How to dance like the next step
Next Step Dance Performing Arts
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10 Basic Dance Moves Anyone Can Learn
Do you ever watch someone dance and wonder how they come up with moves so easily?
Great dancers often master a specific set of moves that they can fall back on again and again.
Read on for 10 basic dance moves you can learn in minutes and use every time you wanna dance.
P.S. You can learn all of these moves for FREE on STEEZY Studio! No cc required. 😉
1. The Two-Step
When I first started dancing at parties, the Two-Step was the first move that truly came naturally to me.
It really is as simple as stepping from side to side to the beat!
If you're looking for something foolproof that allows you to just groove and enjoy the music...
Boom. Here it is.
2. The Monestary
This move was born in a club called Monestary out in St. Louis!
It’s built on a Two-Step, so if you took that class, you’ve already got a foundation for the footwork.
But rather than bringing your feet together, you’ll tap them to the front with your knee and foot turned inward.
Then, as you tap the feet, you’ll move your arms and shoulders in a circular movement.
3. Booty Pop (Side To Side)
Like the Woah, this sexy move is super TikTok-friendly – but with more feminine energy.
To do a booty pop to the side, you’re gonna bend your knees, put your hands on one knee, and then bring the other leg from bent to straight while turning your knee inward.
If you’re a long-haired baddie, be sure to keep all your hair on one side so it doesn’t flop in your face as you pop!
Read this article on How To Dance Sexy to get more tips on pulling off moves like this one!
4. The Billy Bounce
Surprise – this club-ready move is built on… a bounce!
But what makes it unique is that your knees will come inward on each bounce rather than just up and down.
Once you’ve got the funky lil knee bounce down, you’ll add in an upward kick on each side.
The best thing about this move is that while the footwork takes a few minutes to learn, you don’t necessarily need to add an arm movement to make it look cool.
Just keep your arms front and center.
5. The Woah
Even if you’re not actively involved in the dance community, you’ve probably seen people hitting the Woah – on TikTok, Reels... all over your newsfeed!
Whether you wanna make a viral video of your own, or you’re just looking for a fun, basic dance move to pull out at the clerb, this one is too good not to learn.
Since the locking arm motion is so sharp and pronounced, use the Woah to accent the heaviest bass beats in your favorite songs.
6. The Dougie
Yes, the Dougie is a real dance move!
Like the Two-Step, you’ll be shifting your weight from side to side, but this time, adding some shoulder movements and a lil more attitude.
Try this one out to some songs other than the one that made it famous – you’ll find it works with any hype beat.
7. Scoop Arm Into Hip Sway
Sooo this one is more of combo than a move, but it only takes a few minutes to learn and it works with any fun sassy song…
So it deserves to be here, ok?!
For this move, you’re gonna scoop your arm across your chest, then bring it over your head, and finally point it in front of your chest.
Once you point the arm in front of you, you’ll sway your hips from side to side and groove it out.
8. The Bust Down
The Bust Down was popularized by LA rapper, Blueface, in his 2019 club jam “Thotiana”.
You’re gonna grab your belt, put one arm in the air, and allow your body to dip with the beat.
Note: Licking your eyebrows like Blueface is fun, but not required. 😛
9. The Biz Markie
The Biz Markie is an old school party dance inspired by, you guessed it, rapper Biz Markie!
It rose to popularity in the 90s, when Biz Markie himself began performing it on stage.
As you practice it, remember to allow your shoulders to bounce – the bounce is what gives this move its cool, laidback flavor.
Wanna learn more about classic Hip Hop moves? Read this: How To Dance Hip Hop for Beginners
10. The Humpty
For this bouncy move, you’re gonna circle your hips to one side as your bend your knees.
Then, you’ll jump and cross your legs, allowing your feet to tap the floor briefly before you jump back to your original legs apart position.
Once you’ve got that down, you can complete the move by adding in a windmill motion with your arms.
The leg cross in this move makes it perfect for any Hip Hop song that features a double bass (aka that BOOM BOOM sound that you hear in songs like “Lip Gloss” by Lil Mama)
We hope you enjoyed learning some of our favorite basic dance moves.
Of course, this list is just a start!
In addition to the 10 moves on this list, STEEZY Studio has 100+ other FREE beginner classes where you can learn step-by-step from the world’s best teachers.
What To Read Next:
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What is the difference between a dance and a dance • Episode transcript • Arzamas
Contents of the third lecture from Irina Sirotkina's course "What is modern dance"
In the last lecture we were convinced that dance is not so alien to philosophy as ignorant people used to think about it. Our next step is to show that dance can very well be a philosophy. Remember Nietzsche said that you need to philosophize with both your feet and your head? How they think with their heads seems to be clear. But is it possible to "think with your feet"? But some famous dancers speak directly about this. One of the creators of postmodern dance, Merce Cunningham (we will return to him later), stated: “I am no more philosophical than my legs.”
The more you get to know the dance, the more you notice contradictions in it. On the one hand, dance is liberation, emancipation of the body. On the other hand, there are a lot of rules in the dance. For example, when dancing with a partner and walking freely, it is important not to step on his or her foot.
Balls have always had very strict rules regarding not only the sequence of movements in each dance, but also the sequence of dances. The aristocratic ball opened with a polonaise, followed by more cheerful mazurka and cotillion. It was carefully prescribed who would dance with whom: it was indecent to dance more than three times with the same gentleman. The outfit was even more strictly controlled: it was obligatory to wear gloves (white and always clean) so that, God forbid, not to touch the skin of a partner. In other words, the ball is very, very codified by custom, rules, prescriptions. However, by the end of it, "ballroom liberties" could also increase. No wonder loves and marriages began at balls.
Yuri Mikhailovich Lotman wrote something like this: dance exists in the space between discipline and freedom, order and liberties. This is true not only about ballroom dancing, but about dance in general. The existence between order and freedom is the first dilemma of dance, which we will talk about today. By the way, the presence of two different words in the Russian language is connected with it: "dance" and "dance". These words are not full synonyms, they mean different things (I call them concept words). And their origin is different. "Dance" is a word borrowed from the German language (der Tanz), "dance" is a native Russian. The word "dance" entered the Russian language at the same time when the first balls, or "assemblies" appeared, which were arranged by Peter I.
If we place dance and dance on a scale with maximum freedom on one pole and maximum order on the other, then the dance will be closer to the pole of freedom, and the dance will be closer to the pole of order. In dance, as we have seen, there is also freedom, but in dance there is more of it. We call dance a passionate, wild, free, ecstatic dance. Unlike dance, dance is subject to regulations, the rules of the civilization that created it, the laws of art. Dance and dance in a sense oppose each other, like a free expression of feelings - self-control.
You have probably heard the expressions “nerves dance”, “soul dances”. Buffoons are dancing, a tightrope walker is dancing in the sky above the fair. Buffoons in their dance triumph over the prohibitions of the official repressive culture - it was not for nothing that the church forbade buffoon games. And the buffoons themselves were severely punished: in Andrei Tarkovsky's film "Andrey Rublev", the buffoon is cut off his seditious language.
Free from conventions and restrictions, dance is subject only to music, which itself is an emotional element. The dance cannot be "performed", it can only be surrendered to - like passion or ecstasy, "start dancing".
As we can understand, dance and dance are also class antipodes: rich and noble people “dance” at balls, peasants “dance”, ordinary townspeople - in a word, the people. The dance is democratic, the dance is aristocratic. Remember how in "War and Peace" Natasha Rostova, trained only in ballroom dancing, unexpectedly for everyone (and perhaps for herself) dances "Russian" to her uncle's guitar - with the full approval of the peasants.
Some even talk about the "dancing instinct", supposedly universal for all people, but I will not subscribe to the biological word "instinct". I prefer to stay in the realm of culture when talking about dance rather than speculating that animals also dance. It seems to me that we are talking about different phenomena here.
Of course, dance and dancing have a lot in common. Both serve for communication - not only personal, tete-a-tete, but, as sociologists say, are included in the processes of group communication. This is especially noticeable in some dances: look, for example, how much pride and challenge in the movements of flamenco dancers. And in Russian dances, men even have special knees: trick, breaking (hence the colloquial “Well, why are you breaking out?”), snorting, frightening, trepak. This is a challenge, intimidation of an opponent, maintaining one's own morale. They are performed, for example, during aggressive courtship or as a provocation to a fight. Not without reason, at the end of rural holidays, after round dances and dances, street fights often took place. They fought wall to wall (for example, suitors because of a girl with the support of their teams) or on a geographical basis: street to street, edge to edge. Now this tradition has partly passed to modern street dance, street dance - hip-hop. Initially, this is a rivalry between two gangs from different quarters: as in a Russian village, they compete in prowess, intimidate each other, promising to give each other a trepak.
With this ability of street dancing - a symbolic confrontation - to develop into a real struggle, sometimes with bloodshed and self-mutilation, perhaps the distrust of the authorities in public holidays is connected. The authorities have always tried to put the dance under their control. In pre-revolutionary Russia, the introduction of folk festivals into a "civilized" framework was carried out, in particular, by public organizations - guardians of people's sobriety. In contrast to the taverns, they opened the so-called people's houses, where they drank tea, not vodka. In Soviet times, this tradition was continued by red corners, factory and village clubs, and Houses of Culture. They tried to subdue the free, uncontrollable energy of folk festivals and dances, introduce them into a disciplinary channel, and regulate. For this, they organized "amateur art" (which, of course, is a paradox - organized amateur performance). They published instructions for holding club evenings, collections of "mass games and dances". At 19In 28, at the All-Union Spartakiad, they even organized a “dance championship” between different peoples of the USSR.
The Pyatnitsky Choir, which arose even before the revolution and was an informal gathering of singers and musicians, became "state" and even "academic" under Soviet rule. On the wave of taming the "wild" dance, in the terrible year for the country in 1937, the first State Folk Dance Ensemble was created - it was permanently led by Igor Moiseev. A rather strange hybrid of folk dance and classical ballet appeared - the so-called folk stage dance. The dance began to be staged by special choreographers and taught in special schools, including cultural institutes. Finally, the dance rose to the very top of officialdom: "folk dances" were included in physical culture and other parades on Red Square. Moiseev, Kasyan Goleizovsky, and other professional choreographers, including those from the Bolshoi Theater, took part in staging the parades.
It is curious that when Isadora Duncan came to Russia on her first tour, her dance was so unusual, it was so different from both balls and ballet that it could not even be called a dance. Journalists, critics, fans unanimously wrote and spoke about Duncan as a dancer. They remembered Nietzsche again (Isadora herself ambitiously imagined herself “a battlefield contested by Apollo, Dionysus, Christ, Nietzsche and Richard Wagner”). Her dance has become for her fans a symbol of rebellion against a repressive culture, a space of individual freedom, where creativity and creation of oneself are possible, where the human "I", the personality, is revealed - or perhaps created for the first time.Reenactment of Isadora Duncan's dance by Sylvia Gold. Music by Franz Schubert. 1979
As we remember, the “dancing philosopher” Nietzsche admitted that he would believe “only in such a God who could dance”, and considered lost “the day when we never danced”. He meant, commented Isadora, not pirouettes and entrecha, but "an expression of life's ecstasy in motion." Creating her dance - deeply emotional and personal - Duncan claimed to experience ecstasies on stage and revel in her own "will to dance." This is how she attracted spectators who admired the "rapture of joy of the dancer" and believed that she should be seen "if only because of this joy of hers to dance." Dance-ecstasy, dance-improvisation became the most characteristic utopia of the Silver Age. Man, wrote one of Duncan's followers, must first of all awaken his "will to improvise. " Dance improvisation is "the manifestation and realization of one's higher spiritual and physical "I"". Duncan's fans saw in her dance a means to restore the once lost integrity, to bridge the gap between mind and emotions, soul and body. No wonder her dance was called free, free.
Michel Foucault has a concept of biopower - this is how he calls the control that modern society exercises over the body of an individual. This is not so much about direct control, but about a set of cultural norms and practices for disciplining the body. It is required to discipline the body, to educate, to subordinate it to control and self-control precisely because they see a danger in the body. The awakening of bodily forces and energies can be fraught both for others and for the “owner of the body” itself.
Conversely, physicality and dance are often seen as the last island of resistance, including resistance to a normative culture clothed in the words of an ideology.
The dancing body is more than a mere conductor of social norms. Unlike consciousness, it - so these people believe - is able to elude the rigid requirements of morality, relations of dominance and submission, the hypnosis of consumerism, consumerism. The body can become the basis for a radically different relationship. I will neither confirm nor refute this statement - I will leave it open so that the listeners themselves can explore the relations of order and freedom in their body and their dance.
More to read:
Bakhtin M. M. Folk-holiday forms and images in the novel Rabelais. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. Ch. 3. M., 1990 .
Kreidlin G. E. Non-verbal semiotics. Body language and natural language. M., 2004 .
Lotman Yu. M. Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX century). Part 2: ball. St. Petersburg, 1994.
Shay A. Choreographic Politics: State Folk Dance Companies, Representation, and Power. Middletown, 2002 .
Body history. M., 2012.
Radio Arzamas Sport as a kind of marriage market
In the second episode of the podcast about women in sports "Not weak!" historian Anna Stogova explains why in the Middle Ages and Modern times a graceful pose in a competition was more important than victory and why not the body, but the costume was responsible for beauty
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One step further | TV Mag
“When will the next Step Up come out?” This question has been asked four times already by numerous fans of the famous dance franchise (orig. Step Up). And since the summer of 2014, immediately after the release of the fifth part of the musical saga, the audience is again waiting for news and firmly believe that a new dance story is just around the corner. Franchise producer Adam Shankman also gave hope, not ruling out the appearance of at least two more new parts. And considering that all the previous five films were released exactly every two years, then the next Step Up, if it is worth waiting, is definitely not earlier than 2016. In the meantime, let's remember the first "Steps", while trying to understand the nature of their incredible popularity...
In total, as you know, five full-length stories of the dance franchise were released into wide release: Step Up, Step Up 2: The Streets, Step Up 3D , "Step Up Revolution" (Step Up Revolution) and "Step Up: All or Nothing" (Step Up All In). The premiere of the first film took place in 2006, then episodes appeared at the box office every two years, the date of the first show of the fifth part was scheduled for mid-July 2014. It is worth noting that with the end of filming of the vampire saga "Twilight" Step Up pentalogy has become the most reliable and long-term project of the independent American film studio Summit Entertainment . At the same time, different directors worked on each part of Step Up, except for the second and third, who, however, were able to achieve a sense of integrity of the entire series, despite each of the five plots being different from each other.
The main characters are professional dancers York, on the sultry beaches of Miami or in the fake ring of Las Vegas. In addition, Each of the five films is backed by an unparalleled selection of musical scores and mind-blowing dance performances by . And, of course, the main characters are professional dancers. In life, almost all of them learned to dance from childhood, and only then, much later, they mastered the basics of acting. Perhaps that is why, in the project, one can rarely see deep, heavy thoughts in the eyes of young guys. But the lack of acting skills is more than compensated by their bright personality, crazy energy and excellent sense of rhythm.
And one more interesting detail. It seems that interest in the entire Step Up series is also preserved thanks to secondary characters, who, enchantingly appearing in one part, in further stories receive, which is typical, not much more screen time (if not less), but the shots with their participation are like caps for flexers - add a special spectacle to the film. And this makes all five stories related, but by no means makes them the same. And the words of the funk legend James Brown are the best epigraph to the whole project of the world's most popular dance franchise "Step Up": "Any problem in the world can be solved by dancing"...
Feeling. In this story, everything is subject to feeling, it is a dance, and dance is a plot, to which only details are added to further emphasize the true purpose of the dance - to erase all boundaries and trust the feeling. He is a master of hip-hop, she is studying the classical art of dance. It seems to them that there is an abyss between them, but they just need to take a “step forward” towards each other. And the ballet pas will become a little more relaxed, and the step will become more polished. However, there are not so many differences between the main characters Tyler and Nora: he lives in a foster family, she lives in a prestigious area, but both of them are in no hurry to go home, because they do not understand their love of dancing. For Nora, failing an art school exam is tantamount to death Tyler and his named brothers may lose their lives without a purpose...
The first part of the film "Step Up" was released in 2006
The film was directed by Anne Fletcher, fond of dancing since childhood. Now she is an excellent choreographer, staging dances for films and music videos. Sometimes she is pleased with an invitation to the cinema as an actress. So, Ann Fletcher helped in the production work on the legendary project of Paul Thomas Anderson "Boogie Nights", and in the famous "Titanic" she played the role of a dancer. Step Up, starring Channing Tatum and Jenna Dewan, is her directorial debut. In the film, the protagonist Tyler has a named sister Camille (Alyson Stoner), she will take part in the last three parts of the project. In turn, Channing Tatum himself will be noted for his striking dance in the second story.
STEP FORWARD 2 STREETS
Freedom. It is to her that the entire action of the film is subordinated. The dance in this film goes beyond the academic - school and club - walls, becoming part of the street with its transience and unpredictability. Here, no one proves which direction in dance is more important, on the contrary, the problem lies within the dance itself with its usual foundations , which are not so easy to destroy. Surprisingly, even among the most talented students of the art school there are white crows, and in the street fraternity there are outcasts. The main characters of the film Andy West (Brian Evigan) and Chase Collins (Robert Hoffman) will have to unite such unformatted dancers by the standards of school bores and club smarts, urging them to go where it all began - to the streets dancing in the rain. ..
In 2008, Step Up 2: The Streets won the MTV Channel Award
Worked on a film young director John M. Chu, fresh out of the film department University of Southern California. John was fond of music and dancing from an early age. A little later, while filming family trips, I became interested in creating short films. In his second year at the institute, Chu made a small masterpiece "Quiet Rhythms" - a story, developing to the sounds of tap dancing. The film won numerous awards, and John received a scholarship to continue his studies at the University of Southern California, where he directed another 20-minute film, When the Children Are Away. It's captivating musical journey into the world of motherhood to the sounds of salsa, swing and hip-hop.
Thanks to this short film, which aroused genuine interest in Hollywood, John and drew the attention of the producers of the film "Step Up 2: The Streets", allowing him realize a long-standing dream - to unite love for dancing and directing on the big screen. He also created charming nerd nicknamed "Moose" (Adam J. Sevani), who, not eclipsing the main characters, became a real star of the film and decoration of the whole dance franchise.
STEP FORWARD 3D
Style. It obliges the most beautiful city in the world - New York. The sense of style in this film is noted in everything: from the loft in which the main characters live, to dances, which turn into real dance performances by the third part of the project. And the story of the main characters Luke (Rick Malambri) and Natalie (Sharni Vinson) and their homeless friends is not such a fiction. The fate of Luke, keen on shooting an amateur film and eventually deciding to go to California to study film art, is reminiscent of the life of the director of the film, John M. Chu. The cases of dancers living under the same roof of the "bunker" are also not far from real. So, the Santiago twins (Martin and Facundo Lombard), telling Luke on camera that they lived on $ 15 a week, having moved to New York, is pure truth. Therefore, the plot of the film is based on moving (including "Moose" with Camilla) to a metropolis, where the heroes of the film will have to learn to live according to the laws of a big city without losing themselves.
Film "Step Forward 3D” became the most successful film in the pentalogy in terms of box office receipts
By the way, the Santiago twins were another find of the director along with our old friends from the previous parts of the dance saga. Moreover, when you watch the film, closer to its middle, you catch yourself thinking, they say, "Moose" is no longer the same - matured, bored . And this is where the talent of the young director comes to the fore, because in the very next frame he gives out an incredibly stylish, charming and sophisticated solo number of "Moose" and Camilla - as a tribute to the greatest actor and dancer Fred Astaire, who had the greatest influence on the genre of musical cinema.
STEP FORWARD REVOLUTION
Dance revolution. Movement has been replaced by action. Now dance is part of society and part of the art - it is able to speak and be heard. Dance has a voice! This time, the film's protagonists Sean (Ryan Guzman) and Emily (Katherine McCormick) have to defend the life of the old neighborhoods of Miami in front of a conglomerate and Emily's own father, who wants to absorb the romance of these places by building up a pile of someone's memories with new five-star skyscrapers. However, in the very team of street dancers there will be a revolution that can not only create, but also destroy . And save the situation, of course, "Moose", rushing to the rescue in the best traditions of American cinema. And, finally, in the fourth film, the question that, I am sure, was eager to ask more than half of the fans of this dance franchise, will be voiced - “Why, in fact,“ Elk ”?!!”...
Step Up Revolution
The fourth sequel was directed by another young author, Scott Speer. In fact, his story of getting into the Step Up project is similar to the director of the previous two parts, John M. Chu. For Scott, as well as for John, this film is a feature-length debut. After graduating from the School of Film and Television at the same University of California as John, Scott has been shooting music videos for a long time, as well as writing (quite successfully). And then he was noticed by the producers of the Step Up series. In the end, Scott Speer did not disappoint: he made a stunningly stylish and fashionable film in which cars rock a hip-hop groove, and body art, kitchen appliances and a welding machine alike serve the noble purposes of dancing flash mobs. But at the same time, true values are not forgotten, which cannot be replaced by any computer technology...
"STEP FORWARD: ALL OR NOTHING"
Evolution. This is the development of the dance and its final battle, these are the grown-up heroes and their way forward. Everyone in this story will have to ask himself what dance means to him: a great vocation or just a part of something larger and more multifaceted. It is not for nothing that at the beginning of the film, the flashmobers familiar to us from the previous story, led by Sean (Ryan Guzman), find themselves in Los Angeles - the city of the Dream Factory, in which the wildest desires come true and dreams are broken. and it is in this film that the grandparents of “Moose” appear, who in the past were professional dancers , and now they are a family duet, a joy to children and grandchildren. And when no one sees them, they dance quietly, remembering the happy youth of the dance.
The second half of the sequel takes us to La Vegas - a city of illusions and sheer props. It is here that the final fights of the television dance show will take place, in which Sean and Andy (Step 2; Brian Evigan) will take part, and the familiar brethren of dancers from the second, third and fourth parts of the franchise will come to their aid. The name of their team, I think, is also not accidental - LMNTRIX - as it has cooled down to the basics and, on the contrary, a reflection of today's reality with a reality show conveyor, battles and ratings.