Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Richards, Jacqueline (2018) Active older people participating in creative dance - challenging perceptions. DProf thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/23514/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. 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See also repository copyright: re-use policy: http://eprints.mdx.ac.uk/policies.html#copy Project title: Active Older People Participating in Creative Dance - challenging perceptions A project submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Professional Studies Jacqueline Anne Richards Institute for Work Based Learning Middlesex University Candidate number: M00339657 DPS 5360 Date of Submission: August 2016 2 Acknowledgements I wish to thank the following people for sharing ideas and expertise, giving me support and encouragement during my long dancing journey. There are so many, I could not name everyone individually. Professor Trish Hafford-Letchfield, my consultant, advisor and Paul Simmons my advisor; Mehmet Dikerdem supporting in the background, Barbara Workman, my original advisor; Professor Carol Costley, my final adviser; Jo-Ann, Zina and Oliver my DProf buddies; Christine Eastman and Kate Maguire for inspiring criticality writing workshops; The older dancers I interviewed; dance and movement providers/practitioners I had conversations with especially Ken Bartlett, Eileen Bird, Eileen Brookes, Fergus Early, Joce Giles, Jane Hackett, Maggie Killingbeck, Elaine Smith and Hayley Starling; talented teachers and dance-artists who provided opportunities for me to develop as an older dancer especially Molly Wright, Jane Woolley, Simona Scotto, Julia Pond, Marie Forbes and Luke Birch. Everyone I have danced with since 2009; Creative Dance 60+ dancers; City & Guilds ex-colleagues especially Jo, Lorna, Sally and Cathy; Peter Mathias a visionary stakeholder and friend; Paul Stanfield and his team at Claremont, Islington for creating opportunities where older people can thrive. Simon Wilkinson, Helen Dimmock and Russell Taylor from DWP and to all who participated in the Age Action Alliance older people and creative arts working group. Professor Norma Raynes, Robin Wallach and Lynda How for their advice before starting the DProf programme. Scilla Dyke for suggesting the relationship between writing a doctorate and choreography; Jo, Helen, Gill and Judith my long-term friends; Rabbis Marcia Plumb, Shulamit Ambalu and Danny Rich for inspirational, ethical support. Mike White my coach-mentor during my coaching course; Angie, Cheryl, Barbara, Olivia, Jo, Marianne, Mareeni, and Shelley for their comments. Local people I have worked and socialised with in Tottenham at different times. We have shown people from different backgrounds and ages can work positively together so dreams can become realities. Everyone I have networked and collaborated with since leaving fulltime work especially Alan Hatton-Yeo, Jim Soulsby, Matthew Bolton, Selma Nicholls, Stuart Cox, Teresa Lefort, Peter Laycock, Carol Allen and Susan Langford. My friends for their interest and patience; My family including Hettie and Renee my two aunts, who have always been there for me; Eddie and Daniel for putting up with a dancing mum; Eddie and Mareeni for bringing Eleanor Teresa into the world. My two late grandmas Rae and Kate who were very different inspiring role models. Monty Clifford, my late-father for his “joie de vivre” who brought me up to see the best in people and not be intimidated. Gertie Clifford, my late mother, I understand her better now than when I was younger. Finally Peter my husband, forever patient, loving, for his practical and emotional support, final proof-reading and formatting. I apologise for neglecting you and promise I will once again share the housework and shopping and look forward to us doing things together again. 3 Disclaimer: The views expressed in this document are mine and are not necessarily the views of my supervisory team, examiners or Middlesex University. 4 Contents Acknowledgements ...................................................................................................... 3 Disclaimer: ...................................................................................................... 4 Contents ...................................................................................................... 5 Appendices ......................................................................................................................... 8 List of Figures ...................................................................................................................... 9 Tables .................................................................................................................................. 9 Summary .................................................................................................... 10 Preface .................................................................................................... 11 1. “When I’m 64” .............................................................................................................. 11 2. Returning to dance 2008 to 2009 ................................................................................. 11 Chapter 1 Introduction .................................................................................................... 14 Introduction ...................................................................................................................... 14 1.1 My Culturegram and Primary Identities ..................................................................... 16 1.2 Background information ............................................................................................. 18 1.3 Assumptions ............................................................................................................... 20 1.4 Research questions ..................................................................................................... 21 Conclusion ........................................................................................................................ 21 Chapter 2 Context and Boundaries ..................................................................................... 23 Introduction ...................................................................................................................... 23 2.1 Social, political, moral/spiritual contexts ................................................................... 23 2.2 Rationale ..................................................................................................................... 27 2.3 Ethical considerations................................................................................................. 29 2.4 Aims, objectives and outcomes .................................................................................. 30 2.5 Stakeholders and critical friends ................................................................................ 33 2.6 Audiences ................................................................................................................... 34 2.7 Scoping knowledge and literature.............................................................................. 34 2.8 Some key theoretical ideas from desk-top research ................................................. 36 2.8.1 Active older people .............................................................................................. 37 2.8.2 Dance ................................................................................................................... 44 2.8.3 Participating at community and national levels .................................................. 52 5 2.8.4 Challenging perceptions ...................................................................................... 56 Conclusion ........................................................................................................................ 57 Chapter