TURNING POINT workshops with London’s DanceWest – a blog by our then volunteer, Aadya Verma…

Hi! My name is Aadya, and I am the new Coordinator of the TURNING POINT heritage project. 

When I was a volunteer with TURNING POINT, as my first in-person engagement, I attended a dance workshop hosted by DanceWest in collaboration with TURNING POINT at Fulham Palace on 21st October 2024. Being a new member of the team, I wasn’t sure what to expect – I walked in with an open mind and lots of energy! After meeting the TURNING POINT project’s previous Coordinator, Bimpe, we made our way to the marque where the workshops were held. My first impression was of how bright the space felt, despite the dull weather outside – it felt cosy and calm. I was introduced to Nicholas and Azzy from DanceWest, who struck me with their enthusiasm.

As the participants began to arrive, I helped Bimpe distribute short evaluation forms as part of TURNING POINT. The room was filled with people reconnecting, sharing how they’d been and recapping their movements from the previous week. During this time, I spoke with some participants about their experiences with similar workshops and TURNING POINT. Many emphasised the positive impact of movement on their physical and mental wellbeing, and I also had fascinating conversations about different methods of expressing and processing emotions. One participant mentioned that movement rooted in the themes of TURNING POINT made the experience especially meaningful for her. This was the second workshop in this series, and participants shared how they practiced communicating through movement in the first session.

After quick introductions, form-filling, and some gentle philosophical conversations, Nicholas gathered everyone for an explanation of the choreography we’d be exploring in this series of workshops. Drawing on the themes of TURNING POINT, Nicholas asked if participants had seen the film to gauge the general level of familiarity with its storyline. With most participants well-acquainted with the film’s characters and themes, he began describing the experiences, emotions, and ‘turning points’ portrayed within it.

Building the choreography on Tony’s description of migration as ripples, Nicholas explained how we could incorporate movements to depict this concept. He encouraged participants to reflect on the ‘movement motifs’ they’d created in groups the previous week, which included a variety of emotions and expressions. The movement motifs included both concrete elements, such as colours, and emotions, such as happiness. It was clear that this activity had helped participants appreciate how movement need not be literal in storytelling and choreography.

My initial thoughts on dance and storytelling drew me back to my own experiences. As a former classical dancer, I studied the Indian form of Kathak for 12 years (derived from the word “Katha”, meaning ‘story’ in Hindi and Sanskrit). Kathak, as a style, specialises in storytelling through movement, which piqued my interest in this workshop format. I was also curious about the structure and approach to introducing movements based on these themes. Initially I wondered whether the choreography was fully set or involved an element of co-creation with participants. Learning about the ‘movement motifs’ participants had developed and the methods DanceWest used to encourage creativity gave me a clearer understanding of the vision.

We followed this with a dynamic and final warm-up. Due to some absences, both Bimpe and I joined the group for the day to help realise the group choreography. Although there were moments of confusion within the choreography, everyone supported one another, especially Bimpe, who went above and beyond to assist multiple groups! Nicholas explained the story of the dance at each step, aligning it with emotions that people might have felt in that period of history. The energy remained high throughout, with every participant committed to learning the steps.

Over the 1.5 hour session, I got to know some participants in my subgroup. Their movement motif was made up of four elements: a burst of colour, a rainbow, a sense of astonishment, and then disappointment. They chose to depict astonishment and disappointment together to encapsulate the quintessential multicultural experience in a colonial metropole. Discussing the misconceptions about wealth and standards of living in the UK, they explained how such experiences haven’t changed much. Eager to join in, I quickly learned the motif! The hours flew by, and the day’s choreography was complete. it was a joy to participate and rediscover the serotonin boost that movement brings!

I thoroughly enjoyed following Nicholas’ vision. The choreography was well-explained, emotive, and accessible – both physically and intellectually. By pairing simple, diverse movements with storytelling, it was easy for participants to follow, and I’m sure future audiences will be able to follow it too. The intersection of history and movement came alive in this workshop, where the choreography felt like an unorthodox curriculum encouraging people to feel deeply and unleash creativity. I think we often forget that, as humans, we are natural storytellers, and movement is inherently part of us.

Reflecting on the workshop alongside TURNING POINT’s wider aims, the workshop was able to attract a diverse group of older adults who were introduced to aspects of Black heritage, history and contemporary experiences, alongside skills for creating and memorising movement in storytelling. This initiative undoubtedly sparked conversations about the diaspora experience and how it can shape the present, touching on themes of wellbeing at both a societal and personal level. From my perspective, the workshop was fun, enlightening, and left me eager to see the full choreography! I can’t wait to hear more about the growth and experiences of the participants through this initiative – and I’m looking forward to returning for another workshop!