ArtsHERE Grant Spotlight: BAD Ballet (Baltimore, Maryland)

In the heart of Baltimore, Maryland, BAD (Ballet After Dark) Ballet—a trauma-informed, community-centered dance organization—is transforming the healing journey for Black and Brown women impacted by trauma. Founded by Tyde-Courtney Edwards, this organization provides a safe and expressive space where dance becomes both a tool for self-empowerment and a pathway for recovery. The name “BAD” resonates beyond a simple acronym; it’s a reflection of the community it serves, evoking confidence and strength. Edwards reflected on her inspiration for BAD Ballet and explained, “I’m a classically trained dancer with close to three decades of dance education and performance experience. Dance as a fundamental form of expression and a healing tool became incredibly important to me after surviving a devastating sexual trauma.”

Through an ArtsHERE grant, BAD Ballet is expanding its reach in Baltimore to empower marginalized trauma survivors with accessible wellness and dance programs. ArtsHERE is a partnership between the National Endowment for the Arts and South Arts in collaboration with the five other U.S. Regional Arts Organizations that seeks to help organizations strengthen their capacity for impactful community engagement and broaden arts access for underserved communities.

One of the things that makes BAD Ballet unique is its incorporation of somatic interventions into its dance training. Edwards noted, “A common misconception is that youth have a lack of interest in holistic healing or somatic interventions. We define somatic interventions as activities, practices, and trainings that build a deeper connection between the mind and body and promote tranquility and self-care.” By fostering a safe environment, BAD Ballet breaks down these misconceptions and empowers its participants.

Ballet will use ArtsHERE funding to develop a new 12-week workforce development fellowship program that will offer local dance pedagogy majors and movement specialists somatic wellness certificates and equip them with the tools to lead and provide young women survivors (18-24) with a pathway to healing through movement and creativity. Upon completion of the certification program, fellows are offered a year-long performance contract with BAD Ballet and conditional employment as Somatic Dance Counselors, providing participants with real-world experience in trauma-informed practice.

Expanding beyond the traditional dance stage, BAD Ballet’s community partnerships play a crucial role in identifying prospective fellows for the workforce development program. The organization collaborates with community colleges, universities, local organizations, and shelters. “We’re looking for relatable women with real lives—young women who want more for themselves and their communities,” said Edwards. “BAD Ballet is not only a love letter to our community but it’s also our response to our struggles with capacity building. I wanted to do more than just offer holistic resources and dance classes—I wanted to develop and build our fellows/survivors into the healers that our communities need.” This approach builds a cycle of healing, with fellows equipped to deliver trauma-informed dance workshops and refer others to the appropriate resources.

In addition to workforce development, BAD Ballet also offers a range of programs to its community, with mentorship as a key component. These programs include youth spring and summer camps, Periodt! Fellowship centered around sexual health education, and a micro-scholarship program.

BAD Ballet’s commitment to trauma-informed interventions is backed by research partnerships, including the THREADS (Towards Healthy Relationships, Equity, and Dynamic Sexualities) Research Lab at Johns Hopkins University School of Nursing. These partnerships the organization to validate its programs with academic research, publish findings, and advocate for more awareness in the field of trauma recovery.

A highlight of the year for BAD Ballet is its annual performance gala, which showcases the talents of both dance fellows and youth participants. This event has become a powerful testament to the healing potential of dance, as well as a means of connecting with patrons who are passionate about supporting the organization’s mission. BAD Ballet also hosts pop-up events and workshops year-round. Edwards shared that one of the organization’s proudest moments was performing on the NBC television show America’s Got Talent. “To share our story and mission on a national stage created more opportunities for us locally. It also put us in front of more local survivors that didn’t know we were an option for them,” said Edwards.

The organization is positioning itself as a leading force in trauma-informed arts and dance, showing that dance can indeed be a vehicle to channel resilience, healing, and empowerment in communities. With the goal of extending beyond Baltimore to expand programming, create formal evaluations, establish international collaborations, and produce film projects, Edwards said, “We’re here for the long run.”