Evolution of Latin Dance in Australia (1989-2024)

At the start of this year, 2025, I have completed my Master of Research.

My thesis has now been published at Macquarie University:

Dancing with Diversity: Mapping the Evolution and Impact of Latin Dance in Australia (1989-2024)‘ 

https://doi.org/10.25949/29260235.v1


This thesis investigates the Australian Latin Dance scene’s evolution and role in fostering cultural connections (1989-2024). Using mixed methods — autoethnography, community leader interviews across Sydney, Brisbane and Melbourne, plus dataset analysis — the research tracks the scene across three Eras: Unified Salsa (1989-2007), Life Outside Salsa (2008-2018), and Recess & Re-Renaissance (2019-2024). Focusing on Salsa, Bachata and Forró, the study reveals an inclusive community making significant contributions locally and globally. Key findings highlight cultural bridge-builders, organisational dynamics, and pandemic adaptations. This documentation enriches Latin Dance scholarship and establishes groundwork for future research on interpretations of connection. 

All Things Beautiful

I am here writing my thesis about Latin Dance, writing about the difference between Ballroom dancing and Latin dancing. “One stand for the other as Italian stands to Spanish, not the same language even though they both come from the same Latin root, both beautiful in their own way, just different. Translatable, with some similarities, still not the same.”

And my mind went on a tangent… I am here thinking that I find all things beautiful… beautiful. All dances are beautiful in their own way. I like some better than others, and some work better for me, and I connect with dancers more closely dancing Forró at the moment. But I know that each Latin Dancer chooses their own dance style, and feels their own Nirvana through their favourite dance. My dance is not better than others, it’s only better for me, at this moment. I have danced Zouk, Bachata, Salsa, Kizomba…

I find all people beautiful, beautiful… I cannot fathom why it is logical to think that if one person did something wrong, all people of that colour, or ethnicity, or religious belief will be bad or do bad because that one person did something wrong. (To me a good person, an authentic person, a person who does what is good for the world in any little way they can, for their loved ones, who does what is right, not what is easy, a person who listens, a person who is kind to themselves, who is responsible for themselves, that is a beautiful person.)

I also cannot understand why anyone could think that if a community or a country made unwise decisions in the past, they are destined to make bad decisions in the present or future, because of past decisions they may have learnt many lessons and might be able to make wiser decisions. I understand there are many influences, education, and pre-dispositions that could be construed as indicative that there is a chance that bad decisions will be made, but we cannot just assume that a past decision will determine a future decision, that’s prejudice. We need to be able to give future generations a chance to make future decisions.

I just think I want a world where there is more space for love for all things beautiful…

Master of Research: Dancing with Diversity – Mapping the Evolution and Impact of Latin Dance in Australia

I was at the Sydney Writers Festival in May 2024, and we discussed a world in pain.

We spoke at length about the effects of global warming, the devastation of wars, radical religious and political views. Ways of thinking around prejudices and inequality that we thought were disappearing but are rising again. We talked about isolation, that in Australia, 25% of households are of single occupancy, and that online dating doesn’t seem to be working very well. (ABS, 2021)

And yet, I go out every week, I meet and see hundreds of people who break barriers of age, colour, gender, background, abilities, body shapes… People who speak different languages and “would never be in the same room if not for one reason”, to invite each other… to dance…

In 2024 I was honoured to be accepted into a Master of Research program at Macquarie University, in Sydney, Australia. This is my Thesis:

Dancing with Diversity – Mapping the Evolution and Impact of Latin Dance in Australia

I grew up dancing ballet, jazz and contemporary in Brazil. When I came to Australia, I worked as a school manager at a Latin Dance company and fell, with passion and sometimes obsession, in love with Latin Dance. Immersed in the Australian Latin Dance community since 2005, I possess a unique vantage point to document central yet underrepresented events that have shaped the global Latin Dance community through an autoethnographic perspective.

In order to explore and analyse the Latin Dance sector, I engage in an ethnographic fieldwork practice. I will undertake interviews with 6 key personalities in the Latin Dance Scene who established companies and events in Australia. The interviews, analysis of archival materials and primary sources available will enable me to research and write the recent history of Latin Dance in Australia.

For my Master of Research project, I am mapping the current number of Latin Dance Schools, Venues, Music groups, and Events, in the community. I am focusing on 3 Latin dance styles: Bachata, Forró and Salsa. They are representative, most dancers dance at least one of these styles. Lastly, Sydney has regular parties, events, classes and groups for Salsa, Bachata and Forró.

My research questions are:

  • What is the recent history of Latin Dance in Australia, in the last 25 years?
  • In what ways is Latin Dance significant for Australian Society?
    • How does Latin Dance foster inclusiveness and which barriers does it break?
  • How significant is the Australian Latin Dance scene for the Global Latin Dance community?

Latin Dance came from Humble origins as documented by various scholars. Dormani; Carwile; Delgado; said that it was originally danced by the lower classes;Salsa scholars Cabanzo, Hutchinson, and Dormani, documented that it came out of the Latin American “barrios”, the immigrants’ hoods of America. Brazilian specialist in Forró, Fernandes, mapped a similar trajectory for the style when it came from the drought driven Northeast of Brazil to conquer the whole country.
The various styles became accepted by the middle and upper classes and took the world by storm creating a widespread fever, documented in literature by Borland, Wilson, and Sloat, to name a few.

There is a fair amount of Literature on Latin Dance, particularly overseas, but the academic discourse on the history of Latin Dance in Australia is limited, leading to a concentration of knowledge in specific styles and regions: such as Mathews’ PhD thesis on Samba de Gafieira, Couple Samba, with Rio Rhythmics Academy in Brisbane; Samba Queen Lillian Shaddick’s Master’s about Samba no Pé, individual Samba, in Sydney, Bendrups who writes on Latin Music and Dance in NZ and Australia.

This scarcity necessitates caution among scholars to avoid monofocal analysis. However rich the literature worldwide is, it’s not a widespread coverage, and where there are gaps, there are risks. That’s why we need more research and more literature, with more rigour. My research contributes original knowledge to this gap.

The media practically ignores Latin Dance. 

In this gap I hope to register some significant events and accolades that Australia has earned, and are unregistered. Such as:

  • The Sydney Salsa Congress that in 2009 had parties with about 4000 people on one dancefloor.
  • The Sydney Bachata Festival created in 2008, still running, that was the first International Bachata Festival in the world, and their creators were awarded by the government of the Dominican Republic for their contribution to the Dominican culture.
  • The concept of Brisbane as the Brazilian Dance Mecca outside of Brazil; mentioned by Mathews in her PhD thesis.
  • And the many international Samba, Salsa, Bachata, Reggaeton champions Australia has.

In a Post-Covid World, of lone households, where many people are so hungry for connection, I believe Latin Dance has much to offer. The benefits of dance have been documented in literature, for mental and physical health, for community, to serve as a conduit between cultures and generations. Studies in articles by Cone & Cone, Iuliano and others, Maraz and others, Aguiñaga and others, are a few specific to Latin Dance.

But the aspects that most fascinate me are the powers of connection, the breaking of barriers I mentioned at the start, and that scholars have registered, Wilson, Carwile, Varea, Arterianus-Owanga, Huthcinson, Renta, have written about this across the globe. Ethnographer Jewett calls the strong connection between couple dance partners, a “semblance of intimacy”, and that is another point for exploration in my research project.

In this power of connection may lie great potential. I agree with this reporter who was listening to salsa in many Eastern languages in the middle of a war region, and thought that Salsa could contribute to world peace.

On the dancefloor, I find what the author Julia Baird calls a sense of awe, in her bestseller “Phosphorescence”, I find it watching other dancers, through the intimacy of my dances, the connection with the community and the people. That is why I keep going back to the dancefloor, to seek connection, to experience the complexities of multiculturalism, inclusion, and the beauty of a world united.

This is what I want to foster with my thesis, create a groundwork by studying and highlighting the benefits of Latin Dance to society in Australia, contributing to the global dialogue and stimulating future conversations.

For any questions, my student credentials are:

Master of Research – 2nd Year – Faculty of Arts | MCCALL – Macquarie University – Sydney, Australia

tania.crivellenti@students.mq.edu.au – tania.crivellenti@hdr.mq.edu.au

The Department of Media, Communications, Creative Arts, Language, and Literature (MCCALL) is one of the largest and most diverse departments at Macquarie University.

How do you eat a Universe?

How do you eat a Universe that contains 50k words + 2 podcasts + a new job + a website + a workshop + a writing mastery mentoring package? One bite of 1667 words at a time.

I have just released my Creative Space Mastery Podcasts in English and Brazilian Portuguese, with my new website: creativespacemastery.com

Somehow, I have also completed the Nanowrimo.org writing marathon, writing fifty thousand words in November.

Finally, I started at a new job. How? I asked myself. It’s a focus strategy, where I prioritised the tasks to secure the new job, got the words for the day (1667 words per day), got through a couple of tasks for the podcasts each day. Following inspiration, always. A phrase from one of the books from my collection of mini books is at the bottom of the principle I follow:

“Sit down to write what you have thought, and not to think what you shall write.”

William Cobbett

I use it and expand it… where I follow inspiration for guidance rather than trying to force its hand.

This year was manic-depressive, the old word for bipolar. It was fret with highs and lows, with moments of ecstatic joy, such as my sister and brother-in-law’s wedding, travelling with my parents, and having time for my creativity with a maturity to use it, as I didn’t have in 2010 when I took a sabbatical year for writing (back then, my time was filled with anxiety, while this year was full of joy). On the other hand, I call this year bipolar because if I had some great moments I also had the death of important people around me, uncertainty, dejection and other challenges.

This year, on one of the many occasions when I didn’t get a job, I also decided to stop the suffering and instead of working harder, I decided to work lighter. I concluded that if I spent my savings and finished with no job and just stress to amount for the time I had spent, it wasn’t worth it. But if I had advanced my creative projects, I would have spent it well.

From then on, I would spend half a day job searching and the rest of the day, creating. For guidance, the very next day, I walked the twelve kilometres of the Narrabeen Lagoon by myself, meditating on what was the starting point for my creative projects, where my inspiration wished me to go. What did heart and logic say? 

They said that Point Zero was the Podcasts, they were my heart poured out. 

They were something that I had been working to create for a while, I had been to Toastmasters to learn more about public speaking, I had been writing the content, and they would kick start the other projects. As I walked, and danced by myself, around the lagoon, among cockatoos and ducks, trees, flowers, flies and bees, the plan was set. When I sat down that week, a one-day-workshop for Creative space mastery came out. Fully structured and organised. 

I follow inspiration, faithfully, so I gave it all my dedication and love and the ideas I had been compiling and throwing in a folder gained form, gained order, shape, movement and logic. It is beautiful to see a narrative “become”. And just like that I had the content perfectly set and organised for my podcasts. And as a bonus, a day-workshop was created.

When November came about, a flood of inspiration came through. I had the scripts for the first episodes of the podcasts ready, the content for the related website, and the book about creative writing that is in its second draft was the perfect material for the writing marathon.

It was easy from there. Full creative flow. Never have I experienced so much of it. When you go through a lot of rejection of your abilities and gifts it is easy to forget to see these gifts, these abilities. That’s why having psychological help is invaluable. 

I have 3 angels, I show up for support sessions I set and the help I need, and the people who help me showed me the gift of having a hiatus from work at the prime of one’s life. With gratitude in my heart, creative Muse was generous and this month, it is all being born at creativespacemastery.com.

Creative Space Mastery Podcast in the making

I’m self-published and by no means known for my writing. I’m unemployed at the moment, waiting for the right employer to find the best project support officer they could find.

Meanwhile, I’m done suffering with the rejection emails both for the creative applications and the job applications. Instead, I’m praying the storyteller’s serenity prayer and following my inspiration. I’m splitting my time and doing what I do best: creating compelling narratives, funny moments, generating positive thoughts even through my cover letters and resumés.

I’m splitting my time between my job applications now, and my creative projects. And next will come a Podcast because there is one thing I have mastered:

A regular, productive, creative practice!

It doesn’t matter what I’m going through, how happy or sad, how anxious or depressed or how hyper and excited, which is equally distracting, I can produce good quality productive outcomes. I can also be creative both when I’m very busy at work, which I did when I was working full time and studying for my Masters of Creative Writing, and now that I have too much time on my hands (which sometimes can get people overwhelmed and they don’t know where to start)>

I developed a method, a framework, a process that people can follow to craft a recurring creative process and named it Creative Space Mastery.

Now, I’m in the process of developing my podcast about it! Watch this space!

The Dancing Bug’s Favourites

I’m recreating my old blogs from the Orble community that disappeared around 2013, taking all my writing with it.

I have just re-published a series of 46 blog posts under my “The Dancing Bug” category.

I’ve also re-plublished the 4 posts I had in the Bachateros Online Magazine.

From those here are some of my favourite articles, and the ones with thoughts I think have ideas that are still relevant and interesting.

The Dancing Bag – has a checklist for dancers for performances

How to Teach Amazing Dance Workshops

The Ballet Dancer’s Toe – An interesting fictional tale

My Clubbing Experience – another account about dancing freely

Sydney Bachata Festival 2009  – A new festival is coming up end of April 2023 – it still an incredible festival

Public Luv – what dancing should be about

Dance of Live – I read what I wrote then, still feel the same

It is a Couple Dance – important tips for Latin Dancers – Very Relevant still

Zouk in Rio – an account of dancing with feeling

Wizard’s Zouk – an account of dancing with no rules

The Dancing Bug the Virus & You – are you a dance addict?

From Orble to WordPress – Aussie Folly to Daily Adventures

Back in 2008 I created a blog at the the Australian Orble Community called Aussie Folly.

It was dedicated to writing about interesting happenings and cultural differences.

The Orble community disappeared suddenly a few years after I started writing, taking all the posts and content without notice.

One day it simply went offline.

I decided to move everything across to WordPress.

I was able to transfer the text, finding the images (or as close as I could) inside my old files, noting how many votes I had in Orble, the date and time they were published. I wanted to keep as close as I could from the original for historical data.

I’m keeping the new archive inside the category “Aussie Folly” in my Taniacreations.com website.

Here is a print-screen of the final statistics of the blog before it went awol:

14 Posts + 2 Comments +. 1,263 Votes

Forró for All

[Dialogues from the dancefloor]

‘What is this? Zumba?’ The forró dancer asks me with an expression of indignation on his face.

I laugh heartily. This dance partner complains about all the fastest songs. He likes the slow songs. The heartfelt ones.

“Sofrência” is the appropriate word in Portuguese for this feeling, the literal translation would be “suffering” but the word doesn’t even exist grammatically in the Portuguese language, but it exist in the Brazilian, Old Country soul. Comes from the old, dry, drought-driven, centre of the “Sertão Brasileiro”; images of barefoot dancing on unpaved red earth comes to mind, during a sunset, hot, with dust rising as the couples sweat happily.

It comes from dancing your woes away, such as the hunger, the thirst, the hopelessness…

I am taken out of my reverie by a voice asking me:

‘You’re dying to dance, aren’t you?’

It’s another dancer, one who actually likes the fast songs, the faster the better, I think.

‘How do you know?’

‘You’re dancing on your own.’

I hadn’t noticed, I laugh at myself, I guess I do that, move without noticing. I think I do that in the most inappropriate places; on the ferry, on buses, trains, stations, while walking, roller blading, waiting on queues, or on the street. 

I don’t really care much, I’m usually in a dreamland, inside a story, seeing dragons, priestesses, winged men, or worse, much worse. But at this moment I’m slightly, just a little bit, embarrassed.

Was I so eager to dance that it was visible across the dancefloor? Ah well… I’m always eager to dance. My cells have designs of their own, dancing is in my programming. I’m happy for the chance to share my steps now, rather than ridiculously swaying on my own.

A few days after, when I’m ready to put pen to tablet, I get to register the piece I most want to write about. It’s one about the dancer who doesn’t do the slow ones, “xote” as the slow forró songs are called. Music with “Sofrência”… a word he was the one who generously offered it to me.

He says he only has two more hearts to spare. 

At my “question mark” face he explains:

‘I have lost my heart enough in this lifetime. I don’t have many of those left to give away. Two at most! Xotes, they are heartbreaking, I have to be careful, I give my everything. Truly. I give it all. So I have a policy. No Xotes. Only fast songs. Keep the hearts safe.’

He is one of mine, this one. I get it. I do. Except. I must have hundreds of hearts. I give mine away. ALL the time.

There you are, there is dancing chemistry and connection, and you have this blissful dance, you glide in unison, the music is inspiring, the scent of the partner is alluring, cheek to cheek and the movements are in absolute synchrony.

I tell him:

‘I know! You have this perfect dance, you give everything, then you walk away without your heart, open chest surgery, bleeding, the threads of your veins intertwined with the other person’s, you feel your veins being pulled out of you as the other person walks away. The veins unravelling from your chest, going with them.’

He agrees and he completes my thinking, his voice pitching high in affront:

‘YES! And they walk away as if nothing happened!’ His voice is a falsetto by then.

“You are there, life transformed.” I think to myself and continue:

‘Sometimes you are left without a few other organs too, a liver here, a kidney, lungs, often. And last but not least, some intimate organs are on the line.’ I tell my friend who does not do slow songs. I understand him so well.

‘Yes, very much so! I can’t do that, not anymore, I only have two more hearts to give away in this life.’ He repeats himself. ‘I need to keep them for the right time. So I only do the fast songs now!’

I love the dialogue, the ideal, the sentiment. I meditate on it. I may have several hearts to give away to but each is unforgettable. Each time it happens, it is special and it kills me a bit on the inside.The person does take a piece of me with them forever, without ever realising.

And I am left bereft, pretending I’m still whole, bleeding on the dance floor. I wonder what happens to them… I always wonder. 

Are only the writers, the musicians, the artists, the poets the ones who bleed? Do I take pieces of people with me too, sometimes?

But inside these holes, I’m left with these intense moments, these experiences, these spotlights of magnificence that no-one can ever take away from me. If they didn’t feel it and took my bleeding heart, without ever knowing or realising, they are the poorer it. I’m the richer.

And that is life, right? Living and dying a bit every day? New cels, new thoughts, new patterns, new experiences, new opportunities? The old dies, the new is born.

Within, I carry Zouks, Bachatas, Salsas, Salsarrós, Bachatangos, Forrós, Lambadas, Kizombas, Ruedas, Cha-chas, even a couple of beginner Gafieiras and Tangos, that will never fade.

I forget partners’ names, sometimes even faces, but the dances, the sensations, those are indelible.

If one day, in my old age, I ever have one of those horrible diseases that eat remembrances; it is said that the long term memory becomes sharper. May I have these dances to the end. I hope one of them cause me a hot heart attack and let me die the happiest of old gals!

This same post in Portuguese/Esse texto em português: Forró para Todo Mundo

Read a short story about Forró Dancing: Elemental Forró

#forromates #sydneyforrodance

Painting by Leeorah Hursky www.leeorah.com

Elemental Forró

[a short story]


The priestess looked at her portal bereft of vital energy and asked all goddesses and gods for a solution.
The last of her Lunar Dancers had departed back to Brazil the month before, to be back to her family; and she was left alone in this distant land.
The priestess was in charge of a secret that protected and energised the world and it was failing, after years of her mystics’ isolation due to the pandemic.
That night, a dream sent her the solution. So simple, so brilliant, and better, she wouldn’t need to initiate anyone. No one would need to know, all she would need to do would be to be present and take her own energy, to recharge the portal.
The dream wouldn’t have been sent to her if the idea wouldn’t have been viable. She did a search online and was quickly rewarded! After years of false stats and unstable attempts, Sydney finally had consistent weekly Forró dancing social encounters.
It was a full moon and her connection with divine energy started pulsating the instant that the song hit her chest while she was still climbing the stairs to the venue. She looked to the medallion on her chest and it sported a black-matted colour.
The “suffering” imbued into the music of the motherland squeezed her chest and dragged her upstairs.

Being a new face on the dance floor, she wasn’t asked to dance straight away. She inhaled deeply and looked at the shadows, the couples breathing each other, bathed in colourful lights.
She put her water bottle filled with water from the Eternal Spring and stood by the circle of people around the space. If people could only imagine the value of that water bottle!
First she looked at the wall. If people looked to where she was facing, they would only see her shadow, as that of a normal woman.
Herself, however, saw the shadow of a dragon, above that of her own shadow, double of her size, spread wings, fiery eyes, even inside the reflexion, and with an expression of someone who promises not to be contained.
The Dragon-King, as she called him, was an ancestral spirit who shared her earthly habitation. At this moment, he kept an expression of naughtiness, desire, thirst.
‘Okay my King, let’s burn this dance floor.’ The priestess told him telepathically.
The Dragon incorporated his wings into her arms, melting himself into her body and letting the excess energy flow into the floor, irradiating the whole environment. The priestess looked to the centre of the venue and followed the streaks of green light, saw that they entered through the soles of the feet of the other dancers, she readied herself to dance.

The next music started and the dancers accelerated, enlivened, a great spell spread around. As if an alignment of the planets had happened.
The first who asked her to dance was like air; with him, her feet barely touched the floor, she felt as if she was walking on clouds. The steps were small and light, a tiny samba, a happiness reminiscent of Brazilian Popular Music style, sort of a calm joy.
He would hold her in breaks of the song and used each wisp of movement. He smiled at her when she reflected his subtle leadership and whims. His dance a delight.
At the end of that first encounter of elements, the medallion was already reflecting an iridescent blue, as clouds in a hurricane.

Like the songs of Gaia, her second partner made her feel earthbound. She could dance with him with closed eyes almost all the time. His dance wasn’t full of twirls, with only a few turns and full of style, it had plenty of body movements. He kept her enchanted, connected with the energy of the centre of the world, of Earth. She felt the vibration coming from the centre of the planet, bearing from the soil, charging through her core until the taste of this energy came to her palate.
She knew what he was going to do at the moment he decided to do it. Never a missed a step. They were like trees dancing under a tempest under strong winds.
At the end of the song, the world rejuvenated. Her medallion flashed in colours of gold and bronze, like Uluru, the rock in the centre of Australia.

When the next dancer approached, her Dragon-King roared in her mind. Fire. Danger. As a child of the water, fire was the element that risked extinguishing her in flames. It was also the one with the highest capacity to recharge the portal’s energies. It was impossible to create a full recharge without all four elements.
Furthermore, there was no way to create a true exchange of energies with barriers, caution, trying to keep oneself safe. The only way was to dance with vulnerability, throwing all fears to the wind and jumping into the abyss.
These dancers, the Universe had chosen and sent them. Her Dragon-King had attracted them, with perfect dance chemistry. Ideal partners to reactivate her portal.
There’s a great variation of how sensual a dance can be. This dancer, the Fire dancer, made the dance become a seduction. A vertical act better practiced on the horizontal. At first he tested the waters, and as he felt that she inclined forward instead of backwards; that when he squeezed her knees between his, she squeezed his between hers, his eyes sparkled.
She didn’t miss a turn, didn’t refuse a hand on the waist, followed all tracings; he smiled with the corner of his mouth, eyes shinning. He locked her hand behind her body and touched the palm of her hand lightly with the tip of his fingers, the naughty man.
After a turn, he left his thumb slide above the collar of her dress, to touch the back of her neck and at the moment she felt the contact the energy between them exploded inside. She felt him against her womb.
He was obliged to lead a series of turns, creating some distance between the two bodies, before finishing, when more in control, cheek to cheek, at the last beat of the song.
She felt the medallion burning on her chest between them. Saw it was read as ember when she went to get some water from the Spring, the only balm capable of making her keep her aplomb. To quench the fire that was consuming her.
She required some songs to wait for the last element until she was recovered and ready for it. Her Dragon-King was shouting on her mind that he wanted more. More! MORE!

She turned her back to the circle of crazied dancers, trying to direct some air inside her clothes from a nearby fan, to see if she could get some equilibrium.
The fate of the world in her hands and she was falling apart because of a dance… And then she remembered that it was the amount of channeled energy that was the issue, not two people, not an earthbound problem. She was asking too much of herself really. With each dance, the energy got potentiated in relation to the previous one.
Her heart started to thump harder with apprehension and anticipation of the dance that was approaching. Her own element of birth: Water. The one who vibrated all elements of her body.
She knew who would be the dancer. She had seen him the moment she had entered the place. When he came to her with his eyes the colour of oceans, extended his hand and held her, it was as falling right into mother Iemanjá’s arms.

The swing of the sea, that, took her legs out of her, and gave her gills. She felt like a mermaid.
The dancer anchored to the water element plunged her in his arms and took her to his world, an underwater world, fluid, with lava veins, with a submerged vulcano.
This dance was glided through the floor, with body and soul waves, in total harmony with the song. His movements being enhanced and for some moments locking her hand under his, over his heart. She felt his heartbeat on the palm of her hand, as her face rested against his.
At another turn, as by magic, her hand ended on his naked neck, hot, wet with sweat. Their eyes met for an instant and got lost in a distant galaxy. She melted on the inside, in a liquid world she didn’t know where hers started and his ended.
Her feet followed his, both following the song until the last beat. When they were finished, they were breathing in synchronism. She felt her medallion was in perfect equilibrium, and the Portal was energised for one more cycle. Mission accomplished.
The Dragon-King rested silently.

She knew she should thank him for the dance as she had done with all the other dancers, to thank and close the experience, framing it by what it was: just a beautiful moment in the world, a perfect conversation, of synchronised energies, a divine gift, in the past.
But this time… she walked away, lost in high seas…

[#forromates / #sydneyforrodance]

[Image: Painting by Leeorah Hursky / http://www.leeorah.com]

Fresh “The Dancing Bug”! From Orble to WordPress

Back in 2008 I created a blog at the the Australian Orble Community called THE DANCING BUG.

It was dedicated to writing about dancing and the Dancing scene in Sydney.

The Orble community disappeared suddenly a few years after I started writing, taking all the posts without notice.

One day it simply went offline.

I decided to move everything across to WordPress.

I was able to transfer the text, finding the images (or as close as I could) inside my old files, noting how many votes I had in Orble, the date and time they were published. I wanted to keep as close as I could from the original for historical data.

I’m keeping the new archive inside the category “The Dancing Bug” in my Taniacreations.com website.

This is the new blog, ready to receive my new writing thoughts on dancing as well…

Twice the blog was among the most voted in the whole community, once in 9th place for the day, once in 3rd place for the day:

04 Apr 2013 – 3rd Place – Directly from the Bachata Me Dance Floor

06 Apr 2013 – 9th Place – Directly from the Bachata Me Dance Floor

Here is a print-screen of the final statistics of the blog before it went awol:

46 Posts + 16 Comments +. 3,193 Votes