Strictly Review: Helen Skelton & Gorka Marquez + Jayde Adams & Karen Hauer

Last week was a very special week for the British Broadcasting Corporation (the BBC), as BBC1 turned 100 years old, and what better way to celebrate than with a 100-year-old dance like the Charleston. From a Doctor Who inspired Tango to a Cha Cha Cha set to the Grandstand Theme- this trip down memory lane really did treat us to everything imaginable and in amongst all this nostalgia, were two Charleston Routines! Both dances have received mixed opinions from both the audience and the judges, but which was your favourite?

The choreographer behind both of these amazing dances was Jenny Thomas and her assistant Sean Moon. The routines that they created for both couples really captured what the Charleston is all about and included a great mixture of classic Charleston steps and trick moves; overall producing two routines of which were extremely fun to watch. I would also highly recommend checking out Jenny’s Instagram to find out more about the making of these routines.

First up, we have CBBC Blue Peter Presenter Helen Skelton and professional partner Gorka Marquez who opened the show with a highly entertaining Charleston set to the Blue Peter Theme Tune.

Watch their full routine here:

The routine opens with both Helen and Gorka setting the scene in a replica of the ‘Creation Station’ which is part of the CBBC show Blue Peter.

After a few bars of music, the pair skip into the centre of the stage and immediately break into, Fall off the Logs, Kicks and a variation of Arm Tutting. At 0:31, Gorka proceeds to flip Helen over his shoulder, which is shortly followed by a further, complex Lift. Later on in the routine, the audience are greeted with a perfectly synchronised basic Charleston step and Truckin’.

It is clear that both Helen and Gorka are both fully immersed in this routine as they go onto complete some complex, ‘Ball-Ography’ which Motsi thought was, “High, high-level choreography.” At 0:54, Helen’s confidence skyrockets as she dances a solo piece consisting of, Scarecrows, Kicks and Flicks and a Jazz Square (also known as a Box Step), which left one critic stating that, “[They] almost forgot Gorka was there!” The couple then come together for a quick partnered sequence before diving into Tick Tocks, further Tutting, and another Lift, shortly followed by a comedic sketch of Tug-of-War- adding further elements of hilarity for the audience.

They then had just enough for a few skips and kicks before running back to the starting positions to produce a (very life like) handmade model of the Judging panel.

Overall, I thoroughly enjoyed this Charleston routine. Although the choice of song is not a traditional Charleston Tune, (or a dance tune at all for that matter), I think they managed to encapsulate and maintain what the Charleston is all about. I feel Helen really came into her own during this dance and her energy, bounce and characterisation could not be faulted as she gave 100% right through the very end.

As a result, the Judge’s comments were full of complimentary praise. Head Judge Shirley Ballas could not contain her excitement as she exclaimed that, “[She] should remain standing for [Helen] because that was absolutely outstanding” and Anton thought, “This was [their] best dance to date!”

When talking to Claudia, Helen stated that this was a come-full-circle moment for her, and it was a “Privilege to bring joy and excitement to [our] screens.”

Due to their performance being a huge success with the Judges, Helen and Gorka received their first 9s of the series and swivelled their way to success with their score of 35; therefore, finding themselves joint top of the leader board with Hamza Yassin and Jowita Przystal.

 Scores:

Craig Revel Horwood - 8

Motsi Mabuse – 9

Shirley Ballas – 9

Anton Du Beke – 9

MyCharleston – 8

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Next up we have Comedian Jayde Adams and her professional partner Karen Hauer who danced the second Charleston of the night to, ‘The Ballad Of Barry and Freda’ as a tribute to the late icon, Victoria Wood.

Watch their full routine here:

(247) Jayde Adams & Karen Hauer Charleston to The Ballad Of Barry and Freda ✨ BBC Strictly 2022 - YouTube

The routine opens with the pair huddled around a piano where Jayde begins to sing the opening lines of the Ballad. For a few seconds following this, Jayde adopts the role of puppet-master and bounces Karen up and down- further establishing the comedic tone. This then smoothly transitions into a series of Walks, Silly Runs, Tick Tocks, and a quick Shimmy.

At 0:48, the pair then come together for a brief section in hold before launching into a sequence of Basic Charleston Swivels, Cake Walks, Pushes, an Assisted Cartwheel, and a Side-to-Side Charleston. This is quickly followed by further comedy presented in the form of lifts; therefore, bringing the cheeky elements of the Charleston (that we all know and love) to the forefront of the routine.

Karen then has just enough time for a quick forward roll before Jayde lifts her into their final position. By this point, the audience and the other contestants have erupted into a cacophony of applause for the pair.

Although this was not the best technically, I thought this routine was very effective from a comedic perspective. It is clear that Jayde upholds the ability to maintain high levels of characterisation throughout the dance which is fantastic to watch. One critic picked up on this and felt, “It was a celebration of comedy and a well-timed jazzy slapstick.” However, it also has to be noted that others felt differently as another critic stated that, “[Jayde was] overmarked and has a very stompy and laboured swivel.”

Due to this, there were very mixed opinions from the Judges also, with Head Judge Shirley wanting more fluidity between each step with, “Less moving from side to side.” Despite the fact that Anton loved how, “She can pick up the character in any style of dance” and, “fundamentally as a number [he] really enjoyed it,” he also felt, “Many of the Charleston elements [needed] a bit of work.”

Unfortunately, Jayde and Karen found themselves in the dreaded dance off alongside Singer and CBBC Star Molly Rainford and Carlos Gu. However, despite them giving it their all and Motsi stating they were, “The couple to beat on Saturday,” Jayde and Karen just missed out on a spot in next week’s Halloween special.

In her leaving speech, it became apparent just how much of an impact this dancing experience has had on Jayde as she went on to state, “Nothing can hold a candle to the way this show is run […] it has been an absolute pleasure to learn so much and be so well looked after.” Which further highlights the positive impact that dance can have on an individual level and as a collective.

Scores:

Craig Revel Horwood - 6

Motsi Mabuse – 7

Shirley Ballas – 7

Anton Du Beke – 8

MyCharleston – 6

By: Eleanor O’Donnell

Strictly Review: Kym Marsh & Graziano Di Prima + Tyler West & Dianne Buswell

Lights, Camera, Action!!

Last Saturday was to Movie Week on Strictly and we were treated to everything from a Meerkat and a Warthog dancing the Samba to a beautiful Grease themed Waltz. In amongst all the glitz and glamour were two Charleston’s and although they did not disappoint the judges, the scores have caused an uproar across the Strictly fanbase. Let’s take a closer look as to why many felt this way.

The choreographer behind both of these amazing dances was Jenny Thomas and her assistant Sean Moon. The routines that they created for both couples really captured the authenticity of the Charleston and included a great mixture of classic Charleston steps and trick moves; overall producing two brilliant 1920s routine of which were extremely fun to watch. I would also highly recommend checking out Jenny’s Instagram to find out more about the making of these routines.

First up, we have actress Kym Marsh and professional partner Graziano Di Prima who performed a highly entertaining Charleston to the tune, ‘If my Friends Could See Me Now,’ from the musical Sweet Charity.

After a few moments of setting the scene sat round a table, Kym jumps straight into a series of solo Basic 20s Charleston’s which signifies the starting of the routine. It is clear from the outset that this routine is going to be full of Charleston fun and cheekiness as Kym’s characterisation is already in full swing.

At around 0:32, professional Graziano Di Prima joins her and the pair launch into a sequence of synchronised Camel Calks and Pushes before coming together for their first lift, which is greeted positivity from the onlooking audience. It is clear that Graziano is not holding back with this routine, as later on, we are greeted with another complex lift which further wows the crowd.

However, at 1:05, the ambience of the setting changes as a spotlight focuses on Kym as she completes a solo piece consisting of multiple iconic Charleston poses with various transitions. At this point, for me, I felt as though she lacked the energy required to make this sequence appear punchy and dramatic which is a shame as it was a great piece of choreography.

After a brief interlude of music, the couple return together once again as they begin their section of what Kym named, “Props-Ography” with top hats. This really brought a sense of familiar authenticity to the dance which perfectly encapsulated the Vintage Hollywood vibe.

Coming towards the end of the routine, the pair complete their final lift without missing a beat and have just enough time for a quick spin before sliding into their final pose.

Considering we are only in Week 3 of the competition; I thought Kym did a great job. Her characterisation and facial expressions are perfectly suited to the dance as she upholds the ability to portray her character with flare and style without getting distracted. However, the Charleston is a high energy dance and for the most part, that was what was missing, which left one critic saying how, “There could have been more exaggeration across the dance, and her recovery from the lifts interrupted the transitions.”

As a result, the comments from the judges were overall quite positive. Head Judge Shirley stated that, “This was by far [their] best number as it was a wowzah routine” and Anton Du Beke believed it was, “The best dance of the series so far.” Craig, on the other hand, thought, “[Kym] needed to energise each move,” but even he could not resist saying how, “This was [their] best dance yet.”

Due to these positive comments Kym and Graziano were able to Swivel their way to success and have secured their place in Week 4 of the competition.

Scores:

Craig Revel Horwood - 7

Motsi Mabuse – 9

Shirley Ballas – 8

Anton Du Beke – 9

MyCharleston – 7

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Next up we have Television and Radio presenter Tyler West and his professional partner Dianne Buswell who danced the second Charleston of the night to the jazzy tune, ‘Flash, Bang, Wallop!’ by Tommy Steele from the 1963 musical comedy; Half a Sixpence.

However, despite the couple swivelling their way to the top of the leader board, there has been an uproar across the Strictly fandom over the scores given by Shirley and Motsi. Many believed that this dance was overmarked as Week 3 is too early on in the series to be wafting around 10 paddles.

Do you think the couple deserved the 10s or are you more in agreement with the critics? Let’s take a closer look as to why many felt they were overmarked.

After momentarily setting the scene, the couple immediately break into a perfectly executed Box Step (also known as a Jazz Square), Kicks and a Scarecrow; therefore, bringing Charleston content to the forefront of the routine. At 0:23, we see Tyler throw Dianne over his shoulder for their first of many lifts, which ignites an eruption of cheers from the audience.

The pair then take a moment and pause their dancing to set the scene further with a comedic camera sketch before Tyler further establishes his Charleston know-how with perfectly synchronised Swivel Walks, Turning Charleston Swivels, a Paddle Turn, Camel Walks and Can-Can Kicks, which left one critic saying, “It is difficult to differentiate between Celebrity and professional.”

At 0:50, we see the pair come into hold for a Side-to-Side Charleston sequence which was shortly followed by a further lift. The couple then achieve a death-defying move where Tyler swings Dianne around by her ankles- leaving many audience members on the edge of their seats.

The couple then complete a brief section in hold, followed by a sequence of Charlie Chaplin’s, Birdie Flaps, and Kicks before Tyler lifts Dianne into their final pose.

This routine really was a whirlwind of fun and with Charleston Content coming form all four corners of the routine, what’s not to like?

Overall, I thoroughly enjoyed this Charleston routine as the content was established, well thought out, and in my opinion, very well executed. It is clear that Tyler upholds elements of musicality and his characterisation really shone through. Even after running the London Marathon, he was able to perform with immense gusto which is perhaps why the Judges were so generous with their scores.

As a result of their great performance, the Judges’ comments were full of admiration as they did not hold back the compliments. Head Judge Shirley Ballas stated that, “[Tyler] is still very much the real deal’ as, “[His] performance was brilliant on every single level.” This alongside Craig’s one liner, “FAB-U-LOUS,” sparked a wave of excitement across the Strictly Ballroom.

Due to these comments and an overall positive response from the general public, Tyler and Dianne received the first 10s of the series and swivelled their way to success with their leader board topping score of 38.

Scores:

Craig Revel Horwood - 9

Motsi Mabuse – 10

Shirley Ballas – 10

Anton Du Beke – 9

MyCharleston – 8

If you’re now feeling inspired to channel your own inner 1920s Flapper, why not check out our Charleston adult dance classes

Or head over to MyCharleston’s ‘Move of the Week’ and get those feet swivelling to transport you back to the 1920s…

Charleston Move of the Week - YouTube

By: Eleanor O’Donnell

Videos: What's on this Winter

Have you had a chance to watch our winter term routines yet? If you fancy dancing with us this November you can take a peek at all the routines we will be teaching next term. Charleston to 'Five Foot Two' or dance with 'All That Jazz' in our Chicago musicals course. Learn our 'Weapon of Choice 'Street Jazz routine or 'Clap Your Hands' Intermediate Charleston course.

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CHARLESTON COURSE - FIVE FOOT TWO

Originally choreographed back in 2019, we are happy to reviving this routine and breathing new lift into the choreography with an updated take on this routine to the great song ‘Five Foot Two‘.

BRIGHTON & HOVE LEWES WORTHING PORTSMOUTH ONLINE

Watch our 2019 performance of the routines with our Open Level and Intermediate group performing together.

Course Dates:

Brighton: Charleston Course. Monday 7 Nov - 12 Dec, 7.30 - 8.30pm, The Dance Space

Hove: Charleston Course. Tuesday 8 Nov- 13 Dec, 6-7pm, Open Space Studio

Hove: Charleston Course. Thursday 10 Nov - 15 DEC, 10.30 - 11.30am, Open Space Studio

Lewes: Charleston Course. Tuesday 8 Nov- 13 Dec, 6.30-7.30pm, The Body Workshop

Portsmouth: Charleston Course, Tuesday 8 Nov- 13 Dec, 7.30-8.30pm, Kings Church

Worthing: Charleston Course. Wednesday 9 Nov- 14 Dec, 7-8pm

Online: 6 week Charleston Course. Open Level via Zoom. Monday 7 Nov - 12 Dec, 6pm BST

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MUSICALS COURSE - ALL THAT JAZZ, CHICAGO

Inspired by the choreography of Bob Fosse, this one has a lot of drama and character within the routine

HOVE ONLINE Portsmouth

Online: 6 Week Musicals Course via Zoom. Monday 7 Nov - 12 Dec, 7pm BST

Hove: Musicals Course. Tuesday ,8 Nov- 13 Dec, Open Space Studios

Portsmouth: Musicals Course, Wednesday 9 Nov- 14 Dec, 7.30-8.30pm, Eastney Community Centre

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INTERMEDIATE CHARLESTON - CLAP YOUR HANDS

On our next Intermediate Charleston course we'll be teaching a solo jazz classic - Smooth Sailing - fun and a real joy to dance.

Hove: Intermediate Charleston. Thursday 10 Nov- 17 Dec, 7-8pm, Open Space Studios

BOOK NOW

STREET JAZZ

Routine video to be shared shortly but you can book your course with us which will be running

Hove: Street Jazz. Thursday 10 Nov- 17 Dec, 6-7pm, Open Space Studios

BOOK NOW

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Strictly Review: Tony Adams & Kata Jones + Kaye Adams & Kai Widdrington

After a year long wait, Strictly Come Dancing has finally returned to our screens for their 20th Series and last Saturday we were treated to not one but two Charleston routines! Both dances have received mixed opinions from both the audience and the judges, but which was your favourite?

In Week 2, Football Manager Tony Adams and his dance partner, Katya Jones were the lowest scoring couple of the night after dancing the Charleston to, ‘My Old Man’s a Dustman’ by Foster & Allen.

It appears Tony and Katya’s Cockney dustman themed Charleston has sparked a slight controversy amongst the Strictly fandom with mixed opinions being shared about their dance. Even though some were in agreement with the scoring from the judges, many thought it should have been lower which led to one viewer stating that there was, “too much fun and not enough dancing.”

Do you think the couple deserved their score or are you more in agreement with the critics? Let’s take a closer look…

The routine, choreographed by Jenny Thomas, opens with the couple setting the scene with a comedic sketch outside of a Pie and Mash Shop (not something that is typically associated with traditional 1920s) and after a few bars of music Katya pops up out of a dustbin and the dance begins. At 0:24, we see the first use of the basic Charleston step, subsequently followed by a series of swivel walks and skipping. Later on, at 0:51, Katya dives headfirst into the dustbin, which is shortly followed by a series of lifts, side-to-side Charleston, kicks, pushes and the basic Charleston step.

Unfortunately, Tony does not manage to complete his final lift, however he does recover well- so much so, the judges do not even mention this mistake.

For me, I’m not really sure what to think of this routine as a whole. The characterisation and facial expressions that both Tony and Katya portrayed were brilliant and really did encapsulate that cheeky Charleston vibe. His timing with the sound effects was also excellent as he did not miss a beat which led to one critic stating that, ‘[the pair] made this dance look like a Beano comic come to life.’ However, with only a few basic Charleston steps scattered throughout the routine in its entirety, I felt it lacked the original Charleston flare and is not what I would define as being, ‘jam-packed’ with Charleston moves. Despite this, the level of choreography appears to suit Tony’s dancing abilities as a complete novice, and he is very clearly enjoying himself.

As a result of this, there were mixed opinions from the Judges. Anton Du Beke was ecstatic commenting that the routine was, “The best” alongside Motsi Mabuse who complimented Tony saying how she thought could see, “Vast improvement’ in his dancing abilities.

Despite these positive comments, Craig Revel Horwood, on the other hand stated that, “He was very stompy” and his body and swivels were, “Stiff stiff stiff.” Whilst I do agree with Craig to some extent, the routine in its entirety was very entertaining to watch which is exactly what the Charleston is all about-fun!!

Despite their low score of 22, the pair managed to successfully avoid the dance off leaving Tony and his flat cap safe for another week.

Scores:

Craig Revel Horwood - 4

Motsi Mabuse – 6

Shirley Ballas – 6

Anton Du Beke – 6

MyCharleston – 5

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Next up we have Loose Women presenter Kaye Adams and her professional partner Kai Widdrington who danced the second Charleston of the night to the jazzy tune, ‘Music! Music! Music!’ by Dorothy Provine.

With Kaye and Kai both dressed in their finery, they delivered a fun and cheeky Charleston which was full of 1920s flare with an abundance of comedic components. However, their final outcome has also caused an uproar across the Strictly fandom as they were the first couple to leave the competition; despite receiving the same score as Tony.

Do you think the couple deserved to be the first to leave or would you have picked someone else? Let’s have a further look into their routine to find out…

From just the first few opening bars of music, it was clear that this routine is going full of the cheekiness of a traditional 1920s Charleston. After a few moments of setting the scene and Kaye slotting a coin into a music machine, the pair spring into action with sidewalks, quickly followed by a brief section in hold: therefore, igniting a series of heel flicks and the basic Charleston step. This routine was also choreographed by Jenny Thomas.

Later on, after coming into hold once again, at 0:49 the audience is greeted with the first lift, followed by kicks, silly runs and ‘Piano-ography’ which Kaye completed with immense gusto.

Further on in the routine, we are once again treated with a sequence of classic Charleston moves consisting of, Suzy Qs, Bunny Hops, and a lifted Cartwheel, leaving the audience spellbound as the pair made their final series of complex lifts appear effortless.

As a result, the comments from the judges were overall quite positive. Head Judge Shirley stated how there, “[were] some lovely moves’ and it was, “so lovely to see [her] out there enjoying [herself].” Anton Du Beke, on the other hand, thought, “[she] had great characterisation, however [he] does get a twitch every time [he] watches [her] timing.”

Due to these comments and a low voting score from the public, Kaye and Kai were unfortunately the first couple to leave the show on Sunday night after fighting for their place in the Dance Off against Matt Goss and Nadiya Bychkova.

Scores:

Craig Revel Horwood - 4

Motsi Mabuse – 6

Shirley Ballas – 6

Anton Du Beke – 6

MyCharleston – 6

By: Eleanor O’Donnell

Top Three Favourite Charleston Routines In Strictly History

With the return of Strictly Come Dancing’s 20th series this upcoming weekend, there is no better time to reminisce and look back over some the most iconic Charleston routines in Strictly history.

Over the years, there have been so many Twenties-tastic Charleston routines that have a swivelled their way onto our screens and in some cases were even the winning dance-let’s look back over some firm favourites:

Stacey and Kevin: 2018 Semi-Final

First up on the list we have TV Presenter Stacey Dooley and Professional Partner Kevin Clifton who delivered a truly authentic Charleston during the Semi-Final back in 2018 and scored a well-deserved 39 from the judges. Let’s delve a little deeper into why this Charleston stood out over many others.

First and foremost, let’s start with the music. I, for one, absolutely love the tune, ‘Five Foot Two, Eyes are Blue’ and really feel it complements the routine as well as the whole 1920s Jazzy vibe that the Charleston is known for.

After a short opening of setting the scene, the storyline becomes apparent, and we see Stacey and Kevin play the role of an elderly couple reminiscing on their Charleston dancing days back in the 1920s.

After few bars of music, a flashback occurs and the pair spring into action. Charleston content is clearly already at the forefront of this routine; therefore, immersing the audience into the 1920s spirit and preparing us for the jammed packed Charleston adventure the couple are about to embark on.

From 0:21, the audience is immediately greeted with Flapper walks shortly followed by Tick Tocks, Birdie Flaps and Charleston kicks. At 0:33, we see the couple launch themselves into their first of many lifts. The syncopation of the pair throughout this section (and the dance as a whole) was executed to perfection which is one of the reasons as to why it is such an effective Charleston.

At 1:14, we see the pair perform a sequence of Suzy Qs and Helicopters, before their final lift. They then run back to their armchairs which transports the audience back to the present day.

The partnership between Stacey and Kevin was really effective and they both held so much passion for this routine which was lovely to see. Despite Stacey only being a novice dancer, she really epitomised the role of a 1920s Flapper. This, alongside the jam packed routine full of classic Charleston steps really captured the 1920’s flare and provided that authentic feel.

John and Johannes: 2021

Next up we have John Waite and professional Partner Johannes Radebe who made history being the first same-sex male couple to ever participate on the show. Their Charleston, which was choreographed by Jenny Thomas, was set in a French Bakery where they delivered a cheeky and entertaining number to the jazzy tune, ‘Milord’ by Édith Piaf.

It was established from the outset that this routine was going to be a whirlwind of 1920s fantasia with a touch of comedy.

After just a few bars of music, both John and Johannes break into what Anton called, “Baquette-ography,” swivel walks and a brief Can-Can sequence with immense gusto. At 0:50, the tempo of the song changes and for a few moments the pair are seen completing the basic Charleston step in slow motion which made it appear all the more impressive. The pace then quickened, and they went into a series of pushes, Tik-Toks, and Side-to-Side Charleston’s.

In true Johannes’ fashion the routine ended with a comical scene where John pushed a pie into Johanne’s face- therefore providing further entertainment for the audience.

The characterisation that both John and Johannes portrayed was phenomenal and routine included a mixture of solo steps and partner work as well as lots of Classic Charleston steps amalgamated with non-Charleston moves which provided a sense of originality. The choreography chosen for this routine was well suited to John’s dancing abilities making it all the more difficult to differentiate between Professional and Celebrity.

Overall, this Charleston routine received an abundance of positive feedback with very little criticism from both judges and the public audience. One of my favourite aspects of this routine and partnership as a whole was that it was a joy to witness a dance that is over 100 years old, being adapted to suit a modern and progressive world without losing it’s original 1920’s flare.

AJ and Kai: 2021

Finally, we have AJ Adudu and Kai Widdrington who took centre stage with their Charleston number set to the tune, ‘Don’t Bring Lulu,’ by the Dorothy Provine, Pinky, The Girls, back in 2021.

This routine was choreographed by Jenny Thomas, and it was nothing less than iconic. Many people, including myself, thoroughly enjoyed watching AJ and Kai’s Charleston; so much so that the only negative comments were directed at Craig’s scoring and not the dance itself.

The routine begins with both AJ and Kai dressed in their 1920s finery and in the first thirty seconds alone, the audience had already been greeted with an abundance of classic Charleston moves including, Swivel Walks, a lift, Kicks and Cakewalks. At 0:42, we see the couple launch themselves into a series of complex lifts which further enhanced the excitement of the already awe-inspired crowd. The routine then progresses into a perfectly synchronised sequence of 30’s Charleston, Suzy Qs, and a Waterfall, shortly followed by Knocky Knees and Truckin’. The pair then had just enough time for a quick shimmy before Kai lifts AJ into their final pose.

It was clear that AJ really was living her 1920s Flapper girl dream throughout the routine, and it was evidently noticed as Anton Du Beke compared her to, “Josephine Baker,” which might just be the highest compliment a Charleston Dancer could ever receive!  

In the interview with Claudia Winkleman after their performance, AJ stated that she, “[had been] losing confidence in [her] abilities” and how the Charleston was a “physically challenging dance” so, “these comments from the judges have made it even more special as [she] now knows [she] can do anything.”

I can only imagine how many hearts were touched by AJ’s statements as they really do highlight the positive impact dance, (in particular the Charleston), has on so many people. Furthermore, it is a well-known fact that so many individuals struggle with their confidence and to believe in their abilities so watching someone like AJ dance in the way that she did, would have been incredibly inspirational to witness. I firmly believe that through this, she has encouraged so many people to follow their dreams. I think the fundamental message from AJ’s journey dancing the Charleston, is the idea that anyone can achieve anything if they put their mind to it and this is why AJ and Kai’s Charleston is my all-time favourite in Strictly history.

So, there we have it, my top three favourite Charleston routines. Which was your favourite? Let us know in the comments below as we’d love to hear your thoughts!

By: Eleanor O’Donnell

Charleston at Dzaleka refugee camp

One hour outside Lilongwe, the capital city of Malawi (a country of twenty million in Southern Africa) is Dzaleka refugee camp. Originally built in 1994 to home 10,000, the camp now holds over 50,000 refugees and asylum seekers, mostly from the Democratic Republic of Congo, Ethiopia, Burundi, and Rwanda. The camp is known for its incredible Tumaini festival held in November each year; Tumaini means 'hope' in Swahili and this is definitely what I experienced when I held a Charleston dance taster class there.

Some of the refugees generously shared stories of how they were forced to leave their homes as children, without knowing where their parents are, if they are still alive and if they could ever find them again. They explained how they are not legally allowed to work in Malawi so instead 'volunteer' for a stipend or trade services and skills. Fire (our host, whose name definitely mirrors his dancing skills!) told us how important the arts are for people in the camp. He volunteers with the refugee-established Dzaleka Dojo, a group who support the refugees to be physically and mentally healthy. They have a team of trained yoga teachers, as well as karate, ballet and acrobatics classes. The age range in the room was beautiful to see; young children dancing alongside their parents and elders.

"Most refugees passed through overwhelming situations such as conflicts, wars, violence and death. In the same camp, refugees may live with the very people who caused violence in their home countries and made people flee. Our activities are inclusive; everyone can join us regardless of their background. When refugees meet together it builds a peaceful coexistence and allows them to collaborate and foster compassion."

I loved how his ethos reflected what I learned from my dear friends at MyCharleston. I spent two wonderful years dancing with Elena and Fiona in Brighton and over Zoom and it is amazing to see their focus on mental health and the positive social impact of dance reflected in such a different context here in Malawi.

I wish everyone could experience dancing the Charleston with this group of refugees; their whooping, posing and facial expressions would show Josephine Baker a thing or two! I am also joining the MyCharleston team of teachers and starting classes in the capital city- Lilongwe, where I live- but I think the highlight of my teaching experience will be visiting this talented crew of dancers and performers. 

Thank you to Fire, Elena and Fiona for inspiring me!

Written by Rachel Dixon

To find out more about Rachel’s work in Malawi, please visit her Facebook page

The Shorty George

The Shorty George is a classic dance move that appears in Solo Jazz and Lindy Hop. The name derives from the African -American Lindy Hop dancer “Shorty” George Snowden (4 July 1904 – May 1982) who devised the step to add comedy to his Lindy Hop dancing. With his partner, Big Bea, the couple would use their difference in height to comic effect and his signature walk was born in the 1930s

There is little footage of the original move but we have collected various videos of The Shorty George. From the founding members of the Solo Jazz movement to contemporary dancers, you will see how it’s been stylised since its inception and evolved to help you practice.

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Full breakdown of the Shorty George with Frankie Manning

Frankie Manning is considered one of the founders of Lindy Hop along with George Snowden and many other dancers from the Savoy Ballroom from the 1930s. This is the perfect place to start if you want to learn the step from one of the founding members of the Lindy Hop and Solo Jazz genre. In this clip from 1995 Frankie Manning and Erin Stevens break down the step in their tutorial of the Shim Sham routine from 34 mins into the video. Frankie in this video is around 80 years old and still dancing!

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Fred Astaire & Rita Hayworth’s tribute to the Shorty George through Tap Dancing

Taken from the film You Were Never Lovelier, this is an interesting clip as we see the move not only transitioning into Tap Dance but also becoming a mainstream move and popularised by one of the most famous dancers in modern history, Fred Astaire.

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Remy Kouakou Kouame and Ryan Francois

Jumping forward to the modern day, we still see the move performed in music videos. In this video dancers Remy Kouakou Kouame and Ryan Francois pay tribute to two other original dancers from the Savoy Ballroom Al Minns and Leon James. These dancers show off many Solo Jazz and Charleston steps with perfect precision including the Shorty George at the end of the film.

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Ksenia Parkhatskaya

Ksenia Parkhatskaya is one of the best known Jazz & Swing Dancers on the circuit today and has put together her own tutorial of the Shorty George which gives another perspective on how the move can be stylised.

MyCharleston and the Shorty George

If you need some help to start practicing the move, here is Elena from MyCharleston drilling the Shorty George. Why not try dancing along with her?

We would love to see your own interpretation of the Shorty George so please email us at hello@mycharlestondance.com any clips you want to share with us.

Charleston Dancing in the Park

Join us for a fun dance in the park on 4th September, 11am at St Ann’s Well Gardens, Hove.

A great way to dance and reconnect with our wonderful community since our summer break. Also a great way to try out the Charleston if you’re thinking of joining one of our September courses. The session is suitable for all levels, including beginners and no partner required.

The Charleston dance session will last approx 45 mins with teachers Morgan and Elena.

£5 per person. Please bring cash or card on the day.

If you would like to attend please add your name to the list here:
https://forms.gle/xZNJ3KDFWGairjtMA

Videos: Watch the Autumn Routines

We are so excited to be back in the studios and online with our new routines from 12th September!

Charleston to the Walkin’ Blues or dance like Bad Guys with our new Bugsy Malone musicals course. Learn Beyonce’s Single Ladies at Street Jazz or some 1920s advanced moves in our Smooth Sailing Intermediate Charleston course.

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CHARLESTON COURSE - THE WALKIN’ BLUES

We’re excited to be teaching this routine again. A fun and upbeat routine to The Walkin’ Blues - a jazzy tune inspired by 1930’s Charleston.

BRIGHTON & HOVE LEWES WORTHING PORTSMOUTH ONLINE

Course Dates:

Brighton: Charleston Course. Monday 12 Sept - 17 Oct, 7.30 - 8.30pm, The Dance Space

Hove: Charleston Course. Tuesday 13 Sept - 18 Oct, 6-7pm, Open Space Studio

Hove: Charleston Course. Thursday 15 Sept - 20 Oct, 10.30 - 11.30am, Open Space Studio

Lewes: Charleston Course. Tuesday 13 Sept - 18 Oct, 6.30-7.30pm, The Body Workshop

Portsmouth: Charleston Course, Tuesday 13 Sept - 18 Oct, 7.30-8.30pm, Kings Church

Worthing: Charleston Course. Wednesday 14 Sept - 19 Oct, 7-8pm

Online: 6 week Charleston Course. Open Level via Zoom. Monday 12 Sept - 17 Oct, 6pm BST

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MUSICALS COURSE - BUGSY MALONE BAD GUYS

A new routine for our musicals course this term. Inspired by the choreography from Bad Guys in Bugsy Malone, this one will be a lot of fun and we’re looking forward to teaching it. Get those suits and newspapers at the ready!

HOVE ONLINE Portsmouth

Online: 6 Week Musicals Course via Zoom. Monday 12 Sept - 17 Oct, 7pm BST

Hove: Musicals Course. Tuesday 13 Sept - 18 Oct, 7-8pm

Portsmouth: Musicals Course, Wednesday 14 Sept - 19 Oct, 7.30-8.30pm, Eastney Community Centre

STREET JAZZ - BEYONCE, SINGLE LADIES

We’ve only taught this routine online so we’re really excited to be teaching it in studio. Although released over 14 years ago, this song is still such a hit today and we’ll be teaching all the iconic moves and attitude from it which makes it so fab to dance to.

Hove: Street Jazz Course. Thursday 15 Sept - 20 Oct, 6-7pm, Open Space Studios

BOOK NOW

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INTERMEDIATE CHARLESTON - SMOOTH SAILING

On our next Intermediate Charleston course we'll be teaching a solo jazz classic - Smooth Sailing - fun and a real joy to dance.

Hove: Intermediate Charleston. Thursday 15 Sep - 20 Oct, 7-8pm, Open Space Studios

BOOK NOW

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Our Summer Routines 2022

you can now view our summer performance videos. Well done to everyone who danced, especially in the heat!

Charleston Open Level - In the Mood

This fantastic Charleston routine combines 20's and 30's Charleston style with classic solo jazz moves. We have a full playlist of 8 different classes performing the routine in studio and on Zoom.

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Charleston - Intermediate Level - The March Band

This routine captures the playful, cheeky style of the Charleston dance. In the routine the dancers take on the characters of clockwork toys in a marching band, they finally wind down at the end of the piece!

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Musicals ‘Mein Herr‘ Cabaret

A powerful and sensual chair dance which takes inspiration from Bob Fosse's dance routine Mein Herr. This routine was performed by our Musicals group in Brighton.

Bookings for our Autumn are now live! You can view all the upcoming routines and dates on our class page below.

Born This Way - Street Jazz Routine

This punchy and powerful dance routine was choreographed by Fiona as performance piece at Also Festival. She wanted to express the anger, joy and sense of liberation which the lyrics evoke. This routine was performed by our Street Jazz group in Brighton.

Next Term

We've been busy in the studio preparing our next 4 routines starting in September and we are happy to share that the following course routines are:

• Open Level Charleston - Walkin' Bllues

• Intermediate Level Charleston - Smooth Sailing 

• Musicals - Bad Guys, Bugsy Malone

• Street Jazz - Single Ladies