Mad Hot Ballroom Essay

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They were required to learn about the country of origin of each of the dances, to learn dance terms and to keep a journal, which was graded at the end of the term and became part of their mark in athletics. Both of those dances are livelier than the tango which calls for style and attitude.

They were also asked to teach each of the dances to someone else. The ballroom tango, they learned, originated among the lower classes in Buenos Aires, Argentina during the 19th century.

Their literature states: "The dance is a tool for getting the children to break down social barriers, learn about honour and respect, treat others carefully, improve self-confidence, communicate and cooperate, and accept others even if they are different." It "changes the lives of the teachers and parents who support these children." ( Part of the credit for the recent popularity of ballroom dancing goes to Masayuki Suo's 1996 Japanese movie Shall We Dance? In that movie a middle-aged man discovers that ballroom dancing fills a need for something missing in his life.

Mad Hot Ballroom (2005) is a movie about 6,000 kids from 60 schools in New York City who learned ballroom dancing and competed for achievement awards for their schools.

But none of them received as much attention -- or made as much money -- as "March of the Penguins" or "Mad Hot Ballroom," two movies that typify what might be called the Hollywood-style documentary, or the genre documentary.

The genre documentary supplies the emotional and narrative satisfactions associated with popular commercial cinema, mining its material directly from the real world rather than synthesizing it according to screenwriting formulas.

You must learn to observe your partner well and accommodate to their level of skill, physical dexterity and moods.

It teaches respect for others no matter how different they are from you.

When critics want to praise the realism of a fictional film, they sometimes liken it to a documentary.

But as filmmakers and distributors have discovered the commercial potential of nonfiction movies, the comparison more often runs in reverse.


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