How old is the floss dance

How to floss dance, who created it and why is everyone doing it?

The floss dance began on Instagram and now everyone is flossing away (Pictures: Instagram/ITV)

Just when you thought you were getting the hang of the dab, a brand new on-trend dance move comes along.

It’s called the floss dance, and if you want to be down with the kids you better learn how to do it.

Unfortunately, it requires a lot more coordination than the Cha Cha Slide or the Hokey Cokey. Or any moves from Flashdance.

But hey, if a stern-faced child known as ‘the backpack kid’ can do it and seem cool, surely you can as well? Here’s the low-down on the floss…

How to do the floss

  • Put on some music
  • Put on a rucksack (optional)
  • Stand with your knees ever so slightly bent
  • Put your hands in fists
  • Place your arms, relaxed, at either side of your body
  • Begin to swing your arms left and right around your torso in the opposite direction to your hips
  • Keep doing it
  • Increase speed and bend knees occasionally for effect

After building confidence, you can also bring in other moves with your arms if desired, but this is not mandatory.

The floss dance originates from an Instagram-famous American schoolboy, 16-year-old Russell Horning, known as the backpack kid.

Back in the summer of 2016, Russell’s dance videos began to include the floss, so it’s taken a while to build this level of buzz.

Dele Alli attempts the dance to mark his 22nd birthday (Pictures: Snapchat)

Fans of the backpack kid started to copy his moves and the floss became his signature dance.

Then in May 2017, Russell – who now has nearly 2 million Instagram followers – was invited on to Saturday Night Live to perform his dance alongside Katy Perry when she sang her tune Swish Swish.

Sorry, this video isn't available any more.

Celebs who have now attempted the dance include Stranger Things’ Millie Bobby Brown, Tottenham ace Dele Alli and GMB’s Kate Garraway and Charlotte Hawkins.

Why is everybody doing it? Well, sometimes the internet commands, and we mere mortals can do nought but obey.

(Picture: Giphy)

If you’re not a fan of a dance that makes it look like you’re flossing your nether regions, why not resurrect the twerk, the Harlem Shake or the stanky leg?

And don’t forget, there’s always dad dancing.

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How do you do the floss dance, who is The Backpack Kid and why is he suing Fortnite?

IT was one of the biggest crazes of the past 12 months - with everyone from sports stars, actors, presenters and Fortnite gamers getting in on the act.

Dubbed the new dab, the move got kids and teens dancing all over the world.

How do you do the floss dance move?

To do the floss dance move, you swing your hips in the opposite direction to your arms - which are in two fists.

After swinging your arms to one side, keeping them straight, you then move one arm behind your back, and bring it back out in front.

Your hips are swinging from side-to-side with each beat.

You then swing your arms out to the other side and repeat the same moves.

Start slowly, and then increase your speed as you get more confident.

Et voila! Parents, you're officially "down with the kids".

Don't worry if you struggle at first. It's harder than it looks, and requires A LOT of coordination.

Who is The Backpack Kid and why is he suing Fortnite?

The floss dance was invented by Insta-famous dancer The Backpack Kid, aka 16-year-old Russell Horning, who has 2 million followers.

He posted a video of himself doing the dance move on August 18, 2016, and it soon racked up tens of thousands of views.

School kid Russell, from the States, is known for his free-flowing dance moves and deadpan expression.

Several YouTubers followed suit with similar videos.

Then on May 20, 2017, The Backpack Kid stole the show on Saturday Night Live, as he did the dance to a live performance of Katy Perry's song Swish Swish.

He even wore his signature rucksack on stage.

In December 2018, Russell announced that he was suing Fortnite publisher Epic Games for using his moves in-game without permission.

A representative for the company said: "We do not comment on ongoing litigation."

Why are some calling for it to be banned?

The craze, which hit new heights in Britain after Tottenham ace Dele Alli celebrated his 22nd birthday with a hilarious attempt at the dance, has led a school in Devon to ban the move.

While Kate Garraway and Charlotte Hawkins embraced their "embarrassing mum" sides on Good Morning Britain, it seems Ilfracombe Junior School is keen to ensure other mums don't follow suit.

The move, which has strong associations with the ultra-popular video game Fortnite, has been accused of being used to "surround and intimidate children" in the playground.

Headteacher Catherine Cox sent out a letter to bemused parents saying: “Fortnite is about the mass killing of other human beings and being rewarded by a dance of celebration if you are successful. One of these dances is called the Nazi dance!"

However, the ban has infuriated parents who took to social media to vent their anger, with one raging: “My daughter is eight. She doesn’t even know what Fortnite is. I find this ludicrous my child now feels this way about a dance.”



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Do you think YOUR child could do it?

We'd love to see your kid attempting the dance - so why not teach them the moves?

Please send in your videos to myvideo@thesun., using "Floss Dance" as the email subject.

If we like your video, we shall feature it in a video montage on our site... so get practising!

Dance with a red thread brought Darya Shipilova the title of the most talented beauty

10/25/2019 11:22


Who is not only beautiful, but also smart was determined in the competition of Tambov beauties "Miss Talent". The second intermediate stage of "Miss Tambov Region" has ended, where the jury members named the most talented among the beauties. And this caused discussions and everything was decided by the voice of the acting main beauty of the region, Anastasia Samotoylova. As a result, Daria Shipilova won the title, but the jury members had to deliberate for a long time. nine0003

Eight girls competed for the title. Each of them demonstrated skills and mastery right in front of the jury members, struggling with excitement and shyness.

Basically, the girls chose three directions - songs, dances and poetry. Sabina Subkhanova started first and sang the romantic "Luz, Camara, Accion" in Spanish. The girl admitted that a few years ago she began to learn Spanish. Another song was performed by Anastasia Fedosova. She played the acoustic "Warriors of the Light", dedicating it to her father. nine0003

Three beauties read poems at once. Ekaterina Chistyakova about "The Ugly Girl", Valeria Zhiteneva about "How stuffy it became to live in this world", and Alena Timoshevskaya, "Miss Intelligence", spoke about the time "While we are alive". Each of the participants was included in the review of the heroine of the work, the girls used the attributes and literally experienced the emotions of the poem themselves.

Finally, Daria Shipilova and Alexandra Sokolova impressed the jury members with their dances. The girls are professionally engaged, which immediately became noticeable. Shipilova showed a number with a red ribbon "Thin Thread", and Sokolova - a festive waltz, plunging everyone into the atmosphere of ballet for a while. nine0003

Maria Baramia, on the other hand, cheered up the audience by performing the provocative song "Supervezda", and invited two more girls to dance.

As a result, the jury members had a hard time. The voices of Anastasia Samotoylova, soloist of the cover band "MaxBand" Maxim Davlyud, founder of the dance studio "Cafe Latino" Alexander Glazkov, director of the State Television and Radio Broadcasting Company "Tambov" Alexander Solomatin and head of the TSTU Fashion Theater "Eclecticism" Anastasia Glushkova were divided. Two for Daria Shipilova's number, two for Alexandra Sokolova's performance, one more for Anastasia Fedosova's song. nine0003

Opinions are divided over whether it is right to judge those who do something professionally and those who do it as a hobby. We decided that it was right that talent should be developed. Anastasia Samotoylova had the decisive vote and she gave it to Daria Shipilova, who became Miss Talent 2019. She got into the top ten at the final of the competition, which will be held in December.

17-year-old Daria Shipilova represents Morshansk, studies at the Skolkovo school, has been dancing for more than 10 years in the Rhythm dance group, where she is also a choreographer. nine0003

The next contest "Miss Tambov Region" will be held in November - "Miss Grace".

Photo and video: Sergey Mosev/IA "Online"

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Journal of International Life - Elena Shcherbakova, artistic director and director of the Moiseev Folk Dance Ensemble

Oganesyan : It is with pleasure that I present the guest of our program - Elena Alexandrovna Shcherbakova, director and artistic director of the Moiseev Folk Dance Ensemble. Thank you for coming. Probably, you have a hot time, a lot of performances?

Shcherbakova : Our anniversary has just passed. The anniversary tour is about to begin. The State Academic Folk Dance Ensemble named after Igor Moiseev is 75 years old.

Hovhannisyan : I have the feeling that we have always lived with this ensemble. Generations of people lived with it before us, it has become an integral part of the culture of our country of various periods, and it seems that such an ensemble should have always existed. But it's a little strange for me. What anniversary of Moses did you celebrate before his death? 90 years old?

Shcherbakova : We celebrated 90 and 95. And 85 years of creative activity. Igor Alexandrovich had a unique anniversary - one hundred years.

Oganesyan : In Russia, were there such traditions before Moiseev, when there were such ensembles of folk dance, and not Russian folk, but, rather, the peoples of the world?

Shcherbakova : In fact, Igor Alexandrovich was the first who came up with the model of the ensemble. He made a huge reform in world choreography. There have always been traditions of folk dance in Russia. But Igor Alexandrovich made it a professional genre of choreographic art. He created folk stage choreography, created a mobile model of the ensemble. We don't have scenery, unlike the theatre. But, in fact, having started, creating a folk dance ensemble, he led him to the theater of folk dance. Everything that happens on the stage, everything that the Moiseev Ensemble does, is a real theater of the author's folk dance by Igor Moiseev. nine0003

Hovhannisyan : Indeed, most of the performance numbers (although you can’t even call it a number) are some kind of small theatrical performance, ethnographic, traditional, with a vivid image of the folk character.

Shcherbakova: In fact, in the history of dance there were those who danced both amateur and professional dances, Russian folk dance. There were no such ensembles before the Moiseev ensemble.

Hovhannisyan : Were. They participated in the productions of Mamontov.

Shcherbakova : But they weren't professional. These were creative unions.

Hovhannisyan : Do you think the serf theater was professional or not?

Shcherbakova : I don't think so.

Oganesyan : Well, how is it? He was alienated from peasant labor. nine0070

Shcherbakova : What does this have to do with it? Firstly, they did mostly classical ballet, and there were certain classical productions.

Hovhannisyan : There were also folk performances in fortress theaters.

Shcherbakova : Yes, of course.

Oganesyan : Of course, it is difficult to determine whether they are amateur or professional. But they devoted a lot of time to this and were hired for them. nine0070

Shcherbakova : Of course. Moiseev made an absolutely unique, incomparable contribution. Moreover, he collected dance cultures from almost all over the world.

Shcherbakova : In general, he started with Russian culture. The ensemble was formed after Moiseev traveled through all 15 republics of the Soviet Union and brought nuggets from there. These were people who were not professionally engaged anywhere. They are just amateurs who danced from the heart. He chose the best and brought them to Moscow. nine0003

For the first time in Moscow, a festival of folk art was held. Igor Alexandrovich was responsible for the choreographic section. He showed a brilliant concert, very rich in color, according to folk traditions, very temperamental. After that, he made a proposal to the government to create a professional folk dance ensemble. Our ensemble was the first in the world.

After the Moiseev Ensemble, such ensembles were created in every republic of the Soviet Union. After the tour of the ensemble at 19In 1946, after the war, the ensemble was the first to travel to Eastern Europe, where there were no stages or houses. The Moiseyevites performed at crowded venues, even on trucks. There were a lot of people, everyone who wanted to could see this art.

People needed it, because the art of Moiseev brings only good and positive. Whatever production he puts on, all the same, as a result, good triumphs over evil. This was his position as a citizen. After that, ensembles were created with the help of Igor Aleksandrovich Moiseev, in general, the best ensembles, for example, the Polish "Mazovshy", Hungarian, Serbian, Bulgarian ensembles. By the way, this year they came to our 75th birthday, congratulated us, we had a joint concert, very interesting, like a creative roll call. For actors, it is always very curious and interesting. And these groups, unfortunately, have not been in our country for more than twenty years. nine0003

Oganesyan : But did they survive in their countries?

Shcherbakova : They exist, they have survived.

Oganesyan : Even after the collapse of the socialist system?

Shcherbakova : Yes, of course. And they are all government, by the way.

Oganesyan : And how was it in the world of decaying capitalism? nine0070

Shcherbakova : They were there too. Ensembles were also created in France. We are the laboratory of world folk dance. There is no such thing anywhere. They only dance their dances. It can be compared with the professional Russian ensemble "Beryozka".

Hovhannisyan : Are there such groups abroad that would dance world folklore?

Shcherbakova : I don't know such ensembles. After the death of Igor Alexandrovich, everyone began to learn the dances of the peoples of the world. This is just his brand, which he started after the first tour at 1945 in Finland. We have a tradition that is passed down. If the team comes to a new country for itself, then at the end we will definitely show a piece of this country as a gift - in our culture, in Moiseev's plasticity, in Moiseev's dance school. It is very different from everything else. Thanks to this, Igor Alexandrovich created a cycle of dances - dances of the peoples of the world. Now, for some reason, many groups have also begun to create similar dances.

Hovhannisyan : Globalization.

Shcherbakova : Yes, but still he is the first. Probably, if you first read Tolstoy's "War and Peace", then you will not read it later in someone's reprint, processing, edition. Pushkin remains Pushkin. As a poet, as a composer, and as a choreographer - one can only be born with this gift. It cannot be taught. You can finish as many academies as you want, but there may not be any sense. You can not finish anything, like Igor Alexandrovich. He graduated from the ballet college. Now it is the Academy of Choreography at the Bolshoi Theater. He had a gift, probably from the Lord. nine0003

Oganesyan : We are proud that Igor Alexandrovich was in our program. You have a very big responsibility on your shoulders. I understand how difficult it is, what it is like to take on the leadership of a team of such a bright person. How do you see your task? To what extent do you preserve the tradition, to what extent do you allow yourself a creative search?

Shcherbakova : I am a student of Igor Alexandrovich Moiseev. I joined the ensemble when I was 16 years old. After graduating from the choreographic school at the Bolshoi Theater, I danced in an ensemble at two months to 23. She retired creatively. Igor Aleksandrovich invited me to become a teacher in our school. Whenever he chose assistants for himself, he first sent them to school, how they would work with children. nine0003

I worked for two years at the school. I retired in 1992. In 1994, I received a very strange, unexpected offer from him - to become the director of the ensemble. I have been the director of the ensemble for 17 years. At first I did not agree, because I am an actress. For me, this is a completely different topic. But he said that the previous director (by the way, he was also a ballet dancer - Igor Filatov, he served as director for 20 years) convinced Moiseev that he needed a like-minded person who is a creative person who knows every artist inside and out, and all administrative things can be learned. nine0003

Actually, that's what happened. I started from scratch as an administrator, as a director. But I was already a mature actress and teacher. Igor Alexandrovich allowed me to be a teacher-tutor, because I explained to him that for me the most important vocation is creativity, results. I had teaching skills. He liked the way I teach at our school. I began to rehearse those numbers in the ensemble that I danced. Those numbers that he renewed with me, but before they didn’t go for a long time - there was no performer. nine0003

It's not that easy. The entire repertoire cannot go at once, because it is huge. Moiseev staged about three hundred works. They are different in scale. There are small miniatures, there are dances, there are choreographic paintings and one-act ballets. When Igor Alexandrovich was ill, for the last three years he was almost constantly in the hospital. The task fell on my shoulders...

Oganesyan : You keep referring to Igor Aleksandrovich. Clearly, you are a very dedicated student who has absorbed his style over the years. How are you now? nine0070

Shcherbakova : Firstly, the ensemble has a huge repertoire. Every five years we accept young graduates of our school into the ensemble. The school was founded in 1943 during the war and is the only professional folk dance school attached to the ensemble.

Oganesyan : Didn't Loktev do the same thing?

Shcherbakova : No, you're confusing. "School years" is Konstantinovsky. And the Loktevsky song and dance ensemble - in the Palace of Pioneers. This is a do-it-yourself team. I studied there myself, before I entered the Bolshoi Theater School. There children are prepared not professionally, but amateurishly. From there, the kids come to our school, we accept the best. It's like a preparatory stage. This is completely different. Moiseev has his own system. nine0003

Hovhannisyan : Is it professional, is it amateur?

Shcherbakova : Of course. The Loktev Ensemble was wonderful. Vladimir Viktorovich Vasiliev and Katya Maximova studied there. Almost everyone went through the Loktevsky ensemble. There was a wonderful teacher Elena Romanovna Rosse, who brought us up. Then we entered the school of the Bolshoi Theater or the Moiseev school. We have a professional school that teaches children specifically for the ensemble. But we do not take all, but only the best. The rest are invited with great pleasure to various teams, and even abroad. nine0003

As for me, I am not a choreographer and will never take on this role. I am a teacher-tutor, I am a creative person. The artistic director is not necessarily the choreographer. He can invite choreographers. But the ensemble's most difficult task today is to find a choreographer who could stage something on the same level as Moiseev. I'll be honest, I don't see such a choreographer in Russian dance, unfortunately, because we have a certain style. This is not surprising. This is a very rare profession. nine0003

Oganesyan : Russia is so big and there is no Russian dance choreographer?

Shcherbakova : We don't dance stomps, we dance folk stage choreography.

Oganesyan : Do you think in Russia - only for tramplers?

Shcherbakova : I don't think, I know. I have to travel a lot around Russia both on tour and on the jury in competitions. What I say, I tell you as a professional person. nine0003

Oganesyan : Doesn't it surprise you that Russian dance choreographers are hard to find?

Shcherbakova : For example, in classical ballet - Yuri Nikolaevich Grigorovich. This is the level that Igor Aleksandrovich Moiseev is in folk dance. This is a great layer of Russian culture.

Oganesyan : Doesn’t it seem to you that interest in Russian folk culture is declining, it has declined especially strongly at 1990s?

Shcherbakova : What we have, the Russian repertoire, for example, the Russian dance "Summer", no one has staged anything better yet. There is a suite of old Russian dances. This is the first number that Igor Alexandrovich Moiseev put on. Everything seems to be simple. But in terms of technique, the ensemble is now inaccessible. We are in the age of technology. But besides this, Moiseev's acting data is very important. Every dance has something to express. Very often now I see that people just go on stage, do a set of movements, then repeat these movements for an encore several times. nine0003

People dance and express something in their dance. I'll ask you a counter question. What do you think, if now a young man who is 16-17 years old is asked to dance a Russian dance, everyone can?

Oganesyan : Good question. I think not. Maybe that's why it's hard to find a choreographer?

Shcherbakova : No. It seems to me that it is very important that earlier in the Soviet Union it was simply impossible to cross out what was positive. Every child, regardless of how much money his parents received, could study for free in a choreographic circle. The best was the ensemble named after Loktev, the ensemble "School Years". Now you have to pay for all this. Many children loiter on the streets because their parents do not have enough money to give them to some choreographic studio. Everywhere, first of all, money. nine0003

Oganesyan : You sound very much in tune with our other guest, singer Nadezhda Babkina. She talked about the fact that interest in folk song is drastically declining, that people sing less when they get together.

Shcherbakova : And dance less. We often go on tour. I can take Greece, I can take all the Caucasian regions. How do they keep traditions? Their five-year-old children dance all national dances. Greek youth sings all national songs. I think the media is largely to blame. There is a channel "Culture", but there are people who do not even know that it exists. They don't turn it on. They include completely different channels. nine0003

We can't see anything. No concerts. It's great that they showed three of our different anniversary concerts. People discover the Moiseev Ensemble for themselves. Today there are a lot of young people at our concerts. Young couples come, bring children. These children begin to dance during the concert. This is amazing. Then you already see these people in the hall, they become constant fans of the Moiseev ensemble. That's very beautiful.

Oganesyan : Question from Yaroslavl: "How would you define your audience? Who are your fans?". nine0070

Shcherbakova : Our audience is the whole world, young and old. On the last tour in France, we were very worried. We have not been to France for 18 years. We had 12 performances in the largest hall of the Palais de Congres, four and a half thousand people. The hall was packed for 12 days. It was Christmas, although not many people go to concerts abroad at this time. It was amazing. We thought that the audience that remembers us will come. 18 years have passed - a new generation has grown up. There were also very old people. nine0003

There was one afternoon concert. The audience that remembered us came there, because they were elderly people. Then people came younger and younger. After these tours, the next year we again received an invitation to come to this country and give several concerts throughout France, including in Paris.

Oganesyan : A question from St. Petersburg: "How many concerts do you have to give a year? In the old days, it was easier to see your ensemble in Paris or New York than in Moscow. How is it now?" nine0070

Shcherbakova : We have just returned from St. Petersburg. There was a fantastic welcome. We have been going to St. Petersburg for 6 years in a row. We have renewed the tradition. Every year we have two concerts in the October Hall - in the largest hall in St. Petersburg. The reception is getting better and better. The number of concerts varies. Sometimes there are 90 concerts, sometimes 120. It depends on the tour.

As for Moscow, we always have four concerts every month in the Tchaikovsky Concert Hall. They usually take place at the beginning of the month and towards the end. This is the platform where we have been working since 1940 years old. Moiseev put all his masterpieces on it. This is our home. At the Philharmonic, we work as we used to.

Hovhannisyan : This is a jubilee year. Where do you plan to go in Russia besides St. Petersburg and Moscow?

Shcherbakova : We have already started it. We were in Saratov, Samara, Tolyatti, St. Petersburg. Soon we are leaving for Kazan. Then we have a tour to Hungary. The Hungarian public loves Moiseev's ensemble very much and knows it well. We travel there quite often. After Hungary, we are planning a tour for the first time in Jordan. Then we will open the APEC summit. nine0003

Oganesyan : In Vladivostok?

Shcherbakova : We hope that after this we will have a tour of the Far East. It is unprofitable to transport the team again with such luggage, with such suits. In general, there are 160 people in the ensemble. We have our own symphony orchestra. To the music that Igor Aleksandrovich selected, we made several new numbers, it is in a special arrangement, it is being made for our symphony orchestra. It consists of 32 people. The ensemble also includes "Polovtsian Dances" to the music of Borodin, and "Night on Bald Mountain" to the music of Mussorgsky, and "On the Skating Rink" to the music of Strauss and Petrov. Classics - Rimsky-Korsakov, Glinka. There are folk instruments. By the way, this is taught without fail to children who study at our school. nine0003

Hovhannisyan : Please tell me if you have a favorite gym?

Shcherbakova : This is the Tchaikovsky Hall, this is my home.

Hovhannisyan : In which room do you receive the most welcome?

Shcherbakova : Everywhere.

Oganesyan : Is it the same everywhere?

Shcherbakova : People who adore the ensemble go to the Tchaikovsky Hall. I see some faces at every concert. There are kids who bring three flowers. This is so touching. These are not some custom bouquets or a special audience that shouts "Bravo!". We have never had this - neither under Igor Alexandrovich, nor without him. You see how a little girl gives a flower to the one she likes. It goes from concert to concert. Children, of course, are brought by their parents, brought up at the Moiseev Ensemble. It's great. I can tell you that 10 years ago this was not the case. nine0003

Hovhannisyan : We have already touched a little on the issue of social and public recognition of folk, interest in folk music in society. But after all, this depends not least of all on how much the state participates in supporting such groups as yours.

We have a question from Sevastopol: "What would happen if you started from scratch?". The question is very good. Try to answer it in terms of personalities as well. If it were not for Igor Alexandrovich Moiseev, would such a team have been born? nine0070

Shcherbakova : None. On the other hand, the attitude towards this kind of creativity in society, the attitude of the state. Would you survive now or not?

Shcherbakova : First of all, I think it would be impossible to do that. Moiseev is a personality, a culture, a contemporary of the 20th century, a man of great education, great talent, an intelligent person. He absorbed the culture of the whole century. I had the opportunity to communicate with him in various guises since the age of 16 - first as an actress, as a student, then as a director both at home and at work. It was a completely different person. He is very interesting. All his life he was not afraid to learn something and was engaged in self-education. nine0003

When computers appeared, he did not understand what they were. When he realized, at first he was very afraid of it. Moiseev believed that when the economy and technology "clogs" culture, it is bad for the spirituality of the people. Still, culture, especially the very rich Russian multinational culture, is the spirituality of the nation.

I would like the media to give her more attention, because she is unique. We all see Western, and low-grade, pop culture. This is what today's youth is being educated on. It seems to me that this is unacceptable. We know nothing about our country, customs, folk dances, songs and music. Today, in the outback, there are people who collect this, who, having no means at all, are doing it with the last of their strength. Sponsors are needed everywhere. In order for children to dance, they need a room . ..

Oganesyan : And it is desirable to give some costumes.

Shcherbakova : Mandatory. For example, we give our still normal costumes in which you can dance to our school, children's circles. Our shoes, however, all fail, and today it is very difficult to sew good theatrical shoes for us. Everything is sewn under the conveyor and not the way it used to be.

Hovhannisyan : Let's now answer the question, would your wonderful ensemble survive without government support? You say that you travel a lot, how brilliantly you are received, including in Paris. But this is a certain income.

Shcherbakova : The ensemble would not survive.

Hovhannisyan : Why?

Shcherbakova : We have been receiving a grant from the president for 6 years. If we did not receive it, then we would have a state salary. nine0003

Hovhannisyan : Would people run away?

Shcherbakova : Yes. We lost 20 artists during perestroika.

Oganesyan : When did they try to transfer you to self-sufficiency?

Shcherbakova : No one tried, just such a show appeared - Riverdance. Igor Alexandrovich Moiseev staged a Russian piece there, that they turned to him, and he let our 6 soloists go there for two months so that they would earn money, and then return. Then he wanted to send the next ones there, so that gradually people would at least slightly improve their financial situation. nine0003

Igor Aleksandrovich was an exceptionally creative person. And when I told him that the ensemble needed to sign a contract with Riverdance, he did not take this into account, trusting his artists. As a result, the artists left the ensemble and moved to Riverdance, because there they were paid wages several orders of magnitude higher. But now there is no Riverdance.

Hovhannisyan : Did you have enough income from touring? nine0070

Shcherbakova : Of course not. Firstly, we clearly pay all taxes, so the income would not be enough. The ensemble cannot tour from morning to evening. This will be a craft. Where commerce begins, creativity ends. These concepts are not very compatible. People try to combine them, but the results show that it turns into a craft. It's unrealistic. There must be a rehearsal period in the ensemble, as it exists in any theater. If we produce serials, as today on television, then nothing will remain of what Moiseev did. nine0003

Oganesyan : An interesting question from St. Petersburg: "You are a People's Artist of Russia..." treat exactly the same as, for example, opera singers, musicians. The age of a ballet dancer is very short - 20 years, and then a creative pension. This does not mean that we in the ensemble, after 20 years, are clearly withdrawing everyone into retirement. We also have long-livers who stay if they are still in shape and if they are in the repertoire. We usually replenish the ensemble every 5 years. nine0003

This means that people gain a lot in the first 5-6 years. If they scored, then they need to be given the title in the prime of life. Thank God that now there is a law for ballet dancers that in 10 years you can get the title of honored artist. But we are very tough on this, we have a very high bar. We absolutely do not want the ensemble to have titles. Moiseev was always very tough on this: a person must meet all the requirements in order to receive a title. I will say that we have 16 honored artists in our ensemble, including an orchestra. Now, by the anniversary of the ensemble, 5 people have received the title of honored ones, and three of them are from ballet. They worked in the ensemble for 10 years. They really deserve it. That is the peak. nine0003

There are four people's artists. One is the People's Artist of the Soviet Union Lev Golovanov, who is now 86 years old, and he is still a teacher-tutor. He gives a lot to the ensemble, because Moiseev put on him almost the entire solo male repertoire. He was a very handsome dancer, he danced until the age of 60 and at the same time was already a teacher-repetiteur. Igor Alexandrovich shared the entire repertoire, and he was assisted by 4 or 5 assistants. Everything remained exactly the same.

I believe that the best is the enemy of the good. The ensemble has been preserved precisely because we observe the continuity of generations. We preserve traditions and pass them on from generation to generation. We have a single creative process between the school and the ensemble. At the age of 12, they are all at the ensemble's rehearsals and at the ensemble's concerts. When they graduate, in the last year they all go through practice, regardless of whether we take a person into the ensemble or not. The best of them are already engaged in our performances. nine0003

Hovhannisyan : Who is a teacher-tutor? It is clear who a tutor is when he is hired to study the language, mathematics. What about a dance tutor? Is he engaged in teaching activities at rehearsals? What is his mission?

Shcherbakova : Each rehearsal is the same lesson as in school, only a lesson for artists. Our day begins with a classical dance lesson. There is a teacher-repetiteur in the classics, in ballet. This is a professional teacher who gives a different class every day - classical barre, middle, jumps. Everything is the same as in classical ballet. In general, the Moiseev school of folk dance is based on the classics - the positions of the arms, legs, head, body position. There is a male class and a female class. nine0003

Schoolchildren study every day for an hour and a half. This is done in order to set all the muscles in motion so that there is a complete warm-up. Training is necessary. Then there are rehearsals - depending on what rehearsals are written out for each day. From 12:00 to 15:00 we have rehearsals. Teachers-tutors in the ensemble are also former soloists of the ensemble, honored, folk. They remained, as it was under Igor Alexandrovich, no one changed anyone. There are older and younger generations. They make sure they rehearse every day. There is only one day off, because ballet dancers cannot have two days off, it's a lot. And then evening rehearsals, from 19:00 to 21:00.

Hovhannisyan : Is this a different group or the same one that works from 12:00 to 15:00?

Shcherbakova : It happens in different ways. It happens that the day and evening shifts for the same artists, it turns out a seven-hour working day. This team has always been state-owned - and so it will remain. It is impossible that we were private and belonged to some oligarch.

Hovhannisyan : Question from Estonia: "What is the dynamics of repertoire change?" What is the basis for you is well known - Igor Alexandrovich set it up, but you are moving forward. What is the dynamics of change in the repertoire now, in the post-Moiseev period?

Shcherbakova : After the death of Igor Alexandrovich, we have already made three new numbers. It's a lot. This was done by the Bulgarian choreographer Zhivko Ivanov. Our task is to continue the cycle of dances of the peoples of the world. There are dances that are not yet in the ensemble. nine0003

Hovhannisyan : Describe the three new numbers.

Shcherbakova : We have now resumed the program for the 75th anniversary - dances of the Slavic peoples. It consists of Moiseev numbers, but there was no Bulgarian, Serbian, Macedonian. There was once, a very long time ago, Yugoslav, when Moiseev put it, somewhere in the late 1940s. But he outlived himself. This was said by Igor Alexandrovich. He was slow. Today it would probably be uninteresting. Therefore, he did not go for a long time, but only a small piece of Bulgarian dance in the program "Road to Dance", exercises on the Bulgarian theme. This is a Moiseev production. nine0003

While in Bulgaria, I met an interesting choreographer. I was at a concert, and I really liked two numbers. I had with me a cassette with a Bulgarian piece of our dance, I gave it to him and asked if he could put the beginning and end without touching the Moiseev production. He immediately said that he could. It turns out that his teacher was a soloist from the ensemble of Pavel Virsky from Ukraine. Virsky worked at the Bolshoi Theater, was an excellent classical choreographer, one might say, a student of Moiseev. nine0003

He learned from our underground tapes. In general, he never saw the Moiseev ensemble live, we were not on tour in Bulgaria for a very long time, there was some kind of break. He gladly took on this task. But we still dance the Bulgarian number with our school, according to our methodology. Now, when the Bulgarians came, we danced one Bulgarian dance, and they danced another. Artistic director Elena Kuteva was delighted with the Bulgarian dance.

As for Serbian, it never existed. Once upon a time, there was a Yugoslav dance. Basically, all dances among the Serbs are built on the pattern "snail", "kolo" (circle). They even have the best ensemble called "Kolo". This Bulgarian staged a Serbian dance for us, understanding our specifics. It is difficult for us, because not all choreographers understand the Moiseev school. This is a theater of dance, it cannot be just a set of movements, there must be action. nine0003

We try to educate dancers-actors, not just technical dancers-virtuosos, it is very little. Zhivko understood this. We still remade the numbers for our performing school. It turned out very nice.

There is also a Macedonian dance. Macedonian dances are mostly warlike. It is already more dramatic, less technical than Serbian. They are all completely different, although they are all Slavic peoples. We have added this to the program. This can be done, but it is a very painstaking and long process, because we have set ourselves the task of not lowering the bar. nine0003

Oganesyan : Another question from St. Petersburg: "The great Yuri Grigorovich staged such ballets that people used to say about them: 'A word is in every gesture.' ", the dancers were talking. You didn't even have to look into the libretto to understand the content of his ballets. Can someone teach this, or is it just talent?". Can Grigorovich teach another Grigorovich?

Shcherbakova : I don't think so. This is the question we talked about: can the Moiseev Ensemble be the same today. Yuri Nikolayevich is the same layer of our classical culture as Igor Alexandrovich Moiseev.

I think that this is a talent, you have to be born with it, and very good teachers can develop it. Both Grigorovich and Moiseev were taught by excellent teachers and choreographers. For example, the choreographer Kasyan Goleizovsky was Moiseev's idol and teacher. He studied at the ballet college with Gorsky, and this is a ballet reformer. The favorite choreographer of Moiseev himself is Mikhail Fokin. nine0003

Oganesyan : Our listener does not talk about cloning Grigorovich, but he hints that this theatrical component, when a gesture speaks... We are used to classical ballet. This flight almost does not translate into the language of specific dramaturgy, much of what is pure dance aesthetics.

Shcherbakova : No. Folk dance necessarily expresses something.

Hovhannisyan : That's what I'm getting at. Grigorovich's style is more verbal. He is readable. The comparison is very accurate. No need to look in to understand that this is Spartacus.

Shcherbakova : I'm wondering if the friend who asked the question was at our performance?

Oganesyan : He must have been.

Shcherbakova : If he was, then everything is clear to him. It's the same - only in folk dance. I would say Moiseev is Stanislavsky in ballet, in folk dance. In St. Petersburg, we showed a miniature of "Cavaliers". This is Ostrovsky, the beginning of the century, acting work that is done very well. These are young guys who are 20 years old. Sunday, maid, cook, clerk. Between them mise-en-scène. There is technically nothing special to do. But how is it put! Every gesture, every look expresses something. All this is very musical, and at the same time to beautiful Russian music. nine0003

Oganesyan : Stanislavsky ran like a red thread through the work of Russian artists. Stanislavsky tried not to miss any of Chaliapin's performances, he especially liked "Boris Godunov". "Chaliapin was heard in every corner. He played superbly. His eyes are expressive. Gestures, bass only enhance the impression. The people rose to see how it all happened."

Shcherbakova : Moiseev rehearsed brilliantly. He could show the women's party and the men's. I'm lucky. On me, he resumed the Moldavian dance "Tabakeryaska" - this is "Laundress". Eternal literary theme. A young girl and the old men who start courting her. She washes clothes in the river. How he showed it, how the hips should move - it's fantastic! He also showed "Polovtsian Dances", how to do this "eight" with the hips. This cannot be repeated. This person clearly knew what he wanted from each artist, and clearly set the task that needed to be completed. nine0003

Today it is tutors who must pay great attention to the emotionality and expressiveness of each gesture. We always teach children from school, making this or that movement, to think about what they can express. There is a text, it is not spelled out.

What is individuality? How are soloists born? Igor Aleksandrovich never killed this individuality. If you see expressiveness and individuality in a person, he will do it in his own way. He even changed the choreography specifically for soloists, for artists whom he saw in one role or another. nine0003

I didn't know how "Tabakeryaska" was danced before me. He renewed this number on me. I rehearsed a lot with him purely technically, but emotionally I did my own. If he was happy with what I was doing, if it was true on stage, then it was good.

Hovhannisyan : Is this your anniversary year?

Shcherbakova : Yes. This anniversary will last all year. We dedicate all concerts to this event. All our tours are anniversary. I hope that in the fall we will have tours in countries that we have not been to for a long time. As I said, I really want to go on tour in the Far East. The worst thing is when you come to some city in Russia, and this is a new city for you. In Russia, people have not seen the live ensemble of Moiseev. nine0003

This is scary. People do not even believe that a real ensemble has arrived. Very often, when we come to the outback, we are asked the question: "Is this the second composition or the third?" There is only one composition in Moiseev's ensemble. For 8 months we were abroad, and after Paris we came to Magadan, to Komsomolsk-on-Amur. People thought it was the second or auxiliary lineup. We have one composition, which is fully occupied in the concert.

The Moiseev Ensemble was the first to open all the cultural ties of our country on all continents of the globe. We were first in China at 1954 year. Then Mao Zedong was present at the concert. He was very dissatisfied, since Moiseev brought the "Chinese dance" there. He said that the Russians dance better than the Chinese, and this is a disgrace.

Hovhannisyan : This led to the flourishing of modern Chinese folk dance?

Shcherbakova : There was a big break. Mao Zedong had to make some administrative decisions. nine0070

Shcherbakova : He was just not happy. It was the fifth anniversary of the People's Republic of China. Moiseev staged a huge choreographic picture together with Chinese artists. They beat the drums, did something massive.

Hovhannisyan : Is this not preserved now?

Shcherbakova : There are no records of these. Moiseev started with sports parades in the 1930s, so he always made mass spectacles very cool. About Igor Alexandrovich there is his own magnificent book "A tour of a lifetime." In addition, a lot has been written about him on the Internet: with whom he talked, with Mayakovsky he played billiards, he was on Thursdays with Lunacharsky when he was expelled from the Bolshoi Theater. Igor Alexandrovich was expelled for a year. At this time, he collected all the material on the republics of the Soviet Union. He was a man who all his life was half a step ahead of what was happening in the country. nine0003

Oganesyan : You spoke out for the truth on stage, for the traditions of Russian culture. The ensemble dances numbers from the cultures of various countries, and this once again indicates that Russian culture is very in tune with the world.

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