Health benefits of Charleston dancing

It’s no secret that dancing offers a wealth of physical and mental health benefits, making it an enjoyable way to stay active for people of all ages, shapes, and sizes. Charleston dancing, in particular, provides a full-body and mind workout that can positively impact your quality of life, body image, and mood. Plus, it’s a fantastic way to help reduce depression and ease anxiety.

Benefits of Dancing for your Brain

Dancing isn’t just great for your body—it’s a workout for your brain, too! Research from Coventry University highlights that regular dance practice can improve spatial working memory (the ability to hold and replicate visual information) by an impressive 18%, along with boosting other areas of cognitive function.

For older adults, the benefits are even more significant. Frequent dancing has been associated with a 76% reduced risk of developing dementia, making it a valuable tool for maintaining brain health as we age. Brain imaging studies also show that dancing increases the volume of the hippocampus, a critical area for spatial memory, more effectively than traditional fitness exercises.

Additionally, dancing enhances white matter in the brain, which supports processing speed and memory. Remarkably, these improvements in white matter are not observed in other forms of exercise, emphasizing how unique dancing is in its ability to boost cognitive health.

For more insights into the amazing benefits of dancing, check out Michael Mosley’s Just One Thing podcast—a 10-minute deep dive into how dancing can transform your well-being. 🎧

Physical Health Benefits

1. Improved Heart and Lung Health
The dynamic movements of Charleston dancing improve blood circulation, making your heart more efficient. Your lungs benefit, too, as the increased oxygen intake enhances overall respiratory function.

2. Better Balance and Spatial Awareness
Charleston dancing promotes good posture and trains your balance. It increases spinal mobility, reducing the risk of issues like slipped discs. By focusing on coordination and motor skills, dance also sharpens your mind while strengthening your body.

3. Enhanced Coordination, Agility, and Flexibility
Spending long hours sitting? Charleston dancing is a perfect remedy for tension and stress. It improves blood flow to tendons and ligaments, maintaining or even enhancing your mobility. The complex movement patterns—such as coordinating your upper and lower body simultaneously—sharpen your concentration, coordination, balance, and agility.

MENTAL HEALTH

Mental Health Benefits

1. Boosted Cognitive Function
Charleston dancing improves brain blood flow, leaving you more alert and efficient. Studies suggest that dancing can reduce the risk of dementia, as the rhythmic and coordinated movements enhance connections between brain cells, keeping your mind sharp and young.

2. Greater Self-Confidence and Social Skills
Dancing releases endorphins, leaving you feeling happier, more relaxed, and satisfied. Attending Charleston dance classes also offers a chance to meet new people, building your social skills and boosting your confidence.

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Whether you’re looking to improve your physical health, sharpen your mind, or lift your mood, Charleston dancing is the perfect solution. If you’re ready to give it a go, check out our upcoming Charleston dance courses—starting soon!

Videos: Watch Pennies From Heaven, Bad Guys and Hold Tight

Watch the winter term routines from all our groups during the final term of 2024! These routines were taught across Brighton & Hove, Lewes, Eastbourne, Portsmouth, and online.

Hove Morning Group

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Hove Evening Group

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Brighton Group

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Lewes Group

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Eastbourne Group

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Portsmouth Group

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Bad Guys - Musicals Group in Hove

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Bad Guys - Musicals Group, Online

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Hold Tight - Solo Jazz in Hove

Musicals: What’s on Spring 2025

This spring, our musical dance classes offer an exciting lineup for 2025! Join us for two dynamic 6-week courses featuring routines from La La Land's "Another Day of Sun" in January and Damn Yankees' "Who’s Got the Pain," in February. You'll master iconic choreography and bring these show-stopping numbers to life. Additionally, don't miss our weekend masterclass focused on the thrilling closing number from Chicago, "Hot Honey Rag,". See below for full details and routine previews.

La La Land - Another Day of Sun

Mon 6 Jan - 7pm GMT - Via Zoom - BOOK NOW

Tues 7 Jan - 7pm - Open Space Studios, Hove - BOOK NOW

The opening song "Another Day of Sun" from the musical La La Land is a vibrant and dynamic sequence that sets the tone for the film. Performed on a crowded Los Angeles freeway, it features drivers leaping from their cars to sing and dance in a dazzling celebration of hope, ambition, and the pursuit of dreams. Its striking visuals and joyous spirit make it an unforgettable introduction to the story.

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Damn Yankees 'Who's Got the Pain?'

Mon 24 Feb - 31 March 6pm GMT VIA ZOOM BOOK NOW

Tues 25 Feb-1 April 7-8pm, Open Space Studios, Hove BOOK NOW

The dance routine "Who’s Got the Pain?" from the 1958 film adaptation of Damn Yankees is a standout moment featuring Bob Fosse and Gwen Verdon—the only time they performed together on film. The number, an example of Fosse's early choreographic style, is not connected to the plot but serves as a playful showcase of their chemistry. We can’t wait to bring this routine to life in February 2025.

Original Video - Who’s Got the Pain

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Hot Honey Rag - Chicago Masterclasss

Date: 8th Feb 2-4pm

Location: Open Space Studios, Hove

Learn the iconic routine  ‘Hot Honey Rag’ at our next Musicals Masterclass.  In this two hour workshop you will master the breathtaking closing routine from the hit musical Chicago. This is a high-energy, vaudeville-style routine that captures the dazzling spectacle and dark humor of the show. Performed by Velma Kelly and Roxie Hart, it showcases their newfound partnership as they revel in their fame and freedom. The choreography, originally crafted by Bob Fosse, is iconic for its sharp, syncopated movements and intricate jazz-inspired style.

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If you would like to find out more, please email us on hello@mycharlestondance.com

Videos: Christmas Speakeasy

The Christmas Speakeasy was a dazzling evening of glitz and glamour, where everyone hit the dance floor in their boogie shoes and celebrated with us. We were thrilled to highlight the incredible talent from our classes and see so many students take the stage to perform alongside us. Here are the four routines from the night for you to watch and enjoy plus our highlights video.

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The Black Bottom - Performed by our Intermediate Group

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‘Rhythm of Life’ - Sweet Charity - Performed by our Musicals Group

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‘I’ll Always be In Love With You’ - Partner Group our Musicals Group

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The Charleston - Performed by our Open Level Students

Please save the date for our Summer Speakeasy at Brighton Spiegeltent tent on 17th May and our 1920s Tea Dance on Worthing Pier on 29th June.

Strictly Review: Chris McCausland & Dianne Buswell

Last Saturday, Strictly Come Dancing presented their Semi-Final of the 2024 series, and the dancers really stepped up their game, as each couple danced 2 routines ranging from a graceful Waltz and a Salsa danced by Tasha and Aliaz to Pete and Jowita’s beautiful Argentine Tango and Foxtrot; they really did have it all.

In amongst the different routines, it was Comedian Chris McCausland and his professional partner Dianne Buswell’s turn to swivel their way onto the dance floor with a Charleston, set to the tune When You’re Smiling by The Blue Vipers of Brooklyn choreographed by Tommy Franzen and Lizzie Gough.

This wholesome Charleston appeared to be controversial, where some viewers loved the routine and were furious with Craig awarding a 7, whereas others were in agreement with his score.

But what did you think? We’d love to hear your thoughts.

The routine opens with Chris and Dianne floating down onto the stage in a hot air balloon, foreshadowing the fun element of the Charleston, as they dodge a hologram of a seagull and Chris’ ‘gag’ with the telescope; adding to the comedic value from the outset.

After a few bars of music, the pair emerge from behind the basket, take centre stage, and immediately break into a partnered sequence in hold, consisting of Kicks, Flicks, Truckin’ (you can learn to how to Truck here) and a series of Basic 1920s Charleston Swivels.

At 0:58, the couple then complete an astonishing lift- where Chris throws Dianne over his shoulder, after which they jump up into the air, and then fall to the ground to dance some ‘Floor-Ography’ moves; perfectly in synch with one and other!

Later on, at 1:17, the pair come together once again for another partner sequence in hold, with numerous Kick Charlestons, and another Lift where Dianne flips herself over Chris’ back as she snazzily swaggers across the Ballroom; further establishing that cheeky Charleston vibe!

Nearing the end, at 1:34, the couple simultaneously complete a mini comedic sketch, before dancing a series of Knocky Knees, Bunny Hops, and a few Charleston Swivels.

As the pair bound back up the Ballroom towards the hot air balloon, Chris and Dianne have just enough time to complete a Morecambe and Wise inspired Kick, before racing into the basket where they pull smiley faces to the match the lyricism of the song and Dianne hops onto Chris’ back for their final pose- leaving the crowd screaming in delight!

I, for one, really loved this Charleston! Although this routine wasn’t danced at the traditional fast pace, it suited their partnership beautifully (and had me sobbing throughout). Dianne is such an incredible choreographer with the way she gives Chris small, subtle clues as to what the next move is. For me Chris is the epitome of pure joy, and each time I watch him dance, he reminds me that anyone can achieve anything if they put their heart and soul into it. In my opinion, this is exactly what dance is meant to do; it is meant to mean something- and this partnership really does!

It is clear that I was not alone in my opinions, as one critic exclaimed that they thought this routine “[Had] great synchronicity, which is even better when you take into consideration that he’s blind” and another stated “Great swivel and superb musicality- this routine confirmed for me that they deserve to be in the final.”

It seems that most of the Judges were also in agreement with as Motsi Mabuse stated it had “Swag [and] great rhythm,” with Shirley echoing this point with the abstract analogy that Chris and Dianne were, “Like two snowmen in the snow on the floor- perfect timing!” However, Craig Revel-Horwood, opened the Judges comments with a rather patronising statement highlighting how it “wasn’t messy actually” and the routine was “Under-energised” to which the other three Judges (and the audience) quickly disagreed. Despite beginning with these comments, even Craig could not stay too serious for long as he concluded that he “Loved the Swivel!”

Due to this high praise and the fantastic comments from the critics, the pair have managed to avoid the dreaded Dance-Off and successfully swivel their way into next week’s Final of the series.

Scores:

Craig Revel Horwood - 7

Motsi Mabuse – 8

Shirley Ballas – 9

Anton Du Beke – 9

MyCharleston – 8

By: Eleanor O’Donnell

Strictly Review: Sarah Hadland and Vito Coppola

Last Saturday, Strictly Come Dancing presented their Night at the Musicals, where we were treated to all things theatre; ranging from a Mary Poppins themed Viennese Waltz set to the tune Let’s Go Fly a Kite, to an Argentine Tango to the track Ex Wives from SIX the Musical!

This week’s Charleston routine was choreographed by Tommy Franzén and Lizzie Gough, and it was Actress Sarah Hadland and her professional partner Vito Coppola’s turn to celebrate all things Jazz Hands, with a Charleston set to the tune ‘Popular’ from the West End stage show Wicked!

TV presenter Tess Daly, said there has “Never been this many 10s from the judges going into the quarter final before.” So will this theatre themed Charleston add the number and make it increase, or will it be banished away on a broomstick- never to grace the Strictly Ballroom again?

Let’s find out...

The routine opens with Sarah dressed as the Good Witch Glinda, sat in her bedroom quoting a line from the West End performance- perfectly setting the scene for the audience. After a few bars of music, she joins Vito sat on the bed- further establishing the characters and the scene.

The opening was just perfect, with the magic wand being wafted causing Vito to move in time with the music; further adding to the Musical’s theme!

At 0:45, the pair use their character as Glinda and Elphaba to fly straight into the Charleston spirit, with Basic 20s Swivels, Heel Flicks, and a Jazzy walk. Soon after, the pair came together for their first of many impressive lifts- where Vito sweeps Sarah off the ground and tumbles her through the air; perfectly emulating the scene from the stage show.

Later on, at 1:14, the couple complete a further complex lift- leaving the audience screaming with excitement.

After a few hair flicks Sarah completes a series of solo 20s Charleston steps, Birdie Flaps, Suzy Qs, Kicks, Flicks, and a Squat Charleston. (you can learn how to Squat Charleston here).

Further on, the couple simultaneously complete a mini comedic sketch; adding to the classic Charleston vibe, before Vito swings Sarah up-side-down in one swift motion!

Nearing the end of the routine, Sarah and Vito come together to complete another spell-bounding lift, where Sarah is swung from side-to-side imitating a pendulum; after which they had just enough time for a few 30s style Charlestons before Vito Leap-Frogs over Sarah’s head, and they resume their final poses; where they were met with an eruption of applause from both the audience and their fellow contestants.

To begin with, I was sceptical about a Wicked theme Charleston, because I just really love a traditional Jazz song. However, I was blown away by the standard and finesse that this routine possessed. It was clear from the outset that Sarah’s passion and drive to do well, really were at the forefront and her energy was just infectious– making it impossible not to smile throughout. The lifts were also crazy cool- I LOVED every second!

It is clear that I was not alone in my opinions, as one critic exclaimed that they are “Absolutely obsessed with this couple” and another “Could not believe” how the pair managed to dance a Charleston that was “Unconventionally conventional” with regards to partnering music and style.

It seems the Judges were also in agreement with this as Motsi Mabuse shouted “Yes, yes, yes- what a way to open the quarter finals. Thank you for setting the standard today” which Head Judge Shirey then echoed when she exclaimed “Your lifts were flawless.” Anton Du Beke also shares how this routine was a “Wonderful piece of musical theatre, and if [they] were to lift this Charleston into the Show, it would fit right in” which is a wonderful compliment to receive this far into the competition.

Due to this high praise and the fantastic comments that the couple received, they have managed to successfully swivel their way into next week’s Semi-Finals. Whilst Montell Douglas and Johannes Radebe found themselves in the bottom two for the second week running and were unfortunately the next couple to leave the competition.  

Scores:

Craig Revel Horwood - 9

Motsi Mabuse – 9

Shirley Ballas – 10

Anton Du Beke – 10

MyCharleston – 9

By: Eleanor O’Donnell

Videos: What's on 2025

Swivel into the New Year with our exciting dance courses starting this January

Our new term of the year begins on 6th Jan, watch all the previews here!

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CHARLESTON COURSE - YES SIR! THAT’S MY BABY

BRIGHTON & HOVE LEWES PORTSMOUTH ONLINE

EASTBOURNE

Start the New Year with style with our brand new Charleston course, set to the classic 1920s track ‘Yes Sir! That’s My Baby’ Kicking off on 6th Jan both in-studio and online.

Online - 6 Jan,6pm BST

Brighton - 6 Jan, 7:30pm The Dance Space

Hove PM- 7 Jan, Open Space Studios

Lewes- 7 Jan 6:30pm, The BodyWorkshop

Porstmouth  7 Jan, 7:30pm, CourtX

Eastbourne - 8 Jan, 6:30pm, Leaf Hal

Hove am, 9 Jan, 10:30am, Open Space Studios

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MUSICALS COURSE - LA LA LAND

Another Day of Sun

HOVE ONLINE

We are bringing some Hollywood sunshine to the studio this January this our brand new Musicals Course ‘Another Day of Sun’ from the hit movie La La Land. This uplifting piece of music is bound to shake of those winter blues.

Course available online and instudio

6 Jan - 7pm GMT - Via Zoom

7 Jan - 7pm - Open Space Studios, Hove

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PARTNER CHARLESTON

9 Jan- Open Space Studios, 6pm - 6 week course

Take a look at what's in store in our 1920s Partner Charleston Course which runs every Thursday at 6pm. If you fancy giving it a go, you can sign up to the next course either as a pair or solo dancer and join us from 9 Jan for the next course

BOOK NOW

INTERMEDIATE CHARLESTON

BOOK NOW

9th Jan - Open Space Studios, 7pm - 6 week course

Master the advanced steps of 1920s Charleston and learn a detailed choreographed routine in our 6 week dance course. This term the routine is themed around a Marching Band

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Strictly Review:JB Gill and Lauren Oakley

With only one week to go until the Quarter Finals of the series, last Saturday, it was 2000s boyband member of JLS; JB Gill, and professional partner Lauren Oakley’s turn to dance a traditional Charleston set to the tune “Yes Sir That’s My Baby” by the Firehouse Five Plus Two (an iconic track for an iconic dance!!)

The routine was choreographed by the wonderful Jenny Thomas (check out her Instagram  here) and click this link if you would like to sign up to our Charleston Masterclass with Jenny on the 22nd and 23rd March in Brighton and Hove.

This Charleston routine had everything a 1920s fan could ask for. From the choreography and the music to the cheekiness in its style; Craig Revel Horwood could not praise it higher.

It seems that JB and Lauren had a very successful night, with a high score of 39, and being the winners of Sambathon!

But what did you think? Do you prefer the traditional 20s Charlestons, or are you more of the mindset that the previous, more unconventional ones worked best? We would love to hear your thoughts!

The routine opens with a hologram scene of New York taxi cabs, with JB and Lauren flagging them down- really setting the American 20s vibe from the outset.

After a few opening bars of music, the pair spring into action, and immediately break into classic 1920s Charleston Swivels in perfect unison, followed by Silly Runs, and Charleston Kicks- all the classic moves that we all know and love!

At 0:30, without hesitation, the pair complete a rather impressive lift, swiftly followed by a short-Partnered Sequence consisting of further Kicks, Suzy Qs, Knocky Knees, and a Windmill (also known as a Helicopter- you can learn to dance this move here).

Later on, the couple complete a Fall-Off-The-Log, another impressive Lift, and a momentary pause for a quick ‘Break Dance’ break!

At 1:04, Scarecrows, Pushes, Kick Charlestons are completed; after which JB throws Lauren high into the air and over his shoulder in a complex lift- leaving the audience ecstatic. Then the couple seamlessly come into further Basic Charleston Swivels in hold, Birdie Flaps, the Running Man, and an Assisted Cartwheel.

Nearing the end of the routine, the pair then complete a series of flawless Side-To-Side Charlestons (My favourite move EVER!), Tick-Tocks, and a quick Spin before coming into their final pose- not forgetting the Jazz Hands!

In my opinion, this routine was full of authenticity, and it has to be up there with one of my favourite Charleston routines ever- it was just pure joy and I sobbed throughout! The choice of song was also incredibly nostalgic for me, as this was one of the first songs that I danced to when I first joined MyCharleston 5 years ago (watch the routine here). It is clear that I am not alone in thinking this dance deserved top marks, as one critic commented that this routine was, “Full of joy and using traditional music makes all the difference- JB looks like a winner” and another exclaimed, “Yes Sir, That’s my JB!”

It seems the Judges also enjoyed JB and Lauren’s Charleston as Head Judge Shirley commented on how the “Synchronicity was off the charts” and Craig agreed, stating it was “Pure class.” Motsi Mabuse echoed this stating the routine had the “Right Swag,” and Anton Du Beke thought the “20s American style [was] brilliant and stylish!”

As a result of these positive comments, and high scores; the pair have successfully swivelled their into next week’s Quarter Finals!

Scores:

Craig Revel Horwood - 9

Motsi Mabuse – 10

Shirley Ballas – 10

Anton Du Beke – 10

MyCharleston – 10

By: Eleanor O’Donnell

Strictly Review: Wynne Evans & Katya Jones

Last Saturday, Strictly Come Dancing aired their annual Blackpool special, where we were treated to the 3rd Charleston of the series. With all the glitz and glamour of the Blackpool Tower Ballroom, Welsh Opera Singer and ‘Go.Compare’ Man Wynne Evans and professional partner Katya Jones’ danced an alternative Charleston set to the tune “Carmen Suite No. 1: 5. Le Toreador” by Georges Bizet.

The routine was choreographed by the wonderful Jenny Thomas (check out her Instagram  here) and click this link if you would like to sign up to our Charleston Masterclass with Jenny on the 22nd & 23rd March in Brighton.

Although this routine was unconventional in style, what with it being a Spanish inspired piece, Motsi Mabuse thought it  “[told] a story of dance.” But what did you think? Do you prefer these alternative, more unconventional themed Charleston routines, or are you more of the mindset that 20s/30s is best? We would love to hear your thoughts!

The routine opens with Katya and her back-up dancers walking to their opening positions, adorned with traditional red outfits and giant fans, before Wynne brings the comedy with his debut entrance riding upon a hobby horse- wearing the biggest smile the Strictly Ballroom has ever seen!

At 0:19, still riding on his horse, Wynne completes a series of basic Charleston Swivels, before Katya and her entourage of dancers join him for a Partnered Charleston in hold, heel flicks, and a Paso Doble-esque inspired dance break.

Later on, the pair then complete a rather impressive lift, after which Katya is briefly set upon the ground, before being hurled into the air once more-much to the delight of the audience.

At 0:55, the pair use the backing dancers for their Assisted Cartwheels, as Katya is thrown upside-down, and passed along a row of dancers where Wynne lifts her up to yet another astonishing height. At this point, the audience has erupted into a crescendo of applause in support of the entertaining element of this dance.

Later on, a further Paso Doble sequence is completed, shortly followed by a series of Charleston Kick and Flicks in hold, Trucking, and Tick Tocks- therefore brining some authentic Charleston flare!

Nearing the end, Wynne and Katya come together for a rather theatrical lift- to which a not-so graceful ending occurs as Wynne plonks is partner onto the floor.

Finally, Wynne grabs Katya by the ankles causing her to fly higher and higher into the air as they spin at great speed before coming together for their final pose!

It is clear that the pair really enjoyed performing this routine in the Blackpool Tower Ballroom, and many members of the audience loved it too- so much so that many gave a standing ovation.

In my opinion, although it was super entertaining enough and the choreography was beautifully pieced together, the whole routine did not scream CHARLESTON! However, it seems that I am alone in my thinking this as one critic explained that it “Felt like a funny Paso Doble parody routine for comedy- I LOVED it!” and other stated that there was “Nice Flapper action throughout, the lifts were crazy, and I am literally obsessed!”

It seems the Judges also enjoyed Wynne and Katya’s Charleston as Head Judge Shirley commented on how it is a “Katya Special [with] all the lifts and tricks- it was highly entertaining” and Motsi and Craig were also in agreement with “An extra mark [needing] to be given for the high energy all the way through!”

 Despite these positive comments from both the Judges and the Critics, Wynne and Katya found themselves in the bottom two of the leader-board with a score of 31, and as a result, found themselves in the dreaded Dance Off against Montell Douglas and Johannes Radebe.

Unfortunately, due to a few issues with his technique, Wynne and Katya are the next couple to leave the Strictly Come Dancing Competition, 2024.

Scores:

Craig Revel Horwood - 7

Motsi Mabuse – 8

Shirley Ballas – 8

Anton Du Beke – 8

MyCharleston – 7

By: Eleanor O’Donnell

1920s Partner Charleston

Charleston is famous as a solo dance, so when my business partner Elena suggested we developed a course in Partner Charleston I was sceptical. The concept of Partner Charleston was not alien to me, I had attended workshops and watched it on Strictly but I couldn’t help thinking it was a bit of a fudge.

There is a history to Partner Charleston; It developed after the original Charleston dance craze had seen it’s hey day. In the 1920’s The Ballroom Society had found women dancing solo quite scandalous and so they created a cleaned-up version of the Charleston which was danced with a partner. The early jazz music of the Twenties evolved, and with Swing came the Lindy Hop dance. Lindy Hoppers danced a new style of Charleston, the footwork is more complex and it can be danced with a Partner or Solo.

Fast forward to the 2020’s and we had a big historical palate of Partner Charleston dance moves which we could copy and paste. But deep down I was still worried people would look at Partner Charleston and say “That’s not a thing”. Twenties Charleston is just a tap and a step, could we keep the essence of that footwork and create a dance which felt interesting and varied? One year on, we have successfully created seven Partner Charleston dances, which both look and feel great to dance.

 When couples decide they want to learn to dance, the desired outcome is normally the ability to be able to dance together. Whether it’s in their kitchen or at social occasion they’ll need to know some basic moves. Dance should be enjoyable and achievable, and the Charleston is both. The basic ‘Tap, Step’ footwork is quick to learn add some double taps with some walks and you have enough of a dance vocabulary to last a whole tune.

There is a difference between performed couple dancing and improvised dancing. Those perfectly executed moves you see on Strictly have been choreographed and rehearsed over and over until they are performance ready. In social dance forms such as Swing or Tango the emphasis is on improvisation, both you and your partner need know the moves so you can converse through language of dance. This is a skill which takes a lot of practice, the best Follow in the world is not psychic! For Leads, the pressure is on to know all the moves,  execute them clearly and to be creative. 

I have learnt both approaches and decided MyCharleston could offer a blend of the two. In the six-week courses we run we divide the lesson into two halves. Firstly, we teach Leads and follows two or three dance moves. We focus on how the Lead gives signals and how the Follow responds. We then put on some music and encourage dancers to play with those moves by changing the number they do or the order in which they happen, so it becomes a true improvisation.

The moves they have learnt are then incorporated into a choreographed routine which they learn in the second part of the lesson. Each week we build upon the vocabulary of moves and the choreography so by the end of the course students know a full routine, which they can dance together. Part of MyCharleston teaching practice is to give students a clear and achievable goal. Learning a dance routine allows students to progress the knowledge week by week. The outcome is a full dance routine and an opportunity to dress-up and film the routine.

Creating the Partner Charleston routines opened our eyes to how much you can do with the basic ‘Tap, Step’ footwork. Once you have mastered the Charleston, you can play with variations. In this video tutorial we show how to do ‘Closed Swivels’ and ‘Open Swivels’. The footwork is still “Tap, Step” with changes of direction and use of counter weight to create a ‘bounce back’ between the dance partners, which feels great!

Keeping the playful character of Twenties Charleston was important to us. Dance that becomes predominantly technique can lose its sense of fun. People learn best through play, it keeps the learning light but you still gain the skills. By adding dance moves which are normally done solo it allowed us to break away from the constant ‘Tap, Step’ footwork and add a new dynamic to the Choreography. These moves work well for Choreographed routines and as they capture the Twenties dance style. In this tutorial we teach two classic moves called “Heel Flicks’ and Bunny Hops”

Partner dance would be nothing if you didn’t add some turns or spins, it’s just such a great feeling and they look brilliant. Once you know the Charleston you can easily add a turn and the footwork is identical. There is no rule in Charleston that only Follows get to do turns, so Leads also get a spin on the dance floor. In this video tutorial we teach you a ‘Call and Response’ Turning sequence, in which one person turns and then the other.

My top tip for anyone looking to Partner dance is think about how you treat your partner. Be kind, patient and don’t get too serious. Through fun and lightness, you will find your dancing feet together. To book the next course click the button below