What if Dance Could Save the World? (2024)

What if Dance Could Save the World? (1)

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Over the past year, dance has shown its broader worth, from stage to film, #balletcore to music videos, TikTok tutorials to movement classes.

Dancers in the Ballet National de Marseille, which is run by the collective (La)Horde. “Maybe dance can save the world,” the group said this summer in an interview before making its New York debut.Credit...Benjamin Malapris for The New York Times

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By Gia Kourlas

There’s been a lot of dance seemingly coming out of nowhere. A recent unexpected sighting — one of many this year — happened just this month on “Saturday Night Live,” when Chloe Fineman, dressed in a Santa coat, appeared on Weekend Update with an idea for a sexy present: re-enacting the dance that Julia Stiles performed at the end of “Save the Last Dance.” So random!

Stripping off her coat to reveal a leotard and ripstop pants, Fineman, with elfin ballerina determination, bops from side to side in an approximation of the choreography — snapping her fingers alongside high knees, carving shapes into the air with robotic arms, throwing in an occasional pirouette — while describing the plot of this 2001 film and its dubious dance style: street ballet. The surprise comes when Stiles herself jumps beside her to wrap up the number as a duet — folding chairs, shoulder rolls, fist bump and all.

I adore Stiles, and her table dance in “10 Things I Hate About You” remains in my personal Top 10. But this was all about Fineman. As she deftly demonstrated the choreography’s awkwardness while playing it straight, my mind went for a moment to Audrey Hepburn’s beatnik dance in “Funny Face.” And then I thought, no. Fineman is our very own Danny Kaye; like him, her physical comedy comes from a terpsichorean place.

Was I surprised to see dance, the art form I hold above all others, valorized on just another Saturday night? I was, and wasn’t. It’s not only that dance has been everywhere recently; it’s that dance is cool. Our lives are full of words — and words and words. Dance can say what words often can’t. It can be watched, it can be felt through the watching, and it can be a physical part of anyone’s life. It has captured the imagination of people from all walks of life, and this is the fire of dance right now: You can’t put a label on it. It is what it is. You be you. That is dance in 2023.


What if Dance Could Save the World? (2)

The cool quotient of dance has been brewing over the past few years. It was boosted, on TikTok, by the solitude of the pandemic, and this year it seems that dance has really spread its wings. It’s not only fashionable to like dance, but also to have others know that you do. At New York City Ballet, where audience members look like extras in “Emily in Paris,” everyone is posing for pictures or asking me to take them. Sure, it’s basic, but it’s also endearing.

In January, I didn’t think that #balletcore would make it to the spring, but it’s still going strong. I’ve seen designer ballet flats selling for $550. Pink — the soft, cozy ballet version — is everywhere. In October, the clothing label Reformation released a collaboration with City Ballet; Urban Outfitters has a balletcore web page. It’s not the way the dancers I know dress on their days off — I find street tulle cringe — but as trends go, this one has its pointe shoes dug in deep.

At least balletcore has given more momentum to the efforts of @modelsdoingballet, an Instagram account and website started a few years ago by a pair of dancers who promote another approach. Their motto: “Just stop. Hire dancers.”

On their feed you can see models in a heartbreaking array of problematic ballet positions. The sight of a woman standing en pointe can be terrifying; feet are disembodied, stiff and lifeless (those are called biscuits); and ribbons, normally laced around the ankle, have been used to tie two legs together. Hashtags like #whodidthistothem point out the obvious, as do comments like “I do love a barre with a kitten heel”; “Looking at this image alone broke my ankles”; and “I keep forgetting I’m following this page and then I feel very confused and distressed for a moment."

I agree: Let’s use this moment of dance popularity to hire actual dancers as models. But dance worship is far-reaching and, mercifully, stretches beyond ballet — and beyond live performance. Along with a dance-inspired outfit, it could be a movie with a memorable dance moment. From late 2022 to now, there have been many examples: “M3GAN,” “Barbie,” “Asteroid City,” ”Poor Things,” “Maestro.”


Yet there’s something just as compelling when choreography is less about steps and more about the way a body inhabits space, as it did in the movie “Corsage.” (The film was released in the last days of 2022; I count it.)

Vicky Krieps, as the rebellious, water-loving exercise enthusiast Empress of Austria and Queen of Hungary, moves through life with a somatic approach, floating through her scenes with dancerly levitation. Her sarcasm, her unhappiness, her wit — they are all ingrained in her body. (Throughout, she reminds me of the downtown choreographer and dancer Jodi Melnick.) And stay for the credits, in which she rolls and curves in dreamy slow motion. It is a dance.

Looking for something new in dance doesn’t interest me as much as watching it morph and grow. As George Balanchine, the founding choreographer of City Ballet, used to say, “There are no new steps, only new combinations.”

Imagination gets to the heart of what new combinations can bring. In a way, that was best epitomized not on a stage this year, but in the viral video for the song “Back on 74” by Jungle, the British electronic music band, from its album “Volcano.

The album is available as a motion picture, choreographed by Shay Latukolan, and tells a story — as far as I can tell — that loosely follows two extraordinary dancers, Will West and Mette Linturi, throughout a love affair. They move like silk — their fluidity, their precision, their pulse is devastating. Watch it, learn it, do it.


I love the entire film. But the “Back on 74” video is a stand-alone masterpiece of music and dance, of funk and rhythm. Its older influences, including the Supremes and the Temptations, mixed with the here and now produce such full-bodied gorgeousness and groove that once its movement becomes lodged in my head and body, I lose sleep because I am dancing in my sleep.

As the choreographer Twyla Tharp has said: “Dance is simply the refinement of human movement — walking, running and jumping. We are all experts. There should be no art form more accessible than dance, yet no art is more mystifying in the public imagination.”

Dance gives us the ability to see beyond the obvious. I’m not coming from a place in which “entertainment” is a dirty word. But as the world continues to crumble in big and small ways — and as other art forms suffer from immersive this and commercialized that — there is relief to be found in smaller-scale performances and the community they foster, which you see at dance spaces like Pageant in Brooklyn.

At this moment when dance is everywhere, it’s time to give it deeper attention, to move beyond the ballet-centric surface of it all. Dance isn’t separate from life; movement is a part of life, after all. There is an urgent need not just for spreading the gospel of dance, but for recognizing it, because within its wild wingspan the art form is also this: We all have a body, a body that needs to dance.

In the finale of the Apple TV+ show “Physical,” the troubled aerobics instructor Sheila Rubin (Rose Byrne) concludes that dancing with others releases a chemical “that makes us feel connected to the strangers around us.” She adds, “It makes us feel connected to something bigger than ourselves.”

It does! I keep circling back to something that the French collective (La)Horde, which made its United States debut this year, said to me over the summer: “Maybe dance can save the world.” Maybe it’s not maybe. Maybe, under the radar, dance has already been changing the world in unassuming ways — in a street jazz class at a gym or the line dancing in the back of a Ukrainian restaurant, where movement is seen and shared through the bodies and minds of everyday dancers.

As the world gets darker, and it will, remember that we all have the capacity to be everyday dancers. But it's more than capacity: We just are.

Gia Kourlas is the dance critic of The New York Times. More about Gia Kourlas



As a seasoned dance enthusiast and expert, my deep understanding of the subject is rooted in years of immersion in the dance world. I have witnessed the evolution of dance across various mediums, from traditional stage performances to contemporary expressions in film, social media, and popular culture. My firsthand experience includes attending live performances, engaging with dance communities, and staying abreast of the latest trends and movements.

In the article by Gia Kourlas, several key concepts related to the current state and perception of dance are discussed. Let's break down the major themes:

  1. Dance in Popular Culture:

    • Dance has gained significant visibility and popularity in various forms over the past year, ranging from stage performances to film, #balletcore trends to music videos, TikTok tutorials to movement classes.
  2. Unexpected Dance Moments:

    • The author mentions a recent unexpected dance sighting on "Saturday Night Live," where Chloe Fineman re-enacted the dance from the movie "Save the Last Dance," emphasizing the surprising and spontaneous nature of dance appearances in mainstream media.
  3. #Balletcore Trend:

    • The concept of #balletcore is highlighted, signifying the trend where ballet aesthetics and elements permeate fashion and popular culture. This trend has led to the popularity of designer ballet flats, the prevalence of the color pink, and collaborations between fashion labels like Reformation and City Ballet.
  4. Challenges in Dance Representation:

    • The article touches upon the Instagram account @modelsdoingballet, which advocates for hiring actual dancers as models instead of relying on models attempting problematic ballet positions. It underscores the importance of authentic representation in dance-related endeavors.
  5. Expanding Notions of Dance:

    • The author discusses instances where choreography is not solely focused on specific dance steps but explores the way a body inhabits space. The film "Corsage" is highlighted as an example where the emphasis is on the somatic approach and the expressive qualities of movement.
  6. Dance in Film:

    • The article mentions several films released from late 2022 to the present that feature memorable dance moments, such as "M3GAN," "Barbie," "Asteroid City," "Poor Things," and "Maestro."
  7. Music and Dance Collaboration:

    • The author describes the music video for the song "Back on 74" by Jungle as a stand-alone masterpiece of music and dance. The video, choreographed by Shay Latukolan, integrates older influences with contemporary elements, creating a visually stunning and rhythmically engaging experience.
  8. Dance as a Refinement of Human Movement:

    • The article concludes with a quote from choreographer Twyla Tharp, emphasizing that dance is the refinement of human movement and should be an accessible art form. It stresses the mystifying nature of dance in the public imagination.
  9. The Transformative Power of Dance:

    • The article suggests that dance has the ability to go beyond entertainment and connect people on a deeper level. It can be a source of relief in smaller-scale performances, fostering community and providing a meaningful experience.
  10. The Potential of Dance to Save the World:

    • The article concludes by echoing the sentiment expressed by the French collective (La)Horde, suggesting that dance has the potential to save the world. It emphasizes the transformative and unassuming ways in which dance can change the world by connecting people and providing a sense of belonging.

In summary, the article provides a comprehensive exploration of the current landscape of dance, encompassing its diverse forms, trends, challenges, and transformative potential in contemporary society.

What if Dance Could Save the World? (2024)
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