How to make a dance moms edit
'Dance Moms' Producers Used 3 Clever Tricks to Heighten Drama
Though Dance Moms isn’t scripted, the reality TV show isn’t a real as many fans might think. The show hit Lifetime show was actually heavily produced. And while some of the drama between the cast was real, most of it was heightened, manipulated, or completely fabricated. But what tricks did the producers use to ensure that the show would be entertaining for fans to watch?
Dance Moms cast | Jeffrey Mayer/WireImageIn early seasons of the show, there was plenty of real tension between some of the mothers of the Junior Elite Competition Team. In fact, Dance Moms producers intentionally cast dancers and their mothers who had a history with one another. And while some of the information that fueled the most famous feuds was voluntarily shared by the moms, that wasn’t always the case.
‘Dance Moms’ cast members recall the producers listening in on their phone calls
The original members of the Dance Moms cast had little to no experience in the world of reality TV. Perhaps this is why it took a while before they caught on to some of the producers’ antics. In an interview with Entertainment Tonight, Jill Vertes recalled that for a while, she couldn’t figure out how the producers had so much information. It took Vertes a while before she realized that if she forgot to turn her microphone off, the producers had access to all of her personal phone conversations.
RELATED: ‘Dance Moms’ Fans Are Pissed at an OG Mom’s Racist Remark
But listening in on private conversations isn’t the only way that the Dance Moms producers managed to heighten the drama of the show.
They also utilized clever editing and took things out of context to make things seem more intense than they sometimes were.
The producers used clever editing when making the show
“They can edit you any way they want,” Melissa Gisoni revealed in the aforementioned interview. “There were a lot of things said not in the context where they had us saying them,” Vertes agreed. “Like Kira, for instance, threw a bottle at a camera person or a producer. It was so funny and it made it look like she was throwing it at one of us,” Gisoni shared about another Dances Moms cast member. “And she was was mad at the producer. She whipped the bottle and they made it look like she was throwing it at Jess,” Vertes added.
RELATED: ‘Dance Moms’: Maddie Ziegler and the OG Dancers Barely Remember the Show
One thing the producers did to ensure that they could always fall back on clever editing was dictating what the cast wore.
In an interview with E! News, Asia Monet Ray revealed that they were required to wear the same clothes for days on end.
The ‘Dance Moms’ cast had to wear the same clothes for a week
“Certain things that were on the show were obviously creative editing of just making certain pieces splice together,” the Dance Moms alum shared. “We had to wear the same clothes for like a week. So certain things could be taken out of context.”
The Dance Moms producers also resorted to baiting the cast to get a specific reaction.
This, combined with the stress of constant filming, helped heighten the drama of the show. So while there was some real animosity between the moms sometimes, a lot of it was produced to add entertainment value to the show.
RELATED: ‘Dance Moms’: Abby Lee Miller Admitted That the Girls Were Traumatized
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Healing dances // Jewish.
Ru - Global Jewish Online Center The blond dancer "with the face of the Madonna" - she was adored by all of Vienna. But soon life collapsed: the whole family died in concentration camps, she miraculously escaped to Bombay, where she earned her living by massage. But after the war, she merged medicine and dance together - Hilda Holger laid the foundation for dance therapy for children with Down syndrome.
1905 Vein. In his workshop, Gustav Klimt creates the monumental painting Three Ages of Woman, Gustav Mahler completes Symphony No. 7, Lisa Meitner is the first woman at the University of Vienna to receive a doctorate, and Sigmund Freud publishes the collection Three Essays on the Theory of Sexuality. The capital of Austria is experiencing a cultural and scientific flourishing, the air is electrified by the expectation of something great. At the end of this glorious year, the Viennese family of liberal Jews, the Sofers, had its own little joy - on October 18, baby Hilda was born.
The girl plunged into the creative world from the first days. Her father, the poet Alfred Sofer, read his works and classics to the baby, introducing her to the sense of rhythm. “I hardly remember him, but he left behind wonderful poems. I am sure that I owe my sense of beauty to him, ”said Hilda. When she was three, her father died, and Hilda, along with her mother and older sister, moved to her grandfather in the prestigious metropolitan suburb of Pötzleinsdorf. In the new house, the fine arts were treated with particular trepidation. The grandfather himself used to sew elegant shoes for Franz Joseph I and other Habsburgs, but he did not captivate his granddaughters with his craft - both girls fell in love with the dance. Already at the age of six, Hilda and her sister took ballroom dancing lessons, and at the age of 14, the famous choreographer Gertrude Bodenweiser took her to the State Academy of Music and Performing Arts in Vienna. Mom did not mind - no one doubted that the girl was incredibly talented and worthy of a big stage.
Full of creative fire, Hilda, who took the sonorous pseudonym Holger, became Bodenweiser's assistant, and then became part of her dance troupe. In 1923, she already showed a solo dance in the famous Vienna Secession House, and then began to appear on the small and large stages of France, Poland and the newly created Czechoslovakia. The student not only surpassed her teacher, but also seems to have gone out of her control, which could not but hurt the feelings of an authoritative lady. They say that once Gertrude called Hilda's mother and strongly advised her to influence her daughter - they say, her stubborn girl would be better off changing her profession. But the last thing Hilda cared about was someone else's opinion. At 19In 26, she left the old troupe and immediately created her own New School of Movement Art and a dance club for children. She opened a studio not just anywhere, but in the center of Vienna - in the Ratibor Palace. This choice was dictated not by vanity, but by the desire to create better conditions for their students.
Since then, in her personal ranking of preferences, teaching will permanently push a solo career aside.
The blue-eyed diva with long blond hair excited the audience and was the muse of the famous masters of visual art of her time - photographers Anton Trka and Felix Braun, artists Edmund Pick-Morino, Wolfgang Born and sculptor Josef Hoy. Critics called Holger a dancer "with an angelic face, a stern face, a Madonna face with blond curls." Hilda was adored by both the sophisticated and the mass audience. But for the latter, she never made "simplifications" and did not slip into vulgarity - on the contrary, Holger believed that a person of art should not be led by the public, he is called upon to develop it.
She was close to the ideas of universal social equality - in 1926 Hilda staged the dance "Wake Up!", and in 1927 "Four Pictures" about the period of the Paris Commune. But socialist motives were not the only themes of her role. In her productions, she increasingly began to turn to the topic of Jewry.
This is how the "Jewish Dance" (1929), "Kabbalistic Dance" (1933) and the choreographic production "Agasfer" (1936) appeared, in which Hilda comprehended the image of the "Eternal Jew". By the end of the 1930s, Holger had become an iconic figure in the Vienna art world, a star of the choreographic avant-garde and one of the best teachers of the era. They say that even the legendary physicist Max Planck took dance lessons from her when he was about 70 years old, and the future philosopher Ivan Illich, who was no more than 10. Among her pupils were those who continued the classical dance tradition - Litz Pisk moved to London and taught plastic arts at the Royal Shakespeare Company.
Hilda Holger would have had even more students and laurels at home if her compatriot Adolf Hitler had not started his own game. In the spring of 1938, the Nazis occupied Austria, and the Jews who wanted to escape could not hesitate. Hilda tried to emigrate to Britain but was unable to obtain a visa. But one of her friends offered her help with moving to India.
“Choosing between the USA and India, I settled on the second country, because it was attractive to most Western artists,” Hilda later admitted. June 19At 39, she moved to Bombay. In the new country, she was received more than warmly - in the newspapers she was called a heroine and very brave, because she "remained faithful to the service of her art in circumstances that would corrupt and destroy even the saint." But whatever the enthusiasm of the local society, Holger had to start everything from scratch.
After one of her performances at the Taj Mahal Palace Hotel, she received an invitation from the Nawab of the local principality of Bhopal to perform a solo dance in the garden of his summer palace. Hilda did not refuse and danced in the light of a thousand candles. There was no shortage of such offers, but she felt that she was perceived only as a rare funny toy that was nice to show to guests. She didn't want to put up with it. Shortly before emigrating, Holger received another profession - she took courses in therapeutic massage at the Rothschild hospital in Vienna - and now she got a job in a local clinic to stretch her back and develop sore feet.
Then she met a famous homeopath, a Zoroastrian and a great connoisseur of art, Dr. Ardeshir Kavasyi Boman-Behram, who belonged to an ancient noble family of Bombay Parsis. Their wedding took place at 1940 year. Over time, they divorced, but remarried when Hilda was in her eighties.
Medicine for Holger was a compromise. Soon she finally returned to dance, and a lot of new elements appeared in her choreography. From the Indian tradition, she adopted the mysterious movements of her hands - Hilde absorbed the code of more than 300 positions of the hand and fingers as eagerly as she learned the movements in the dance hall of Gertrude Bodenweiser. In India, dancing "for beauty" was considered an unspoken synonym for prostitution, and society looked askance at the dancers. Hilde decided to break the stereotypes. At 19At the age of 41, she opened a new school in Bombay and accepted everyone, regardless of nationality and religion - Hindus, Chinese, Muslims, British, Americans, Swiss. The main criterion was the desire not only to master the technique of movements, but also to reconfigure the mind.
As in Vienna, Holger quickly won the love of both the local mass public and the people of art. Among her friends were the artist Magda Nachman Acharya, the "founder of modern dance" in India, Uday Shankar, and the famous Indian dancer, "Nijinsky of India" Ram Gopal. The latter was so imbued with Holger that he himself gave lessons at her school.
In 1946, Holger gave birth to a daughter, Primavera, and already in 1948, due to national conflicts in India, the family had to flee to Britain. There was no one to return to Vienna - Hilda's entire family, including her mother, died during the Holocaust. In London, Holger again had to start all over again, but she managed. Hilda opened the School of Contemporary Dance in her name and continued to develop a personal philosophy of choreography, which was built on a strong unity of free movement and thought. “It would be much more effective to develop their dramatic and musical senses when their minds are still young and receptive than to force unformed bodies to hone the technique of a theatrical dancer,” Hilda said.
She did not have a drop of professional jealousy - she believed that the main thing was to reveal the creative beginning, and only then it was not so important in which of the areas of art a person wanted to realize it.
Holger did not tolerate conventions - in 1951 she realized the production of "In the Abyss" to the music of Camille Saint-Saens in the most famous parish church in London, St. Martin-in-the-Fields. The steps to the altar became her "stage", which shocked the audience. Hilda wanted people to think about whether religious premises should remain untouched or whether they can still become a place for actors to express themselves. Provocation fueled her, expression was her blood, and the habit of breaking patterns was her lifestyle. She will repeat such scandalous experiments on turning temples into theatrical stages, each time causing a flurry of criticism. But it turned out that this was not the only thing that Hilda had to overcome.
In 1949, Holger's son Darius was born, and he was special - with Down's syndrome.
There was no social adaptation program for people with this genetic disorder in progressive Britain at that time, and Holger decided to change the situation on her own. She began to teach her son and other people with this syndrome to dance - without concessions, as equals to other students. She was the first to prepare the choreography for the team, where people with mental disabilities worked together with healthy dancers. At 19In 1969, Hilda Holger staged "Toward the Light" to music by Edvard Grieg and presented it at the Sadler's Wells Theatre. This was the official debut of dance therapy in England. Her student Wolfgang Stange opened the first inclusive theater in Britain, the Amici Dance Theater Company, and one of his dance performances was called HILDE, staged in London and Vienna. Hilda's daughter, Primavera, continued her mother's work in part. She moved to New York and there she created a system of exercise based on dance for those who had back problems. The British Elle, Yoga&Health, Harper’s Bazaar and other well-known publications wrote about the new therapeutic approach of the choreographer and later designer Primavera Boman-Behram.
In total, Hilda Holger made 150 dances and performances, and her last work was the production of "Rhythms of the Subconscious Mind" in 2000. On her 90th birthday, the students staged a grand dance evening, and Hilda also participated in it - but on stage she was in a stroller. Already at a respectable age, after two operations on her hip, Holger came to the dance class and energetically gave instructions from a stool, rhythmically tapping on a small tambourine. “From time to time she danced for us, remaining in her chair. Her head, shoulders, arms and fingers moved perfectly in time with the musical theme of the lesson - they were, for example, the plight of whales, the art of Schiele and Schlemmar, chickens, puppets, the flight of birds, ”recalled one of the students of Hilda’s last classes. Hilda gave her final lesson in June 2001 at her famous studio in Campden. And in September she was gone.
Leonid Tarasov: "To change a person's life, you need to change everything around" Chairman of the Inclusive Dance Festival Organizing Committee, founder and head of the Spiritualization Center for Socio-Cultural Animation - about how dance changes destinies, and inclusion opens new doors - Olga Alashevskaya ★
Olga Antipova
Leonid Tarasov – graduate of the Moscow State University of Culture and Arts, Ph.
D. ), an expert of the Union of Volunteer Organizations and Movements... And this is not all of his competence.
For the last 10 years, Leonid has been investing all his strength in the development of the International Charitable Dance Festival Inclusive Dance and the ecosystem of inclusive dance in Russia and abroad, relying on his own methodology and involving more and more enthusiasts and specialists from all over the world in the process. Inclusion means volunteers who dance along with people whose health options are limited.
inclusive-dance.ru
t.me/inclusivedance
oduhotvorenie.com
Where did your interest in helping people with disabilities and inclusion in particular begin? How did you get into this area?
First of all, I have always been interested in how culture and art influence human development. When in 1996 he entered the Ryazan Institute of Culture to study, he was very actively involved in this topic.
Secondly, I was attracted to this area by communication with a school friend, a disabled person of the 1st group. I was already in my third year when he told me that it was time to emerge from the fantasies - to come to their disabled society and put my knowledge into practice. I came and saw a lot of guys 18+ and older, with whom no one really worked out. Then I started teaching them dances, using animation technologies, led a cultural and creative circle where people could communicate. It was in Ryazan, there were 1999 year.
It was still a long way before the start of the Inclusive Dance festival. How did such a large-scale project grow from this first initiative?
The festival was born many years later, the first one took place in 2013. Prior to that, I had been the head of the Spiritualization Center for 10 years. I created it in 2002 in Moscow to support people with disabilities. The mission was to create conditions for their full life. When I conceived the center, I did not have a clear target group in my head.
He had to deal with the problems of alienation: to unite people who need support with those who could help them. For 20 years now, we have been using sociocultural animation technologies as the basis of our work, helping people with disabilities to reveal their abilities. We were a local regional NGO that did practical work in Moscow. At a certain point, they hit the ceiling of development, found themselves without resources. The situation was tough: we worked without money, support and realized that something extraordinary was needed to turn the tide. This is how the idea for the festival was born.
Was the theme of inclusion immediately identified as the main component?
We realized that we will make our environment inclusive if we involve volunteers in the work, and the opportunities for further development will immediately increase. At that time, there were no quality events for people with disabilities around. Everything that existed had problems with the artistic part, there was no inclusion in it, it all worked haphazardly, without a serious methodology.
And we decided to do what everyone lacked so much. At first they thought of organizing a festival for their team, but nevertheless they began to do it “for everyone” in order to reach a new level - from local and small-town to rise to all-Russian and international.
Has the World Inclusive Dance Association helped you?
This association appeared on our initiative! It was created by me and two of my colleagues - Corrie Van Harten from the Netherlands and Raymond Bulpitt from the UK - in 2015. Corrie began her career back in the 60s. last century. She is the president of the International Wheelchair Dance Foundation, one of the founders of the Wheelchair Sports Ballroom Dance direction, the organizer of international competitions in the Netherlands, and an international judge. Raymond is a choreographer, teacher, trainer, member of the Royal Alliance of Professional Dance and Art Teachers, international judge of the World Championship of the Sports Dance Federation, organizer of several championships and festivals.
He has his own dance school in Manchester.
The Association was created with our participation in order to shift the focus only from Russia and make it international. Now the Association has about 20 member countries.
It turns out that you came up with not only the festival, but also the direction itself?
Inclusive dance as a phenomenon existed before us, but we came to it independently, I even came up with the name Inclusive Dance myself. There was no such concept in the Runet then, and there was also little such information on English-language resources. At first, colleagues who came to Russia said: all over the world this is called integrated dance. I answered that our concept is unique and we understand what makes it different. It turned out, we were right, because now it is inclusive dance that is being developed, including abroad. Of course, there are many interesting examples of our own, and we also focus on them, but at the same time we have a number of our own unique discoveries in the work.
The peculiarity of our approach to inclusion is the integration of people with disabilities by disabilities, focus on all types of disabilities, the inclusion of all areas of dance, the use of various competitive formats, etc. Today, colleagues from the Czech Republic, Estonia, the Netherlands, the UK and other countries are trying to implement our approach at home.
Inclusive Dance Festival was originally one of the projects of your Spiritualization Center. How did you manage to combine dancing with other activities?
We have invested so much effort and time in the development of the festival, in fact, the entire center has been working for this since 2013. Other areas were also developed, but not at such a high international level, but on a regional scale. There simply wasn't enough resources for everything. Initially, many projects in the field of culture and art were planned in the center. The methodology that I am developing (and I am a Ph.D., defended my dissertation in this area in 2005) has a very high potential.
Science in our country is somewhat divorced from practice, therefore, within the framework of small NGOs, everything that I once studied and created cannot be implemented. However, the result with dancing is already very powerful! Our second strong program was connected with literary activity.
Tell us more. What editions have been released?
We published the magazine "Fomalhaut Ray", where we published poems, prose, drawings of people with disabilities. The publication was all-Russian, but in 2012 we closed the printed version, everything moved to the portal izdat-luch.ru . A few years later, they held a large literary award "Golden Heart" with two competitions: for adults and for children. The winners of the adult part received cash prizes, and we collected the best children's works into an excellent book. Its publication was the culmination of this direction of our center. The book was widely distributed throughout the country, in libraries.
You can read about the award and all publications related to it on the website: z-serdce.ru .
Let's go back to the festival and give some statistics. How many people are involved in the project?
We count participants in creative units - dance groups. Today there are about 450 of them from 72 regions of Russia and 36 countries. If in people, then there are several thousand of us. Approximately 70-80% are people with disabilities, the rest are volunteers, including choreographers, teachers, parents. It is important that among the participants there are people with a variety of types of health disorders. We work with those who live at home with families, and with those who are in boarding schools. The age coverage is very wide: kindergartens participate in the festival, that is, 3+, and it is difficult to name the upper age limit: people of any age can be with us, as long as a person can move at least a finger.
You emphasize that without such a component as volunteers, your methodology cannot exist.
Why is that?
Yes, volunteers are a very important pillar. Their participation is also a requirement for dance groups that want to perform at the festival. We don't take teams without volunteers. There are exceptions, but the criterion of inclusiveness is important. No matter how well the team dances, not only skill, choreography, costumes are important, but also a social task - to bring children with disabilities out of the shell into ordinary life, so that they have contact with people who have experience of living outside of closed conditions.
Who are your volunteers?
They come from different areas, not necessarily from dancing. If a person does not know how to dance, we will teach. Among the volunteers there are amateurs - beginners or experienced dancers, there are people who do not dance at all - university students who want to help, close relatives of the participants, specialists who work as rehabilitation therapists, and at their leisure dance with the guys in the studios that they organized.
It is important that now these are not separate studios, but a whole movement. It is volunteering that makes it public - the desire of people to bring something good to others through dance. If you are ready to do something for free, if you see the point even without money, then you come for the sake of a social mission. Of course, there is and will be money here too - when a specialist undergoes training and education. This is also what we do ourselves. Over the years, more than a thousand specialists have been trained in Russia alone.
If a person with or without a disability wants to become a member, volunteer or help as a professional, what should they do?
You need to leave an application on the site inclusive-dance.ru and get information from the coordinator. You can also access tutorials there. We are currently developing new functionality on the site. Soon there will be an opportunity to create a personal account.
What accomplishments are you most proud of?
Specific destinies can change - that's what's really important.
It has always been important for me not just to do choreography, but to radically change the situation. I realized that in order to change a person's life, you need to change everything around. This is more difficult than putting on a dance, and Inclusive Dance solves this problem. We have a whole ecosystem where there is a dance school, competitions, festivals, seminars for specialists. Everything works for one goal - so that specific people have goals, plans, achievements. When there is one Leonid Tarasov who works with several participants, this is a dead end. It has no systemic potential for change.
It turns out that without a system of regular classes and performances, the whole idea of inclusion is lost?
Yes, I am very in solidarity with Makarenko, who said that no one educates anyone - life educates, the totality of those influences that are around a person. So we organize this life, put an emphasis on PERMANENT classes for people with disabilities.
We say to specialists: do not do one-time projects for these people, do not aggravate the situation! Make something permanent so they can do it for years to come. You can't quit once you've started. As part of the festival, we create beautiful events at the best venues in cities where everyone wants to visit. We create conditions in which everyone is comfortable. For the participants, this is an important experience of an emotionally involved life. Having experienced it once, they understand that such a life exists, this is not a dream, everything is possible! A person sees: this beauty, who actually left the cover of the magazine, is now dancing with me, she respects me, she supports me. These are very important connections that keep people and motivate them.
What are your and your colleagues' immediate plans?
We are planning events in Karelia and the Murmansk region for the spring. In May, the Inclusive Dance Karelia festival will take place, within the framework of which the All-Russian qualifying round of the X International Inclusive Dance Festival will take place.
The winners of the competitions will be invited to Moscow for the final events of the festival. There are also plans to continue infrastructural growth. Now we are creating a system not only in Moscow at the federal level, but also in the regions. We work with ministries, public organizations, train specialists there, introduce a large number of institutions to our direction.
Tell us about your competitions and other performances of the participants. How technically does all this happen?
We run contests both offline and online. There are two formats: among pairs and among teams. Couples have parquet dances, in dance halls, there the basis is dance improvisation. The teams have a stage dance. We do not divide participants according to diagnoses, people with hearing and vision problems, people in wheelchairs, people with intellectual disabilities, and people with autism spectrum disorder together with volunteers can dance on the same site. Together. This is our revolutionary find of 2014, which shocked everyone with its potential.
There are also gala concerts, that is, show programs at the most beautiful venues. They are focused not only on the jury, but also on the average viewer. There is always good choreography, proper training of artists, excellent costumes, high-quality light and sound, directing and scenography at a high level.
What training programs are available for those who want to try?
There is a basic seminar "Fundamentals of inclusive dance and dance rehabilitation", which I conduct. There are online courses Inclusive Dance University - an international program for specialists in Russian and English with live online. There is a program "Inclusive dance from A to Z" for the Russian-speaking audience. During the pandemic, an online school for children with disabilities was launched. These were not video recordings, but actual sessions to preserve the valuable role of communication.
In the midst of a pandemic, with all the lockdowns around the world, was it more difficult to work?
That period was one of our most important achievements, in my opinion.
On December 1, 2020, at the peak of the second wave of the pandemic, we held the Inclusive Dance World Vision online show. I decided to do something like Eurovision. In a short time, we managed to put together a whole program in which 29 countries participated - from the Philippines to Chile and Mexico. During the Moscow daylight hours, from about 9 am to 10 pm, we connected 12 time zones on the online life. Participants from different countries adjusted to be together. Show numbers were prepared, and most importantly, live master classes in national dances were held. We all learned to dance 29national dances from different countries. It was a bilingual event with high-quality online broadcast.
Sounds fantastic! By the way, how realistic is the development of inclusive projects in our country today? There is a feeling that things are moving and people are more and more ready for this, is that so?
There are so many layers to this question, it's hard to answer unambiguously.
At the state level, nothing changes much, despite the various programs that are being adopted. Changes are coming, but very slowly. If we take the public sector, then today we have two trends - ecology and inclusion, I can clearly see this. Many strong initiatives have emerged among NGOs and in private business. 10 years ago this was not yet the case. Today, museums with inclusive programs have received special development. There are strong inclusive theaters in different regions. And our inclusive dances.
What about the resource part? What helps? How to help?
From a resource point of view, there are many problems, because inclusion is about consistency, and consistency is not always clear to a wide audience, a private donor or sponsor. Until now, it is possible to collect a child for treatment much faster than for an inclusive dance festival. People are not ready to sacrifice their hard-earned money for things that they do not consider to be of priority.
And in this regard, we are experiencing difficulties. Our expenses are high, and the problem of financial stability is very important. The Center for Social Innovation and Entrepreneurship Impact Hub Moscow helped us a lot. We cannot take money from people with disabilities, so we are building the economy differently. Federal structures, regional budgets, institutions, NGOs, parents, individuals - someone must be a source of funds so that we can develop in all regions, so that there are resource centers, so that Moscow has a convenient platform. So we are constantly looking for partners who will see us as a benefit for themselves, and we can get an additional resource.
Let's tell a good story about your festival for the finale. How did you manage to transform someone's life?
I can give such examples endlessly, but I will tell a story that at some point struck us all. A team from an institution for disabled children in the Kirov region took part in our festival.
There was a girl in a wheelchair with severe disabilities. The guys themselves initially refused the girl, did not want to take the team, but the leader insisted, and they took the girl and even staged a dance number so that she became the center of attention. The team performed in Moscow at the festival, took some place. Then the participants returned home, and local television made a report about this girl. A local doctor looked at it and was so inspired that he offered the girl a series of free surgeries to put her on her feet. But the story didn't end there. Once, after a performance, a woman approached the team, who had visited this girl for many years and called herself her aunt. In tears, she admitted that she was her mother and wanted to take her daughter home. I don't know how the story ended, but the fact itself impressed me. The person was not known to anyone and not particularly needed, but he got on display by people, got new opportunities. After all, even those close to you perceive you differently after this: one thing is a severe invalid, and another is the soloist of the team, goes to performances, breaks applause .
