Discovering Dance in Adulthood
The time at which anyone begins dance discovery does not dictate their capability to experience it fully. Still, it seems dance spaces often discount those without years of experience, and sometimes fail to support those “late” to join in on a dance journey when it comes to options for classes, performances, training, and creative platforms - especially when it comes to dance making.
In my own experience as a dancer, I find that those with dance backgrounds that are different from my own contribute greatly to the space when they are welcomed. There are components of dance training that become lost in the long term, and those with a fresh start have unique and valuable perspectives.
Several other art forms offer artmaking participatory opportunities at a recreational level in abundance. Wine and paint nights, date night cooking classes, and many other options allow for anyone to participate in the process of making art at any level of experience. There are easy-to-find open-level classes for adults to try visual art, photography, or music in most places. In dance, “participation” for those with recreational interest is often considered a fitness or wellness movement class, or attending a performance. This can make starting dance training in adulthood appear daunting or difficult.
There are, however, blossoming artists who enter the dance space with new perspectives and curious energy for the first time during adulthood. At Mashup’s Choreography Open Mic Night in July, I had the privilege of watching Chelsea Clark-James perform a self-choreographed solo. I later learned she began her dance exploration a few years ago in 2018. I was able to discuss different components of her process and relationship with dance with her to gain insight.
Following a back injury, Chelsea began taking ballet classes as they were complimentary to her physical therapy. What she found in ballet was an interest in movement and expression which led her to use online platforms to continue her dance experimentation.
Social media platforms including Instagram and Tiktok provided her with easily accessible dance content. Chelsea described an eventual interest in non-eurocentric dance forms; ballet and modern were becoming most familiar to her both in her initial findings and in media, so she sought after more variety. By watching online content through modes like YouTube, Chelsea grasped what it looked like to lose oneself in movement, explore the bounds of the body, and develop a style and sense of movement quality.
Chelsea works in film and television, which impacts her creative process with dance in some aspects. She describes the audience as the lens, which poses questions about what is visible or hidden at any given moment. Alternatively, in her dancing that is not performance oriented, she centralizes on what she names “flow” rather than shapes and aesthetics. In regards to her place in the dance space as a new choreographer she says, “In the same way that there is an age and body stereotype of who gets to be a dancer, I think there is that same limited palate for choreographers. Only by trying to design movement to music did I begin to question what a movement says instead of simply how to do a movement.”
In our conversation, I asked Chelsea to look back on her perception of dance in her earlier years and consider the ways in which they may have sparked interest or deterred her from dance exploration as a child. Chelsea describes an understanding of dance that implied tradition and politeness for young girls. The highly gendered practices of some youth dance education programs can impose tradition when it comes to femininity and social expectations for women and girls.
Presently, Chelsea understands femininity in dance differently. She explained that dance helps her come into her body in a new way. For Chelsea, dance allows her to experience power and strength in movement that contrasts her earlier perception. Additionally, Chelsea described a sense of independence and personal autonomy that feels feminine in the dance context.
In terms of change, Chelsea hopes to see dance spaces work towards more inclusivity and celebration of different bodies. Since beginning her dance training in 2018, she has not found ample dance environments that welcome beginners that are not exercise oriented. She mentions, “I really only know Mash Up as a dance space that isn’t exercise oriented. I think Mash Up has done a lot to open the floor to all types of dancers. Hopefully they can exist and thrive for decades to come, and maybe inspire others!!” Chelsea describes MashUp’s Choreography Open Mic Night as an incredible opportunity for newer choreographers and performers to showcase work and feel empowered to create.
My conversation with Chelsea was a reminder that dance offers a unique avenue to explore femininity and connection with yourself and others. There may be a societal pressure and tradition that suggest early introductions to training are preferable, but dance is for everyone to explore at any moment they find it, not just as a viewer or observer, but as a creative participant.
Special thanks to Chelsea Clark-James for speaking with me and sharing her wonderful insight.
Chelsea Clark-James (center in white) and other Choreography Open Mic Night participants.