Two years ago I came to earth with a BIG bump. I had just been informed that I belonged to that generation called 'the elderly'. I was no longer 'young, 'up and coming' or even 'there'. I had suddenly been awarded the title of 'the elderly' or 'the older person' or 'wrinkly' or 'crumbly'. Now, I personally, do not think I have quite reached that stage in my life's journey, but I most definitely have reached the era of 'middle age' or another title - the community of 'the invisible people'.
How and why did this realisation come to the fore, and make me take a long hard look at myself in the mirror and also our society's attitude towards older people? It was through teaching on a community dance module at Middlesex University that I first began to seriously question the issues of ageism from various angles and how we can contribute to a broader vision, from community involvement to professional dancers.
Middlesex University runs a BA (Hons) Dance (Community) Programme, also taught by Ruth Trueman-Torr, aiming to provide knowledge and skills pertinent to the practice of dance in a community context. Although students can decide to follow this specialist route, all students at Middlesex are introduced to the concept of community dance practically, historically and politically. The module that I teach in the third year introduces putting theory into practice. Together, with the students, we decide which client group we would like to concentrate on exploring in further depth. Largely instigated by myself, I have to confess, we decided to approach working with older people. It was decided the route we would like to follow was to create a work that would be performed by the students within residential homes or clubs, as well as giving a workshop, allowing the students the possibility of team teaching and participant involvement.
The students taking the BA(Hons) Dance (Community) Programme have to take the responsibility of finding a home/club with which they have to communicate, visit and build a relationship prior to our visit. This is when I was confronted with the truth - one student came back with the information that the club she was investigating was for people of 50 years and upwards!
The decision was also made that the work we would create would be based on reminiscences. Not a particularly new concept, I am aware, but we eventually decided that for the students this was extremely beneficial. They had to do intensive research on the era we had chosen, thus extending their knowledge historically, musically and politically. Feedback we had from the homes we visited was that working with reminiscence was also positive for the clients. Within our preparation period, guest lecturers, working in the field, are invited to come and pass on some of their knowledge and experience to the students.
Since the first project three years ago we have built a very good relationship with Age Concern (Barnet), who have been extremely helpful and supportive with information and ideas. It is through discussions with them that the idea evolved of creating and exploring a work that would work in multicultural centres. This is the challenge that the students are embarking on this year and I am very excited about the prospect of this new extension to the module.
Whilst teaching this module it became apparent what a distance there is between the generations and also nervousness amongst the students about meeting older people. Our society has placed us all within 'safe' pockets and there is no meeting place for people of different generations. We live in sad times, when the old are frightened of the young and, even sadder, visa versa. Through our work in dance, we can make, even if just a small contribution, a change in this attitude and misguided perception. Both parties have much to offer each other and I have observed that once we have visited the homes all fears have vanished and in its place there is warmth and smiling faces. The students come away richer, with an insight and a sense of history, whilst the older people were interested in the lives of the students.
I am now convinced that it is essential for students to have the opportunity of leaving the safe confines of academia and interact with their local community. Working with younger people I am learning daily from them even as I pass on my knowledge to them. Is it not possible to create an ambiance within the structure of our society that everyone can have the possibility of that privilege?
Another area that has arisen through teaching this module has been the concept of age and ageism. What do we constitute as old? Is it the notion within a dancer's world of 35, as they see their careers as dancers coming to an end? Is it when middle age hits and one is aware that they have turned invisible? Am I ready for a group of young dancers to come and entertain me with melodies of The Beatles and The Rolling Stones singing 'Can't get no satisfaction' as I waft a silken scarf in the air? Sorry but I think not! I have a wonderful image of the year 2063, this generation having reached the luxurious age of being entertained by young and exuberant dance workers to the sounds of Eminem and Missy Elliot.
I would like to concentrate for a moment on the image of the 'middle aged' an age group often forgotten in all our 'ism's'. Is it not time that we worked to help create a positive image for mature people? To give them a place in society that is recognised. To help give young people a sense that the progression of life holds many riches and is not a deterioration into the abyss.
I applaud and am interested in the notion put by Peter Brinson of '...arts by the older person as well as arts for the older person'. Mature dancers are an available resource with a wealth of knowledge and wisdom, not only in life but also in the art of dance as performers and choreographers. Where are they? Why do we hear so little about them? In today's age of 'Youth Culture' can we not find a place for 'The Invisible People'? A place to celebrate not only their knowledge but also their energy, sexuality and humour. We need to review funding strategies and policies to be inclusive of these issues. Do we not also have a responsibility to give youth a vibrant image of their future?
I have always believed that dance has the power to transform people's lives and awareness, either as a participant or observer. Dance has always been at the cutting edge and instrumental in helping challenge issues such as gender, disability and race, for me the last bastion is ageism. There has to be a place to explore the inherent creativity of mature dancers and choreographers. How can we as a dance community find a way of supporting dancers as they age and capitalise on what they still have to offer? It is the charismatic, the sexy, the new and the young that are often given funding opportunities and support. Well, is it not time for a resounding shout that the middle aged can be charismatic, and sexy - even if not so young? Is it not time to capitalise on the extraordinary capabilities and experience of the mature dancer, their compassion and ability to move? What extraordinary work could materialize?
As a choreographer I want, and yes expect, to explore making work relating to my experiences and the experiences of my generation. To quote Erica Jong 'I want to write about my generation and be fiercely honest' (Fear of Fifty). To follow this creative process it is imperative to collaborate with mature performers. I am aware that there are other mature dance makers following this trend and train of thought, hopefully we can change attitudes. I sense that there is a slow revolution brewing and the 'sixties children' are about to be heard again.
As an audience member I want, and yes expect, to be given the opportunity and choice to see work that I can relate to, not only in subject matter but also through the performers. Work that it is relevant to my existence and life. Surely I am not the only fifty something that feels that way?
Once we have a fair representation, of mature bodies and a mature body of work then we can honestly go into the community and extol that dance is for everyone.
Let us make the Invisible People visible celebrating age with a strong voice of hope.
contact Tamara at t.mclorg@mdx.ac.uk
Quotes
'So join the wicked wrinklies,
With their one foot in the grave,
Their other on the dance floor
Of their own peculiar rave.'
(Jaki da Costa, Menopausal Woman on the Run).
'......older people comprise not only a significant audience but also a creative resource of dance -making which expands our restricted notions of dance'
(Peter Brinson, Dance as Education)