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Set in Pittsburgh's renowned Abby Lee Dance Company, owned and operated by notoriously demanding and passionate instructor Abby Lee Miller, Dance Moms follows children's early steps on the road to stardom, and their doting mothers who are there for every rehearsal, performance and all under the discerning eye of Miller.more

Set in Pittsburgh's renowned Abby Lee Dance Company, owned and op...More

Starring: Abby Lee MillerGianna MartelloStacey Ketchman

TVPGRealityLifestyle & CultureFamilyTV Series2010

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Dance Moms

Starring: Abby Lee MillerGianna MartelloStacey KetchmanLilliana Ketchman

TVPGRealityLifestyle & CultureFamilyTV Series2010

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EpisodesExtrasDetails

The Dances Review Abby as a Coach

Making the ALDC Cut

Bonus Scene: the Shangela Scandal

Maddie's Slumber Party Blooper Reel

Reunion Performance: Panic Room

Slumber Party: All About Buns

Slumber Party: Boy Crazy!

Slumber Party: for the Fans

Slumber Party: Movie Roles

Slumber Party: Stress Relief

Slumber Party: What Would You Do if You Couldn't Dance?

Full Dance: Someone Special

Group Dance: the Waiting Room

Full Dance: Bye Felicia

Group Dance: Made in the Shade

Full Dance: Bat Crazy

Full Dance: the Woods

Group Dance: Always a Bridesmaid

Full Dance: Immortals

Group Dance: Don't Fence Me in

Full Dance: the Investment

Group Dance: Panic Room

Full Dance: Golden Child

Full Dance: Superstar

Slumber Party: Phone Savvy

Full Dance: Loose Cannon

Group Dance: Dance Bop

Full Dance: Faith Is All I Need

Group Dance: Voices in My Head

Full Dance: Sink or Swim

Group Dance: Beautiful Bizarre

Full Dance: Unbeauty

Group Dance: Traitor

Exclusive Full Dance: Don't Take Her Away (Unaired Australian Performance)

Exclusive Full Dance: Making Me Stronger (Unaired Australian Performance)

Group Dance: Mad Max

Bonus Scene: Abby's ASTRA Awards Goof

Exclusive Full Dance: Rise and Fall (Unaired Australian Performance)

Group Dance: Fearless (ASTRA Awards Performance)

Bonus Scene: Maddie's Grammy Moments

Group Dance: Collateral Damage (Unaired Reunion Performance)

Group Dance: Freak Show (Reunion Performance)

A Look Back at Over 400 Routines

Full Dance: Electricity Improv

Full Dance: Never Knew

Group Dance: No Sign of Life

Abby Announces the Los Angeles Branch

Holly Is Too Focused On Nia

Full Dance: Straighten up

Group Dance: Platinum

Shooting Kendall's Music Video

Abby Gets the LA Building

Full Dance: Innocent

Group Dance: The Rose Garden

Full Dance: Waiting

Group Dance: Together We Stand

Full Dance: Fancy

Full Dance: Who Are You

Group Dance: Tell Me What You Want

Full Dance: Walking Through a Storm

Group Dance: Get a Clue

Full Dance: the Mannequin

Group Dance: Decadent Darlings

Full Dance: Vertigo

Group Dance: Dance in the Rain

Full Dance: Pretty Little Liar

Group Dance: the Domino Effect

Full Dance: Tonya and Nancy

Group Dance: Moulin Rouge

Bonus Scene: Abby's Audition

About this Show

Dance Moms

Starring: Abby Lee MillerGianna MartelloStacey KetchmanLilliana Ketchman

TVPGRealityLifestyle & CultureFamilyTV Series2010

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April 29 - Dance Day.

What dances were like for our compatriots in the 19th-20th centuries

For the third year, "Motherland" has been collaborating with the amazing site "Prozhito" (PROZHITO.ORG), which contains more than 2300 diaries of Russians of the 19th-20th centuries. The next issue of "Live with the Motherland" is dedicated to the International Dance Day, which is celebrated on April 29.

The style and spelling of the authors have been preserved.

1807 YEAR

Stepan Zhikharev, writer, playwright, translator, senator, theater-goer and memoirist

January 26/February 7. [...] On the 3rd of February, a big ball was appointed at Count Orlov's, which is called a feast for the whole world. There are many dancers in mind, but there are almost no dancers at all. Some well-known ladies who knew each other briefly in the count's house were commissioned by the young countess to recruit good gentlemen. I do not know why Katerina Alexandrovna Muromtseva considers me among the good gentlemen and offered to take me along with her eldest son. "But I can't really dance," I said, "I'm shy and clumsy." - "Et pourtant vous avez danse chez les Werevkines et vous dansez souvent chez les Lobkoff, comme si je ne le savais pas" .). - "It's true, but the Verevkins had a ball easily, and at the Lobkovs I dance pour rire (for laughter - fr.) in my mug, and I don’t dance, but jump like a goat." - "And at the Orlovs you will jump like a ram - that's the whole difference! Talk to yourself incessantly with your lady - and they won't notice how you dance."

I refused, but Katerina Aleksandrovna resolutely announced to me: "Vous irez, mon cher; je le veux absolument: a votre age on ne refuse pas un bal comme celui du comte Orloff, ni une femme qui vous a vu naitre.Сest ridicule "(You will go, my dear; I definitely want this. At your age, they don’t refuse either such a ball as Count Orlov’s, or such a woman who saw you in diapers. This is wild! - fr.).

There is nothing to do, I will equip my ball costume: a puce tailcoat and a white waistcoat with a Turkish shawl vest. I'll undress with my grip!

1808 YEAR

Adelaide Eleanor Sophia Hauswolf, Swedish prisoner during the Russo-Swedish War of 1808-1809.

October 30/November 11. In the morning dad decided to go to a masquerade. [...] The hall was large, but poorly lit. Music was Semevsky. Only a few of the townspeople were in fancy dress, but their costumes were so bad that they could be mistaken for commoners. Luckily, they weren't dancing, just running back and forth curiously. The governor opened the ball with a Polonaise with me. I was wearing a uniform dress with a wide ribbon, which caused a lot of questions.

It was said that there were not many people today, but there were 130 people. The ladies were dressed in beautiful fabrics and adorned with jewels, but without elegance or taste. They danced so badly that even our maids danced much better than them, and of all the men there was only one who could somehow lead his lady. From a good life and constant sitting, the women here are so extraordinarily full that during the polonaise and round dance they drag their feet; from a waltz or a quadrille they are lost for the whole evening. [...] I danced a lot and had a lot of fun, but dad was bored. At 12 o'clock we left.

1812 YEAR

Pavel Svinin, writer, historian, diplomat, editor and publisher of Otechestvennye Zapiski

11th [February]. [...] It is strange to believe that here (in New York - Rev. ) at the best balls only two violins squeak and a drum beats - and the American Cottillions somehow jump over them both in moderation and not in moderation - just to dance. Apart from the cotillion, nothing else is danced here. Fathers and mothers are against the waltz - considering it indecent for a girl.

Natasha Rostova's first ball. Frame from the film "War and Peace".

1829

Daria Fikelmon, granddaughter of M.I. Kutuzova, the mistress of the literary salon, where A.S. Pushkin

August 12/24. Saturday. A big reception at the Chief of Ceremonies Stanislav Pototsky. The ball was given in honor of Khozrev-Mirza. All Persians miraculously kept themselves in high society, so alien to their way of life and habits. It seems to me that they could easily be forgiven for looking at us with surprise and, probably, even with slight contempt, because the mazurka and waltz, it would seem, should shock people who are used to the fact that their women live as recluses and wear a veil. . But, on the contrary, they seem to like everything here, and they are friendly to everything.

N. Rusheva. N.N. Pushkin at the ball. 1967 Photo: RIA Novosti

1831

Alexander Nikitenko, journalist, literary historian, censor, official of the Ministry of Public Education

January 6/18. Attended a ball with General German, class inspector at the Catherine Institute in the Smolny Monastery. All of our ballroom meetings are the same. The difference is only in the decoration of the rooms and in the greater or lesser luxury of the treats. Three kinds of people are usually present at balls: dancers, Bostonists and spectators, who in turn are divided into spectators of the game and dances. The latter include obsolete ladies - the mothers of the heroines of the French quadrille and cotillion - or men invited to count. Dancing has always captivated me. I love to watch the play of faces of dancing couples.

Women especially provide grateful material for this; as for men's faces, they are very rarely expressive. At this ball I found no more than three or four; to them, undoubtedly, belongs the physiognomy of my friend, Ivan Karlovich Gebhardt. Two distinctive features of his character are surprisingly clearly imprinted on his face: light, graceful-sly subtlety of mind and nobility. His face boils with the play of life, blooming, beautiful. It is light, open, noble. But be afraid to meet his smile: subtle Attic irony will appear in it, like a thorn near a rose.

1833

Daria Fikelmon

February 14/26. The masquerade at Volkonsky's is the most beautiful of the festivities that one can only see. The Quadrille of the Empress from the opera "The Miraculous Lamp" was excellent and exceptionally rich. She herself looked charmingly beautiful in her costume. Having bypassed all the halls with a cortege, the Empress sat down on the throne, and the participants in her quadrille performed dances very gracefully, but still they could have been better arranged. Then our quadrille began and had a great effect. We danced the minuet and gavotte just fine, and everything, admittedly, turned out lovely.

1840 YEAR

Wilhelm Küchelbecker, poet and public figure, friend of Pushkin and Baratynsky, Pushkin's classmate at the Tsarskoye Selo Lyceum, collegiate assessor, Decembrist

October 7/19, . After a very, very unpleasant yesterday, I had fun today like a child. Istomin started for us un petit bal de famille et imaginez vous (a small family ball, and imagine - fr.) I, an old bastard, danced quadrilles, mazurkas, waltzes without rest, and God knows what else, of course, confused the figures as well as possible ; but, really, we had more fun than at other prim city real balls.

1864

Varvara Morozova, daughter of industrialist and collector A.I. Khludova, philanthropist

July 21/August 2. [...] I looked forward to yesterday, confident that I would see V. I was expecting his arrival with emotional excitement. Finally, I saw him, and he bowed to me for the first time. I was in awe and eagerly awaiting the dance. I told Lydia that I would hate him, unless he invited me to the first quadrille, with trepidation I expected his arrival, he was not there, finally, he came up and engaged me. I was overjoyed and even went so far as to kiss Lydia's hand. How cute she is! Now, I thought, I have confidence in you.

Finally, the quadrille began. God, what attentiveness, courtesy, he seems to want to charm her. From the first minute we began to talk, and then all my suspicions were justified, and I am glad that I can boast of foresight. He said a lot of pleasant things to me, and so the whole evening flew by.

Peter Kropotkin, scientist, anarchist

2 September. Steamboat "Konstantin". [...] On the "Konstantin" the wardroom is 27 feet long (the width of the ship) and 16 feet wide. Here they arranged dances; found 2 violinists, concocted a triangle - that's the orchestra. Of course, there were hunters, and even more so hunters for dancing: priests, the daughter of an ordinary officer, steamship ladies, one ardent food official, the printer Andreev, Kononovich, myself, even Babst. One cannot be satisfied with quadrilles - the tremblant polka, the unchanged mazurka polka, the roll (waltz. - Ed.). But the roll did not go smoothly: the musicians did not know any other way than in three steps, convenient for dancing with a pipe in their hands or, perhaps, with a mug of beer - you can be sure that with such slow movements it would not have spilled.

1882

Tatyana Sukhotina-Tolstaya, eldest daughter of L.N. Tolstoy, memoirist

May 29/June 10. [...] This evening papa was talking about what kind of person he would like to marry me to. He says, certainly for a person outstanding in something, but not a secular one. “Like, he says, if a mazurka dances well, it means that he is no good.” In my opinion, too. Are we being judged like this? And I tried so hard to learn how to dance the mazurka best of all, and when Misha Sukhotin told me that he was ashamed to dance with me, because I dance so well, and he is so disgusting, how proud I was!

September 29 (September 17). I just came from the staff room, where my mother is celebrating her name day. They bought harmony and treats, and they dance there. Their dance enthralled me. Arina the cowgirl dances wonderfully: she will pass so smoothly, then she will stop, she will move her shoulders and turn around quickly and start dancing again. I really wanted to go too, but it would be awkward, and they would feel it. No matter how beautiful the waltz and the mazurka are, it is incomparably and less and more beautiful, and goes straight from the heart, and most importantly, more original: everyone shows his character in his dance, and it’s good that this cannot be taught, everyone has his own special manner.

1892 YEAR

Maximilian Voloshin, poet, translator, landscape painter, art and literary critic

December 17/29. The whole evening passed remarkably cheerfully. After a while, almost everyone had already gathered, and the dancing began. Olga V dragged me to dance the polka. "Yes, I don't know how, I never danced!" - "Well, make up your mind, try it!" I made up my mind, and it turned out that I can dance the polka. "Well, now try the waltz!" - "Well, it's me, really, I can't do it at all. After all, I still learned to dance the polka, but never the waltz." - "Well, nonsense, let's go and learn this. After all, you didn't want to dance the polka either." I made up my mind, and it turned out that I could also dance a waltz. So in the end he went out and danced all the time and with all the ladies. I still can't believe that I could dance the polka and the waltz. Now, then, you can say that I'm dancing.

1896 YEAR

Vladimir Lamzdorf, Minister of Foreign Affairs of the Russian Empire

February 3/15. Gears tells me about yesterday's costume ball at Grand Duke Vladimir's. [...] Sovereign yesterday, pacing around the living rooms, entering into conversations; it seems to me that his majesty goes too far in his modesty. Girs invited Princess Yusupova to a French quadrille at the moment when the sovereign was approaching her with the same purpose. "Ah, you have already been invited, so let's dance the next quadrille," the sovereign seemed to say. Despite all the efforts of the princess and Girs to prove that no previous agreement could compare with the honor of the royal invitation, the sovereign confirmed his decision and gave Girs the first round of a quadrille with Princess Yusupova.

At a ballroom dance class at the Smolny Institute for Noble Maidens. Photo: Karl Bulla

1900

Vera Khludova, 11 years old

January 11/23. I'm starting to write a diary! [...] Today we went to a dance lesson with the Naydenovs (cousin), where we now dance: polka, waltz, minion, pas de quatre - we dance all this! I love to dance, but only to watch when they dance dances that we did not learn, new ones - then it's very boring! Look around, yawn!

Eugene Lansere, artist, member of the "World of Art" association

January 22-23/February 3-4. Saturday - Sunday. 3 am. I have just returned alone (that is, with Mile) from the very first ball at the Meisners. Mom, Cat, Manya and Kolya still remained. I only want (and only because I haven't written for a long time) to draw a small parallel with the ball at Uncle Lyulya's.

Some facts: then I wanted to be terribly, I was afraid and worried. Then there was some kind of fun dancing (polka, square dance), stayed until 5 in the morning and after that was quite pleased with the evening. Somehow I grew cold and lost my taste for balls (before that, I longed painfully to learn how to dance). Today, until the evening, I hardly thought, I went indifferently and almost confidently. And just as he felt embarrassed, proudly tormented by his boredom, and finally left.

And now it's just the opposite - again I painfully want to learn how to dance, again dances and balls seem to me something magical, a goal that I want to achieve, and I'm already thinking about the academic ball with thirst and I want to learn how to dance, well, at least a waltz!

1902 YEAR

Sergey Zimin, theatrical figure, philanthropist, founder of a private theater

January 18/31. U N.L. Zimin's blessing was a lot of fun. I even danced. To do this, they began to study with the ballet dancer Domashev, a wonderful dancer of the Bolshoi Theater. Small in stature, but surprisingly elegant, he fascinated us all, and we enjoyed studying with him.

1915 YEAR

Sergey Vavilov, physicist

April 30/May 13. Vysniki. I went out into the garden in front of the house. A charming bright May night, the old house is lit in some places and acts as an elegiac bright spot among the ancient chestnut trees. Fun in the yard, tambourines, harmonica. The polka and mazurka are famously beaten off, couples are spinning. It is somehow inexpressibly sad to look at this fun. 2-3 days will pass, there will be Schmidts, Mullers and all sorts of Haudegen. Something like "Feast in the Time of Plague".

Celebration at the collegiate registrar's house. Early 1900s.

1920 YEAR

Nikolai Golovin, professor of geodesy at the Moscow Land Survey and a number of other institutes

January 13/26. Yesterday was St. Tatyana, Alma Mater Day, Moscow University. The day before, the students of the Moscow Polytechnic [Institute and students of the Land Survey Institute] staged a concert-ball on Novaya Basmannaya in the house of the former Prince Kurakin. They invited me, they sent honorary tickets. But neither I nor Marusya could go there. Yesterday the students, and today the listeners reported that the evening was a success, there were teachers and professors with their wives. Many young people stayed until morning. Sofya Ivanovna Bocharnikova, our permanent clerk, stayed until 9hours of the morning. And after her departure, the hidden young people still danced until 11 o'clock in the morning. The artists were pleasantly surprised by the composition of the audience, it was "clean". They say that now it is the greatest rarity.

Nikita Okunev, employee of the shipping company

July 12/25. Oswald Spengler (German) wrote the book "Death of the West", which has an incredible success. It vividly proves that all civilized humanity is now in a period of collapse, an unprecedented catastrophe and on the eve of death. The mass seeks support in crude mysticism and ... in the foxtrot. It means "fox step", the so-called fashionable dance that came from America. This is the legacy of tango. In the tango, he says, there was the refinement of vice, and in the foxtrot there was only the rudeness of debauchery.

Yu. Pimenov. NEP. At the restaurant. 1927

1921 YEAR

Nikolai Mendelson, philologist, teacher

5/I. Yesterday in the gymnasium there was a meeting of those who graduated from all the issues. 50-60 people gathered. E.I. Yermolova (Yermilova?) showed off her ballet studio. Ballet is now fashionable, as is poetry. As in the old days, very old, embroidering purses, the pianoforte and the French language were a necessary accessory for the upbringing of a girl, so now "poetry" - theoretical and practical - and ballet have become the same necessity. Girls and girls from the studio in most external data do not have: bad figures and ugly legs. Two or three, however, nothing. Dancing, in general, is very mediocre.

Ksenia Solovova, chemist

March 14th. I danced in the gymnasium with Kirill Focht, he is so sleepy, he does everything wrong. I didn’t even have much pleasure in dancing! Whether it's Styopa's business, it's nice to be with him, he's so dexterous. He is now quite firmly settled in my heart.

1927 YEAR

Irina Knorring, poet, memoirist, emigrant

February 2nd. For the first, and maybe the last time I saw dancing in Paris. There were many French women, and they gave the evening a peculiar Parisian flavor. Small figurines, cropped hair, raised shoulders, short dresses, lined eyes and bright lips - dolls, porcelain figurines. God ordered them to dance the foxtrot, it is stylish and even beautiful in its own way. And when our Russian aunt with breasts in three girths begins to bend, to stagnate, then this is ridiculous and ugly.

Feature of the new dances: they are not cheerful (not my idea). The French women dance seriously, they perform sacred rites. No flushed cheeks and sparkling eyes. There is no fun and no beauty, but dancing does not always serve fun and aesthetics, and such a touch of two bodies, so close that you feel every curve of the body, reaches its own. Sometimes it is enough to take the hand above the hand to feel the trembling "of the whole body along." Yes, Marina!

1930

Olga Radivilina, schoolgirl

January 3rd. After dinner, everyone began to dance the foxtrot, what a nasty dance it is: people press against each other with their whole bodies up to the head and then move in this position on the floor, making barely noticeable figures that in an ordinary position would be taken for indecent.

People dance the foxtrot to hug each other, why can't they hug without music if they want to? Why is it considered indecent? Why is it not indecent to make voluptuous movements to the music? I don't understand why there are such conventions. If you want to hug, then hug without music.

I really liked Rudzutak's behavior, emphasizing my thoughts. One young woman (one of the people I like in this company) invited him to dance the foxtrot (he doesn't dance at all). He took her, put his arms around her, pressed her to him. She struggled, but he was strong, holding her a little so he released her and said that it was better than a foxtrot. In fact, it's better than the foxtrot. But not everyone is allowed to do this, and not everyone dares to hug a woman, and not every woman will allow herself to be hugged without music.

1934

Boris Sushchenko, resident of Barnaul

December 17th. Left home at 8 yesterday, arrived at 1 ¹ / ₂ at night; played with Oleg Vit. 3 hours in chess, (won), and from 11 am to 1 am - ... "and!" tango and foxtrot! Here are miracles in a sieve, I'm dancing... tango. For the time being, successes on the "bang", the sequence and "formulation" of movements do not fit in the head - the legs fail; summary, or what, start?

K. Korovin. Village dances. 1936 year.

1936 YEAR

Nina Kosterina, Komsomol member, daughter of the repressed writer and journalist A. Kosterin

I would like to start the diary from a date that for some reason stuck in my memory. It was April 8th. I was fifteen years old and celebrating my birthday. At the party I had Alik, Boris, Volodya, Volya, Lusya, Tonya and Vitya. I was worried before the evening and was afraid that it would be boring. However, the evening went well - not a single birthday of my life was so fun. And that evening, for the first time, I "risked" dancing with the boys - with Alik and Vitya. When Alik hugged me around the waist, and I put my hand on his shoulder, I involuntarily shuddered - it was such an exciting and joyful feeling. I have been dancing for a long time and love to dance, but never with such pleasure. Jokingly, Alik lifted me into the air: my heart sank, my breath caught and my cheeks burned with heat ...

In a holiday home. 1938

1937

Dmitry Mikhailov, high school student

November 23rd. For a long time I wondered: "Why don't our guys dance?" After all, the guys 2-3 years older than us already danced in the 8th-9th grades. They don't dance because they are embarrassed to learn. (And why don't I dance? Yes, that's why, too, perhaps).

This evening there were several guys and girls in the class for the rehearsal of the play. Well, they messed around, of course. I started talking about dancing. Galya Fursova told me: "Dimka, let's learn to dance!" And instead of the usual refusal, I said: "Come on." She looked a little embarrassed, but that's okay. For a few minutes she taught me to dance the foxtrot. Artemov V. (Pistik) immediately wanted to study. She taught him further and almost learned it.

And now I'm sure that all the "leading" guys in our class will start learning to dance. May 3 I celebrated the First of May in a way I couldn't even dream of. We went to the factory yard, where they had a dance. I didn't dance because my shoes fell apart in the winter. I was in my grandmother's leather slippers and therefore huddled on the sidelines. But it didn't spoil my holiday. And in the yard, the bosses, a little tipsy, were dancing so much that it was a pleasure to watch. The accordionist played everything that was asked: a Russian, a gypsy girl, a lady and even a quadrille.

At rest. 1943

1944 YEAR

Vladimir Tarasov, participant in the battles for the liberation of the Baltic States

Yesterday we were given warm footcloths and mittens. Suddenly the radio started playing tango. Kostya and I could not stand it and let's dance. How I would like to arrange a small evening, dance, have fun. But, alas, oh!

Grigory Kasyan, political instructor

December 19th. Hospital N 3336. Toropets. The other day I learned to dance to the button accordion and have already danced the Boston waltz, tango and foxtrot. All this can bring me closer to any circle of people. I attach special importance to dancing. These days of mine are quite interesting, but you will quickly forget about them.

Ion Degen, tank commander, poet

You won't go crazy at the front,

Without learning to forget right away.

We raked out of destroyed tanks

Everything that can be buried in the grave.

The brigade commander rested his chin on his tunic.

I hid my tears. Enough. Stop doing that.

And in the evening the driver taught me,

How to properly dance padespan.

Six o'clock in the evening after the war Photo: from the collection of Vladimir Sergeev

Russian star of the British show Strictly Come Dancing Katya Jones: "This is a dream job"

Katerina Arkharova
BBC Russian Service, London

October 31, 2020

Image copyright, PA Media

Image caption,

Olympic champion boxer Nicola Adams and Katja Jones have already made history by becoming the first same-sex dance couple in Competition

The new, 18th season of the popular competition show Strictly Come Dancing ("Dancing with the Stars" in the Russian version), in which couples made up of celebrities and professional dancers compete with each other, has begun on the BBC First Channel. - choreographers.

This season is special. Firstly, due to the coronavirus, it is somewhat shorter. And secondly, for the first time a same-sex couple takes part in the competition.

British athlete, two-time Olympic champion in boxing and holder of the Order of the British Empire Nicola Adams put forward the condition to dance in a pair with a woman.

Her choreographer and partner is Katya Jones, a regular participant of the show, a dancer and choreographer from Russia.

Katya joined the program in 2016 and immediately captivated the audience by turning Labor politician Ed Balls into an incendiary dancer, prescribing a pretzel to the Korean hit Gangham Style.

Their dance was met with a standing ovation from the public, received enthusiastic responses in the press, more than 1.3 million views on Youtube and a nomination for the prestigious Bafta award, and the press began to joke with caustic envy that this dance is the main thing that the former politician will be remembered for.

The following year, Jones took her co-star actor Joe McFadden to the finals, and together they won the hit show's top prize, a shiny disco ball on the dance floor.

Katya Jones is 31 years old, she was born in Sestroretsk, near St. Petersburg, and before her marriage to the British dancer Neil Jones, she had the surname Sokolova.

Katya and her now ex-husband danced together for 10 years and over the years became two-time world champions and eight-time British champions in ballroom and Latin American dancing.

Katya Jones told us about herself and her work in the most popular show on British TV in between rehearsals.

Photo by Luca Teuchmann/Getty

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BBC: Where did you learn to dance?

Katya Jones: I was taught everything from childhood, like all of us Russian children: piano, gymnastics and plus ballroom dancing. For dance classes, my mother took me to a small club in Sestroretsk, where I come from. I started at the age of six, and pretty soon the teachers and parents saw that there were abilities. So gymnastics, singing and everything else disappeared and serious dance training began - already in the St. Petersburg club, where my mother continued to take me. There I already met my first ballroom partner, with whom we had good results in the junior category.

BBC: Does anyone else in your family dance or play music?

K . D . : I thought for a long time: where did I get this ability to dance, and could not understand, because there was no one who was strong in this. But three years ago, my mother suddenly started dancing, and it went like that for her, at the age of 58! I saw that in fact my mother dances even better than me in some sense. So it became clear that this is my hereditary.

BBC: And after studying at the club , did you study anywhere else?

K . D . : I studied at the University of Culture and Arts in St. Petersburg and, although I started traveling later, I still came and finished all the subjects.

BBC: What is your profession?

K . D . : I am a cultural studies expert by profession.

BBC: How did you get to England?

K . D . : My club in St. Petersburg cooperated seriously with English teachers, and then the choreographer Richard Porter noticed me. And I was just left without a partner at that moment and was looking for someone to perform with, and he suggested Neil. He said: "You are equally crazy. The public will either love you or hate you."

And it was a big decision on my parents' part to let me live in England at the age of 18. Neil is 7 years older than me, he already traveled all over Europe with performances and was based in Holland, so the first two years we spent almost all the time there.

And then we wandered around the world. Together. Constantly on suitcases - well, such is the style of life for ballrooms. And we left competitive dancing when both of us were invited to Strictly.

BBC: Wasn't it a pity to quit international competitions?

K . D . : The fact is that with such a life you have to sacrifice a lot, because you literally give everything to dancing - time, effort, money. This is a financially difficult, let’s say, sport, because everything is at your own expense, especially at first: costumes, fees for participation, for training.

And most importantly, you are already losing motivation, because Neil and I have already won everything we could. Of course, we could continue, but we wanted something new, somehow develop our talent, because we lived only one thing - just to win the next championship.

So when the offer to join Strictly's professional troupe came in 2016, it came at the right time for us. And in that year, the show expanded its line-up, they attracted many new professionals.

Photo copyright Dave J Hogan

Photo caption

Gangham Style by Katya and Ed

BBC: What is it like being on Strictly? What did this show give you in a professional sense?

K . D . : The show gave me a tremendous amount for my own personal growth. You can say that I found myself here. It turned out that I have everything that this job requires. Because in order to teach someone from scratch, you need to love teaching, and I suddenly realized that I love it. And this very special, incomparable, moment of achieving the goal, when you see - he learned, we danced, and it's wonderful!

Neil and I, when we performed, were known for our creative approach to how we created our numbers, we even started new trends: we began to mix music, introduced elements of street dance. Because a ballroom competition is considered something formal - you have to do everything according to the rules there, and we began to invent something that people didn’t even think of using in ballroom dancing, for example, I changed my dress right during the dance. We were not afraid to take risks.

And Strictly gave me the opportunity to open up and apply all the elements that I have. This is a dream job for me, a dream job. I love every single element of the whole process when you dedicate yourself to the program for 4-5 months a year.

Only here, for the first time, I felt what it is like when you are not judged, when the public has a different view of your performance.

BBC: In what sense?

C.D.: In the sense that people just look and admire your skill. This has never happened to me in my entire competitive life. Because there they were always judged, evaluated. And then this element that always accompanied the ballroom competition disappeared: even if you became its winner, you still feel that you are not so good, that it could be even better.

Image caption,

Winning the competition in 2017 with actor Joe McFadden and the grand prize of a shiny disco ball on the dance floor

BBC: The fact that there are two professional participants from Russia on Strictly - you and Lyuba Mushtuk Jason Bell ) - says something special about the Russian choreographic school or is it just a coincidence?

K.D. : In fact, in the expanded troupe of the show there are still professionals from Russia, not only the two of us, but we are with Any of the same St. Petersburg club, we were best friends. I moved to that club when I was 12 or 13 and we met there. We have an interesting story: Lyuba always wanted to go to Italy and perform there, and I wanted to go to London. We even made sweatshirts for ourselves with inscriptions: she had "Italy", and I had "England". And so it happened: she began to dance in Italy, and I in England.

And of course, this really speaks of our Russian training, our discipline, and our club system, because our coaches - they give you completely, all their time and effort, and they literally hammer a sense of discipline into you.

And this, of course, bears fruit, because if you look at the world of ballroom dancing, most people in different countries dance in tandem with Russians. And we, from Russia, are often invited, because they know that we are able to devote ourselves completely to the cause; this is the work ethic of our dancers.

BBC: You have an unusual couple on the show this year. You used to dance only with men - both professionals and non-professionals. Is there a difference for you with whom to dance, with a man or a woman?

K . D . : There is no difference in terms of dance, especially in England, because it is standard practice in all dance schools: there are not enough boys and most couples are girls with girls. So it's a perfectly normal practice in the dance world. And in terms of choreography, a new door opened for me here - who is the leader, who is the follower? So I was very glad that I was offered Nicola as a couple.

Image copyright, PA Media

Image caption,

The first dance Nikola and Katya showed was a quickstep to Ella Fitzgerald's Get Happy

BBC: Nikola is an easy partner? Is her boxing past making itself felt?

K . D . : Nicola loves performing in public, she likes to put out fire and set the audience on fire, which is important. Not all the celebrity stars you dance with can do that. And I was lucky with her, and we pass this energy on to each other.

And then, there must always be some kind of "chemistry" - no matter with a man or with a woman - what is important is this transfer of energy, passion. So I have not slept since morning, I want to go on stage, I want to convey my courage to her, and she responds to this. Our next dance is a street dance, very emotional, because it tells her personal story, her hard way, how she achieved everything herself.

BBC: How do you know if this person will dance or if he has two left legs?

K . D . : Anyone can learn. Rather, I can teach anyone. I didn't have all the capable partners, not at all. Nikola is the fifth on my program, and there were several people ... problematic, let's say. And even if you take Nikola, then she does not have natural grace, plasticity, but if the right method is applied, then I believe that anyone can learn. It is important that a person trusts you, opens up to you.

When Ed Balls came to the show, he gave himself completely to this action, plunged into it with his head and opened up from a new side. It was interesting then to observe how people's opinions changed: everyone saw themselves in him.

I love this term - aggressive positivity, it's like such an optimistic-aggressive attitude, attitude, when I tell them: I'll make you, you can! But it also happens that it is difficult to instill faith.

BBC: Do you have a favorite dance, what do you most like to dance?

K . D . : That's also why it's so interesting to work on Strictly, because it doesn't matter what dance you dance, any number is like a mini-show. So it's hard to say which one you like better. You put a lot into every number, every performance, and that's the fun - I fall in love with every particular dance every time.

Image copyright Mike Marsland/Getty Images

Image caption

Katya and her ex-husband Neil Jones share a dance school for children

BBC : You and Neil share a dance school for children in Hampshire. Do you teach there yourself?

K . D . : No, but there are very good teachers there, and we go there occasionally when the schedule allows. I sometimes give private lessons there.

BBC: Do you have any magic diet? What do you eat? Do you really have to limit yourself?

K . D . : Just now I started to retrain myself. After all, but somewhere from the age of 26 I felt that the reaction of the body became different, that now it is no longer possible, as before, everything is in a row. The metabolism is different. And at first I began to limit myself, and then overeat, and I realized that with this "limitation mentality" I was driving myself into an unpleasant feeling of guilt. And it takes so much time and effort!

BBC: So a croissant or a muffin can you?

K . D . : A croissant is possible, yes. Who doesn't love a croissant. Everything is possible, but in moderation. Plus, if you are active, then you don’t need to torture yourself, because the body needs energy. Rather than starving, I'd rather dance all day. For the body, this is the best training, because the head is also included, not only the body, and dancing greatly affects not only the physical, but also the psychological state.

And speaking of diet, I just switched to vegetarianism a month ago.

BBC: Did something push or influence this?

K . D . : I watched David Attenborough's program "Life on our planet" and decided: that's it, enough talking, let's do it. But again, everything in moderation.

BBC: By the way, about the transition from words to deeds: last year you announced "no " FAST MOD E , BAMISMED? Why did it really become important? And what did it result in: did you stop buying new things?

. . . . . . . : Yes, I read a lot about it, about how this fast fashion effect affects the planet, and I realized that I have so much that I don't need anything. the same with cosmetics - I try to use to the end what I already have in my cosmetic bag.0003

So for 15 months I did not buy anything for myself - neither clothes nor cosmetics. And it was easy. I actually only bought one dress and tights a month ago - the black one with metal studs that I wore this week on It Takes Two [Strictly's behind-the-scenes show partner that discusses everything that happens during competitive airs]. And then - I chose it, because I knew that I could wear it many times.

Fashion and style have always been important to me, I like to stand out. But now the stores are out of my sight. And the shopping mentality has changed: I take what I know that I will wear many times. I won't buy a bad quality t-shirt that has to be thrown away in a month.

Also, I put on my grandmother's dresses that the dressmaker made for her. They are already 50 years old, I have three of her dresses. They are timeless. On the one hand, they are vintage, and on the other hand, they are timeless.

BBC: How do your relatives follow your performances on Strictly - they don't show it in Russia, do they have their own show?

Image copyright Dave J Hogan/Getty Images
Image caption
Katya on stage during the 2019 Strictly Come Dancing Touryear

K . D . : Yes, in Russia the format is different, and there, by the way, there are much fewer male non-professional participants. And everything is there - drama, tragedy, and the English show is much easier, more fun - it's entertainment.

Unfortunately, my family in St. Petersburg cannot watch the live broadcast, but they are aware of everything and are always waiting for a link to Youtube. On my mother's side, my grandmother lives in Kazakhstan and also looks after everything - this is a big part of her life.

BBC : Like many Brits. They write that the first program of this season was watched by about 9 million people. So you have a huge responsibility in terms of entertainment and entrusted.

K . D . : Of course, Strictly is part of the local culture, it's the highest rated show. Everyone knows that every Saturday the family will get together and watch it, discuss it, vote. And this year, so many things are canceled, people are losing heart, and this adds to the specialness of this season. People were waiting for the start of the new season, they need some kind of escapism from all this, and if Strictly is on the air, then everything is fine.

BBC: Are you used to life in England? Your English is so hard to believe that you didn't grow up here.

K . D . : Yes, England has become a second home. I feel at home here, I began to understand the local mentality, I understand jokes, a sense of humor has become close to me.
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