How to seve dance
Save the Last Dance (2001)
- Cast & crew
- User reviews
- 1h 52m
A white midwestern girl moves to Chicago, where her new boyfriend is a black teen from the South Side with a rough, semi-criminal past.A white midwestern girl moves to Chicago, where her new boyfriend is a black teen from the South Side with a rough, semi-criminal past.A white midwestern girl moves to Chicago, where her new boyfriend is a black teen from the South Side with a rough, semi-criminal past.
- Thomas Carter
- Duane Adler(story)
- Cheryl Edwards(screenplay)
- Julia Stiles
- Sean Patrick Thomas
- Kerry Washington
- Thomas Carter
- Duane Adler(story)
- Cheryl Edwards(screenplay)
- Julia Stiles
- Sean Patrick Thomas
- Kerry Washington
- 345User reviews
- 90Critic reviews
- 6 wins & 8 nominations
Watch Save the Last Dance
Sean Patrick Thomas
- (as Artel Jarod Walker)
- Momma Dean
- Woman on Train
- Mrs. Gwynn
- Mr. Campbell
- Thomas Carter
- Duane Adler(story) (screenplay)
- Cheryl Edwards(screenplay)
- All cast & crew
- Production, box office & more at IMDbPro
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Did you know
Director Thomas Carter cast Julia Stiles in the role of Sara after seeing her "table dance" in 10 Things I Hate About You (1999).
- Alternate versions
The DVD features four deleted scenes:
- Record Store: A scene after the first night at Steps. Snook tries to talk a girl and gets shot down. He gives Derek the last copy of a CD. Sara shops for some hip-hop CDs and flirts with Derek.
- Jazz Club: Sara goes to see her father play.
- Chenille's Apartment: Kenny and Chenille argue about their son and talk about their relationship before the baby.
- Playground: Kenny and Chenille talk in a park.
Featured in K-Ci & JoJo: Crazy (2000)
only my new favorite movie!
I just finished watching this terrific movie, I had always meant to see it but somehow never got around to it. This time when I came across it in the video store and saw that Julia Stiles was in it, I had to get it. I did not know who she was when the movie was released, but have since enjoyed her in Mona Lisa Smile and the Prince and Me and couldn't wait to see her in this film.
This was the best work I have seen her do to this point. It was so much better than I expected, based on the meager 6.1 stars it received overall on IMDb...Julia was wonderful in it, as was Sean Patrick Thomas. Their chemistry was terrific and the story was riveting and the dancing awesome (both the ballet and the dancing throughout the movie.) I don't know how much of the dancing Julia actually did, but all of it was beautifully done.
The film was sweet, touching and violent, and worked in all aspects. The rest of the casting was very good too, all the performances were terrific.
I will buy it on DVD asap...it was that good! I think it will be enjoyed by men and women, I can't wait to have my teenage son see it. Truly a must see!
- Jul 8, 2004
- Release date
- January 12, 2001 (United States)
- Country of origin
- United States
- Also known as
- El último baile
- Filming locations
- Lemont High School - 800 Porter Street, Lemont, Illinois, USA
- Production companies
- Cort/Madden Productions
- MTV Films
- See more company credits at IMDbPro
- $13,000,000 (estimated)
- Gross US & Canada
- Opening weekend US & Canada
- Jan 14, 2001
- Gross worldwide
1 hour 52 minutes
- Sound mix
- Dolby Digital
- Aspect ratio
- 1. 85 : 1
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Step in time: how to save the legacy of dance from being lost in history | Dance
Earlier this month, Richard Alston’s dance company performed their final shows after more than 25 years. It was a celebratory occasion – and the end of an era. Alston will continue choreographing independently, but with his company he created a significant body of work, defining a lyrical, light-footed style of English contemporary dance. What happens to that work now? Since dance has no product to collect or put in galleries, how do you hold on to this ephemeral art form?
A few years ago, Swedish choreographer Mats Ek announced he was retiring and taking his back catalogue with him. But after a short break he was back creating a new work and reviving old ones. Ingeniously, American choreographer Mark Morris is creating extra dances to have in the bank so his company can perform premieres even when he’s not here. Merce Cunningham made exacting legacy plans for his New York company, which involved them touring for two years after his death and then closing. Now the works are preserved in a comprehensive archive by a trust and licensed to other companies to perform, taught by authorised stagers. Other choreographer-led companies, from Alvin Ailey American Dance Theater to Pina Bausch’s Tanztheater Wuppertal, have continued with new directors at the helm.
Alston’s company is closing due to financial issues, without much time to plan ahead. The V&A’s theatre and performance archive will collect some of the company’s physical effects, including costumes, posters, programmes and contracts. An unexpected ally has come in the form of Google, who are digitising 400 VHS tapes to create an archive of selected performances, alongside 360-degree photographs of costumes, so a portion of Alston’s work will be viewable online.‘I’ve tried to think of my past work as compost – each laid a ground plan for the next one’ ... choreographer Siobhan Davies in her south London studio. Photograph: Linda Nylind/the Guardian
Video footage is a valuable tool for recording, learning and restaging work, but dance is predominantly passed on physically and orally, with dancers feeding on stories of what the original choreographers intended by this lift or that jump. Many artists find the flat representation of film an unsatisfactory way to capture the ungraspable, in-the-moment energy of dance. Siobhan Davies, a choreographer and classmate of Alston’s in the late 60s, says that video can only show you “an end product, on Thursday 14 April, 1982, and of course it didn’t look the same even the following year”.
You can notate dance on paper – Benesh notation is commonly used in ballet, written on a musical stave; Labanotation is an alternative for contemporary dance – but it is an add-on rather than a fundamental. Dancers don’t learn from a score in the way you would learn to play music from reading the notes or chords.
With an art form this slippery, artists outside major institutions can leave little trace. An exhibition currently at Cell Project Space in east London casts light on one corner of British dance history, displaying photographs and documents from X6 collective and the New Dance movement of the late 70s. It evokes the era’s radical, feminist ethos in hand-drawn posters advertising performances called Bleeding Fairies and Making a Baby. While the X6 founders are keen to formalise the collection, there’s uncertainty over how and where it could be kept.
A different preservation project under way is Voices of British Ballet, an oral history compiled by former dancer Patricia Linton. Her original idea has expanded into a sprawling project with over 400 interviews, bringing huge organisational challenges and the occasional glitch – such as dancers’ instinct to demonstrate what they mean, rather than describe it, which isn’t great for tape. Linton hopes the collection will eventually be held at the V&A.
The V&A’s dance archivist Jane Pritchard recognises that small companies often need the expertise of institutions such as hers. “I think now there’s a more general awareness of the need to preserve things,” she says, adding that she always tells artists to think about the future rights to their work. In May, the V&A will present a display of the Royal Academy of Dance’s archives. Anyone can make an appointment to explore other dance archive material at the V&A’s reading room, but when the museum moves its stores to a new site in the Queen Elizabeth Olympic Park, opening in 2023, there’ll be even better access to materials.A study of modern masculinity ... Enter Achilles. Photograph: Miguel Altunaga Jr/ Rambert
Pritchard previously ran the archive at Rambert, Britain’s oldest dance company. Rambert’s CEO and executive producer Helen Shute is toying with an idea to expand that archive beyond the company’s own works, not just in the stores but on stage, too. Rambert is currently producing a revival of DV8’s Enter Achilles, a landmark piece by choreographer Lloyd Newson from 1995 that’s a study of modern masculinity based on a testosterone-fuelled lads’ night out in the pub. When Shute heard Newson had put DV8 on hold, she didn’t want his work to slide off the radar. When approached, Newson’s initial response was: “I don’t want to do a dusty old relic!” But Shute was convinced of its currency and Newson set out on a research trip around the UK to see if his characters were still relevant. Enter Achilles has now been reworked with a new young cast.
Shute thinks that this might be the beginning of a larger project to conserve a canon of contemporary dance, either in physical and digital archives or live revivals. Not just a catalogue of big names, but dance works that have “contributed to a certain movement or socially important conversation or affected the direction of dance,” she says. “We’re not looking to preserve things in formaldehyde, but we’re interested in how they can be revisited.”
She is currently in conversation with Tate Modern about a female choreographer (whom she can’t yet name) whose contemporaries and collaborators in the art scene are lauded worldwide. The art market elevates the importance of visual artists whose work can be collected, but the nature of choreography “does contribute to a slight devaluing of dance against other art forms” says Shute. “Because you can’t just put dancers away in an archive and keep them at the right temperature and then bring them out later.”
In a sense, every dancer is a living archive, since movement passed from body to body remains in muscle memory. It’s something Boris Charmatz explored in his 20 Dancers for the XX Century, performed at Tate Modern in 2015, with dancers sharing solos from their repertoire to make a compendium of 20th-century dance. London-based dancer Zinzi Minott is currently creating her own living archive of black dance – an area she says has a lack of tangible documentation – which she’ll be dancing on repeat in a 24-hour performance at Gateshead’s Baltic gallery in April.
“I went to [Trinity] Laban, one of the best dance schools in Europe, and I wasn’t given any information about black dance in the UK,” she says. “I was only shown Alvin Ailey. If you teach Martha Graham and Merce Cunningham but you don’t show Katherine Dunham or Pearl Primus then you have a history of contemporary dance full of holes.”‘I work with my body and I understand that the work changes and degrades over time’ … Zinzi Minott’s past project Atheist Style Prayers. Photograph: Anne Tetzlaff
Minott is collecting minute-long extracts from current and historical artists she thinks are in danger of being overlooked, including Greta Mendez, Malik Nashad Sharpe and Keyon Gaskin, plus the little known Ballet Nègres, the first black dance company in Europe, founded in London in 1946.
Interestingly, Minott won’t be filming her performance for posterity, because of that friction between the live-ness of the moment and the static nature of film. “Tangible archives try to keep things the same,” she says. “Whereas I work with my body and I understand that the work changes and degrades over time.”
Davies sympathises. Always a progressive thinker, she digitised her own archive in 2009, but having recently announced she is stepping down as artistic director of her company and studios this year, she’s not preoccupied with preserving particular steps. “Dance is about movement and change and that’s one of its extraordinary qualities,” she says. “I want us to notice this idea of the body changing every day.”
“I’ve tried to think of my past work as compost,” she says. “Each laid a ground plan for the next one.” In turn, Davies’s compost has provided some creative mulch for young dancers she works with at her London studios. The artists who work there will find Davies’ philosophy in the air, and some principles written down, “with the idea that people have that as a steer, to play with”.
Davies agrees that great artists’ work must be preserved and cherished, but she also loves the fact that dance is impossible to pin down. “It means we have to keep constantly intellectually and physically alert. Rather than say, that’s it – that’s the way it was, that’s the way it is.”
Zinzi Minott’s Black on Black: 24R is at Baltic, Gateshead, on 25 April. Enter Achilles is at Sadler’s Wells, London, 26 May-6 June.
Author: Pavel Gather
Psychologist, Lecturer Salsa and Tango
Author: Pavel Pavel
Psychologist, Lecturer Salsa
on At the start, you always want to get a quick result. When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow.
This is the most common story of those who believe that the mere act of attending a pair dance class is enough to learn how to dance.
Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.
1. Listen to music
The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores.
An addition that will help you dance better is your active participation in the music. Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.
2. Watch videos of good dancers
It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself).
Meaningful video viewing is about building an understanding of HOW dancers make a particular impression on a partner or viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.
It is important to distinguish a show from a disco dance, a staged performance from an improvisation, a stylized dance from an authentic one, etc. Ask for recommendations and dance teachers will always throw off a couple of videos of worthy landmarks.
Tango Z. Showreel.
Online modern tango courses
Tango nuevo is the most advanced version of tango. We can quickly learn to dance from zero to a steep level.
3. Dance in salsatecas/milongas/discotheques
A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”.
In fact, the partygoers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future). It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.
4. Dance with partners or partners not of your level
The conventional wisdom that you need to practice in groups of your level does not withstand the test of experience. Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere.
It's important to understand that not only does it work one way and you have to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.
How it works. A more experienced partner needs to be "stretched". It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too.
Dancing with partners of your level doesn't make you grow. Dance with both beginners and more advanced dancers
Dominican Bachata Women's Style Online Course
Want to learn how to hypnotize those around you with the most appetizing part of your body? On the course we will tell you all the secrets.
5. Learn to dance for a partner and for a partner
Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead. For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner.
In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.
6. Do not memorize the links
Always try to look deeper and understand the through principle and idea of movement. Understanding what and how is done will make it possible to independently generate any sequences and chips.
Human memory is limited and there will always be a moment when something will escape and your repertoire will be limited by the size of RAM.
In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations. And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.
7. Develop your body
Many years of experience in teaching couple dance shows that as soon as everyone pairs up in a class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you.
The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up. It is vital to tune the body and understand how it works.
You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship.
8. Try on the images of inspiring dancers
A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive. Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.
With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself. Then you start dancing and trying to feel in general how it is to be in a state, for example, of the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently.
9. Dance to offbeat music
Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.
The truly new is born outside of the usual. Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them.
Search, improvise, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the style
10. Try your hand at basic dance directions
dances exist according to their own non-choreographic laws.
This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles.
Do not think that choreography is only applicable on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.
11. Look for battle sensations
Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of big cities.
If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them). I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.
The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.
Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular feature, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements.
12. Communicate with professionals
The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way. Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.
Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion.
Your skill will lie in finding the scope of the idea even in conflicting opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.
Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances. Regardless of your level, the suggested 12 life hacks can get you off the ground and greatly accelerate your dance growth. There is no way here without your motivation and activity. Take your dance development into your own hands. 9Ol000 Dangerous sexuality
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7 tips for those who want to learn how to dance
September 9, 2020Reno5Life
Dancing is a great way to make friends with your body and gain self-confidence. And yes, they can be mastered at any age.
1. Choose your style
The idea here is the same as for sports: if you secretly hate yoga or iron exercises, you are unlikely to go to workouts week after week. To achieve noticeable progress in dancing, a beginner will have to practice a lot and regularly, so it’s better not to torture yourself and choose a direction that really ignites.
You can focus on the music that you like - you need to catch the drive from movements to it. It is music that forms the style of dance and its energy, so decide what is closer to you: for example, funk lovers should try popping or locking, folk fans may like Irish dancing, and if you respect jazz, swing and everything like that, take a closer look at lindy hop.
Another criterion is the nature of the movements. Some are closer to dynamic, as in hip-hop, others are smooth and sensual - for this in tango. There are also health restrictions to consider. So, twerk is not suitable if there are problems with the lumbar spine, with sore knees it is better not to get involved in shuffle, and it will be difficult for an aged person to master house.
2. Set a goalPhoto: Iakov Filimonov / Shutterstock
You can start dancing at any age, but it's important to keep in mind why you started it in the first place. It is perhaps too bold to expect that in half a year of classes it will be possible to reach the level of international dance championships from scratch. But if you want to try dancing in order to develop plasticity and learn to feel the body better, great, go ahead.
Don't expect to get it right the first time. When you learn from scratch, difficulties are absolutely normal, the main thing is not to score in classes. Over time, both the correct posture and a beautiful gait will be developed, and as a bonus you will also get self-confidence - with freedom of movement, freedom from complexes will come.
3.Don't give up on sports
Some dances in themselves make for a good workout. A vigorous shuffle will replace cardio, and a break can give a load to almost all muscle groups. And yet, without preparation, it will not be easy. A more or less good stretch is needed in any type of dance, and, for example, strong arms and strong abdominal and back muscles are also useful for pole dancing. You can combine dancing with strength exercises, but you need to give the body time to recover and not plan classes in a row, but allocate at least a day of rest between them.
And don't forget to warm up before dancing. So that the training does not end with an injury, the muscles and joints need to be prepared for the load. You can allocate 10–15 minutes for a warm-up, it should include simple articular gymnastics (at least elementary rotational movements of the shoulders and knees), tilts and dynamic stretching.
4. Take some lessons from a trainer
Especially if you have never danced before. Those with experience can learn new styles at home with video tutorials, but that's because they already know how to control their bodies. Beginners are unlikely to succeed, but disappointment in themselves and demotivation are guaranteed - if you can’t repeat elementary movements, then there’s no point in doing it.
Nothing really strange here. Without preparation, it is difficult to just take it and start moving freely. At least the basic elements are better to master under the guidance of a pro, and when you feel that you are coping, supplement these lessons with home workouts.
5. Learn something new in every class
When you repeat the same set of exercises and movements over and over again, classes turn into a good way to pass your free time, only you can forget about progress. Acquaintance with new elements is the same mandatory part of any workout as a warm-up. It doesn't matter if you work with a mentor or on your own.
Do not immediately try to copy cool dancers. First, study the basic movements, then try to combine them into bundles until you hone them to automatism, and then experiment and improvise, creating something new based on familiar elements.
6. Record yourself on video
It is not necessary to record the entire workout from the warm-up, it is enough to record only those moments with which you have problems. These can be separate movements or bundles that are not given in any way. Review the video and, if possible, objectively assess what is wrong: perhaps there are technical problems that are difficult to notice in the process. When you understand what's wrong, try to repeat the movement and record it on video again - and so on until you achieve a good result.
This approach will help you find errors and track progress. You can not even limit yourself to memorized ligaments, but improvise - then see how it looks from the outside.
7. Find like-minded peoplePhoto: Iakov Filimonov / Shutterstock
If you need an extra reason not to miss classes, then meeting new people can be a good motivation. It is easier here for those who train in a group. Often the dance school becomes the center of a close-knit community, where people come not only for the sake of classes, but also just to spend time together at dance parties.
Finally, the more partners around, the more experience. Do not limit yourself to dancers of your level of training and practice with those who are stronger or weaker than you. In the first case, you can improve your skills, and in the second, you will try yourself as a coach - this, by the way, is a good way to learn to take more initiative and understand the very principle of movement in dance, and not just memorize the alternation of chords.
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