Thanks for the responses. That provides some excellent insight into the choices made.
Chan carefully sets up shots and locks off the camera position so you can see the action moving around the space
I know of the video essay you refer to. I always enjoy those from Tony Zhou (and many others too!)
The minimal movement in Chan's camera work is important because of his overabundance of movement expressed in his action.
If the camera moved, we'd miss parts of that action.
I do note that even when Chan says he doesn't move the camera we see movement in his camera.
He mainly means the camera itself is locked down (to prevent an excess of hand-held movement. He still uses zooms and pans to great effect, progressing the action, foreshadowing and revealing thing we didn't see clearly before. Ex: That ladder over there in the background as they enter the scene is just a useless prop... oh wait.... no it isn't... Chan is using it as a weapon. Ha! Look at him go! (Chan knows his stuff)
The locked down camera becomes even more important when dealing with multiple actors interacting with Chan.
The camera can't follow everyone, everywhere so it stays (primarily focused on Chan) although wide enough so that we can anticipate and eventually see the most action.
An aside from this; the video in question covers how American directors/cinematographers tend to cut on a hit/contact.
This contact is an area of interest to me that is still in refinement and I haven't formulated an approach.
Just when I think I've got it down, (for instance, always showing the contact frame(s), I find myself reversing that approach (leaving out those frames).
The story/sequence/shot will dictate and therefore doesn't have to be an all-or-nothing approach.
But that doesn't stop me from trying to find an optimal way to approach it.
In the case of your boy and bear dancing there isn't much overlapping action in there dance.
As such a locked down camera doesn't carry with it as much importance. The importance story point is that this boy and bear are dancing.
Not that I'd expect you to do this but a fun exercise would be to take shots from the boy and bear dance and crop each to emphasis specific actions; esp. feet moving, turning/twisting, pan with them as they glide across the stage, etc.
And HEY! I just noted that your boy has similar car shoes to that guy in detbear's latest lego parody.
Hmmm... now there's a mystery to be solved. What is it with bears' friend's and their rollerskates that look like cars...