‘Promoting wellness, having fun, and creating community’: a dance instructor’s pedagogical practices and perspectives on the influence of community dance classes for older adults

ABSTRACT

Canada’s aging population highlights the critical need to identify physical activity programming that has the potential to positively contribute to one’s aging journey. Dancing is one type of physical activity that can offer the opportunity to be with others, move to music, and encourage creativity and personal expression. Dance instructors may influence older adults’ experiences with, and outcomes following, participation in dance classes. This study examined the pedagogical practices of an instructor with extensive experience teaching community dance classes for older adults, and their perspectives on participant experiences and outcomes through the lens of successful aging, physical literacy, and embodiment theories. The dance instructor participated in three semi-structured interviews over a 10-month period. Utilizing reflexive thematic analysis, four themes were generated: (1) the coffee and cookies might be the most important part, (2) everyone can walk away feeling successful at something, (3) a space where class attendees can be creative and expressive, and (4) supporting physical, emotional, and psychological needs. Dancing is a physical and performative activity that can positively contribute to various aspects of one’s aging and physical activity journey when instructors purposefully employ behaviors that consider multidimensional aspects of health.

KEYWORDS:

• Aging
• dance pedagogy
• successful aging
• physical literacy
• embodiment

Introduction

There is a growing number of older adults in Canada (Bohnert, Chagnon, and Dion 2015), highlighting the need for programs which that supports this population. The benefits of physical activity for older adults are vast, yet half of Canadians between the ages of 50 and 79 years are inactive (World Health Organization 2015; Azagba and Fathy Sharaf 2014). Given the benefits of physical activity in combination with the social and creative opportunities that dancing offers, there is considerable potential for dance to support healthy aging. Dancing is an aesthetic and expressive physical movement form (Durden-Myers, Green, and Whitehead 2018). Community dance, although having an evolving definition, has been defined by People Dancing:

Community dance is about community dance artists working with people … [it] is determined by: The contexts in which it takes place (where, with whom and why). Approaches to dance practices that are informed by a set of beliefs and philosophies. The values that it embodies and promotes.

(Amans 2017, 4)

Dance instructors offer an important perspective on how dance classes influence participants because they can speak to the behaviors they observe and practices they utilize. Our research study will examine the pedagogical practices of a dance instructor with extensive experience teaching a community dance class for older adults, and their perspectives on ways in which participating in a weekly community dance class affects older adults.

Theoretical framework

We approached this study using the lens of three complementary theoretical perspectives: successful aging theory (Rowe and Kahn 1997), physical literacy theory (Whitehead 2010a), and Svendler Nielsen’s (2015) dimensions of embodiment. Successful aging provides a strengths-based perspective, viewing that one’s aging joruney is not only influenced by (1) avoiding disease and disability and (2) maintaining high cognitive and physical function, but also (3) engaging with life, which highlights the importance of engaging in productive activities and social connection (Rowe and Kahn 1997; Stowe and Cooney 2015). These three dimensions of successful aging can all potentially be supported by physical activity, but successful aging theory does not include or provide a conceptualization of physical activity. Physical literacy theory fills this gap. Physical literacy is defined ‘as appropriate to each individual’s endowment … the motivation, confidence, physical competence, knowledge and understanding to maintain physical activity throughout the lifecourse’ (Whitehead 2010a, 11–12). Physical literacy theory provides a useful framework for conceptualizing how physical activity contributes to successful aging. It considers physical, cognitive, and affective domains of physical activity and acknowledges the potential to be expressive, communicative, and empathetic through non-verbal interactions (Whitehead 2010a, 2019b). Physical literacy theory also takes a life course perspective (Whitehead 2019a) and is grounded in the philosophical foundations of monism (embodiment), existentialism (lived experience), and phenomenology (meaning; Durden-Myers, Meloche, and Dhillon 2020; Whitehead 2010b). This study delves into monism, which articulates the interconnectedness of the body and mind and that the dimensions of the human condition (e.g. physical, cognitive, affective) are interwoven (Durden-Myers, Meloche, and Dhillon 2020). This conceptualization of self highlights that movement is the process through which we interact with the world, and that our bodies contribute both to our understanding of the external world, and allow us to express our knowledge and self to the external world (Durden-Myers, Meloche, and Dhillon 2020). As such, we are exploring what it means to be embodied, to ‘engage the body as a site of learning’ (Freiler 2008, 49).

Svendler Nielsen’s (2015) provides a detailed, multidimensional understanding of embodiment as it applies to dance. There are six dimensions of embodiment: relational, kinaesthetic, creative, physical, symbolic, and artistic (Svendler Nielsen 2015). Physical activity experiences can focus on one or more dimensions if specifically tailored by facilitators (Svendler Nielsen 2015). Dance is an activity with potential to provide lived experiences and focus in all six of the embodiment dimensions. Collectively, this conceptual framework provides a scaffold for understanding embodied experiences in community dance classes for older adults, within the context of physical literacy and successful aging.

Role of instructors in promoting physical literacy among older adults

Physical activity instructors hold multiple roles within their classes for older adults including: educating, establishing class culture, and promoting social cohesion (Harvey and Griffin 2020). Having competent and knowledgeable instructors with expertise in both physical activity and gerontology, as well as providing individual attention and interest to those in the class, are important factors to older adult exercisers (Harvey and Griffin 2020; Estabrooks et al. 2004). The personality of an instructor can also sway class attendance and adherence among older adults (Helen et al. 2014).

Physical activity instructors can employ specific pedagogical choices to foster physical literacy. Whitehead (2019d) recommends four areas instructors focus on when leading older adults: promoting motivation, fostering confidence, maintaining physical competence, and encouraging knowledge and understanding. Cultivating a inclusive environment and acknowledging the wholeness of a person is also recommended to support older adults’ health and physical literacy journey (Whitehead 2019c). Facilitating a positive environment for class attendees can be done through supporting individual autonomy and allowing participants to experience success and mastery (Durden-Myers, Green, and Whitehead 2018).

Pedagogical practices in dance

Pedagogical practices used by dance instructors may contribute to facilitating embodiment, physical literacy, and thereby may support successful aging. For example, research identifies the importance of including both challenging and joyful opportunities in dance classes (Mainwaring and Krasnow 2010; Enghauser 2003), which aligns closely with recommendations for promoting physical literacy (Whitehead 2019d). Dance pedagogy research also emphasizes the importance of routine and repetition (Morris, Baldeon, and Scheuneman 2015; Gilbert 2019) balanced with new movement experiences (Gilbert 2019).

Limited research exists on dance pedagogy practices for older adults. Research focused on instructing this population focuses on mitigating physical considerations associated with aging such as offering seated modifications, utilizing structures to assist with balance, attending to physical safety, and providing an appropriate pacing throughout the class (Quin, Rafferty, and Tomlinson 2015). Offering modifications and understanding the physiological changes associated with aging and their implications for dance have also been explored, but this research identifies ‘mature movers’ as those 30 years or older (Brodie and Lobel 2016) so is not focused specifically on the needs of older adults. While there is increased understanding of the health benefits and recommendations for older adult dance instructors to ensure participant safety, research exploring how instructors can facilitate physical literacy, and particularly embodiment, among older adults through dance has not been fully explored.

Purpose

The purpose of this study was to (1) describe pedagogical practices that the instructor perceives as promoting these processes, and (2) understand a dance instructor’s perspective on how a community dance class can influence older adults’ successful aging, physical literacy, and embodiment.

Methods

Methodology

An instrumental case study (Stake 2005) with a relativist ontology and a constructivist epistemology was utilized for this research. An instrumental case study allowed for detailed and prolonged engagement with one exemplary case that has the potential to provide insight into the research question and knowledge that could be applied more broadly to similar cases (Stake 2005). A relativist ontology states that there are multiple, diverse, and varied realities (Lee 2012) and a constructivist epistemology holds that individuals construct and create their knowledge, and are influenced by a variety of social, historical, and cultural factors (Creswell 2013). These philosophical foundations value participants’ and researchers’ experiences as well as subjective knowledge (Creswell 2013), aligning with the theoretical framework.

Dance class context

The case examined was a community dance class offered in an affluent neighbourhood in a large city in Western Canada. The dance class was developed in 2015 in collaboration with an academic higher education institution, a community association, and a local church. The goals of the class were to focus on body awareness, motor learning, rhythmic awareness and musicality, personal expression, and cultivating a community of learners. Class content was guided by Anne Green Gilbert’s Brain-Compatible Dance methodology (Gilbert 2006, 2019), an approach to dancing which strives to involve numerous parts of the brain and offer meaningful learning opportunities (Gilbert 2019). Gilbert (2019) also presents fifteen movement concepts that are divided into categories of time, space, force, and body. These concepts focus on allowing dancers to engage in exploratory movement through ideas, rather than replicating a series of established dance steps (Gilbert 2019).

The class is supported by a community liaison who assists with class organization and administration, and serves as a link between the instructor, class attendees, and the community association. Prior to the onset of the COVID-19 pandemic in March 2020, the hour-long weekly dance class was offered from September to May in a church basement. Typically, about 20–30 older adults (hereafter referred to as class attendees), living within and outside of the neighbourhood where the dance class was held, participated. The class used pre-recorded music and included a 20-minute seated warm up, standing technique with the support of the chair, two to three class combinations, and a cool down. Class was followed by a social hour allowing attendees to visit and enjoy coffee and refreshments. The classes were conducted on a drop-in basis with a small fee ($4 CDN) per class.

In March 2020, the dance class moved to an online format due to the COVID-19 pandemic. Pre-recorded YouTube videos of the instructor leading a class were emailed to class attendees for asynchronous dance learning. In September 2020, dance classes were suspended due to instructor’s leave of absence. Then in January 2021, classes resumed online using the Zoom© virtual platform to facilitate synchronous learning and interaction with others. At this time, the class transitioned to a registered format, where class attendees paid $60 CDN for an eight-week session. The structure of the synchronous classes was similar to those delivered in-person. The Zoom© call was started 15 minutes before, and opportunity to socialize afterwards online, was also included.

Participant

The instructor of the community dance class was the sole participant in this study. They were identified as a valuable focus for this case study because of their extensive experience and insight into planning and teaching a community-based dance program for older adults, and their long, continuous relationship with this specific program and the older adult participants. The instructor is a mid-career dance professional who had taught the dance class since 2016.

Procedures

Prior to data collection, ethics approval was obtained from the academic institution’s ethics review board. The dance instructor was invited via email to consent to participate in the study. The dance instructor completed three semi-structured interviews, approximately 90 minutes each. The first two interviews occurred in Summer 2020 following the delivery of the pre-recorded video classes. The third interview took place in Spring 2021 after synchronous virtual classes began. Interviews were conducted by the first and second authors, audio-recorded, and transcribed verbatim.

Data analysis

NVivo 12 (QSR International Pty Ltd 2018) was used for data storage and management during analysis. Transcripts were analyzed utilizing Braun and Clarke’s (2006, 2019) reflexive thematic analysis. Analysis began with data familiarization, followed by initial coding where the researcher read and coded data expressing meaning relevant to the research question. Initial codes were grouped into preliminary themes. Themes were reviewed and named. The participant had the opportunity to review the transcripts, as well as provide feedback on the preliminary analysis. The final report was then written, including descriptive quotations to support interpretations. Data analysis was performed primarily by the first author, while receiving feedback, and guidance from the third and fifth authors.

Positionality

The first author of this study identifies as a white cisgender woman in her mid-twenties and is a Master’s student. She has been a dancer throughout much of her life, and a dance instructor for nearly a decade. This author previously knew the participant as they are both dance instructors working in the same city, but they did not have a direct working or personal relationship. The second author identifies as a white cisgender woman in her early-twenties and is completing two undergraduate degrees in dance and kinesiology. She too has been a dancer much of her life, and a dance instructor for the past five years. Both first and second authors’ lived experiences of dance may have strengthened their ability to understand or relate to the experiences of the participant. The third author is a white, cisgender able-bodied woman in her 40s who is a kinesiology faculty member and has been highly physically active throughout her life but has minimal formal experience in dance. This author contributed strong theoretical understanding, extensive experience conducting qualitative research, and in-depth knowledge of active aging literature. The fourth author is a cisgender white woman in her 50s. She is an instructor in a kinesiology faculty with expertise in physical literacy, coaching and instructor behaviours, potentially strengthening the theoretical interpretation. She has over 25 years of experience as an athlete and coach in aesthetic sport that shares similarities to dance. The fifth author identifies as a cisgender, able-bodied white woman in her 40s who is a joint-faculty member in kinesiology and dance. She is a former contemporary dancer, and current dance science researcher and educator, and is a working colleague with the participating instructor. Her lived experiences of dancing and teaching in a dance setting may have enhanced her ability to interpret and relate to the experiences of the study participant.

Quality criteria

Quality criteria of this study were based on recommendations for reflexive thematic analysis (Braun and Clarke 2020) to address conceptual coherence; offer explanation, transparency, and high-quality analysis; and to indicate author positionality in relation to the research. The philosophical perspective of the study was consistently considered in the development of the research question and selection of analysis methods. The first author regularly attended the in-person and synchronous online classes during the study period to immerse herself in the case and provide context knowledge (Stake 2005). Research team meetings, primarily with the third and fifth authors, and with the entire research team, allowed the first author to pose questions and receive feedback from all authors throughout, addressing the quality of the analysis process.

The first author also kept a reflexive journal throughout the research process, offering the opportunity for the researcher to reflect on their evolving positionality to the research, way they affected and were affected by the research, as well as review, revisit, and consider personal beliefs and biases (Given 2008).

Results

The coffee and cookies might be the most important part

Social connection and community were critical to the dance class. Social opportunities were important and motivated attendance. The instructor explained I’ve had some of the gentlemen come up to me and say, ‘I don’t know about all this dancing, but I’m coming for coffee and cookies and stuff,’ … If it were a scale, I think the two components [dancing and socializing] are, certainly equal, if not the social maybe even, bumping up a little bit. The class did not initially include dedicated social time. This was added by the organizers at the church. The social time extended the class experience: ‘At first it might be that people only stayed 20, 30 minutes, and I was finding in the last couple years that it was at least 45 minutes … people stay and help with the cleanup, and I think that sort of feeds into that community feel as well.’ Class attendees also started to show up early to socialize and help with class set up, emphasizing the social time as motivating class engagement.

The dancing offered opportunities to be with and relate to others. ‘Some people might perhaps have sort of established friendships outside of this class, … but others I think, don’t necessarily see each other unless it’s in the weekly class.’ The effects of the dancing extended beyond the class itself; ‘I think there’s a bit more community spirit … neighbourly love and people checking in on their neighbours and, engaging with their neighbours.’ The relational aspect of embodiment was highlighted, as the instructor explained a sense of togetherness, and ‘collective effervescence’ at the end of class. Social interaction was included in the dancing itself: ‘We’ve done some partner dancing in the past where we’re connected via hands. The social dances or folk dances that we do, I’ve done them as a whole group in a giant circle or we’ve done lines, or a scattered formation, or groups of 4, groups of 6.’ This allowed an opportunity for the physical and relational domains of embodiment to be developed simultaneously. Meaningful relationships were built amongst class attendees, and with the instructor. ‘I’ve really gotten to know people better. You sort of feel closer to them. But the flipside of that again is that you feel almost more responsibility to do a good job.’ The social hour allowed the instructor to learn more about class attendees. As the instructor knew the class attendees better, a stronger commitment to them, the importance of the class, and their role was highlighted.

Although the social opportunities the dance class offered were primarily positive and motivational for some, they may have also been challenging for others who did not feel part of the group. The instructor also identified a previous conflict amongst class attendees, resulting in an individual temporarily not attending class.

Online classes notably lacked social connection.

People were like ‘oh yeah this [the pre-recorded videos] is nice but it’s not the same [as in-person], it’s no substitute, it’s not the same as being together in person’… Just that sort of overall feeling of energy and togetherness, is a component that’s missing from that type of format.

Engagement in asynchronous classes declined over time. The instructor attributed this to not having social connection, highlighting how the social components motivated class participation: ‘Each sort of consecutive [pre-recorded dance] clip had fewer and fewer overall views, … that social component is likely the piece that folx are missing out on.’ The instructor personally identified they were less motivated by pre-recorded classes, ‘there was no reciprocal feedback or energy in the room … and so my sense is that it was maybe similar for folx at home, they were missing out on that collective experience as well.’ Physical literacy emphasizes one’s ability to relate to others through physical expression. Asynchronous classes removed this opportunity, resulting in decreased motivation and participation. Having an opportunity to relate empathetically and be with others through a shared, relational experience, motivated older adults to attend the dance class.

Synchronous classes were more similar to the in-person experience, providing some interaction but it was primarily between the instructor and class attendees, as opposed to amongst class attendees. ‘I think folx are happy to reconnect, and to, see some of their neighbours again, see some familiar faces, but we all acknowledge that it’s not quite the same.’ Social interactions of the online synchronous class may have also been hindered as new participants may have initially felt hesitant to engage in the social time. The opportunity to be physically together and empathetically relational remained missing in this class format.

Everyone can walk away feeling successful at something

The instructor consistently aimed for class attendees to experience success. Presenting multiple combinations each class fostered this:

I do find it’s helpful not to dwell on things too long, which is why I present so much different material. … my hope as well is that by presenting lots of different things there will be something for everyone to grab onto.

Dancing also provided opportunities for mastery: ‘We do a lot of step touches, and we do a lot of sways…. I think people who have been around for a long time can feel confident that they have mastered the step touch [laugh].’ The repetition utilized by the instructor offered the opportunity to improve movement competencies, strengthen perceived abilities, and experience mastery.

Music allowed for a sense of variety when repeating the same movements. ‘Really trying to mix it up and use a variety of genres and styles, and appeal to everyone, hopefully.’ Having the music change each week was ‘a worthwhile endeavour to continue trying to bring something new and exciting and potentially touching, to the table every week.’ Changing music maintained newness, while repeating movements supported mastery.

Combinations and learning steps seemed to provide feelings of mastery as well. ‘There’s really a lot of value for this particular group in feeling the mastery of learning a specific skill that I’m imparting to them.’ Combinations progressed over many weeks ‘so that people really get the opportunity to, master it and to feel like, they’re really accomplishing something.’ Mastering a skill or movement thrilled class attendees: ‘When they do master something that has been really challenging for them, they’re very excited to tell me about it. … like an air punch, or like a [woosh sound] in it, and a really sort of physical embodiment of their excitement that they’ve mastered it.’ Developing new movement abilities offered an opportunity for older adults to see the potential for growth in their embodied form and mastery provided a sense of accomplishment for participants.

The instructor identified other considerations which supported attendees’ success. Firstly, was ensuring safety, which was greatly challenged in pre-recorded classes. Another consideration was regarding presenting class material, aiming to offer challenge without overwhelm:

I think I’m always trying to balance that sort of new skills development for folx who have been around for a long time, with awareness that dance isn’t easy and especially for this population where people are often very disconnected from their bodies and do not have a lot of body awareness. A lot of what I’m asking is really intense in terms of coordination.

This ability to know and coordinate one’s body highlights how dancing may offer the ability to strengthen ones’ kinaesthetic and physical embodiment. The instructor promoted feelings of success through offering reassurance, encouragement, and eliciting participants to have a growth mindset. The instructor offered group feedback, recognized progress of class attendees, and emphasized achievements, explaining ‘it’s not about pointing out what people are doing wrong.’ The instructor aimed to develop positive experiences of physical activity and support feelings of success, encouraging continued participation.

The instructor constantly adapted the class for attendees and aimed to be inclusive, ‘for all different types of bodies, that might be participating,’ recognizing individuals’ diverse endowments. The instructor intentionally left opportunities to be spontaneous and responsive to attendees, was guided by seeing the instructional needs of those in class, and determined class pacing based on attendees, but pre-recorded classes made this impossible. Seeking feedback and adapting accordingly was a practice of the instructor, but class attendees were often hesitant to share. In pre-recorded classes, very little feedback was received. Strategies for gaining feedback in the online synchronous classes included regular check-ins and offering opportunities to provide feedback outside of class, such as via email. This seemed to be more comfortable for attendees. In some cases, the community liaison shared feedback. It was important to the instructor to design a class attendees wanted to participate in. Fostering positive experiences supports continued participation in dancing, and potentially engagement in other types of physical activity.

The instructor made adaptations for online classes to support participants to continue experiencing success. In asynchronous classes the instructor kept a similar class format and included more repetition and focused on familiar movements.

I started doing a throwback exercise, … my theory being that again, something familiar, something enjoyable and, you know if they’re already familiar with it, it might be a little easier to sort of pick up via the screen.

Online classes may pose challenges in developing movement competencies and foster learning of the physical domain: ‘I was just really thinking about like maintaining skills as opposed to learning new skills.’ The instructor aimed to be ‘energized but clear’, and easy to follow in pre-recorded classes. She also tried to predict challenges and provide guidance: ‘I’m sort of in my head as I’m, filming, trying to imagine how it’s going, and trying to imagine areas that might trip people up, or trying [to] imagine things that people might do that I could provide some feedback on.’ Synchronous classes were challenging to gauge attendees’ success and lacked the ability for the instructor to physically relate to and understand attendees’ embodied experiences. The instructor identified concerns related to technology, but aimed to mitigate these, ‘I did have a couple of private one-on-one test Zoom© scenarios.’ These challenges posed by online class challenged advancing embodied learning and supporting positive experiences within the class.

A space where class attendees can be creative and expressive

The dance class provided attendees an opportunity to be expressive and creative. The instructor utilized Gilbert’s (2006) teaching philosophy which values creativity. ‘The important piece of this in terms of her philosophy is that you’re alternating activities, where the teacher is giving directions, and the participants are making choices,’ allowing attendees to use their embodied capabilities to express themselves. Tasks to encourage and provide opportunities for creativity were chosen: ‘In the past as well, I’ve also done more structured creative activities. We’ve done some mirroring activities, … I’ve done some shadowing and flocking activities. I’ve done some shaping activities [responsive static body positioning], either individually or in small groups’ allowing attendees to connect to the artistic and creative aspects of their embodiment and express these through their physical domain.

Activities where participants lead others using their own movement, allow for a shared relational movement experience amongst participants. Other activities focused on making individual movement choices. One noteworthy activity included each class was where attendees passed an imaginary sphere of energy to one another:

The final sort of circle in our class where we do the passing, I would categorize this as the most creative and expressive thing that we do in the program. And it, it’s a vitally important part of class for me, and I think it’s also vitally important that it’s happening right at the end of class. Because people have had the whole 55 minutes to get into their bodies, to get comfortable in the room, get comfortable with each other, and then they’re ready. At that moment they’re ready to be in the moment with each other and to find their own, moment of expression.

The instructor designed class to enable attendees to use their body to express their creativity and artistry.

Although numerous creative and expressive opportunities were presented, these tasks may have been uncomfortable for attendees. I think I have to acknowledge that this is not a natural ask for a lot of people in this population, right. And so, in the past I’ve certainly felt some resistance when I’ve introduced these kinds of activities or ideas. When integrating these elements into class ‘I feel like I’m disguising creativity and expressivity like a parent disguises vegetables.’ The instructor personally valued creativity and expression but acknowledged ‘I have to honor what feels best for them, and where they most gain their sense of accomplishment…. I really try to organically weave in small opportunities.’ These smaller, achievable opportunities seemed to allow attendees to be creative and expressive, without feeling awkward. This perceived discomfort reveals the creative and artistic dimension of embodiment may be challenging or unfamiliar for attendees to connect to.

Music may empower attendees to connect to the creative and artistic dimensions of themselves:

I think providing that new music, that ever-changing sort of playlist is something that I think can encourage confidence … when there’s an emotional connection there I think, that can just make people feel really good, right? … When people sort of do open up and feel more confident to be expressive, it feels good, right?

Creating an environment allowing for personal expression was emphasized: ‘a safe and comfortable place where perhaps new participants are, feeling comfortable to try something new … all sort of within this bubble of, of creating a nice community.’ Online classes offered the opportunity for individuals to be creative and expressive without fear of judgement: ‘My wish is that people could, … feel really free to experiment and to play and just be free. Because no one’s there, no one’s watching.’ Without the relational aspect of the class, the instructor hoped attendees felt more comfortable exploring other aspects of their embodiment. Connecting to the creative and artistic parts of one’s embodiment may have been challenging or unfamiliar for attendees, but through employing intentional pedagogical choices, the instructor encouraged exploration into these domains.

Supporting physical, emotional, and psychological needs

The instructor saw class supporting attendees’ needs, ‘Whether that was a need for exercise, or a need for community, or whatever folx’ individual needs were, my sense is that, even though things are different [with online classes], we’re still you know somehow filling a gap.’ The dance class was created out of a need, ‘because community surveys found that a lot of people, were feeling really isolated.’ The instructor perceived class as important to attendees, based on their continued participation.

The class focus, and goals of the instructor focused on the promotion of holistic health and supporting older adults in thier aging journey : ‘… our main goals are centered around promoting wellness, having fun, and creating community.’ Class material aligned with this goal: ‘I’m utilizing a lot of these brain-compatible dance techniques and concepts [from Anne Green Gilbert] … there’s a lot of thought and science behind why we’re doing it, and doing it in particular ways. That, you know, I believe will support brain health, and healthy aging.’ The instructor’s aim to not only support physical health but promote embodied and holistic health aligns with physical literacy principles.

Dancing provided an opportunity for class attendees to connect to themselves and learn more about their embodied form.

I feel like so many people go through life up here [indicating to head] and they don’t connect to their bodies in any sort of tangible way. And I think that’s so important as we age, right? To sort of be in touch with how things are feeling, and how things are moving, and especially as balance starts to become a concern. So, I think that body awareness piece is extremely valuable, that people take away with them outside of class.

The instructor considered attendees’ embodiment, and intentionally included opportunities to work on balance. The instructor also identified that class attendees acknowledged dancing offered an opportunity for physical exertion and impacted their physical fitness, and therefore supporting physical function.

Autonomy, as a basic psychological need (Deci and Ryan 2000), was supported in the dance class. The instructor utilized language promoting individual choice. ‘I’m using phrases like, you don’t have to copy me, use your own ideas, use your own shapes, make your own choices.’ Modifications were offered and encouraged. ‘“This is a good option here,” “this is a good choice for you,” “do what feels good for you in your body today,” “I’m gonna do this and you can interpret that however you want, whatever that means for you.”’ Perfection was not the goal of the class, ‘I kind of just say, you know “all variations are welcome” [and] if you’re derailing, you know, go with it.’ This teaching approach acknowledges individuality and honors differing abilities. Some attendees would uptake modifications and adapt class to their needs during in-person classes, but the instructor conversely explained, ‘I don’t know how often the people who need to are taking on those modifications. I find that this is a group that will copy everything that I do, unless I specify.’ The instructor aimed to support autonomy, yet these opportunities were only sometimes embraced. The instructor capitalized on opportunities to support autonomy in asynchronous classes: ‘I kind’ve tried to encourage folx who might be using these videos at home to take charge, because they have the power to stop and rewind or fast-forward and redo and, do whatever they need to do at their own pace,’ allowing class attendees to take class use the videos in a way that is best for them.

The dance class also addressed social and emotional needs. Class attendees showed enjoyment in class and expressed feeling good after dancing. ‘Comments like “oh you know, I just feel better after class, you just feel good.” That’s something that you know, we hear on and off, and that was something that I always heard from in-person classes as well.’ Class may also help individuals through personally challenging times: ‘I think it does provide a place where people can, not necessarily escape, they can escape in our program if they want to, but it’s a place to cope if they need to as well…I definitely know of a lot of tough situations going on in peoples’ lives, but they still come every week, and they wanna be there.’ Synchronous classes also seemed meaningful for attendees. ‘They’re a very committed group, which tells me that like I said a need is sort of being fulfilled.’ The opportunity to participate in meaningful activities supports engagement with life, contributing positively to one’s aging journey.

Online classes posed barriers for those previously able to attend the in-person class:

I think this experience has confirmed for us that online delivery has definite barriers to entry for a lot of folx who were regular participants in our program. Whether those are technology barriers … Some people just don’t have the capabilities at home to join. Some people don’t have the space to join. So yeah there are definite barrier[s] so we know that the program as it stands is leaving some folx behind, unfortunately.

Online classes engaged individuals of a specific ability. ‘They were the ones who felt confident coming into class, … they’re also confident using the technology, so I think in general the group that we have are confident’. Class supported those able to participate, but this format was not accessible to all previously able to participate in-person.

Discussion

Our study aimed to understand the pedagogical choices of a dance instructor teaching a community dance class for older adults, and understand from their perspective, how community dance supports successful aging, physical literacy, and embodiment of older adult participants. Pedagogical practices both in-person and online that supported physical literacy and embodiment are discussed. Findings identify how embodied learning facilitates physical literacy for older adults participating in community dance, and the way dancing supports one’s ability to age well.

The social components of the class were important to attendees’ experience of the dance class and provided motivation to attend. Previous research recommends instructors engage in communication with, and provide or plan social opportunities for, older adult exercisers outside of the class context (Helen et al. 2016). The social time following class allowed the instructor to spend time and talk with attendees, hear feedback, and motivated class attendees. Our findings highlight the critical role of social connection in supporting physical literacy, through fostering motivation, and supporting the relational dimension of embodiment. The social connection of the dance class also then supported older adults aging, as a component of engagement with life is interpersonal relationships (Rowe and Kahn 1997).

The instructor included multiple movement opportunities within each session. This teaching practice aligns with previous research which suggests that including multiple skills within a physical education lesson supports confidence and feelings of competency (Morgan 2019). The dance instructor in our study offered opportunities for participants to be creative and make their own movement choices, but at times, they experienced apprehension and resistance to these activities. The instructor valued creative and improvisational tasks, and previous literature has demonstrated that offering opporunitieis for creativity and learner choice can support positive attitudes towards dancing amongst other populations (Frömel et al. 2002). Despite these past findings, the instructor still percieved there to be resistance to these types of activities.

Pedagogical practices with potential to support embodied learning were employed by the dance instructor. The instructor integrated opportunities to focus on balance and body awareness. Intentionally including opportunities to focus on one’s own body demonstrates that instructors can select tasks with potential to support participant’s embodiment, specifically the kinaesthetic dimension. The instructor supported the relational dimension of embodiment by including activities or combinations where class attendees were in groups or faced one another, therefore bringing the social aspect of embodiment into focus. This strategy aligns with findings from Zimmer et al. (2021) who identified having participants physically close to one another or allowing ease in speaking to one another supported social interaction amongst older adult exercisers.

The dance instructor also focused on developing physical capabilities of participants, and therefore the physical domain of the self, by using repetition and ensuring opportunities for success. Striving to improve the physical domain was balanced with opportunities highlighting participants’ abilities. Enjoyable and rewarding experiences of physical activity are essential to promote continued participation in physical activity (Whitehead 2019d). Dance pedagogy and physical literacy both acknowledge the importance of class content being manageable to provide a sense of accomplishment or success (Enghauser 2003; Mainwaring and Krasnow 2010; Durden-Myers, Green, and Whitehead 2018), which the instructor thoroughly considered in their teaching practice. The instructor also offered opportunities to explore the creative and artistic dimensions of themselves through self-directed movement opportunities. Instructors can and must employ intentional pedagogical choices to support older adults’ embodiment, which may also positively contribute to continued engagement in physical activity and therefore physical literacy.

Our research offers novel understanding about embodied learning through online instruction. Embodied learning opportunities were present in both asynchronous and synchronous online class delivery. Without participants being physically together, there was decreased motivation, lost opportunity to empathetically relate to others, and fewer opportunities to develop the social dimension of embodiment. Recent research examining online exercise classes for cancer survivors also identified the decreased social benefits of synchronous online classes compared to in-person classes, including lost opportunities to spend time with classmates before or after class, or individual conversations with instructors (Duchek 2021). Kosurko et al. (2020) examined an asynchronous pre-recorded dance program, where instructors identified the inability to see participants as challenging because they were unsure how participants were doing with the class material. Our findings suggest that without physically shared experiences, the pedagogical choices an instructor can utilize are limited, and opportunities for embodied learning are compromised.

Embodied learning offers opportunities to positively contribute to one’s physical literacy journey. Dancing supported the physical domain, as well as presented opportunities for older adults to connect to their kinaesthetic, relational, creative, and artistic dimensions of embodiment. Barnett et al. (2020) examined performing art activities to foster physical literacy. Performing arts highlight the constant interaction between one’s internal world, and the external world, requires being responsive to all things in the environment, and emphasizes the opportunity the physical body has in being expressive and communicative (Barnett et al. 2020). This opportunity to attune one’s self to both their own bodies and the environment and others around them can further embodied experiences, and strengthen physical literacy (Barnett et al. 2020).

We believe dancing offers compounding opportunities to support older adults’ physical literacy given it is a physical activity, and performing art. Dancing engages the body in an opportunity to be physical active, and therefore experience the health promoting benefits of physical activity (World Health Organization 2015) and therefore contribute to successful aging (Rowe and Kahn 1997). Engaging the body in ways that celebrates the capacity of physical movement, and offering the opportunity to embody behaviors which support health and wellness positively contributes to one’s physical literacy (Whitehead 2010a). The instructor perceived dancing as meaningful to participants, and therefore supported engagement with life, the third pillar of successful aging (Rowe and Kahn 1997). Dancing integrates the benefits related to physical literacy that performance/expressive arts offer (Barnett et al. 2020) while being a form of physical activity, offering an exceptional opportunity to foster older adults’ physical literacy and embodiment.

This study provides insight into the pedagogical choices dance instructors can make to support older adults dancing, an area of limited research. Additionally, our study furthers knowledge about the holistic benefits dancing can offer older adults using a multidimensional framework that allows for examination of multiple aspects of the self. Our findings highlight the opportunity for older adults to continue developing their physical literacy, essential, as limited research examing physical literacy in an older adult population exists (Edwards et al. 2018). A consideration of this study is that only the dance instructor’s perspective of key pedagogical practices is captured and therefore future research should examine how teaching practices are experienced by class participants. Findings were cultivated from interviews with one participant. This approach allowed for a more immersive and engaged cased study, but future research should aim to include numerous dance instructors with diverse experience, training, and teaching methodology. Dimensions of embodiment theory (Svendler Nielsen 2015) also offers an avenue for future research. While our findings indicated that dancing has the potential to support the physical, kinaesthetic, relational, artistic, and creative dimensions of embodiment, further research is needed understand the impact of dancing on the symbolic dimension of embodiment (Svendler Nielsen 2015). A greater body of literature is also needed to explore pedagogical practices which support these dimensions of the self.

Conclusions

Our study highlights the importance of dance instructors who deliver classes for older adults. The participating dance instructor made thoughtful considerations, which strategically fostered multifaceted and positive class experiences. Designing and instructing classes that not only focus on physical activity, but also consider embodied learning, and the social, emotional, and psychological health of older adults are key components to facilitating their embodiment, physical literacy, and successful aging. Dancing is a form of physical activity that with thoughtful planning and delivery can offer multidimensional benefits for older adults in various of aspects in their aging journey.

Acknowledgements

We would like to thank the University Heights Dance and Movement program for their support and participation in this dance research. Additionally, we hold much gratitude for Dr. William Bridel and his expert contribution to the refinement of this manuscript.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Funding

This work was presented at the 13th Annual Conference of Healthy Dancer Canada held online, November 2021. This work was supported by the Social Science and Humanities Research Council of Canada under Grant 403-2019-00378 and the Brenda Strafford Centre on Aging through the Barrie I. Strafford Master’s Scholarship.

Notes on contributors

Vanessa Paglione

Cari Din is an Instructor in the Faculty of Kinesiology, a Taylor Institute for Teaching and Learning Teaching Scholar, and Canadian Centre for Advanced Leadership Fellow. She has worked with the Women and Gender Equality Canada to increase gender equity in sport and physical activity settings. Cari is an award-winning instructor with pedagogical expertise in experiential learning. Her scholarly and practical expertise in leadership and coaching which enables physical literacy across the lifespan is featured in this work.

J. Magrath

Sarah J. Kenny, PhD is an Assistant Professor in the Faculties of Arts and Kinesiology at the University of Calgary in Canada where she teaches Safe Dance Practice and Dance Science courses for undergraduate dance majors and is a registered provider of the Safe in Dance International certificates. Dr. Kenny also mentors students enrolled in the combined Bachelor of Kinesiology / Bachelor of Arts (Dance) undergraduate degree. As a dance science researcher, Dr. Kenny investigates areas described as: ‘health for dance’ and ‘dance for health’. Specifically, Dr. Kenny’s primary research applies her experience as a contemporary dancer to the science of injury epidemiology and focuses on minimizing risk and reducing the burden of injuries across all dance populations. In addition, Dr. Kenny explores the psychosocial experience of recreation/community dance as a form of physical activity for other populations across the age spectrum.

M. H. McDonough

Vanessa Paglione holds an M.Sc. from the University of Calgary, which she recieved under the supervison of Drs. Sarah Kenny and Meghan McDonough. She has a Bachelor of Kinesiology (with Distinction) and a minor in Dance, where she was introduced to the field of dance science research. Vanessa’s Master’s thesis examined the role that community dance can play in supporting individual’s physical literacy and successful aging. Vanessa is also interested in looking at how to implement community dance programs. Beyond Vanessa’s research interest in dance for health, she also works as a dance educator. Vanessa has been teaching since 2012 and holds her Associate Diploma in Imperial Classical Ballet and her Associate in Modern Theatre from the Imperial Society of Teachers of Dancing. Vanessa shares her passion of dance with her students by teaching at private dance studios in Calgary, Alberta.

C. Din

Jenna Magrath is a recent graduate from the University of Calgary earning a BA in Dance and a BKin (Honours) in Kinesiology. Her honours thesis was completed under the supervision of Drs. Cari Din, Sarah Kenny, and Meghan McDonough and examined instructional strategies for dance instructors working with older adults to foster physical literacy. Jenna is currently a research assistant for Dr. Kenny investigating dance for individuals with Parkinson's, the research coordinator for the Dance Data Project®, and a company member with METHOD Dance Society.

S. J. Kenny

Meghan McDonough is a Professor in the Faculty of Kinesiology at the University of Calgary. Her research examines social relationships, self-perceptions, motivation, stress and emotion, and psychological well-being. Her work particularly focuses on interpersonal processes such as social support, social participation, social networks, and interpersonal barriers in physical activity. Her research involves populations including older adults, individuals coping with a clinical condition such as cancer or Parkinson’s disease, and youth, with a particular focus on marginalization and resilience. Her teaching interests focus on exercise and health psychology and qualitative research methods. Dr. McDonough is currently an Associate Editor for the Journal of Sport and Exercise Psychology, the president of the North American Society for the Psychology of Sport and Physical Activity, and is a co-editor of the textbook Sport and Exercise Psychology: A Canadian Perspective (4th ed.).