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The Power of Inclusive Dance For years, I thought I wasn't cut out for dance. My body would quickly become exhausted, and I never seemed to find my rhythm. That was until I was diagnosed with Friedreich's ataxia (FA), a rare and progressive neuromuscular disease that causes nerve damage, muscle weakness, and mobility loss. A Life-Changing Experience But then I stumbled upon an adaptive ballet class sponsored by Allied Mobility and in association with the Royal Ballet School. The class was led by Kate Stanforth, a professional wheelchair-using dancer, and Rachael Hunt, international artistic manager at the Royal Ballet School. As I entered the dance studio, I was nervous, but my anxiety melted away when I saw a dozen wheelchair-using dancers spread out in a circle, doing warm-up exercises. The Beauty of Adaptive Dance We worked on a dance repertoire from Giselle, a classic romantic ballet from the 19th century. Watching the dancers glide across the room, their arms extended, and their wheelchairs moving in sync, was truly breathtaking. It was like swimming through the air. A Growing Community Stanforth told us that the class was oversubscribed, with hundreds of dancers on the waiting list. The interest in adaptive dance classes and workshops is clear. As Stanforth said, 'This community is not small or rare – it has simply not always been visible.' The Royal Ballet School's inclusive ballet classes with the Kate Stanforth Academy of Arts are a step in the right direction towards a more open and inclusive future for ballet. A New Era for Dance The industry needs more people like Stanforth, working to make dance accessible to all. With classes like this, it's clear that there is a place for disabled people in dance. I left the class feeling motivated to turn my adaptive ballet experience into a hobby. The future of dance is inclusive, and it's beautiful to behold.

The Final Curtain Falls on a Trailblazing Rambert DancerKenneth Bannerman passed away on 23 May 2026 at the age of 89. The former principal of Ballet Rambert is remembered for breaking gender‑norm expectations and for his partnership with Lucette Aldous, as well as for a post‑dance career spanning three decades as a Post Office clerk.From Haddington to the Principal Stage: Bannerman’s Rise at RambertBorn in Haddington, East Lothian in 1936, Bannerman’s early ballet training in Edinburgh led to a scholarship at the Rambert School at age 16. He joined the company in the late 1950s, quickly ascending to principal roles such as:Basilio in Don Quixote (1962), a part usually reserved for legends like Rudolf Nureyev and Carlos Acosta.James in La Sylphide, becoming the first Scot to dance the role.Franz in Coppélia, Albrecht in Giselle, and the male lead in Les Sylphides.His versatility extended to contemporary works by Norman Morrice, including the seminal role of the Young Man in Cul de Sac (1964).Career Numbers: A Brief Quantitative SnapshotProfessional dancing career: 8 years (1958‑1966).Age at retirement due to back injury: 30.Post‑dance employment: 30 years as a Post Office clerk.Years of civil partnership with John Webley: 20 (2005‑2025).Legacy in Motion: How Bannerman Shaped British BalletBannerman’s early assumption of the Basilio role signalled a shift in Rambert’s casting philosophy, opening doors for British dancers to tackle technically demanding male leads traditionally dominated by Russian stars. His partnership with Aldous set a precedent for collaborative storytelling on stage, and his involvement in pioneering contemporary ballets helped bridge classical technique with modern choreography.Looking Ahead: The Enduring Influence of Mid‑Century British BalletWhile Bannerman’s performing years were brief, the pathways he forged continue to influence casting decisions and training curricula at institutions like the Rambert School. Future historians and choreographers are likely to cite his career as a case study in resilience—demonstrating how injury‑induced early retirement can still yield a lasting artistic legacy.