Running Head: CREATIVE YOGANCE 1

Running Head: CREATIVE YOGANCE 1
Designing a Creative Yogance Program for Healthy Aging:
A Pilot Study for Luther Crest Residents
Jacqueline D’Amico
Advance Research in Dance II
Muhlenberg College
Word Count: 10,624

CREATIVE YOGANCE FOR HEALTHY AGING 2
ABSTRACT
There are more elderly people in the United States now than ever before. With
this change in our national demographic, there comes a need for more activities, therapies
and preventative care measures to maintain quality of life for geriatrics in their later
stages of living. For this population, previous research has explored various exercise
activities like jazz dance, Tai Chi, and chair yoga as beneficial for the geriatric
population. In this present work, the BrainDance and yoga in combination, Creative
Yogance, offers movers unique fitness capabilities through brain-compatible movement
patterns, mindfulness, and creativity. With an emphasis on the physical practice, breath,
and meditation, it was the primary objective of these sessions to energize and enlighten
individuals in mind and body. Based on teaching and research findings of anecdotal
evidence this article addresses that the combined movement intervention of the
BrainDance and chair-based yoga have a great benefit on promoting healthy aging
practices for an older, physically-inactive population. Residents from Luther Crest Senior
Living participated in up to four Creative Yogance sessions taught weekly. The
effectiveness of each session was reflected upon through use of an observation checklist,
journal entries, and a student observer. Opportunities for future research are discussed.
Keywords: BrainDance, yoga, elderly, healthy aging, cognition, quality of life

DESIGNING A CREATIVE YOGANCE PROGRAM FOR HEALTHY AGING:
A PILOT STUDY FOR LUTHER CREST RESIDENTS
Aging is defined as, “a process whereby the structures and functions of the body
change after we reach reproductive maturity” (Woodyard 2011). As we age, our body
naturally undergoes many physical and cognitive changes. As this process is gradual,
these subtle and natural changes can for some time, go unnoticed. In time, these changes
can have a profound effect on how we act and react to the world around us. One negative
aspect of aging can be characterized by a cognitive decline and physical degradation of
muscles, joints, and bones. There is no doubt that physical activity is good for people no
matter what their age. However sometimes, consequences of aging prevent a senior from
engaging in more commonplace forms of exercise such as walking, running, or weight
lifting. For this very reason, gentle forms of physical activity among older adults needs to
be fostered and made accessible for these aged years to be more enjoyable. Ultimately,
physical activity can allow people to keep their independence even longer, which can
improve mood and quality of life overall. Physical movement practices like the
BrainDance and yoga are will be explored discussed within as a new holistic framework
for promoting good health, wellbeing, and successful aging.
While the average life expectancy in America today is higher, health practitioners
have begun to shift their focus onto “successful aging” (Rowe & Kahn, 1997). Hui and
colleagues describes as the ability to maintain three key behaviors: (1) low risk of disease
and disease related ability, (2) high mental and physical function and (3) active
engagement with life. As physicians and research teams continue to study the physical
effects and well-being of older adult patients, ages 65 years and older, many have found
that non-pharmacological approaches may be more beneficial for treatment of illnesses
ad injuries rather than treatment with medications (Kendall, Hartvigsen, Azari & French,
2016). For example, in researching such approaches to treating cognitive deficits and
managing dementia, more practitioners should consider the benefits of dance or yoga
therapy for these patients because they are both embodied and spiritual practices that heal
the whole person. Ultimately, for individuals suffering with certain conditions, whether
related to the function of joints, bones, heart or brain, the effects of yoga and dance on
physical and psychological well-being in older persons is widely beneficial (Hui, Chui, &
Woo, 2009).
DANCE FOR OLDER PERSONS
Dance as a multimodal movement form is shared and experienced in many ways
like through exercise, performance, therapy, and activity. Past research suggests that
dancing may be a promising intervention to counteract the age-related decline in physical
and mental abilities (Yasgur & Barclay, 2017). Dancing activities can include physical
exercise, but can also be performed at various levels of expertise from novice to
professional. These dancing activities include social and emotional interactions targeting
the mind and body in its totality. “[It] provides an individual with increased sensory,
motor, and cognitive demands” (Kattenstroth, Kalisch, Holt, Tegenthoff, & Dinse, 2013).
In Dancing as a psychosocial intervention in care homes: A systematic review of the
literature (Guzmán‐García, Hughes, James, & Rochester, 2013), dance therapy was
introduced to nursing home facilities to help people recovering from dementia where
research saw an increase in health and social activity for patients. Other studies that
looked at the influence of various group dances: line dance, circle dance, and ballet
showed that patients identified with a stronger sense of community leading to improved
socialization. A review of several studies done in the dance/movement therapy field has
looked at the benefits in patients with cognitive deficits specifically. Overall, there was
an increase in mood, cognition, communication, and socialization (Guzmán‐García et. al,
2013). In a similar study, A mixed methods evaluation of complementary therapy
services in palliative care: yoga and dance therapy” (Selman & Williams 2011), yoga,
The Lebed Method (TLM) and both interventions in combination were explored on an
older population of cancer patients. Primary concerns were problems with
mobility/fitness, breathing, difficulty relaxing, and fear/anxiety with reports of psycho-
spiritual, physical and social benefits. In New framework for rehabilitation - fusion of
cognitive and physical rehabilitation: the hope for dancing (Dhami, Moreno, & Desouza
2015), researchers questions the efficacy of dance as a combined therapy for
neurorehabilitation programs specifically. This comprehensive review focused more
toward the cognitive implications of dance for healthy individuals and those with
cognitive impairments like patients healing from a stroke, dementia, or Parkinson’s
disease. They posit dance as an enjoyable therapy intervention that aids both physical and
cognitive functioning that can lead to greater recall, longer memory spans, increased
social interaction, more refined motor skills, while also integrating music for a greater
cognitive benefit. They echoed that physical benefits of dancing on older persons are well
known and noted the following limitations or gaps in research: (a) cognition specifically
is less studied as it requires more advance protocol measures like neuroimaging
techniques and would require long-term interventions that have yet to be piloted; (b) it is
unclear how dance is perceived among healthcare professionals as recreation versus a
valid therapy intervention, and therefore could help to explain why dance as a combined
therapy is limited; (c) few studies have compared dance to other exercise interventions;
(d) even fewer studies have looked at the efficacy of different styles of dance, which
researchers believe can only be researched further after dancing, in general, is proven.
Renowned dance educator, Anne Green Gilbert’s BrainDance created a series of
actions comprised of eight developmental movement patterns—breath, tactile, core distal,
head tail, upper lower, body half, cross-lateral, eye tracking/vestibular—first designed
with children in mind. After birth, a baby moves through her own BrainDance
instinctively in the first year of living. A baby's first breath helps brain cells to form and
grow. The second pattern, tactile, involves physical touch and stimulation, essential for
promoting developmentally appropriate behavior as well as emotional and social
intelligence. The core-distal pattern becomes important in the first two months of life as a
baby reaches outwards into her external surroundings and retreats back into her center,
mimicking the womb position. By two-months, a baby gains better head control, lifting
and turning the head enlivening the head-tail pattern. Discovering the upper and lower
body halves develop next as the baby pushes with her arms and hands and then responds
with feet and knees. Between 5-7 months, a baby reaches with just one side of her body
at a time, enlivening the body side pattern of moving. Between 7-9 months, a baby pushes
herself up onto her hands and knees and begins a more challenging cross lateral reach
from the upper body. Cross lateral patterns are integral in walking and running
coordination as it engages both hemispheres of the brain simultaneously. Lastly,
the vestibular pattern is addressed because of the important role the vestibular system
plays in developing and maintaining stability and control in the body. It acts as an
internal GPS for our bodies as it analyzes movements of the whole, engaging and
processing sensory information. It is used to help us hear, speak, read, touch, balance, and
move (Greene, 2006; Shervill, 2015; Thornberg, Lindquist, & Josephsson, 2012).
YOGA FOR OLDER PERSONS
The word yoga comes from the Sanskrit origin “yuj” and has many
interpretations, but is assuredly understood as union or to join. Most styles are based on a
2,000 year old system shared in the seminal text, Yoga Sutra, which details the eight-limb
path of yoga taught to lead to a more meaningful and purposeful life (Patañjali, 1975).
First, the Yamas and Niyamas, are moral vows and observances to live by; Asanas are the
physical practice of postures; Pranayama is related to breath; Prayahara is related to
breath, mediation, and the ability to mentally withdraw from ones physical surroundings;
Dhahrana is focused on concentration; Dhyana is the meditative component; And lastly,
Samadhi is reaching the state of pure bliss once all other limbs are honored. Many
Western practices of yoga tend to focus on the physical practice of asanas, which are the
postures performed, coupled with pranayama, which is the controlled breathing technique
to support the postures. A regular practice of yoga promotes strength, endurance, and
flexibility, while also fostering kindness, compassion, a sense of calm and well-being in
an individual (Tew, Howsam, Hardy, & Bissell, 2017). Similar to dance, it is practiced
and experienced in many ways though yoga research is more extensive in proving
efficacy for health, wellbeing, and quality of life for older persons.
In Activities for the Older Adult: Integration of the Body and the Mind (Birkel,
1998), Birkel provides a comprehensive overview of a mergence of physical education
programs and recreational activities that provide older adults with tools for better quality
of life and promoting independent living in later years of life. She covers beneficial
movement practices like Hatha yoga, Tai Chi, Feldenkrais Method, and briefly covers
their positive effects for older movers. For Hatha yoga specifically, this movement
practice consists of static, slow stretching exercises and postures where the parts of the
body are used as a resistance that will strengthen the muscles and bones in action. It can
also be adapted with use of a chair as a prop to aid older movers. Yoga-based
interventions for the geriatric population have been found to be a more holistic alternative
to regular aerobic exercise because it integrates the physical body and meditative mind
(Harisprasad et al., 2013).
Typically among an older population, styles like Bikram, Vinyasa, and other
flow-based yoga styles are not used because of the physical intensity of these practices.
However, my yoga-based intervention is inspired by the Baptiste methodology that I have
learned and am certified in as a Registered Yoga Teacher. The Baptiste methodology is a
Vinyasa style, though based in Hatha Yoga teachings. The focus of this methodology
addresses empowerment and self-discovery through physical practice, strong breath
support, and self-inquiry as well. For my own work, as these classes are extremely
aerobic and often done in a heated room, the specific sequencing of postures will be
adapted and modified using a chair or other assistive devices as props for this particular
population.
CREATIVE YOGANCE: INTEGRATION OF BRAINDANCE & YOGA
Creative Yogance perfectly models the structure of my movement session, which
explores the BrainDance, a yoga sequence, with separate time for residents to create their
own movement phrases as well. It follows the five-part creative lesson plan crafted by
Anne Green Gilbert. Through personal experience of Muhlenberg’s teaching dance
courses, I was introduced to this dance teaching and was most captivated by the
application of the BrainDance. Though Gilbert developed these patterns primarily for
young students, these patterns—taught at any age or ability—have been found to be
beneficial in reorganizing the central nervous system and enlivening neurological
pathways (Gilbert, 2006). These exercises increase focus, balance, core stability, body
awareness and total body coordination. They can relieve stress, improve range of motion
and increase brain oxygenation as well (Gilbert, 2006). This warm-up phrasing exists
within a brain-compatible creative dance model that offers exciting potential for
promoting health and wellbeing, regardless of age or health status. When discerning ways
to support the aging brain and body, teaching the BrainDance would be an excellent
addition to any activity for a geriatric population. In one article, Brain Dance for Seniors
individuals reported feeling “light and playful”’ after moving through this warm up and
shared that it allowed their brain to relax and go into the experience fully (Shervill,
2015). The BrainDance is a holistic movement exercise practice that targets the physical,
social, emotional, and intellectual body.
Based on what was available in this community, I scheduled the Creative
Yogance session at 1 class per week for one-month. The yoga classes ranged from 45-60
minutes in duration dependent upon the number of residents present each class. As a
certified yoga teacher, I have adapted my own embodied knowledge of beginning
Baptiste yoga poses to be taught in a gentle way.
Presently, the goal was to explore the BrainDance and a chair-based yoga practice
as a creative movement intervention within a geriatric population. A local continuing care
retirement community, Luther Crest Senior Living, is a healthcare facility located in
Allentown, Pennsylvania where I had taught my Creative Yogance program. This
community offers a comprehensive range of living options that scaffolds from
independent living, personal care, memory care, short-term rehabilitation and end of life
accommodations, hospice care. A Continuing Care Retirement Community (CCRC), as
defined by the American Seniors Housing Associations, is a senior living community
which provides housing, healthcare, and other supportive services starting at independent
care and nursing home care until hospice arrangements (Zarem 2010).Chair-yoga
postures were taught through the development of the BrainDance as a healing modality
for an older population of movers. Specifically, the BrainDance, which is primarily
danced in general space, was adapted to be performed while seated in a chair. The
patterns of movement are as follows: breath, tactile, head-tail, core distal, upper lower,
body half, cross-lateral, eye tracking/vestibular. The final two patterns were most
challenging for older adults because many older adults have midline and balance
problems (Lombardi, Surburg, Eklund, & Koceja 2000). In general, all patterns were
modified, but these final patterns were devised under careful consideration for the safety
of all resident. For cross-lateral or contralateral movements, I was strict in cueing the
crossing of the midline of the body. For the vestibular pattern, gently swaying or tipping
the body side-to-side, forward and backward catered to their specific needs without the
high risk of falling that spinning would have posed.
Currently, the BrainDance as a creative dance outlet is under explored in present
literature. Various dance styles like contemporary dance, improvisational forms, and
ballroom have been investigated (Hui, 2009 & Selman, 2011). All practiced styles have
seen benefits in physical, social, and mental aspects of aging. For yoga, research is more
extensive, however there is no literature discussing the effects of the Baptiste
methodology as a chair-yoga modified practice. Both of the movement forms I have
implemented in my healthy aging program have many similarities to current forms
researched, however I argue that this holistic synthesis of dance and yoga practices will
have greater benefits on older adults and add to existing literature on healthy aging
movement activities.
ASSUMPTIONS
Due to my affinity towards sharing movement practices with all bodies, my
passion for yoga and creative dance in general, and as per current literature I have already
examined; I acknowledge the assumptions I have in creating and teaching this Creative
Yogance program. First, I assume that combining a chair-based yoga class and
BrainDance will be a healthy and beneficial movement program for aging bodies. I also
assume that these practices will positively affect mood, quality of life measures and have
physical, mental and emotional implications as per similar dance and yoga-based studies.
MODE OF INQUIRY, METHODOLOGY, AND PROCEDURES
The beginnings of this research began with exploring PsychINFO and Google
Scholar databases following the search of these key words: “yoga”, “dance”, “aging”,
“elderly”, “treatment”. This search was conducted to obtain general information on the
current literature covering potential case studies, pilot tests, and other works addressing
these topics. Subsequently, a second and third search involved a narrowing of my
research concerns to the following key words: “quality of life”, “creative dance”,
“happiness”, “therapeutic effects of yoga”. In creating my Creative Yogance program, I
have proposed a five-part lesson plan for one-hour long sessions. Four classes in total
were taught to a variety of Luther Crest residents over a one-month period. Each lesson
plan is included below (See Appendix A).
At Luther Crest Senior Living, residents from the health care center and memory
care unit participated in Creative Yogance. A total of four classes were taught, ranging
from forty-five minutes to one-hour sessions. The amount of time varied upon the
number of residents in attendance, in addition to physical or cognitive endurance of each
individual. For the first class, 14 residents, 1 family member, and 2 staff members
participated in the health care center. The second class was taught for memory care
patients with 8 residents and 1 staff member in attendance. The third class was back at
the health care center and had the smallest size of only 3 residents and 1 staff member.
The final class was taught in the health care center with 10 residents, 2 family members,
and 2 staff members.
CREATIVE YOGANCE: THE LESSON
Opening Threshold
Each session, I did not know the specific population of residents until I arrived
that week. Due to this variability, each lesson was adapted and modified in the moment
based on the specific needs of the residents. The ‘Opening Threshold’ allowed me to
introduce myself and get to know the movers sharing the space with me as I had different
movers each week. I asked general questions related to energy level, and physical pains
or discomforts before we began. Each person shared their name and what they liked to do
in their day. I used this information as reference for imagery to pull from throughout my
class to demonstrate the importance of their input and ideas to the creative process. For
example, one resident, June, who came to three of my four classes, always wore a colored
barrette in her hair. Brushing her hair and combing back pieces with this clip was always
something she used for her gesture. When scarves were added into the lesson plan, she
modified her barrette gesture to a brushing over her head with the colored scarf.
Warm-Up
This next part moved through the BrainDance and varied weekly, though the
order of patterns was maintained. Movements were simple as to not complicate the
patterns, but still reach the fullest expression in simple gestures. Breath was cued
differently each week, either hands on ribs to practice lateral breathing or placed on torso
to practice belly breathing. The tactile pattern was cued with taps, pats, and brushes with
hands or scarves on all surfaces of the body. For core-distal, residents were cued to move
through a Sun Salutation A, drawing their limbs into the center of their bodies and then
radiate upper limbs up and out like rays of sunshine. For head-tail, they were cued
through the Cat-Cow posture by gently arching and curving their spine in a ‘C’ shape.
Upper-lower patterning involved waving the scarves in the air as though they were
rainbows coloring the sky. This same gesture was repeated with the lower body
mimicking the motion of the scarf with feet gliding on the floor. For residents like
Barbara and Elizabeth, whose feet were bound my wheelchair footrests, I cued them to
close their eyes and imagine their feet were moving. Body side was cued a scooping
motion on the free side of the body. Through imagery, they were tasked with gathering
flowers, painting the one side of the room, or waving to an adjacent neighbor with one
hand and foot. Cross-lateral patterning was the most challenging so cueing residents to
first find their midline was necessary. We found our midlines by placing our fingers on
our noses and tracing an imaginary line down our centers. Residents then made ‘X’
shapes with wrists and ankles, alternating with contralateral arm tosses and small kicks to
make the ‘X’ shape freer more mobile. Lastly, I cued the eye-tracking asking residents
with follow their index finger as though it were a flower from the bouquet we just picked
up. Vestibular patterning was a simple motion of tipping ear to shoulder. An additional
challenge involved closing the eyes to further stimulate their inner balance system.
Yoga Sequence
As a wheelchair or walker physically assisted all residents, it was necessary to
modify the postures to be done in a chair. The sequence, adapted from the Baptiste
methodology, was made to support breathing, range of motion, strength, and flexibility
for each body. The postures were taught sequentially and engaged the whole body (See
Appendix B). The sequence was repetitious, done equally on each side of the body and
varied each week including the following gentle postures: Cat Cow, Sun Salutation A,
Seated Spinal Twist, Thunderbolt Prayer Twist, Seated Angle Pose, Eagle Pose, Single
Leg Extension, Single Leg Circles, Marches, Seated Reverse Crescent Lunge, Seated
Savasana. For Cat Cow, residents placed palms on the top of their thighs, pressing down
as the crown of their head lifted toward the sky. We inhaled and lifted our gaze upward
and on the exhale, we dropped our chins to our chests. Aside from the younger, more
able-bodied staff members, a visible ‘C’ curve was not noted, as flexibility and range of
motion of the spine was very limited for this older population. Sun Salutation A began
with hands placed down and away from the body with palms facing outwards in Seated
Savasana. On an inhale, we swept the arms upward and drew them down in prayer hands
at our heart center on the exhale. On the next breath, we extended the arms to Tadasana
or Extended Mountain Pose and exhaled with palms and chest on thighs, resting in
Child’s Pose. For those who were able to bend even further without falling out of their
chair, I cued Ragdoll, releasing the weight of the arms to the floor and allowing the full
weight of the upper body to lie over the thighs. For Seated Spinal Twist, the back of one
hand connected to the outside of the opposite knee as the gaze drifted over the opposite
shoulder, spine both lengthening and twisting upward. For more support, residents were
cued to reach for the opposite wheelchair arm. For Thunderbolt Prayer Twist, we began
in Tadasana, hinged slightly forward in our hip creases for Thunderbolt, drew our hands
to heart center, and connecting elbow to opposite knee, gazed over the top shoulder.
However, many residents did not have the flexibility to physically connect elbow to knee.
Seated Angle Pose was a similar rotating posture, with one forearm placed on top of
thighs and opposite arm extended skyward. Eagle Pose, was cued with forearms and
ankles crossing. On an inhale, crossed limbs moved away from one another and on an
exhale drew into the core. Now moving towards further mobilization of the lower body,
Marches were cued by drawing each knee up and into the chest, drawing the navel to
spine. To increase this motion, residents were cued to cradle their knee and move into
Single Leg Circles, laterally and medially, which challenged both core stability and
strength and hip mobility. The Seated Reverse Crescent Lunge was cued with one leg
fully extended heel placed on the floor with the opposite leg bent. Moving through
Thunderbolt, we inhaled, hinging at the hip crease and forward folded, reaching for upper
thigh, shin, or ankle. This was the most challenging posture as it stretched back extensors
and hamstrings, while also engaging the abdominals. The Seated Savasana came after the
“Create” section and was cue with eyes closed, spine upright, and palms engaged out and
down. Throughout the yoga sequence, and for the entirety of the class, residents were
welcomed and encouraged to pause from movements and return to their deep breathing if
pain, discomfort, or dizziness arose. Individual modifications of each posture were also
coached throughout when necessary.
Create
Each week, I chose a different social exercise to use as their creative experience.
This section was pulled directly from the five-part lesson plan of Anne Green Gilbert’s
creative dance method and I chose to include this as a part of my Creative Yogance
lesson to give residents the agency to take control of their learning. Humans are social
beings and because the brain often learns best through social interaction, we are
chemically wired to engage most through personal connection and relationships. As an
often-isolated population, I used this section of my lesson plan to engage them socially
and emotionally through group activity. We are broke up into small groups to vary the
setting and allow residents to move through their own movement ideas, while also
learning from their peers, collaborate, and create a short dance phrase together. Dance
phrases were coupled with a different poem each week. Small groups or individuals read
the poem and chose one or more gestures to dance through the text. We read and danced
individual stanzas first, then as a class mirrored other’s movements.
Reflection & Closing Meditation
The end of each session was brief, returning to the supportive breath flow and
provided space for residents to reflect on their experiences and verbalize if they found
necessary. This was also beneficial for me to gain their insight on what worked and what
could be changed in the future. Ultimately, they were the primary beneficiaries of this
work and it was my duty to hear each of their ideas and adapt my lessons to their needs if
necessary. My questions were as follows: How do you feel differently from when you
first entered class? What is one thing you did well? What is one thing you would like to
improve? Once we were past sharing, I thanked them for their time and energy in their
practice; we bowed our heads to seal our practice, saying together “Namaste”. This term
is commonly used in yoga, as a gesture often spoken at the end of a practice to thank the
teacher and students for their time and energy.
FINDINGS
The current study explored the intersectionality of the BrainDance and chair yoga
as a combined movement practice for the geriatric population. In past research, both
dance and yoga interventions have been found to be effective exercise programs for this
population. However, the varying class sizes and inconsistent participation limited the
possibility for analyzing the effectiveness of this Creative Yogance intervention. Future
research might secure a consistent participant pool to teach consistently and for more
than four classes to investigate conclusive findings.
Through observation and anecdotal evidence, I infer that residents’ general
understanding and full embodiment of the movement increased if they attended more
classes. For example, June had participated in three sessions and by the end of the last
class, she was exuding joy and a light like I had not seen when I first met her. After the
first class, she had reflected hesitantly, that the session was merely “interesting” and I
was unable to gauge if there was a positive or negative judgment attached with this
feedback. For each class, she sat directly across from me, so it was easy to engage her
fully with eye contact and outward gestures and nods of the head. Different from June,
residents like Sabra or Patti, embodied a sullen posture, were skeptical in my practice,
and did not participate as fully as others. There was a range of involvement; many
individuals like Fay, Ron, and Elizabeth spent my class-time sleeping. As a yoga
practitioner and unaware of any medicinal side effects, or knowledge of their physical
and mental state prior to my class, I honored their need to rest and when they woke up, I
was sure to make eye contact with them to encourage their participation if they were
willing in that moment. My last two classes were large in number and I found that I
moved through the lesson more quickly in a smaller setting. My smallest class size was
comprised of two residents, June and Barbara, and one staff member, Jen. This was my
best class as I could look out to them, be in near reach of them and could witness a
glimmer of joy here and there. It could be that we were all more comfortable and willing
to move within a smaller group, but they were taking direction well, making bold choices
with their scarves, and we were all moving together. This shared movement practice
matters greatly for this age and population. Regardless of their age or ailment, if they
showed up and they tried; that is all I could have ever asked for.
The embodiment of the BrainDance was most successful when the scarves were
used as props. Use of the scarves gave them a better sense of their weight and grip
control. The various colors engaged them more fully and allowed them to play and create
with this added vibrancy. The scarves became an extension of their limbs and suddenly
they could reach their neighbors beside them and interact not only through eye contact,
but through physical touch as well. Overall, cross-lateral was a harder movement pattern
to access and often became ipsilateral in their bodies if my cross-lateral movements were
not exaggerated.
The yoga sequence functioned as the Exploring the Concept and Developing the
Skills section of the five-part creative dance lesson plan. Here, most residents seemed to
be most familiar with Sun Salutations and variations of the Thunderbolt postures. In the
Memory Support Unit (MSU), Janet, a 100 year old woman dressed in floral patterns
from head to toe, was the most able-bodied in the room. When I first entered the space,
she was quiet and spoke very softly when introducing herself. I had noticed her attention
was kept during the BrainDance as she successfully mimicked each of my gestures.
Though it was evident in the aliveness of her movement later on as though she had been
practicing yoga her whole life. Generally, contralateral movements and rotation were
most challenging among the MSU residents, and so I was mindful to embody a smaller
kinesphere and maintain a connection with them through deliberate eye focus and slower
movement patterns.
The “Create” section of each lesson was most challenging and I propose this is
was due to my lack of physical cueing. Though I demonstrated and articulated my
direction in various phrasing, I believe it is due to their reservations of doing something
on their own. In this section, they are given the complete creative agency to create a
dance and for many this is no small act; it is challenging, unlike your typical dance or
yoga class where the student mirrors the teachers movement. Luther Crest residents were
tasked to call upon familiar everyday gestures, in addition to learned yoga postures, to
embody poetry through physical movements. Different from many structured dance
interventions, improvisation was used for their movement invention, instead of repeating
a pre-choreographed sequence. In general, in a creative dance model, the lesson scaffolds
from teacher-led to student-centered activities which requires students to use their
explored concepts and developed skills to create through improvisation or various
compositional tools. Creative dance has several main objectives of developing body and
space awareness, exploring time dynamic and relationships that make this methodology
distinct from other forms studied (i.e. Argentine tango, jazz dance, etc). In one study
comparing creative dance to a control group, 50-minute sessions, meeting 3x a week,
lasting 6 months, were held. Outcome measures were taken at baseline, at 12 weeks, and
at 24 weeks. Results suggest creative dance group demonstrated better physical fitness
and reported higher life satisfaction as compared to the control group (Cruz-Ferreira,
Marmeleira, Formigo, Gomes, & Fernandes, 2015). They attribute higher quality of life
ratings to the agency and collaboration-based dance practices embedded in the creative
dance model.
Observing the change in residents’ moods and facial expressions was essential for
me to gauge the energy of the room and the pace of the class. Some individuals were
asleep, others smiling from ear to ear in a confused state, while others were simply
furrowing their brows, uninterested in my class offering. In my first session, Althea was
furrow browed for the entirety of the class, unlike anyone else in the room. One the staff
members, Sabra, sat beside her, danced with her, tried to physically engage her, but
Althea seemed very removed mentally. In another class, Shirley, who I later learned is
being treated for depression, would not look me in the eyes. I could notice in my
periphery that she was attempting the movements, but when I gestured and projected my
voice and body toward her, she immediately retreated. Unfortunately, there are many
distressed and emotionally removed residents like Shirley who live in nursing home
facilities. Research has found that among nursing home residents, the social,
environmental and medical factors that result in depression often conglomerate placing
older persons in continuing care facilities at risk for loneliness and isolation (Milne,
2017). To improve confidence and a provide a sense of community in these facilities, a
consistent yoga practice has been found to improve depression and can lead to significant
increases in serotonin levels (Woodyard, 2011). Likewise, in just a one-hour session of
Creative Yogance, residents reported feeling “great” or “sedated”. Such shared feelings
could be further pursued by delving into the exact part(s) of the lesson that brought out
these positive feelings.
In addition to the observations of embodiment by my students throughout this
Creative Yogance intervention, I have comprised a list of teaching tips to benefit the
prospect for future research:
TEACHING TIPS FROM THE FIELD
 Research your student population thoroughly prior to teaching. Know what
programs are offered to residents to understand their knowledge and exposure to
any type of exercise or movement classes.
 Can people speak? Can they read? Are they hearing impaired? What are their
primary physical and cognitive abilities?
 Will you be teaching the same population each week or will you be moved to
various services of independent living, skilled nursing care, memory care, etc.
 Teach to each and every and be prepared to adapt constantly. Do not be afraid to
veer away from your prescribed lesson. It will change based on the people and
energy of the room. Be mindful of this.

 Residents may fall asleep during your class. Allow them to rest if that is best for
their health and well being. They may also need to take breaks. Encourage them
often to pause from movements and return to their breath.
 Residents may leave in the middle of your class. Be open to individuals losing
interest though you do your best to hold their attention.
 Embody your lesson fully, speaking loudly and moving largely, regardless of
whether or not all residents are paying attention. Be invested so that they feel
comfortable to do so as well.
LIMITATIONS & FUTURE RESEARCH
The focus of my current research was on residents at Luther Crest Senior Living,
a local healthcare facility that provides a variety of outpatient and short-term
rehabilitation services, and supportive care for geriatrics. I have limited my literature to
studies from the past 15 years, as this is a newer field of interest in health and medicine.
Additionally, as full-time student completing her final semester of college, I was tasked
with a plethora of other academic responsibilities, which may limit the time, energy, and
resources I have available to wholly dedicate to this work. Secondly, limitations begin
with the restricted access to articles and literature covering BrainDance as a movement
practice specifically. Various yoga styles, primarily Hatha Yoga, have been explored in
pilot studies, clinical trials and other interventions, however the Baptiste methodology
has yet to be explored for this specific age-range. In addition to little empirical and
quantitative research covering these specific topics, time, financial support, and IRB
approval may limit the scope of my work. Future research should explore quantitative
and qualities measures for analysis.
CONCLUSION
The potential for Creative Yogance as a discipline of both dance and yoga, offers
individuals a holistic movement model to promote health and wellbeing. Although its
effectiveness is not fully conclusive as compared to other movement practices, it offers a
new path of healing for dance or yoga practitioners to further study. There exists a strong
connection between an individual’s overall physical and mental health and the internal
calm and wellbeing yoga is intended to achieve. This connection is heightened as the
BrainDance is taught with total awareness of the mind and body in a way that a gentle
yoga practice supports and integrates the whole person in their movement endeavors. At
the core of this movement intervention, Creative Yogance seeks to educate and connect
individuals through meaningful movements, assisting even the most vulnerable of
movers to achieving health and harmony through creative dance and yoga lessons.
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Dhami, P., Moreno, S., & Desouza, J. F. (2015). New framework for rehabilitation -
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Duane, B. (2016). Incorporating Dance Training in Hip Fracture Recovery: A Case
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Appendix A
Creative Yogance for Healthy Aging

Lesson 1
(60 minute class)
Age 65+
List of Materials Resources
 Chairs Teresa’s Teaching Dance Lesson Plan Template
 Phone with music Anne Green Gilbert’s BrainDance
 Sequence Poster Daffodils by William Wordsworth
 Poem
Goals: 1. To engage students mentally & physically through brain-compatible
movements
2. To practice mindfulness through supportive breathing patterns
Structure of Class
Theme: Dancing Daffodils
Concept: Body
Forward, Backward, Side Side
Opening Threshold  Instruct residents to find their own personal space in the circle
(5 minutes) o Remain seated and prepare yourself for class
 Introduction – introduce myself and the type of class they will
Music be moving through today – thank them for joining you
o Be sure to reference posters and give the active rest
“You Make me Feel so option
Young” by Frank Sinatra
How are we feeling today? Any pain?
“Beyond the Sea” by
Bobby Darin
BrainDance BrainDance
(10 minutes) Integration (Breath)
Music  Child’s pose  Ragdoll
o Place your hands on your upper thigh bones. Gently
“Fly Me to the Moon” by bow your head and glide your hands forward.
David Leonhardt o Breathe in sending your breath backwards behind you.
o Exhale, come back up.
“Peace” by David o Repeat x3
Leonardt  Tadasana
o Inhale, extend your arms skywards. Exhale, look up to
your palms. Inhale, reach even higher to the sky. Exhale,
draw your hands to your thighs.
o Repeat x4
Tactile
 Head, shoulders, knees, and toes

Core-Distal
 Radiate like the sun – both arms and legs contract and extend
 Draw your elbows to your belly and reach your finger tips out
wide
Head-Tail
 Gently move your head up and down | forward and backward |
side to side
 Ear to shoulder
 Circle to R  circle to L
 Walk with your hips – bum scooches
 Seated cat cow
Upper-Lower
 Ground down through the 4 corners of your feet. Press firmly
down in the earth
 Extend your arms skyward | Gaze up | Follow your hands to
your lap, side, knees, belly
 Extend your legs forward | Alternate legs
Body-Side
Cross-Lateral
 Find your R hand | Imagine you’re holding a bouquet of freshly
cut flowers | Give them to someone across the circle | Alternate
hands
Vestibular
The last pattern of the BrainDance develops spatial awareness, balance
and coordination. This very important system is used when we read,
hear, speak, touch, balance, and move.
Yoga Sequence Awakening:
(15-25 minutes)  Sun Salutation A
 Mountain pose
Music  Gentle arm and neck stretches
“Country” by Empire of  Cat cow
the Sun
Deep Rest:
“Stretching Exercises” by  Seated spinal twist
Anti Stress Academy  Seated forward fold
 Seated Savasana
“Tuxedo Junction” by
David Leonardt
“I Want to Hold Your

Hand” by The Beatles
Create  Find a new place in the room

Daffodils by William  Hand out poem
Wordsworth  Read the poem
 Divide into sections, read the poem and create a bodily gesture
for each word or phrase
 I read the poem a loud and each group will perform their stanza
Reflection & Closing
Meditation How do you feel differently from when you first entered class?
(5-10 minutes)
What is one thing you did well?
Music
“Coast Off” by Helios What would you like to improve?
Thank you for joining me in practice today and look forward to moving
with you again. Please draw your hands to heart center and raise them
toward your head. We bow our heads. The light in me wholly and truly
honors the light in you. Namaste.

Lesson 2
(60 minute class)
Age 65+
 Yoga Mats A Prayer in Spring by Robert Frost
 Sequence Posters
 Poem
Structure of Class
Theme: Spring Time
Concept: Body
 Introduction – introduce myself and the type of class they will be
Music moving through today – thank them for joining you
o Be sure to reference posters and give the active rest option
“You Make me Feel so

How are we feeling today? Any pain?
“Beyond the Sea” by Bobby
Darin
o Place your hands on your upper thigh bones. Gently bow
“Fly Me to the Moon” by your head and glide your hands forward.
“Peace” by David Leonardt o Repeat x3
 Tadasana
o Inhale, extend your arms skywards. Exhale, look up to your
palms. Inhale, reach even higher to the sky. Exhale, draw
your hands to your thighs.
o Repeat x4
Tactile
Core-Distal
 Draw your elbows to your belly and reach your finger tips out wide
Head-Tail
 Gently move your head up and down | forward and backward | side to
side
 Ear to shoulder
 Seated cat cow
Upper-Lower
 Ground down through the 4 corners of your feet. Press firmly down in
the earth
 Extend your arms skyward | Gaze up | Follow your hands to your lap,
side, knees, belly
Body-Side
Cross-Lateral
 Find your R hand | Imagine you’re holding a bouquet of freshly cut
flowers | Give them to someone across the circle | Alternate hands
Vestibular
The last pattern of the BrainDance develops spatial awareness, balance and
coordination. This very important system is used when we read, hear, speak,
touch, balance, and move.

 Mountain pose
“Country” by Empire of the  Cat cow
Sun
Deep Rest:
 Seated Savasana
“Tuxedo Junction” by David
Leonardt
“I Want to Hold Your Hand”

by The Beatles

 Hand out poem
 Read the poem
 Divide into sections, read the poem and create a bodily gesture for
each word or phrase
(5-10 minutes)
Music
Thank you for joining me in practice today and look forward to moving with
you again. Please draw your hands to heart center and raise them toward
your head. We bow our heads. The light in me wholly and truly honors the
light in you. Namaste.

Lesson 3
(60 minute class)
Age 65+
 Yoga Mats Daffodils by William Wordsworth
 Poem
Structure of Class
Theme: Dancing Daffodils
Concept: Body
“You Make me Feel so
Young” by Frank Sinatra How are we feeling today? Any pain?

Darin
 Tadasana
o Repeat x4
Tactile
Core-Distal
Head-Tail
side
 Ear to shoulder
 Seated cat cow
Upper-Lower
the earth
side, knees, belly
Body-Side
Cross-Lateral
Vestibular
 Mountain pose
Sun
Deep Rest:
 Seated Savasana
Leonardt

by The Beatles

 Hand out poem
 Read the poem
each word or phrase
(5-10 minutes)
Music

Lesson 3
(60 minute class)
Age 65+
 Scarves The Rain by William Henry Davies
 Poem
Structure of Class
Theme: Rain, Rain, Rain
Concept: Body
“You Make me Feel so  My name is _______ and I feel _________ (spoken with a gesture)

Darin
 Tadasana
o Repeat x4
Tactile
Core-Distal
Head-Tail
side
 Ear to shoulder
 Seated cat cow
Upper-Lower
the earth
side, knees, belly
Body-Side
Cross-Lateral
Vestibular
 Mountain pose
Sun
Deep Rest:
 Seated Savasana
Leonardt

by The Beatles

 Hand out poem
 Read the poem
each word or phrase
(5-10 minutes)
Music
Appendix B
Journal Reflection on Monday, 3/19:

My first class at Luther Crest; just returned home in complete disarray. I was not
prepared for the class I just had, but honestly truly I did what I could with the limited information
I knew. I got there and was thrown into a room with HCC residents (17 people to start; some left
throughout), nursing, staff, everyone swirling about. Folks were less physically/cognitively-less
able than I thought would be. Two were asleep for the whole hour (also very surprised I kept
their attention for an whole hour, it felt like an eternity!) Another two left; a man in a power
scooter, came in late and then left 5 min. after; clearly not buying what I was selling.
Even my name game was a bit of a challenge for some, many were not comfortable with
speaking yet. Most followed along well, looking to me and gesturing to the best of their ability.
Two or three to my L looked off into the distance. Sabra, one of the staff helped assist the R half
of my semi-circle formations (I had planned to stand, but roughly ½ were using
walkers/wheelchairs and I didn’t want to risk potential falls without more aides in the room).
Generally, I kept their focus. However reading facial expressions was challenging; June was
smiling and Sally too, Althea had a furrowed brow for the whole hour. She reluctantly followed
along because Sabra was moving her. I should’ve gotten up and made contact with them to help
them through movements.
For Create, I didn’t print enough poems (Daffodils by Williams Wordsworth) and didn’t
ask if everyone could read. Whoops. Next time. There were four stanzas so I sectioned off 4
groups. I do not think my directions were clear for some, it seemed as though they all needed
their own sheet to read off us. I think the poem was also too long. I walked around to check-in
with the task (Read your stanza aloud, choose one word that is most evocative and create a
gesture that can be taken from the movement vocabulary we used today or whatever else you can
imagine). I had wanted each person to create their own gesture, but similar to my 3yo in Creative
Movement I, they all end up doing the same one. Which is still totally fine. We all shared our
creations and then moved and read the poem together as a group. The transition to the end was a
bit off; at this point folks that stayed and weren’t already asleep were getting a bit agitated.
Reflection and closing was then brief. I asked for any feedback since I would be returning a few
more times and want to ensure that everyone enjoys the class. I got: “It was different”, “I am
okay”, “It’s fine”. And when I addressed Althea, she was “BAD”. I said my goodbyes and
wheeled some folks off to their next destinations, many were tired and wanted to rest. As I was
leaving, Sabra said “You really did a nice job”. Compared to all the other exercise/activities
offered to them this is unlike anything they had ever seen.

My second class teaching an activity for the Luther Crest community. Today, I was
brought to another unit, MSU, Memory Support Unit as there was a viral outbreak in HCC and no
one was allowed in our out for a couple days. Yikes. There were 8 residents, all with assisted
walking devices, and some VERY hard of hearing; I actually remember names because the group
was smaller (from my L to R: Lilianne, Esther, Janet, Sabra, Shirley, Ann, Sally) and 1 staff
member Jen. Only 2 ended up leaving me today. These women were upwards of 102yo and had
some form of dementia Jen shared. She predicted they might not last very long. I took my time
today, I breathed more and took many MANY pauses. Miss Sally to my R felt nauseous ½ way
through, we all had to stop, get an aide, and she left. Ten minutes later, we were surprised when
she returned. Janet my L diagonal buddy was with me the whole time, she had the most tone and
range of motion which overall these residents were a lot more limited than my HCC group.
Esther, celebrating her birthday was a daredevil, really reaching for her toes, nearly fell out of her
chair twice. I had to move with a smaller kinesphere then. Shirley, was my angsty, furrowed
brow lady this week. Sabra had a couple verbal outbursts, “Why don’t you ask us about our
lives”; she ended up leaving a few minutes later.
For create, I printed individual stanzas (A Prayer in Spring) and had a sheet for each
person. Because we were a smaller group, we created as an ensemble. I got up by this point, knelt
down by each person and gave direction. Wide-eyed and with a loud, but friendly tone I think I
conducted myself well. This class was about 40 min. We did not go as long, because they could
not focus nor had the energy level to move for that long.

My third class teaching an activity for the Luther Crest community. Today, I was moved
to another room in HCC. Boy do they love really changing it up. I don’t mind, new scenery, new
residents, why not? I had only 3 residents and Jen, a Coordinator for Activity Life, she was with
me in MSU. Sabra is the other coordinator that I have met and has sat through one class. Students
were June (returner), Barbara (NEW, but she saw MCDC TTP dancers perform last week, I did a
toothbrush gesture dance with her), and Elizabeth simply slept (also a returner, and according to
Jen, she would later claim that she “went to exercise that day”). I was happy to see June and
Elizabeth again, even though Elizabeth only wanted to participate. She said that last time as well.
Overall, today went well. I have come a long way since my first class where I left in tears, upset
and feeling as though I couldn’t do it, I was way in over my head, thinking no one cared; I just
wanted to move with them, get them to get in their bodies and add joy to their day…Today’s
lesson was only about 40-45 minutes again, not because they were exhausted, I simply ran out of
material for a 3-person class. They understood and embodied the movement really well. Things
move more quickly in a smaller setting. When I could look out to them, I could see a glimmer of
joy here and there. They were getting it; they were moving and moving matters, especially for
this age and population. I don’t need to know their age or ailment, they show up and they try;
that’s all I can ask for.
Today, Janine also joined me as an observer! Ugh! SO helpful, she could see things and
note what I couldn’t; I felt more in line with my teaching self and felt more comfortable with the
lesson and the people! Today, I included scarves as props as well. Good choice.

Today was my last class at Luther Crest. I was back in the dining hall I first taught in
several weeks and it was a full class (7 people). We started late because another activity was
exiting the space and some staff had to transport residents in their rooms to the dining hall.
Everyone seemed excited by the scarves and some, like Patti were very particular about the color
scarf I gave to her. Apparently, she hated green because it reminded her of her mother…in these
last two classes, I have noticed that a prop is more engaging that to just use the body. Folks seem
to be more interested. Only one person, Mary, said that she “wasn’t a fan of scarves”. I used the
scarves for each pattern of the BrainDance as I could see they were enjoying using them. I was
careful to switch holding hands to not be too one-sided. Using the scarf helped with eye-tracking
especially. We put the scarves down for the yoga sequencing, but brought them back for Create.
Crossing the midline and twisting of the spine is challenging. Less ROM and mobility there. Eye
focus is tracking well today. If they cannot move fully I see eye-gazing in the appropriate
direction. I am also seeing people close their eyes when directed. I have not seen this before.
Appendix C
Observation Checklist
(“Age and Dancing” Diane Amans, 2013)
Names 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Facials
Little to no change
in expression
Smile
Frown
Other
Eye
contact/movement
Asleep
No eye contact
Looks at
people/watching
Looks at objects
Looks toward
sound/listening
Body movement
No movement/no
change
Movement increases
Movement decreases
Copying actions
Tapping/Clapping
Dancing
Repetitive actions
cease
Touch
Reaches out to touch
a person
Reaches out to touch
an object
Examines object
Attempts to use
object
Uses objects as
shown
Talking
No verbal
communication
Makes sounds
(breath included)
Uses words + or -
Laughs
Sings/Hums
Emotions
Hard to know
No emotion
Happy
Agitated
Sad/angry

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Running Head: CREATIVE YOGANCE 1

Designing a Creative Yogance Program for Healthy Aging:

A Pilot Study for Luther Crest Residents

Advance Research in Dance II

Word Count: 10,624

Yogance, offers movers unique fitness capabilities through brain-compatible movement

Living participated in up to four Creative Yogance sessions taught weekly. The

Keywords: BrainDance, yoga, elderly, healthy aging, cognition, quality of life

DESIGNING A CREATIVE YOGANCE PROGRAM FOR HEALTHY AGING:

A PILOT STUDY FOR LUTHER CREST RESIDENTS

aspect of aging can be characterized by a cognitive decline and physical degradation of

engaging in more commonplace forms of exercise such as walking, running, or weight

for promoting good health, wellbeing, and successful aging.

that non-pharmacological approaches may be more beneficial for treatment of illnesses

DANCE FOR OLDER PERSONS

Dance as a multimodal movement form is shared and experienced in many ways

dancing may be a promising intervention to counteract the age-related decline in physical

In Dancing as a psychosocial intervention in care homes: A systematic review of the

an increase in mood, cognition, communication, and socialization (Guzmán‐García et. al,

2013). In a similar study, A mixed methods evaluation of complementary therapy

older population of cancer patients. Primary concerns were problems with

mobility/fitness, breathing, difficulty relaxing, and fear/anxiety with reports of psycho-

2015), researchers questions the efficacy of dance as a combined therapy for

neurorehabilitation programs specifically. This comprehensive review focused more

cognitive impairments like patients healing from a stroke, dementia, or Parkinson’s

is less studied as it requires more advance protocol measures like neuroimaging

unclear how dance is perceived among healthcare professionals as recreation versus a

Renowned dance educator, Anne Green Gilbert’s BrainDance created a series of

actions comprised of eight developmental movement patterns—breath, tactile, core distal,

promoting developmentally appropriate behavior as well as emotional and social

coordination as it engages both hemispheres of the brain simultaneously. Lastly,

YOGA FOR OLDER PERSONS

physical practice of postures; Pranayama is related to breath; Prayahara is related to

Dhahrana is focused on concentration; Dhyana is the meditative component; And lastly,

1998), Birkel provides a comprehensive overview of a mergence of physical education

(Harisprasad et al., 2013).

However, my yoga-based intervention is inspired by the Baptiste methodology that I have

learned and am certified in as a Registered Yoga Teacher. The Baptiste methodology is a

addresses empowerment and self-discovery through physical practice, strong breath

CREATIVE YOGANCE: INTEGRATION OF BRAINDANCE & YOGA

Creative Yogance perfectly models the structure of my movement session, which

Anne Green Gilbert. Through personal experience of Muhlenberg’s teaching dance

young students, these patterns—taught at any age or ability—have been found to be

beneficial in reorganizing the central nervous system and enlivening neurological

social, emotional, and intellectual body.

Based on what was available in this community, I scheduled the Creative

certified yoga teacher, I have adapted my own embodied knowledge of beginning

Baptiste yoga poses to be taught in a gentle way.

as a creative movement intervention within a geriatric population. A local continuing care

retirement community, Luther Crest Senior Living, is a healthcare facility located in

Allentown, Pennsylvania where I had taught my Creative Yogance program. This

community offers a comprehensive range of living options that scaffolds from

accommodations, hospice care. A Continuing Care Retirement Community (CCRC), as

defined by the American Seniors Housing Associations, is a senior living community

for an older population of movers. Specifically, the BrainDance, which is primarily

high risk of falling that spinning would have posed.

Currently, the BrainDance as a creative dance outlet is under explored in present

extensive, however there is no literature discussing the effects of the Baptiste

methodology as a chair-yoga modified practice. Both of the movement forms I have

implemented in my healthy aging program have many similarities to current forms

Due to my affinity towards sharing movement practices with all bodies, my

MODE OF INQUIRY, METHODOLOGY, AND PROCEDURES

these topics. Subsequently, a second and third search involved a narrowing of my