By Laura Di Orio.

Everything that director-choreographer Mark Stuart embodies seems to have a commonality: extremeness. The now Executive/Artistic Director of his own New York City-based company, Mark Stuart Dance Theatre (MSDT), he went from never having studied dance to learning, from social dance to choreographing a production of the Broadway musical Swing!, even to forming his own dance company, which recently had the most successfully funded dance project on Kickstarter at 258% funded.

“I am a choreographer with no official dance training,” Stuart said. “It seems crazy, but it’s true. Everyone thought I was crazy to pursue this career and especially to have my own company. Thankfully, I’ve never been good at listening to people.”

His company, known for its extreme, athletic and almost dangerous partnering, is now working on its latest show, Standard Time. The company is also putting together a five-year anniversary gala for 2013 and is working on getting a season at the Joyce for next year.

Mark Stuart Dance Theatre in Interference. Photo by Richard Termine

Perhaps most remarkable about Stuart’s success as a choreographer and dance company director is his lack of dance training. Stuart never studied dance formally and only learned to swing dance by going out and social dancing every night. The first time he had any exposure to any kind of technique was on tour with the Broadway show, Swing!.

“Our first day of rehearsal, they taught a ballet barre for warm-up, and that was the first time I ever tried to do a plié or tendu,” Stuart recalled. “Thankfully, the girl behind me at the barre, who would later become a founding member of MSDT, was really friendly and kept whispering in my ear what each term meant so I wouldn’t be completely lost. It was hysterical!”

Stuart danced in films, commercials and in lots of theater productions, but he never envisioned himself as a choreographer. During his time working as an assistant and associate choreographer for various productions of Swing!, however, he was asked to choreograph his own production of the show. After Swing!‘s success, Stuart was asked to choreograph another show. And another.

“The success of each production slowly gave me the confidence that I could one day have my own company,” Stuart said.

After continuing on this musical theater path for a few years, Stuart began to want more. He began to grow increasingly frustrated that not enough of the dancers could do the extreme partnering he envisioned. So, Stuart decided he wanted to seek out a group of classically trained dancers whom he could shape into a company of his own, one that would be unlike any other in the dance scene. Several months later, Stuart was dancing in a movie with 70 other dancers from ballet companies, music videos and Broadway.

Mark Stuart Dance Theatre in rehearsal for their newest work, ‘Standard Time’. Photo by Royce Becker.

“All of a sudden,” Stuart said, “I could see those people in my company and envision the final product. I started talking to a few of them about the company, and before we had even started rehearsing we had been invited to perform at a festival. Crazy!”

Now, the dancers from MSDT come from a variety of dance backgrounds and specialties. Since most of them are doing Broadway shows, television and movies, there is often a different cast for every show, and often those dancers aren’t even in the same room until show day. MSDT rarely holds auditions. Instead, Stuart tends to hire someone he either knows personally or knows of through the grapevine.

“We do extremely athletic and sometimes dangerous work, often with very little rehearsal, so it’s really important to have people who I can trust to take care of each other in any situation, no matter how crazy it gets,” Stuart said. “One of my mottos is, ‘No matter what happens, you catch the girl.’”

MSDT fuses his thrilling partnering with all different styles of dance, but beyond just movement, Stuart strives to use this fusion to tell “visceral” stories, to make people really think.

“I’ve never believed in dancing just to dance,” Stuart said. “I’ve always believed that dance should be about something, and that it has the power to portray those situations in life that words just don’t seem to do justice to. I think that dance can spark something in people and make them take a look at things a bit more objectively.”

MSDT’s latest work, Standard Time, is a prime example of Stuart using dance to depict a greater picture. For Stuart, the piece arose from a lifetime of not understanding why people can’t just get along.

“No matter what is happening in the world, we are constantly fighting,” he said, “Standard Time is my way of asking people to think twice about the way we treat each other.”

The 90-minute dance theater piece features 14 dancers, four singers and a live orchestra. It centers around three pairs of lovers in three different time periods, with each era providing the “standards” and dance styles that were popular at that time. The couples are observed by mystical Timekeepers who control time and ensure that they learn to withstand their love beyond any conflict and to live in peace.

Without any prior experience to the various online fundraising programs, Stuart decided to launch a Kickstarter campaign to raise funds for the production. He set out to raise $12,000 in 30 days but ended up raising $31,000!

“The response was really incredible,” Stuart said. “None of us saw it coming, but everyone really got behind the idea of Standard Time and what we were doing.”

Standard Time remains to be MSDT’s immediate focus. The project is a large one, and most of Stuart’s previous work was actually built to be placed in a bigger show like Standard Time, although he says he didn’t know it at the time. All of his work seems to have a similar premise: to make people think differently about the way they treat each other. Most of the work that MSDT does is fairly serious, but Stuart admits that rehearsals with his company are anything but.

“If you ever walk into an MSDT rehearsal, you’d have a hard time believing that anything ever gets done or that these people could ever be serious,” Stuart said. “We have a bunch of clowns in our company, and there’s probably more laughter than actual dancing.”

Stuart admits there are struggles. So much time and energy is spent on the business aspects of the company and less on the actual work, and with today’s economy, keeping a company resilient and relevant can be a daunting task. But Stuart loves the challenge and remains to be passionate about his group and all they have to say.

“There are too many people who don’t pursue their dreams because they don’t think they have the skills, strength or knowledge to achieve them,” Stuart said. “Anything is possible if you just believe in it and never give up.”

For more information on MSDT and the company’s upcoming projects, including Standard Time, head to www.markstuartdancetheatre.org

Photo (top): Mark Stuart and dancer Jaime Verazin. Photo by Leon Le.

By Kathleen Wessel.

Last summer, choreographer Michelle Fletcher, two dancers and a small film crew went on a pilgrimage from the bustling metropolis of San Francisco to the rural West Virginia countryside. Their destination was a beautiful but dilapidated 18th century stone house owned by dance legend Dan Wagoner. Built in 1789, the house is an unlikely sanctuary for Wagoner, a former dancer with Martha Graham, Merce Cunningham and Paul Taylor, who so fondly remembers the many years he spent in New York City as part of a community of experimental artists. Perhaps it is this dichotomy – the fast-paced, quirky sensibility coupled with well-worn familiarity and wisdom – that has attracted so many people to Wagoner’s unique choreographic and teaching styles.

Fletcher is among those admirers, and she envisioned “The Dan Wagoner Project” as a kind of gift, a way to thank and honor him. She is quick to point out that the finished product will not be a documentary but rather a dance film inspired by Wagoner and the choreographic aesthetic he cultivated during the 25 years he directed his company, Dan Wagoner and Dancers. As for the setting, his farmhouse in West Virginia seemed not only desirable but necessary to the success of the project.

“He’s losing his sense of purpose,” said Fletcher in reference to Wagoner’s frequent laments over the loss of his physical capabilities as he ages. “I was thinking about what would bring him joy. He loves dancing, and he loves his farm.”

To combine the two seemed like the perfect solution and the perfect way to capture Wagoner in his element. The youngest of 10 children, Wagoner has spent his life surrounded by family, many of whom still gather at the farm every year for a reunion. With motherly fondness, Fletcher added, “He’s also a big baby. I don’t think his feet touched the ground until he was 12.”

Fletcher and Wagoner, although they are more than 50 years apart in age, have formed a deep bond since their meeting at Florida State University in 2005. Fletcher was a graduate student in the School of Dance, Wagoner an esteemed professor and eventually her mentor. From the start, Fletcher, a highly trained ballet dancer, gravitated toward Wagoner’s wacky movement style and abstract aesthetic.

“He saw a lot of potential in me,” she said, “and he pushed me in ways that felt right.”

During her last semester at Florida State, Fletcher’s father passed away; he was 79 years old, about the same age as Wagoner. She had a strong, loving relationship with her father, and she says those feelings easily transferred to her mentor.

“I was a kind of surrogate,” said Wagoner, “she cast me in the same mold.” For a while, Fletcher’s feelings for Wagoner, because she was grieving for her father, were dominated by a sense of impending loss. But she soon realized her mentor was still alive and still a part of her life. She wanted him to know how influential he had been and that she was grateful for the bravery he continued to instill in her.

When Fletcher first approached Wagoner to discuss the possibility of making the film, she admits he was skeptical. In order to convince him, she said with a laugh, “I felt like I had to get in his face.” So she got on a plane, flew to Tallahassee, and told him of her plans in person. Soon after, Fletcher launched a campaign on the crowd-funding site Indiegogo and raised enough money to fly her small crew of dancers and filmmakers to West Virginia where they spent a week on location.

She said Wagoner was happy to host them but nervous that they wouldn’t like the rustic conditions; the house doesn’t have electricity or running water. Fletcher assured him that it would be an adventure, like camping. To me she confessed, “I basically came up with a project in which to facilitate my dream of hanging out with Dan on the farm.”

Despite his reservations, the pull of creation was too strong to keep Wagoner away from the action. “As soon as we were rolling, he clicked into performance mode,” said Fletcher. The two friends bounced ideas off of each other, and though most of the choreography is Fletcher’s, Wagoner was heavily involved in the process. On one day of shooting, dancer Michelle Kinny performed a solo in the middle of a field, and Wagoner hiked out with the crew to watch and give feedback. Wagoner also worked with dancer Andrew Chapman as he learned and performed a solo originally performed by Wagoner himself in 1975.

That solo, incidentally, was part of a dance film Wagoner choreographed for WGBH-TV, Boston’s public television channel. Entitled, “George’s House,” the film was shot at a cabin in New Hampshire then owned by Wagoner’s partner and artistic collaborator George Montgomery. At the time, dance for camera was not yet a recognized artistic genre, and Wagoner’s film was a pioneering achievement. The significance of this connection was not lost on Fletcher who said she might title her film “Dan’s House” or “Dan’s Farm.”

It was important to Fletcher that all the dancers possessed what she calls “body memories” of Dan Wagoner’s work. Kinny and Chapman, along with New York-based dancer Kit McDaniel all graduated from Florida State where they spent years studying under Wagoner. In one scene in the film, Wagoner sits in his rocking chair on the expansive 10-by-46 foot front porch (which Wagoner restored himself, years ago) and performs a gesture. The dancers, seated around him, then respond by copying the gesture. As the call and response continues, the dancers’ movements expand in size in tempo, eventually bursting into a dynamic whirlwind of gyrating pelvises and quaking bodies. Anyone who has studied extensively with Wagoner, as has this author*, will smile and nod in understanding.

Wagoner, a notoriously demanding choreographer and highly specific dancer, has not seen some of the choreography that will end up in this film, but he trusts Fletcher’s ability to echo his aesthetics.

“She has done my dances,” he said, “and it gets transposed: her idea of what she thinks my ideas are. It can add a kind of tangential depth, a quality you couldn’t have added yourself.”

Then, with characteristic tangential insight, he relates this comment to poetry: “[Robert] Frost said poetry is what’s lost in translation.” But, he said, some of the poets he knew in New York City were “interested in what’s gained in translation.” He continued, “It will be interesting to see if something is lost or gained. It’s like life. We get one idea, and that fades away and comes back into focus as another idea.”

It is perhaps this spirit of creative experimentation that has given Fletcher the courage to trust her choreographic instincts. In the gems of wisdom that so often flow from Wagoner as he teaches his classes, countless people have found guidance and encouragement. Musician Alex Davis, who is a former Florida State School of Dance accompanist, credits Wagoner for helping him become more confident in his ability to play live for class. In recognition and gratitude, Davis is composing the film’s score.

When asked about his impact on others, Wagoner said, “I’m trying to garner their courage. There is something so beautiful about dancing. I want everyone to embrace and be moved by it and to find a richer life.”

Fletcher certainly has. And she hopes others will find inspiration in the life and words of this extraordinary artist. She has entered “The Dan Wagoner Project” into a few San Francisco film festivals and hopes to screen it at Florida State as well as the Wagoner family reunion on his farm. “I just want to show it to people who love Dan,” she said. That will be a very large audience, indeed.

*Full disclosure: The author attended Florida State University at the same time as Michelle Fletcher. She also studied under Dan Wagoner, and he mentored her master’s thesis concert in 2007.

TenduTV and Dance Films Association Join Forces

By Stephanie Wolf.

In our digital world how can dance stay relevant and expand its audience? Luckily, there are dance innovators in New York City, who are doing more than breaking choreographic barriers in the dance studio. These individuals are technology-savvy and possess a knowledge and appreciation of dance. Combining technology and dance performance, TenduTV and Dance Films Association (DFA) are collaborating to bring more awareness to the New York City dance scene.

The two organizations have announced plans to create three high-definition, three-dimensional feature dance films; with a goal to make these films available all over the world for both public and in home viewing. Additionally, they will launch a new collaborative project titled NYC Dance Export. Backed financially by the Rockefeller Foundation’s Cultural Innovation Fund, the initiative will highlight selected New York City dance companies as they undertake the process of producing a dance film.

TenduTV is an online network dedicated to providing digital dance-centric content to people all over the world. The company has been working with Dance Films Association “slowly and steadily since TenduTV was created,” explains Founder and General Manager Marc Kirschner. After a 3D collaboration with the New York City Downtown performance troupe 3-Legged Dog (3LD), Kirschner wanted to expand on this experimentation of performance and technology. Because TenduTV is a for profit organization, Kirschner needed to seek out a nonprofit partner to help spearhead his idea. He approached Dance Films Association, an easy choice for him due to the history between the two organizations. European dance companies are already tapping into advanced media and incorporating it into their work, but this type of dance/technological undertaking has yet to exist anywhere in America.

Based on a similar advocacy for dance and digital media, Susan Braun founded Dance Films Association in 1959. She brought together some of dance’s biggest contributors to form the first Board of Directors, including Jose Limon, Ted Shawn, and Alicia Markova. Today, DFA Executive Director Christy Park carries on Braun’s mission through the preservation of dance films and creation of new, innovative content by collaborating with some of dance’s finest artists and companies on both a national and international level. Park believes the partnership with TenduTV has enormous potential. She deems it, “a catalyst for future innovation and preservation of dance on camera.”

Both Park and Kirschner are particularly excited to present the beauty of dance in 3D. “Dance in 3D if it’s done right is gorgeous, it’s an organic fit,” said Kirschner. However, shooting dance in this format presents many challenges. Elements such as fast movement, stage lighting, set design, and raked stages can be problematic for filming in 3D. Kirschner also pointed out that the standard film frame rate of 24 frames per second is too slow to capture dance adequately. They hope to shoot at a much faster rate, in the range of 48 to 72 frames per second.

In terms of an overall distribution plan, DFA and TenduTV intend to follow a ‘Hollywood model’, broadcasting the films in theaters, on television, in festivals, and, eventually, making them available in both 3D and 2D on Bluray, DVD, and digital download. They are in conversation with potential partners in all of these ventures.

Each of the two organizations plays a distinct role in the projects. While Dance Films Association supervises and guides companies through the process of creating and producing the films, TenduTV chooses the company or artist to highlight and distributes the final product. Everything will be easily accessible through popular media distributors, such as iTunes. The media can be found by a search for TenduTV in the iTunes store.

With a constant shortage of finances and resources, TenduTV and Dance Films Association demonstrate how much stronger the arts can be when united. International organizations are taking note of this concept and transitioning into similar alliances. Kirschner thinks it’s an essential move in order for American dance “to survive and thrive in this new paradigm.”

The organizations already have an outline of the first production in mind. If the proper funding can come together in the near future, then filming will begin at the end of November. Additionally, funding efforts are already underway to nationalize and expand the programs. “This is not just about great New York City dance companies. There are great companies throughout the country. We want to make sure American dance can be competitive throughout [an international] marketplace,” expressed Kirschner.

The response from the local dance community is optimistic. Dancers, directors, choreographers, and companies will keep a hopeful eye on the partnership, tracking its evolution and reception. This could be a huge leap into a new direction for the dance profession.

By Deborah Searle.

Dancers and film lovers alike are buzzing about the announcement of a Dirty Dancing remake. The 1987 musical romance starring the late Patrick Swayze and Jennifer Grey is set to be brought into the 21^st century by renowned director Kenny Ortega, who choreographed the original. Lionsgate Studios announced the remake amidst shock and anger from fans of the cult classic, but we can all be a little reassured by the presence of Ortega. “The opportunity to direct Dirty Dancing is like returning home for me,” he said in a Lionsgate press release.  Dance Informa spoke with Kenny to find out more…

Why remake a classic?

I know that there are naysayers and skeptics, and I expected it. It took me a minute too to see the reason for doing this. The reason for doing this is because there’s an entire new world of dancers. We did Dirty Dancing 25 years ago. There’s a whole new talent pool and I think it will be great fun to revisit.

Who do you see in the lead roles?

I have no idea. I honestly haven’t started there yet because I don’t have a writer yet. Until we know where we’re going it’s hard to imagine who might be in there helping us tell the story.  I’m looking forward to getting out there, seeing new people and visiting the idea of people we already know. At the end of the day Patrick, Jennifer, Cynthia and Jerry Orbach brought so much. It was so layered what they brought. The chemistry that they had with each other – I want to find that magic.

Kenny Ortega with Mia Michaels & Nigel Lythgoe. Photo Phil McCarten/FOX

You mentioned on So You Think You Can Dance that you might offer winner Melanie Moore a role. Will you?

I’d stand in line and elbow people out of my way to work with her. Possibly on Dirty Dancing, but she is so versatile, so gifted. There’s nothing that I think that young lady can’t do. And she’s so humble. With her humility who knows where this young lady’s going to take us?

What do you look for in a dancer?

I look for dancers that bring something to the party aside from execution. I look for people that put their heart out there and put themselves out on the edge. Dancers that have that ability to put themselves in the zone before they take one step into the choreography.

Have you spoken to any of the old cast about the concept of a remake?

Jennifer Grey and I have been talking and she’s been so supportive. As has Lisa Swayze and Eleanor Bergstein [original writer]. I couldn’t be more thankful for the outreach that has happened from the cast and crew members of the original movie. They have all called and said ‘go Kenny, go!’

Will Jennifer Grey make an appearance?

If it’s organic, right and makes sense. I wouldn’t do it just to do it, but if we can offer her an opportunity to do something important I would love nothing more.

What do you envision for the storyline?

I don’t want to push something onto a writer. I respect writers so much. I want to just find a really great writer. I believe in team work. The reason why Dirty Dancing worked the first time is because of the team. Let’s assemble a team and let everybody have a voice. I don’t want to pretend that it’s going to be about me. It’s going to be about the challenge of putting together the right thinkers, and then setting off on a course together.

By Rain Francis

We all have our favorite dance flicks. In our last edition I shared with you some of my all time top picks. Here I list some of the more recent dance films that are sure to get you dancing in your lounge room.

Strictly Ballroom (1992)
Strictly Ballroom was an instant classic. Director Baz Luhrmann’s signature style – with its rich colors, glamorous theatricality and underlying darkness – is a perfect fit for the world of competition ballroom dancing. Comedy, drama, outstanding dance sequences and scary stage mums – this film has it all.

Swing Kids (1993)
Set in pre-World War 2 Germany, this is the story of a group of friends whose lives and views are being warped by Nazism. Thomas and Peter are Hitler Youth by day, but at night they are counter-culture ‘Swing Kids’, which involves dancing to ‘degenerate’ swing music. This film had pretty poor reviews, but it’s worth watching just for the wild, big band dance scenes – and to see Christian Bale on the dance floor!

Shall We Dansu?/Shall We Dance? (1996/2004)
This Japanese movie tells the story of how learning to dance brings one man out of his depression, renewing his energy for life. Eight years after its release, an American remake was made, starring Jennifer Lopez, Susan Sarandon and Richard Gere. There have been a few adaptations to adhere to the differences in culture, and as always, the original is better, but the remake is actually pretty good too.

The Tango Lesson (1997)
Sally, a British filmmaker, suffering from writer’s block, takes a break to Paris, where she meets Argentinian Tango master, Pablo Veron. She convinces him to give her tango lessons, in exchange for a part in her film. This is a semi-autobiographical account of Director Sally Potter’s relationship with Veron. Shot beautifully in black and white and with a generous helping of dance scenes, it is a must-see for fans of all dance styles.

Center Stage (2000)
In the same category of completely unabashed cheesiness as Footloose and Flashdance, Centre Stage is a classic dance movie. Some hilariously bad acting combine with a corny script, cornier choreography, but tremendous dancing, to create this story of a group of dancers at a top ballet school in New York City. The characters are one-dimensional with predictable problems such as eating disorders and stage mum issues, but who cares? This is pure, light-hearted dance entertainment!

Billy Elliot (2000)
A guaranteed tear-jerker every time, Billy Elliot is a feel-good movie with substance. Growing up in the grim, grey North of England during the 1980s miners’ strike, Billy defies convention, societal expectation, and his mining father to become a professional ballet dancer. Billy Elliot has since been made into a hugely successful stage musical. This is one of the top ten dance movies of all time – according to this reviewer, and I challenge anyone to watch it and keep a dry eye at the end.

Save the Last Dance (2001)
If Center Stage revived the 80s trend of super cheesy dance movies, Save the Last Dance kept it real as it upped the cheese ante by adding a few more clichés to the mix. If you’re into street dance styles, can forgive bad scripting, and can get past Julia Stiles as the lead, you are probably already a fan of this movie.

Chicago (2002)
As a massive fan of Bob Fosse and of the original stage musical, when I heard this film was being made, I was filled with a mixture of excitement and trepidation. But to my delight, it is a fine adaptation, and even scrapes into my top ten. A few choice numbers have been deleted, and Renee Zellweger seriously needs to eat some pies, but besides that, I have nothing to complain about! The Cell Block Tango is a particularly awesome interpretation. I think Bob would’ve been proud.

The Company (2003)
Starring Neve Campbell, Michael McDowell and James Franco, The Company is about the Joffrey Ballet of Chicago. It is comprised of different stories from people in the real-life company, and most of the actors are actual company members. Campbell, an ex-dancer, co-wrote and co-produced the film.

Honey (2003)
In my opinion, Honey blends with Save the Last Dance and the Step Up franchise to form one endless mess of predictability and bad dialogue. It’s about following your dreams, and doing it your way. On the plus side – if you are into mainstream hip hop that is – there are appearances from Missy Elliot, Ginuwine and Tweet, and Jessica Alba is pretty hot.

Rize (2005)
Written and directed by David LaChappell, Rize is a documentary looking at two dance subcultures of Los Angeles; clowning and krumping. Comprised of interviews with the founders and key players, it includes much historical information, and draws parallels between the two styles and African ritual dance. It is a must-watch for anyone interested in street culture or dance of any style. Visually it is stunning; the abilities of the dancers is mind-blowing.

Ballets Russes (2005)
A documentary from the opposite end of the dance spectrum, Ballets Russes chronicles the history of the ground-breaking Ballets Russes de Monte Carlo, from debut to swan song. It features interviews with elderly ex-company members including Irina Baronova and Alicia Markova, and details the merging of dancers, choreographers, composers and designers who revolutionized an art form and influenced every dancer since. You do not have to be a ballet fan to enjoy this, it is an incredible film.

Step Up (2006)
With a premise reminiscent of Gregory Hines’ Tap (1989), Step Up tells the story of a troubled young man for whom dancing is an alternative to vandalism and car theft. Step Up spawned two sequels, including one that was released in 3D, and, in case you’re still not satisfied, a fourth is due for release in 2012!

Planet B-Boy (2007)
This documentary chronicles breaking, from its birth in New York City in the 70s, to the worldwide culture it has become. Directed by Benson Lee, it focuses on the 2005 Battle of the Year, and five particular crews in the competition, representing France, Japan, South Korea, and the United States. It includes extensive footage of the world’s best breakers, and interviews with the movers and shakers of this vibrant culture.

La Danse (2009)
This is a documentary about the Paris Opera Ballet and its production of seven different ballets. Director Frederick Wiseman is known for his raw, non-narrative style, and La Danse is a good example of this. This film had critics divided – some say it is the best film about dance ever made, others are exasperated by scenes that seem meandering and superfluous. Me? I’m a fan, and if you are interested in the behind-the-scenes workings of a professional dance company, chances are you will be too.

This Is It (2009)
From veteran choreographer, director and producer Kenny Ortega comes this controversial documentary about Michael Jackson. Filmed during rehearsals for Jackson’s This Is It tour, the footage was not originally intended for a film, but after his sudden death 18 days before the tour, the decision was made to release it as a documentary. If you’re a fan, it’s pretty hard to resist getting a behind-the-scenes look at a legend in action.

Fame (2009)
Nineteen years after the original, a remake of this classic movie musical was made. Centered on a group of students at the New York Academy of Performing Arts, and performed by young talented artists, this movie was popular, but begs the simple question, ‘Why?’ Why remake a cult classic?

Mao’s Last Dancer (2009)
This is based on the incredible autobiography of Li Cunxin, the ballet dancer who escaped Communist China and became one of America’s, then Australia’s brightest stars. Although it doesn’t even come close to being as amazing as the book, it is still an excellent insight into what this wonderful dancer went through, and the sacrifices he made. With choreography by Graeme Murphy and Janet Vernon, and appearances by dancers of The Australian Ballet and Sydney Dance Company, the dancing is high quality too.

Black Swan (2010)
One of the most talked about movies of the last year, Black Swan really gets under your skin. As with much of Director Darren Aronofsky’s work, there are sequences that are difficult to watch. It is the story of one young dancer’s psychological descent, and although it is not a realistic depiction of the ballet world, it is completely engrossing as a dark, thriller fantasy. There was a lot of publicity to the tune of ‘did she or didn’t she dance her own steps?’, but Natalie Portman won an Oscar for her leading role.

We all need a little inspiration, or sometimes just a little entertainment during our Summer vacation time.  So gather your dance friends, some popcorn and these dance movies, for a night of fun. Who knows, you might even learn a move or two?

Enjoy this two-part series looking at some of the best dance movies in motion picture history.

By Rain Francis

Swing Time (1936)
No dance movie list would be complete without a mention of Fred Astaire and Ginger Rogers. Swing Time is considered by many to be one of their best. Beautifully directed by George Stevens, and with dance numbers choreographed in collaboration with the great Hermes Pan, this film is the perfect showcase for the melding of tap, ballet and ballroom, made famous by Astaire and Rogers.

The Red Shoes (1948)
Based on the Hans Christian Andersen fairy-tale about an enchanted pair of red ballet shoes, this film won two Oscars and was nominated for three more. It is a tragic story of love, manipulation and obsession – themes which are echoed, 63 years later, in Darren Aronofsky’s Black Swan. Starring Moira Shearer, Leonard Massine and Robert Helpmann, The Red Shoes is a must-see for lovers of either dance or great movies. Apparently it’s one of Martin Scorsese’s favourite films too!

Singin’ in the Rain (1952)
Surely one of the greatest movie musicals ever made, Singin’ in the Rain was choreographed and co-directed by the one and only Gene Kelly. Dancing alongside him are Donald O’Connor and Debbie Reynolds. Cyd Charrise makes a wonderfully slinky appearance in one of the best dance sequences in the movie, Broadway Melody Ballet. Other classic scenes include the ground-breaking title number, as well as Good Morning, Fit as a Fiddle and Make ‘Em Laugh – which showcases O’Connor at his best.

West Side Story (1961)
Directed by Robert Wise and Jerome Robbins, West Side Story won 10 Oscars, including Best Picture. Adapted from the highly successful Broadway musical from 1957 (also directed by Robbins), it retells Shakespeare’s Romeo and Juliet. Verona is replaced with New York City, and the warring families are instead two street gangs, the Jets and the Sharks. 50 years on, the staging and choreography of West Side still looks innovative – this film was ahead of its time.

Saturday Night Fever (1977)
Before he was Danny Zuko in Grease, John Travolta starred as Tony Manero, the streetwise disco king from Brooklyn. The famed soundtrack, composed and performed mostly by the Bee Gees, became the best-selling movie soundtrack ever, and remained so for 15 years after the film’s release. Against the glitz and glamour of the disco world, the story of Saturday Night Fever is pretty dark, involving racial conflict, violence and depression. Travolta landed an Academy nomination for Best Actor for his role.

The Turning Point (1977)
Nominated for 11 Oscars, including Best Supporting Actor for Mikhail Baryshnikov, The Turning Point reflects on the choices we make through life, and the dreams we sometimes cannot fulfil. With amazing performances by Anne Bancroft and Shirley MacLaine, and featuring artists of the American Ballet Theatre, such as Lucette Aldous, Peter Martins and Suzanne Farrell, this is surely one of the best ballet movies ever.

All That Jazz (1979)
This is a semi-autobiographical story, directed by Bob Fosse. Perhaps the greatest jazz choreographer of all time depicts himself – through central character Joe Gideon – as an over-worked, substance-addicted womaniser, in the pull of a downward spiral. With its fantasy elements, disjointed sequences and graphic medical scenes, All That Jazz is not for everyone, however if you’re a Fosse fan, it’s a must see.

Nijinsky (1980)
This film tells the story of Vaslav Nijinksy, his relationship with the controlling impresario of the Ballets Russes, Sergei Diaghilev, and an eventual descent into madness. It is said to be based on biographical fact, using Nijinsky’s personal journals and his wife’s book, Life of Nijinsky, as its main source of research. It is directed by Herbert Ross, who also directed The Turning Point, Footloose and Dancers.

Flashdance (1983)
With its leg-warmers, big hair, step-ball-changes and legendary soundtrack, this cult film IS the 80s. Jennifer Beale stars as a welder by day, exotic dancer by night, with dreams of training at a prestigious ballet school. It’s cheesy in all the right ways, and scored a load of awards and nominations in its day (mostly for music and editing), despite being panned by many critics.

Footloose (1984)
Based loosely on events which took place in a small town in Oklahoma, Footloose is a classic story of teen rebellion. A very young and agile Kevin Bacon stars as a city kid who moves to a small town – one that has banned dancing and rock music. Among its many great features are one of history’s best ‘angry dance’ sequences, a cracking soundtrack, and even an appearance by Sarah Jessica Parker. Look out for the remake, which is due for release in October 2011.

Breakin’ (1984)
As far as films go, Breakin’ is pretty flawed, but features some awesome popping, locking and breaking, from a time when these styles were just being developed. A must-see for today’s b-boys and b-girls, this film was inspired by the German documentary Breakin’ and Enterin’. Ice T makes his cinematic debut in this one, and keep your eyes peeled for Jean-Claude van Damme!

A Chorus Line (1985)
A stylised depiction of the audition process, this film doesn’t really live up to the Broadway show version, although it is fun. It features a young Michael Douglas, some super high-cut leotards and a lot of over-acting. Classic numbers include I Can Do That, Dance: Ten; Looks: Three and the impressively gold-lycra clad finale, One.

White Nights (1985)
This movie is another vehicle for the great Mikhail Baryshnikov, this time co-starring with Gregory Hines, Helen Mirren and Isabella Rossellini, with choreography by Twyla Tharp. If you haven’t seen White Nights, check out www.youtube.com/watch?v=02EvsGal-Wc&feature=related for a taste of its brilliance.

Dirty Dancing (1987)
You’d have to have been living under a rock not to have seen this one! The late Patrick Swayze is magnificent as dance instructor Johnny, teaching the young ‘Baby’ a thing or two – including some new, sexy dance moves, and possibly the most famous lift ever seen in a movie. The soundtrack is a classic, and includes some hits which are now favourites at karaoke bars the world over. Dirty Dancing spawned a 2004 prequel, Dirty Dancing: Havana Nights, as well as a highly successful stage version.

Dancers (1987)
Mikhail Baryshnikov, Leslie Browne, Alessandra Ferri and Lynn Seymour star in this movie about a ballet company rehearsing for a production of Giselle in Southern Italy. Critics’ reviews were, in short, caustic, but as ballet lovers, we’re prepared to turn a blind eye to a dodgy script and some under-developed characters, in the name of beautiful dancing – right?

Tap (1989)
Gregory Hines stars as Max, a dancer who, through lack of opportunity, has turned to crime. As with many dance films, it’s generally agreed that the storyline is fairly lame but the dancing is awesome. Gregory Hines was the most incredible tap dancer of his day, and if that’s not enough, Tap also stars Sammy Davis Jr, in his last screen appearance.