The Space Between Us: a reflective case study on facilitating creative movement for people living with dementia

Posted: 28th July 2026

Lera Lipere facilitated a 10-week programme of movement and dance for Arts for Dementia and or participants. This is her reflection on that experience.

Introduction

When I began facilitating for Arts for Dementia, I arrived with a background in somatic practice, movement, rhythm, and a deep belief that the body holds an innate capacity for connection. I had spent years exploring embodiment through dance, healing practices, and creative expression, but this was my first opportunity to work consistently with people living with dementia in a structured programme.

I quickly realised that my role was not to teach dance. It was to create conditions in which people could feel safe enough to move, connect, and express themselves in ways that extended beyond language. This experience challenged many of my assumptions and reshaped my understanding of creativity, communication, and person-centred practice.

Discovering a different way of communicating

One of the most significant lessons I learned was that communication does not disappear when memory changes. It simply changes form.

Throughout the programme, I witnessed participants communicating through eye contact, gesture, rhythm, posture, laughter, pauses, and shared movement. A smile offered across the circle, a hand reaching towards another participant, or two people instinctively moving in synchrony often spoke more powerfully than words.

These moments reinforced my belief that the body remains a place of relationship even when verbal communication becomes more difficult.

Rather than asking participants to remember choreography or follow complex instructions, I began asking different questions through movement:

What happens if we simply notice each other?

How does it feel to move alongside someone?

Can rhythm help us find one another?

These questions gradually became the foundation of my practice

Developing “The Space Between Us”

As the weeks progressed, I noticed that the sessions were not simply about movement. They were about relationships.

This insight led me to develop the central theme that became The Space Between Us.

Instead of focusing on dance technique, the programme explored the invisible space that exists between ourselves, other people, and our environment. Every activity became an opportunity to explore connection through movement rather than performance.

Participants explored personal space, shared space, rhythm, imagination, objects, music, and collaborative movement. Chairs, scarves, simple props, and music became invitations rather than instructions. Every exercise encouraged curiosity instead of correctness.

I found that removing the pressure to “get it right” allowed participants to become more playful, spontaneous, and expressive.

Learning to adapt

One of the greatest gifts of working with Arts for Dementia was learning the importance of adaptability.

Early in the programme, I recognised that some activities were too long, while others required clearer transitions. Participants’ energy fluctuated from week to week, and I learned to respond to the room rather than adhering rigidly to my original lesson plans.

Feedback from colleagues helped me refine my approach. I reduced the amount of uninterrupted free movement, ensured that music was quieter during verbal instructions, and incorporated more imaginative prompts and creative art-making alongside movement.

These adjustments deepened participant engagement and reminded me that good facilitation is an ongoing process of listening, observing, and responding.

Moments that stayed with me

Some of the most meaningful moments were also the quietest.

Participants who initially appeared hesitant gradually became more confident in offering movement ideas.

Laughter emerged unexpectedly during partner activities.

Moments of eye contact became longer.

People encouraged one another without prompting.

Small acts of connection accumulated into a sense of belonging within the group.

These experiences reminded me that progress cannot always be measured through clinical outcomes or verbal feedback. Sometimes it is visible in a person’s willingness to participate, to make eye contact, to take a creative risk, or simply to remain present within the group.

How the experience changed me

Facilitating this programme transformed my own practice.

Before working with Arts for Dementia, I viewed movement primarily as a pathway towards personal embodiment and healing. Through this experience, I came to understand movement as a relational practice – a language that allows people to meet one another beyond memory, diagnosis, or expectation.

I became more comfortable with uncertainty, more attentive to non-verbal communication, and more aware that meaningful facilitation often involves creating space rather than directing it.

The participants taught me that dignity is not found in what someone remembers but in how they are invited to participate.

Looking forward

This experience has become a defining chapter in the evolution of my methodology.

It has strengthened my commitment to developing creative, somatic programmes that support connection, wellbeing, and belonging for people living with dementia and other communities experiencing isolation or marginalisation.

The principles developed through The Space Between Us will continue to inform my future work in care settings, community spaces, museums, and interdisciplinary collaborations.

While this case study reflects one programme, it also marks the beginning of an ongoing inquiry: how movement, rhythm, creativity, and relational presence can help people remain connected to themselves and to one another.

Conclusion

Working with Arts for Dementia reminded me that meaningful creative practice is not about producing perfect outcomes. It is about cultivating environments where people feel seen, valued, and free to express themselves in whatever ways remain available to them.

The body remembers. Rhythm connects. Creativity invites participation. Between each movement and each shared moment lies a space where relationships can flourish.

For me, that space has become the heart of my work.