This essay was first published in a new Baring Foundation publication – Creative ageing – what next? An agenda for the future (published 10 October 2023)
Moving Memory Dance Theatre, an inclusive physical performance company, was established 13 years ago in response to the lack of representation of older women in the performance world. The older body was, and still remains, rarely seen centre stage. Our mission focused on challenging ageism, questioning who has the right to be recognised as an artist, and equipping older people with skills to become ‘movers and makers’. Our practitioners become the leaders of creative communities via a distinctive, non-prescriptive performance practice that celebrates the dynamism of those we work with.
The older body was, and still remains, rarely seen centre stage.
When we started making work we faced barriers to getting the work seen. Venues were sceptical that older women would put bums on seats. When approaching one venue, the response to the possibility of being programmed was “we’ve got one of those already”. We chose to ignore such rebuffs and took, guerilla style, to the streets, shopping centres, any public space where the work could be shared, particularly with non-traditional theatre audiences. People were delighted to see the streets taken over by older women, to see themselves represented in the public arena, and thrilled by the message of the work. What initially was a challenge, became central to our practice and, as a result, our participatory programme was born.
In developing our unique practice three questions shaped, and continue to inform, our approach. Who is this for? Whose stories are being honoured? What are the essential ingredients to ensure participant ownership? As a Theatre Maker of 35 years’ experience working in a variety of settings, I have learnt from some wonderful people, as well as witnessing participatory work which is ultimately self-serving. On embarking on the new adventure with Moving Memory, I checked in on my intentions and who was I serving. I had seen so many participatory artists imposing ideas without properly listening to or serving the stories of others.
Prior to founding Moving Memory I was called out by a group of tea dancers who asked if I was going to make yet another piece of work about lonely old women dancing together. And the truth was, some of those assumptions were held by me. Pulled up short, I started to really listen, my eyes opening to a feast of interpersonal dynamics simmering on the ballroom floor: stories of marital infidelities, moments of intimacy, the politics of the tea dance world. Lesson learnt, I strove to ensure that our inaugural project honoured our participants, served to change the way people perceived those who were dismissed as ‘old’ and countered prejudice with a rich panoply of stories, dripping in complexity. Our practice was built from the bottom up, in response to participant engagement and feedback, and, as a result, it is ever evolving.
Importantly, Moving Memory is led by older women, starting from a place of shared experience and understanding. More often than not our performers have little or no experience in professional theatre making when they first join the company. They work alongside more established facilitators who have been trained on the job, so there is a sense of possibility and potential. This aspect of the practice is often commented on by participants, people feeling at ease and inspired to be led by their peers. It was only as the company became more immersed in the world of creative ageing that I realised how unusual this was.
As we became part of this new world, I encountered some unexpected issues around group leadership, participatory practice and participant ownership, some of which hit me during a couple of events attended in our early days.
While at a well-respected dance festival welcoming a large number of companies, I noted that I was the oldest artistic lead in the space. While I was surprised, I also realised that this gave the company an edge. I also became aware that our autobiographical approach and our intention to skill our participants as an ensemble of ‘movers and makers’ was unusual and a strength. This approach offers company ownership, and a real sense of belonging to a distinctive creative community within which participant stories are animated and celebrated, as opposed to having stories/choreographies prescribed upon them by those who have limited understanding of their lived experience.
When the creative lead has the same experience as the participants, the power relationships are changed – there is an equity. Empowering and opening up opportunities for an exchange of views with lived experience at the heart of the matter is the breeding ground for a truly creative conversation where all voices are heard and we begin to chip away at the power imbalance that is the stuff of ageism.
When the creative lead has the same experience as the participants, the power relationships are changed – there is an equity.
Creative ageing is gaining due attention and drives some fabulous initiatives, but we can do more to ensure that those who are involved in the decision-making process have lived experience of ageing and ageism. We need more of our creative programmes to be led and facilitated by older people, and to ensure participants are given ample opportunity to have their opinions and views heard. I have attended too many events where the average age of speakers is around 30 and the older participant voice is not present – or present but not heard. I know of no other-ism where people would not be up in arms if a panel was not populated by at least 50% of the community it is representing. We know the benefits of intergenerational learning, but the balance of representation needs to change otherwise the views and interests of the people whose lives we wish to enhance are brushed under the carpet and participants’ voices are nullified.
Things are getting better but we need to make a greater effort. If we are to up-end the pernicious impact of ageism and be a role model for society, we need to start with ourselves, continually reflecting on, and questioning our practice, organisational structures and participant ownership. Integrity needs to be at the heart of all we do in order to achieve real change in attitudes to age.