The next step how to dance

Next Step Dance Performing Arts

“As owner/director, I am proud to have created a place where children learn to love the art of dance and become not only exceptionally trained dancers, but outstanding young adults.”

Michelle Stafford

Studio Director

What Is Next Step Dance?

Next Step Dance is the ultimate training facility for dancers of all ages and abilities located in Frisco, Texas. We provide the very best venue and instruction in tap, hip hop, jazz, lyrical, ballet, modern, and drill for students ages 2 through adult.

Why Next Step Dance

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"The Next Step" Dancing in the Street (TV Episode 2013)

The Next Step


All episodes


  • Episode aired Nov 15, 2013
  • TV-GTV-G
  • 21m






When A-Troupe get themselves into a dance battle with the street crew, "Seeds", West has no choice but to reveal his secret. Michelle learns that being Dance Captain is harder than she thoug... Read allWhen A-Troupe get themselves into a dance battle with the street crew, "Seeds", West has no choice but to reveal his secret. Michelle learns that being Dance Captain is harder than she thought.When A-Troupe get themselves into a dance battle with the street crew, "Seeds", West has no choice but to reveal his secret. Michelle learns that being Dance Captain is harder than she thought.





  • Director
    • Mitchell Ness
  • Writers
    • Frank van Keeken
    • Chloe van Keeken
  • Stars
    • Shamier Anderson
    • Victoria Baldesarra
    • Alexandra Beaton
  • Director
    • Mitchell Ness
  • Writers
    • Frank van Keeken
    • Chloe van Keeken
  • Stars
    • Shamier Anderson
    • Victoria Baldesarra
    • Alexandra Beaton
  • See production, box office & company info
  • See more at IMDbPro
  • Photos

    Top cast

    Shamier Anderson

    Victoria Baldesarra

    • Michelle

    Alexandra Beaton

    Jordan Clark

    • Giselle

    Brennan Clost

    • Daniel
    • (credit only)

    Samantha Grecchi

    • Stephanie

    Lamar Johnson

    Isaac Lupien

    Jennifer Pappas

    Tamina Pollack-Paris

    • Tiffany

    Brittany Raymond

    Trevor Tordjman

    Bree Wasylenko

    Shaquan Lewis

    • Marcel

    Briana Andrade-Gomes

    • Seeds Dancer

    Dave Matuszewski

    • Seeds Dancer

    Kristopher Grzella

    • Seeds Dancer

    Jazzmin James

    • Seeds Dancer
    • Director
      • Mitchell Ness
    • Writers
      • Frank van Keeken
      • Chloe van Keeken
    • All cast & crew
    • Production, box office & more at IMDbPro


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    What is the difference between a dance and a dance • Episode transcript • Arzamas

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    CourseWhat is modern danceAudio lecturesMaterials

    Contents of the third lecture from Irina Sirotkina's course "What is modern dance"

    In the last lecture we were convinced that dance is not so alien to philosophy as ignorant people used to think about it. Our next step is to show that dance can very well be a philosophy. Remember Nietzsche said that you need to philosophize with both your feet and your head? How they think with their heads seems to be clear. But is it possible to "think with your feet"? But some famous dancers speak directly about this. One of the creators of postmodern dance, Merce Cunningham (we will return to him later), stated: “I am no more philosophical than my legs.”

    The more you get to know the dance, the more you notice contradictions in it. On the one hand, dance is liberation, emancipation of the body. On the other hand, there are a lot of rules in the dance. For example, when dancing with a partner and walking freely, it is important not to step on his or her foot.

    Balls have always had very strict rules regarding not only the sequence of movements in each dance, but also the sequence of dances. The aristocratic ball opened with a polonaise, followed by more cheerful mazurka and cotillion. It was carefully prescribed who would dance with whom: it was indecent to dance more than three times with the same gentleman. The outfit was even more strictly controlled: it was obligatory to wear gloves (white and always clean) so that, God forbid, not to touch the skin of a partner. In other words, the ball is very, very codified by custom, rules, prescriptions. However, by the end of it, "ballroom liberties" could also increase. No wonder loves and marriages began at balls.

    Yuri Mikhailovich Lotman wrote something like this: dance exists in the space between discipline and freedom, order and liberties. This is true not only about ballroom dancing, but about dance in general. The existence between order and freedom is the first dilemma of dance, which we will talk about today. By the way, the presence of two different words in the Russian language is connected with it: "dance" and "dance". These words are not full synonyms, they mean different things (I call them concept words). And their origin is different. "Dance" is a word borrowed from the German language (der Tanz), "dance" is a native Russian. The word "dance" entered the Russian language at the same time when the first balls, or "assemblies" appeared, which were arranged by Peter I.

    If we place dance and dance on a scale with maximum freedom on one pole and maximum order on the other, then the dance will be closer to the pole of freedom, and the dance will be closer to the pole of order. In dance, as we have seen, there is also freedom, but in dance there is more of it. We call dance a passionate, wild, free, ecstatic dance. Unlike dance, dance is subject to regulations, the rules of the civilization that created it, the laws of art. Dance and dance in a sense oppose each other, like a free expression of feelings - self-control.

    You have probably heard the expressions “nerves dance”, “soul dances”. Buffoons are dancing, a tightrope walker is dancing in the sky above the fair. Buffoons in their dance triumph over the prohibitions of the official repressive culture - it was not for nothing that the church forbade buffoon games. And the buffoons themselves were severely punished: in Andrei Tarkovsky's film "Andrey Rublev", the buffoon is cut off his seditious language.

    Free from conventions and restrictions, dance is subject only to music, which itself is an emotional element. The dance cannot be "performed", it can only be surrendered to - like passion or ecstasy, "start dancing".

    As we can understand, dance and dance are also class antipodes: rich and noble people “dance” at balls, peasants “dance”, ordinary townspeople - in a word, the people. The dance is democratic, the dance is aristocratic. Remember how in "War and Peace" Natasha Rostova, trained only in ballroom dancing, unexpectedly for everyone (and perhaps for herself) dances "Russian" to her uncle's guitar - with the full approval of the peasants.

    Some even talk about the "dancing instinct", supposedly universal for all people, but I will not subscribe to the biological word "instinct". I prefer to stay in the realm of culture when talking about dance rather than speculating that animals also dance. It seems to me that we are talking about different phenomena here.

    Of course, dance and dancing have a lot in common. Both serve for communication - not only personal, tete-a-tete, but, as sociologists say, are included in the processes of group communication. This is especially noticeable in some dances: look, for example, how much pride and challenge in the movements of flamenco dancers. And in Russian dances, men even have special knees: trick, breaking (hence the colloquial “Well, why are you breaking out?”), snorting, frightening, trepak. This is a challenge, intimidation of an opponent, maintaining one's own morale. They are performed, for example, during aggressive courtship or as a provocation to a fight. Not without reason, at the end of rural holidays, after round dances and dances, street fights often took place. They fought wall to wall (for example, suitors because of a girl with the support of their teams) or on a geographical basis: street to street, edge to edge. Now this tradition has partly passed to modern street dance, street dance - hip-hop. Initially, this is a rivalry between two gangs from different quarters: as in a Russian village, they compete in prowess, intimidate each other, promising to give each other a trepak.

    With this ability of street dancing - a symbolic confrontation - to develop into a real struggle, sometimes with bloodshed and self-mutilation, perhaps the distrust of the authorities in public holidays is connected. The authorities have always tried to put the dance under their control. In pre-revolutionary Russia, the introduction of folk festivals into a "civilized" framework was carried out, in particular, by public organizations - guardians of people's sobriety. In contrast to the taverns, they opened the so-called people's houses, where they drank tea, not vodka. In Soviet times, this tradition was continued by red corners, factory and village clubs, and Houses of Culture. They tried to subdue the free, uncontrollable energy of folk festivals and dances, introduce them into a disciplinary channel, and regulate. For this, they organized "amateur art" (which, of course, is a paradox - organized amateur performance). They published instructions for holding club evenings, collections of "mass games and dances". At 19In 28, at the All-Union Spartakiad, they even organized a “dance championship” between different peoples of the USSR.

    The Pyatnitsky Choir, which arose even before the revolution and was an informal gathering of singers and musicians, became "state" and even "academic" under Soviet rule. On the wave of taming the "wild" dance, in the terrible year for the country in 1937, the first State Folk Dance Ensemble was created - it was permanently led by Igor Moiseev. A rather strange hybrid of folk dance and classical ballet appeared - the so-called folk stage dance. The dance began to be staged by special choreographers and taught in special schools, including cultural institutes. Finally, the dance rose to the very top of officialdom: "folk dances" were included in physical culture and other parades on Red Square. Moiseev, Kasyan Goleizovsky, and other professional choreographers, including those from the Bolshoi Theater, took part in staging the parades.

    It is curious that when Isadora Duncan came to Russia on her first tour, her dance was so unusual, it was so different from both balls and ballet that it could not even be called a dance. Journalists, critics, fans unanimously wrote and spoke about Duncan as a dancer. They remembered Nietzsche again (Isadora herself ambitiously imagined herself “a battlefield contested by Apollo, Dionysus, Christ, Nietzsche and Richard Wagner”). Her dance has become for her fans a symbol of rebellion against a repressive culture, a space of individual freedom, where creativity and creation of oneself are possible, where the human "I", the personality, is revealed - or perhaps created for the first time.

    Reenactment of Isadora Duncan's dance by Sylvia Gold. Music by Franz Schubert. 1979

    As we remember, the “dancing philosopher” Nietzsche admitted that he would believe “only in such a God who could dance”, and considered lost “the day when we never danced”. He meant, commented Isadora, not pirouettes and entrecha, but "an expression of life's ecstasy in motion." Creating her dance - deeply emotional and personal - Duncan claimed to experience ecstasies on stage and revel in her own "will to dance." This is how she attracted spectators who admired the "rapture of joy of the dancer" and believed that she should be seen "if only because of this joy of hers to dance." Dance-ecstasy, dance-improvisation became the most characteristic utopia of the Silver Age. Man, wrote one of Duncan's followers, must first of all awaken his "will to improvise. " Dance improvisation is "the manifestation and realization of one's higher spiritual and physical "I"". Duncan's fans saw in her dance a means to restore the once lost integrity, to bridge the gap between mind and emotions, soul and body. No wonder her dance was called free, free.

    Michel Foucault has a concept of biopower - this is how he calls the control that modern society exercises over the body of an individual. This is not so much about direct control, but about a set of cultural norms and practices for disciplining the body. It is required to discipline the body, to educate, to subordinate it to control and self-control precisely because they see a danger in the body. The awakening of bodily forces and energies can be fraught both for others and for the “owner of the body” itself.

    Conversely, physicality and dance are often seen as the last island of resistance, including resistance to a normative culture clothed in the words of an ideology.

    The dancing body is more than a mere conductor of social norms. Unlike consciousness, it - so these people believe - is able to elude the rigid requirements of morality, relations of dominance and submission, the hypnosis of consumerism, consumerism. The body can become the basis for a radically different relationship. I will neither confirm nor refute this statement - I will leave it open so that the listeners themselves can explore the relations of order and freedom in their body and their dance.

    More to read:

    Bakhtin M. M. Folk-holiday forms and images in the novel Rabelais. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. Ch. 3. M., 1990 .
    Kreidlin G. E. Non-verbal semiotics. Body language and natural language. M., 2004 .
    Lotman Yu. M. Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX century). Part 2: ball. St. Petersburg, 1994.
    Shay A. Choreographic Politics: State Folk Dance Companies, Representation, and Power. Middletown, 2002 .
    Body history. M., 2012.

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    7 reasons to enroll your child in dancing


    Health and fitness

    First, dancing is a sport. This is a regular physical activity, and it has a beneficial effect on the cardiovascular system, joints, ligaments, hormonal levels and immunity.

    The dancing child can be seen from afar. Correct posture, straight shoulders, beautiful gait, grace and plasticity. Dancing harmoniously and comprehensively develops the muscular corset and coordination. They involve not isolated muscle groups, but the whole body, without "distortions". Not every sport can boast of such a correct load. Boys attending dance lessons are stately and athletic, girls are graceful and feminine. By the transitional age, it is especially noticeable how beneficially dances are reflected in the figure of a teenager. This helps teenagers more calmly experience the period of transformation of their own body.

    In addition, dancing is a non-traumatic sport, unlike football, gymnastics, etc. Therefore, parents can safely sign up for dance classes even kids who learn to dance in a playful way.

    2. Pleasure

    Not everyone looks at dancing as a sport, because dancing is joy. Dancing is a lot of fun. We dance when we are happy, when we relax, when we devote time to ourselves. We celebrate, splash out emotions, enjoy the music.

    Many children love to dance. They like cheerful music, funny dances, they jump, jump and have fun. Classes with kids are held in a playful way, so that, in addition to benefits, they receive a charge of positive emotions. In addition, every year we spend holidays together, put on numbers and give gifts.

    3. Socialization

    It is important to think carefully about choosing a dance school. A good club maintains a healthy psychological climate and encourages communication. In the process of regular classes, children learn to build relationships in a team, communicate, work in a team. All this will come in handy when the child starts going to school.

    If you choose the direction of sports ballroom dancing, then this, with a few exceptions, is a pair sport. The child will have a friend, a partner with whom they will need to build communication, support each other, and go towards the goal together. In TSK "STANTSIYA" we work with children from three years old. Just at this age, the need for communication with peers, for joint activities and games is especially strong.

    If you do not plan to attend kindergarten, then dance classes are a quality way to satisfy the need to communicate and play. Children who started dancing at preschool age will communicate well with their peers by the time they get to school and it will be easier to complete the tasks of teachers.

    Open lessons give children the first experience of speaking in public, and parents - the opportunity to evaluate the communication of the teacher with the group. You will see how the baby works in a team, whether he is comfortable. If a child wants to take dancing more seriously, participation in competitions will give self-confidence, teach them how to perform in front of an audience, and remove unnecessary barriers of shyness. Such a child is not afraid to stand out from the crowd and be bright and original.

    4. Development of mental abilities

    Physical activity has a positive effect on the functioning of the brain - science has long proven this. But dancing has a number of advantages over other sports. Dancing is not only physical, but also mental labor. The need to memorize the sequences of movements, coordinate the body, listen to the teacher and follow the rhythm of the music develops memory, attentiveness, and the ability to concentrate. This is useful for both toddlers and students. Classes in a team, communication with a partner / partner, the need to understand the nature and mood of the dance develop emotional intelligence. These are the so-called "soft skills" - the skills necessary in any activity.

    5. Development of discipline and purposefulness

    Dancing is an opportunity to work on discipline, to teach a child to work hard to achieve goals. Our youngest stars begin to study at the age of 3-4 and quickly understand the importance of following the rules in the classroom, the need to listen to the teacher, and communicate with peers. All this comes naturally in the learning process. And if children participate in competitions, then this disciplines even more. They understand that they need to train to achieve the desired results.

    6. New travel experience

    Every year we go to training camps with the pupils of the STANTSIYa dance and sports club. We visited many beautiful corners of Russia and the world, where we enjoyed combining training, relaxation and exploring new places. In addition, interacting with each other in a new environment is an invaluable experience of communicating in a team. Travel brings people together and enriches relationships. If you want to take the next step and compete, you can travel to international tournaments and get acquainted with the sports championships of different countries. In this way, you will join the global dance community in the fullest sense.

    7. Disclosure of creative potential

    Dancing is not only a sport, but also an art.

    Learn more