A while ago, one of our members emailed us saying they were taking salsa lessons tailored for people with visual impairments. We wanted to know more, so we contacted Michèle Martens, the driving force behind the project, at her dance studio, Etage Tropical in Ghent.
Michèle, how did you get into the world of dance?
After studying archaeology, I taught geography and history for a few years. At 36, I decided to pursue my dream and start a dance school. I’ve been fascinated by Latin America for years, spent a lot of time there, and developed my passion for salsa.
How did your salsa lessons evolve into inclusive lessons?
In 2017, we were invited to the television program ‘Camping Karen & James’ to give dance lessons to people with hearing impairments. At the time, we were already working on an inclusive dance program at the school, but that experience inspired us to develop it further. We secured the necessary accreditations and promoted our inclusive program. Initially, most of our members had intellectual disabilities, and we created a show team with them. We advertised extensively, including through the sports department of Ghent. That’s how our first member with a visual impairment joined our lessons.
What impact did that have on your lessons?
When the first person with a visual impairment joined, I had to rethink my teaching methods. My first visually impaired dancer was An, who danced with her sighted partner. Later, Manuel, my first blind dancer, joined. Fortunately, I already wrote my lessons in detail to provide structure for salsa dancers. I had developed a methodology where the footwork, arms, and coordination were fully written out. During the first lesson with our visually impaired participant, I learned many new things, took notes, and adjusted each time. This approach has paid off—Manuel, for instance, has been taking lessons for three years now and is in an advanced group. This also paved the way for more people with visual impairments to join. Every lesson, I learn more about blindness and visual impairments. For instance, in the beginning, I didn’t realize that just getting to the dance class could be a significant obstacle.
Have you been working on inclusion for a long time?
Before the COVID-19 crisis, my goal was to become fully inclusive. Back then, my groups consisted of 40 to 50 people, with Manuel being the only blind participant. We used a rotation system that worked well. Later, I noticed that having more blind or visually impaired participants than sighted ones in a group could create challenges. Visual cues were absent, and blind participants needed individual explanations, which was time-consuming. Sighted dancers sometimes felt dissatisfied. It’s an ongoing challenge, but I’m proud to have excellent blind and visually impaired dancers in my lessons. The goal is for everyone to dance at their own pace and relax.
Are all your classes inclusive?
Yes, everyone is welcome in our classes. However, I’ve had to adjust my vision of a fully inclusive dance school. My ideal situation is a mixed group where people with disabilities can occasionally take additional exclusive lessons to work on tailored skills and then reintegrate into the inclusive classes.
How do sighted dancers react to visually impaired members in their groups?
Reactions are mixed. Sighted dancers are usually okay with it as long as it doesn’t take away from their lesson time. It shouldn’t come at the expense of their leisure activity. Personally, I struggle with that attitude. But I love seeing spontaneous conversations arise in the bar afterward, leading to friendships. Once friendships form, the issues disappear. I often point out the benefits of dancing in a group with visually impaired people. Since everything is explained so clearly, the quality of instruction improves. If someone who can’t see can reproduce the dance steps purely based on verbal guidance, the explanation must be excellent.
How many blind and visually impaired people currently dance at your school?
We have 12 participants across Ghent, Brussels, and Ostend. Additionally, I’m often asked to organize exclusive lessons by organizations like Parantee-Psylos. Articles like this are crucial to spreading awareness. I found it unfortunate that inclusive dance lessons didn’t exist for so long. Dance is essential for motor development in children, even if it’s just balance exercises. Everyone can dance; dance is for and by everyone. The world will keep dancing, long after we’re gone. So come along and dance!
Photo 1: Michèle sits back casually on a low chair with arms crossed. She wears an Indian two-piece suit in azure blue linen.
Photo 2: Michèle poses in a typical Cuban dance pose with her arms raised, embraced by Mario Charon Alvarez, who stretches his left leg upward diagonally in front of his body. Michèle wears a black glitter blouse with black flared trousers. Mario is in a white suit with a black shirt and Cuban-style shoes in black and white patent leather. They pose against a white wall with red lighting.
Photo 3: Michèle stands with a row of performers and the former show team “Les Perles d’Etage Tropical” on stage at the Korenmarkt in Ghent. The dancers hold hands, forming a long row with raised arms, bowing to the audience. Beside her are Jaïr Santana, a Brazilian dancer, her five show team members in form-fitting costumes, Marika Miserez (a belly dancer), Caroline Clement (a pole dancer), and two Brazilian samba dancers in bikinis with large feathered backpieces. Everything is colorful and tropical.