My clip, a feature performance from Dans Eder Misin, (Turkey’s adaptation of the popular franchise known in the U.S. as So You Think You Can Dance) signals the ways in which dance formats contribute to global television’s negotiations between national particulars and transnational media flows. Here, a demonstration of Flamenco technique climaxes with the appearance of a lone female Sufi dancer, whose entrance onto the stage is set against the fusion sounds of ambient trance. The performance evokes a complex network of global and local tensions, not only between different culturally prescribed ways of moving, but between local forms of secular commercialism and religious worship, and between traditional and modern Sufi Muslin beliefs concerning women’s participation in public whirling rituals. The performance, like so many international adaptations of SYTYCD, traffics lavishly in the sensual pleasures of international youth culture’s hybrid gestural and rhythmic aesthetics, while at the same time renegotiating social and national identities through movement and performance styles that enlist the body in television’s own ongoing cross-fertilization of global and local markets. For me, the appeal of the Flamenco-Sufi performance in particular, like the SYTYCD franchise overall, is that it produces, through contradictory juxtapositions of human movement, global sentiments that are always inevitably national—or specific to a particular history, location, and cast of familiar characters, or characterizations. The clip raises questions relevant to my work on global television. Indeed, to the extent that dance serves as critical markers for the production of social and national identities, how might Dance Studies contribute to the development of Global Television Studies, particularly where questions of format adaptation are concerned? Does the recent international popularity of dance-themed reality television shows suggest that the time has come to rethink relations between dance and nation?