BANDUNG, Indonesia (AFP) - A group of teenagers practising for a dance and music show were among seven Indonesians killed on Monday (April 16) when the building they were in collapsed, police said.

The accident happened in Cirebon, about 220km east of Jakarta.

The wall of a warehouse next door fell over and crushed the local art centre where the junior high school students were preparing for a show.

Seven were killed as the building caved in, including six boys between 13 and 15 years-old and the centre's 48-year-old manager, police said.

Two 13-year-old girls were also injured, with one in a critical condition, they added.

Police are investigating the cause of the collapse, but they said initial suspicion has fallen on the age of the art centre which had been operating since around the 1940s.

"The building is very old, but we still need to ask experts to determine the cause of the collapse," local police spokesman Trunoyudo Wisnu Andiko told AFP.

Lax construction standards have raised widespread concerns about building safety in Indonesia.

In January, at least 75 people were injured when a mezzanine floor at Indonesia's stock exchange building in Jakarta collapsed into the lobby.

In February, the government temporarily halted all elevated transportation projects in Indonesia, after a dozen major accidents killed five and injured dozens more.</s>A group of teenagers practising for a dance and music show were among seven Indonesians killed Monday when the building they were in collapsed, police said.

The accident happened in Cirebon, about 220 kilometers (135 miles) east of Jakarta.

A tall warehouse next door collapsed and then crushed the local art centre where the junior high school students were preparing for a show, according to police.

“A nine-meter tall building…suddenly collapsed onto the art center right next to it,” local police chief Trunoyudo Wisnu Andiko told AFP.

“The art center also collapsed immediately and buried some children.”

Authorities initially said just one part of the warehouse had fallen onto the art center.

Seven were killed as the art centre caved in, including six boys between 13 and 15 years-old and the centre’s 48-year-old manager, police said.

Two 13-year-old girls were also injured, with one in a critical condition, they added.

The art centre had been operating since around the 1940s.

“The building is very old, but we still need to ask experts to determine the cause of the collapse,” local police spokesman Trunoyudo Wisnu Andiko told AFP.

Lax construction standards have raised widespread concerns about building safety in Indonesia.

In January, at least 75 people were injured when a mezzanine floor at Indonesia’s stock exchange building in Jakarta collapsed into the lobby.

In February, the government temporarily halted all elevated transportation projects in Indonesia, after a dozen major accidents killed five and injured dozens more.</s>The accident happened in Cirebon, about 220 kilometres (135 miles) east of Jakarta.

The wall of warehouse next door fell over and crushed the local art centre where the junior high school students were preparing for a show.

Seven were killed as the building caved in, including six boys between 13 and 15 years-old and the centre's 48-year-old manager, police said.

Two 13-year-old girls were also injured, with one in a critical condition, they added.

Police are investigating the cause of the collapse, but they said initial suspicion has fallen on the age of the art centre which had been operating since around the 1940s.

"The building is very old, but we still need to ask experts to determine the cause of the collapse," local police spokesman Trunoyudo Wisnu Andiko told AFP.

Lax construction standards have raised widespread concerns about building safety in Indonesia.</s>From a list of 94 nominees, the following 12 students have been named as semi-finalists for the 2018 Artist of the Year in dance. The students were chosen by a panel of teachers based on written statements, performance videos and artistic résumés.

Included are links to their work, the specialty in which they were nominated, and quotes about how they relate to their craft.

Dancers have been nominated in the specialties of concert dance, commercial dance, street dance, and world/cultural dance.

During the final round of adjudication, students are interviewed by a panel of distinguished artistic professionals and faculty members from Southern California universities as well as a few representative high school teachers. Interviews include a live presentation by the students followed by a question-and answer-session.

One finalist in each specialty will be named and from those finalists, one Artist of the Year in each of the seven disciplines – theater, dance, instrumental music, vocal music, film, 2D visual art and 3D visual art – will be chosen.

The 2018 Artists of the Year will be announced on April 22.

The Artist of the Year program is presented by the Register in partnership with Orange County Music and Dance and the Orange County Department of Education, with the help from the Segerstrom Center for the Arts and the Dodge College of Film and Media Arts at Chapman University.

Financial support for this program is provided by Beacon Pointe Wealth Advisors, First Foundation Bank, The Hoag Foundation, The Rose Foundation, Royal Global Group, and Zion Enterprises. Additional support is provided by Allied Health and the Angels Baseball Foundation.

If you would like to support the Artist of the Year program, contact Heide Janssen at heide@ocmusicdance.org

“Competitive ballroom dance, also known as DanceSport, is dominated by the Eastern Europeans. My life’s work will be to combine my passions of entrepreneurship, dance competition and dance education to catapult International Standard and International Latin into a sport that is as important in the United States as it is in Europe and Asia.”

“Being accomplished at two different types of dance puts me in a unique position to advance both art forms in the future. My experiences have influenced my approach to dance in general, and I enjoy continuing to experiment with blending ballet, Scottish Highland, and other techniques and styles.”

“I am a dancer. Years of ballet have shown me the value of hard work and perseverance. I have learned how to smile and dance through my pain, how to fall and get up, how to fail and try again. I strive for a perfection I know I will never achieve, but I try anyway.”

“Dancing is not always about how flexible you are, or how many flips and power moves you can do. When people dance it is an art form, it is a way for people to express themselves. We dance with our hearts not just our muscles.”

“Early on, I think dance appealed to my drive for perfection. I now find liberation to express myself and I bring that confidence and freedom to the rest of my life.”

“There has always been a passion for dance inside of me, but it wasn’t until I entered high school that I realized how much this art actually meant to me. I learned that my dancing can influence the people around me and that I am dancing for something greater than myself. I am dancing for the Lord!”

“Since the age of 11, when I started dance, I always heard ‘dance training is life training,’ but it wasn’t until this summer when I fully realized the certainty of that expression. Dance shaped me as a person, and showed me how to handle myself not only in my daily life, but also in a professional environment.”

“Imagination is the ability of the mind to be creative or resourceful. Ever since I can remember, I was always using my imagination to entertain myself. Whether I was playing dress up, writing songs with my imaginary friend, or putting on dance shows that I would force my parents to watch; creativity flowed through me.”

“Understanding that I’ll never truly have ultimate control over my path, I’m actively working towards what I hope is a versatile career in concert and commercial dance. From a young age, I have always known that I want to pursue a professional dance career, and hoped that I could continue to work in genres I have passionately trained in.”

“Not only has the actual dancing been a huge part of my life, but the stories behind the dancing have played an even bigger role. Within dance, choreography has taught me how to be a raw, realistic dancer.”

“There are two important factors that make me unique as an artist: one is my passion for combining the cognitive and physical aspects of dance, and the other is a continual desire for self-development. The study of a process, generating from a thought or emotion, and how it evolves into a work of art inspires me.”

“I have matured as a human because of dance. It has taught me to navigate through undiscovered terrains and explore each new possibility with confidence and conviction. I am no longer satisfied being ‘comfortable.’ I love taking risks and yielding to vulnerability.”</s>Around ten thousand people gathered in Gayo Lues, a regency in Indonesia’s Aceh province on Sunday, August 13, to take part in a record-breaking dance performance.The mass dance was intended to boost local tourism and featured performers dressed in traditional black, red and yellow costumes, sitting in rows and clapping their hands and swaying. The dance is formally known as “saman,” or “dance of a thousand hands,” and originates from the Gayo indigenous group in Gayo Lues.According to Channel News Asia, citing the Indonesia World Records Museum, the number of participants in this year’s performance beat last year’s national record of 6,600. Credit: Instagram/hyantiz via Storyful</s>SHERIDAN — The Sheridan Arts Council has announced that it will offer six scholarships to Sheridan County students who will be attending regional arts camps this summer — in music, visual arts, theater, writing and dance.

The scholarships will be awarded on a first-come basis in the amount of $200 or half the amount of the arts-camp fee, whichever is less. Students between the ages of 12 and 18 are eligible.

The scholarships will be paid directly to the arts-camp directors. The deadline for applications is May 20. To apply for a scholarship, students and parents should contact the Sheridan Arts Council, P. O. Box 844, Sheridan WY 82801.</s>Alvin Ailey American Dance Theater returns to Southern California with performances at Segerstrom Center for the Arts starting on Wednesday, April 18. BUT FIRST – Revelations Celebration! – a FREE community dance event. Ailey teaching artists, including former Ailey company star and acclaimed master teacher for Arts In Education Nasha Thomas, will teach the distinctive movements from three of the most well-known pieces in the Company’s cornerstone work, Revelations, including “Rocka My Soul,” “Wade in the Water” and “I’ve Been ‘Buked.”

Dance fans and dancers, families and friends, anyone of any age is welcome to celebrate the joy of dance and learn movement from the world’s most popular work of modern dance.

WHEN: Saturday, April 14, 2018 – 11 a.m. to 1 p.m.

WHERE: Julianne and George Argyros Plaza at Segerstrom Center for the Arts

 (600 Town Center, Costa Mesa, CA 92626)

ADDITIONAL INFO: The Spirit Chorale of Los Angeles will start the event at

 11 a.m. Other activities and popular food trucks will be on hand.

For more information about Revelations Celebration! and the Alvin Ailey American Dance Theater engagement at Segerstrom Center for the Arts, visit the Center’s website at www.SCFTA.org.</s>Local dance troupe KRI Performing Arts is bringing their high energy dance moves to school.

Students at Cayman Islands Further Education Centre were treated to an hour of dance performance Friday afternoon (13 April)

The energy was so infectious, some students even hopped up on stage to join the fun.

“We don’t have these programmes here, so it’s really important that our students get exposure to it,” said Delores Thompson, CIFEC Director. “It’s a great forum for expression for them so we are really happy to host this today.”

The KRI spotlight school tour hits a different school every week through the end of May. The schedule is as follows:</s>"Try to get ahead of your thoughts," she said.

I found this hard to do while staring into the eyes of a woman I'd never met. I was wondering whether it was impossible to stare into two eyeballs at once — or if there was something wrong with me, specifically — when it was announced that our 90 seconds were up.

"Thank you," my eye-contact partner murmured gracefully.

"Uh huh!" I said too loudly, shuffling away.

But as we transitioned into the dancing segment of the evening, I began to twist and sway, losing my stiffness.

"Yummy yummy yummy yummy," the facilitator sang over the microphone.

With the thump of a heavy beat and an explosion of cheers and howls, the pace quickened.

"I love you, and have a wonderful journey," one of the DJs said.

Dancing as a means of release is not a new phenomenon. But ecstatic dance parties — much like other substance-free "conscious" dance parties, including Barefoot Boogie, Morning Gloryville and Daybreaker — seem to fill a growing need for physical expression in a time of technology-driven isolation.

"The idea is free-form movement to music in a judgment-free space," said Sarah Monette, 41, an ecstatic dance facilitator and DJ who co-founded I-Opener, an all-ages version that takes place in New York and Boston on Sunday mornings. "The idea is not to put a label on what ecstatic dance is. It can be so many amazing things."

Most adherents I talked to framed it as a less-structured offshoot of 5Rhythms — a meditative "dynamic movement practice" that guides dancers through a "wave" of five distinct sequences. Legend has it that Max Fathom, 50, now a craft services professional in Austin, Texas, began blending the 5Rhythms concept with electronic dance music after a trip to Burning Man in the early 2000s. Fathom (Fathom is his Burner name) put on popular Sunday morning dances at the Kalani Retreat Center in Hawaii, and from there, the practice spread to disparate places such as Kansas City, Missouri, and Christchurch, New Zealand.

In 2012, Daniel Laureano, a marketing professional who did ecstatic dance in Oakland, California, decided to start a New York version of the event. Different dances have different vibes, he explained, and he wanted Ecstatic Dance NYC to avoid veering into "New-Age white folks homogeny." There was definitely a medium-to-strong neo-hippie aspect to the dance I attended, but the crowd was easygoing, fairly diverse and it felt supportive.

"When people feel safe, and they don't feel like we're here to judge you for you dance, how you look, they open," said Omar Aena, one of the current producers of Ecstatic Dance NYC.

As the night went on, I grew more comfortable taking up space, slowly shifting from the planted-feet sexy club grind I learned in seventh grade into bigger, looser, weirder movements, flapping my body around like a tube man at a car dealership. Next to me, a man and a woman climbed over each other's bodies, twisting into a pretzel on the floor. Two men barked at each other, jumping up and down. The oddness of it all ceased to register.

By 10 p.m., I had become enthralled by my fingers. How perfect they were! In a trancelike state, I held them up, twisting them around in the soft pink glow. At the end, I practically floated through the tangled, blissed-out mass toward the exit.

It felt a little bit like the end of the world, or the beginning.
A warehouse in Cirebon, Indonesia, collapses onto a neighbouring arts centre where teenagers were preparing for a dance show. At least seven people die, six of them children.