How to progress from the creation of a solo to an inclusive choreographic piece in a public space

Title of the activity

How to progress from the creation of a solo to an inclusive choreographic piece in a public space


8 to 16 hours of workshops (depending on the capacity and pace of the group)


Any mixed group with and without disabilities. The example given in the video is a group of thirty schoolchildren (12–13 years old) and a group of five adults with intellectual disabilities.

Activity proposed by

DK-BEL Company


The aim is that the gestures and uniqueness of each participant are represented and valued in the show. Each of the participants must be highlighted.


A space large enough to include the whole group and a sufficiently powerful sound system.


Collective preparation of the team of performers (4 to 35 participants)
Define together the steps of each workshop—who does what? The facilitator involves the group in all decisions but is ultimately responsible for making the final decision.


1. Guide participants in the creation of a solo on a given theme: In the video entitled ‘Activity 1’ the theme used is ‘Getting out of your bubble’  Participants were asked to find gestures to escape from different shaped ‘bubbles’:

  • Around their heads (like a sphere) 
  • Around their bodies (like a square) 
  • Around them (like a vertical tube full of air) 


2. Once the solo is created with their choice of bubble and 4 – 5 movements that characterise it, each one shows it to a partner (to show themselves as a dancer).


3 .Everyone does their solo at the same time and we (the duo and the facilitator) try to find stops together 


4. The solos are shared with the whole group


5. After other choreographic contributions as duos (as in the video entitled Activity 2) we work in groups of 4 to 6 dancers. In choreographic writing, the facilitator works with the participants to highlight each of them in their solo within the collective creation


6. We (the group, led by the facilitator) put together the different creations in line with the public space in which we will perform (as in the video entitled Activity 3).  The group must be able to practise in a space that represents the performance space so that they understand how much room they have and where the audience will be so that they are facing the right direction (this may be all directions in a public space) 


7. Then we dance together during the show!

Evaluation method

The facilitator can assess the workshop by observing the following:
To what extent participants

  • Agree to participate with or without assistance.
  • Collaborate with another dancer and in a group
  • Feel good in the group
  • Accept being watched as a dancer

What you need to know as stakeholders

Provide a team of accompanists large enough to be able to follow each of the groups that will be formed. When working with school groups, teachers can also take charge of small groups.



Some participants may not have the ability to create a solo. It will then be necessary to provide them with individual help by giving them a partner (another participant, a co-facilitator or another accompanying person). They will then work as a duo, but we try, as much as possible, for them to be initiators of their movements and not just imitators.


The result of these workshops will be embodied by its participants if each gesture danced comes from one of the members of the group.