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Dancing with Down syndrome: a phenomenological case study

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Nicole Reinders , Pamela J. Bryden & Paula C. Fletcher
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Kinesiology and Physical Education, Wilfrid Laurier University,
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 Research in Dance Education, 2015
http://dx.doi.org/10.1080/14647893.2015.1036018

Dancing with Down syndrome: a phenomenological case study

Nicole Reinders*, Pamela J. Bryden and Paula C. Fletcher

Kinesiology and Physical Education, Wilfrid Laurier University, Waterloo, Canada

(Received 24 May 2013; final version received 27 February 2015)

Dance for individuals with Down syndrome has many benefits; however, there is
little research on this topic. Down syndrome is the most common genetic condi-
tion, resulting in psychological, physical, and social impairments. There is
research to suggest that dance may be a beneficial activity for people with Down
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syndrome; however, there is little research to substantiate the effects of partici-

pating in a community dance class. The present study utilized the theoretical
orientation of phenomenology to explore the lived experience of a 21-year-old
male with Down syndrome as he participated in a community dance class
through his perspective, as well as that of his parents and dance instructor. The
dance program was inclusive for children and young adults with special needs.
Data collection included background questionnaires, interviews, observation of
the dance class, member checks, and field notes. Analysis of the data revealed
four salient themes although only the theme of Luke at Dance will be discussed.
Overall, all participants agreed that the experience had social, physical, and
psychological benefits. Specifically, the dance class provided Luke with the
opportunity to expand his social circle, engage him cognitively, and become
physically active.
Keywords: dance; Down syndrome; phenomenology; physical benefits; social
benefits; psychological benefits

Introduction
There is research to suggest that community-based dance is beneficial for typically
developing individuals; however, there is little pertaining to individuals with Down
syndrome. This study explores the lived experience of an individual with Down syn-
drome who participated in a community-based dance program from his perspective
as well as that of his parents and dance instructor. The Arts Council of England
(2006) states that “Anyone can enjoy dancing regardless of their age or background,
if they are disabled or non-disabled, whether or not they have danced before, and
whatever their shape and size” (3). Dance occurs in a variety of settings, such as
technique classes, cultural events, competitions, school dances, and weddings, and
in a variety of styles, such as ballet, ballroom, hip-hop, Latin, modern, and jazz. It
may occur in solitude or with others. Many levels of development are impacted by
dance, including but not limited to physical, social, and psychological (Duggan,
Stratton-Gonzalez, and Gallant 2009). Physical benefits include increased coordina-
tion, strength, endurance, and motor abilities such as gait speed, balance, and joint
flexibility. Socially, dance fosters communication skills and reduces social anxiety,

*Corresponding author. Email: rein3560@mylaurier.ca

© 2015 Taylor & Francis

 2 N. Reinders et al.

while psychological benefits may consist of increased self-esteem, self-confidence,

and quality of life (Becker and Drusing 2010). Dance incorporates personal expres-
sion and coordination of movement to music. Using music in a dance experience
can enhance one’s ability to create new memories and call upon old ones as it stimu-
lates the medial prefrontal cortex, an area of the brain that is “involved in paying
attention, making predictions, and updating the events in memory” (Alpert 2011,
156). The combination of all of these factors makes dance a valuable activity that
can be offered through community-based programs for those with and without dis-
abilities, as well as therapeutic treatments for individuals with any combination of
social, physical, and cognitive needs. In short, all people regardless of age and
ability level can experience the benefits of dance.

Dance and typically developing individuals

Elite dancers acquire unique skills with increasing expertise in dance. With a higher
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degree of dance expertise comes more precise motor capabilities and esthetic abili-
ties. These dancers are able to transfer acoustic and visual cues into movement and
effectively control their bodies (Bläsing et al. 2012). Dancers have increased bal-
ance, posture, somatosensory perception, proprioception, and attention to movement
detail. They are also more capable of learning and memorizing movement
sequences, performing mental imagery, and maintaining synchrony with other
dancers (Bläsing et al. 2012).
While years of training are required to develop the skills of an elite dancer,
novice dancers gain fundamental skills during their first experiences with dance.
Quin, Redding, and Frazer (2007) conducted a study with neurotypical children
between the ages of 11 and 14 to test whether physiological and psychological
well-being was affected by participating in a creative dance program. The research-
ers discovered that three physiological indicators (lung capacity, flexibility, and aero-
bic capacity) increased after participating in the dance class for 8 weeks. It was also
discovered that psychological well-being improved, including self-esteem, intrinsic
motivation, and positive attitudes toward dance, but to a lesser extent than the
physiological factors. From this, the researchers concluded that participating in a
dance class is beneficial for many reasons and that creative dance is “instrumental in
developing young people’s creative and artistic, personal, and social skills” (Quin,
Redding, and Frazer 2007, 2).
Giguere (2011) also studied the impact of creative dance in children in a school
setting, specifically focussing on the cognitive implications from participation. She
suggests that dance should be integrated into the elementary school system as a way
to complement the cognitive skills that are developed in traditional classroom set-
tings. Giguere (2011) found that participants developed skills in decision-making,
problem solving, and self-direction, which were evident as they created new ways to
move and collaborate with others. As mentioned, dance is a multi-modal activity
that connects the mind and body. Giguere (2011) concluded that dance fosters rich
cognitive development and would be a valuable experience for elementary aged
children. Kourkouta et al. (2014) also review the implications of dance as an educa-
tional tool for children. These authors found that dance contributes to psychological
development such as emotional well-being, self-esteem, memory, and goal-directed
behaviors to name a few (Kourkouta et al. 2014).
 Research in Dance Education 3

Dance and individuals with Down syndrome

The current study seeks to discover whether an individual with Down syndrome will
benefit from participating in a recreational dance program. As such, the following
section will cover the characteristics of Down syndrome, as well as the benefits of
physical activity and recreational dance for individuals with Down syndrome.

Characteristics of Down syndrome

The Mayo Clinic defines Down syndrome as:
a genetic disorder caused when abnormal cell division results in extra genetic material
from chromosome 21. This genetic disorder, which varies in severity, causes lifelong
intellectual disability and developmental delays, and in some people it causes health
problems. (Mayo Clinic 2015)
Common characteristics of an individual with Down syndrome are “low IQ, epican-
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thal folds (in which the skin of the upper eyelid forms a layer that covers the inner
corner of the eye), short and broad hands, and below-average height” (Russell 2010,
478). Jobling, Virji-Babul, and Nichols (2006) also note that many people with
Down syndrome display hypotonia (low muscle tone) and are slow to develop
movement skills as a result of impaired neurological development. Specifically, the
cerebellum of people with Down syndrome is smaller and less dense than that of
their typically developing peers (Pinter et al. 2001), which results in balance, motor
control, and motor learning deficits. In addition, the corpus callosum is thinner caus-
ing disrupted efficiency of bimanual movement (Ringenbach et al. 2012). These
individuals may also have difficulty with goal-directed functioning as they have a
smaller frontal lobe (Cebula, Moore, and Wishart 2010) and may have hearing com-
plications as the temporal gyrus is narrower than those with typical development
(Pinter et al. 2001). Carmeli et al. (2011) report that an individual who has Down
syndrome can be expected to live to the age of 60, which has increased considerably
from the expected life span of 12 in 1940. These authors also note that age 40 is the
turning point for age-related disease in individuals with Down syndrome and that an
active lifestyle can assist in delaying the onset of chronic disease (Carmeli et al.
2011). Despite the cognitive and motor delays that accompany this chromosomal
mutation, people with Down syndrome are often able to make their own decisions,
attend school, hold a job, participate in their communities, and lead a fulfilling life
(National Down Syndrome Society). For some individuals, participating in commu-
nity-based activities such as dance may be an important aspect in leading a fulfilling
life.

Community dance and individuals with Down syndrome

Children with Down syndrome are less likely than their typically developing peers
to engage in physical activity. Shields, Dodd, and Abblitt (2009) report that 58% of
children with Down syndrome do not meet the recommended 60 min of activity per
day, roughly triple the rate of their typically developing counterparts. Physical activ-
ity may reduce risk of disease, improve self-esteem, and provide an opportunity for
social engagement and growth; however, people with disabilities face many barriers
to becoming physically active including limited transportation, financial resources,
 4 N. Reinders et al.

appropriate programming, and services with sufficient staff (Messent and Cooke
1998). More specifically, Mahy et al. (2010) explored barriers to physical activity
for adults with Down syndrome. These included lack of personal interest, lack of
support from others, and physiological conditions associated with having Down
syndrome (Mahy et al. 2010).
Community-based dance programs may promote increased physical activity for
people with Down syndrome, among other benefits such as increased social skills
and cognitive functioning. Unfortunately, there is little research directly related to
Down syndrome and community-based dance programs. Moraru, Hodorcă, and
Vasilescu (2014) conducted physical tests with three children with Down syndrome
before and after they participated in an 8-month gymnastics and dance program. All
three children displayed increased single-leg stability, abdominal muscular strength,
and force in their lower limbs. Unfortunately, this study does not specify the fre-
quency or time that the children participated in this program or what portion of the
program was dedicated to dance.
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Becker and Drusing (2010) advocate that community programs are integral in
early social development, especially for those who are already developmentally
disadvantaged, including people who have Down syndrome because they provide
participants with an opportunity to associate with others in the community. Partici-
pating in a program that includes both typically developing children and their peers
with Down syndrome will help all children acquire the skills necessary for socializ-
ing with others as adults. Becker and Drusing (2010) conducted a case study with
an 11-year-old female with Down syndrome to determine the effects of participating
in a community performing arts program. Participants in this program met weekly
for 14 weeks and learned about dancing, acting, and singing. After participating in
this program, the participant with Down syndrome displayed increased physical
skills including coordination and endurance, improved cognitive capacity in memory
and completion of school work, and lastly advanced social skills including self-
confidence, increased quality of life, and decreased anxiety of social situations.
Although the outcomes appear positive, more research is needed before strong con-
clusions can be drawn concerning the benefit of creative dance and Down syndrome
(Becker and Drusing 2010).
Jobling, Virji-Babul, and Nichols (2006) highlighted the fact that many interven-
tions for children with Down syndrome, such as physical therapy, are repetitive and
uninteresting. Since children with Down syndrome require more time to develop
new skills, attrition may be an issue. Dance, however, incorporates creativity and
self-expression into the learning process so that participants become more mobile
and physically fit without the use of repetitive activities that are sometimes present
in other therapeutic programs. Jobling, Virji-Babul, and Nichols (2006) theorize that
dance will teach children with Down syndrome how to communicate with others,
create a movement language, and develop awareness, while still allowing the partici-
pants to explore their surroundings and practice being creative. The authors also
state that dance programs may help participants gain independence, creative expres-
sion, and problem-solving skills, while also contributing to an increase in physical
activity and communication (Jobling, Virji-Babul, and Nichols 2006). In conclusion,
there is reason to believe that participation in a community dance class may be
beneficial for individuals with Down syndrome.
 Research in Dance Education 5

Methods
Purpose
The objective of this research was twofold: (1) to explore the lived experience of an
individual with Down syndrome by specifically examining the influence dance has
had on his life and (2) to explore his lived experience regarding dance through the
perspective of his parents and dance instructor.

Research tools and procedures

Qualitative method
Qualitative methodology was selected for the purpose of this case study because it
provided participants with a voice to share their unique experiences with dance. Due
to the lack of research about community dance programs for individuals with Down
syndrome, the principal researcher felt that a qualitative exploration would provide
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insight and direction for future research. This study focussed on one person’s
experience from the perspective of four individuals who were involved in that
experience. Interviews were the central method of data collection, as they allowed
each participant to fully describe his/her experience.

Participants and dance class setting

A case study design was used to explore the lived experience of one dancer in a
community dance class, along with the experiences of his parents and dance teacher.
The participant (pseudonym “Luke”) was a 21-year-old male with Down syndrome.
Other than a minor congenital heart defect and requirement of a hearing aid resulting
from Down syndrome, Luke has no other health concerns. According to his mother,
his functional ability is similar to that of 7- or 8-year-olds, and she reports his reading
and writing abilities are at the kindergarten level. He graduated from high school after
completing 7 years in a communication program. His principal disability is his ability
to verbally communicate with others, but he also has difficulty with memory and
problem solving in unfamiliar situations. Luke’s mother states that he has difficulties
communicating beyond simple words and is therefore unable to communicate 95% of
the time. He is able to remember familiar and repetitive information such as walking
to a nearby store, but does not cope well in unfamiliar situations. He has little short-
term memory and selective long-term memory, mostly regarding major events such as
family vacations. Luke is able to learn new skills, but needs practice and prompts to
help him remember. Because of his hearing and communication deficits, Luke learns
more efficiently with visual cues rather than verbal. Physically Luke is strong and
flexible, but sometimes loses his balance. Due to his congenital heart defect, Luke
sometimes becomes concerned of his “heart pumping” after cardiovascular activity.
Luke lives with his parents and is capable of simple household tasks and basic
hygiene. He has two sisters, one 2 years older and one 2 years younger than himself.
He works at a placement program for adults with special needs 3 days a week and
delivers newspapers once a week. Prior to this research study, he had participated in
a 10-week community dance class and was eager to re-enroll in the class for
6 weeks. Both of Luke’s parents agreed to participate in the study, as well as his
dance instructor in order to provide their insights regarding Luke’s participation in
the dance classes.
 6 N. Reinders et al.

Luke’s dance instructor will be referred to as the pseudonym “Sue” for the
remainder of this study. Sue earned her undergraduate degree in kinesiology and is a
certified occupational therapist. She also earned her dance instructor certification
through the Canadian Dance Teachers Association. The dance class took place once
a week for 45 min. The program was inclusive to all children with disabilities, with
students ranging in age from 8 years old to 24 years old. All were females except
for Luke. Luke participated in the dance class upon recommendation from one of
his friends. Children and adolescents with any type of disability were welcome to
enroll in the class, making it very diverse in age and ability. The class was held in a
large studio with one mirrored wall. Caregivers could watch the class through a win-
dow made of two-way glass, so that the students were not distracted. Otherwise, the
door was closed and caregivers were encouraged to stay outside of the dance space
unless they were assisting their children. There were approximately 20 people in the
room, one instructor and several volunteers and students. All students had some
form of disability such as Down syndrome, developmental delays, learning disor-
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ders, and cerebral palsy. The volunteers were older dancers and/or high school stu-
dents completing their high school volunteer hours. They assisted the instructor by
demonstrating dance moves, helping students who were having difficulty and rein-
forcing students who participated enthusiastically. There were approximately two
students for each volunteer.
The class began with a ballet-inspired warm-up, which included pliés, tendus,
port de bras, sautés, and other ballet exercises. In all of these exercises, students uti-
lized one body part at a time, such as moving the arms in port de bras or bending
the knees in plié. The students also practiced simple traveling steps such as skips,
walks, and runs. The teacher used classical music for this portion of the class. The
students then practiced jazz and hip-hop-inspired movements such as shoulder isola-
tions and knee bounces. Afterward, the students took turns traveling across the room
in a more stylized fashion, such as walking and snapping the fingers at the same
time. The teacher used pop music for these exercises. Next the class practiced a
dance routine for the recital at the end of the year. They practiced the choreography
that they have learned in previous classes, and then the teacher added more steps to
the dance. Toward the end of the class, the instructor allowed the students to have
free time to dance as they wish to songs suggested by the students. Sometimes they
played games such as freeze dance (dance when the music plays and freeze when
the music stops), while other times they made a circle and took turns dancing for
their peers in the center. The class finished with each student taking turns danc-
ing across the room to say thank you to the teacher and receive a sticker for
participating.
Sue incorporated her occupational therapy training with her experience as a
dance instructor to create a dance program for children with special needs. When
teaching, Sue stated the name of an exercise, demonstrated it, and then used action
words and imagery to help the students perform the exercise correctly. For example,
in a walking activity Sue would tell the students that they were going to practice
walking. Then she would walk across the room in the fashion of the exercise (e.g.
on her toes moving at a fast pace). Finally, she used words such as sharp, quick, and
tall to describe how the students should perform the exercise.
 Research in Dance Education 7

Data treatment: theoretical perspective

Phenomenology was the theoretical orientation used within this study. Patton
describes this type of methodology as:
How human beings make sense of experience and transform experience into conscious-
ness, both individually and as shared meaning. This requires methodologically, care-
fully, and thoroughly capturing and describing how people experience some
phenomenon – how they perceive it, describe it, feel about it, judge it, remember it,
make sense of it, and talk about it with others. (Patton 2002, 104)
In this study, the phenomenon was Luke’s lived experience of participating in a
community dance program. The principal researcher wanted to answer the question
“what was it like for Luke to participate in a dance class?” The goal of the study
was to improve existing programs, highlight the importance of offering community
dance, and direct future research endeavors in this area. For these reasons, phe-
nomenology was thought to be the most appropriate method as it contributes to
practical theory, policy, and action (Lester 1999).
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Because Luke had difficulty communicating verbally, the perspectives of his

lived experience through the eyes of his instructor and parents were integral to the
study. By exploring their perspectives of Luke’s experience, the researcher gained
insight about how a dance program affects not only the participant, but also the
other individuals involved. Exploring the perspectives of the parents and instructor
also allows the researcher to understand how other people experience the program
and whether or not the benefits of participating are realized by others in addition to
the participant. It is important to note, however, that while it was not possible to
obtain direct quotes from Luke, his perspective is integrated into the study through a
narrative. The principal researcher felt that Luke’s narrative provided rich informa-
tion essential to understanding the lived experience of participating in a community
dance program and therefore has been included in the results section of this article.

Data collection
After ethics approval was obtained, the participants were e-mailed a background
questionnaire with contextual questions in order to gain an understanding about each
individual before beginning the interviews. These questions were utilized in order to
understand the role of the individual in this case study, such as “what is your rela-
tionship to Luke?”, “why did Luke enroll in the class”, “how did you participate in
his involvement in the dance program?” The one-on-one semi-structured interviews
were conducted by the principal researcher. Each participant was interviewed in
week one of the 6-week dance session and again in week six. The first interviews
provided information about Luke, his abilities, and his experiences in the 10-week
dance program, and the second interview specifically discussed the effects of partici-
pating in the class for the past 6 weeks. All interviews were audiotaped, transcribed
verbatim, and stripped of identifiers. Field notes were recorded before and after each
interview about the time, setting, and atmosphere of the interview as well as inaudi-
ble responses from the participants, such as emotional expression and body
language.
The principal researcher also attended the first and last dance class of the 6-week
dance session in order to observe the class structure and Luke’s participation in the
class. Field notes about the dance class included information about the students, the
 8 N. Reinders et al.

teacher, and the volunteers, as well as how they interacted with each other. Notes
were also recorded about the dance exercises, recital combination and music and
how the students reacted to each of these things. As a dancer and dance instructor,
the principal researcher has rich understanding of this activity and was able to ade-
quately assess Luke as he participated in the class. The principal researcher has
5 years of recreational dance teaching experience and has completed her grade 8
ballet examination with the Royal Academy of Dance. The principal researcher also
has experience working with people with special needs from growing up with a rela-
tive with special needs and volunteering at overnight camps for people with special
needs.

Data credibility
Two forms of triangulation were used to ensure credibility of the data. The first was
data triangulation, in which several methods of collecting data were utilized. In this
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study, data were collected through background questionnaires, interviews, field

notes, and member checks. The second form was investigator triangulation, in which
several researchers, including the principal investigator, analyzed the interview tran-
scripts independently and then came together to discuss their findings. Transcripts
were analyzed for re-occurring themes and meanings. To eliminate bias from the
study, the principal researcher practiced epoche, in which personal judgments about
the participants and their experiences with dance were suspended during the research
process.

Findings
Themes
Analysis of the data revealed four salient themes: Luke at Dance, Luke at Home,
Dance! Dance! Dance! and Becoming a Dancer. For the purposes of this article,
only the theme of Luke at Dance will be discussed. The subthemes of Luke at
Dance are psychological benefits, physical benefits, social benefits, and the impact
of music on the benefits of the class. Luke’s participation in the dance class and
interview are described at the end of this section.

The psychological benefits of participating in a community dance class

Both the instructor and Luke’s mother believed that there were psychological
benefits from participating in the class. Luke may have increased self-esteem,
confidence, body awareness, and capacity to remember dance moves.
You can just see, you know the enjoyment on his face, he loved the attention,
everyone’s clapping for him and I think he feels really good about himself. (Sue)
In this quote, Sue referred to the freestyle portion of the class, in which the students
stood in a circle and took turns dancing to the music in the center for the rest of the
group to watch. Luke enjoyed this part of the class, and Sue believed that his confi-
dence was boosted from the positive feedback of his peers (e.g. clapping for him
and giving him high fives).
 Research in Dance Education 9

I think when people look at the program they would say “oh you know it’s, it’s great.
These kids have the chance to learn dance and you know, to get some physical activ-
ity.” But there’s so much more that I have seen from it that’s so rewarding. And uh,
like I said just that change in self-confidence in the students and you know them grow-
ing as a person and believing in themselves. And realizing um their own potentials is
what’s I would say the biggest reward, whether they know it or not. (Sue)
Sue noted that, while participants in her dance class have the opportunity to become
physically active, they benefit greatly in other aspects as well. Specifically, she felt
that the class boosted Luke’s self-confidence and self-assurance and was able to
realize his own potential in learning how to move his body in a new way, move in
synchrony with others, and remember choreography.
He’s always where he needs to be. He follows direction really well. He knows where
he needs to stand. He imitates your movement. (Sue)
Sue noticed that he had the cognitive capacity to follow along in her dance class.
He participated at the appropriate time and stopped to listen and observe at the
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appropriate time. He was able to watch the instructor’s movements and translate her
instructions into his own movement. In this way, he was fully able to participate in
the class and reap the full benefits of dance.
It puts him in a place of being very aware of, of where his feet are going. Of you
know, where his, moving his hips and his shoulders. And I think he’s very aware of
his body at that point. (Mom)
By attending the class and learning how to move his body to perform new dance
moves, Luke’s mother believed that Luke had increased body awareness and overall
confidence while dancing.
His dance moves have been acknowledged by people. And so I think, I thi-, and even
from the volunteers, I think I see them encouraging him. So I would say definitely his
confidence was boosted. (Mom)
Luke’s mother noticed that Luke was complemented on his dance moves on several
occasions. He was complemented by the volunteers, by parents of his peers after the
class, and even friends within the community that were able to see him dance.
Luke’s mother noted that he became excited when he was complemented and
believed that he was encouraged to keep dancing.
Through the interviews with Luke and observing his participation in the dance
class, it was evident that he gained psychological skills in dance. When asked to
demonstrate what he learned in the dance class during his second interview, he per-
formed the combination that the class had been working on with no music or cues.
He was able to remember the dance on his own and was confident in his ability. In
addition, he was aware of his body in space and was able to adapt the movements
to the limited space available.

The physical benefits of participating in a community dance class

Sue believed that Luke became more coordinated and learned how to perform new
movements, while his parents believed that it was beneficial as a way to increase
physical activity, although perhaps not enough for skill development.
I’m sure he benefited a little bit in terms of balance and coordination. (Sue)
 10 N. Reinders et al.

Luke may have developed motor skills specific to activities practiced in the class.
Like anything, you’re learning a new task. The first day it’s quite challenging and then
he practiced it and was able to coordinate those different movements. (Sue)
After working on the exercises for several weeks, Luke was better able to perform
them. As a result, Sue believed that his coordination improved with respect to those
specific movements.
I think it was good exercise for him, um and, and was a benefit. (Mom)
Luke’s mother felt that the physical aspect was beneficial, but was not intense
enough to alter his body composition or affect his ability to carry out daily tasks.
[To] be able to say it [Luke’s coordination] was directly related to the dance class, I’m
not sure that I can because of the other things that he’s involved with. (Dad)
Luke’s father commented that Luke may have become more coordinated over the
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period of time that he was participating in the dance class, but because he also
played basketball at that time, he did not feel as though he could attribute all of the
benefits to the dance class.
From observing the dance classes, Luke was able to control the intensity of his
movements in order to create both strong sharp movements and gentle flowing
movements. He was also physically capable of performing all of the actions that Sue
asked of him. In his interview, Luke stated that the dance class was easy, but he was
sweating by the end of it. This may indicate that he was not overwhelmed by the
difficulty of the class and was able to participate to the point of physical exertion.

The social benefits of participating in a community dance class

Both Luke’s parents and dance instructor believed the dance class provided him with
social experiences that he would not otherwise have.
He seems to enjoy the social aspect of coming and seeing the people that he does
know. (Sue)
Sue noticed that he was not shy and was eager to visit with his friends every week.
They were very outgoing, often initiated the conversation, and helped to engage
Luke socially within the class.
After the class would come out he would be more animated and, and uh, I think maybe
chatting a bit with the other girls. So it did, he, he came out of that class more engaged
with uh those around him. (Mom)
Luke’s mother reported that Luke was more socially engaged immediately after par-
ticipating in the class and that this continued for a period of time afterward. Usually
he would remain engaged until they returned home or he set his mind on something
else. She believed that this would have continued for a longer period of time if he
were to go from dance to another social situation, but they always returned home
afterward and therefore she was uncertain whether that would have occurred.
It helps him expand socially, which is huge for him. Um it teaches coordination, it gets
his brain working and it’s just getting him out of the house doing something he enjoys.
And um, there’s not always a lot of things that he enjoys doing other than watching
TV and you know, a few of those things. Um, you know, to take him up to a wood
 Research in Dance Education 11

working class or something like that, it’s just, you know. But this is something that he
enjoys and I can get him out of the house and into the community. (Mom)
The dance class allowed Luke to interact with his friends that he would not have
otherwise seen if not for participating in the class. Luke’s mother also noted that he
genuinely enjoyed dancing and attending the class; feelings he may not have for
other activities. As he does not seek social engagement on his own, Luke’s mother
feels that it is very important to provide him with the opportunity to meet with other
people in a social setting, which is the dance class in this case.
There was good social interaction and um he, he f-for sure seemed to have um more
communication and willingness to talk an- as, as a result of that. (Dad)
Luke’s father also noticed that Luke was more socially engaged after finishing the
class. He was referring to the first time that he had seen Luke participate in the class
and believed that it was a good opportunity for him.
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I’m not sure if purely the dance class has, has been, had a, you know, real big impact
on it [communication]. But I mean, there is um, he, he definitely seems to uh, for
whatever reason in the last little bit, um uh has more desire I guess for communication
anyway, so. (Dad)
Luke’s father had difficulty determining whether social changes he saw in Luke over
the research period were solely from the dance class or from a combination of dance
and his other activities.
It was evident that Luke was more socially engaged and talkative after the dance
class was over. Sue believed that he became more comfortable with her and revealed
more of his personality with each class. Three of his high school friends also partici-
pated in the class. These were the students who socially engaged Luke and helped
him to feel comfortable in the class. Other than the social engagement with his
friends, Luke sometimes spoke with the volunteers who helped in the class. Other-
wise, he did not socialize with the instructor or other students in the class as much
as with his friends.

The influence of music on the benefits of participating in a community dance

class
All participants agreed that music was an integral part of the dance class and that
the class would not have been as beneficial without the component of music. Luke
responded positively when the instructor played familiar songs and was enthusiastic
to move.
[He’s] actually a very good hip hop dancer, like he has that rhythm and like, he gets it.
When there’s music on he will bounce to the beat of the music. (Sue)
The music if anything probably helps, like motivates him to get moving an-, because
he has that sense of rhythm. (Sue)
Sue noticed that he displayed greater musicality than many of his peers in the class
and became excited to dance when the music was played. He knew how to respond
to the music in an appropriate way and changed his movements depending on the
type of music. The music stimulated Luke to dance and remember which move-
ments he was expected to perform with each song.
 12 N. Reinders et al.

I think music plays a big part in it cuz you notice a difference um, you know if I play
a song that they love and that they’re familiar with, you know they’ll kind of get mov-
ing automatically. (Sue)
There were two main portions of the class: the first half where the students work on
specific skills to classical music, and the second half where they move more freely
around the room to upbeat music. Sue believed that the students enjoyed the upbeat
music more than the classical music because they have heard many of those songs
on the radio and in other situations. The familiarity of the music may influence their
movement and participation in the class.
It might be just something he is, in his person or that just loved the music. And that
then transmits uh, into wanting to move. (Mom)
Luke’s mother noted that he has always loved music and responded by moving and
dancing to the beat.
He would kind of bust a move or whatever, even on his own without the music, but as
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soon as the music is on then you know that’s what’s coming next. (Mom)
She also said that, while he enjoyed dancing without music, he would be more
likely to do so if there was music on. In this way, dancing was Luke’s response to
hearing music.
From observing Luke in the class, he danced more freely to the music with
which he was familiar. Perhaps this resulted from the structure of the class, however,
because the classical music often accompanied a structured exercises for skill
development, whereas the familiar music was used for larger movements across the
room and free dance time. Sue explained that sometimes the familiar music was too
distracting for the dancers, which may have influenced her to structure the class in
this way. Regardless, it is important to note that all of the students, including Luke,
were more excited to move with the familiar songs.

Luke’s participation in the dance class

The following section reflects the principal researcher’s observations of Luke in the
dance class. Luke participated fully throughout the class. He enjoyed the classical
music that was faster and had a strong beat. For example, there was a dance exercise
in which the students were required to use strong and quick movements with their
arms. Luke was able to perform the exercise in this way and seemed excited to use
his strength in dance class. The students applauded after each dance exercise and
were exited to start the next activity. The applause varied in loudness based on how
engaged the students were in a particular exercise. Overall, Luke enjoyed the pop
music more than the classical music, as did most of the students. This may have
been because the teacher used familiar songs. He was able to concentrate throughout
the class and did not initiate conversations with his friends in the class. His friends
both initiated conversations with him between exercises, which he participated in,
but only minimally. He enjoyed to high five his friends between exercises as well.
Luke was also able to concentrate when learning new choreography for the dance
routine. He often watched the teacher and volunteers, who were also doing the
dance, when he forgot which move was next. Luke’s favorite part of the class was
the freestyle portion. He was very eager to show his peers his dance moves and
enjoyed watching his friends dance. Unlike most of the other students, Luke often
 Research in Dance Education 13

used his own dance moves that they had not learned in the class. He enjoys watch-
ing Dancing with the Stars and High School Musical, which may be where he
learned some of these dance moves.

Luke’s interview
Due to Luke’s difficulty with communicating, it was not possible to quote him in
this paper. Luke’s mother was present during both of Luke’s interviews to help the
principal researcher to understand what he was saying. Open-ended questions and
those that required Luke to remember specific facts were not suitable for the inter-
view. In addition, abstract concepts such as describing ones feelings about the class
were not appropriate. Luke was confident in answering straightforward questions
about his day-to-day life and general aspects of the dance class. For example, “did
you like the dance class?” or “when do you go on your paper route?” His mother
prompted him occasionally by rephrasing questions when he was having difficulties
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recalling facts or understanding the question. Luke became excited when he was
asked about his friends, the dance class, and activities that he enjoys, such as music
and movies. He became especially excited when his mother prompted him by
demonstrating his favorite dance moves and prompting him about his toy monkeys.
One important note from Luke’s second interview resulted when he was asked to
demonstrate what he had learned in his dance class. He was asked to show the posi-
tions of his feet and arms. He stood up and performed the dance routine that he had
learned in the class without any prompting or music. He did this with enthusiasm
and performed about ten seconds of the dance. The interviewer asked again for him
to demonstrate the positions of his feet and arms. These he could not remember on
his own, but remembered as soon as he was prompted. Overall, Luke seemed to be
happy during the interview process and enjoyed sharing his dance experiences
though movement rather than through communication.

Discussion
Several key findings were revealed from Luke’s lived experience of participating in
a community dance class. Over the course of the program, it appeared that Luke’s
self-confidence, body awareness, self-esteem, and encouragement to dance were bol-
stered. He may also have increased balance and coordination within the class, as
observed by the dance instructor; however, this was not observed by his parents out-
side of the class. Regardless, the class provided Luke with the opportunity to expand
his social circle and become more engaged in the community. After each class,
Luke’s parents noticed that he was more sociable, engaged with his peers, and will-
ing to participate in conversations. The music was a very important factor in Luke’s
participation in the class. Sue observed that Luke had a good sense of rhythm and
musicality and was able to translate that ability to the different styles of music she
played in the class. Luke’s parents commented that he enjoys listening to music and
that dancing is often his response to hearing music. Overall, Luke’s parents felt that
participating in the dance program was beneficial.
For the most part, children with Down syndrome do not engage in the recom-
mended amount of daily physical activity (Carmeli et al. 2011; Shields, Dodd, and
Abblitt 2009), which may be a result of limited programming for children with
Down syndrome (Barr and Shields 2011). Sue specifically created this dance
 14 N. Reinders et al.

program for children with disabilities, which may help them engage in more
physical activity. Luke’s mother noted that there are few activities in which Luke is
interested in participating, but he truly enjoyed attending Sue’s class, and she felt
that it was a good form of physical activity. Children with Down syndrome may also
display reduced motor development (Jobling, Virji-Babul, and Nichols 2006); how-
ever, participating in a dance program may provide these children with the opportu-
nity to develop motor skills. Sue felt that Luke learned new skills in her class and
may have reaped other benefits (e.g. coordination, balance, and gross motor skills).
In addition, the social and psychological benefits noted by Luke’s parents and dance
instructor were consistent with previous findings (Becker and Drusing 2010; Jobling,
Virji-Babul, and Nichols 2006; Quin, Redding, and Frazer 2007).

Limitations and concluding remarks

Luke’s parents felt that Luke’s experience may have been enhanced if there were
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more students of his age and if it were for a longer period of time or perhaps more
than once a week. Luke’s parents also suggested that being the only male in the
class may have been a limitation in Luke’s experience. Quin, Redding, and Frazer
(2007) found that females with typical development who participated in dance dis-
played greater interest, enjoyment, and motivation than their male counterparts. It
may be that participating with females enhanced Luke’s experience as a male dancer
or; on the other hand, perhaps he would have felt more comfortable dancing with
males. Because three of his friends were also in the class, the latter may not have
been of consequence.
It is important to note that Luke participated in a basketball program once a
week and attended a community work placement three times a week while also
attending the dance class. His father found it difficult to differentiate whether the
changes he has noticed in Luke over the weeks of the dance program were directly
attributed to dance or from his other activities. Both programs offer social, physical,
and psychological stimulation; therefore these programs may have influenced the
changes in Luke’s behavior observed by his parents. Secondly, Luke had previously
participated in the dance program about 6 months before re-enrolling in the second
dance class. It is possible that the benefits of participating for the second time may
be enhanced from having more experience in the program or reduced because the
advantages are not as great over a long period of time. For example, the benefits of
the class may be more greatly observed within the first weeks of participating and
plateau toward the end, and therefore, Luke’s second experience may have differed
from the first. To combat this issue, there were two interviews, the first to discuss
Luke’s first experiences and the latter to discuss overall experience.
The objective of this research was to explore Luke’s lived experience of partici-
pating in a dance class, from his perspective, that of his parents and that of his
instructor. There is little research directly pertaining to the benefits of community
dance programs for people with disabilities, specifically Down syndrome, and there-
fore, this study may be a valuable resource for future research in this area. Future
studies should attempt to quantify the psychological and physical benefits of the
class though pretesting and posttesting in addition to further exploring the lived
experience of participating in a community-based dance program. It is difficult to
alter the programming and layout of the dance class; however, having the partici-
pants attend more than one class per week for a longer period of time than the
 Research in Dance Education 15

current study may also be of value. In addition, research with both males and
females would be advantageous.
After analyzing the interviews, there are several aspects of the dance class that
could be altered to improve the benefits of the program. The frequency of the class
could be extended from once a week to twice a week, or the length could be
extended from 45 to 60 min. Secondly, there was a wide age gap between the oldest
and youngest participant, which may have resulted in the class being too difficult
for the youngest participant or too simple for the oldest. Ideally, the class would be
split into smaller groups of students who are similar in age or cognitive develop-
ment. Lastly, Luke was the only boy in this particular class, which may not have
affected his participation because he had other friends in the class, but this factor
may hinder other males from joining the program. It may be worthwhile to offer
boys only program that focusses on male-oriented dance training.
As a dance instructor and studio owner, the principal researcher understands the
resources necessary to implement such a program. The program expenses include
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renting studio space, hiring a dance instructor, training dance helpers, advertising
classes, and more. With supplementary funding, Sue would be able to apply some
of the changes listed above and decrease the cost of the class for the participants.
Luke’s parents noted that there are few activities for people like Luke in their home
town, and Sue mentioned that she had never heard of another program like hers in
Southwestern Ontario. While there are other dance programs available for people
with special needs in Southwestern Ontario, they are few and far between. External
funding would increase availability, accessibility, and public knowledge of recre-
ational dance programs in Southwestern Ontario.
In conclusion, all participants felt the dance program was beneficial. Sue enjoyed
having Luke participate in her class and felt that he benefited physically, socially,
and psychologically. The music helped to stimulate Luke and motivate him to move.
Luke’s parents agreed that the experience had a positive impact on Luke’s social,
physical, and psychological skills. Specifically, the dance class provided him with
the opportunity to participate in an activity he enjoyed, expanded his social circle,
engaged his mind, and became physically active. This research may increase the
awareness of the benefits of dance for those with Down syndrome. These findings
may also be useful for the creation of similar community-based dance programs so
that more individuals similar to Luke are able to reap the benefits.

Disclosure statement
No potential conflict of interest was reported by the authors.

Notes on contributors
Nicole Reinders is a master’s student in the Department of Kinesiology and Physical Educa-
tion with an undergraduate degree in Health Science. Nicole’s primary area of research focus
is dance for people with special needs, primarily autism spectrum disorder and Down’s syn-
drome, from both qualitative and quantitative perspectives.

Pamela J. Bryden is a full professor in the Department of Kinesiology and Physical Educa-
tion, with a background in Psychology. Her primary research interests are the cognitive, per-
ceptual and motor determinants of behaviour in normal and clinical populations across the
lifespan, and in particular examining the mechanisms underlying lateral dominance.
 16 N. Reinders et al.

Paula C. Fletcher is a full professor in the Department of Kinesiology and Physical Educa-
tion, with a background in Health and Gerontology. Fletcher’s primary research interest
involves the examination of the lived experiences of individuals faced with a chronic illness
and/or disability. She also studies the impact illness and/or disability has on the family unit.

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