海角大神

With a late afternoon glow filling the studio, dozens of dancers stretch and chat quietly. As the rehearsal starts with soft piano notes, their bodies form an ebb and flow, creating a sense of connection. But this rehearsal is less focused on well-worn repetitions of pirouettes and arabesques. Instead, it鈥檚 almost a fully fledged social experiment, offering a reinvention of who can dance.聽

This is Born Dancing, which welcomes both those with disabilities and non-disabled individuals. Some are children with learning disabilities. Other older participants are struggling with the physical effects of Parkinson鈥檚 disease. Some are professional dancers.

By the end of the piece at the rehearsal, the dancers have accomplished something markedly beautiful: an expression of ability and resilience, enriched by the unique contributions of each participant.

鈥淭his is not a company that you鈥檙e in just for the challenge of the movement. It鈥檚 also the challenge of collaboration with such a broad range of people,鈥� says Melissa van Wijk, founder and executive director of Born Dancing.

Ms. Van Wijk began Born Dancing in New York after years of teaching dance to children with disabilities. She had launched her efforts after realizing she had never seen a dancer in a wheelchair. Her company, which was a full-fledged reality by 2016, has a simple aspiration: to change the way that those with disabilities, from autism to physical impairments, are seen, taught, and told to move.

鈥淓very dancer is made to feel beautiful,鈥� says Madeline Charles, who has been with Born Dancing since its first production and also works with other dance companies. 鈥淭here鈥檚 a range of ages and abilities, and we as professional dancers learn from this. They are telling us their own stories.鈥�

Choreography is informed and guided by those who are often relegated to the background. The result is a dynamic, egalitarian environment.聽

鈥淓verybody should have the opportunity to dance, and [Van Wijk] has this gift of elevating everybody鈥檚 stature,鈥� says Patricia Beilman, a dancer in the production that Born Dancing put on in December. Ms. Beilman grew up taking ballet lessons, and after her condition was diagnosed as Parkinson鈥檚 disease, she rediscovered the appeal of dancing, attending lessons with the nonprofit Dance for PD.

鈥淧erformances help with stigma. When my friends see what I鈥檓 doing they say, 鈥極h, she has Parkinson鈥檚, and she鈥檚 dancing. That鈥檚 pretty cool.鈥� 鈥�

Van Wijk鈥檚 company has three main components, each with an aim. It鈥檚 getting children with disabilities involved in dance, it has an apprenticeship program for disabled teenagers to learn about careers in the performing arts, and it鈥檚 educating the next wave of professional dance instructors. These components coalesce in productions held about twice a year.聽The one in December featured about 30 dancers.

Parents travel from far and wide for the rehearsals each week. Ammie Johnson drives her 11-year-old son, Afadji, an hour and a half from Middletown, N.Y. Laurie McIntosh makes a three-hour trek from the Catskills so her daughter Ava can participate in her first professional dance production.聽

The program also enlists many children in District 75, New York City鈥檚 public schools for special-needs students. Too often, these kinds of students drop out and feel they aren鈥檛 equipped to enter the workforce. The opportunity for success is even smaller for those interested in the arts.聽

Diane Duggan is a retired dance therapist and educator from District 75. 鈥淭here鈥檚 more equality than when I first came in [to the schools], but there needs to be much, much more,鈥� says Dr. Duggan, who has taught in the master鈥檚 program for dance education at New York University. 鈥淚t鈥檚 really vital for all children to be able to have dance.... Instead of being someone who struggles in class, they really get dance and enjoy it.鈥�

For the children in the December production, Born Dancing holds great meaning. 鈥淚 feel like this is my home; I love Born Dancing.... When I鈥檓 dancing, it鈥檚 like I鈥檓 putting a story together,鈥� says 14-year-old Ava McIntosh, who has Down syndrome. Greta Baier feels the same way, saying the program creates a space where her talents are nurtured. 鈥淚 feel more included here than at my school because they really make sure we鈥檙e participating and don鈥檛 just focus on kids that can walk,鈥� says the 10-year-old, who uses a wheelchair because of a congenital muscular dystrophy.

鈥淚 really like the arts, [and] dancing is one of my favorite things to do. When I grow up, I want to go into the arts,鈥� Greta adds.

The larger point of Born Dancing is to create such opportunities for disabled people now and in the future, both on and off the stage.

鈥淭he field [of disabled dance] is gaining recognition: Both the audience for the work has broadened, and the dance field itself is increasingly recognizing the value and artistry of these dancers and these companies,鈥� says Simi Linton, co-director of Disability/Arts/NYC (DANC).

Van Wijk agrees. 鈥淚 think that there鈥檚 been an evolution. A lot of people are thinking more about inclusion, integrated arts, and disability arts.鈥�

That鈥檚 certainly true of the company鈥檚 professional dancers, some of whom may be among the next generation of choreographers and dance educators.

鈥淚t鈥檚 always been a dream for me to open a company of dancers with disabilities, and this process has been a huge learning experience for me,鈥� Ms. Charles says. She was first inspired to this work growing up with a sister who uses a wheelchair, wanting to help create a different world for her.

Dominique Lockett, another professional dancer in the company, thinks the future looks bright for disabled dance and inclusion.聽

鈥淏y watching them and helping them learn 鈥� we鈥檙e not going against them, but coming to them. To have all the kids, adults, and teenagers being able to move as one, it has changed a lot of how I think about dance.鈥�