How to make a midget dance stage

Midget – Vaudeville America

Singer’s Midgets, giants of entertainers, were a big sized panic. When one considers the many things these miniature-bodied performers do and do well one thinks of the time and patience of their director. Their executive staff reads like a grand opera board, while they feature uniforms by Marshall Fields, ladies’ costumes by Jane and Andre of Paris, scenery by Joseph Urban and Robert Law Studio, while dancing directed by Ned Wayburn.

10 Mins.; One. Prince Napoleon is about three feet in height, a cute little chap, with personality and a happy faculty of getting to his audience right from the start. He gets over a couple of songs, though no one can understand the lyrics. He also offers a female impersonation, dancing at the finish. He has a good little act for small towns.

10 Mins.; One. Prince Napoleon is about three feet in height, a cute little chap, with personality and a happy faculty of getting to his audience right from the start. He gets over a couple of songs, though no one can understand the lyrics. He also offers a female impersonation, dancing at the finish. He has a good little act for small towns.

: 23 Mins.; Full Stage. Prodigies of the midget or lilliputation size are no longer a novelty on the American vaudeville stage. Singers Midgets, a recent importation from war-bound Europe, make their play for popularity on the strength of their numbers and their versatility of the little people. The midgets combine a mixture of variety, the act making the best impression with its concerted vocal efforts at the closing on the “Tipperary” number led by two of the company. This “Tipperary” song is put over in typical musical comedy style and is a valuable asset to the entire act. One midget is a miniature Sandow and makes some wonderful lifts for his proportions. One of the older little men puts two elephants through an interesting routine. A woman does pony riding which availed little. Nine of the midgets offered acrobatics, one showing more agility than the rest. Pyramids were in the majority. After a song-violin obbligato number by the man-woman “team,” the finish came with the song. There are 17 in the company. The program says 40. The remainder may have been too small to be seen.

“The Enchanted Statue.” 9 Mins.; Full Stage (Special Set). The little set these miniature people use, together with their small voices, make the “sketch” they are trying to present look like a marionette show. Loney Haskell, in announcing them through the program omitting the “Tom Thumb” portion in the description, and Mrs. Gen Tom Thumb is 73 years of age. The midgets are recalled by name and fame as freak attractions, having exhibited in side shows and museums for years, if not all the present troupe, some of them. They are not to be seriously considered as actors, and what they did doesn’t matter – it is the sight of these very little people who are so well known by reputation. But for vaudeville that means little now, as midgets are employed who are real entertainers, something the Thumbs probably have never aspired to. The setting is antique as well. The act showed “No.8.” It just drew curiousity, satisfied at first sight. The program billed the people as Count, Countless and Baron Magri, quite some nobility in the reading.

Diminutive comedian. All in “one.” This little fellow closed the first half of the show in might good shape. The matinee audience Monday, as a rule, very restless and this is a very hard spot to fill but Little Billy did it and when he left the stage the crowd was still applauding for more.

15 minutes f.s. By cutting out his talk in one he closed good to-night while this afternoon was rather quiet. The novelty of the act and the size of the kid got the people and I consider it good value.

Very clever Lilliputian, but not to be compared with Little Billy. Would have gone better in about #2 position. Full stage. Can close in one two minutes.

Midget acrobats. The act has been described in other reports. It will suffice to say that they made a genuine hit. 10 Min. F.S.

I have featured Little Billy and he is more than making good, he has a good line of stuff, singing, talking and dancing. Made a big hit. 17 min. in one and a half.

Midgets, free beer, a man with no eye, and Snoop Dogg at Tiger Stadium

What prompted Anheuser-Busch

Welcome to Snoop's world.

to rent out Tiger Stadium for a big, exclusive weekend of concerts in a huge tent on the infield is beyond me. But it was one hell of a party. (

Click for many more photos from this party


Being the diligent media member that I am, I decided that my readers wanted to know about what happened at some of these parties. So I gave up a night of blogging, reading stories, and posting photo galleries to go hang with Snoop at the corner of Michigan and Trumbull. It's a tough job.

First off, let's get this out of the way: Tiger Stadium is a hole. The exterior is decaying. The interior blue paint is warping and falling away. The orange seats don't even appear orange anymore. More like a brownish-burnt orange due to the dirt and neglect. They need to tear it down. It's an embarrassment.

The night was wild from the time I arrived. I walked into the tent off the infield grass, and I was met by black lights and

Seriously, this place has got to be torn down.

dance floor with an elevated DJ stand. Four cages dotted the edge of the dance floor with scantily clad women dancing in them. The women wore white with bright makeup to glow in the dark.

After the dancing, free initial beer upon entry, and various other attractions -- such as having your photo taken with lingerie models in fishnet stockings, themed photos of you at the event shown on huge plasma TVs throughout "Club 1620 at Old Tiger Stadium" as it was called, and an acrobatic woman hanging from the roof of the tent spinning around on a rope (also while wearing lingerie and fishnets) -- the show was about to begin on the stage at the far end of the tent.

I was one of the crowd trying to jockey for position as close to the stage as possible for photos. But did I just see? Yes,

Women were dancing in cages around the dance floor.

there were two midgets ("little persons?"). One wearing lingerie and fishnets getting her freak on on the dance floor with the regular-sized men. At that point, it was finally confirmed for me that while visiting Club 1620 you're just a pawn in Snoop's world.

The Budweiser Real Men of Genius" voices came on stage to do the introduction for the night. The voice boomed "Anheuser Bush presents" and the singing voice "Real Men of Genius" followed. I don't remember what they said, but they did a whole commercial about being at Old Tiger Stadium, etc, etc.

While the "Real Men of Genius" guys were still on-stage Snoop Dogg snaked right past me, through the crowd with his head low, and ducked backstage. He passed right in front of me, and no one noticed. He hopped on stage, and started doing his moves

"Real Men of Genius" guys with fake Snoop patrolling stage.

to the background music, and the crowd roared. He posed for cell phone pics, and then...

A gaggle of security got him, and dragged him off-stage. It was a Snoop look-alike. This party was only getting better.

The next "celebrity appearance" was Ted Ferguson. You know, the guy who does the annoying commercials where he's performing "guy stunts." For instance, going to eat with your girlfriend without looking at the table of hot women next to you. He wears a saftey helmet and googles. Yeah, he was there too. He just ran through the crowd of people, and that was it.

Everyone at this private party was supposed to be radio contest winners, and a few others. But every single person I met got in because they knew someone. And I met a lot of people. Most didn't even know it was supposed to be for radio contest winners.

How the guy with long hair, bad

The crowd was in a frenzy waiting for Snoop.

teeth, ripped up camoflauge hat, and no eye got in I'll never know. Yes, ladies and gentlemen, this man was not only missing his right eye, he had a small red hole where the eye used to be. And he was daring people to look at him. But don't feel bad for him. He was bumping and grinding with a woman near the front of the stage.

I used my media credential to hop on stage to get some pics of the party, and everyone went nuts when I got up there. No, it's not that I have a great stage presence. It's the camera they were mugging for. When I returned to the common-folk in front of the stage, a rotund woman asked of me "(If you get up there with Snoop) can you ask him if he needs a woman in his videos?"

Then Snoop showed up. The bass lines were heavy, the crowd was inebriated, and Snoop Dogg was on fire. He hit on a couple classic tunes, a couple new tunes. I tried taking pics, but with a camera that's bad in low light while being juggled around by the crowd -- not many turned out crisp. I was allowed to take photos for the first

It's true: This man has no eye.

three songs. When I tucked the camera away, the party was just starting. Seriously.

During the fourth song, Snoop-A-Loop came over to the edge of the stage to witness a guy in the front row toking down on a fattie (aka "Marijuana cigarette"). I read his lips, and he mouthed "Damn, can I get some of that?" He takes it, stands up, and sucks the whole thing down in one breath. He handed the stub back the gentleman, and slowly blows it out while strutting around the stage. A massive cloud blanketed his head.

And then... a fight breaks out.

Two huge guys started tossing haymakers at each other right in the front row! The music never stopped as they wailed away on each other. The crowd parted a big circle around them, but they were staggering all over the place.

Right into me.

Yes, I was in the middle of this

It's hard living in the L.B.C. being Snoop D, oh, double-G.

fracas. And I'm not saying on the fringe of the fighting. I was grabbing the arms of a guy choking the other guy. I smacked them down, you know, so he wouldn't kill the guy. As he looked at me, I pushed the perimeter of the circle back. I wasn't going to get any more involved than that.

Snoop just watched while continuing to flow. The looks on the faces of these 30- and 40-year old suburbanites was that of terror. They just wanted to party down with a weed-smoking gangsta rapper who sings about "187 on undercover cops." They didn't anticipate any danger.

The fight finally died down, the music continued. An inspired remix of "Nothing But A 'G' Thang" was the last song I heard before exiting the tent to head back downtown.

That's when I ran into Torry Holt getting a stadium tour before heading into the concert. The tour guide said "Yes, and this is where Ty Cobb and Babe Ruth once played. A lot of history here..."

And I was gone.

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Dance photography - the nuances of shooting, the secrets of success, polishing skills

Dance photography is an expression of the beauty of movement and emotions. Dance can be a source of great shots, but it's no secret that photographing dancers is very difficult: framing, focusing and releasing the shutter at the right moment - absolutely everything must be done, and at the same time with the best exposure in the available light. For Bernie Ng, one of Singapore's most prolific dance photographers, shooting choreography involves not only capturing the action, but also the aesthetics and emotion that permeates the movement. She shares some tips for capturing dramatic shots of dancers.

EOS 5D Mark III / EF24-70mm f / 2.8L II USM / Manual exposure (f / 2.8, 1/250 s) / ISO 2500 / WB: Auto. "Pure" by T.H.E Dance Company (2016) / Choreography: Kuik Swee Boon / Dancers: Anthea Seah & Wu Mi

  • Exposure

Getting the exposure right is probably the most difficult aspect of dance photography . Since flash photography is generally not allowed indoors, you should do your best with the available lighting, which will vary from one show to the next.

Use fast lenses

This will allow enough light to reach the camera sensor so you can keep the ISO sensitivity as low as possible to minimize visible noise. Ideally, your camera kit should include both a wide-angle lens for capturing the entire scene and a telephoto lens for close-ups.

Shoot in manual mode or use exposure compensation in Av or Tv mode

The action in the scene (and hence the shooting conditions) can change very quickly, so you'll need to keep control of your exposure settings. Bernie prefers to shoot in manual mode to fine-tune the camera. But if you choose to use semi-auto, she advises using compensation to get the right exposure.

For beginners, aperture-priority (Av) mode will probably be easier to use: you just need to set the maximum aperture and the camera will give you the fastest possible exposure without underexposure. Shutter priority mode (Tv) gives you control over shutter speed, but it can be a little more difficult for an inexperienced photographer to get an adequate exposure.

Shutter speed. Know what you need

Consider factors such as dance style, choreography, and the type of shoot you want. Bernie's shutter speed is 1/250 second, which she adjusts as needed. For example, she may decide to use a slow shutter if she feels it is necessary for the image.

EOS 5D Mark III / EF24-105mm f / 4L IS USM / Manual exposure (f / 4.0, 1/13 s) / ISO 800 / WB: Auto. "Giving" by Frontier Danceland (2015) / Choreography: Adrian Skjoldborg

Using a slow shutter speed can add momentum to a photo and bring the whole composition to life. In the shot above, you can see that the photographer chose to use a slow shutter speed to create some motion blur while keeping the dancer in focus. This filled in the empty spaces and added movement to the image.

Pro Tip: If you have access to a stage crew and lighting designer... about the upcoming show. Bernie usually asks what the lighting will be like.

Creative ideas: stroboscopic lighting can be a great opportunity!

EOS 5D Mark III / EF70-200mm f/4L IS USM / Manual exposure (f/4, 1.3s) / ISO 320 / WB: Auto. "Planet Romeo" / Presented at DiverCity as part of the M1 Contact Contemporary Dance Festival (2015) / Choreographer and Dancer: Daniel Kok

Some shows use stroboscopic lighting, which can cause you to miss many moments if you're not ready. However, if you prepare and react quickly enough, this can be an opportunity to get creative. For the shot you see above, Bernie made a quick decision to slow down the shutter and get a strobe effect.

  • Dance is more than just action

EOS 5D Mark III / EF24-105mm f / 4L IS USM / Manual exposure (f / 4, 1/400 sec) / ISO 12800 / WB: Auto. "The Ordinary Man" by T.H.E Dance Company (2014) presented by Huayi - China Arts Festival, Esplanade - Theaters in the Bay / Choreography: Wu Yi-San & Kuik Swee Boon

A lot of people think about snapshots in a jump at the mention of dance photography, but quiet moments can be just as dramatic.

Your photography will definitely be influenced by:

  • beautiful lines and correct poses

Find out which ones work well and which don't. They can be different for different dance genres. However, you don't have to have a dance background to take decent shots - basically it all comes down to a well-developed sense of aesthetics. Make the dancers look good in the frame.

  • dancers' faces

A big part of dance is conveying thoughts and feelings to the audience, so Bernie tries to capture the emotions and facial expressions of the performers. This is exactly the moment when it is useful to know what the choreography really is before you shoot! The intriguing facial expressions of the dancers above reflect the comedic nature of the choreography. Take those shots where the dancers blink or their eyes are empty and unfocused (unless it's part of the choreography) and mercilessly throw them in the trash.

Pro Tip: Be sensitive to the shots you take

Remember that your camera can capture things that the human eye cannot see: pressing the shutter button will inevitably take pictures that may not be the most flattering for dancers. Be very careful and careful when choosing the final set of shots (if you are an invited photographer and completed an order). Get permission from a particular dancer or company if necessary, especially if you share images on social media, a website, or wherever.

Dance photos don't have to include the entire body of the dancer!

EOS 5D Mark III / EF24-70mm f/2. 8L II USM / Manual exposure (f/2.8, 1/100s) / ISO 400 / WB: Auto. Pallavi in ​​Time by Chowk Productions (2017) / Choreography: Raka Maitra

Close-ups of the dancers' faces or other details of the mise-en-scene can also create memorable shots.

"The legs were very important to this choreography," Bernie recalls of the above shot. She wanted to get closer to the ankle bracelets of the dancers. The photo turned out to be successful also because the lighting was also focused on the legs.

Bonus: if you really want to capture the jump…

EOS 5D Mark III / EF24-105mm f / 4L IS USM / Manual exposure (f / 4, 1/250 sec) / ISO 5000 / WB : Auto. "Schubert Symphony" Singapore Dance Theater (2016) / Choreography: Chu-San-Go

The most important thing in pictures of dancers in a jump is the exact time: "If you see a jump, you are already too late." To get the timing right, the photographer advises not to rely too much on continuous shooting. Instead, learn when to press the shutter button. Sometimes you can tell from the music at what point the dancers are getting ready to jump. It will probably take a lot of trial and error, but it will only improve your photography skills.

Other noteworthy parts

  1. You will need to react very quickly.

As mentioned above, things obviously move quickly on stage and you have to anticipate the moments and react almost instinctively to get the shots you want. What will help?

  • - The presence of a fast and "responsive" camera.
  • - Good knowledge of the functions of your camera and its configuration at the level of intuition. Customize your own shortcut buttons.
  • - If you focus with the back button. This makes shooting more efficient because you don't have to refocus every time you press the shutter button.
  • - A lot of practice helps you think faster.
  • - If you watch a lot of dancing, even outside of filming. This will help you familiarize yourself with the timing of the shutter release and aesthetics. In addition, it is easier to evaluate the dance when you see it with your own eyes, and not through the lens!
  1. Respect who is on stage and respect the audience.

It's easy to get carried away here, but be aware of both the audience and the dancers on stage.


  • - Take pictures only when allowed.
  • - Turn off red light autofocus.
  • - Turn off your flash.


  • - Get too close to the dancers. This can be quite distracting if you (or your huge telephoto lens) intrude into their space, especially since they will have heightened spatial awareness as they dance.
  • - Make it difficult for the audience to see.
  1. Last but not least, respect the dancers.

The dancers work very hard to perfect their art, and without them you wouldn't have your photos.

  • - Think about how they would like to look in the frame. Show them in the best light, and make their efforts worthwhile.
  • - Never forget to credit the dancers and choreographers on your photos when you post them on your social media profile.
  • - Create your connection to your object. Watch more dances or even take choreography classes! Your increasing appreciation of your subject may be reflected in the pictures you take.

The career of dancers is short. Your photographs of performing on stage in the dance element may be the only record of these precious moments, so try to take pictures that will bring joy to people and bring back fond memories.

I want to dance. 10 misconceptions about dancing

The desire to learn to dance is natural and natural in the modern world. You can list the reasons, starting with obvious and popular pragmatic desires, for example, to start moving or losing weight, ending with unconscious and even existential ones.

This is due to the fact that dancing is at the subtle intersection of the inner and outer worlds, physical and spiritual. Above this, music becomes a driver that cannot leave anyone indifferent.

In dancing there is magic inside a person, which is not always noticeable when observed from the side. At the initial stage, it is the external picture that attracts to dances, and sometimes repels, as it seems too frivolous and superficial.

But there are even stronger obstacles that stop many people from starting dance lessons. These illusions and delusions roam the minds of the majority, and are often afraid to ask about them directly, or they ask the question about it so often that they are no longer ready to hear an honest direct answer. I will try to do it in this article.

There are many examples of contemporary dance instructors sharing their thoughts about not expecting to be in the dance industry. Once upon a time there was a man and was engaged in adult, serious business. Sometimes even very serious. A person could have children and even grandchildren. I saw dances only on stage or on TV. For reasons unknown to himself, he ended up in dances. At first, everything seemed like entertainment and a useful pastime. But time has passed, and a person catches himself thinking that he thinks about dancing not just every day, but really all the time. A couple of years pass, and he already becomes a teacher or organizer of some event.

A similar path can start at 15 or 55 years old. The only difference will be in the self-perception of the starting stage, that it’s too late to dance. In fact, for each age there is its own dance direction, which can reveal it to the greatest extent at this stage. Hip-hop or breaking is closer to children and teenagers, and Argentine tango is closer to adults. It's never too late to start dancing. You need to make the right choice of dance style based on several parameters: age, gender, music, goal. There is a dance direction for any arrangement.

Misconception 2: men don't dance

Our culture has a number of restrictions related to dancing. Most of these causes are psychological and lie outside the realm of rational reasoning.

First, in our culture, in principle, dancing for pleasure or self-expression appeared relatively recently. 20-30 years ago dance clubs were only for children. To start dancing even in adolescence was considered exotic.

Secondly, the aesthetics of the body in our country for men is not in the focus of attention. In general, this can be attributed to the fact that Russian men try hard not to draw attention to their appearance and clothing. Men in our country use other tools for this.

Third, dancing is associated with entertainment and alcohol. If a man feels serious and respectable, then he either does not have time or desire for this.

Nowadays the general cultural background has changed and the result is that men are learning to dance. It becomes as much a sign of masculinity as clothing, hair or beard.

Unfortunately, many misconceptions remain even among those who have already started dancing. Dance teachers do not always pay attention to this, as it seems to them that this is a matter of course.

Fallacy 3: special training is needed

For the outside observer, there is always a cognitive dissonance about what dance is. What he sees on the big stage in the form of a show with sweeping movements and splits is obviously dancing. Breakers doing unimaginable elements in the air and on their hands, competing with each other, also seem to be dancing. Pensioners in the park waltz. Dancing again, but for some reason everyone is so different. How to understand that this is a dance, and what physical criteria should be in the body.

In fact, any self-expression through the body to music can be attributed to dance. There are a number of reservations, but they are not essential. For self-expression, a person uses the set of plastics that he has. Subtlety and technique do not depend on extreme ways of self-expression, and it often happens that splits and somersaults interfere with a meaningful dance. The development of plasticity and the expansion of the body's capabilities are part of the preparation of the dancer, but not an end in itself.

Misconception 4: You must learn to dance in pairs

In couple dancing, the final learning outcome is that the couple dances at a party. It would seem that you should always train together to get the desired result. This is not true. Let's take an example from boxing. An indicator of a boxer's skill is a fight with an opponent, but this does not mean that he constantly has to fight. Also, the ability to dance is built on the possession of one's own body and the ability to interact.

The skill of the teacher is the correct selection of methods so that the student masters the skill. Based on the skill, you can engage in creativity and self-expression in dance. Not everyone knows, but it is no coincidence that almost all social dance dancers have a serious dance background, which is based on the development of individual techniques.

The same can be attributed to the interaction in a pair. The ability to separate in oneself the one who leads and the one who follows the lead is impossible within the framework of studying the sequence of movements in pairs. For this, there are special exercises that make the skill more versatile. For this, the presence of a permanent couple is not necessary, as well as the regular presence of a partner in general.

IMPORTANT! You can’t experiment at a party, and everything should be in its place there: men dance with women.

Getting rid of illusions is a complex internal process. If you leave them to yourself, you can even get the opposite result.

Misconception 5: plastique and stretching are mandatory attributes of dance

Much depends on the genre of dance that you want to master. In previous articles, I have already mentioned that different dance styles are suitable for different ages. It is appropriate to dance hip-hop in adolescence or youth, Argentine tango is a more adult dance, it is important to enter classical choreography at a young age.

The degree of necessary plasticity and sensitivity to the dance direction also correlates. For example, breaking requires great physical effort and dexterity. Elements are built on acrobatics and high speed of execution. Who are they more suitable for? Obviously young people.

There is a lot of interaction in salsa. It is necessary to feel the partner subtly, to be able to show a variety of figures and elements. Twine or acrobatics are completely inappropriate here. However, a variety of ways to show oneself are required. Accordingly, the dance is youthful, but not at all childish.

The older the dance, the less stretching or acrobatics is required. The main emphasis is on the quality of technology, the variety of ideas and the ability to show plasticity.

Misconception 6: Mirrors are necessary for learning

There is a set of instruments that dancers use to learn how to dance. The fact is that the dancer needs to receive feedback on how his movements look from the side. It is impossible to dance and see yourself from the side at the same time. The most common tool is a mirror. But not the only one.

Like any auxiliary tool, mirrors have positive and negative effects. The positive is that they can receive feedback in real time and technically it is not very difficult. The downside can be dependence on mirrors. A situation where a dancer cannot capture the feeling of dancing, such as on stage or at a party. For these purposes, you can use, among other things, video filming or proper preparation.

In many countries in Latin America, dance classrooms are not equipped with mirrors. Classes are held in bars or large halls. The dancers initially form the skill of focusing on the inner sensation, and not the habit of looking for their reflection in the mirror with their eyes.

Misconception 7: there is a lot of obsceneness in dancing

A common question from novice dancers who are taking their first steps in more contact couple dances is “in order to dance cool, there must be passion within the couple?”. I immediately answer that no, not necessarily. Kizomba, bachata and Argentine tango attract many with their close contact. Like any other contact in our everyday life, in dances, contact can be different. We hug friends, parents, children. These hugs can wear many different shades. Sexual overtones are one of many.

The culture of dance also includes the boundaries of what is acceptable. A compliment from a well-mannered person is different from a statement about female sexuality by a gopnik. Usually, those who study at a dance school already have an idea of ​​what boundaries should not be crossed. A good dance from a technical point of view will never look vulgar or vulgar.
Dancers always have a choice about the boundaries of contact. Most prefer to leave a good impression of themselves, as word spreads just as fast in the dance world.

Misconception 8: the best dancers are the bearers of culture

Even the very question of the origin of this or that dance can be paradoxical and ambiguous, especially when it comes to its development and performance.

For example, the Viennese waltz did not originate in Vienna, but in Germany. Salsa has its main roots in the USA, not in Cuba. The famous Greek folk dance sirtaki was invented for the film "Zorba the Greek" and appeared only in 1964.

The same can be attributed to the development of modern dance styles. Korea is known for its world-leading break dancers. People go to Turkey for Argentine tango, Spain is strong with excellent salsa and bachata dancers, in Egypt, Russians are considered the best belly-dance performers.

A good dance is based on quality training and diligence. Skin color, place of birth and age are secondary. Exotic appearance, unfortunately, is often a reason to be more superficial about one's own professional development. This becomes the reason for the low level of teaching among the bearers of culture. I am sure that few readers of this post will be ready to conduct a master class in Russian folk dance outside of Russia.

The mastery of mastering and teaching a particular style does not depend on the dancer's homeland. And "they absorbed the dance with their mother's milk" is nothing more than a common misconception.

Misconception 9: You have to know a lot of moves to learn to dance

Focusing on learning a lot of moves often detracts from the essence of dance. Of course, the sequence of figures is important. Especially at the start. Over time, the dancer should have an understanding of how movements can be generated independently. Accordingly, instead of memorizing millions of figures, you can understand how to create them.

From every system of improvisation that a dancer can use as an instrument, dozens, hundreds or thousands of variations are derived. This frees the head from trying to reproduce the exact sequence and definitely adds freedom in the performance of the dance.

The huge theme of musicality can be attributed to the same question. Not every pre-conceived or learned sequence will fit specific music. The dance should give freedom, and not drive the dancer into the shell of the ropes.

Misconception 10: dancing is homosexual

The unusually high attention to the body and the flair from stories about professional ballet led to the spread of this myth, among other things. Unfortunately, such an idea still exists in the minds of our fellow citizens.

The dance industry is now very broad and is represented by many dance styles. Some of them can even be called homophobic. Dances reflect the general attitude to the world and it is different depending on the life position and worldview of a person.

In many dances there is contact between the dancers. In Russia, dance contact between men has always been perceived very intensely. In most other countries it is different. An example of the fact that this tension is associated only with the dance theme and does not apply to other areas is, for example, wrestling. When practicing techniques, men are in much closer contact with each other. Sometimes lying on the floor and holding each other tightly. The historical roots of Greco-Roman wrestling are also ambiguous from a sexual point of view. But in our country, unlike dance, they are perceived as acceptable and brutal.

Dance, like the culture of speech, makes a modern person more successful and self-confident. The ability to control one's body, tune in to another person and the ability to be aesthetic in the plasticity of movement is valuable in the modern world. If we add here the pleasure of the process and the availability of dance as such, then the possibilities of this activity can hardly be overestimated.

It's sad when interested people are stopped by prejudices and myths that have nothing to do with dancing.

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