The recreational dance program at Chance 2 Dance Studio is the best in the River Valley! Classes are available for students ages 2.5 to adult. Our dancers participate in classes specializing in ballet, lyrical, tap, jazz, hip hop, contemporary, musical theatre, and pom, as well as, tumbling and technique classes. Dancers are introduced to a variety of dance and movement concepts, vocabulary, and proper technique. Each recreational class emphasizes a fun, up-beat environment with age appropriate music. All of our recreational classes perform in our annual spring recital.
Sameer Behl comes to Mumbai with Bollywood dreams, struggles through the day as a courier, and keeps failing in auditions for advertisements. He refuses to accept help from his father in Delhi and is thrown out of his rented flat by the landlord. One day, a movie director named Rajeev Sharma and his assistant director see Sameer dancing and call him to the office. Soon, Sameer is signed as the male lead in Sharma's film, and his friend Tina is selected as the choreographer on the same project. Homeless, Sameer sleeps in his car and works as a dance teacher in a school. Subsequently, Sameer loses the film and grows disillusioned. Tina tells him that she also quit her job as choreographer for the film because she saw how upset he was. Sameer realises Tina loves him. Tina encourages him to participate in a television talent-hunt show, the winner of which will win the same role that Sameer was to play. Sameer enters the contest and tells Tina that he loves her. Before the final round of the competition, he discovers that his father's shop in Delhi has been demolished. Sameer promises Tina that he will come back for her and returns to Delhi to help his father. After watching Sameer's performance on TV, his father convinces him to go back to Mumbai and participate in the show. Sameer is late to the final round and is initially denied entry. However, he convinces the director to give him a chance. He wins the competition and becomes the hero of the movie "Chance Pe Dance." He is shown walking the red carpet a year later with Tina.
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Katrina Kaif was rumoured to be Shahid's co-star but the makers eventually chose Jiah Khan. She shot for the film but was asked to leave halfway through. She was replaced by Genelia D'Souza who shot her scenes in a whirlwind schedule. Kapoor said that he had no hand in the replacement of Khan.[7]Chance Pe Dance is loosely based on Shahid Kapoor and D'Souza's lives as it was mentioned on Tere Mere Beach Mein, a show hosted by Farah Khan, that they were both given a second chance in life.
Chance to Dance gives primary school children from across the country, who do not have access to ballet / live in areas facing numerous disadvantages, their first opportunity to engage creatively with ballet, connecting closely with the inspirational repertory, choreographers and dancers of The Royal Ballet.
With its 27-year track record for excellence, Chance to Dance is now building a national presence and being the catalyst for systemic change in who has access to ballet and the opportunity to train professionally. The programme seeks to find points of relevance within the art form for every participating child, their families and teachers, particularly in culturally and ethnically diverse communities. Chance to Dance aims to broaden and diversify the pool of young people with potential in ballet, to provide pathways to nurture and develop talent, with the aim of diversifying the range of dancers who have the opportunity to enter vocational ballet training and graduate to become professionals in the sector.
To create more opportunities for aspiring young dancers to engage in further training, the Royal Opera House and The Royal Ballet work collaboratively with local and national dance industry partners to model best practice in the creative teaching of ballet and establish more accessible pathways, especially for those who face difficulty accessing existing opportunities.
Supporting and sharing practice between dance artists and teachers working in the public and private dance sectors is a priority for Chance to Dance. A professional development programme designed and delivered in collaboration with the Royal Ballet School provides the forum to explore and strengthen the convergence between recreational, vocational and community dance practice. The programme is delivered as a core part of each cycle of Chance to Dance and provides artists with the opportunity to practically and creatively explore classical ballet technique, artistry and pedagogical topics relevant to current dance teaching practice.
In 2018/19, we are testing a new model of delivery for Chance to Dance, working in five primary schools in Thurrock and partnering with local dance schools in Essex. We are delighted to be working with Junior Masters, Anthony Clifford Dance Studios, Dance2Drama and Essex Dance Theatre.
Merce Cunningham, considered the most influential choreographer of the 20th century, was a many-sided artist. He was a dance-maker, a fierce collaborator, a chance taker, a boundless innovator, a film producer, and a teacher. During his 70 years of creative practice, Cunningham's exploration forever changed the landscape of dance, music, and contemporary art.
Cunningham started his own dance company in 1953 and created hundreds of unique choreographic works. Defined by precision and complexity, Cunningham's dances combined intense physicality with intellectual rigor. He challenged traditional ideas of dance, such as the roles of the dancers and the audience, the limitations of the stage, and the relationships between movement and beauty. Cunningham's embrace of an expanded possibility of dance, music, and visual arts reads like a how-to for pushing the boundaries of culture for subsequent generations.
Throughout his career, Merce Cunningham embraced technology in his work from early experiments with television and video to the use of computers, body sensors, and motion capture technology. These tools allowed him to sculpt, animate, and choreograph dance in entirely new ways and reimagine his understanding of the human body. In the 1990s, Cunningham pioneered the use of the computer as a choreographic tool. The software DanceForms could model and animate the human form, allowing Cunningham to visualize sequences and phrases of dance on screen, which he would then translate to a dancer's body.
In the 1970s and 80s, Cunningham became interested in creating dance works specifically to be filmed by a camera. Along with filmmakers Charles Atlas and Elliot Caplan, he developed imaginative new ways to capture and present the medium of dance through moving image. At the core of this strategy was the repositioning of the camera as the key part of the choreography, rather than a mere witness to the action. Through video, Cunningham could change perspective, move the camera through the studio, focus on unusual details, adjust scale and tempo, interweave scenes, and surround the viewing audience with movement. Utilizing unusual editing techniques and image manipulation, Cunningham and his collaborators invented a new genre of dance expression, continually pushing its practice in unexpected directions.
Multiple generations of dancers learned their craft from Merce Cunningham, often through classes he led in his New York studio. His rigorous and physically exacting technique explored, among other things, the idea of individual body parts operating independently of each other.
His philosophical teachings were just as influential. He taught his dancers to question commonly held assumptions about dance and the arts, inspiring legions of students through his commitment to experimentation and risk taking. And many with whom he worked would go on to become choreographic innovators in their own right.
One of the most fearless inspired artists of our times, Merce Cunningham's career was defined by discovery. Across seven decades, he reshaped dance into a new kind of art form, deeply influencing visual art, film, and music along the way. His ideas, artistry, and discipline continue to resonate with artists worldwide. Thanks to Cunningham and his collaborators, we live in a time of electrifying artistic convergence, a place where rigor and freedom can coexist in a common time.
Notice that Holly never says that Nia is the "best" dancer. However, we, the audience, do not get to see how much or how little work is being done to correct Nia's feet. I know Holly has other children but at this point, should she not have extra income(from the show) to have Nia do extra classes.
I don't think Holly believes Nia is the best dancer on the team, but I do think that this season she is being treated as the pawn. With Brooke and Paige gone, Abby still had a pawn to play, ie. Chloe. Now that Chloe is gone, the only pawn she really has left is Nia. I like Kendall, but Kendall she still gets a lot of hate for her previous bratty moments on the show (from fans) and while people like Mackenzie and Maddie, neither have the undying love that Chloe has proven to have had. The show is down 25% in ratings just from losing Chloe and Christi---with Nia being the last 'good' girl left, I think the producers are doing everything in their power to script this season for the drama the show is used to having. Nia and Holly are those last pawns to play.
WTF, Abby compared what Holly and Nia did in LA (in her eyes) to if a murderer walked in and she was supposed to teach them a dance and forget they were a murderer. What the heck?! Please tell me that was scripted because that is just ridiculous.
MY child dances and if her dance teacher belittle her like she does Nia we would have a serious problem! You can become a great dancer through constructive criticism! What Abby Says & does is borderline child abuse This show is definitely scripted..... am I the only one who notice that Nia was not completing against her team mates due to her age, but yet it appeared that way on the show during awards. She actually has a top 5 metal on her neck with a trophy sitting next to her. I really feel in my heart that I should no longer watch this show and support such bad behavior toward children!! They need to cancel the show and have a Maddie and Abby show, because that's all she cares about! 589ccfa754
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