April 29, 2025 • 17 mins
It’s not just your imagination. Dance class choreography really has gotten faster — but why?
In this episode of Hey, Dancer!, I’m diving deep into the rise of lightning-fast choreo in class. From algorithm-driven trends to comp culture aesthetics, I’m breaking down the five biggest reasons we’ve shifted from groove to rapid-fire.
You’ll hear real-time vlogs from my own return to class, a reel that went mini-viral, and even a hilarious (and slightly alarming) Star Search clip of me and my sister… that sparked an unexpected social media reaction.
This one’s for the dancers trying to keep up — and the teachers shaping what class looks like now.
Because fast choreo might be what’s trending… but that doesn’t mean it’s what matters.
Watch this episode on YouTube!
Check out my Return to Dance docuseries!
Support my Instagram — where I post daily dance inspo, insights and fun! @backtogreat
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
(upbeat music)
(00:02):
Welcome to my podcast, Hey Dancer,
I am your host, Miller Daurey.
And today I am diving into something
I've been sitting on for a while,
something I've definitely noticed
since returning to Dancer's class after decades away.
And you know, maybe about every one or two months
on this show, I will dive deep into some area of dance,
(00:24):
specifically class, where I have noticed,
you know, a change in my return coming back
after three decades.
And today, that topic is, why is choreography so fast now,
specifically in class?
And I don't mean the pace it's taught,
although that is honestly very much also a thing,
(00:46):
but that's a whole other episode
that yeah, we'll get to some day today.
I'm talking about the actual movement, you know,
the speed, the density, the amount of steps and accents
and layers and textures,
crammed into one eight count,
that decades ago, I swear was not a thing,
which doesn't mean, by the way, this is important to note,
(01:08):
that class was easier back then.
It was really hard.
It just prioritized different things,
like technique and artistry.
I've often said, I think this is kind of funny,
but maybe it's just my sense of humor,
that one day, Corio will be so fast,
you won't be actually able to see it.
(01:29):
It'll be a blur, you know,
you'll have to do a slow motion replay
to actually see the choreography.
Today, I just wanna explore why, you know,
why is class Corio so fast now?
But before I do, take a second, why don't you,
to engage with this podcast in whatever way
(01:50):
feels best to you.
Like, follow, subscribe, comment, share, rate, review, you know,
I've sent this off in,
I pay attention to all of it.
I am a one-man show, I am the only one on my team,
and these take a little longer than you may realize
or anticipate.
So honestly, that rating review, oh my gosh, it goes so far,
(02:11):
and it lets me know that this is being received by dancers,
by the dance world, and that just makes my heart very, very happy.
Okay, now, I've actually posted about this on social media.
One reel I made with text overlays flashing across the screen
and me kind of bopping around.
(02:31):
This was actually filmed when I was in Portobei,
Arda for my healing trip, which turned out not to be so healing.
Anyway, if you're watching this on YouTube
or Spotify, you will see it.
Anyway, so the reel, which is playing now, it says,
the new definition of advanced in dance class,
the pace of the choreography.
(02:51):
i.e., how many movements can be squeezed
into the least amount of counts.
But the wise dancer understands the skill required
to dance slower.
Ooh, the technique, patience and control.
Now this reel did seem to resonate
because it went many, many, many viral at 240,000 views,
(03:13):
which I only mentioned because again, dancers get it.
It was obviously relatable, it resonated.
Okay, so now we're getting to it.
Theory number one.
And I may be kicking myself in a minute
because oftentimes when I count on this podcast,
you know, reason number one, tip number two, I lose count.
But I won't this time.
(03:33):
Okay, this is probably the most obvious culprit,
device, culture and social media.
In other words, Corio is being built for the camera
more than the dancer.
We live in a world of short attention spans, scroll, swipe,
scroll, it's all about stimulation and speed.
TikTok, Instagram, everything is engineered
(03:54):
to grab your attention and fast.
There's even research showing that successful YouTube videos
use visual cuts every two to three seconds
just to keep people watching.
Otherwise, audience engagement, they say, is gonna drop.
So how does that relate to class?
Well, class combos have become content.
(04:15):
Clips from combos are are filmed and posted,
oftentimes that's even the main focus of a lot of classes.
And the dance teacher, the choreographer,
most likely understands that if the movement isn't punchy fast
or filled to the rim of clean hits, you know,
that look really great on camera,
well, they're gonna assume it's not gonna perform well,
(04:37):
you know, online on their socials.
It's like the faster and flashier, the better.
Algorithms often, not always,
but often reward attention grabbing visuals,
which leads choreographers and dance teachers
to perhaps prioritize intensity and intricacy.
You know, fast movement, they think,
reads better in short, high stimulation videos.
(05:00):
So many teachers and choreographers in general
are now creating choreo specifically to be filmed,
not necessarily taught, you know, foundation technique.
It's about, you better pick it up fast or you're out.
Now, side note, this is definitely
an important skill to master as a dancer, picking up choreo fast,
(05:21):
but that's not what this podcast is about today.
Something else I've joked about on my socials is when we're
learning the combo in class and then the teacher finally plays
the music and the choreo is like four times as fast, you know,
then the tempo you were just learning it at.
What?
This happens all the time, which is another, you know,
(05:43):
supportive example as to just this whole thing.
Now, here is actually a montage from my return to dance
docu-series, which I made into, you know, a short video
for social media.
It's a montage of my first few months of taking class
and I would post class vlog and I put this collection
together of me just lamenting as to how fast the choreo is now.
(06:04):
When the choreography is up to tempo, it's impossible for me.
My brain right now, I can't get it.
He did the beginning and he taught it to us and I got it.
And then the music was on and it's like,
it was taught so much, so fast he did it slow and it felt really
good slow and then he did it to tempo and it was like,
to the point in his class where nobody could catch the choreography
(06:30):
as fast as it was supposed to be.
So we just did it in half time the whole time.
After half the class was over, he was like, we'll just do it slower.
It was so fast, the combination is so fast.
I caught the choreography better in this contemporary class
because it was much more expressive in the movement was like,
you were more just moving versus everything being upper body
in arms hands, arms hands, fast, arms hands.
(06:52):
This one wasn't nearly as fast, not nearly as fast.
So I was able to catch it better.
As soon as he put the music on and I saw how fast the choreography
really was, I'm not lying, my brain just shut down.
I'm like, nah, no, I don't excel in his class
because the choreography is so obnoxiously fast.
And I'm not alone, everybody in the class found the exact same way
(07:14):
and he had to stop it and just teach only a couple of counts of eight
because it was so hard to catch because it was so fast.
So much of it was so fast, that's my thing.
It's the commonality in all the classes I take when she was teaching
in half-tenth while I was loving it.
And then when it was in regular full tempo, I'm like, oh my god,
it's just so fast.
Do you think I said the word fast enough?
(07:36):
I'm a little self-conscious as to how much I said it,
but it was so true, I remember this one class at Millennium LA,
MDC, Millennium Dance Complex, where the teacher taught the combo
and didn't play the music for a long time.
And when they finally put the music on, we all just stood there.
Like, it was a practical joke.
(07:56):
We all turned to each other just kind of whispering.
And we were all like, I'm sorry, it's even now, it's just so funny to me.
I just see all of us standing there like, why is it so fast?
It's so fast, why is it so fast?
It felt really good before the music was on that tempo,
like right in the pocket of how it, I don't know, seemed like it should be.
(08:17):
And then the music comes on and the teacher shows us the actual tempo.
And it was like, am I on-candid camera?
What?
Bottom line, all of those situations, scenarios are supportive examples
of choreo being taught in class, where it's exceedingly fast
to stand out to really pop on social.
And there you are.
Now on to theory number two.
(08:38):
Choreo as branding in a crowded market, kind of related,
but with so many choreographers, speed becomes a shortcut to stand out
and appear advanced.
Bottom line, there are more choreographers than ever.
And a ton of competition for attention.
And when you're one of a million choreographers trying to get noticed,
(08:59):
fast intricate movement becomes a shorthand for advanced.
For wow, for watch me.
So I'll keep that one quick, I think itself explanatory.
It relates to number one, but maybe a branch off that tree.
On to theory number three, competitive dance.
A lot of dance teachers today are on the younger side.
And then grew up in the comp world, where speed and tricks have been
(09:22):
and currently are getting more and more rewarded.
And that aesthetic carries over into class choreography.
Now that's not inherently a bad thing altogether.
It's just one influence.
But when you stack that on top of social media culture,
it makes sense why everything is getting faster.
Speaking of these younger teachers,
let's get to theory number four.
(09:43):
Am I on the right number?
I think so.
Some teachers, usually on the younger side,
are chasing relevance and trends and speed becomes a test.
A flex, if you will.
Keep up or get out, you know?
Especially at certain dance studios in certain areas, certain cities.
They're not really prepping dancers for jobs or a long career,
(10:04):
if he was like showing off.
So in my notes, this was theory number five,
but as I'm thinking about it, this is less a theory
and more like a response to this situation, which is class
choreo doesn't equal industry choreo.
What's trending in class doesn't match
what is booked in the real world.
(10:25):
Slower, more intentional movement is still key.
This part is really important.
Fast class choreo does not equal industry choreography.
If you watch award shows, concert tours, commercials,
the movement is tight, yeah, but it's usually somewhat slower.
It is bigger and it's more controlled.
It has to read for the camera or the back row of a stadium.
(10:48):
I mean, look at Beyoncé's dancers or usheres.
They're precise.
They hit hard, but they're not cramming 14 moves into four counts.
There's groove, there's breath, there's intention,
even in Broadway or TV film auditions.
Choreographers are looking for storytelling,
for technique, for control, not just like blur of movement,
(11:09):
you know, like so fast.
So what we're seeing in class might be more about
impressing peers and gaining online traction
than preparing for bookings, for stuff in the real world.
And that is worth calling out.
So to wrap this up, fast choreo is just that.
It's what's trending right now, but it won't last forever.
(11:30):
Dance trends evolve.
In the 80s and 90s, there was space in movement.
Breath, think Janet Jackson's where the nation,
every move, had weight or fussy stylized, intentional
with moments of stillness.
Even early hip hop was rooted in groove and groundedness.
Now we're in this like rapid fire era, but that'll change.
(11:52):
It always does.
And dancers who can master nuance, clarity and control,
woo, they will always be valuable, no matter the trend.
So here is what I want to leave you with.
Slower choreography is beautiful.
And slower, by the way, doesn't mean slow.
I'm not talking just, you know, lyrical jazz or something.
(12:12):
I just mean slow, err, which could totally still be a beat,
you know, just not on crack with endless micro movements
crammed into each count.
It doesn't mean easy.
It demands breath, control, clarity, patience, technique,
and storytelling.
It gives you room to dance from your soul, not just muscle memory.
(12:33):
Personally, I don't like dancing that crazy fast.
I feel like a lot of the time so much of the movement
is lost because it's so quick at tempo.
For example, I was taking this locking class online.
And the instructor literally said that some of the movement
won't really be possible when it's at full tempo.
(12:54):
I swear, that is what they said.
And I was like, why?
I don't get it.
Is it just fast?
Just to be fast?
Anyway, not only do I not love dancing that insanely fast.
I don't like watching choreo that is performed so darn fast.
It's almost like I tense up holding my breath.
Sure, it's impressive, but it feels like a trick to me
(13:16):
more than pulling me into a story.
Good choreo to me at least.
This is just my own opinion here, OK?
I would love your opinion, so tell me in the comments on this.
But yeah, good choreo to me might have those faster moments,
but they're layered with release and moments that breathe.
So if you are someone who has been overwhelmed in class lately,
(13:39):
you're not behind.
You're not broken, and your artistry is still valid.
So what now?
Well, before I mentioned how on YouTube,
there's all this research about quick cuts
to hold people's attention, but it's important to note
there's a new trend, long form YouTubers,
people who talk to the camera for 30 minutes or longer,
(13:59):
maybe just a talking head or a podcast interview.
No music, barely any cuts.
And they still have a massive following, massive retention rate.
Why?
Because good content is good content.
Good storytelling is good storytelling.
Just like good choreo will always be good choreo.
It's not about speed.
(14:19):
It is about substance.
So if you're a returner to dance like myself,
or just someone trying to keep up in class and feeling overwhelmed,
this episode is your reminder that fast is a trend, not a rule.
The industry doesn't always want lightning speed.
Slow grounded movement is just as impressive if not more.
(14:41):
And you don't have to move at the speed of light
to be a great dancer.
So yeah, choreo is for sure fast right now.
And that speed comes from a perfect storm.
Social media algorithms,
comp culture aesthetics, content creation pressures,
and the need to stand out.
But fast does not mean better.
Please remember that, okay?
(15:01):
You know what's funny?
There's this IG account that kind of makes fun of things from the 80s.
And they somehow, somehow,
found a clip of my sister and I on Star Search
with the, it makes me laugh.
With the text overlay, star snort.
Get it?
As in snorting the white stuff.
(15:23):
As in, we were dancing so fast we had to be on some kind of drug.
It was hysterical, but what threw me was that I never thought we danced that fast.
Even though I do totally remember being out of breath
every time we finished the combo and our choreographer did work really hard to jam
as much into our segment as possible.
(15:44):
So yeah, we danced fast for sure.
But it was a standalone thing for TV.
And I think the big difference is our moves were big.
Yeah, we moved fast,
but there wasn't a lot of micro movements crammed into every count,
which is a big part of this conversation.
And if you're watching this on YouTube or Spotify,
you will see this Star Search clip that the guy put on his Instagram calling it star snort.
(16:07):
And I do have to share with you some of the,
some of the comments because they had me rolling.
And by the way,
yeah, again, if you're watching this, you will see the star search footage,
which I don't think is nearly as appreciated without the music, but there you are.
Okay, reading some comments here, Candace Hobbs says,
"Oh, shit, that's got to be some extra snorts, haha, haha."
(16:28):
Grey Garden, CL says,
"I just got whiplash from watching this."
C, Meb Swift says,
"This one is extra nuts, the cameraman couldn't even keep up."
Culinary Soldier says,
"That was exhausting and I only watched it."
John LH64 said,
"God has shut my eyes, that's the human version of strobe lighting."
(16:50):
[laughs]
DJ Eric Wright 8 says,
"Cocaine is a marvelous motivator, MC Barishnikov is a darn good twerler."
[laughs]
It's ironic, right?
That people thought we danced so fast and in my mind,
it just wasn't even that fast, but watching it back, I guess it was,
but again, it was bigger movement versus all the micro-movement.
(17:13):
All right, there it is.
Another podcast under wraps.
Thank you so much for being here if you enjoyed the show.
Please share it with your dance fam.
Like, subscribe.
Did I say that already twice?
I don't remember anything.
I'm just happy to have you here.
That's all I got.
I'd love to hear what tempo you thrive in best
when it comes to choreography.
(17:33):
All right, let me know in the comments or shoot me a DM at Back to Great.
Until next time.
[music]
(upbeat music)
(00:02):
Welcome to my podcast, Hey Dancer,
I am your host, Miller Daurey.
And today I am diving into something
I've been sitting on for a while,
something I've definitely noticed
since returning to Dancer's class after decades away.
And you know, maybe about every one or two months
on this show, I will dive deep into some area of dance,
(00:24):
specifically class, where I have noticed,
you know, a change in my return coming back
after three decades.
And today, that topic is, why is choreography so fast now,
specifically in class?
And I don't mean the pace it's taught,
although that is honestly very much also a thing,
(00:46):
but that's a whole other episode
that yeah, we'll get to some day today.
I'm talking about the actual movement, you know,
the speed, the density, the amount of steps and accents
and layers and textures,
crammed into one eight count,
that decades ago, I swear was not a thing,
which doesn't mean, by the way, this is important to note,
(01:08):
that class was easier back then.
It was really hard.
It just prioritized different things,
like technique and artistry.
I've often said, I think this is kind of funny,
but maybe it's just my sense of humor,
that one day, Corio will be so fast,
you won't be actually able to see it.
(01:29):
It'll be a blur, you know,
you'll have to do a slow motion replay
to actually see the choreography.
Today, I just wanna explore why, you know,
why is class Corio so fast now?
But before I do, take a second, why don't you,
to engage with this podcast in whatever way
(01:50):
feels best to you.
Like, follow, subscribe, comment, share, rate, review, you know,
I've sent this off in,
I pay attention to all of it.
I am a one-man show, I am the only one on my team,
and these take a little longer than you may realize
or anticipate.
So honestly, that rating review, oh my gosh, it goes so far,
(02:11):
and it lets me know that this is being received by dancers,
by the dance world, and that just makes my heart very, very happy.
Okay, now, I've actually posted about this on social media.
One reel I made with text overlays flashing across the screen
and me kind of bopping around.
(02:31):
This was actually filmed when I was in Portobei,
Arda for my healing trip, which turned out not to be so healing.
Anyway, if you're watching this on YouTube
or Spotify, you will see it.
Anyway, so the reel, which is playing now, it says,
the new definition of advanced in dance class,
the pace of the choreography.
(02:51):
i.e., how many movements can be squeezed
into the least amount of counts.
But the wise dancer understands the skill required
to dance slower.
Ooh, the technique, patience and control.
Now this reel did seem to resonate
because it went many, many, many viral at 240,000 views,
(03:13):
which I only mentioned because again, dancers get it.
It was obviously relatable, it resonated.
Okay, so now we're getting to it.
Theory number one.
And I may be kicking myself in a minute
because oftentimes when I count on this podcast,
you know, reason number one, tip number two, I lose count.
But I won't this time.
(03:33):
Okay, this is probably the most obvious culprit,
device, culture and social media.
In other words, Corio is being built for the camera
more than the dancer.
We live in a world of short attention spans, scroll, swipe,
scroll, it's all about stimulation and speed.
TikTok, Instagram, everything is engineered
(03:54):
to grab your attention and fast.
There's even research showing that successful YouTube videos
use visual cuts every two to three seconds
just to keep people watching.
Otherwise, audience engagement, they say, is gonna drop.
So how does that relate to class?
Well, class combos have become content.
(04:15):
Clips from combos are are filmed and posted,
oftentimes that's even the main focus of a lot of classes.
And the dance teacher, the choreographer,
most likely understands that if the movement isn't punchy fast
or filled to the rim of clean hits, you know,
that look really great on camera,
well, they're gonna assume it's not gonna perform well,
(04:37):
you know, online on their socials.
It's like the faster and flashier, the better.
Algorithms often, not always,
but often reward attention grabbing visuals,
which leads choreographers and dance teachers
to perhaps prioritize intensity and intricacy.
You know, fast movement, they think,
reads better in short, high stimulation videos.
(05:00):
So many teachers and choreographers in general
are now creating choreo specifically to be filmed,
not necessarily taught, you know, foundation technique.
It's about, you better pick it up fast or you're out.
Now, side note, this is definitely
an important skill to master as a dancer, picking up choreo fast,
(05:21):
but that's not what this podcast is about today.
Something else I've joked about on my socials is when we're
learning the combo in class and then the teacher finally plays
the music and the choreo is like four times as fast, you know,
then the tempo you were just learning it at.
What?
This happens all the time, which is another, you know,
(05:43):
supportive example as to just this whole thing.
Now, here is actually a montage from my return to dance
docu-series, which I made into, you know, a short video
for social media.
It's a montage of my first few months of taking class
and I would post class vlog and I put this collection
together of me just lamenting as to how fast the choreo is now.
(06:04):
When the choreography is up to tempo, it's impossible for me.
My brain right now, I can't get it.
He did the beginning and he taught it to us and I got it.
And then the music was on and it's like,
it was taught so much, so fast he did it slow and it felt really
good slow and then he did it to tempo and it was like,
to the point in his class where nobody could catch the choreography
(06:30):
as fast as it was supposed to be.
So we just did it in half time the whole time.
After half the class was over, he was like, we'll just do it slower.
It was so fast, the combination is so fast.
I caught the choreography better in this contemporary class
because it was much more expressive in the movement was like,
you were more just moving versus everything being upper body
in arms hands, arms hands, fast, arms hands.
(06:52):
This one wasn't nearly as fast, not nearly as fast.
So I was able to catch it better.
As soon as he put the music on and I saw how fast the choreography
really was, I'm not lying, my brain just shut down.
I'm like, nah, no, I don't excel in his class
because the choreography is so obnoxiously fast.
And I'm not alone, everybody in the class found the exact same way
(07:14):
and he had to stop it and just teach only a couple of counts of eight
because it was so hard to catch because it was so fast.
So much of it was so fast, that's my thing.
It's the commonality in all the classes I take when she was teaching
in half-tenth while I was loving it.
And then when it was in regular full tempo, I'm like, oh my god,
it's just so fast.
Do you think I said the word fast enough?
(07:36):
I'm a little self-conscious as to how much I said it,
but it was so true, I remember this one class at Millennium LA,
MDC, Millennium Dance Complex, where the teacher taught the combo
and didn't play the music for a long time.
And when they finally put the music on, we all just stood there.
Like, it was a practical joke.
(07:56):
We all turned to each other just kind of whispering.
And we were all like, I'm sorry, it's even now, it's just so funny to me.
I just see all of us standing there like, why is it so fast?
It's so fast, why is it so fast?
It felt really good before the music was on that tempo,
like right in the pocket of how it, I don't know, seemed like it should be.
(08:17):
And then the music comes on and the teacher shows us the actual tempo.
And it was like, am I on-candid camera?
What?
Bottom line, all of those situations, scenarios are supportive examples
of choreo being taught in class, where it's exceedingly fast
to stand out to really pop on social.
And there you are.
Now on to theory number two.
(08:38):
Choreo as branding in a crowded market, kind of related,
but with so many choreographers, speed becomes a shortcut to stand out
and appear advanced.
Bottom line, there are more choreographers than ever.
And a ton of competition for attention.
And when you're one of a million choreographers trying to get noticed,
(08:59):
fast intricate movement becomes a shorthand for advanced.
For wow, for watch me.
So I'll keep that one quick, I think itself explanatory.
It relates to number one, but maybe a branch off that tree.
On to theory number three, competitive dance.
A lot of dance teachers today are on the younger side.
And then grew up in the comp world, where speed and tricks have been
(09:22):
and currently are getting more and more rewarded.
And that aesthetic carries over into class choreography.
Now that's not inherently a bad thing altogether.
It's just one influence.
But when you stack that on top of social media culture,
it makes sense why everything is getting faster.
Speaking of these younger teachers,
let's get to theory number four.
(09:43):
Am I on the right number?
I think so.
Some teachers, usually on the younger side,
are chasing relevance and trends and speed becomes a test.
A flex, if you will.
Keep up or get out, you know?
Especially at certain dance studios in certain areas, certain cities.
They're not really prepping dancers for jobs or a long career,
(10:04):
if he was like showing off.
So in my notes, this was theory number five,
but as I'm thinking about it, this is less a theory
and more like a response to this situation, which is class
choreo doesn't equal industry choreo.
What's trending in class doesn't match
what is booked in the real world.
(10:25):
Slower, more intentional movement is still key.
This part is really important.
Fast class choreo does not equal industry choreography.
If you watch award shows, concert tours, commercials,
the movement is tight, yeah, but it's usually somewhat slower.
It is bigger and it's more controlled.
It has to read for the camera or the back row of a stadium.
(10:48):
I mean, look at Beyoncé's dancers or usheres.
They're precise.
They hit hard, but they're not cramming 14 moves into four counts.
There's groove, there's breath, there's intention,
even in Broadway or TV film auditions.
Choreographers are looking for storytelling,
for technique, for control, not just like blur of movement,
(11:09):
you know, like so fast.
So what we're seeing in class might be more about
impressing peers and gaining online traction
than preparing for bookings, for stuff in the real world.
And that is worth calling out.
So to wrap this up, fast choreo is just that.
It's what's trending right now, but it won't last forever.
(11:30):
Dance trends evolve.
In the 80s and 90s, there was space in movement.
Breath, think Janet Jackson's where the nation,
every move, had weight or fussy stylized, intentional
with moments of stillness.
Even early hip hop was rooted in groove and groundedness.
Now we're in this like rapid fire era, but that'll change.
(11:52):
It always does.
And dancers who can master nuance, clarity and control,
woo, they will always be valuable, no matter the trend.
So here is what I want to leave you with.
Slower choreography is beautiful.
And slower, by the way, doesn't mean slow.
I'm not talking just, you know, lyrical jazz or something.
(12:12):
I just mean slow, err, which could totally still be a beat,
you know, just not on crack with endless micro movements
crammed into each count.
It doesn't mean easy.
It demands breath, control, clarity, patience, technique,
and storytelling.
It gives you room to dance from your soul, not just muscle memory.
(12:33):
Personally, I don't like dancing that crazy fast.
I feel like a lot of the time so much of the movement
is lost because it's so quick at tempo.
For example, I was taking this locking class online.
And the instructor literally said that some of the movement
won't really be possible when it's at full tempo.
(12:54):
I swear, that is what they said.
And I was like, why?
I don't get it.
Is it just fast?
Just to be fast?
Anyway, not only do I not love dancing that insanely fast.
I don't like watching choreo that is performed so darn fast.
It's almost like I tense up holding my breath.
Sure, it's impressive, but it feels like a trick to me
(13:16):
more than pulling me into a story.
Good choreo to me at least.
This is just my own opinion here, OK?
I would love your opinion, so tell me in the comments on this.
But yeah, good choreo to me might have those faster moments,
but they're layered with release and moments that breathe.
So if you are someone who has been overwhelmed in class lately,
(13:39):
you're not behind.
You're not broken, and your artistry is still valid.
So what now?
Well, before I mentioned how on YouTube,
there's all this research about quick cuts
to hold people's attention, but it's important to note
there's a new trend, long form YouTubers,
people who talk to the camera for 30 minutes or longer,
(13:59):
maybe just a talking head or a podcast interview.
No music, barely any cuts.
And they still have a massive following, massive retention rate.
Why?
Because good content is good content.
Good storytelling is good storytelling.
Just like good choreo will always be good choreo.
It's not about speed.
(14:19):
It is about substance.
So if you're a returner to dance like myself,
or just someone trying to keep up in class and feeling overwhelmed,
this episode is your reminder that fast is a trend, not a rule.
The industry doesn't always want lightning speed.
Slow grounded movement is just as impressive if not more.
(14:41):
And you don't have to move at the speed of light
to be a great dancer.
So yeah, choreo is for sure fast right now.
And that speed comes from a perfect storm.
Social media algorithms,
comp culture aesthetics, content creation pressures,
and the need to stand out.
But fast does not mean better.
Please remember that, okay?
(15:01):
You know what's funny?
There's this IG account that kind of makes fun of things from the 80s.
And they somehow, somehow,
found a clip of my sister and I on Star Search
with the, it makes me laugh.
With the text overlay, star snort.
Get it?
As in snorting the white stuff.
(15:23):
As in, we were dancing so fast we had to be on some kind of drug.
It was hysterical, but what threw me was that I never thought we danced that fast.
Even though I do totally remember being out of breath
every time we finished the combo and our choreographer did work really hard to jam
as much into our segment as possible.
(15:44):
So yeah, we danced fast for sure.
But it was a standalone thing for TV.
And I think the big difference is our moves were big.
Yeah, we moved fast,
but there wasn't a lot of micro movements crammed into every count,
which is a big part of this conversation.
And if you're watching this on YouTube or Spotify,
you will see this Star Search clip that the guy put on his Instagram calling it star snort.
(16:07):
And I do have to share with you some of the,
some of the comments because they had me rolling.
And by the way,
yeah, again, if you're watching this, you will see the star search footage,
which I don't think is nearly as appreciated without the music, but there you are.
Okay, reading some comments here, Candace Hobbs says,
"Oh, shit, that's got to be some extra snorts, haha, haha."
(16:28):
Grey Garden, CL says,
"I just got whiplash from watching this."
C, Meb Swift says,
"This one is extra nuts, the cameraman couldn't even keep up."
Culinary Soldier says,
"That was exhausting and I only watched it."
John LH64 said,
"God has shut my eyes, that's the human version of strobe lighting."
(16:50):
[laughs]
DJ Eric Wright 8 says,
"Cocaine is a marvelous motivator, MC Barishnikov is a darn good twerler."
[laughs]
It's ironic, right?
That people thought we danced so fast and in my mind,
it just wasn't even that fast, but watching it back, I guess it was,
but again, it was bigger movement versus all the micro-movement.
(17:13):
All right, there it is.
Another podcast under wraps.
Thank you so much for being here if you enjoyed the show.
Please share it with your dance fam.
Like, subscribe.
Did I say that already twice?
I don't remember anything.
I'm just happy to have you here.
That's all I got.
I'd love to hear what tempo you thrive in best
when it comes to choreography.
(17:33):
All right, let me know in the comments or shoot me a DM at Back to Great.
Until next time.
[music]
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