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(cheers and applause)
Speaker: Welcome to the (inaudible) of the first White House
dance series day.
And it's so thrilling to have so many kids from all around
the country here.
So I wanted you all to welcome each other as I introduce you so
that we all get a sense of who's in the room,
because we're all going to share in about an hour and a half of
learning about dance, trying some dance,
learning how to dance, and just having a fantastic afternoon of
dance right here in the White House!
Yes!
(cheers and applause)
Woo! So, where do I have Ballet Hispanico?
(cheers and applause)
Say hello! What about (inaudible) School?
(cheers and applause)
What about National Dance Institute New York?
(cheers and applause)
What about Cab Calloway School of the Arts?
(cheers and applause)
Woo!
Philadelphia High School of Creative and Performing Arts?
(cheers and applause)
Washington School of Ballet?
(cheers and applause)
In the house! Chicago Multicultural Dance Center?
(cheers and applause)
Celebrate the Beat, Colorado.
(cheers and applause)
National Dance Institute New Mexico.
(cheers and applause)
And the Dance Theater of Harlem School.
(cheers and applause)
Did I leave anybody out?
Speaker: You.
Speaker: Where you guys from?
Speaker: (inaudible)
Speaker: That's right, from Michigan.
(applause)
Speaker: All right.
So we're going to get started right now.
We have a workshop (inaudible).
(cheers and applause)
(inaudible)
(cheers and applause)
>> (inaudible)
(cheers and applause)
Speaker: How's everybody?
Speaker: Good.
Speaker: How many of you have heard about dance?
Audience: Woo!
Speaker: Good.
Speaker: How many of you can dance?
Good, right.
So, stand up.
We are going to start with a warm up,
and since we have our lovely guests sitting back there,
and I don't want them looking at the back of all of you,
I'd like some of you -- the blue shirt, the boy right there,
come on up here on stage, red shirt, come on up,
white shirt over there, looking at me, you and me, come on up.
You, you, you, yeah, come on.
All right, girls, pink, black leotard, pink tights, like this,
come on, quick, quick, quick.
Hail, come on up.
Lexus, come on up.
Come on.
Here.
Come on, yep, stand behind all them.
Clifton.
Everybody else spread out.
We are -- what do dancers do when they start the day?
Stretch, warm up.
We're going to do a warm-up.
I want you to follow me and listen to my voice.
You all dance.
It's going to be very easy.
We're going to start with isolation.
Say isolation.
Audience: Isolation.
Speaker: What is an isolation?
It is when you move --
One. -- one body part, right.
So we're going to start with our head.
Kristen, we're ready.
Everybody breathe in.
♪♪
Rub your hands.
Good.
Get some fire.
Give yourself a big hug.
Breathe in.
And out.
Again, one more time, rub.
Come on!
Breathe in.
Big hug!
And down.
Head to the right, right center.
Right, center, left.
Right, center, follow through.
That's nice out there.
Down, center, back.
Follow through.
We're going to tilt.
Right, center, left.
Follow through.
Front.
Front, center, left.
Follow through.
Peck.
Side to side Egyption, right (inaudible) head.
Arms and up.
Good.
Shoulders roll, back, two.
I guess you don't do that much here, huh?
Reverse.
One, two, three.
Right-left.
Right, left reverse.
Speed it up.
Double time.
(inaudible)
right, center, left.
Good.
Follow through.
Right, left.
Smile.
Front.
Front, center, back.
Follow through.
Good.
We're going to do a circle, front, right.
One, two, back.
Again, two.
Again, three.
Last time, reverse.
And front.
Two.
Three.
Four.
Good.
Roll to the right.
Roll, two, three.
Reverse.
Good.
Shake it out.
Feet in parallel first.
Let me hear you say parallel first.
Audience: Parallel first.
Speaker: Going to do a head roll to the right and roll down,
two plies and up.
Ready, go.
To the right, head roll.
Two, three, four.
Roll down.
Eight, seven, six, five, four, three, plie.
Stretch.
Again, plie.
Stretch, roll up.
First position, head rolls left.
Circle.
Roll down.
Make sure you're breathing.
Demi plie heels stay down.
One, two, three, four, and stretch.
Again, plie.
Knees over the second toe.
Roll up.
Head is last.
Parallel second.
Turn the heels out.
To the right.
Roll down.
Five, six.
Weight is on the balls of the feet.
Plie.
Knees over the second toe.
Plie.
Don't let the knees touch. Good.
And stretch.
Roll up.
Relax the head.
Turned out, second.
To the left, one.
Roll down.
Plie turned out.
And four.
Open those hips.
Good.
And stretch.
One more time, plie one.
And stretch.
Roll up.
Arms.
.. your right arm.
Side lateral.
Two, three, four, and up.
Good.
Shift the hip.
Two, three, four, and up.
Leave it together.
Shift hips.
Two, three, four, and up.
Shift the hips.
Two, three, four, and up.
Two counts.
And a one, two and up.
And a two, and up.
Good.
Two, two more.
And a one, two, and an up.
Head stays in the middle.
And a two, two, and up.
And a three, two, and up.
Last time.
And a four, two, and up.
Good.
Arms open.
Arms dropped.
Plie.
And up.
Keep your shoulders over the hips.
Plie.
Two.
Relax the arms.
And up.
One more time.
Plie.
Two.
And up.
Five, plie.
Side, and over, and side and over.
And up.
Plie.
And over to the right.
Right, and over.
And left, and over.
And up.
Plie.
And open.
Now you're going to round the torso.
Change the arms.
You're going to bend to the right.
One, two, three, four.
Over, two, three, four.
Left.
Reverse.
One.
Center.
And side.
And two.
And one.
Two, one.
Reverse.
Two, one, one.
And a one, and a one, and a one, and a one, and a one, one, one,
one!
Shake it out.
Good.
Plie and up.
Parallel first.
Plie.
Open your right leg.
Second plie and up.
Plie and up.
Plie arms.
Remember to squat.
Sit, two, three, four and up.
Good.
And sit, two, three.
Good.
And up.
Who can go all the way down?
Excellent.
Up.
Last time, one, two, three, and up.
Right foot, four (inaudible).
Two, three, left.
And a one, two, three, four.
Leg up.
Hold.
Open.
Close.
And plie.
So in a right angle.
One, two, in, and plie.
Releve.
Balance.
Stop the tape.
Good.
Give yourselves a hand.
(applause)
Shake it out.
Nice warm up.
Thanks, guys.
You good?
All right.
You guys stay right there.
Can you put them in a wedge for me?
So, we're learning about Alvin Ailey.
Alvin Ailey was born in Rogers, Texas.
What year?
What's that say?
1931.
And he died December 1989.
He was born and grew up as a child during the great
depression and segregation.
You guys do history?
You have history in school?
Learn about the Great Depression?
What happened during the Great Depression?
People lost their money.
They lost their jobs.
They lost their homes.
Were they happy?
No.
That's why it's called the Great Depression,
because they were depressed, right?
So, Alvin Ailey choreographed Revelations in 1960.
And you know what inspired him to choreograph Revelations?
It's right there.
Blood memories.
Anybody know what a blood memory is?
A blood memory is something that has happened to you,
an event in your life that has affected you to deeply,
it's considered to be a part of you, a part of your blood.
So, how many of you remember losing a tooth?
Not me.
How many remember first bike that you got?
How many of you remember the birth of a sibling?
How many of you remember your first day of school?
Or the death of a loved one?
Those are blood memories.
They don't have to be bad.
Sometimes people see the word blood,
they think it's a bad memory.
It's not.
It's something that you remember,
that you will always remember.
Today, September 7th, 2010, will be a blood memory,
because you are performing in the White House, right,
taking a class.
That's another blood memory.
So we are going to start, I've been buked.
Let me hear you say that.
I've been buked.
To rebuke is to put down.
Somebody tells you, you can't do that.
Or, you do something that you're not supposed to do,
and you're scorned.
Your mother tells you, go upstairs,
you're on punishment for a week.
Right?
So, this opening section of Revelations is taken from
Alvin's blood memories growing up as a child.
The costumes -- how many of you have seen Revelations?
Browns, oranges, yellows, earth tones, right?
And remember, it's not happy.
So I want you to follow me, follow us in the movement,
and then I'm going to see you do it.
You can play track two, please.
You guys are going to stay that way.
Follow Clifton and Mo.
♪♪
We're going to turn down second.
And your hands are splayed.
Jazz hand.
Head is up.
You're going to go to your right.
Don't follow them.
Look at your right hand.
Good.
Stretch up.
Head is back.
Slow, slow, slow.
Stay.
Right arm.
Reach.
(inaudible)
Circle, only the arms and the torso.
Again.
Hold.
Girls, open to second.
Boys, keep your feet together.
Boys, stand up.
Father.
Feet together.
Scoop, prayer hands.
Girls, open sharply.
Boys, softly, slowly.
Back, back, back, and hold.
Great!
So, we have here this hand comes up, and it goes down.
The other one comes up, elbow down.
This one is still out.
And we reach up.
We pull in.
And both arms are up.
Are they straight, straight, straight, reaching to the sky.
And then you're going to do a circle.
And this is a group section.
All right.
The formation is a wedge, which is like a triangle.
And what kind of groups are there in society?
What kind of groups are there?
You got study group.
What other kind of group?
Football.
Come on, y'all, what other kind of group?
Book group.
Science group.
Church group.
Chess group.
Dance group.
What do groups do?
They support each other, right?
You're with a group of people.
One person dancing, one person alone is a?
Solo.
Two people?
Duet.
All right.
So if I'm up here by myself and I'm dancing, I'm like,
oh my God, but if I have all of you with me, I'm like ahh.
Right?
Don't you feel like that?
You have all these people around you,
so it's like everybody in this room,
they are not looking at you, they're looking at everybody.
So you don't feel like, oh my God, it's like this.
Right?
So it's a group, which means you have to move together as one
person, as a group.
So arms are up.
Good.
Reach.
We're going to circle.
Follow me.
Side, front.
Good.
Side, center.
Again, side, front.
And then we hold.
Just the girls, you're going to cross your arms,
go to a deep second position, as low as you can get.
Now, you've seen the pictures.
It's called a birdie.
Elbows, fingers together, thumbs in, head is down.
Boys, excellent, you're going to do the same thing,
but keep your feet together.
Plie circle.
The arms come up.
And when I say father, all the boys in the room are
going to go...
Good.
And then everybody is going to scoop together.
Girls, bring your feet together.
Hands.
And up, up, up.
And then all the girls are going to open sharp, sharp.
Now, you can do one-two, you can do one-two-three, one-two-three,
whatever accent you want.
And then the boys, after they do like the second or third one,
you're going to open.
So it's like a nice breath.
All right.
I want everybody to turn and face that way.
You guys stay there.
Everybody turn.
If we can start track two, please, Kristen.
♪♪
Take two steps back.
Second.
Good, I want you to breathe in.
And remember, it's heavy and weighted.
To the right.
Roll the head.
The right hand.
Good.
Stretch.
Center.
Low, low.
Reach, reach.
(inaudible)
Up, up, up, up.
Yeah.
Circle.
Circle again.
Hold.
Father!
Everybody scoop.
Prayer hands.
And break.
Break.
Everybody should finish with their head up.
And hold.
Stop the tape.
Stay.
Don't they look beautiful?
(applause)
Good job!
Excellent!
Turn around.
Everybody have a seat.
So the wonderful thing about the arts is that they're creative.
When you're dancing, you move, and when you're doing music,
you play an instrument, or you read, right,
and you're doing art, you make stuff.
This section is about water.
So you are going to collectively write a poem.
How many of you keep journals?
Alvin Ailey kept a journal.
How many of you have a school newspaper?
Alvin Ailey was a writer.
He was a reporter for his school newspaper.
So we are going to create your own dancing poem.
Now, we're going to do a little bit of movement from
Wade in the Water, right.
What is Wade in the Water about?
What kind of ceremony?
Being baptized.
And Alvin Ailey says when he was growing up and people were
baptized, they were taken down to a lake,
and they would walk into the water.
And do you think they were a little nervous?
Right, I think they were a little nervous.
And they were dunked down in the water, they were baptized.
So, a lake, how many of you have ever been in a lake?
I have too, and I didn't like it.
I went in a lake when I was at camp, and it was a little scary.
But, I want to come up with six adjectives that describe a lake.
And an adjective is a quality or characteristic.
So, give me some.
A lake is calm.
Peaceful, I like that one.
Still.
Gentle.
You have beautiful eyes.
(laughter)
Soft.
I'm from New York, soft.
I need one more back there.
Cool.
A lake is cool, I like that, cool.
All right.
So we have our six adjectives.
The noun is lake.
I need six verbs.
Verbs end in I-N-G, action words.
What does a lake do?
It's soothing.
Moving.
Calming.
I need three more with the lake.
You, you got a word for me?
No.
Stretching, yeah.
Relaxing.
Two more.
Rippling.
Two, three, four, five.
I need one more.
Somebody who didn't give me a word.
One -- I'm going to choose somebody -- two, three.
Flowing.
Thank you.
All right.
I have terrible handwriting.
So we must remember that last word is flowing.
An adverb, right, describes how the lake moves,
and it ends in L-Y.
Slowly.
Call them out.
Silently.
Serenely, all these S's.
Serenely.
Gently.
Calmly.
So we got calmly.
Give me something else.
Slowly.
Swiftly.
Hold on, what did you say?
Swiftly.
Hold on.
Gracefully.
Who said swiftly?
I like that word, swiftly.
So you ready for your poem?
You ready for your poem?
Drum roll.
(applause)
So, we have lake, calm lake, soothing, slowly, peaceful lake,
moving silently, still lake, calming, serenely, gentle lake,
relaxing gently, soft lake, rippling, swiftly -- I missed
one -- cool lake, flowing, serenely.
Tah-Dah!
Give yourselves a hand.
(applause)
All right. Everybody up.
We are going to -- you've seen Wade in the Water, right?
Now, how many of you have been in a pool?
How many of you swim?
Is it easy to move in water?
No, right.
It's difficult, because the water is heavy,
and the body wants to run, but you can't.
So, we start out with the left hand over the right.
Plie, feet together.
And you're going to walk back.
You're going to go back with your right leg.
And you're going to use your right.
Four walks.
Five, six, seven, eight.
Back, two, three, four.
And front, two, three, four.
Again, back, two, three, four.
And front, two, three, four.
Good.
Now, press the arms.
I want you to think of your torso not moving and just a
slight shift in the hip.
Just think about it, all right.
From there drop the arms.
Do this.
And imagine there's water right here and you're rippling,
like we said, rippling the water.
The hands are going to be in front of you,
then they're going to open, open, open, open, open,
press push, push, push, push, push.
And trinkle down.
Trinkle down, trinkle down.
Good.
Now the feet.
BUH-BUH, UH-UH.
And a heel, circle-circle.
Turn, turn.
Keep turning, turning, turning, turning.
Five, six, seven, eight.
Great.
All right.
So you have the hands are going here, right.
Once you get side, they turn and you begin to push,
push, push, push.
And then down, down, down, down.
All right.
How am I doing?
Good.
All right.
Let's try it with music.
So we're going to start with back.
♪♪
Back.
Front.
Back.
Front.
Ripple.
Come on.
One, two, three, four, five, six, seven, eight.
Push. Push. Push. Push. Push.
Ripple, down.
Two, three, four.
Good, all right.
Yes?
All right, so we walk back front, back front,
and then we go around here.
Now we have -- you guys follow Mo and Clifton.
You have one, two, three, four.
Say, center, six, seven, cross, eight.
The right foot.
And then drop, two, three, contract up.
Again, whip, two, three, four, five, six, seven, eight.
Down, and up.
Yes, then we have down, push the water.
Up and up.
Remember, we said water is not easy,
so you can't push like that.
And then you have step together, step, step together, step.
Now you remember all the isolation?
That's when you do the water, everything is kind of moving.
Not like this.
All right.
Let's try that with music.
♪♪
Five, six, seven, and...
Front.
Back.
Front.
Ripple.
Push.
Go down.
Twinkle, twinkle.
Open.
One.
Again.
And one.
Cross.
Push, push, push up, push, push.
Walk.
Walk again.
Walk.
All right.
Good job.
(applause)
All right.
So, we're going to finish up.
Who knows the last section of Revelations?
What's it called?
Rocka My Soul.
All right.
Rocka my soul in the bosom of Abraham.
Everybody is going to learn the same movement.
We're going to do it all together once.
Then I'm going to have two groups face each other.
All right.
You guys can go back down on the floor.
So, everybody is going to do four walks front, four strides.
We're all going to go this way.
So we have right-left, right-left, hold, two,
three, four.
Posse, hands come in and open.
One-two, three-four, hold five, six, seven, eight.
You're going to do a flat back walk around to the right.
One, two, three, four.
Stay five, six, seven, eight.
Jump, two, three, four.
Hold five, six, seven, eight.
Wave, wave, wave, slap.
Hold five, six, seven, eight.
To the hip, here, and finish.
All right.
So, up.
Before that, we have clap, clap, over the head, chest.
One, one, one, one-two.
Then we're going to point.
One, two, three, four, five, six, seven, eight, nine, ten,
11, 12.
Two, four.
All right.
So just follow.
♪♪
And point!
One, two, three, four, five, six, seven, eight.
One, two, three, four.
Seven, eight.
Five, six, seven, eight.
Jump, jump.
One, two, three, four.
Good.
All right!
Hold on.
We want to do that one more time.
So when we start the choreography, the walks,
we do it first, and then you follow.
Right?
One last time.
Good.
We're ready.
♪♪
Five, six, seven, and... Go.
♪♪
Woo!
All right!
Stay there.
Can we turn to Miss Jamison, say congratulations on your
20th anniversary!
(applause)
Thank you very much.
Damian, you guys did an excellent job.
Give yourselves a hand.
Give yourself a hand.
Good job.
All right.
Thank you.
Damien Wetzel: That was incredible.
Wow, amazing.
So now you've danced at the White House.
How about that.
Yeah, terrific.
Applaud yourself.
So, I neglected to introduce myself.
I'm Damian Wetzel, and I am the director of this program today
at the White House.
I was a dancer at New York City Ballet for many years.
And now I do a lot of different things.
I produce, I teach, I choreograph,
I work to make the arts an important part
of your educations.
And it means so much to me to have all of you students here
today in our nation's capital and in our first house.
It make the arts a center of society.
And I'm going to talk more about that a little later.
But right now I want to introduce you to some very
special guests we have today.
How many of you have ever seen the movie Billy Elliot?
Yes.
How many of you have ever seen the show Billy Elliot?
How many of you have ever met a Billy Elliot?
A couple.
How many of you have met four Billy Elliots?
You want to meet four?
Let's welcome the Billy Elliot guys.
Where are they?
And Jeffrey Edwards, who is the resident choreographer ballet
master, leader of these young fellows from Billy Elliot.
I'll introduce Jeff, and, Jeff, you introduce the guys.
Jeffrey Edwards: Great.
Guys, not only do we have four Billy Elliots here today --
Damien Wetzel: Guys, you want to sit?
Sit.
Jeffrey Edwards: What we're going to do is we're going to teach you some
excerpts from the show.
And the show encompasses tap, ballet, acrobatics,
acting, singing.
So we thought it would be fun for you to get the feel for
different advanced elements of the show.
We'll have each Billy introduce themselves and talk a little bit
about how they got involved in dance.
We'll start with (inaudible) --
Speaker: (no audio) -- competitive
level, I did choose between that and wrestling, so I chose dance.
So, and I'm about to show you a little bit from the number
Express in our show.
Express is where Billy goes to his best friend Michael about
his problems about not being able to express
his love for ballet.
And Michael just tells him to express himself, so...
Jeffrey Edwards: Great. So we'll have Jacob demonstrate the combo,
and then we'll all get up and learn it.
So, Glen, could we just have eight counts?
I'll give you, five, six, seven, eight.
Ready?
Five, six, seven, eight.
One and two, three.
♪♪
Okay.
That's it.
Great.
So, on your feet.
We're going to all learn that.
So, can I have the other three Billies face upstage so we can
follow these guys, and Jacob will continue to face front.
So this is a very short tap combo,
but really pay attention to the rhythm.
So, Jacob, you want to demonstrate very slowly,
and everyone can follow.
Billy is facing upstage.
Speaker: We can start them with the easier part -- we can start it
with the easier part.
So you just go step, toe, toe, step, toe, toe, flap, flap.
Jeffrey Edwards: One more time slowly.
Speaker: You go, step, toe, toe, step, toe, toe, flap, flap.
And then if you feel comfortable with that,
you can add in the heels.
It it goes, heel-step, heel-toe, heel-toe, heel-step, heel-toe,
heel-toe, flap, flap.
Jeffrey Edwards: Try it once with music, very under tempo.
Let's go very slow, Glen.
Ready.
Five, six, seven, eight.
And step, tap, turn it in, step, turn it in, flap, flap.
Okay.
Speaker: Your goal is to try to keep your knees together,
but to get as far away from this foot with this one as possible
with your knees together, though.
Jeffrey Edwards: We add one element at the end, which is a shimmy.
So at the very last two flaps, we're going to shimmy shake.
Okay.
So ready.
Slightly faster.
We'll go, five, six, seven, eight.
♪♪
Good, guys.
Good.
So, great.
So let's move on to the second excerpt from the show,
which is when Billy is going to do some ballet for us.
So let's introduce Alex.
Alex Ko: Hey, my name is Alex Ko, and I am 14 years old,
and I am from Iowa City, Iowa.
And I started dancing when I was about five years old because of
my older brother was a dancer.
So my mom decided to put me in classes.
And I decided I had a passion for dance,
which I never knew I had.
And I started ballet at about the age of, I'd say,
11 at the University of Iowa, which is where I got all
of my training.
And I'm going to do something from Solidarity from the show,
which is basically a number of just Billy's progression through
ballet from start to end.
Yes.
Jeffrey Edwards: What's is special about this combination is it's when Billy
learns how to spot.
And I'm sure a lot of us have learned how to spot before we've
learned to turn.
And what Billy does is he picks a point in space,
and he tries to bore a hole in space as he whips his head
around, and that gradually evolves to the point where he
actually starts to teach himself how to turn.
So let's have some music, Glen.
We'll just do two counts of eight for Alex.
Ready.
Five, six, seven, eight.
♪♪
Great.
Thanks.
Great.
So, guys, let's break this down together.
(applause)
So, Billies, face the back.
So again, really focus on a spot, yeah,
and then turn your head on one, two.
We're going to whip the head, three, four.
Again, whip the head, five.
Fifth on sixth.
Tondu seven.
Fourth eight.
Single pirouette.
One, two, tondu other foot, fourth, single pirouette, plie,
and fourth position, then attitude qua se.
So, with a crossed leg.
There we go.
Try to spread out as much as you can,
because this one takes up a lot of space.
Okay, let's go slowly again.
Ready?
Very slowly without music.
Five, six, seven, eight.
Spot one, two.
Turn the head three, four.
Turn the head, five, six.
Tondu side seven.
Fourth position eight.
Single pirouette, one.
Fifth two.
Tondu left with three.
Plie four.
Tondu -- pirouette the other way.
Plie.
Fourth position and attitude hold.
Good, guys.
Yeah, qua se position, really cross with the head.
So let's try this also under tempo.
Really spread out.
And remember that principle of boring a hole into the wall with
your head so the focus is really strong.
Okay.
So we'll go five, six, seven, eight.
♪♪
And one, two, three, four.
Head, five, six.
Tondu seven.
Fourth eight.
Turn one.
Fifth two.
Other side, fourth, turn, fifth, plie, attitude hold.
Good job, guys.
Really nice.
Well done.
All right.
We'll have Dayton introduce himself.
Dayton Tavares: Hello.
My name is Dayton Tavares.
I'm 14, and I'm from Sydney, Australia.
I started dancing when I was nine.
I was doing Taekwondo at the time,
but my sisters were changing to a new dance school,
and they said to try the boys hip-hop class.
If I didn't like it, they said I could leave the class,
but I stayed in there because I loved it so much.
Then from there, I started taking more and more dance
styles and found I loved it more and more.
And I'm going to show you a bit of hip-hop from the number
called Electricity where Billy tries to say what he feels like
when he's dancing.
Jeffrey Edwards: Great.
So, five, six, seven, eight.
♪♪ And one, and two, three, four, five, six,
seven, and eight.
That's it.
Good.
Good, Dayton.
(applause)
Okay.
We're going to break this one down slowly for you, okay.
So let's go slowly.
Guys, face upstage.
Yeah, and, Dayton, step upstage with them so they
can follow you too.
So we'll break this down very slowly.
Watch the Billies facing upstage.
Warning, five, six, seven, eight.
And step, open, close.
Elbow with the right, circle, frame the face with the hands
like you're spinning a pizza pie with the hands, close,
and then open your left knee across the arms,
and then snap it back.
Right.
One more time slowly.
Very slowly.
Five, six, seven, eight.
Step on the left, open the knee, and close.
And elbow, close.
Frame the face, and spin the pizza pie.
Close, and opposition, close.
Right?
We need to do this again one more time slowly.
Yeah, really watch that opposition.
And, Dayton, can you talk a little bit about popping and
locking, what that actually is?
Dayton Tavares: I'll give you an example.
Well, to me, in this section of hip-hop, it's the little things.
So you could have a move and just by adding a little bit of
a pop with your chest, it makes the move just explode
a bit more.
And, yeah.
Jeffrey Edwards: Show an example.
Dayton Tavares: Okay.
So this is without the pop.
And then this is with the pop.
(laughter)
Jeffrey Edwards: So let's try this combo one more time with that in mind.
Let's try to add the pop.
Okay, ready.
Five, six, slowly seven, eight.
And step, open-close.
Elbow, close.
Frame the face, and pizza platter, cross, and that's it.
Great.
Fantastic.
So that's part of the hip-hop in the show.
Now we're moving on to Liam.
Liam, why don't you tell a little bit about yourself and
how you got involved in dance.
Liam Redhead: Sure.
Jeffrey Edwards: Great.
Liam Redhead: Hi, I'm Liam Redhead.
I'm from North Bay Ontario, Canada.
I started dancing when I was seven,
because my older sister danced, like most of us.
And I just started in a hip-hop class,
and then two years later I wanted to join
the competitive team.
But in order to do that, I had to start training in ballet,
which I really hated, and I wouldn't do the classes,
I'd sit in the corner, wouldn't put on the shoes.
But eventually, week after week, I started doing more and more,
and now it's my favorite style of dance.
And for two years I've gone to Canada's National Ballet School
in Toronto.
Oh, and I'm doing a section also from Solidarity, like Alex.
Mine is earlier in Solidarity, so Billy is still learning how
to dance, and he's still doing some pretty fun exercises.
So mine is called bunnies, and you'll see why in a second.
Jeffrey Edwards: Okay.
Let's do it up to tempo.
Ready?
Five, six, seven, eight.
One, two, three, four, five, six, seven, eight.
That's it.
Great.
Fantastically.
So, guys, this has to be a lot of fun.
The tondu, you really want to make sure that the top arm is
straight up to the ceiling.
It's (inaudible) but really straight up.
Right, the bunny-bunny is pretty straightforward.
Just put your hands on your head and do bunny ears, right.
Then you do the other side.
Guys, help us out here.
Other side.
Arms straight up.
Face upstage.
And again, bunny-bunny.
And third time tondu.
And then su su flap front.
Cross the arms in front of you as you kneel.
And then cross the arms again in a really strong way.
Two straight lines, straight elbows to finish.
So that's an eight count.
Let's break it down with counts, same thing.
Very slowly.
Make sure when you're tonduing, that upper arm is straight to
the ceiling, not pointing out on a diagonal.
Ready.
Five, six, seven, eight.
And tondu.
Bunny ears.
Tondu.
Bunny ears.
Tondu.
SU SU.
Kneel.
Cross.
Great.
Could we try that one more time just a little bit faster?
Yeah.
Make sure the bunny ears are clear.
Two bunny ears each time, one-two.
Okay, five, six, seven, eight.
And tondu.
Bunny.
Tondu.
Bunny.
Tondu.
Su Su.
Kneel.
Cross the arms.
Good, guys.
So what we're going to do now is going to string it all together
for you, okay.
So Glen, we'll just play through,
and we'll have the Billies spread out.
And normally these numbers aren't linked together.
So this is the first time you're seeing sort of a fast forward of
the show with a few seconds strung together.
All ready?
So spread out, guys, so we have enough room.
Ready.
And five, six, seven, eight, and...
♪♪
Shimmy.
♪♪
All right.
Thanks, guys.
(applause)
Damien Wetzel: Thank you so much, Billies.
So you're going to see Dayton perform later.
And thank you, guys, so much for sharing your stories.
The story of Billy Elliot, some of you is pretty close.
There's the karate and leads to wrestling, and, you know.
And we're going to talk a little bit more about it,
but how many of you know the story of Billy Elliot?
Would you give them a little primer, Alex, just in case?
Alex Ko: Oh, yeah.
Well, Billy Elliot is mainly about a boy who wants to dance,
and his dad doesn't really permit him to dance.
And he is mainly a boxer, which is kind of like Jacob,
because he used to wrestle.
But he used to do boxing, and he kind of,
just kind of tripped into a ballet class.
And he tried it out like a couple classes,
and then he decided that he really liked it.
But then his dad didn't really want him to do it because he
would always think of it as like a girl's sport.
And so, but in the kind of the end of the story he kind of
falls in and lets his son do ballet because he knows that's
what he wants to do, and he sees the passion in his son,
and he just knows that he loves to do it.
Damian Wetzel: Thank you.
All right, guys, thank you so much.
And so, that's the segue,
we're going to do some ballet.
So if you have ballet shoes, now is a great moment to quickly go
and put them on, and we're going do a little ballet
for a few minutes.
And so very quickly, please, if you do.
If you don't, you can stay in socks or sneakers, or barefoot,
frankly, is fine.
All right guys, thank you.
Quickly as you can.
As soon as you are done, come back and sit down.
So ballet, ballet is a form of dance that is
hundreds of years old.
Believe it or not based on these stories,
you would think ballet was always girls.
Wouldn't you think so?
But in the beginning ballet was only men believe it or not.
Women were not allowed to dance ballet.
It wasn't considered right.
But then things changed.
By the 19 century, in the 1800's,
women were dancing and the men were just their porters,
they carried the women and they presented them and women started
dancing on point.
And ballet started developing.
And these were when the ballets like swan lake or the nut
cracker were made.
This is all in the 1900s.
In the 20th century, Ballet started moving forward and
things were becoming more and more contemporary modern,
like we might recognize today.
Ballets by George Balanchine who founded the company I danced in
New York City ballet.
And these are ballets that don't necessarily need a story.
You didn't need a guy who was chasing of a swan in
the forest anymore.
You just needed the dancing itself based on the music.
And that is a very beautiful thing and
it is also very freeing.
Because if you think about it, think about music for instance,
does all music have a story?
Does it have a story?
When you listen to music, sometimes not it is just the
music, right?
And that is where the dancing comes from in ballet today more
and more and more, less about the story.
So let's talk about what ballet is in terms of techniques and to
help me I am going to bring out some people.
Can I have some of the dancers you are going to see later today
who are going to help us now?
We have Ashley Bouder.
Principle dancer from New York City Ballet.
And Daniel Ulbricht, also from the New York City Ballet.
And Morgan Frederick and Jonathan Jordan both from the
Washington ballet.
So let's start and just review for many of you know and many of
you are familiar with ballet, but some of you might not be as
much, so we are just going to go through a very quick primer of
some of the things about ballet that are to know and to try and
everybody stand up and we are going to do four positions out
of five.
We are going to skip third today just so you know.
So if you wonder, they say the five positions but we are
actually going to do four.
So you can just follow me and we have Glen Salles on piano
again which is such a privilege.
And let's just go ahead.
We're going to start in first position.
♪♪
Second.
Fourth.
Fifth.
First.
Second.
Fourth.
Fifth.
Again.
First.
Second.
Fourth.
Fifth.
♪♪
(inaudible)
Beautiful.
Let me see your fingers.
Beautiful.
What is your name?
Matthew.
Can I see your fingers?
Beautiful.
Very important that you see everything.
Otherwise, it is like you are wearing mittens.
Right?
Let's remember that.
Now, we are going to do Tondu moves.
Who can show me a Tondu move?
Beautiful. Tondu (inaudible). All right.
We are going to do side right now.
Everybody spread out and we are going to do eight going back and
eight going front.
What we are going to do and I am faced this way.
Is we are going to do to the right plie and left straight.
Right plie, left straight.
We are going to do that eight times and then we'll
come forward.
Maybe we can have -- would you like to go down and help a
little bit?
Speaker: Sure.
Damian Wetzel: She is going to go down amongst you and help out a
little bit and Daniel too and we'll stay up here.
That is terrific.
Okay.
Let's have a little bit of music.
♪♪
One and two.
Three and four.
Hold your arms.
Straight.
Plie.
Do plie.
Nice, arms coming forward.
Now one and plie.
And straight.
One and plie.
One and straight.
Bah, Bah, Bah.
show me the difference between straight and plie.
Now faster.
♪♪
Doo doo doo doo.
♪♪
Coming forward.
♪♪
One more time faster.
♪♪
Last time.
♪♪
And close and hold the position.
So good.
Now, that was great.
It was so great, the best part of this was when the whole room
was together.
It was going doo, doo, doo, doo, doo, doo, doo, doo, doo.
Can we try that one more time and make that really happen?
We go all together.
Da da da, bop, bop, bop, bop.
Da da da, because I want you to think about rhythm.
So when you are watching the performance later and you watch
the dancers and you see the rhythm.
And you will see Dayton, he is going to get up there and do
electricity from Billy Elliot.
And remember how he popped, it was like so extreme.
It was like boom!
That is the same thing.
Da, da, da, da, da, da, da.
Da, da, da, da.
Otherwise, it is like talking like this when you are talking
and you can't quite tell what people are saying.
You know what I mean?
Da, da, da.
Bah, Bah, Bah da.
Let's try again.
And --
♪♪
Good.
All right.
♪♪
Excellent.
Good guys.
Okay.
Now, that was pretty crisp.
You were very crisp.
Let's do something not crisp.
We just talked about and we watched and learned about how to
do turns, right?
So what is this?
Posse.
So we are going to work on our posses.
And let's use a little music maybe from Giselle.
Great ballet and we are going to just do it very slowly.
This is what you are going to do.
Just watch once.
Give me five.
♪♪
One, two, three, and four.
Just that one posse.
Oh, boy.
Three and four.
Altogether, join me.
Plie.
Posse.
Plie.
And straight.
Plie.
Good.
Keep going.
Plie.
And rise.
He plie.
It is very different music now.
Plie.
Yes.
Like one note.
Right.
Beautiful.
Okay.
And finish.
Good.
Did you feel the difference?
It is completely different.
It is like he is playing.
One -- as opposed to Bah da da da.
Ashley, show us how that can turn into a turn.
Same music.
No.
Put it a little faster.
Okay.
♪♪
Plie.
Beautiful.
Okay.
Good.
Okay.
Let's do this.
Let's try the first half of the room meaning from Matthew is the
last line maybe from there, are going to go first.
We are going to do what she just did.
One, two, three, four, plie, single turn.
And you will do that eight times.
Four on each side, so one, two, three, four, five,
six, seven, eight.
And then you are going to play four counts and then that whole
part of the group is going to sit down and then you are going
to spin around and we are going to watch the second
half of the room.
So we can have everybody do this.
Okay?
So first half of the room.
And --
♪♪
One, two, three, four, plie.
Plie, posse.
It is the same posse as before.
Plie.
One more time.
Front half.
Good.
Last two times.
And the left leg.
And the front sits down.
Four counts.
Get ready.
One, two, three, four.
And one, two, three, four, five, six, seven -- good.
Plie.
Right leg posse.
And plie softly.
Concentrate on the rhythm.
One, two, three -- left leg.
Plie, posse, good.
Plie.
Turn.
Just do the posses if you don't know the turns.
Lift the leg and down.
Yeah.
Thank you so much.
Good you guys.
So if you don't know pirouttes yet,
the thing to do is just do the posse.
Because the point in some way is -- I will tell you a secret
about turning.
Everybody look at me.
Turning really is about rhythm in a lot of ways.
It is about how you turn.
Danny, show with me.
One, two, three, four, five, six, seven, eight.
One, two, three, four, five, spot, spot, spot.
See how he is in rhythm.
It makes turning easier.
It is much easier when you do it that way.
Right?
(applause)
So this is how -- that step is actually how I
learned to turn.
I will tell you the story.
I went to the Boston Ballet School and some of you
may know this.
Sometimes parents are late.
What happens sometimes when my parents are late to pick me up
from ballet class?
And I waited and I waited.
And there was a nice man there who was ballet master and he saw
me and he said well as long as you are here,
and he taught me that.
And I stood therein school and it was about six thirty,
and I just went one, two, three, four, spot.
One, two, three, four.
Again and again.
And then he said, what if you just did, one, two, three, four,
five, six -- and I learned how to turn by the rhythm.
So that is something you can play with yourself.
It is fun actually because it is like math.
We are learning math.
Okay.
Now, next step after turning.
Maybe we can see some fast turns.
Want to do some fast turns for us.
See how fast it can get.
Little Tarantella or something.
♪♪
They are going to see this later.
♪♪
So that is a ballet Tarantella which you
are going to see Ashley dance later.
Before you get to that, we are going to do a little
bit more of technique.
I think what we are going do now is a little bit of jumps.
Want to jump a little bit?
Yeah.
Everybody stand and we are just going do four in first position.
So these are the positions again, two, three, four.
Four in second.
Two, three, four.
And then we are just going to do changement.
One, two, three, four, five, six, seven, eight.
So four in first, four in second, eight changement.
Why don't we do it the same way with the first half first
and the second half second.
No break in between though.
Okay?
Front half of the room and --
♪♪
First and two and three and four.
Five, six.
♪♪
Second half of the room.
(inaudible)
♪♪
(low audio)
And you are going to follow us.
We are going to show you the movements first.
And then we are going to put it the beautiful Tchaikovsky music.
So -- all right.
So the first things you do is you stay straight front and you
raise your right hand and that puts it exactly like that.
What is it you are doing?
Speaker: Mr. Balanchine said we were shielding our
eyes from the sun.
So if you imagine the sun is a beautiful day out there and the
sun is in your eyes and you block the sun.
Damian Wetzel: Beautiful.
Everybody hold that.
You are going to hold that for a certain number of counts which
we will tell you.
All right.
What is the next thing that happens?
Speaker: You melt.
And you get a head ache.
Damian Wetzel: That's right.
You bring your right hand in.
Watch where she puts it, right it on the side of her head.
She has got a little headache.
Does everybody have a little headache.
Okay.
Good.
All right.
That is good.
That is the second thing.
Now, let's see. What is next.
Heather?
Speaker: Hoity-toity.
Damian Wetzel: Hoity-toity.
Can we all say hoity-toity.
Okay.
Let's go back and do this again.
So we are worried about the sun.
Let's see what happens.
Oh, the sun is in my eyes.
So we melt and we start to get a little headache.
Which makes us feel a little bit hoity-toity.
Okay.
And then?
Speaker: Now we do the very first thing you ever do in ballet, which is
our hands in first position.
Damian Wetzel: And then we are going to make first position.
All at once.
I am going to say and you go on two.
One and go two.
Beautiful.
And then?
Speaker: Then we do our first step we did today in ballet: tondu.
Damian Wetzel: You open the right leg.
Now you close to 5th position or 1st depending on who you are.
Speaker: And now you kind of a do a salute,
classical salute to the sun.
That is beautiful.
That is so nice students.
Beautiful.
Okay.
let's review.
So the first things that happens is you are standing,
feet together.
The curtain is down.
Someone is going to say to you warning on the curtain and that
means that the sun has just come out.
And what do you do?
Beautiful.
Okay.
So you melt.
And then you feel a little bit say it -- Hoity-toity.
Then you lower to first position arms.
And we are going to open to first.
And go.
Now you tondu the right leg.
And you close to fifth.
Open our arms.
So nice.
Oh, you guys are beautiful.
That is great.
Now we are going to put it to music.
Right?
And anything you want to tell them about what they are doing?
Speaker: It always helps to feel that you feel every finger
opening and really look up like, like everything you got.
Damian Wetzel: Beautiful.
All right.
Glen, can you take it from curtain which means your arms
are already out.
We'll walk it once, we'll call it rehearsal and then we'll do
it for real.
So first time.
Warning on the curtain.
Arms up.
Again.
Glen?
You are just going to hold and I'll tell you when to go.
♪♪
Feel the sun.
Be so special.
Now you are going to have eight slow counts to melt.
Melt, two, three, four, five, six,
getting ahead ache, seven, eight.
Feeling a bit hoity-toity, three, four.
Now, going down to first, two, three, four, wait for me.
One, two, go, three.
And tondu the right leg.
Close.
Prepare.
So beautiful. Did I do the wrong count?
Speaker: I wasn't watching you.
I was watching them.
They were beautiful.
Damian Wetzel: Thanks guys.
We are going to do it one more time for real.
Now, when should they open first?
This is the question.
I was counting on two.
I gave you the wrong count.
When you get down there you go one, two.
All right.
Just so you remember.
All right.
For real now, are you okay?
Are you ready?
Warning on the curtain.
Play out, Glen.
♪♪
Go two.
And hold it.
Beautiful.
So nice.
Congratulations.
Okay.
Let's do one last thing together.
Let's do a thing from Tarantella.
Why don't we have Danny show -- (inaudible)
We are all going to do this.
And we are going to do it in groups, I have a feeling,
because there are so many of you.
Let's watch Danny do this because he is going to do
this a little bit later too.
In diagonal.
¶¶.
(applause)
Can we thank Heather?
That was incredible.
She is trying to sneak out.
(applause)
Okay.
So let's do this.
Let's have everybody back up.
That's right.
And we are going to go with what we call in ballet and dance in
general a line by line.
So the first line will go.
Bah, Bah, Bah, Bah, Bah, Bah, Bah, Bah, Bah.
And we are just going to do it twice each line.
And Here is the step.
And we are going to do it together.
So the first line stand like this.
All right.
So this way you get to watch the lines in front of you.
You wait and then your line goes.
You are just going to do what Danny did but only once to the
right and once to the left.
Danny, what are your arms?
You want to do cross arm?
Okay.
We are going to cross the arms.
So we go --
Sautè, assemblè.
Step down, together.
Sautè, assemblè, step down together.
Bah, Bah, Bah, Bah, Bah, da.
Bah da, Bah da, Bah da, Bah da, da, da.
So here what it needs.
Sautè, it is a little jump on one leg.
Assemblè.
Who knows what that means?
To assemble.
What does that mean you have to do?
Assemblè.
Sautè.
Assemblè.
Bah, Bah, Bah da.
Sautè, assemblè.
Bah, Bah, da, da.
Ready to try?
Let's do it.
Okay.
So back up as far as you can see.
So you can travel as much.
You can maybe go right left, right left.
If you have room.
And then you split center and you go the outside.
Come on.
Hit it.
♪♪
Now, try to be rhythmic.
Da, da, da, da, da.
Bah da, da, da, da.
Next line comes.
Good.
♪♪
Rhythm too.
Concentrate on the rhythm.
Very nice.
Good.
Next.
♪♪
That is it.
Oh, baby.
Da, da, da.
Good.
Da, da, da.
Beautiful.
One and two, three and four.
Good.
One and two.
Three and four.
Good.
Almost.
Next.
♪♪
One and two.
Three and four.
This is what you get.
Oh, baby.
Easy on the traveling.
Just up and down.
Okay.
Yes.
Just up and down.
Don't travel as much.
If you have gone once, please hold.
Good.
♪♪
Don't travel quite so much.
Very safe.
Very smart.
Hold the rhythm, da, da, da, da.
Good.
♪♪
Good.
One, two, three and four.
Everybody gone once?
Last time.
Keep coming.
Da, da, da, da, da.
One and two.
Interlock it in the house.
Carefully, da, da, da, da.
One and two.
Three and down.
Good.
♪♪
Last groups.
Just give it a try.
One and two, three and four.
Follow me.
One and two, three and four.
Almost.
Okay.
All right.
So we are going to work on that separately later.
That is new for you guys.
All right.
So thank you so much.
That was great.
That was a good moment for you to run and put on sneakers
because SUPER CR3W is going to come out here and we are going
to do some hip hop.
All right.
On ward.
Go put on sneakers if you have them.
If not, bare feet are fine and we'll start in one minute.
Mike Carrasco: A little loud. All right.
Damian Wetzel: This is Mike Carrasco, from SUPER CR3W.
Mike Carrasco: Mike Carrasco here, SUPER CR3W.
I am going to introduce you to everybody from SUPER CR3W just
so you know who you are interacting with here.
This is?
Jon Cruz: Jon "Do-Knock" Cruz.
Mike Carrasco: Sexy voice.
This is?
RJ Puno: RJ, a.k.a. Rockadile.
Mike Carrasco: Nice to meet you.
Ron Abaldonado: Ronnie Boy.
Abenamar Honrubia: Bboy Ben.
Rock Gallego: Bboy Rock.
Mike Carrasco: How you guys doing?
Audience: Good.
Mike Carrasco: Good. How you guys doing?
Audience: Good!
Mike Carrasco: Much better.
So we are going to do today is we are going to teach you guys a
little bit of a locking routine.
Not pop locking.
Those are two different dances.
A lot of people call it pop locking.
But there is locking and there is popping.
We are going to teach you a little locking routine.
Maybe some of you guys if you ever watch America's best dance
crew show, we did this routine our very first episode.
We dressed up like ninja's.
So we are going to go ahead and teach you that routine.
It is a routine choreographed by a good friend of ours name
Stephen Stanton and he was generous enough to give us
choreography to do in the show.
So little credit to him.
So we'll go ahead and get started.
Everybody up.
Everybody hands go "whoop."
Go ahead and spread out a little bit.
Go ahead and spread out.
We can fill the room up.
Let's -- I know you guys are kind of tight.
If you put your arms out, put your arms out like this.
Make sure you are not hitting anybody.
So just space out.
Go ahead and stagger a little bit.
Stagger, stagger, stagger.
Good, good, good.
Good.
All right.
So this routine is pretty simple.
It is about two eight counts long and we are going to start
-- I am gonna have two of these guys come down here with you to
help out.
And they'll face this way so you guys can mirror them.
Yeah.
So here we go.
First move, -- on five, six, seven, eight -- on one,
you are going to kind of reach over with your right hand like
you're reaching into your left back pocket.
Speaker: That's on one and two.
Mike Carrasco: One and two.
Got it? Try it again.
Five, six, seven, eight.
Speaker: One and two.
Mike Carrasco: Wow. You guys are good.
So we've got one and two.
You're going to take your right hand and step back with your
right foot and you are going to move it over -- hip thrust.
Speaker: Hand goes back and your hip comes forward.
Mike Carrasco: Hand goes back and your hip comes forward.
One, two, three, four.
Speaker: It is like whoa, What is that?
Hey, break it down, break it down.
(laughter)
Mike Carrasco: Five, six, seven, eight.
Speaker: One and two, three and four.
Mike Carrasco: Next set we are going to skip forward.
You are going to come on your left foot.
Okay.
So you are going to skip forward.
Right foot.
Left foot.
Speaker: Can everybody in the back row see that?
Kind of.
Maybe not.
First six rows duck down for two seconds.
Go like this.
There we go.
Duck down for two seconds.
First six rows.
There we go.
Mike Carrasco: Go again. From the top slowly.
Five, six, seven, eight.
Speaker: And one and two.
Three, four.
Five and six.
Kind of.
Mike Carrasco: Five and six. Right.
You want to touch that left foot on the second jump.
And six.
Speaker: Hop on five, touch on and reach on six.
There we go.
Five, six, seven, eight.
And one and two, three, four.
Five and six.
Good.
Everybody altogether?
Here we go.
Flap your wings, make sure you are not hitting one another.
There we go.
Mike Carrasco: From the top (inaudible)
Speaker: Five, six, seven, eight.
And one and two.
Three and four.
Five and six.
Good.
One more time?
Mike Carrasco: One more time or you want to (inaudible)?
Yes.
Audience: On the time.
Five, six, seven, eight.
One and two.
Three, four.
Five and six.
Good.
All right.
Mike Carrasco: Six.
Seven, eight.
Seven, arms down, squat eight.
Speaker: So think gold posts.
Mike Carrasco: Think gold posts to eight.
It is almost like you are riding a motor cycle.
Speaker: Bevel your right leg.
Mike Carrasco: Left leg up. Seven, eight.
Speaker: Your left leg.
Mike Carrasco: All right.
Okay.
So, from the top, slowly. Five, six, seven, eight.
Speaker: Go one and two.
Three and four.
Five and six.
And gold post down.
Left leg bevel.
Mike Carrasco: Next part is really simple.
This song is a James Brown song, and in this part of the song
he says: So funky.
So what you are going to do is, you're going to step over with
your right foot and you're going to raise your right arm.
You're going to step over with the left foot and raise your left arm.
(inaudible)
Speaker: Make your arm pits kind of interesting.
(laughter)
Mike Carrasco: Seven, eight.
Speaker: One, two.
Mike Carrasco: Put your head down like it smells really bad.
Speaker: Have that character you all.
Mike Carrasco: I want to see stank face on every one --
Speaker: Oh, there it is. Just like that --
Mike Carrasco: From the top. Slowly.
Speaker: Five, six, seven, eight.
One and two, three and four, hop, five and six,
go seven and eight, and funky.
Hey.
(inaudible)
Mike Carrasco: Seven, eight, so funky.
Speaker: Now, not funky on your breathe.
Funky on there.
It was like funky.
Mike Carrasco: Five, six, seven, eight.
Speaker: One and two, three and four, five and six.
Seven and eight.
One, two.
Mike Carrasco: All right. Moving on.
Next step is a shuffle to your left.
After, it's so funky. It is a hitchhiker.
You are reaching in and you are pointing out.
You are using your left foot.
Sliding to the right.
Speaker: Weight on your right leg.
Mike Carrasco: One, two, three, four.
Left.
Speaker: Can the back row see that?
Okay.
Can we have the first six rows down really quick.
Mike Carrasco: Just the arms of this.
So funky.
Low, out, low out.
Low, out.
Speaker: Hitchhike thumb and hitchhike thumb.
Do you guys want to do it from the top for you guys
in the back there.
One more time just for them.
Five, six, seven, eight, go one and two, three and four.
Go hop, hop, six, seven, and eight.
So funky.
Two.
And hitchhike.
And seven, eight.
Oh, it's only two.
Only two hitchhikes.
One more time like that for you guys.
Mike Carrasco: One more time for guys in the back.
Speaker: Here we go.
Five, six, seven, eight.
Go one up two.
Back and four.
Go hop, hop six.
Go seven up eight.
Go funky two.
Hitchhike.
And hitchhike and hop, hop and actually hop.
We didn't get to that yet.
But we'll get to that shortly.
Everybody up.
Here we go.
Mike Carrasco: On the hitchhiker, a lot of steps.
If you switch pace, so one, two --
Speaker: Two, three --
Mike Carrasco: -- four, five.
(inaudible)
Speaker: So you guys jump in place, your left foot where your right foot
was before.
Yeah.
Scuff it out of the place.
Perfect.
Two more minutes.
Here we go.
Mike Carrasco: Five, six, seven, eight.
Speaker: One, two, three -- again.
Mike Carrasco: Sorry.
Speaker: Five, six, seven, eight, go one and two, three back four,
go hop, hop, and seven, up eight, go funky, two, hitchhike.
get ready, hitchhike now, scuff, hop.
Good.
Mike Carrasco: Next step, real quick, and we're done.
Seven, eight, one.
Speaker: (unintelligible) again.
Mike Carrasco: Two.
Speaker: And two.
Mike Carrasco: And that's the end of the routine.
Speaker: Heeeeey!
Mike Carrasco: Left leg (inaudible).
Speaker: Left leg (unintelligible).
Put it all together.
Mike Carrasco: Put it all together, (inaudible).
Speaker: Five, six, seven, eight.
Go one and two.
Three back four.
Go hop, hop.
And seven, go eight.
Go hip, ha, hitchhike.
And hitchhike and hop.
And a goal post, hey!
Good.
Can we go ahead and queue music?
All right.
♪♪ (James Brown's Get Up Offa That Thing playing) ♪♪
Here we go -- watch them real quick.
♪♪
Just watch -- five, six, seven, and eight, go.
One and two.
Three back four.
And hop, hop hit.
Seven and eight.
Go hitchhike.
Three, four, hop, hop.
Hop, hop.
Da, da.
Whew!
Again.
♪♪
Are we ready to try -- you guys ready to try that with them?
Do you trust yourselves?
When in doubt, just keep smiling, y'all.
When in doubt, just keep smiling.
So here we go.
Let's queue music.
♪♪ (James Brown's Get Up Offa That Thing playing) ♪♪
So now they're going to face this way;
is that going to help you guys?
Here we go.
♪♪
Hear that groove, y'all.
You guys ready?
Deep breath in.
Five, six, and five, six and seven -- here we go!
One and two, three, four, five and six, and seven and funky.
Eight, hitchhike, and hitchhike, and up down and a-ha!
Good.
(applause)
One more time.
Here we go.
One more time from the top.
Make it count, make it count.
Last time, you guys.
With a smile on your face.
Get funky.
Hey, hey!
♪♪ (James Brown's Get Up Offa That Thing playing) ♪♪
Are you ready now?
♪♪
Here we go.
Get ready.
And five, six, and seven -- here we go!
Hop, hop, boom, sha, and bah, bah, and da, da, da, da.
Get funky -- hey!
Three and four and five and six and seven and eight.
Ha, ha!
Good.
♪♪
Give one more round of applause for SUPER CR3W, you guys.
(applause)
Thank you Mikey and SUPER CR3W!
Excellent.
Guys, thank you so much for participating in the first White
House dance workshop.
And we want to say thank you to a few very special people.
We first want to say how much we honor and appreciate the great
Judith Jamison sitting over here,
what this day is all about.
(cheers and applause)
And we want to say thank you to our pianist Glen who came to
play for us today.
(cheers and applause)
And we want to say thank you to all of your teachers who
brought you here today.
(cheers and applause)
And I want to say thank you to you.
It's been a pleasure doing this with you.
Now you should get your belongings,
go outside for some refreshments and you are going to come back
and see the show.
All right.
So thank you very much, everybody.