A recent Mellon Foundation survey of 116 large and small schools indicated that adult nonprofessional classes were given in 78 percent of the schools answering the foundation's questionnaire.

A recent Mellon Foundation survey of 116 large and small schools indicated that adult nonprofessional classes were given in 78 percent of the schools answering the foundation's questionnaire. Estimates place the number of adult students at 46 percent of a studio's enrollment.

In January ["Dancers Over 40," page 94], we referred to a recently formed organization of professional dancers over forty who are finding new professional outlets for work and study. Now our focus is on the dynamics of teaching adult students--those who may or may not be over forty and who may or may not have had previous training--as viewed by two teachers and a psychiatrist. "The most important factor in teaching adults," says Dena Moss, "is that you do not permit those students to judge themselves by what they see in the mirror." Moss teaches adults at the Joffrey Ballet School (American Ballet Center) in New York City, along with Andrei Kulyk, Dorothy Lister, and Sidney Lowenthal. Moss explains: "I tell them that I write the reviews and will do all the correcting. Although dancers on all levels are self critical, these dancers tend to put themselves down for not reaching a youthful ideal.

"What is important for all students is improvement; no matter how small or large the challenge. And advancement, no matter what their level of past or present accomplishment. class should be a tantalizing experience. If self-criticism spoils the pleasure of dancing, and a student can't get into the spirit of the class or create a distance from the reality of the mirrors, then I suggest that they pursue another form of exercise or recreation."

Self-consciousness shows in classroom attire. Huge, long T-shirts and baggy pants are worn instead of tights and leotards. Moss doesn't immediately object: "I let older students wear what is comfortable. But as time goes on, they start shedding because they understand that I cannot see through layers of shirts and pants to make corrections. The only thing I require without exception from every female student is that her hair be bound or out of the way in a bun or short ponytail." Applies to male dancers, too!

Most teachers of adults find that a standard basic class given at a moderate tempo best suits this group's capacity. Fast tempos and quick rhythms are frustrating. Memorizing combinations may be slower. One of the advantages in teaching older dancers is that anatomical references are met with recognition. It is not always necessary to place hands on an older dancer when making a correction, as one might have to do with young children who do not yet know anatomical language and may need hands-on correction to prevent injury and to understand placement.

"I can use references from my background as a lawyer," says Moss, "or historical and literary references to make a point or illustrate the origin of a step. Sometimes the result is amusing. One of my classes had a fear of frappes. I didn't know why. I thought it must have been something I said about frappes or that it was the way I taught them. I was at a loss to know why everyone hesitated to do an exercise with frappes. Then I discovered that they were fearful of making a sound by striking the floor until I explained that 'frappe' means 'struck,' and that in our silent art a small sound is expected in the execution of the step as the foot lightly strikes the floor. How this misunderstanding happened is still a bit of a mystery to me, but it's the kind of thing you unravel when you permit older dancers to ask questions during class time. Adult beginners, in particular, are not going to respond instinctively or from the result of early, daily training; so this group learns through their understanding of a movement, and they naturally ask questions. It slows the class, but by openly asking what is troubling a student or class, I get a response that usually clears up a misapprehension quickly. Children, as we know, must do as directed in order to learn discipline, and the class must be paced to develop peak performance."

Adult classes throughout the country are frequently mixed and include beginners as well as the professionally trained. Both groups want a basic class because they no longer have the stamina for, or interest in, faster classes. The studios that have built extensive adult programs, however, create separate beginner and intermediate levels to keep students motivated. The Academy of the Maryland Youth Ballet in Bethesda, Maryland, has nine different adult class levels with five to six classes offered seven days a week. In addition to basic ballet and modem dance classes, many studios include jazz, tap, and ethnic dance to expand the interest in dance. In some instances, pointe work is included, as well as performances in which the students either appear in adult roles or perform as a class.

As they progress, all students expect a good workout, a pleasant experience, and a growing appreciation of the art form. Because everyone knows that exercise increases the physical health of individuals at any age, teachers tell us that many adults have chosen dance over fitness or exercise sessions because they have discovered beauty in the art form and, as a result of their classes, they have a deeper perspective when watching performances. They also find it less expensive than health clubs and far more enjoyable. Moss adds, "I emphasize the aesthetic component in every exercise--the quality and expression that underlie every movement."

Stretching is included at the end of the barre. Moss adds floor exercises to strengthen muscles and to illustrate or correct placement without the burden of balancing the weight of the body at the same time. If there are men in the class, push-ups are added. Center should consist of simple exercises and tours "because they all want tours in the worst way," Moss admits. Tours hold no terror for the previously trained or for those who have a natural understanding of the principles of fuming. Others cannot turn at all. Small jumps, such as assembles without beats and medium jumps in diagonals, complete the class. Some teachers add folklore or ethnic steps at the end, such as the polka or the walking steps of a Russian handkerchief dance. Unfortunately, reverence is omitted; it should be included, since it teaches traditional dance-class courtesy and manners. "Safety and enjoyment are my first concerns," ends Moss. "Progress is up to the student."

Toni M. Lombre, of Taps & Co. in Washington, D.C., divides her classes into two groups: Tappers Over 40 and her professional group, Taps & Co. "I tend to teach with more patience and tender tapping care," says Lombre, "when the students are beginners in their forties and fifties. The warm-up is thorough and takes much longer, as does the breakdown of steps and combinations--all a little slower than in class for children and young adults. Most adults who do not exercise regularly are not as flexible as students who take another form of dance or aerobics."

Lombre's over-sixty-and-up group receives even longer warm-ups and explanations on what the body is doing, how it should feel, and what placement is comfortable in the execution of certain difficult steps. Although teachers should know the limitations and expectations of every age and level, she advises particular attention to the over-forties group. (Some teachers require a letter from the student's doctor, certifying good health.) "I have had retired adult students," Lombre adds, "who tap-danced when they were children, raised their own children, enjoy their grandchildren, and have resumed their desire to tap-dance. Their enthusiasm is refreshing, and they are proud to tell you how old they are. The class is stimulated by friendly competition, and they stimulate me, knowing that there is life--and tap--after the forties, into the sixties, and beyond."

In both groups, however, certain steps and combinations are difficult to teach because the group is younger or older. Trick steps and fancy footwork should be taught at the cautious discretion of the instructor who knows the limitations of each student. Lombre explains: "I would not teach toe drops (jumping up and down on the toes, making four sounds) or pick-up combinations (jumping and tapping on the ball of the same foot) unless the legs, ankles, and upper body were strong enough to maintain balance. A sense of balance is one of the most essential elements to acquire in every form of dance."

She, like Moss, finds charm and amusement in teaching older dancers: "I was teaching an adult beginners' tap class that included a married couple in their mid-eighties. The husband had always wanted to tap like Fred Astaire, so the wife enrolled him and herself in class. No matter what step I taught, the husband would go off into his imagination of what he remembered of Astaire's style and would change the step into what became, technically, not a tap step at all. His wife just giggled at him all the time. I never had so much fun teaching in my entire career! They brought a breath of fresh air into my experience."

ON THE OTHER HAND . . .

Despite the positive aspects of teaching adult students, a teacher might run into problems that need firmness: Some adult students may arrive for class with costume touches or exaggerated makeup and act as if they were ballerinas onstage. According to psychiatrist Judith R.F. Kupersmith, M.D., "Some of those who are in class for many years seem to have a fantasy about themselves that is, despite appearances, quite healthy. They feel better about themselves as they function in other areas. Dance can provide an isolated fantasy that actually helps them function. It's a hope--something that propels them forward and protects against depression. Class time has a structure that requires being at a certain studio at a certain time and has certain demands, such as stamina, discipline, and other positive aspects. They seem oblivious to comments about their dress or even to corrections. These students you leave alone.

"On the other hand, some adults think that they could have been, should have been, or ought to have been dancers, except for a number of excuses--such as having an inharmonious or nonconforming dance body, inadequate or late training, parental opposition, financial need, or a number of other obstacles. They think they have all the talent necessary, and they have the habits but feel deprived of a career. This group, at its worst, can be destructive when advising others, since they estimate all their arguments on personal disappointments, experiences, and excuses from a past that has little or no relationship to failures or present requirements. The teacher needs to correct these misconceptions gently. If they cannot be accepted, it might be too destructive to have this person in class, influencing other younger or older students. Unfortunately, these comments are frequently made in the dressing, room where the instructor cannot comment upon them.

"This group can influence others," says Kupersmith, "with a negative impact. They rationalize, avoid facing their disappointments, and transfer them to other people. If someone from this group influences a son or daughter, he or she can distort the present realities of schooling, career choice, or opportunities. The opposite attitude from older dancers who enjoy going to class and are aware of physical limitations caused by time or injury are former professional dancers who refuse to face limitations and continue to audition for and even to perform roles that are no longer suitable to them or their age group. This is also self deceiving, as they hold on to the lifeline of the past, saying that no one is as talented now as they were when they were performing. A dancer can only be the best in his or her time. Comparisons are useless."

Judith R. F. Kupersmith, M.D., a former member of New York City Ballet, is director of psychiatric clinics at Michigan State University. In 1980 she founded the first psychiatric clinic for performing artists at Bellevue Hospital in New York City.