{"id":6817,"date":"2019-03-28T11:00:55","date_gmt":"2019-03-28T15:00:55","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvformats\/worldscreen.com\/"},"modified":"2019-03-28T12:05:58","modified_gmt":"2019-03-28T16:05:58","slug":"dance-fever","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/dance-fever\/","title":{"rendered":"Dance Fever"},"content":{"rendered":"

\"\"Kristin Brzoznowski checks in on the latest innovations in dance formats.<\/em><\/p>\n

Artistry and athleticism are on full display, creating moments that are both visually arresting and filled with emotion\u2014these are qualities that a good dance show can deliver. With this come the benefits of reaching mass audiences, making noise in a schedule and creating a long-running franchise that can sit as a staple in a broadcaster\u2019s grid for years to come. It\u2019s no wonder, then, that producers and distributors have been looking to the dance floor to inspire the next big entertainment hit.<\/p>\n

The resounding success of Dancing with the Stars <\/em>in the global market is proof that dance-themed formats can translate into big business. The celebrity-filled ballroom spectacle has been going strong for well over a decade, and the show continues to anchor prime time on many channels around the world. And there\u2019s a new crop of dance series ready to sashay their way into the hearts of viewers and up the ante on what audiences have come to expect.<\/p>\n

\u201cThe thing with dance is, whether you\u2019re a dancer or not, you can still relate to it; that\u2019s why it\u2019s such a great topic for an entertainment show,\u201d says Amelia Brown, managing director of Fremantle\u2019s Thames. \u201cEven if you have two left feet, you can still appreciate someone who is a beautiful dancer and, most importantly, feel moved by it. That\u2019s why dance has always been in favor.\u201d<\/p>\n

Thames teamed up with Simon Cowell\u2019s Syco Entertainment on the buzzy dance talent show The Greatest Dancer<\/em>. The format, which Fremantle hopes will follow in the footsteps of its other Syco co-produced megahits Got Talent <\/em>and The X Factor<\/em>, features dancers from all disciplines and shifts the focus to the human stories of those taking part. \u201cIt\u2019s not just about the dance, it\u2019s about the person and their experience and having everyone be part of that experience,\u201d says Brown, who serves as an executive producer on the BBC One series, which has been ordered for a second season.<\/p>\n

\u201cThroughout the show, it\u2019s about what dance means to that person,\u201d she adds. \u201cIt\u2019s not necessarily about, is this the best dance routine you\u2019ve ever seen; it\u2019s about what makes the greatest dancer, and that could be a number of things. It could be how they tell their story, how they interpret the music or how they make the audience feel. All those elements help make The Greatest Dancer\u00a0<\/em>stand out.\u201d<\/p>\n

START A REVOLUTION<\/strong>
\nThe stand-out element in Armoza Formats\u2019 Dance Revolution\u00a0<\/em>is best described as \u201cthe revolution moment,\u201d when state-of-the-art technology captures a 360-degree snapshot of each dancer\u2019s most spectacular moves. The freeze-frame is used to showcase the dancer\u2019s precise movements and form and reveals intricacies that empower the judges to make their decisions about the contestant\u2019s fate in the competition.<\/p>\n

\u201cThe key element here is that it was not created just to add to the production value; it\u2019s an integral part of the storytelling of the format,\u201d says Avi Armoza, CEO of Armoza Formats. \u201cIt\u2019s a key tool for the judges to evaluate the dancer, and it\u2019s a key moment from the point of view of the dancer to prove their capability and improve their dance from one stage to another. The success of the format is its ability to integrate the technology and visual elements into the storytelling.\u201d<\/p>\n

The show was produced by Quebecor Content and Fair-Play for TVA in Canada, where it garnered around a 35-percent market share.<\/p>\n

Meanwhile, the combination of dancing and dating drives the USP of all3media international\u2019s Flirty Dancing <\/em>format. \u201cThe contributors have a very different motivation from those taking part in other dance shows,\u201d says Nick Smith, the company\u2019s executive VP of formats. \u201cThey are not trying to win money or forge a career in dance; they are looking for love. There is much more on the line for them. They will generally not be as experienced dancers as you\u2019ll see on other dance formats, but their nerves from performing publicly coupled with the tension from dancing with someone they have never met before, let alone danced with, brings another dimension to the format.\u201d<\/p>\n

DANCE TO ROMANCE
\n<\/strong>The dances in Flirty Dancing\u00a0<\/em>all take place in striking locations, \u201cwhich gives a cinematic feeling to the show,\u201d says Smith. \u201cNo matter how much money you spend on creating a beautiful set, it will always be an artificial environment. Being set in the real world adds to Flirty Dancing<\/em>\u2019s authenticity.\u201d<\/p>\n

The dancers in Keshet International\u2019s Masters of Dance<\/em>, meanwhile, are at the top of their game, delivering high-energy,physically-demanding performances in each show. \u201cThe athleticism is something that has really spoken to a lot of viewers,\u201d says Kelly Wright, the company\u2019s senior VP of distribution and new business. \u201cNormally, when you say dance show, broadcasters think it\u2019s a little bit niche, a little bit soft, a little bit too female-skewing. If you look at the demographics in Israel [on Keshet 12]\u2014and to be fair, it is a female-skewing channel\u2014we had 42 percent male viewers on a dance competition across 20 episodes. In Germany [where it aired on ProSieben], more men were watching the show than women. It\u2019s opened up this incredible art to the masses. The fact that we\u2019re able to reach a really strong male audience and attract them away from sports or other programming that airs at the exact same time as our prime-time competition is unprecedented in the genre.\u201d<\/p>\n

Sports terminology is even part of the description of the format\u2019s core components. \u201cWe have teams and coaches; it\u2019s tournament-style, with battles and duels,\u201d explains Wright. \u201cIt\u2019s a language and format that speak to a wide audience. It\u2019s not esoteric. It\u2019s not artsy-fartsy. It\u2019s really strong and impressive. The themes of the battles as well bring out so much dynamic creativity on behalf of both the dancers and the dance masters that you watch it with your jaw on the floor.\u201d<\/p>\n

THE PERFECT PANEL<\/strong>
\nThe \u201cdance masters\u201d that she is referring to are also integral to the format. These professionals\u2014established dancers or choreographers whose talent and expertise have earned international acclaim\u2014are as involved and fiercely competitive as the dancers themselves. \u201cIt\u2019s not a panel like you would see on other more generic talent shows, where the judges have zero skin in the game and are just sitting back saying \u2018Oh nice, cool,\u2019\u201d says Wright. \u201cHere, it\u2019s a dog-eat-dog competition between people who are extremely proud. They are perfectionists; they have super-specific aesthetic values that they want to see enacted perfectly on stage. They become so intensely involved in the competition. It\u2019s not even necessarily about beating the other masters; it\u2019s about bringing out the very best performance that they can onto the stage.\u201d<\/p>\n

Thames\u2019s Brown shares a similar sentiment about what the panelists in a dance competition should bring to the table. \u201cCredibility is number one,\u201d she says, adding that it\u2019s important to ensure that a range of dance styles are covered by those credible captains. Brown then lists passion and camaraderie as the next most essential qualities, trailed by the relationships and dynamics between them. \u201cThat\u2019s touch and go because you never really know you\u2019ve got that chemistry until you\u2019re filming halfway through day one,\u201d she says. \u201cWhen you get the mix right and the chemistry is right, that\u2019s worth its weight in gold.\u201d<\/p>\n

Brown adds that it\u2019s equally important for the hosts on a show like The Greatest Dancer <\/em>to have credibility. Pepper in some charisma and it\u2019s a winning combination. The caliber of those credible hosts, judges and mentors can also make \u201ca massive difference in who wants to audition and the general vibe of the entire show,\u201d she notes.<\/p>\n

A series the scale of The Greatest Dancer\u00a0<\/em>is positioned for prime time, though Brown adds that it could even play on the earlier side of the peak slots.<\/p>\n

Armoza asserts that a show like Dance Revolution <\/em>is a peak-time play, as it delivers family entertainment. \u201cIn terms of the budget and the ability of the broadcaster to recoup their investment, it\u2019s most suitable for prime time,\u201d he says.<\/p>\n

BRAND PLANS<\/strong>
\nArmoza, working with Omnicom Media Group-owned Highway Entertainment and Canadian broadcaster TVA, has come up with an innovative funding model for Dance Revolution\u00a0<\/em>to help with the costs. \u201cThe current reality of the TV market, and especially the commercial TV market, calls for a new model of investment and participation,\u201d says Armoza. \u201cOmnicom is able to provide any potential broadcaster with additional funding based on cooperation for unsold media. This gives broadcasters the added value of additional funding into the production of the show.\u201d<\/p>\n

Keshet International\u2019s Wright echoes the idea that what works best for dance formats today are large-scale shows that do require substantial investment. \u201cTo replicate the show that we did in Israel, it\u2019s a massive studio, two stages, there are CGI graphics, in-studio voting, a voting bar and everything,\u201d she says. \u201cThat\u2019s really the only way to showcase the scale of the dances as well. They are all themed, so they use props and different costumes in every single dance in every battle. You need that kind of space to showcase a dance troupe. There\u2019s no way of getting around that. But, the auditions are much more intimate. They\u2019re hosted in a smaller space.\u201d<\/p>\n

Even though Flirty Dancing <\/em>is relatively new to the marketplace, having launched on Channel 4 in the U.K. in January, there\u2019s already talk about how the format can be built out, according to all3media international\u2019s Smith. \u201cWe have clients excited about what they can do with the format, including incorporating the odd celebrity in their adaptations and special themed editions set around national holidays.\u201d<\/p>\n

The feel-good appeal of Flirty Dancing <\/em>should pique broadcasters\u2019 interest. \u201cMuch like a rom-com, audiences are left with a beam on their face (having potentially shed a few tears along the way),\u201d he adds.<\/p>\n

The show also rated strongly, particularly with the much-coveted younger demo, he says.<\/p>\n

DRAWN TO THE DANCE FLOOR<\/strong>
\nKeshet International\u2019s Masters of Dance <\/em>is also a draw with younger viewers. On ProSieben, the series\u2019 average share in the 14-to-29 segment was double that of the adult audience 30 to 49, Wright explains. With a VOD program running alongside the show, and video clips of performances that go viral, the format is able to reach these young audiences in a variety of ways.<\/p>\n

\u201cTechnology, audience engagement, all those elements enable you to build a new language of communication with the viewers and engage them wherever they are,\u201d adds Armoza.<\/p>\n

The viral sharing of the \u201crevolution moments\u201d from Dance Revolution <\/em>has also driven interest in the show, he says. \u201cYou can go on Instagram or Facebook and see stunning visual moments that connect with people. This is something that you want to watch again and again. It helps to strengthen the whole brand when you interact with it across all platforms.\u201d<\/p>\n

Pictured: all3media international\u2019s<\/em> Flirty Dancing.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Kristin Brzoznowski checks in on the latest innovations in dance formats.<\/p>\n","protected":false},"author":350,"featured_media":6818,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79],"tags":[157,103,1482,124],"class_list":["post-6817","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","tag-all3media-international","tag-armoza-formats","tag-fremantle","tag-keshet-international","pmpro-has-access"],"yoast_head":"\nDance Fever - TVFORMATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvformats\/dance-fever\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dance Fever - TVFORMATS\" \/>\n<meta property=\"og:description\" content=\"Kristin Brzoznowski checks in on the latest innovations in dance formats.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvformats\/dance-fever\/\" \/>\n<meta property=\"og:site_name\" content=\"TVFORMATS\" \/>\n<meta property=\"article:published_time\" content=\"2019-03-28T15:00:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-03-28T16:05:58+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvformats\/wp-content\/uploads\/sites\/10\/2017\/07\/FlirtyDancing-MIPTV-419-th.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"319\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Kristin Brzoznowski\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Kristin Brzoznowski\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/dance-fever\/\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/dance-fever\/\",\"name\":\"Dance Fever - 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