A recent Mellon Foundation survey of 116 large and small schools indicated that adult nonprofessional classes were given in 78 percent of the schools answering the foundation's questionnaire - teaching ballet to adult students - Personal You

Dance Magazine, May, 1996 by Marian Horosko

A recent Mellon Foundation survey of 116 large and small schools indicated that adult nonprofessional classes were given in 78 percent of the schools answering the foundation's questionnaire. Estimates place the number of adult students at 46 percent of a studio's enrollment.

In January ["Dancers Over 40," page 94], we referred to a recently formed organization of professional dancers over forty who are finding new professional outlets for work and study. Now our focus is on the dynamics of teaching adult students--those who may or may not be over forty and who may or may not have had previous training--as viewed by two teachers and a psychiatrist. "The most important factor in teaching adults," says Dena Moss, "is that you do not permit those students to judge themselves by what they see in the mirror." Moss teaches adults at the Joffrey Ballet School (American Ballet Center) in New York City, along with Andrei Kulyk, Dorothy Lister, and Sidney Lowenthal. Moss explains: "I tell them that I write the reviews and will do all the correcting. Although dancers on all levels are self critical, these dancers tend to put themselves down for not reaching a youthful ideal.

"What is important for all students is improvement; no matter how small or large the challenge. And advancement, no matter what their level of past or present accomplishment. class should be a tantalizing experience. If self-criticism spoils the pleasure of dancing, and a student can't get into the spirit of the class or create a distance from the reality of the mirrors, then I suggest that they pursue another form of exercise or recreation."

Self-consciousness shows in classroom attire. Huge, long T-shirts and baggy pants are worn instead of tights and leotards. Moss doesn't immediately object: "I let older students wear what is comfortable. But as time goes on, they start shedding because they understand that I cannot see through layers of shirts and pants to make corrections. The only thing I require without exception from every female student is that her hair be bound or out of the way in a bun or short ponytail." Applies to male dancers, too!

Most teachers of adults find that a standard basic class given at a moderate tempo best suits this group's capacity. Fast tempos and quick rhythms are frustrating. Memorizing combinations may be slower. One of the advantages in teaching older dancers is that anatomical references are met with recognition. It is not always necessary to place hands on an older dancer when making a correction, as one might have to do with young children who do not yet know anatomical language and may need hands-on correction to prevent injury and to understand placement.

"I can use references from my background as a lawyer," says Moss, "or historical and literary references to make a point or illustrate the origin of a step. Sometimes the result is amusing. One of my classes had a fear of frappes. I didn't know why. I thought it must have been something I said about frappes or that it was the way I taught them. I was at a loss to know why everyone hesitated to do an exercise with frappes. Then I discovered that they were fearful of making a sound by striking the floor until I explained that 'frappe' means 'struck,' and that in our silent art a small sound is expected in the execution of the step as the foot lightly strikes the floor. How this misunderstanding happened is still a bit of a mystery to me, but it's the kind of thing you unravel when you permit older dancers to ask questions during class time. Adult beginners, in particular, are not going to respond instinctively or from the result of early, daily training; so this group learns through their understanding of a movement, and they naturally ask questions. It slows the class, but by openly asking what is troubling a student or class, I get a response that usually clears up a misapprehension quickly. Children, as we know, must do as directed in order to learn discipline, and the class must be paced to develop peak performance."

Adult classes throughout the country are frequently mixed and include beginners as well as the professionally trained. Both groups want a basic class because they no longer have the stamina for, or interest in, faster classes. The studios that have built extensive adult programs, however, create separate beginner and intermediate levels to keep students motivated. The Academy of the Maryland Youth Ballet in Bethesda, Maryland, has nine different adult class levels with five to six classes offered seven days a week. In addition to basic ballet and modem dance classes, many studios include jazz, tap, and ethnic dance to expand the interest in dance. In some instances, pointe work is included, as well as performances in which the students either appear in adult roles or perform as a class.

As they progress, all students expect a good workout, a pleasant experience, and a growing appreciation of the art form. Because everyone knows that exercise increases the physical health of individuals at any age, teachers tell us that many adults have chosen dance over fitness or exercise sessions because they have discovered beauty in the art form and, as a result of their classes, they have a deeper perspective when watching performances. They also find it less expensive than health clubs and far more enjoyable. Moss adds, "I emphasize the aesthetic component in every exercise--the quality and expression that underlie every movement."