UK Salsa Enthusiasts Get Back on the Dance Floor

File Photo: The original disco floor from the 1977 movie "Saturday Night Fever" is shown in this handout provided by Profiles in History auctioneers in Calabasas, California May 31, 2017. Courtesy Profiles in History/Handout via REUTERS
File Photo: The original disco floor from the 1977 movie "Saturday Night Fever" is shown in this handout provided by Profiles in History auctioneers in Calabasas, California May 31, 2017. Courtesy Profiles in History/Handout via REUTERS
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UK Salsa Enthusiasts Get Back on the Dance Floor

File Photo: The original disco floor from the 1977 movie "Saturday Night Fever" is shown in this handout provided by Profiles in History auctioneers in Calabasas, California May 31, 2017. Courtesy Profiles in History/Handout via REUTERS
File Photo: The original disco floor from the 1977 movie "Saturday Night Fever" is shown in this handout provided by Profiles in History auctioneers in Calabasas, California May 31, 2017. Courtesy Profiles in History/Handout via REUTERS

Salsa dancing was among the first casualties of restrictions on close-contact indoor activities during the coronavirus pandemic -- and among the last in the UK to see bans lifted.

Now enthusiasts of the paired-dance technique set to Latin beats of the same name have wasted no time shimmying back onto the dance floor.

"Go out and dance while it's still allowed, while it's still legal," dance teacher Dani K tells his students at a studio in the British capital.

At an evening class in the Angel area of north London, the 40-year-old Frenchman and his partner Sarah Rowe, 32, reflect on the difficulties of the past 15 months.

Students in plimsolls spin partners round on the dance floor, counting steps diligently and high-fiving each other after each dance.

No one wears a facemask but the studio has air conditioning.

"To be among people again, it feels great," says Vitaliy Zasadnyy, a 29-year-old systems engineer.

"Salsa is a social dance and without people, it's not really salsa -- you're dancing on your own."

Restrictions on indoor events were lifted in England on July 19, allowing a host of activities to resume, from mingling in pubs to sitting inside at restaurants.

Before then, Dani had to adapt, teaching some classes where students learned the basic steps on their own but without any contact with their partners.

"Partner dance is more difficult... because we need to touch," he tells AFP.

"It was difficult because I could feel the frustration of the students."

One of those who took the socially distanced class, Joana Castro, a nurse originally from Portugal, joins Wednesday's class.

"This is my first ever lesson touching a partner," she says, smiling. "It's hard to let someone lead, but it's so much more fun. I really enjoyed it."

Both teachers have led online classes, too, teaching people at home.

Despite the limitations of the format, Rowe calls the virtual classes "a lifeline for us mentally and obviously financially".

The couple, who are expecting a child, say that the lockdown from March 2020 was a huge blow.

"You go from 100 percent to probably 5 percent of your income, while your rent didn't go down, your expenses didn't go down," says Dani.

Rowe says she felt apprehensive about coming out for her first in-person class.

But by the end of the session, she relaxes enough not just to demonstrate steps with Dani, but also dance with students.

It's "really great to be back doing what we love", she says.



Tim Burton Talks about His Dread of AI as an Exhibition of His Work Opens in London

 A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
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Tim Burton Talks about His Dread of AI as an Exhibition of His Work Opens in London

 A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)

The imagination of Tim Burton has produced ghosts and ghouls, Martians, monsters and misfits – all on display at an exhibition that is opening in London just in time for Halloween.

But you know what really scares him? Artificial intelligence.

Burton said Wednesday that seeing a website that had used AI to blend his drawings with Disney characters “really disturbed me.”

“It wasn’t an intellectual thought — it was just an internal, visceral feeling,” Burton told reporters during a preview of “The World of Tim Burton” exhibition at London’s Design Museum. “I looked at those things and I thought, ‘Some of these are pretty good.’ ... (But) it gave me a weird sort of scary feeling inside.”

Burton said he thinks AI is unstoppable, because “once you can do it, people will do it.” But he scoffed when asked if he’d use the technology in this work.

“To take over the world?” he laughed.

The exhibition reveals Burton to be an analogue artist, who started off as a child in the 1960s experimenting with paints and colored pencils in his suburban Californian home.

“I wasn’t, early on, a very verbal person,” Burton said. “Drawing was a way of expressing myself.”

Decades later, after films including “Edward Scissorhands,” “Batman,” “The Nightmare Before Christmas” and “Beetlejuice,” his ideas still begin with drawing. The exhibition includes 600 items from movie studio collections and Burton's personal archive, and traces those ideas as they advance from sketches through collaboration with set, production and costume designers on the way to the big screen.

London is the exhibition’s final stop on a decade-long tour of 14 cities in 11 countries. It has been reconfigured and expanded with 90 new objects for its run in the British capital, where Burton has lived for a quarter century.

The show includes early drawings and oddities, including a competition-winning “crush litter” sign a teenage Burton designed for Burbank garbage trucks. There’s also a recreation of Burton’s studio, down to the trays of paints and “Curse of Frankenstein” mug full of pencils.

Alongside hundreds of drawings, there are props, puppets, set designs and iconic costumes, including Johnny Depp’s “Edward Scissorhands” talons and the black latex Catwoman costume worn by Michelle Pfeiffer in “Batman.”

“We had very generous access to Tim’s archive in London, stuffed full of thousands of drawings, storyboards from stop-motion films, sketches, character notes, poems,” said exhibition curator Maria McLintock. “And how to synthesize such a wide ranging and meandering career within one exhibition was a fun challenge — but definitely a challenge.”

Seeing it has not been a wholly fun experience for Burton, who said he’s unable to look too closely at the items on display.

“It’s like seeing your dirty laundry put on the walls,” he said. “It’s quite amazing. It’s a bit overwhelming.”

Burton, whose long-awaited horror-comedy sequel “Beetlejuice Beetlejuice” opened at the Venice Film Festival in August, is currently filming the second series of Netflix’ Addams Family-themed series “Wednesday.”

These days he is a major Hollywood director whose American gothic style has spawned an adjective – “Burtoneqsue.” But he still feels like an outsider.

“Once you feel that way, it never leaves you,” he said.

“Each film I did was a struggle,” he added, noting that early films like “Pee-wee’s Big Adventure” from 1985 and “Beetlejuice” in 1988 received some negative reviews. “It seems like it was a pleasant, fine, easy journey, but each one leaves its emotional scars.”

McLintock said Burton “is a deeply emotional filmmaker."

“I think that’s what drew me to his films as a child,” she said. "He really celebrates the misunderstood outcast, the benevolent monster. So it’s been quite a weird but fun experience spending so much time in his brain and his creative process.

“His films are often called dark,” she added. “I don’t agree with that. And if they are dark, there’s a very much a kind of hope in the darkness. You always want to hang out in the darkness in his films.”