Video transcript
Teaching dance to primary students - 1. Jazz with Kate Ridge

KATE RIDGE: So today, we are doing a jazz class at the Sydney Dance Company studios with the arts unit, and I'm teaching jazz to the year five and the year six students from public schools all around New South Wales. Some have come from far away and they're all-- you know, a few of them are staying in the city. It's a really exciting environment. The buzz is great. They're ready to go, excited to dance.

How amazing are these studios, right? OK, let's learn some names. A nice upbeat, fun, rejoiceful, routine, they just danced their hearts out, had a good time. It was really about that, just being free, dancing, loving what we do, having a good time.

Dance sometimes gets quite intense and disciplined and demanding, and I think it's really important to keep it fun and full of energy and yeah. We had such a good time. I had such a good time. But yeah, my goal for them today was to dance their hearts out, break a big sweat, just have fun, get to know each other, and dance at the same time at this beautiful facility.

My classes are always structured with a good warm-up at the beginning and a stretch. We do some challenging conditioning for them. I try to keep them accountable for, you know, those times they want to slack off. Let them know we're all in it together. We stretch and then we do some technique progressions, usually across the floor, working on our foundational technique, stretching our legs, pointing our toes, high relevés, our posture.

And then usually, from there, we go into a choreography combination where I teach them-- usually in a setting like this, quite quickly-- a good chunk of choreography so that they can learn to catch onto different styles quickly, and yeah. And then we just dance and dance and dance until we run out of time. One, two, three, four, then you kick your face. Don't really kick your face.

And it's good. I think it's important to keep the energy consistent all the time. Don't let them have too long of breaks. I don't think they really need them. You know, we definitely need to hydrate and they have those quick water breaks, but that's all they need. They don't need to go outside and go for a walk or go to the bathroom.

It's only an hour and a half, so yeah. It's fast-paced. I try to keep it really energetic the whole time and keep them on their toes and throw out crazy sayings here and there, you know, just to keep them awake and on their toes and engaged the whole time. And stretch, stretch, relax this hand.

Keep drilling the foundations. I think we're in a society where it's all about instant gratification for these kids. And taking them back to the basics, making sure they understand we have steps to our goals, not throw something out there that they are not ready for. Sometimes they don't like that, when you say, we're going to start from the ground and work our way up. But that's how we get what we want. You know, that's how we get perfect technicians and dancers that really push themselves.

And then you can challenge them more once they're ready. You know, they want-- can I do flips across the floor? Can I do my fouettés now? And it's like, well, how's your single pirouette going? You know, so keeping them grounded and understanding that there's steps to where they want to go, and not being too hard on them when they're so young. You know, keeping it something that they're enjoying but also building their discipline because dance is a discipline.

I think my training is so foundational. So I think, for me, the process is to always bring them back to that, and always appreciate why we're here. And for so many people, dance is the escape. And this is where we come, and we just let everything in the outside go, and we come and we have a good time, surround ourselves with another family. Dance is always like a family, you know. And these people, they're bound to meet those students again somewhere.

I mean, they'll be with them for the next two days, but a lot of them just came not knowing anybody. You know, so for a lot of people, dance is the place to go where they feel safe and they feel another family, and then they get to train and be disciplined all together.

And I think that's so much more important than 24 pirouettes, just to give them something that is their escape and their love. And they develop that at such a young age, especially with dance. They just fall in love with it. And you can tell that these dancers are in love with what they're doing, and it's really awesome to see it. Yes. Good girl. And switch partners.

All the kids were awesome today. The energy is different from year five to year six. And I think having them separated was good because I think the year fives might be a little bit more intimidated by the year sixes, and they bring such a fresh, hungry energy. And then the year sixes, surprisingly, were a little bit more composed. And you know, the year fives are a little wild. So it's cool to see the dynamics and to kind of bring them out of their shells.

From the beginning of class, they were very quiet and respectful. And once we get to know each other's names and we can say hello and dance around each other and smile at each other, that just brought them to life. And I think that's important, that they don't just sit there and say, oh, yes, teacher or no, teacher. You know? That they get to just shine, each within their element.

We get to see who they are for an hour and a half. You know, I get to see who they are, and they did so well. They worked so hard. I pushed them pretty hard today, so it was great. Yeah, it was really good. My name is Kate. Good afternoon.

STUDENTS: Good afternoon, Kate.

KATE RIDGE: Lovely. Let's do a little stretch, and then we'll get to dancing. Just follow along.

[music - ben rector, 'brand new']

Jog with me.

BEN RECTOR: (SINGING) I feel like new sunglasses, like a brand new pair of jeans. I feel like taking chances. I feel a lot--

KATE RIDGE: Jumping jacks, here we go! Face the side. Face the back.

BEN RECTOR: I feel like windows rolled down.

KATE RIDGE: Face the side.

BEN RECTOR: New city streets and cabs.

KATE RIDGE: Back to the front.

BEN RECTOR: I feel like anything can--

KATE RIDGE: Four more. Four, three, two. Stretch it up, and up.

BEN RECTOR: --we were kids.

KATE RIDGE: Two more.

BEN RECTOR: Never thought I'd feel like this.

KATE RIDGE: Circle your head to the right.

BEN RECTOR: Like when I close my eyes and don't even care if anyone sees me--

KATE RIDGE: And left.

BEN RECTOR: Like I can fly, and I don't even think of touching--

KATE RIDGE: Arms out, stretch to the right.

BEN RECTOR: Like a heartbeat skip, like an open page, like a one-way--

KATE RIDGE: Beautiful. Flat back.

BEN RECTOR: It's the way that I feel--

KATE RIDGE: Take it down.

BEN RECTOR: --with you, brand new.

KATE RIDGE: To the middle. Plié, and straight. Plié. Roll your bodies up.

BEN RECTOR: --John Cusack, like making big mistakes.

KATE RIDGE: Stretch left.

BEN RECTOR: I feel like, for the first time in a long time--

KATE RIDGE: Flat back.

BEN RECTOR: I am not afraid.

KATE RIDGE: And down.

BEN RECTOR: --a kid. Never thought--

KATE RIDGE: And to the middle.

BEN RECTOR: -it'd feel like this.

KATE RIDGE: Plié.

BEN RECTOR: Like when I close my eyes--

KATE RIDGE: And straight.

BEN RECTOR: --even care if anyone sees--

KATE RIDGE: Again, plié.

BEN RECTOR: Like I can fly.

KATE RIDGE: And straight. Walk your hands out.

BEN RECTOR: Like a heartbeat skip, like an open page, like a one-way trip--

KATE RIDGE: Feet together, bend the right.

BEN RECTOR: It's the way that I feel.

KATE RIDGE: And switch, and switch, and switch. Push both heels down.

BEN RECTOR: Time will always try to make us--

KATE RIDGE: And walk your feet up.

BEN RECTOR: You remind me--

KATE RIDGE: Plié, roll out.

BEN RECTOR: --used to know.

KATE RIDGE: And right leg back in a lunge. Straighten that right leg nice and strong. Straighten both legs out. And lunge.

BEN RECTOR: Like when I close my eyes and don't even care if anyone sees me--

KATE RIDGE: And up.

BEN RECTOR: Like I can fly, and don't even think of touching the ground.

KATE RIDGE: And lunge. Set the knee down, reach for that foot.

BEN RECTOR: Like a one-way trip on an aeroplane. It's the way that I feel when I'm with you, brand new.

KATE RIDGE: Let it go. Straighten up. Flex the front foot. Turn and face the middle.

BEN RECTOR: I feel brand new.

KATE RIDGE: And turn and face the back.

BEN RECTOR: I feel brand new. I feel brand new.

KATE RIDGE: And lunge down, facing the back. Keep that back leg nice and straight. Front heel should be flat on the floor. Nice. Good work, you guys. Straighten both legs.

[music - aanysa x snakehips, 'burn break crash']

And lunge.

AANYSA: (SINGING) Just for a moment, I went along and lost my focus. You already know this, 'cause in a blink of an eye--

KATE RIDGE: Straighten up.

AANYSA: Yeah. Did I mention I was not paying attention when you looked my direction. And in a blink of an eye--

KATE RIDGE: And lunge. Set the knee down. Reach for that foot.

AANYSA: Watch out where you're going. But I still made the same mistakes.

KATE RIDGE: Very good. Let the foot go. Straighten both legs. Flex the front foot.

AANYSA: --do is keep on crashing into you.

KATE RIDGE: Face the middle.

AANYSA: Yeah, all I want to do--

KATE RIDGE: Face the front.

AANYSA: --is keep on crashing into--

KATE RIDGE: Bring the feet together. Plié, roll up.

AANYSA: --burn, break, crash, explode.

KATE RIDGE: Good. Have a seat.

AANYSA: Every time you look at me, you look at me, I know. Yeah, I want to burn, break, crash--

KATE RIDGE: Feet together in the front like a butterfly. Roll it up. Legs in second. Sitting up nice and tall. Are you smiling? Are you breathing? Point your feet. Stretch to the right.

AANYSA: --I'm not dreaming. I can't escape you. I try, but I can't hate you. No, it's not my nature.

KATE RIDGE: Good. Now, nose to your knee.

AANYSA: Mama said to look-- same mistake without--

KATE RIDGE: Stretch forward.

AANYSA: --knowing. Now all I want to do is keep on crashing into you.

KATE RIDGE: Good. Roll your bodies up. Point those feet. Stretch left.

AANYSA: --crashing into you. Yeah, I want to burn, break, crash, explode every time--

KATE RIDGE: And up. Nose to your knee.

AANYSA: --I know. Yeah, I want to burn, break, crash, explode every time you look at me, you look at me, I know.

KATE RIDGE: And into the middle. Try and keep those knees up to the sky. Feet are pointed.

AANYSA: Yeah, all I want to do, all I want to do, is keep on crashing into you.

KATE RIDGE: That's it. Roll it up. Shake it off. Feet together. Point those beautiful feet. Reach up, reach for the toes.

AANYSA: --the same. I can't stay and I can't go. Oh, it's out of my control.

KATE RIDGE: Good. Now flex.

AANYSA: Going up in flames. Yeah, I want to burn, break, crash, explode every time you look at me, you look at me, I know. Yeah, I want to burn, break, crash, explode.

KATE RIDGE: That's it, good. All right, on your backs. Right knee into your chest.

AANYSA: --is keep on crashing into you.

KATE RIDGE: And cross it over.

AANYSA: All I want to do, all I want to do, is keep on crashing into you, into you.

KATE RIDGE: Turn it out. Let that knee fall down to the side. Now lift up, grab underneath the left leg and pull it into your chest.

STUDENTS: Oh.

KATE RIDGE: Oh, yeah. It's good, huh?

[music - shawn mendes, 'there's nothing holdin' me back']

SHAWN MENDES: (SINGING) I want to follow where she goes.

KATE RIDGE: Switch.

SHAWN MENDES: I think about her and she know it.

KATE RIDGE: And cross it over.

SHAWN MENDES: I want to let her take control, 'cause every time that she gets close, yeah--

KATE RIDGE: Turn it out.

SHAWN MENDES: She pulls me in enough to keep me guessing.

KATE RIDGE: And lift it up.

SHAWN MENDES: Maybe I should stop and start confessing, confessing, yeah. Oh, I've been shaking. I love it when--

KATE RIDGE: Switch.

SHAWN MENDES: --go crazy. You take all my inhibitions.

KATE RIDGE: Straighten the right leg up.

SHAWN MENDES: --nothing holding me back. You take me places that tear up my reputation, manipulate my decisions. Baby--

KATE RIDGE: And flex and plié for one, two, three, and extend, four, five, six, seven, and a flex plié. One, two, three, and point, extend, five, six, seven. One more time. Plié, two, and three, and point, extend, five, six, and hold it there. Are you breathing? That's good. Take it out to second position.

SHAWN MENDES: --into hesitations. Pulls me in enough to keep me guessing.

KATE RIDGE: You're doing great. And flex plié on one, two, three, and point, extend on five, six, seven. One more time. Plié on one, two, three, and extend up, five, six. Cross it over.

SHAWN MENDES: You take me places that tear up my reputation, manipulate my decisions.

KATE RIDGE: And extend the leg all the way around, down to meet the left. Left leg in. Straighten it out.

SHAWN MENDES: --holding me back.

KATE RIDGE: Stay down. Oh, what's happening here? Up, flex, plié, one. Plié and bend, bend, bend. And point, extend, five, six, seven. Good girl. Plié on one. You hold onto it. Three, four, extend to five, six, seven, eight. One more time, plié. Are you breathing? Yes? Good girl. Straighten. Hold it there.

SHAWN MENDES: --be all right. If you were by my side--

KATE RIDGE: Good girl.

SHAWN MENDES: --and we stumbled in the dark, I know we'd be all right.

KATE RIDGE: Take it out to second.

SHAWN MENDES: --all right. Oh, I've been shaking. I love it when you go crazy. You take all my--

KATE RIDGE: Bring it out to the side. That's it. Straighten that leg down. There we go. Good girl. You OK? Good. That's good. And a flex, plié, one. Bend, bend, bend, bend, bend. Three, point, extend on five, six, seven. Good. You feel the stretch? Plié, two, three, and point, extend on five. Let's get those hips even.

SHAWN MENDES: Baby, there's nothing holding me back.

KATE RIDGE: Now you're going to keep the legs straight and cross it over your body. Point that foot. Thank you.

[music - portugal. the man, 'feel it still']

Feel a nice stretch in your IT band, keeping that foot nice and pointed and the knee nice and straight, a beautiful fan all the way around. Are you breathing? Oh, my goodness. All the way down to meet the other foot. Very good. All the way down. And right split.

PORTUGAL. THE MAN: (SINGING) Oh, I'm a rebel just for kicks now.

KATE RIDGE: So we're leaning right leg forward, left leg back.

PORTUGAL. THE MAN: Might be over now, but I feel--

KATE RIDGE: I'll start counting when we all get in our splits.

PORTUGAL. THE MAN: Oh, I'm a rebel just for--

KATE RIDGE: Split, split, split. Right leg forward, left leg back. Oh, sorry.

PORTUGAL. THE MAN: Got another mouth to feed.

KATE RIDGE: That's it, good.

PORTUGAL. THE MAN: Leave her with the babysitter, mama.

KATE RIDGE: Are you all breathing and smiling? Are we happy? We love splits, don't we? Best feeling in the world. Practise makes perfect.

PORTUGAL. THE MAN: --like it's 1966 now. Might have had your--

KATE RIDGE: OK, let's switch, left side. Good work, you guys.

PORTUGAL. THE MAN: Oh, I'm a rebel just for kicks now. Let me kick it like it's 1986--

KATE RIDGE: Point that foot. Thank you. Where's your split? Are we lefties? I feel like we're lefties in the room.

STUDENTS: [inaudible]

KATE RIDGE: I think you're probably a both.

STUDENTS: I'm a righty.

KATE RIDGE: You're a righty? You're almost there, stay strong.

PORTUGAL. THE MAN: We could wait until the walls come down. Oh, I'm a rebel--

KATE RIDGE: That's it. Good job, guys. And relax. Everybody's favourite, centre. Woo! Here we go. Five, six, seven, hit it with a split. Centre split. Up and over, hips in line with the feet.

PORTUGAL. THE MAN: Is it coming? Is it coming back?

KATE RIDGE: We're all in this together.

PORTUGAL. THE MAN: Oh, I'm a rebel--

KATE RIDGE: That's it. Don't forget to breathe. Hold your tummies tight.

PORTUGAL. THE MAN: Might be over now, but I feel--

KATE RIDGE: Come on. 10, nine, eight, seven, six, five, four. You can do it! Three, two, and relax. Ah, good. Good job, guys. We're going to do some abs. On your backs. Feet are flat on the floor. Let's get the best abs song ever. I'm sorry because I sing a lot. Like-- and it might not be in tune. Oh, come on. Here we go.

[music - tori kelly, 'nobody love']

Hands are behind your head, elbows are out, eyes to the sky. Ready? Here we go. Crunch it up, and up, down, up. Just a crunch. Up, up, up. That's it. Good. And up. Don't forget to breathe. Don't forget to smile.

TORI KELLY: (SINGING) But we ain't going anywhere tonight.

KATE RIDGE: Seven, now feet up. Go one, and two, and three, and four. Elbows out, eyes to the sky. Six and seven. Now straighten them up. Up and up and up. That's it. Are you breathing? Phew. Six, seven. Now you take the right leg down for two and up for two while you crunch. Up, and up. Good work. And right leg down for two.

Bring it up. Left leg, go one, and two, and up. Keep the legs up. Crunch it cup. Come on now. Two, three, five, six, seven. Now bend the legs. Go eight, seven, six. Don't give up! Come on, five, seven. Now feet are flat. Go up and up and up, up. Feet down, feet down. Feet flat. Your feet flat on the ground. Keep going! You're almost there.

TORI KELLY: --say I hate you, but I always stay.

KATE RIDGE: Five, six. Now you're going to reach across. We go across, across, reach right, and left.

(SINGING) Ain't nobody crunch. Ain't nobody crunch like you-oo-oo-oo. Do you love your abs? Oh, yeah. It feels so good.

Three, two, and one. Stretch it out. Very good. Roll over onto your tummies. We're going to do a plank all together on our hands and our feet. OK? We've got to wait until Tori Kelly has her moment. So stretch up if you want to. Are you ready? Here we go.

TORI KELLY: Hey! Hey!

KATE RIDGE: Ready, set, go. Tummies are tight. Don't give up! You can do this!

TORI KELLY: Everybody's looking for that new thing. Oh, oh, oh. Oh, oh, oh. Ain't nobody--

KATE RIDGE: Hold it there. You're almost done. Stay strong! No saggy bellies. Don't give up. I saw that. Get up. Come on. You can do it! We're almost there!

TORI KELLY: --like you do. Ain't nobody love, ain't nobody--

KATE RIDGE: Eight more counts. You can do it. Hold it eight, seven, six. Don't give up. Five, four, three, two, and relax. Oh, yeah. Are we warm?

STUDENTS: Yes.

KATE RIDGE: Yes. Good. Grab a quick drink and let's go across the floor. Well done, guys. Can I have six line leaders please? Hands up. One, two, three, four, five, six. Has anybody danced in the Sydney Dance Company studios before? How amazing are these studios, right? OK, let's learn some names. Tell me your name, sir.

STRAWN: Strawn.

KATE RIDGE: Strawn. That's an awesome name. Can we say, hey, Strawn?

STUDENTS: Hey, Strawn.

RACHEL: Rachel.

KATE RIDGE: Rachel. Hi, Rachel.

STUDENTS: Hi, Rachel.

KATE RIDGE: Hey, Strawn.

STUDENTS: Hey, Strawn.

KATE RIDGE: Hi, Rachel.

STUDENTS: Hi, Rachel.

KAYLEIGH: Kayleigh.

KATE RIDGE: Kayleigh, sparkly you are. But she was like, Kayleigh, so let's all go Kayleigh. Hi, Kayleigh.

STUDENTS: Hi, Kayleigh.

KATE RIDGE: Hi, Kayleigh.

STUDENTS: Hi, Kayleigh.

KATE RIDGE: Hey, Strawn.

STUDENTS: Hey, Strawn. Hey, Rachel.

KATE RIDGE: Hi, Rachel.

STUDENTS: Hi, Rachel.

KATE RIDGE: Hi, Kayleigh.

HOLLY: Holly.

KATE RIDGE: Holly? Hi, Holly.

STUDENTS: Hi, Holly.

KATE RIDGE: Hey, Strawn.

STUDENTS: Hey, Strawn.

KATE RIDGE: Hey, Rachel.

STUDENTS: Hey, Rachel. Hey, Kayleigh.

KATE RIDGE: Hey, Kayleigh.

STUDENTS: Hey, Holly.

KATE RIDGE: Hey, Holly. You have to match it. That's how you're going to remember it. You match it, you do something different. Your name?

PEPPA LEE: Peppa Lee.

KATE RIDGE: Oh, wow. Say it again.

PEPPA LEE: Peppa Lee.

KATE RIDGE: Peppa Lee. Hi, Peppa Lee.

STUDENTS: Hi, Peppa Lee.

KATE RIDGE: Hey, Strawn.

STUDENTS: Hey, Strawn.

KATE RIDGE: Hi, Rachel.

STUDENTS: Hi, Rachel. Hey, Kayleigh.

KATE RIDGE: Hi, Kayleigh. Hey, Holly. Hey, Peppa Lee. What a rad name.

FERN: Fern.

KATE RIDGE: Oh, my gosh. Where do these cool names come from? Say, hey, Fern.

STUDENTS: Hey, Fern.

KATE RIDGE: OK, so we've got six names. Tell me.

STUDENTS: Hey, Strawn.

KATE RIDGE: Hi, Strawn.

STUDENTS: Hey, Rachel. Hey, Kayleigh. Hey, Holly. Hey, Peppa Lee. Hey, Fern.

KATE RIDGE: OK, good. I have one rule in my classes. There is one word that you are not allowed to say. Can anybody think of what that word might be? What do you think?

STUDENT: Can't?

KATE RIDGE: How did you know? That's my one rule. Sorry?

STUDENT: It said it on the rules.

KATE RIDGE: Oh, does it? Oh, cool. One rule-- you're not allowed to say that C word. Will you say it one more time? I don't like to use it.

STUDENT: Can't?

KATE RIDGE: Yes. If anybody says that C word, the whole class does 10 push-ups. The whole class, OK? You may be currently unable to do something. But if you say that C word, that gives you a full stop, never going to happen kind of attitude. OK? You may be currently unable to do a clean double pirouette, but that doesn't mean it's not going to happen. Right? Right.

There are some things that maybe you weren't able-- like, maybe I can't be a professional basketball player because I'm only five feet tall and I'm not the best at shooting hoops. I could probably put that C word in that situation. Right? Yeah, maybe? I think so. So I don't want to hear you using that word at all today. Deal?

STUDENTS: Deal.

KATE RIDGE: This is jazz, so let's start out with some jazz walks. You're going to do four to the front. A-one, two, three, four. Four to the side. Five, six, seven, eight. Switch it. One, two, three, four, and a-five, six, seven eight. Front, one, two, three, four. Side five, six, seven. Got it? Here we go. Line it up.

RUPAUL: How do I look?

[music - rupaul, 'looking good, feeling gorgeous']

KATE RIDGE: Ready? First group? The sassier, the better. Six, seven, we go one, cut, five. Next group, you go. One, hup. Next group. Ready? Go. One, nice. A-five, six. You ready? Here we go. Want to come right here and go here? Five, six. For you, go a-one. And go a-five. Nice.

RUPAUL: (SINGING) Everything is better. This day is mine.

KATE RIDGE: Good. Now we start with the left, so left, right, left, right. We face here. Five, six, seven, eight. Yeah?

RUPAUL: How do I look? You look good. How do I feel? You feel good.

KATE RIDGE: Good? Here we go. Show me your stuff. You go. Smile. And next group, you go, a-one, hup. Ready? One. Starting with the left foot, five, six, seven. You go a-one, five, six. You ready? You go. Pop.

RUPAUL: You look good. How do I feel? You feel good.

KATE RIDGE: How do I look? I look good. Looking good and feeling gorgeous.

RUPAUL: You look good. How do I feel? You feel good. How do I look? You look good. You're looking good and feeling gorgeous.

KATE RIDGE: My next leaders are?

CORAL: Coral.

KATE RIDGE: Coral? You are going to do tendu stretch. One, two, three, four. We dégagé. We take it up to 45 degrees. Five, six, seven, eight. You take it up to 90 degrees. One, two, three, four. And then you kick your face. Don't really kick your face, but battement as highs as you can go on five, six, and seven, eight.

Then you go back to tendu, and two. 45. 45 and 90 and 90. Kick your face, kick your face. Don't knock yourself out because I want you to make it through class. Bet you didn't know we were going to do maths today with our 45 and 90-degree angles. Here we go.

[music - alesso, 'falling']

ALESSO: (SINGING) Right here, right now. It's all we need.

KATE RIDGE: So we're going tendu our right foot first. Yeah? Nice strong upper bodies, smiling. Here we go. Ready? Five, six, seven. You go, stretch.

ALESSO: Falling, falling.

KATE RIDGE: 45, 90.

ALESSO: Feeling like I'm love blind.

KATE RIDGE: Take it up. And stretch, stretch. Relax this hand.

ALESSO: Feeling like I'm love blind, taking over my mind.

KATE RIDGE: You go, tendu, tendu, 45.

ALESSO: Feeling like I'm love blind, taking over--

KATE RIDGE: A-five, six, seven. Right foot goes, stretch, stretch, 45, and 90. And five, six. We go a-one. Tendu. I tendu on one. A-one, two, three, four. Yeah? So keep that in mind. We're going to start on the left. I want you to find a partner, someone you've never met before in your life, right now. Five, four, three, two, one. Raise your hand if you need a partner. Everyone partnered up? Good. Now, come, Ruby. Ruby. Ruby? Yeah. Say, hey, Ruby.

STUDENTS: Hey, Ruby.

KATE RIDGE: Put your arms out in second position for me. OK. Now, let's have more of a stable stance there. There we go, good. Now, don't let me push your arms down. They should be so strong. Oh, she's strong. She's small, but she's strong. OK, good. Now, I want you to think that there is a pencil in between your shoulder blades, and all you have to do is keep it there. You don't have to squeeze it really tight, but you just have to squeeze your shoulder-- oh. Did you see what just happened? Yes, and you have to hold it like that, and your neck is nice and tall.

Now relax. Give me some lazy second position arms. Lazy, good. OK. Watch the difference. You're going to push down and squeeze that pencil. Ready, set, go. What happened here? Give me some life. Give me some laser beams out of your fingertips. Yes. OK, do it again. Lazy, ugly. Go, ugly. Oh, I'm tired. Now go strong dancer. See the difference? Do you think she grew a little taller when she did that too? I think so.

Let me give you a trick from a girl who's only 5 feet tall. The way that you look taller is if you stand taller, hold your body strong, and it's all in your upper body. And I could grow an inch if I needed to. OK. Thank you for your help. I want you to do this with your partner, one person with your arms in second. Try to push down their arms. You want them to feel how it feels to have nice, strong arms. Do it for each other. Yeah? Good.

Now give them a cue of having a little pencil in between their shoulder blades in the middle, and then squeezing it together. That's nice. OK, don't hurt her. Gosh. OK, then switch partners. Are you strong? Oh, stronger, stronger. Squeeze that pencil. Shoulders down. Yes, good girl. And switch partners. Did we switch? Nice work, good. Now relax. Learn your partner's name.

[students chattering]

We should have done that at the beginning. OK, good. Now, we're going to do our battements starting with the left foot. And I want you to think about not only your legs, but your upper bodies as well. Nice, strong second position with the arms like there's laser beams coming out of your fingertips. That's nice. Very good. OK. Starting with the left foot.

ALESSO: It's all we need.

KATE RIDGE: Five, six. Tendu on one. Ready? Here we go, one.

ALESSO: Be all you got, be all I see. The way you move--

KATE RIDGE: Next group, ready? Oh, look at those arms. That looks awesome! Woo! I love it. Yes. I think you all just grew. We go, tendu. Eyes up, smile.

ALESSO: Feeling like I'm love blind.

KATE RIDGE: Ready? Five, six, seven. You go, stretch. Eyes up, strong arms.

ALESSO: --love blind, taking over my mind.

KATE RIDGE: Stronger, stronger, stronger, stronger. Good. Strong.

ALESSO: Feeling like I'm love blind--

KATE RIDGE: Smile.

ALESSO: --taking over my mind. Look at me, I'm falling, falling.

KATE RIDGE: Good work. Does that feel different? Are your arms a little tired? That's good. Your body will get used to it if you continue to do it, and you won't even have to think about it anymore. Very good. Let's do-- you're new. Who was here? Coral, Charlotte, what the heck? It's OK. All right, so let's say goodbye to our line leaders. Bye, Coral.

STUDENTS: Bye, Coral. Bye, Charlotte.

KATE RIDGE: Bye, Charlotte.

STUDENTS: Bye, Lena. Bye, Ruby.

KATE RIDGE: Bye, Ruby.

STUDENTS: Bye, Scarlett.

KATE RIDGE: Bye, Scarlett.

STUDENTS: Bye, Asha.

KATE RIDGE: No, that's Fern. That's Asha. Everyone say, bye, Asha. OK, let's review. We have Asha and Fern. We have Peppa Lee and Scarlett, Holly and Ruby. All right, chainés turns. Does anybody know what the word chainés means? Chainés means chained or linked together. It's kind of spelt the same as chained, C-H-A-I-N with an E on the end, and an accent over the E, and one of those over the A, chainés.

We're going to do two slow with a chassé. One, up, two, three, up, four. Now, you have a choice, dancer's choice. You can continue to do them at that speed with the chassés in between all the way across. Or, on the third one, you can plié, stay up in relevé and do them double time. Down, up, up, up, up, up, up, up, up, up, up, up all the way to the end. Ready? Here we go. You go, down.

[music - alex newell & jess glynne & dj cassidy, 'kill the lights (audien remix)']

JESS GLYNNE: (SINGING) Oh, no. Don't run away from your life. No, no. Don't turn away from the--

KATE RIDGE: Beautiful. Keep those shoulders down. OK?

JESS GLYNNE: --love you have inside.

KATE RIDGE: Six, ready, and down, and up. Down, up. Nice, good.

JESS GLYNNE: Don't turn away from the heart--

KATE RIDGE: Nice, Asha. Good. Pull up out of those knees.

JESS GLYNNE: Kill the lights. We can't lose. Kill the lights and look right at me. Close your eyes. You can see me by the way I--

KATE RIDGE: Good, Coral. Nice work. How are we doing?

STUDENTS: Good.

KATE RIDGE: We're all right?

STUDENTS: Yeah.

KATE RIDGE: OK, piqué turns. I think posé turns, you call them? I call them piqué turns. You call them posé Tomato, tomato. Piqué-- does anyone know what the word piqué means? Starts with a P.

STUDENT: Point? To point?

KATE RIDGE: To prick. Piqué means to prick. Do you ever do, in ballet class, piqué arabesque? Piqué arabesque? Yes? So you want to prick the floor, or if you're at the bar in ballet and you do a piqué, piqué, piqué, piqué, piqué. Think that your tip of your toe is a needle and your pricking, pricking, pricking. OK?

So when we do our piqué turns, again, we have some options because we're from all walks of dance experience. You can do two preparations and two turns if you want to start off with. So you prepare and prepare. Then you would turn. Then you would turn. And prepare, prepare, and turn, and turn. Totally cool. See you later, A--

STUDENTS: See you later, Allie.

KATE RIDGE: Allie.

STUDENTS: Ashley.

KATE RIDGE: Bye, Ashley, Genevieve.

STUDENT: Bye, McKenzie.

KATE RIDGE: Kenzie with the fierce arms. Good. OK, then quick review. We have--

STUDENTS: Strawn.

KATE RIDGE: Like straw, Strawn. Coral, Sophia.

STUDENTS: Rachel.

KATE RIDGE: Rachel.

STUDENTS: Charlotte, Amy.

KATE RIDGE: Amy.

STUDENTS: Kayleigh.

KATE RIDGE: Kayleigh. She still stands like she's shy, but she's really not.

STUDENTS: Layla.

KATE RIDGE: Layla. Say hi, Layla.

STUDENTS: Hi, Layla.

KATE RIDGE: Good. Allie, Holly, Ruby,

STUDENTS: Ashley.

KATE RIDGE: Good. We're almost there.

STUDENTS: Peppa Lee.

KATE RIDGE: Peppa Lee, the beautiful name of Peppa Lee. Scarlett. We just met Genevieve. Then we have--

STUDENTS: McKenzie.

KATE RIDGE: McKenzie, Asha. Asha?

ASHA: Asha.

KATE RIDGE: Asha, Asha, Fern. OK. We're almost there. We almost know everybody. By the end of across the floors, we will because now we're meeting Flamingo Island.

[music - jennifer lopez, 'ain't your mama']

JENNIFER LOPEZ: (SINGING) I ain't gonna do your--

KATE RIDGE: Are y'all ready? Five, six, seven, you go. Up, up, up, and up. That's it there. Good girl. Spotting over there.

JENNIFER LOPEZ: I ain't your mama. No, no.

KATE RIDGE: Ready? Five, six, seven, go up. Nice. Good choice. Five, six. Beautiful, good. One, two, up, six, seven, go one. Good, Coral. Nice

JENNIFER LOPEZ: --time. Ah yeah, yeah, yeah. No more playing video games.

KATE RIDGE: Five, six. Ready? Go up, up. Good girl, spotting over there. Yeah, Sophia? Good.

JENNIFER LOPEZ: We used to be crazy in love. Can we--

KATE RIDGE: Wait, wait, wait, wait, wait, wait, wait.

JENNIFER LOPEZ: --to how it was? When did you get too comfortable? 'Cause I'm too good for that.

KATE RIDGE: So I have a little thing called a bam award. Sorry if I just hurt your ears with my bam. It's when I get excited about somebody doing something awesome, and I'm going to give a bam award to you. You know why? Can you guess why?

STUDENT: Yes, I can.

KATE RIDGE: Why?

STUDENT: Because I was the only one who did this.

KATE RIDGE: Yes. He was the only one that I saw-- maybe some of you else did-- but he chose to do two preparations and then two turns. And your piqué turns are looking really good, so I think you're ready to do it without on the right side. OK? But he made that choice. All right?

It's OK to make the choice to start at the beginning. I think, sometimes, we think to ourselves, I just want to do fouettés. Why are they not in my dance? I swear I can do them. Right? You know you all love to try and do your fouettés. OK, but where does a fouetté start?

STUDENTS: A pirouette.

KATE RIDGE: With a pirouette? Yes, doing your placement at the bar. We are not able to just jump straight in and do them. I know I wasn't. OK? So we have to start from the beginning. If you're unsure with your piqué turns, take a step back. Some of you on the left might need to unless you're a lefty. I was always a righty, so I don't know. I would probably on the left. My choice might be to do two preparations and see how I go. All right? So make the choice that's right for you. We're going on the left so we're facing the windows.

JENNIFER LOPEZ: I'm too good for that. Just remember that.

KATE RIDGE: Five, six, seven, eight.

JENNIFER LOPEZ: --all day. I ain't your mama. I ain't gonna do your laundry.

KATE RIDGE: Ready? Five, six, seven, go up. Good girl. Good girl. Now point that foot. Yeah? Point. That's it, point. Good.

JENNIFER LOPEZ: No. Oh, I ain't--

KATE RIDGE: Turn and turn. Good. Go up and up.

JENNIFER LOPEZ: Lucky to have these curves. Ah yeah--

KATE RIDGE: Nice work, good. Those are nice. Good girl. Up, six, seven, go up.

JENNIFER LOPEZ: --still trying to ride this train?

KATE RIDGE: Beautiful. Can you try for a double? Go. Try for a double. Up, and go double. Good girl.

JENNIFER LOPEZ: --crazy in love.

KATE RIDGE: Good.

JENNIFER LOPEZ: --go back to how it was.

KATE RIDGE: Good job. We're almost there. You're about to [inaudible]. That's OK. Is there anyone-- we know everyone in this line? Cool. And we know everyone in this line? So let's review this line. We have Strawn, Coral, Sophia from Flamingo Island.

BECK: Beck.

KATE RIDGE: Beck. OK, our new friend.

SOPHIA: Sophia.

KATE RIDGE: Another Sophia. Sophia and Sophia, did you know you have the same name? You do now. And? Rachel.

STUDENTS: Rachel. Amy.

KATE RIDGE: Amy.

STUDENT: Charlotte.

KATE RIDGE: Charlotte. We just met Izzy. Bella? I was like, that ain't Bella.

STUDENT: [inaudible]

KATE RIDGE: Ah, OK. Well, way to confuse us. Just kidding. And you are?

ARYA: Arya.

KATE RIDGE: Arya. Say hi, Arya.

STUDENTS: Hi, Arya.

KATE RIDGE: And?

STUDENTS: Kayleigh.

KATE RIDGE: And?

STUDENTS: Layla.

KATE RIDGE: Layla, Allie, Abby. New friend?

MADDIE: Maddie.

KATE RIDGE: Maddie. Say hey, Maddie.

STUDENTS: Hey, Maddie.

STUDENT: Maddie [inaudible].

KATE RIDGE: McKenzie with the straight arms. Sisters? No, oh. Maddie. Say hey, Maddie.

STUDENTS: Hey, Maddie.

KATE RIDGE: And we know Holly.

STUDENTS: Holly, Ruby.

KATE RIDGE: Ruby.

STUDENTS: Ashley.

KATE RIDGE: And?

STUDENTS: Jade.

KATE RIDGE: Jade. And we've met all of you guys.

STUDENTS: Peppa Lee, Scarlett, Genevieve, Arya.

KATE RIDGE: Good, and--

JODIE: Jodie.

KATE RIDGE: Jodie. Hey, Jodie.

STUDENTS: Hey, Jodie.

KATE RIDGE: And we have Fern, Asha.

STUDENTS: McKenzie.

KATE RIDGE: And?

STUDENTS: Tara.

KATE RIDGE: Fantastic, you guys. Good work. Leaping-- run, run, small leap, medium leap, big leap. Arms are opposite arm forward as leg. Who can demonstrate this for me? Ready? You're going to go run, run, small leap, medium leap, really big leap. Ready? Run, run, small, medium, big. That was beautiful. Give her a hand.

[applause]

If I was to give her one helpful hint, what do you think it might be? Yes, so don't let those arms fly too high. OK? Nice and straight and strong. Just like we did in our second position, same kind of strength in our leaps.

[music - beyoncÉ, 'end of time (jimek remix)']

Ready? Five, six, seven, go. Run, run, small, medium, big.

BEYONCE: (SINGING) I will love you until the end of time.

KATE RIDGE: Small, medium, big.

BEYONCE: Promise not to let you go. Love you like--

KATE RIDGE: Good. Five, six. That's OK. Go, ha.

BEYONCE: --let me go. Say. Say you'll never let me go. Say you'll--

KATE RIDGE: Left. Five, six, seven, go. Small, medium, big. Small, medium. Ready, and--

BEYONCE: --but space and time.

KATE RIDGE: Ready, and--

BEYONCE: I'll be your own little star-- let me shine you up --or your own little universe. Make me your girl.

KATE RIDGE: Ready? Left. Five, six, ready, go.

BEYONCE: I'll be your friend. I will love you so deeply. I will be the one to kiss you at night. I will love you--

KATE RIDGE: OK. So now, we're not going to do small, medium, large. They're all going to be big. Run, run, leap, step, leap, step, leap, step. So we're on the right leg all the way across the first sign, and then we start with our left foot, run, run, leap, step. Remember to point those feet.

BEYONCE: --the end of time.

KATE RIDGE: All right, guys.

BEYONCE: I'll be your baby.

KATE RIDGE: Five, six. Ready? You go.

BEYONCE: Love you like crazy. Now say--

KATE RIDGE: Six, ready, go. Nice work, guys. Good. Five, six, ready, good.

BEYONCE: Say you'll never let me go.

KATE RIDGE: Five, six. Eyes up.

BEYONCE: Baby, come on. Get up on it. Show me that you really want it. I want to be--

KATE RIDGE: Six, ready, go.

BEYONCE: Whoa. Let's go. Whoa. I want to provide this loving that you're giving--

KATE RIDGE: Back, five, six, seven, go.

BEYONCE: Whoa. Baby, let's go.

KATE RIDGE: Five, six, ready, go.

BEYONCE: Boy, come to me.

KATE RIDGE: Five, six, ready, go.

BEYONCE: Let me turn your rain into sun.

KATE RIDGE: Five, six, ready, go.

BEYONCE: You don't have to worry, baby.

KATE RIDGE: Six, ready, go.

BEYONCE: Let my love into your soul. You go, I go, we go. That's all she wrote. Can't you see, babe?

KATE RIDGE: Beautiful.

BEYONCE: I just want--

KATE RIDGE: We've got some good leapers in here. --cartwheels on both sides. Raise your hand if you have a side that you're like, oh, my gosh. No, you don't want to see that. I want to see it. I want to see the gorgeous one, and I want to see the one that you're kind of like, uh. Yeah? Or if you've got them good on both sides, lucky you. OK, so you're going to do cartwheel, one, two, three, four. Chassé five and six, step, seven, Centre leap on eight. Arms are in a nice, strong T position. Who wants to demonstrate? Asha. Ready?

ASHA: Wait, so do I do the cartwheel then walk four steps and then--

KATE RIDGE: You chassé, so you go, cartwheel, one, two, three, four. Then you chassé five and six, step seven. Centre leap on eight. Ready and one, two, three, four, chassés five and six, seven, eight. Gorgeous. Give her a hand. Thank you.

[applause]

Are we good? Any questions? No? Yeah?

STUDENT: What way do we cartwheel first?

KATE RIDGE: You're going to cartwheel to the right first with you right, facing this way, and then to the left. I want to see your best of your best and your ugliest of your ugliest. Yeah.

[music - ed sheeran, 'castle on the hill']

No broad knees, just cartwheels. Nice. Good work. Five, six. Ready? Go. Nice one. That was an awesome cartwheel. Five, six, seven, you go. Nice. Good, Jade. Whoa! You OK?

ED SHEERAN: (SINGING) --through the years. And I've not seen the roaring fields in so long. I know I've--

KATE RIDGE: Oh, I can't wait.

ED SHEERAN: But I can't wait to--

KATE RIDGE: Five, six, seven, go. Yeah! One, two, three, four. You go a-five, six, seven, jump out, eight. Close it, one, down, two, up, three, in kick. We go five and six, chainé seven, eight. Prepare a-one, two. You turn a-three and four. You step at five, snap at six, a flick, and throw it over anymore.

[music - rita ora, 'your song']

RITA ORA: (SINGING) And when we wake up, never had a feeling like that.

KATE RIDGE: Ready? One, two, three, you go. Five, six, eight. Kick. Turning. Step, prepare. Step, step.

RITA ORA: Don't want to sing mad songs--

KATE RIDGE: Anymore.

RITA ORA: Only want to sing your song, 'cause your song's got me feeling-- And when we wake up, never had a feeling like that. I got a reason--

KATE RIDGE: One, two, three, you go. Five, six, seven, and one, two, three, kick.

RITA ORA: I only want to hear love songs.

KATE RIDGE: Step, prepare.

RITA ORA: --my heart up in this place tonight. Don't want to sing mad songs anymore. Only want to sing your song, 'cause your song's got me feeling like I'm--

KATE RIDGE: Just go through it top to bottom. Yeah? OK, here we go. Ready? We got these walks down, I'm pretty sure. Holding one, two, three, four. You walk five, six, seven, out, eight, we close it. One. Now, this is on-- let the words help you remember, because this is on hear. No, don't want to hear sad songs anymore, in. Then we kick. Kick, ball change. Turn right, turn left. Step right, step left. We turn, picking up the back foot. Step forward. Snap, flick, step. Walk it around. Walk around anymore. Yes? Anymore. Yes?

STUDENT: Is that flick a pas de chat, or is it just a--

KATE RIDGE: Oh, no. It's just a parallel flick, happens quite quickly.

RITA ORA: --never had a feeling like--

KATE RIDGE: Ready? One, two, three, you go. Five, six, seven, eight, sad songs. You kick and cross. Chassé.

RITA ORA: I found my heart up in this place tonight. Don't want to sing mad songs--

KATE RIDGE: Anymore.

RITA ORA: Only want to sing your song, 'cause your song's got me feeling like--

KATE RIDGE: Can I watch it one?

RITA ORA: And when we wake up, never had a feeling like that.

KATE RIDGE: Ready? One, two, three, you go. Five.

RITA ORA: I don't want to hear sad songs anymore. I only want to hear--

KATE RIDGE: Chainé, step, prepare. Step, flick. Anymore.

RITA ORA: Only want to sing your song, 'cause your song's got me feeling like--

KATE RIDGE: We get a little tricky on the turns. Then think right, left, right, left. Right, left, right, left. Turn, turn. Where are we spotting?

STUDENTS: The corner.

KATE RIDGE: The corner, yes. Step forward. Switch the weight. Then we flick, step, take it around as long as you're here by anymore. Snap it. Anymore, snap. Step back with the right foot. Back, back. Now you're going to ball change and point to the front. Ball change. So it's right, left, two runs, and the biggest grand jeté you've ever done your life. Run, run, big leap, and land. Very good.

OK, so we went anymore, anymore. The right foot should be popped. Snap it. Take it back. Melt the arms down, melt the arms down. Now you're going to point like, gotcha. Back, front, two runs. Run, run, big grand jeté step. Good. We good? Let's try it a little faster. This is on three and four. It's like, and four and. One, two, three, and four and back, six, seven, ball change. And one, two, run three, four, big leap, six.

Can we add just a little more and then we'll break you up in some groups? Ball change, run, run. Big grand jeté. Step out of it then hit, hit. Fierce arms like McKenzie. Good. Then we break it down. You're going to go one and two, a-three and four, a-five and six, a-seven and eight, whatever you want. It's your own little groove. A-one and two, a-three and four, five and six, and a-seven and a-eight. Travelling around the room, saying hi to your friends like hey, Rachel. What's up, Holly? Hey, Fern. Fern, right? Yes, McKenzie. Yeah?

So you're going to have two, three, four, five, six, seven, eight to do that. OK? So let's go from ball change. Ball change and run, run, big leap, and a-hit. Then we go one and two, a-three and four, a-five and six, a-seven and eight. Let's finish it? Yeah, I think we can. Finish it. You're going to do ball change, great big battement, kicking your face, and one, two. See where my arms are? That's where I want your arms too. And one, two, you prepare, three, four, coupé turn.

Raise your hand if you've never done a coupé turn in your whole life. Today is the day you're going to do it for the first time. So your foot is in coupé, just here on the front of the side of the leg. And you can do a single, a double, a triple, a million, however many you can fit in on six, seven. And then you give me your own pose to end it on eight. Yeah? OK, so let's review. Scoot back, scoot back. Scoot back, scoot back.

So we went anymore, anymore, snap. Step it back. Right and left, ball change. Oh, one, two, we're on three, four, five, six, and hit the arms. And one, two, and three, four and five, six, ball change, battement. Ball change, kick, step, prepare, five, six, hit your pose, seven, eight. Whatever you want, but be intentional about it. What does intentional mean?

STUDENT: Like, at the time, you do it on purpose.

KATE RIDGE: You do it on purpose. So I don't want you to be like, yeah. I want you to hit something and own it intentionally, on purpose, a strong finish. Can you give me that? Oh, yeah. Let's try it with the music and then I'll split you up.

[music - rita ora, 'your song']

RITA ORA: (SINGING) And when we wake up, never had--

KATE RIDGE: Ready? One, two, three, you go.

RITA ORA: I don't want to hear sad songs anymore.

KATE RIDGE: Kick.

RITA ORA: I only want to hear love songs.

KATE RIDGE: Pirouette.

RITA ORA: I found my heart up in this place tonight. Don't want to sing mad songs--

KATE RIDGE: Anymore. Back it up. Ball change, you leap.

RITA ORA: 'Cause your song's got me feeling like I'm--

KATE RIDGE: We groove. We go one, two, three, four, five. Ball change, battement on one, two, coupé turn. Ha!

RITA ORA: No fear, but I think I'm falling.

KATE RIDGE: Yeah?

RITA ORA: But I'm usually the type of girl that would hit and-- And then you say, love, baby, let's go back to--

KATE RIDGE: Wow. You're all the way back there. Ready? Have a good time. Ready? One, two, three, you go.

RITA ORA: I don't want to hear sad songs anymore. I only want to hear love songs.

KATE RIDGE: You turn. Step, snap.

RITA ORA: Don't want to sing mad songs--

KATE RIDGE: Anymore. Back. Point. Big leap and groove. We go a-one. Come on, Coral. Ball change, battement on one. Coupé turn. Finish! Good. Give them a hand.

[applause]

OK. Now, who has ever danced in an eisteddfod before? OK. Tell me about an audience at an eisteddfod. They're really quiet, so quiet it makes you so nervous. Right? Yes. We're not going to be that kind of audience today. So I want you to cheer on your new friends. Now we know everybody's names. So if you see someone that's killing it out there, you could say, yeah, Coral! Go, girl. Go, Holly. Work it out. Yeah? Whatever you want. I want you to encourage each other more than you're used to. Can you do that for me? Ready. You're smiling? Here we go, girls. A-one, two, three, you go. Five, yeah. Go, Abby.

[cheering]

That's it. A-five, now six, six, seven, eight. No more, anymore. Step back. Ball change and leap. Go one.

RITA ORA: 'Cause your song's got me feeling--

KATE RIDGE: You dance in the front. Go one. Go, [inaudible]. Go, Coral. Go, Holly. Go, Fern. Ball change, battement. huge turn, big finish, and hit. Good.

[applause]

Any bit of energy you have left-- this is the end of day one. I want you all to finish strong. I want you to be brave. I want you to dance with intention. OK? How often do you get to come, take three days off school, be in the city of Sydney dancing in this gorgeous studio with like 40 of your newest friends? OK? I just want you to have a good time.

I don't care if you get the steps right or if you get them wrong. I want you to have a good time. Yes? Very good. Spread out. Find your space. I don't know. I think we have two more in us. What do you think? Everybody show me your opening pose. Five, four, three, two, hit it, whatever it might be. Yes, creative as it is. Nice and strong. You've got time to move around and enjoy.

RITA ORA: I woke up with a fear this morning, but I can taste you on the tip of my tongue. Alarm without no warning. You're by my side and we've got smoke in--

KATE RIDGE: That's right.

RITA ORA: Last night, we were way up, kissing in the back of the cab.

KATE RIDGE: That's it. Have a good time! That's all we're here to do. Woo! Go, girl. Here we go. Ready? A-one, two, three, you go. Pop.

RITA ORA: I don't want to hear sad songs anymore.

KATE RIDGE: And chainé step, prepare. Step and snap, flick. Anymore, step back. And ball change. Here we go! One and two, three and four, five and six. Ball change, battement on one, two, and finish. Ah, yeah. Good job, you guys. One more. We've got one more. Breathe up.

RITA ORA: No risk so I think I'm all in.

KATE RIDGE: Again.

RITA ORA: When I kiss your lips, feel my heartbeat--

KATE RIDGE: Roll your body down, roll it down.

RITA ORA: And now we're way up, dancing on the roof of the--

KATE RIDGE: Plié.

RITA ORA: And then we make love, right there on your best friend's--

KATE RIDGE: And straight. You guys, thank you so much! Good job!

[cheering]

RITA ORA: Don't want to sing mad songs anymore.

KATE RIDGE: So, I have a tradition. After every class, we have to do a group selfie. Are you in?

STUDENTS: Yes.

KATE RIDGE: OK, here we go. Oh, my arms are not long enough. OK, ready? One-- one, two, three. Awesome, you guys. You've only got one chance, and do it with intention and have fun. And hang out with your new friends, yeah? No one's here by yourselves because you all know each other's names now. Cool? All right, you guys. Get a drink. Have an awesome afternoon.

STUDENTS: Thank you.

KATE RIDGE: You're very welcome.