1 . It was a cool October evening. Excitement and family members _______the hall. I was only a 7-year-old girl, but I was the center of _______. Finally, after weeks of preparation, I would _______all my hard work in a dance of performance. “Everything would be_______”, I thought. I waited backstage all _______ in my black tights with a golden belt. In a loud and clear voice, the master of ceremonies _______that my class was next.

My dance class was doing a routine on wooden boxes two feet by two feet, facing the _______. All I had to do in the next move was put one foot on the box next to mine and keep my other foot on my box. It really was an _______ move. I was concentrating so much _______the huge smile on my face and holding my head up that I did not look________I was going. I missed my partner’s box altogether and ________. There I was standing on the stage floor when my classmates were on top of their boxes. I could hear giggles coming from the audience, and I felt the ________rush to my face. I remembered my dance teacher had told us, “If you make a mistake, keep smiling so the audience will not ________.” I did my best to follow her ________ as I continued with the routine.

When the curtain dropped, so did my ________for the evening. I ________bitterly, tasting the salt from the tears that streamed down my face. I ran backstage, but no one could ________me down.

Recently I realized I had been a ________that night. I was ________, but I fought the urge to run off the stage. ________, I finished the routine with a smile on my face. Now when friends and family laugh about the time I slipped during a dance performance, I can laugh too.

3 . Every year, the Palace of Fine. Arts Theatre in San Francisco fills up with dance lovers. They come to take in experimental works of art that all have one thing in common — hip hop. This weekend the San Francisco International Hip Hop DanceFest, the mission of which is to encourage the evolution of hip hop dance culture while preserving its legacy, celebrates 20 years of presenting exciting hip hop performances.

Each DanceFest has diversity of style and group size, and a balance of local and out-of-town companies. The festival has drawn impressive international talents. In fact, outstanding technical dance skills are only a basic standard that the festival organizers are looking for. They look for much more groups or solo artists that think outside the box. Artists that use hip hop in a theatrical way or use it to address social issues are sure to stand out. For instance, the 2010 performance “Tables and Chairs” served to highlight the negative effects of alcoholism on society, warning people against the addiction to alcohol.

It would be terribly irresponsible not to mention the founder, Micaya, in any introduction to DanceFest. A popular hip hop dance instructor, Micaya began producing high energy dance shows in the heart of San Francisco in 1993. Students love her classes so much that a San Francisco newspaper once called her “Best Dance Instructor”.

However, Micaya was concerned about the doubtful reputation of hip hop. She made it her goal to get hip hop the same recognition and respect as other dance forms. In 1999 she started DanceFest. It was the first festival of its kind to honor the creativity of hip hop dance in a non-competitive atmosphere. To Micaya, competitive formats leave little room for the magic that comes from true expression. One review said, Micaya's festival challenges us “to reconsider just how diverse ... and embracing hip hop can now be.” Indeed, Micaya brings out the best in dancers, and has given San Francisco one of its finest festivals.