risk of injury.

□ I give my voluntarily consent to participate in the research element of the Dance for Lifelong Wellbeing project and understand that I may withdraw this consent at any time and for any reason

□ I consent to being photographed or filmed by the Royal Academy of Dance

□ I hereby give permission for the Royal Academy of Dance to use my image (whether photo or film)

(Please complete your details in block capitals)

Name of Participant:

Participant Signature:

Date:

Dance for Lifelong Wellbeing Royal Academy of Dance Participant Information Pack Faculty of Education    

3    

Please  bring  a  bottle  of  water  and  any  physical  aids  that  you  feel  you  would  like  to  bring  to  help  you  move  around.  Chairs  will  be  provided  for  those  who  would  prefer  to  participate  in  a  seated  position.  

3.5  What  to  wear  

Please  wear  comfortable  clothing  that  you  can  move  freely  in,  and  ideally  shoes  with  soft  soles  (trainers  are  ideal).    You  do  not  need  specialist  dance  shoes  unless  specified  by  your  dance  teacher  –  this  will  depend  on  the  dance  style  of  the  class.    Please  also  bring  a  warm  layer  of  clothing  to  wear,  such  as  a  jumper  or  cardigan.  

 

3. More  about  the  project  

“Dance  for  Lifelong  Wellbeing”  is  a  four-­‐stage  project  that  will  include:    

• Initial  teacher  training  • Dance  classes  for  adult  learners  • Evaluation  of  research  • Dissemination  of  project  findings  

The  project  offers  opportunities  for  adult  learners  and  communities  of  people  in  later  life  in  London  to  improve  their  health  and  wellbeing  through  quality  dance  provision  and  supports  adult  teachers  in  developing  best  practices  for  teaching  dance  for  longevity.    

Throughout  the  project  we  will  be  monitoring  and  evaluating  how  participants  and  teachers  are  getting  on.    This  research  will  be  led  by  Dr  Victoria  Showunmi  from  the  Institute  of  Education  in  London.  

A  seminar  on  dance  for  longevity  will  be  held  at  the  Royal  Academy  of  Dance  from  April  26th    to  28th    in  2013  which  will  present  the  findings  from  the  project  to  interested  parties  including  people  who  work  in  social  care,  government,  and  the  dance  teaching  profession.    We  would  be  delighted  if  you  could  join  us  at  this  event.    More  details  will  be  sent  to  you  nearer  the  time.  

If  you  have  any  questions  about  the  project,  please  ask  your  teacher,  or  contact  Dr  Victoria  Watts,  Project  Manager  for  the  Dance  for  Lifelong  Wellbeing  Project  at  the  Royal  Academy  of  Dance  on  020  7326  8068.  

 

With  warm  wishes,  

The  Dance  for  Lifelong  Wellbeing  Team  

86 87 Less

on P

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42

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88 89

Dan

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90

Dance For Longevity 14/10/12

ALL INFORMATION WILL BE KEPT CONFIDENTIAL.

Name (Please Print) __________________________________________________________________________________

Address___________________________________________________________________________

__________________________________________________________________________________

__________________________________________________________________________________

Email__________________________________________________________________________________

Contact telephone number __________________________________________________________________________________

In Case of Emergency please provide a name and contact number __________________________________________________________________________________

__________________________________________________________________________________

We would be grateful if you would answer the following questions PLEASE CIRCLE 1 Has your doctor ever said that you have a heart condition and that you should only do

physical activity recommended by your doctor? YES NO

2 Do you ever feel pain in your chest when you do physical activity? YES NO 3 Do you ever feel faint or have spells of dizziness? YES NO 4 Do you have a joint problem that could be made worse by exercise? YES NO 5 Have you ever been told that you have high blood pressure? YES NO 6 Are you currently taking any medication of which the tutor needs to be made aware? YES NO 7 Is there any reason why you should not participate in physical activity? YES NO

If you answered: YES to one or more questions and have not recently done so, consult with your doctor by telephone or in person before increasing your physical activity

Informed Consent

I confirm that I have completed the above questionnaire to the best of my ability and that I have provided accurate information regarding my current health status. I take it upon myself to discuss any changes in my health with the tutor and my Doctor. I understand that any dance/exercise class has certain risks. I understand that the degrees of risk depend on my health and physical fitness. I am voluntarily participating in the workshop at the Royal Academy of Dance, and will immediately discontinue any activity if I feel any symptoms of distress or discomfort, and will notify the tutor.

SIGNED __________________________________________________DATE__________________________

Images by Robert Griffin Photography

Royal Academy of Dance36 Battersea SquareLondonSW11 3RA

Tel: +44 (0) 20 7326 8086Fax: +44 (0) 20 7326 8040Email: faculty@rad.org.uk

www.radeducation.org.ukwww.rad.org.uk

Royal Academy of Dance is a charity registered in England & Wales No. 312826

/RoyalAcademyofDance

@RADheadquarters