In fall 2018, Assistant Professor and Associate Chair of Dance Sarah DiPasquale connected visual art and dance in a course for Skidmore students and the Saratoga Bridges community of differently abled adults. The class examined Joan Snyder’s painting Waiting for a Miracle (for Nina and John) (1986) and, in response, developed choreography for an integrative dance, which was performed on December 10, 2018.

Sarah DiPasquale
Associate Professor and Chair of Dance
Skidmore College

The “Bridges to Skidmore” course was created in 2010 by Associate Dean of the Faculty and Professor of Social Work Crystal Dea Moore as a non-credit-bearing college experience for differently abled adults from the Saratoga Bridges community working together with Skidmore students.⁽¹⁾ In 2017, I redesigned the program to be a dance course and scholarly initiative examining the physical effects and creative processes of integrative dance on this population.⁽²⁾ In the current course model, individuals from Saratoga Bridges are matched with Skidmore students, and together they engage in an integrative dance experience. As Caroline Kelberman ’17 and I have written, “Integrative dance may be defined as dance that encourages the participation of all individuals, regardless of ability, supporting and celebrating these differences through movement.”⁽³⁾ The social aspect of dance is essential to the “Bridges to Skidmore” experience. Differently abled people are often socially isolated and identify disability-service users, staff, and family members as friends.⁽⁴⁾ For example, people on the autism-spectrum scale commonly experience a deficit in appropriate communication, social empathy, and awareness or sensitivity to others’ emotional experiences.⁽⁵⁾ These social insufficiencies may have impacts on the development and maintenance
of social relationships, and thus, may lead to social isolation.⁽⁶⁾ “Bridges to Skidmore” was designed to meet the needs of differently abled individuals; the structure of the class was established with a conscious objective to create a socially inclusive and integrated dance environment. Profoundly important aspects to this work are the
deep and meaningful relationships that form between the participants and their college-student counterparts throughout the semester.

While social and cultural dancing at its foundation brings humans together to engage with one another, the practice of contemporary dance is often viewed as a more individualistic activity. In “Bridges to Skidmore,” contemporary dance is practiced within small groups to grant participants individualized assistance with Skidmore students providing suggestions for movement modifications and social support as needed. Throughout the semester, participants transition from requiring higher levels of support to dancing with increased independence. This organic shift creates an inherent awareness of community and an authentic sense of inclusion for participants working side by side with Skidmore students.⁽⁷⁾ While true social inclusion is a multifactorial and complex task, “Bridges to Skidmore” strives to create reciprocal relationships between participants and their college-student counterparts who accept them as members of their collegiate community beyond their disability.⁽⁸⁾

The pleasure associated with dancing cannot be understated when discussing the “Bridges to Skidmore” experience. Research has suggested that exercise adherence is improved when the experience is enjoyable.⁽⁹⁾ As differently abled people may be inherently prone to decreased attention spans,⁽¹⁰⁾ creating an engaging dance experience becomes a critical aspect of compliance and overall classroom management. Furthermore, dancing alongside a partner may enhance socialization, creating a more pleasurable experience for all members of the group.⁽¹¹⁾

In fall 2018, the “Bridges to Skidmore” class embarked on a uniquely pleasurable journey of discovery, exploring how visual art may inform the choreographic process of integrative dance. The class spent ten days collaborating in the museum space. Reflecting on Joan Snyder’s painting Waiting for a Miracle (for Nina and John) from the Tang collection, differently abled individuals engaged with the painting alongside Skidmore students, expressing their embodied reflections of the painting through movement. The experience at the Tang brought incredible moments of exploration. The initial encounter with the painting was through a class discussion guided by Museum Educator for K–12 and Community Programs Sunny Ra using Visual Thinking Strategies (VTS). Asking open-ended questions, members of the class each had an opportunity to share what they saw in the work. The VTS session created a robust and exciting encounter with class members jumping out of their seats to show others the details they were finding in this beautiful artwork. Reminding enthusiastic class members to not touch the painting proved to be a challenging and unexpected aspect of this experience!

The class returned to reflect a second time on the painting, using it as inspiration to make visual representations on paper. These drawings then became the impetus for movement creation, with each member of the class creating their own movement based on their embodied reflection of the painting. Collaborating with their Skidmore student partners, some individuals found this process to be effortless with ideas and movements exploding from their bodies. Others found the creative process more challenging, visibly uncomfortable and requiring close guidance from their partners. Seated in chairs, traveling through space, telling stories through gestures—the diverse array of movements created that day were choreographed together into two distinct five-minute dances. Reflecting on Waiting for a Miracle created a rich environment of respect and expression.

Music plays a crucial role in the “Bridges to Skidmore” experience. Live music performed by the exceptional Skidmore Music Director Carl Landa enriched each class period and inspired students to explore the open space. Additionally, a talented member of the Bridges community volunteered to serve as a second accompanist, adding another level of rich collaboration. A palpable enthusiasm was present when the musicians would enter the room. One participant exclaimed, “I never want to listen to the radio again! I wish Carl could follow me around all day!”

Music may serve as an external cue or a movement facilitator⁽¹²⁾ yet may also alter the neurochemistry of the body. Musical properties, such as tempo, impact underlying neurotransmission of cardiovascular and respiratory control, motor function, and higher order cognitive functions.⁽¹³⁾ Furthermore, music can potentially enhance physical performance during exercise⁽¹⁴⁾ and may help to motivate and create social support.⁽¹⁵⁾ The relationship of music and dance cannot be undervalued and undoubtedly enriched the collaborative process within the “Bridges to Skidmore” class.

The Tang experience also brought numerous challenges for the group. The typical class structure of “Bridges to Skidmore” is exceedingly deliberate, allowing for consistency, clear boundaries, and a sense of safety among participants. In contrast, a museum space is inherently filled with heightened sensory stimulation, creating a new set of experiences to encounter each class period. Elevator noises, foot traffic, and cold concrete floors left some individuals on edge. Negotiating through new spaces with docents closely guarding the artwork on cold, rainy fall days created instances of anxiety and fear. Alongside the beautiful creative experience, there were times of tears, raising of voices, pacing the floors, panic, detachment, and even anger. The artistic process rarely comes without real and tangible challenges for all involved. These uncomfortable circumstances are an essential part of the “Bridges to Skidmore” experience and must not be disregarded. Indeed, moments of discomfort may also be profoundly meaningful moments of growth.