The phrase "dancing experience" is correct and usable in written English.
You can use it to refer to someone's background or history in dancing, whether it be formal training, performances, or casual dancing.
Example: "Her dancing experience includes five years of ballet and two years of contemporary dance."
Alternatives: "dance background" or "dance history".
But she also had years of dancing experience and educators coaxed her into leading the dance program.
Tell me about your dancing experience.
But "I wasn't willing to let that be my last dancing experience".
Of course, with the no touching rule, the lap dancing experience is largely visual.
Age: 34 Dancing experience: Apparently dancing is "not her forté", although her video for "Superstar" tells a different story.
With more ambition than dancing experience, she raced to find a dancing instructor and barely mustered a rudimentary time step before her tryout.
For people who lived through or have internalized electronic dance music's evolution and permutations, who have experienced with awe-struck wonder the power of communal rhythm-based dancing experiences or simply like cool electronic rock songs that you can dance to, though, the record might strike a human nerve.
I so look forward to making the pilgrimage to the birthplace of the greatest dance show, the mecca of spray tans and tangos, and to sit in for the great and pernickety Len Goodman". Waltzing her way from the dance-floor to the judging panel, Jennifer will be able to draw upon her personal dancing experiences to offer a constructive critique to the remaining couples in the competition.
And for the umpteenth time for those who are still grumbling about his past "dance" experience, ice dancing doesn't prepare you for this kind of dancing.
But the stone-faced Lolo -- despite being unable to redeem her high school slow-dancing experience -- was able to salvage her "DWTS" experience with her gracious concession speech, ending her 15 minutes of dancing fame on a positive note.
This book-length project shows how Korean spectators, performance makers, curators, and public administrators practicing the dances and viewing the racially marked dancing bodies experience fluctuations in their own ideas and practices of Koreanness vis-à-vis the imagined qualities of Africanness.
