The mention of flamenco dance conjures up images of highly expressive dancers with swaying arms, executing percussive steps with energy and fervor. It is basically a solo dance form, which demands well developed non - verbal communication skills and mastery over rhythmic movement. Flamenco dance originated in Spain, specifically Andalusia, among the gypsies or gitanos and reflects the influences of Greek, Roman, Indian, Arab and Jewish as well as Andalusian music and dance traditions. The flamboyant dance form that we are familiar with today evolved in music cafes or cafés cantantes over the period 1869 – 1910 when dancers began eclipsing flamenco singers who had hitherto been the center of attraction.

Whatever the type, Flamenco dance is always intensely passionate and expressive. A dancer is free to improvise to a certain extent, to express emotions spontaneously so long as it is within the rhythmic structures defined by flamenco music. At flamenco performances, one often sees the dancer stand still on stage for a few moments letting the song and music seep in and touch a chord, igniting that spark of inspiration. Once inspired, the dancer takes off on an impassioned note, giving himself over to the song and the rhythm as he moves and gestures expressively. The dancer’s face mirrors his emotions clearly, reflecting a range of feeling over the course of a single performance. Flamenco dance is essentially an embodiment of the song to which it is performed. Highly pronounced facial expressions, stomping feet, hand clapping and flowing arm movements comprise the dancer’s interpretation of the lyrics. Sometimes, male and female dancers perform duets, vividly displaying their emotions in competition with each other.

Spontaneity lies at the heart of a good flamenco performance. A flamenco dance is, after all, an intense heartfelt expression of emotion. The dancer absorbs the music and communicates his understanding of the song and rhythm to the audience. In an accomplished performance, the dancer’s sincerity and personality come through on stage. A good flamenco dancer exudes warmth, feeling and charisma.

Flamenco dance is no longer considered just a folk dance; it is a genre that has achieved international acclaim. Flamenco dance has several inventive and very talented performers and choreographers who have played a significant role in bringing this form into the mainstream. Flamenco is danced in many styles today. But, whether it is traditional, modern or post – modern, flamenco is flamenco only when it is danced with feeling.

With Diversity eclipsing Susan Boyle to emerge winners at this year’s Britain’s Got Talent final, street dance is finally being recognized as a sophisticated performing art. The amazingly high degree of technique that this dance form is capable of was on display at the contest. Long confined to the fringes of the British dance scene, street dance has now moved into the mainstream and is being taken seriously as an art form.

Diversity and Flawless, the two exceptional hip – hop acts who made it to the final of Britain’s Got Talent, are in the forefront of street dance’s journey to the center stage of performing arts in the UK. The boys have emerged as role models for young dancers across the country hoping to emulate their outstanding commitment to and passion for dance. Judges, critics and viewers alike have been astonished by their technical perfection and rhythmic energy. As the founder of Flawless puts it, they “strive for perfection.” On Britain’s Got Talent, the group displayed excellent coordination, timing and agility as they moved in perfect harmony at an amazing pace.

Members of both groups have been dancing since they were children; some began when they were toddlers. Flawless was formed four years ago. Diversity’s boys are aged between 13 and 25, whereas the Flawless team comprises youth aged from 21 to 26. Both groups have won the National Street Dancing championships. What they have in common are steadfast self – assurance and intense dedication.

For the boys of Diversity and Flawless, their dance is not as much about winning competitions as it is about chasing a dream. It is also about team spirit and mutual support. When some of the Flawless boys faced opposition from family as well as friends, the team rallied round each other and kept practicing to realize their potential.

Diversity, as their name implies, is a collection of boys of widely differing ages, heights and appearances. Three sets of brothers and their friends make up the group. Their dance evolved in the studios run by the group’s choreographer’s parents. Some of them have been dancing ever since they can remember. Dancing, for these boys, is life. It’s a wonderful form of self expression and as one of the boys says, dance provides an outlet for anger.

Their performances reflect innovative ability and high skill and energy. These street dance acts have forged unique styles and are showing the way ahead to aspiring young street dancers in Britain. Diversity and Flawless have taken street dance to an altogether new level of aesthetic expression.

This particular occasion is a challenging one. As the global recession deepens and widens, Ibiza’s hedonistic dance scene is looking somewhat off color according to an article in the Guardian. Manumission, the pleasure island’s most infamous club shut down last year. For some regulars, it signified the passing of a certain era. Ibiza’s entertainment venues are expecting a drop in business this season if many vacationers choose to holiday in cheaper locales or at home.

However, no body’s giving up yet. In an attempt to attract holidaymakers, entertainment promoters, dance moguls and flourishing DJs convened the International Music Summit in Ibiza. As one of the summit’s founding partners says, the conference represents the industry’s resolve to improve business prospects by confronting challenges. The summit’s organizers and participants will be looking at the potential for electronic dance music in the days ahead. Dance music, they believe, is fit enough to weather the recession. Though not as popular as it was toward the end of the 90’s, electronic music is in a cozy niche right now.

Some dance clubs in Ibiza are not feeling the pinch, though. Pacha is one of them but that could be because they cater to out – and – out party types who haven’t begun to stay away yet. Pacha’s brand manager believes that tourists likely to give Ibiza a miss this season comprise mostly vacationing families. For Pacha, business is still good; the club entertained a record number of visitors in 2008 and VIP clients have increased significantly this year as a result of the jet set opting for Ibiza over more expensive vacation spots such as Monaco and St. Tropez. According to sources at Pacha, they’re hosting around twice the number of clients that they did back in 1996.

However, entrance fees at some well known clubs are exorbitant and the younger set may choose to stay away. In a bid to preempt this, some of these clubs are offering freebies and discounts. No longer able to take clients for granted, clubs are vying with each other to innovate and enhance value for customers. Clubbers can look forward to some electrifying sounds as several clubs will be featuring the latest in electronic dance music.

Entertainment moguls are also banking on the popular Ibiza Rocks festival to attract visitors. This season, there will be live performance by Keane and Dizzee Rascal. As Pete Tong, a veteran dance music performer who has played round the world says, Ibiza is where musicians of his genre want to perform and be acknowledged.

It appears that one is never too young or old to dance. According to an article in the Observer, parents in Britain are enrolling their babies in ballet classes even before they’ve learnt to walk. Dance schools are taking in little ones aged six months and older up to 30 months. Ballet for babies and toddlers seems to be all the rage in Britain, at present, with quite a few dance schools having to put aspiring entrants on waiting lists.

The emphasis at these schools is on creating a fun filled environment where little children can make new friends and enjoy themselves. In the process, they also learn basic discipline as well as become agile and confident very early in life. Parents are happy about their children learning how to be sociable as social skills are important at every stage in life. Everyone, including mothers and fathers who watch their children giggle, play and bounce around, has plenty of fun. And, it’s better than watching television because children are encouraged to be active at these classes. Teachers gently urge toddlers to hop, skip and jump around to the sound of music playing in the background. An owner of a baby ballet school says this is an effective way to start them on a daily exercise routine, which will prove to be useful later in life.

Toddlers aged 18 months or older are given rudimentary ballet lessons such as being taught to point their toes and chant “good toes, naughty toes” at the same time. They also learn how to stretch and perform basic hand moves. Children between ages 3 and 5 are trained to perform more intricate ballet movements.

The rising demand for children’s ballet classes has made Young Dancers, a ballet school in North London, add another class scheduled for September this year. A teacher at the school remarked that more and more parents were showing an interest in their toddlers learning ballet. Even boys are being enrolled. Five students in her class of 20 are boys.

Another dance school owner pointed to the fact that baby ballet helps to develop self - awareness. When babies and toddlers learn to move to the accompaniment of music, they gradually become conscious of their bodies and focusing on rhythmic movement is good for mental and physical development.

Considering the significant benefits of dancing, children who discover the joy and power of moving to music at an early age are poised to face life with confidence and energy.

Finally, the SYTYCD episode that everyone’s been looking forward to was on the air on Wednesday night and as we just saw, the dancing appears to be getting better with every season. This is the real competition with the Top 20 finalists dancing to impress the judges and America. Viewers phone in and vote for their favorites after the show. So, dancers really need to engage with the audience if they want to make it to the top slot.

The episode saw the Top 20 finalists dancing duets. Each of the 10 couples performed dance routines created by accomplished choreographers including Mia Michaels, Tyce DiOrio, Louis van Amstel, Tabitha and Napoleon. The judges were Nigel Lythgoe, Mary Murphy and Adam Shankman and bubbly Cat Deeley hosted the show.

Jeanine Mason and Phillip Chbeeb were the first couple to take the floor. They danced a hip – hop piece about a couple who can’t fall asleep unless they’ve sorted out their problems. The piece was choreographed by Tabitha and Napoleon. The pair combined well and Phillip showcased his hip – hop skills well enough for Adam to remark that his dancing is unique. The judges were pretty impressed. Then, Asuka Kondoh and Vitolio Jeune danced a Broadway piece choreographed by Tyce DOrio. In general, their act was somewhat dull and confused and the judges thought they could do better. The next couple, Karla Garcia and Jonathan Platero did better with their cha – cha act choreographed by Tony Meridith. The well matched pair danced skillfully and energetically to Lady GaGa’s Poker Face and had the judges commending their performance highly.

Randi Evans and Evan Kasprzak impressed everyone with their jazz routine choreographed by Tyce. Though jazz is not their specialty, they were very comfortable with the moves and the two of them displayed great chemistry. The judges were all praise for their dancing and considered them this season’s Adorable Short Couple. The next performance by Paris Torres and Tony Bellissimo wasn’t as laudable. They danced a hip – hop piece choreographed by Tabitha and Napoleon to Black Eyed Peas’ “Let the Beat Rock.” Nigel and Mary thought the act wasn’t really memorable. One of the high points of the episode came next: Caitlin Kinney and Jason Glover danced in Bollywood style to “Jai Ho.” The song is from the movie “Slumdog Millionaire” and the dance was choreographed by Nakul Dev Mahajan. The couple looked like they were really enjoying themselves on stage and their acrobatics and hand movements were really good. Predictably, the judges were floored.

Then, Janette Manrara and Brandon Bryant performed a foxtrot choreographed by Louis van Amstel. They danced elegantly and with confidence, displaying some good lines. Adam thought their dance was just lovely and Mary and Nigel loved it too. Next, we saw a rather strangely attired and made up pair on stage: Ashley Valerio and Kupono Aweau dancing a Wade Robson jazz piece accompanied by a little robot dog. The pair were supposed to be playing crash – test dummies, which they did rather convincingly. Technically, the pair are impressive and they vibe well with each other. The judges loved Wade’s choreography and found the dancing engaging. Melissa Sandvig and Ade Obayomi danced a contemporary piece choreographed by Mandy Moore. Melissa displayed the grace and lines that ballerinas are known for. The judges were impressed. The last performance was from Kayla Radomski and Max Kapitannikov who danced a spicy Louis van Amstel samba with plenty of shaking, shimmying and some lifts. The judges loved the couple’s dancing and they found Kayla, in particular, pretty stunning.

Well, the top 20 finalists for Season 5 of So You think You Can Dance have just been announced and judging from the type of dancers selected, the upcoming episodes should be interesting. Though there are a few jazz, salsa, Latin ballroom and hip – hop dancers among the top 20, most of the finalists specialize in contemporary. Over the next few episodes, these dancers will be required to perform in genres that they are not used to, so we can look forward to some fun.

Judges Nigel Lythgoe and Mary Murphy together with celebrity judges Mia Michaels, Debbie Allen, Adam Shankman and Lil’ C decided the final 20 who will compete for the top slot. We now have 10 women and 10 men in the top 20.

The talented women who made it this far are jazz/contemporary dancer Karla Garcia, contemporary dancer Caitlin Kinney, Latin ballroom dancer Asuka Kondoh, salsa dancer Janette Manrara, contemporary dancer Jeanine Mason, jazz/contemporary dancer Kayla Radomski, Melissa Sandvig – Nigel Lythgoe called her a “naughty ballerina” at the auditions, contemporary dancer Ashley Valerio, contemporary dancer Paris Torres and jazz dancer Randi Evans.

Among the men, the 10 gifted dancers who won the judges over are lyrical/contemporary dancer Kupono Aweau, hip-hop dancer Tony Bellissimo, contemporary dancer Brandon Bryant, lyrical/contemporary dancer Jason Glover, popper Phillip Chbeeb, Latin ballroom dancer Max Kapitannikov, contemporary dancer Vitolio Jeune, contemporary dancer Ade Obayomi, Broadway dancer Evan Kasprzak and salsa dancer Jonathan Platero.

Things will get really exciting on Wednesday, June 10 when the 20 finalists dance to impress the judges as well as the viewers. After the show each Wednesday, Americans can call in and vote for their favorite dancers. The finalists will be required to perform in pairs so we’ll have 10 couples, each of whom will be guided by an internationally famous choreographer with whose help they’ll create a dance routine based on the dance form that has been assigned to them.

Each week, the three couples who have secured the least votes will be announced on the live results show and required to dance solo compositions, giving them another chance to make a mark with the judges and remain in the competition. Based on the solo performance, the judges eliminate two dancers every week. Let’s hope the upcoming episodes have lots to offer in terms of variety, excitement and most important of all, some really great dancing!

On Wednesday night, Fox TV presented an overview of the Vegas callbacks where 172 dancers competed with each other to make it to the Top 20. With so much talent on display and judges as demanding as Nigel Lythgoe, Mary Murphy, Lil C, Mia Michaels, Adam Shankman and Debbie Allen, being judged one of the best twenty dancers on this show is certainly no cakewalk. One of the interesting features of SYTYCD is that dancers are required to perform genres that are not their specialty.

All the dancers were put through solo performances. The first round of solos saw 45 dancers being eliminated straightaway. One of the dancers who made it past this hurdle was Tony Bellissimo who the camera focused on more than once during the show. He impressed the judges with his performance and stage presence.

Dancers who survived the solo test were given hip – hop lessons by Napoleon and Tabitha. Not everyone proved to be hip – hop proficient, though, and several dancers were shown the door. One of them was Natalie Reid who was at the competition last season. Her performance this time was not as good and the judges obviously weren’t impressed. Gabi Rojas who impressed at the auditions also failed to make it through this round. Though Gabi performed well in the solo rounds, she failed to impress the judges with her choreography.

Next up on the show were the group dances. In this round, dancers are grouped together with each group assigned some music and required to choreograph dances. Besides tap dancer Erik “Silky” Moore who didn’t appear to combine well with his group, the other groups appeared to work reasonably well together. The judges didn’t care for some of the creations as was evident from Adam Shankman’s “Barf.”

Then, contestants were made to dance to Mia Michaels’ choreography, which some dancers found quite tricky. Mia was happy with the way Evan and Ryan Kasprzak, the brothers with experience on Broadway, moved to her pattern. They naturally made it through this round.

Next, Tyce DiOrio came on to test the remaining dancers. He divided them into groups of girls and boys and asked them to perform to Broadway choreography based on music from “West Side Story.” It was quite enjoyable.

At the end of this series of grueling sessions, only 32 dancers remained out of the original 172. The surviving dancers performed a final solo for a place in the Top 20.

Troubled young people in Britain are discovering a better life through street dancing, according to an article in The Times. Boys who hung out in street gangs, drinking, brawling and wrecking things are now looking at themselves in a wholly new way, thanks to street dance or hip – hop as it’s more popularly known. The Wreka boys, a hip – hop group whose members are all aged between 9 and 17, have experienced a remarkable transformation since they turned to street dancing four months ago.

Inspired by Diversity, Aidan Davis and Flawless, hip – hop acts who’ve made it to the final of Britain’s Got Talent, the Wreka Boys are working hard on their dance moves hoping to feature on the show in the near future. Not very long ago, these boys were in all sorts of trouble on the streets with one even having been kept out of school. Some were pulled up by the police and it looked like they were going nowhere until they came across hip – hop and found a positive way to express themselves. A 15 year old member of the group says dance has made him a new person; he’s cut down on drinking and he doesn’t fight any more. He dances “non – stop”, stimulated by the moves and the sight of people watching him admiringly. As in other societies across the world, street dancing enables these young boys to believe in themselves and work toward realizing their potential.

The boys who fought each other previously now engage in a competitive display of acrobatic moves. Proud of their dancing ability, some of them are also performing in dance shows at school. Young people are in it for the sheer joy of learning new moves and performing them well; it gives them a sense of achievement increasing their confidence and imbuing them with a healthy competitive spirit. One boy says street dancing has calmed him down. Two boys who were foes earlier are now close friends.

Delighted with the positive effects of street dancing on young people in the area, a council youth worker in Gateshead says hip – hop has brought boys from rival housing estates together, put an end to loitering on the streets and curbed antisocial conduct.

Street dancing has unleashed a powerful corrective energy among underprivileged children and adolescents in Britain. Driven by the urge to dance well and be appreciated, these boys are embracing a life of discipline and commitment and ultimately one of immense possibility.

An recent article in the Northwest Asian Weekly described a Cambodian temple dancer’s extraordinary rise to the level of a first – rate ballet dancer in America. Sokvannara “Sy” Sar was first noticed by Anne H. Bass, a prominent American patron of the arts, when he performed the fisherman’s dance at Cambodia’s Preah Kahn temple. Sar was 15 years old at the time. Today, Sar, aged 24, is a member of Pacific Northwest Ballet.

Bass was so amazed by his natural dancing talent that she decided to invite him to America to train as a ballet dancer. Sponsored by Bass, Sar arrived in America shortly before his seventeenth birthday. For a boy who had been undergoing dance training at Cambodia’s Wat Bo School and didn’t speak a word of English, this was a big move. At 17, he was way past the age when aspiring ballet dancers begin their training.

Nonetheless, he applied to train at the School of American Ballet (SAB). His initial application was rejected because he knew no English and it was felt that he lacked adequate preparation. Besides being refused admission, Sar found it hard to cope with life in America. He felt quite lonely and alienated. The language, the food, the culture were all so different from what he had been used to in Cambodia. He joined high school, though, and earned a diploma within three years.

After SAB rejected his application, Sar trained intensively over the summer and finally won admission. He took classes with children in the 6 – 9 age group. That was not all; he spent hours training privately with a teacher called Olga Kostritzky, determined to make up for the years he had lost. Kostritzky said Sar had to cover a lot of material every day and it was hard work. His effort and dedication and that of Bass and Sar’s teachers eventually paid off. Sar was invited by the U.S. State Department in Cambodia to perform at the inauguration of the new embassy building. He danced in front of his fellow Cambodians, making them all so proud of him.

In 2007, Sar joined Pacific Northwest Ballet where he continues to be a member. Sar’s remarkable achievement inspired Bass to produce the documentary, “Dancing Across Borders.” The film, directed by her as well, was screened at the Seattle International Film Festival, recently. She hopes that her film ignites an interest in dance among viewers who have no prior understanding of ballet and that it motivates people to support exceptional talent as she did. Sar is hopeful that children in America and Cambodia might draw inspiration from his story.

Dance is an integral part of community life in Africa. For centuries, African dance has proved to be a unifying and nurturing force in community life. Dance not only brings people together, it helps them live in harmony with each other. These are two of the characteristics that have motivated African Americans who were looking to connect with their heritage and forge an identity to learn and cultivate the traditional dance forms, which Afro – Cuban and African immigrants brought to the United States. They began organizing dance classes for their communities as well as setting up dance companies.

Kulu Mele, one of the dance companies that came up around the time, is Philadelphia’s oldest African dance group. It was established forty years ago by ace drummer Baba Robert Crowder who still plays locally. The company works with Afro – Cuban and West African dance forms, performing dances that have come from Guinea, Ivory Coast, Senegal, Brazil and Cuba. Philadelphia now boasts a growing community of Afro – Cuban and West African dance buffs who meet at community centers to learn dance.

In the US today, African folk dance forms have caught the attention of multi – ethnic communities. Traditional dances such as those performed to celebrate the birth of a baby, to express gratitude for a good harvest or to promote match making are organized at community centers all over the US. With dancers from the mainstream also evincing an interest in these folk dance traditions, African dance classes are attracting dance enthusiasts from diverse ethnic groups.

As Dorothy Wilkie, artistic director of Kulu Mele, observes one’s worries dissolve whilst dancing, problems fade away and nothing matters but the dance. Dancing, as she puts it, is all about “finding your place within the rhythm.” At a Kulu Mele rehearsal, dancers sway to the rhythm of West African djembe drum beats. Engrossed in the music, they enter a different time and place.

The group recently performed Mali Sadjo—The Legend of the Hippopotamus, a ballet derived from Guinean dance traditions. It explores the ways in which humans relate to their environment. In preparation for this performance, Kulu Mele’s dancers and drummers spent a fortnight in Guinea, training with local musicians and dance masters from whom they learnt traditional music and choreography.

Those who learn and practice traditional dance forms are drawn to its community building capacity. What matters to them is that these dance forms make people bond together and strengthen ties.

It is perhaps fitting that Perm, a gray industrial city in Russia, where the legendary Sergei Diaghilev spent some of his growing years, is embracing contemporary dance and art in its bid to reinvent itself as the country’s culture capital. An article in the New York Times looks at how the city is turning to art and architecture to fashion an urbane makeover after decades in dreary obscurity.

Perm, which was once known for Gulag prison camps and factories that produced rockets and petrochemicals, is eager to shake off its Soviet military - industrial identity. In pre – Soviet times, however, art and culture flourished in Perm under the patronage of the Stroganoff family who took charge of the area at the behest of Ivan the Terrible. During World War II, Perm became home to the Kirov Ballet and Opera once they were evacuated from Leningrad.

Today, remnants of the cold war such as disarmed ballistic missiles displayed near the Motovilikha factory, which was badly hit after the fall of Communism, provide an interesting though unconventional setting for contemporary dance performances. Moscow’s innovative curators and choreographers view the old factories, museums and deactivated weapons as promising venues for modern dance. For example, one of the founders of Winzawod, a contemporary arts center in Moscow currently participating in Perm’s artistic revival, sees interesting possibilities in staging dance performances with rockets in the background. He and others working on forging a cultural identity for the city feel Perm could well become the Berlin of Russia.

The Motovilikha factory has inspired others as well including prominent young Russian playwrights who created “Motovilikha Worker,” a documentary about the experiences of factory workers based on interviews with them. The riverboat station, which was built during Stalin’s era, now hosts the Perm Museum of Contemporary Art.

Recently, the world premiere of an opera based on Aleksander Solzhenitsyn’s “One Day in the Life of Ivan Denisovich” was staged in Perm. The Novaya Drama festival has migrated here from Moscow. In general, Perm is witnessing an aesthetic and cultural transformation. There is energy and enthusiasm in the air. As leading choreographers, artists and curators shift their attention from Moscow to Perm, contemporary visual and performing arts in Russia is aspiring to another level altogether. It’s interesting to see how modern dance will evolve amidst factories, tanks and cannons. The tirelessly inventive Diaghilev would likely have approved.

More and more fitness enthusiasts as well as people looking to shed a few extra pounds and shape up are taking to dancing wholeheartedly. Dance based exercise has caught on fast because it’s social and enjoyable. It’s no wonder that there are so many dance exercise studios around these days. Many of their clients are those who have taken up dancing after having tried other forms of exercise and given up; they are likely drawn to dance because it’s exciting and very varied.

Dancing is one of those physical activities which involve stretching, turning, bending, jumping, gliding and balancing. As such, dance is a comprehensive workout. Experts consider it a structured form of cardiovascular exercise. Dance movements improve physical balance and flexibility and tone and strengthen muscles. As a dancer moves, his muscles are exercised because they resist his weight.

Dance doesn’t just help you to lose weight; it’s also a very effective way to improve bearing and posture as well as to shape up. Different dances benefit specific conditions and areas of the body. Belly dancing, for example, tones stomach muscles and enhances one’s posture. This is one of the reasons why belly dancing is a popular form of post natal exercise. Ballroom dances such as the tango and the waltz improve shape as well as increase stamina. According to some dance studio owners, salsa and an improvised jazz dance are preferred by women who want to shape up.

Hip – hop is also a very popular fitness dance for women and men. With its fast, vigorous and wide – ranging movements, which exercise every part of the body, hip – hop is an effective all round workout. Other styles that find favor with fitness conscious women and men are break dance, poppin’ lockin’ and Brazilian samba. Poppin’ Lockin’ is characterized by robotic movements such as those popularized by Michael Jackson. Young people appear to love it.

One reason behind the rising popularity of dance fitness routines is accessibility. Almost anyone can practice these exercises though those with heart and other major health problems are advised to consult their physicians before enrolling. Dance workouts require no specific skills or prior experience.

Moreover, dance classes are fun because participants get to meet new people often and expand their social circles. Unlike working out solo at the gym, which can be quite boring, dance routines are group activities and interacting with others keeps one in the present and wards of boredom.

The men slap their feet, thighs and hands together rhythmically as they kick their legs forward and backward. The beautifully coordinated movements of Via Kathelong’s dancers reflect the inter - personal harmony and solidarity that the group is known for. Founded in 1992 with the aim of saving the townships’ youth from taking to crime, this South African dance company has achieved global renown. The group has taken the South African gumboot and pantsula dances to Europe and America.

The company derives its name from one of the townships near Johannesburg, infamous for sleaze and poverty during apartheid. Via Kathelong employed dance to lure young people away from the streets and stimulate them to lead productive lives. Through dance, members of the group have established a healthy camaraderie, understanding the value of being together and helping each other through difficult circumstances. The approach helps them confront and overcome rakish and criminal tendencies in township life.

Their pantsula and gumboot dance performances deal with political and social issues, compelling the audience to sit up and take notice. The gumboot style originated with the miners who were exploited and forced to live in extremely inhospitable conditions during the era of apartheid. They invented this dance as a means of communication. The name derives from the rubber boots that the miners wore. Pantsula, with its blend of hip – hop and earthy traditional African postures and movements, mirrors the idiom, trends and showy competitiveness of life in the townships.

Via Kathelong’s performances display rhythmic brilliance and inventive choreography. You see a series of dancers performing intricate moves in perfect harmony. They stamp their feet, bend their legs and move their torsos exuding energy as they shift their weight from one foot to the other.

Dance has proved to be truly empowering for the members of Via Kathelong, helping them to discover meaning in life and in positive collective endeavor. Having benefited immeasurably from their experience with dancing in a group, they are eager to help others forge better lives for themselves. Via Kathelong does not rely on subsidies. Their tours finance the members’ training. Older members leave the group making way for younger ones to come in and train so that more and more people have the opportunity to hone their dancing talents and find a way to a more positive life. By enabling young dancers to support themselves through their art, Via Kathelong has successfully addressed unemployment issues in the townships to some extent.

In Cartagena, Columbia, the Colegio del Cuerpo or the School of the Body enables displaced children and youth to dance to a better life. The school trains students to understand their bodies and minds and to address difficult issues through dance. Founded by leading French and Colombian contemporary dancers, Colegio del Cuerpo employs ‘Body Education’, a combination of movement, dance as well as education about health, physiology, anatomy, psychology and social issues. Additionally, the school focuses on nurturing gifted young dancers and offering them a platform to display their talent as well as convey messages relating to social concerns.

The young dancers come from different backgrounds: many are displaced children and youth from Cartagena’s poor settlements, a few are somewhat better off and many are slum dwellers of Afro – Caribbean descent. What they have in common are talent and passion for their art and the ability to communicate universal themes such as love, trust, violence, anguish, complicity, psychosis, folly and aggression.

With the support of Children of the Andes (COTA), Colegio del Cuerpo has worked extensively to rehabilitate displaced children who are exposed to domestic, social and political violence in the course of their daily lives. Colegio del Cuerpo has effectively demonstrated the efficacy of dance as a medium of positive transformation. The school particularly seeks to prevent vulnerable children and youth from dropping out of school, joining street gangs, being recruited into the army, drug addiction as well as being abused sexually and physically. They also work toward curbing teenage pregnancies.

Colegio del Cuerpo’s programs for disadvantaged children and youth have proved to be significantly successful in improving attendance at school, academic performance, self – esteem, trust as well as effectively dealing with discord at school and at home. The school enables students to empower themselves through dance.

That dance can be effectively used to build confidence and enhance self – esteem is evident from the account of a self assured young professional dancer in the group who whilst acknowledging the difficult circumstances of his background is secure and poised in his role as a dancer, clearly asserting his desire to be judged primarily on the basis of his dance.

Colegio del Cuerpo has not only staged performances across Columbia but also in Venezuela, Brazil, London, Hamburg and Paris, demonstrating successfully the power of dance to enable the human mind and body to overcome even extreme adversity.

The So You Think You Can Dance team held the final round of auditions for Season 5 in Los Angeles and Seattle. Guest judges Adam Shankman and Mia Michaels sat in with judges Nigel Lythgoe and Mary Murphy in Los Angeles and Seattle, respectively. Adam and Mia both turned out to be pretty entertaining in their capacity as guest judges. Besides, Adam impressed everyone with his dancing.

Tap dancer Bianca who got through to Vegas last year returned and danced well enough to get a ticket again. Mary Murphy thought she was the best female tap dancer on the show, so far. Calico Sequerra

entertained the judges with her swing dance performance but was eliminated. Adam then said he would like the opportunity to dance with her to which Calico responded by inviting him on stage right away. Adam accepted her offer and impressed everyone with a Lindy hop performance, which showcased his superb technique. With his style, strength and attitude, he showed aspiring contestants a thing or two about great dancing. The judges conducted a mock review of his dance and pretended to send him through to Vegas. Ricky Sun and Asuka Kondoh who danced a ballroom number won a ticket as did Sammy Ramirez. Then there was 17 year old Nathan Trasoras who almost gave up dancing because it made him the butt of jokes. Fortunately, he didn’t because he amazed everyone with his performance. Nigel gave him a ticket to Vegas for next season.

At the Seattle auditions, contemporary dancer Kelsea Taylor’s attitude and style won over the judges and she was given a ticket to Vegas. Kuponohi’ipoi Aweau or Pono managed to get through to Vegas after choreography. Finally, there was a forgettable dance contest between Leonix Knyshov and David “Sex” Soller. “Sex” won the first round, they drew in the second round and Leo’s footwork stood out in the third round. Mary and Mia’s votes were with Leo whereas Nigel preferred “Sex”. Leo makes it to Vegas and “Sex” is sent back home after choreography.

Next week, the SYTYCD team including choreographers, Sonia and Mia, will be in Vegas with more than 170 aspiring dancers who will be giving it all they’ve got in order to make it to the Top 20. We can look forward to some pretty tough competition and hopefully quite a bit of amazing dancing too!

The SYTYCD audition rounds at Miami and Memphis showcased an array of dancing styles and fortunately, an interesting variety of contestants were sent through to Las Vegas. Judges Nigel Lythgoe and Mary Murphy were accompanied by guest judges at both locations and the effervescent and popular Cat Deeley hosted the show. As usual, there were quite a few blunt comments from Nigel and some screams from Mary.

Choreographer Tyce DiOrio sat in with Nigel and Mary at the Miami auditions and had some not so pleasant things to say to some of the contestants, referring to one dancer’s act as “milkshake full of Tylenol” and describing the twin sisters’ performance as “fun but tragic.” However, Tyce can be generous with praise when impressed as he was with contemporary dancer Priscilla Marrero’s performance, saying she made him glad that he was a dancer. Nigel loved her lines and Mary found her fascinating. Naturally, she’s through to Vegas. Janette Manrara and Romulo Villaverde, who didn’t quite make it last year, were back with a very impressive ballroom performance this time, showcasing some unique moves and extraordinary lifts. They won over all three judges who obviously gave them a ticket to Vegas. Hip – hop and tap dance specialist Erik “Silky” Moore put in what Tyce termed an inspiring performance. Mary and Nigel were impressed enough to send him through to Vegas.

The guest judge at the Memphis auditions is krump dancing ace Lil C. Police officer Marico Flake impressed all the judges with his Memphis jukin’ performance, which is basically a cool blend of fast and slow hip – hop. The judges were moved by Travis Prokop’s touching personal story about how his football coach dad supported his aspirations to be a dancer. This contemporary dancer who does have a good technique finally won a ticket to Vegas after choreography. The Kasprzak brothers, Evan and Ryan, made it to Vegas. Ryan, in particular, put in an amazing tap solo performance, accompanied by a whoopee cushion. It was really entertaining! Evan, a Broadway dancer who was eliminated last season, danced a jazz routine.

This more or less wraps up the Miami and Memphis auditions. The final round of auditions at Los Angeles and Seattle will have Adam Shankman Mia Michaels sitting in as guest judges. Judging from the audition outcomes this far, Season 5 promises to offer dance lovers an interesting variety of dance styles.

Intense suffering can make one clam up and sink into emptiness, surrounded by nothing but painful memories. People find it hard to talk and even meet others. Release can only come from finding a way out of this void, loosening up and giving vent to one’s feelings. In Africa, people express themselves through dance; they use it to articulate joy, sorrow and a host of other emotions. Dance is especially good for people who find it hard to talk about their pain because it enables the body to speak for itself.

It was this knowledge that made a torture survivor come up with the idea of turning to dance as a way out of social isolation for members of her group who like her had been subjected to intense cruelty. An article in the Irish Times describes how these tormented people liberated themselves through dance.

These people met each other at CCST (Centre for the Care of Survivors of Torture) where they are clients. The group got in touch with choreographer John Scott who works with the Irish Modern Dance Theatre (IMDT). Together they participated in a workshop that stimulated members to take part in regular group sessions. These sessions culminated in a 10 minute dance performance in June 2004. For Scott and the IMDT as well as the torture survivors, the experience proved so positive that neither wanted an end to their activities. So they worked together to produce another show, Fall and Recover, which they performed first at the Project Cube and then at other locations across Ireland.

This initiated a collaboration between group members and IMDT. They began producing other shows together. Together, they’ve performed at Paris and Brazil. Their production, The White Piece, which explores the themes of conflict and recovery, has traveled to Palestine and Israel where it was performed for audiences at Bethlehem, Haifa and Ramallah. The group is also working on a revival of Fall and Recover, which will be staged at the Dublin Dance Festival. Fall and Recover, which has won the acclaim of critics, audiences and choreographers, is the real life story of how members of the group have recovered from their suffering. Professional dancers as well as a couple of new members will perform along with the original crew in the new version.

Members agree that their experience with dance and IMDT has been truly therapeutic. Dance, as they say, has liberated them. They have found a way to express themselves again.

A rhythmic fusion of two distinct cultures, this special and very popular dance was born when earthy African rhythms and European musical compositions came together in the early twentieth century. The Lindy Hop was influenced by the Charleston and the Black Bottom, popular dances of the early 1900s. The dance got its name from Charles Lindbergh’s pioneering flight to Paris in 1927. Around the same time, the dance was growing up at the Savoy Ballroom in Harlem, which was once known as the “The World’s Finest Ballroom.” It was at the Savoy Ballroom that swing dance incubated and became hugely popular.

The Lindy Hop was originally danced to ragtime jazz and swing music but evolved with time to the tunes of rock ‘n’ roll and new swing music. White American GIs stationed in Britain during the World War II danced the Lindy Hop to the big band music of the 1930s and 40s. It became very popular in Britain where it was called the Jitterbug. It is basically a merry and earthy social dance for partners who lead and follow each other in a lively pattern of embracing holds, turns, breakaways and solid poses reflecting the dance’s European and African ancestries. It combines African freeform with European structured dancing. The break - away move in swing dancing developed as a result of couples de - linking from each other whilst they danced in order to showcase their individual fancy footwork. It was danced to a basic six beat count with turns and twists.

At the Savoy, the dance floor was huge with room for two bandstands. It attracted the best swing and jazz talents of the day. Well known bands competed with each other and inspired dancers who also vied to outshine each other on the dance floor. Over the years, the Lindy Hop adapted to accommodate rock ‘n’ roll music, smaller dance floors and bands. The dance became simpler but retained its vitality and stimulating nature.

Today, the Lindy Hop is still a hot favorite. In England, people dance different versions of this dance to ceroc, le roc and modern jive. In Switzerland, they call it the Disco Fox. And, in Sweden, it is known as the Bugg. The popular American version is the West Coast Swing. Though each of these versions have their own styles and footwork, they have all emerged from the Lindy Hop that came of age in the Savoy Ballroom.

It was the song “The Charleston” in the 1923 Broadway musical, “Runnin’ Wild,” that made the dance popular. African Americans in the southern states had been performing the Charleston dance since 1903 but it took a musical to make it internationally known. It’s not certain when the dance originated but the first generally acknowledged Charleston performers were blacks who inhabited an island just off the coast of Charleston, South Carolina. Hence, the name. It was during the Ragtime – Jazz era that the dance achieved worldwide popularity.

The dance is characterized by swaying arms and fast footwork. The dance begins with the dancer taking a step back with his right foot and then kicking his left foot backward whilst he moves his right arm forward. He then returns to the position at the beginning of the dance and moves his right foot forward whilst moving his right arm backward. The dancer hops between one step and the next. The Charleston can be performed alone, with a partner or in a group. It is usually danced to the accompaniment of ragtime jazz music with quick 4 / 4 beats.

Charleston featured in Harlem stage productions as far back as 1913. In later years, shows such as ‘Shuffle Along’ also had dances that resembled Charleston but were not called by that name. These dancers were regarded by audiences in those days as the fastest dancers ever. But it was ultimately “Runnin’ Wild” that introduced Charleston to the world. Chorus boys known as the Dancing Redcaps performed the dance in “Runnin’ Wild” without any music save the clapping of hands and the stamping of feet. Charleston had arrived on the international stage.

In the 1920s, people who applied for certain jobs were required to be able to dance the Charleston or teach it. The jobs in question were not dancing roles. For example, waitresses and waiters had to sometimes dance the Charleston on the job.

Charleston found its way into the movies as well and became quite a hit with movie stars. Bessie Love is believed to be the first person to have danced the Charleston on screen in ‘King on Main Street’, a 1925 film. Joan Crawford danced the Charleston and won quite a few contests. As did Ginger Rogers whose win in the Texas Grand Championships is said to have helped her launch her movie career.

The Charleston has influenced other modern styles such as the West Coast Swing, which is danced to the accompaniment of contemporary music.

Not everybody outside South Africa has heard about pantsula dance. Yet, this dance form has traveled to several countries in recent years and is beginning to find foreign enthusiasts. In fact, Fox TV plans to include pantsula in its dance reality show So You Think You Can Dance this season. What is the pantsula dance, then? As one long time dancer describes it, pantsula is more than a dance, it is a way of life, an art that he breathes. He went on to say that pantsula had saved him from coming to harm on the streets.

Pantsula evolved on the streets of South Africa just as hip – hop developed in American ghettos. In South African townships, pantsula also came to signify a kind of behavior, language, attitude as well as attire. In the 1970s, the term pantsula was used to refer to someone who dressed elegantly yet informally and with a degree of panache. The dance form really grew during the 1980s when young men in the townships discovered it as a means of self expression and took to the dance with enthusiasm. Eventually, it also developed into a form of political expression. Even today, pantsula mirrors the zeitgeist in South Africa.

Though some women do dance the pantsula these days, it is still primarily a dance for men. In Zulu, pantsula means to waddle in the manner of a duck or to walk with one’s buttocks protruding. It’s characterized by flat footed movements. The dancers sort of shift their weight from one foot to the other. On first glance, the dancers sometimes appear to be moving in reckless abandon. Some consider it a thotsi or thug dance. However, pantsula as many dancers have found, actually helps them to give up a life of crime on the streets. A young man who had resolved to undergo rehabilitation said he discovered pantsula instead and found all the therapy he required.

The South African dance company, Via Kathelong, which was founded primarily to save young people from taking to crime, has helped to make pantsula popular in the United States and Europe. South African townships have high unemployment rates and dance companies such as Via Kathelong attempt to address this issue by reaching out to young people and training them to earn a living through dance. Pantsula offers dancers an outlet for their grievances and helps them find meaning in life.