Parkinson’s disease is a degenerative disorder of the central nervous system. Its most obvious symptoms are movement-related. So a dance class for people with Parkinson’s may sound odd. But Olie Westheimer, the facilitator of a Parkinson’s support group in Brooklyn, New York, felt otherwise. She had a hunch that rigorous dance training with world-class dancers and live music was exactly what the group needed.
As she went about figuring out whether she was right, she devised an approach that has since found its way around the world, including to faraway Pune.
Early days
Westheimer thought the members of her Brooklyn support group had begun to define themselves by the disease. “I felt that people needed to remember who they were, because that’s what life is all about – trying to live your life by doing what you want to do,” she said. Her background in ballet prompted the idea of a dance class as a way to make a change, reasoning that “everything that helps a dancer move helps someone with Parkinson’s move”.
In 2001, she contacted the Mark Morris Dance Group. They sent members John Heginbotham and David Leventhal to teach monthly classes. The first sessions were experiments in trial and error, with some classes having just one student. Even so, enthusiasm remained and in 2003, the class became bimonthly thanks to word of mouth and a New York Times profile. Since then, the programme has grown exponentially. Versions of the Brooklyn model are now taught worldwide, including in India.
“For a disease that robs people of their ability to express themselves physically, vocally and facially, it’s pretty significant to be able to come into a class and work on those skills and be in a place where you can do that safely,” said Leventhal, recalling the early years. “With Parkinson’s, your executive function is affected, so if you can give people a map for what to do and when, they’re happy to have it.”
Leventhal says that narrative, imagery and rhythm are essential, adding that the Kathak, ballet, modern, tap and Flamenco dance forms have all these elements. “Indian dance, in its various forms, is incredibly powerful as a medium for this particular operation,” he said.
India calling
In 2007, choreographer Hrishikesh Pawar heard about the Brooklyn programme and decided to start something similar in Pune. Dancer Maithily Bhupatkar trained in Brooklyn for a month. On her return to India, she and Pawar started dance classes for people with Parkinson’s disease. But like in Brooklyn, the Pune venture’s first years were challenging too.
“It was difficult to talk about dance as rehab,” said Pawar. “I was putting my foot down saying that it’s a dance class, not therapy. I think the whole idea of accepting a certain kind of physical disorder or a disease is such a taboo in India that people don’t talk about it and keep it to themselves. In addition, there is the preconceived notion of being judged.”
Pawar said it was “nightmarish” to get middle-aged men to dance in front of women – many of them housewives – and expecting the women to dance as well. But Pawar and Bhupatkar persisted. Eight years on, the Pune Parkinson’s dance group meets thrice a week. Classes are also conducted in Mumbai and Delhi.
Pawar, who has since visited Brooklyn to observe and teach, did not notice many differences between the students in the US and India. "In terms of participation, enthusiasm and communication with each other, it is exactly how people in India behave," he said.
Sense of fulfilment
Westheimer, Pawar and Leventhal strike a similar chord when discussing the meaning of their work.
“My aim was to get people to think that they could still participate,” said Westheimer. "What kills you in the end is being isolated. You need something that would motivate you to get out."
Pawar feels that the dance space is a community project. “Movement itself can bring in such a difference,” he said. "I find immense peace, happiness and gratitude in doing this."
For his part, Leventhal feels a real sense of shared meaning. “The reason that it’s so significant is the bond – we’re joined as a village,” he said.
We welcome your comments at
letters@scroll.in.
As she went about figuring out whether she was right, she devised an approach that has since found its way around the world, including to faraway Pune.
Early days
Westheimer thought the members of her Brooklyn support group had begun to define themselves by the disease. “I felt that people needed to remember who they were, because that’s what life is all about – trying to live your life by doing what you want to do,” she said. Her background in ballet prompted the idea of a dance class as a way to make a change, reasoning that “everything that helps a dancer move helps someone with Parkinson’s move”.
In 2001, she contacted the Mark Morris Dance Group. They sent members John Heginbotham and David Leventhal to teach monthly classes. The first sessions were experiments in trial and error, with some classes having just one student. Even so, enthusiasm remained and in 2003, the class became bimonthly thanks to word of mouth and a New York Times profile. Since then, the programme has grown exponentially. Versions of the Brooklyn model are now taught worldwide, including in India.
“For a disease that robs people of their ability to express themselves physically, vocally and facially, it’s pretty significant to be able to come into a class and work on those skills and be in a place where you can do that safely,” said Leventhal, recalling the early years. “With Parkinson’s, your executive function is affected, so if you can give people a map for what to do and when, they’re happy to have it.”
Leventhal says that narrative, imagery and rhythm are essential, adding that the Kathak, ballet, modern, tap and Flamenco dance forms have all these elements. “Indian dance, in its various forms, is incredibly powerful as a medium for this particular operation,” he said.
India calling
In 2007, choreographer Hrishikesh Pawar heard about the Brooklyn programme and decided to start something similar in Pune. Dancer Maithily Bhupatkar trained in Brooklyn for a month. On her return to India, she and Pawar started dance classes for people with Parkinson’s disease. But like in Brooklyn, the Pune venture’s first years were challenging too.
“It was difficult to talk about dance as rehab,” said Pawar. “I was putting my foot down saying that it’s a dance class, not therapy. I think the whole idea of accepting a certain kind of physical disorder or a disease is such a taboo in India that people don’t talk about it and keep it to themselves. In addition, there is the preconceived notion of being judged.”
Pawar said it was “nightmarish” to get middle-aged men to dance in front of women – many of them housewives – and expecting the women to dance as well. But Pawar and Bhupatkar persisted. Eight years on, the Pune Parkinson’s dance group meets thrice a week. Classes are also conducted in Mumbai and Delhi.
Pawar, who has since visited Brooklyn to observe and teach, did not notice many differences between the students in the US and India. "In terms of participation, enthusiasm and communication with each other, it is exactly how people in India behave," he said.
Sense of fulfilment
Westheimer, Pawar and Leventhal strike a similar chord when discussing the meaning of their work.
“My aim was to get people to think that they could still participate,” said Westheimer. "What kills you in the end is being isolated. You need something that would motivate you to get out."
Pawar feels that the dance space is a community project. “Movement itself can bring in such a difference,” he said. "I find immense peace, happiness and gratitude in doing this."
For his part, Leventhal feels a real sense of shared meaning. “The reason that it’s so significant is the bond – we’re joined as a village,” he said.
