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How to Stay Motivated When You Just Don't Feel Like Dancing

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No matter how committed you are to dance, there's no denying that training can be grueling. Sometimes it's physically exhausting; sometimes it's mind-numbingly repetitive; sometimes, like during the annual Nutcracker run, it's both. How can you ensure that your love for dance will survive these difficult moments, when you just don't feel like spending yet another day in the studio? Here's how to keep yourself motivated when the going gets tough.


Take Time for Yourself and Your Body


Frequently, mental burnout is directly connected to physical overwork, and means that your body needs rest. When ballet student Tyler Wright's recurring injuries caused him to miss out on performing the role of the Prince in The Nutcracker with iconic ballerina Tiler Peck, he knew it was time to change his approach to training. "Even if it's just for five minutes before bed, I now check in with my body every day, so I know what areas may feel weak or strained," Tyler explains. This kind of scan can help you determine which exercises you might need to sit out to make sure your body can heal. It can also help you set goals for areas to strengthen, giving you a new sense of purpose in the studio.

Look at the big picture, too: Do you take mental and physical breaks throughout the year? Have you struck a healthy balance between schoolwork and dance training? "Many students quit dance in high school because their schedule has no downtime," explains Sue Sampson-Dalena of The Dance Studio of Fresno. She always asks her dancers to be honest about how many competition dances they feel they can handle throughout the year, with some just choosing two or three rather than six.

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Explore and Connect


If you can't remember why you fell in love with dance in the first place, try resetting your perspective. Attend a professional dance performance, take a master class in an unfamiliar dance style, or explore your local art museum. Engaging with the art world in new ways will stimulate different parts of your creative brain.

Sometimes, a lack of motivation comes from feelings of isolation and competition in your dance classes. Try scheduling a nondance activity with your dance friends once a week—a yoga class, or an afternoon of volunteering—to help everyone bond in a neutral environment. "Productions like the The Nutcracker can breed competition and jealousy, so you don't feel like you can be supportive of each other," explains psychologist Dr. Nadine Kaslow. "Really focus on connecting with your cast members."

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Practice Positivity


Cultivating a positive mind-set will help you stay motivated throughout long rehearsals and performances. "Try to stay present in each rehearsal. If you feel like your part is boring, learn other parts and mark them on the side," suggests Dr. Kaslow. Pay attention to how you're mentally speaking to yourself in rehearsal. Do you keep your thoughts positive ("I'm going to go for that triple pirouette today!") rather than negative ("I'll never pirouette as well as she does!")?

For long performance runs, see if friends and family can attend on different nights, so you always have a friendly face in the crowd. And find different nuances in each performance. "It can be as little as adding a different facial expression in one part, but I love to try to get different reactions out of the crowd," says Tyler.

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Ask the Difficult Questions


If things are so bad you're thinking about quitting dance, sit with that feeling for a while. "Imagine yourself not dancing for months—how would you feel? Do you have other activities that you would rather do in place of dance?" says Dr. Kaslow.

If, after that evaluation, you think a temporary or permanent dance break would be beneficial, that's OK! Time away from the studio might rekindle your love for dance. But if these feelings have been with you for a while, and are coupled with other issues—such as anxiety, an eating disorder, or depression—don't be afraid to ask for help from a trusted adult or a therapist.


All the Gift-Worthy Training Accessories You Need This Winter

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For today's versatile dancer, it's not enough to just show up to daily class. Top-notch training includes conditioning, self-care and a home practice with the right training tools. Amp up your home studio (and your dancing) with these three accessories from Harlequin Floors—just in time for holiday gift-giving. (Bonus: They all ship free!)


Harlequin Turning Board


Harlequin Turning Board

Whether you're a natural turner or still trying to perfect that triple, spending extra time on your turns at home can only make them cleaner, faster and easier. Harlequin's Turning Board works for ballet, jazz, modern and even tap: With Harlequin's reversible marley on one side and a wood surface on the other, no type of dance shoe is off-limits. Measuring at 36″H x 31 3/8″W x 3/4″D with a small cutout for easy carrying, the plywood panel is light and portable so that you can take it with you to competitions or conventions.

Harlequin Practice Mat


Harlequin Practice Mat & Bag

With precision footwork—especially in pointe shoes—having proper flooring is crucial. One small slip on your slick dining room floor could spell disaster. With a Harlequin Practice Mat, you can work on your pique turns, échappés and entrechat quatres with peace of mind. Made with Harlequin Cascade—the floor of choice for American Ballet Theatre, Houston Ballet and New York City Ballet—the 40"x 40" practice mat can be put down on any hard surface for optimal training. Choose from black or gray and enjoy a stylish carry bag for maximum portability.

Harlequin Freestanding Ballet Barres


Harlequin Freestanding Ballet Barre

Ballet training begins at the barre. And what better place to start than in your own home? Harlequin's Freestanding Ballet Barre is light and portable with adjustable feet for easy raising and lowering. With two choices of material (aluminum or maple) and two lengths (52" or 72"), you can easily find a barre that matches the size and look of your home dance space. Each freestanding barre contains two horizontal barres of different heights to make stretching out at the end of a long dance day a breeze.

9 Moments Every Dancer Is Thankful For

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Sure, our Instagram bios permanently read, "I can't, I have dance." But let's be honest: We love it. All those grueling hours at the studio? They're also pretty wonderful.

Since it's the season of gratitude, we decided to make a list of nine moments every dancer is grateful for.


When You're Asked to Demonstrate


What's that? You liked the way I did the combo? I'm blushing!

When You Nail a Pirouette—AND Hold a Balance at the End


I mean, don't ask to see it again. But it sure was magical.

When the Teacher Actually Keeps Her "One More Time" Promise


It almost never happens—so you gotta SAVOR it when it does.

When You Get to Skip School for Dance


Look, education is important, but there's a Nutcracker matinee happening, and if it's happening during algebra class—well, that's a sacrifice we're prepared to make. 😏

When You Find the Tap Shoe/Ballet Slipper/Toe Pad You've Been Missing in the Lost-and-Found Bin


Miracles do happen!

When You Get to Try on Your New Costume for the First Time


Nothin makes a dancer feel more glam.

When the Teacher Leaves Out the Abs Portion of Warm-up


[single glistening tear rolls down face]

When You Get Accepted to Your Dream Summer Intensive


I'm going to be exhausted all summer and never see the beach, and I COULD NOT BE HAPPIER!

Literally Any Time You Get to Perform


The absolute best moment of all. 🤗

"MJ The Musical" Casts Its Michael

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MJ The Musical has found its Michael Jackson: Ephraim Sykes.

If there's anyone who's up to the task, it's easily Sykes. The Tony-nominated triple threat has proved his mettle time and again in six Broadway shows. No stranger to the soul and pop genres, he was in the casts of Memphis and Motown The Musical, and is currently starring as David Ruffin in Ain't Too Proud: The Life and Times of The Temptations.


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And while his vocals soar and croon with incredible tear-you-apart conviction, he's even more of a dancer—the kind that's charismatic but with the technical chops to back it up. (He studied in the Alvin Ailey/Fordham University B.F.A. program and danced in Ailey II.)


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Professionally, he's been put to the test in two of the danciest musicals of the last 10 years, having mastered Christopher Gattelli's endlessly crisp leaps and turns in Newsies The Musical and Andy Blankenbuehler's suave brand of contemporary-meets-hip-hop in Hamilton's original cast. Earlier this year, he nabbed a Chita Rivera Award for Outstanding Male Dancer in a Broadway Show for his role in Ain't Too Proud.

So, yes, we're excited to see Sykes continue to succeed in his career.

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But his next step, as Michael Jackson, will come under greater scrutiny. Already, MJ The Musical has faced many difficulties, most notably its canceled pre-Broadway Chicago run following the release of the documentary Leaving Neverland, which explored accusations that Jackson sexually abused children.

That could be enough to kill a production outright, but the creative team of writer Lynn Nottage and director–choreographer Christopher Wheeldon have pressed on. According to The New York Times, MJ recently wrapped an eight-week work session, which Sykes participated in during the day. Each night, he returned to the Ain't Too Proud stage.

While we're excited to see Sykes take on Wheeldon's choreography, we're more curious to see how MJ The Musical will address these allegations. They certainly can't be ignored, nor should they, but we'd hate to see Sykes rising star tarnished by association.

MJ The Musical will start previews July 6 at the Neil Simon Theater.

Inside Ali (Clough) Geraets’ Newest Hip-Hop Line for Just For Kix

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Dancer and teacher Ali (Clough) Geraets remembers a time when she couldn't find shoes for her class of hip-hop students. She wanted a pair of combat boots that were functional on the dance floor, stylish enough for performance, and at an affordable price point so her dancers could buy them. She also needed a store that carried enough stock for the whole class. "We ended up buying shoes from Kohl's, and they were super slippery," Geraets says. "We were like, 'Oh my gosh, we should be making these for dancers.' "

That's when Geraets, along with her colleague Xue Li, got to work on designing her own pair of combat boots, made especially for hip-hop dancers. Their first design was a pair of sequined boots made for Gia-Mia, that came in both black and silver. After that success, Geraets started designing shoes for Just For Kix, exploring options that are both functional and stylish for dancers.



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Geraets' latest collection for Just For Kix features three new sneakers: the Alexandra Urban Hip Hop Sneaker in both tan and black, and the Alexandra Spark Hip Hop Sneaker in white. When designing a new shoe, Geraets looks at what's trending in dancewear, and melds it with her own personal style.

As a dancer herself, she has firsthand knowledge of what works and doesn't work when you're moving in a shoe. Sometimes she brings ideas to her students, and gets their opinions on what's stylish and what they would want to wear. Geraets and Li bounce ideas back and forth, and Li then sketches and constructs the shoe, bringing Geraets' vision to life.

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For these two new styles, Geraets decided to play with neutrals. "You can't really find hip-hop shoes that are made specifically for dance that are more neutral—everything right now is either sparkly or glittery or shiny," she says. "I love these because they are a little more subtle, but they still pop."

They also feature unique details: For the tan and black sneakers, Geraets and Li decided to make laces that tie in the back (a look they hadn't seen anywhere else in the dancewear world), with velcro straps on the front to make the fit more adjustable. The white Spark sneakers were initially modeled after one of Geraets' earlier designs—a high-top, glittery sneaker in red or black. The new design has the same striped pattern, but in a clean, white low-top with silver stripes for just a touch of shine.

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Since the neutral tones match nearly everything, the shoes can easily transition from studio to streetwear, and can be used by dance teams in multiple performances, with multiple outfits.

Making the shoes affordable was a priority for Geraets. "It's really hard to go out and buy a pair of shoes that are $200, and justify that along with a $150 costume or whatever you may be spending," she says. "These are good quality shoes and you don't have to spend so much money on them."

Geraets has come a long way from the days when her students had few options for their hip-hop routines—and from her own days as a dancer who couldn't find products that reflected her personality. "I've never been a super glitzy person, so it was always kind of hard," she says. Now, her designs are ready to help countless dancers express themselves.

The Whole Dancer: NYCDA Faculty Member Rachel Kreiling on Self-Care & Staying True to Yourself

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When Rachel Kreiling first walked into New York City Dance Alliance as a young student in 1995, she couldn't have anticipated the lifelong connections she was about to make. Following a performing career that took her around the world, Kreiling found herself back at NYCDA as an assistant at the invitation of founder Joe Lanteri. She joined the faculty in 2008 and has been there ever since.

At the heart of Kreiling's teaching is her passion for dancer wellness. Kinesiology, neuroscience and conditioning play a key role in her work at NYCDA and as a guest teacher at studios nationwide. We talked to Kreiling for our very first "Whole Dancer" column, where we hear from top NYCDA dancers, choreographers and teachers about wellness, self-care and more:



On her journey with NYCDA:


"NYCDA nurtured me to be a professional dancer, not just a competitive dancer. That was huge when it came time to transition from a competitive studio environment to the professional world. I was set up with the tools to succeed and had built strong relationships with the faculty. Those relationships have stayed strong because each faculty member is invested in guiding every kid. It's not just for the weekend; it's for the long haul."

On dancer wellness:


"It's not just about technique. It's about physical and mental well-being in and out of the classroom. Overuse, underuse and lack of awareness injuries are manageable. A lot of dancers just lack the tools. The physical well-being of dancers stems from educating themselves and understanding anatomy, physiology, biomechanics and proper conditioning that counterbalances the overuse and underuse tendencies we have in dance."


On her teaching style:


"I approach things from a very kinesthetic, holistic point of view. When I was working with my seniors recently, we were talking about how when you stand on the side during a combination, it's not just about watching the good people. It's about identifying for yourself what their successful tools are. Is it dynamics? Is it lines? Is it space? Is it technique? It's about making sure that when you come out to the floor you are mentally active. You are aware of where you are in space and keeping your body safe."

On the NYCDA atmosphere:


"When we teach, we really spend time talking about mental tools and how to be in a workshop or audition space. We discuss how to be a part of a community. It's about progress, not perfection. If you can make simple steps one at a time, that is celebrated here at whatever level you're at. It's more of an educational environment than a competitive environment."


On her self-care routine:


"I recently started something called The 5 Second Journal: "How do you feel today and why do you feel like that?" It forces you to assess things that energize or bring positivity to you. I wake up in the morning, assess for 2-3 minutes and then move on. It's a great way to start my day.

"After that, I do a simple workout that organizes my entire body. At least once a week, I have an active recovery day. No dance technique. Whether it's rolling out, doing another conditioning practice or just simple stretching, I take the time to do something that's passive and restorative. I also love using oil diffusers at night. It helps me clear my mind and reset."

On being well-rounded as a dancer:


"Remember that with dance, it's not about the steps. It's about gaining the tools to be a well-rounded person who can be successful in whatever field you choose. Those tools go beyond the convention floor. It's about how to be resilient and a learner who will grow and progress. It's about advocating for yourself and understanding your strengths and weaknesses."


On the best advice she's ever received:


"If you stay true to yourself, the best will come out. When you try to fabricate or alter who you truly are, that's when things start to crumble. When you value what you say and do and don't compare yourself to others, that's enough and it will be well-received."

On her greatest inspiration:


"I came from an environment in which understanding your body was not a priority. I suffered injuries because of it. When I came stateside after doing international work, I came to Suzi Taylor's class. I was in the back corner trying to hide and she circled around the back, leaned over my shoulder and said, 'Whatever you're doing from 12:00 to 2:00 every day, change it.' So I did. I moved my work and was in her class every single day. She retrained me and taught me about resilience and acceptance. I wouldn't be where I am today without her."

Flying Solo: The Pros and Cons of Competing Independently

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When Kylie Peitz, an independent dancer in West Palm Beach, FL, took the stage to perform "The Impossible Dream" last year, she wasn't just dancing another competition solo. A couple years earlier, Peitz had left her studio for financial reasons, but she didn't want to let that stop her from working towards becoming a professional dancer. The solo depicted her post-studio journey through movement. "That was basically the story of me leaving my studio and saying that this is a dream I want to pursue," she says. "You can tell me that I'll never make it on my own, but I'm still going to push as hard as I can to reach my dream." She performed the solo at several competitions, winning titles like Top Solo and Teen Miss Hype at Hype Regionals, and First Overall Elite Teen Solo at Fusion Nationals.

Going independent has helped Kylie broaden her training and get more serious about her goals as a dancer. But while competing independently allows a certain level of flexibility and freedom, it can also mean having less of a support system. If you're thinking about giving it a shot, here are a few things to know.


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Making Your Own Rules


One benefit of competing independently is that you get more control over what, when, and where you perform. Jill Wolins, who's judged dance competitions for 14 years including Starpower and Star Dance Alliance, finds that students often choose to give it a try because they want to expand their training beyond what their studio offers. "If you belong to a studio that does not allow you as a team member to go to other events to perform or take classes, that may be a reason—you want more education," Wolins says. For Kylie and her family, going independent gave them more control over what they spent their money on. Instead of paying to attend required conventions and competitions, they focused mostly on Kylie's training, and she stuck to local competitions unless she earned a scholarship or was sponsored.

Now 15, Kylie currently dances at her high school, Alexander W. Dreyfoos School of the Arts, during the week, and trains with her teacher, Sheryl Tautiva (who she originally met at her studio), on the weekends. Tautiva choreographs Kylie's competition solos, which they tailor to her specific needs. "We're able to pick music that will fit me and do certain moves that look best on my body, and make costumes that go exactly with the piece," Kylie says. "I connect to my solos more, because I can make them more about my life." She also feels she's been exploring a wider range of techniques, including ballroom styles, that she didn't get to learn at her studio.

Dancer Sarah Reasons also found that going independent allowed her to learn more about her own dancing, and get better at self-evaluation. Sarah grew up training at Club Dance Studio in Arizona, but then she was cast in "Dance Moms" Seasons 4 and 5. That led to her booking other jobs in L.A., and going back and forth between Arizona and California became difficult. Though she loved being on a team and getting the consistent training of a studio, "I thought it would be best if I went independent, so I could still train and compete, but I wouldn't have to worry about letting my team down," she says. Working more on her own, "I feel like I definitely found my own style and what looks good on me, because I kind of had to," she says. "I didn't have a teacher telling me. I had my video camera on my phone telling me what looks good."

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Sticking with Structure


With more flexibility comes more responsibility to make your own schedule. "It's definitely not for everyone," Wolins says. "You have to be 100 percent self-motivated. Not even all adult professionals have it in them to stay motivated and to stay in dance shape. You have to create your own structure." Though it can be great to be able to attend as many competitions as you choose, Wolins stresses the importance of maintaining a strong technical base, and continuing to seek out technique classes. "When people only do conventions and competitions, they get injured," she says. She also likes to remind dancers that, while they're mostly performing solos as independent dancers, they should prepare to be in a group setting at some point again. "Once you get into the professional world, you're auditioning to be one of Beyoncé's dancers or in the corps de ballet or in the ensemble of a Broadway show," she says.

For Sarah, upcoming college auditions helped her stay focused. "I figured out that I wanted to pursue dancing in college, and that was definitely a motivator to get me to really work on my technique and my tricks and my movement," she says. She currently dances on Utah Valley University's dance team. Kylie has started working with some of Tautiva's other independent students to mix things up, allowing her to perform partnered or small group dances in addition to solos.

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Spreading Your (Social Butterfly) Wings


Another challenge of going it alone can be attending competitions without the built-in social life a team provides. But this can be an opportunity, too. When she first started competing independently, Kylie remembers, "I really didn't know anybody, because I was so used to being with my studio, so I did kind of feel isolated." Once she started gaining recognition for some of her solos, and getting more comfortable, she started making friends backstage. "I feel like I have a connection with a lot of different dancers from Miami, from New York, lots of places where I never got the chance to meet people," she says. Sarah also found it difficult to make friends at first, but she came to enjoy the experience of learning from new people. "If you're dancing with the same people every day you kind of get stuck in the same style," she says. "I thought it was really cool to try new styles and find new people to dance with when I take class."

There's no right or wrong decision, but Wolins stresses that competing independently is not something to do casually. "The dancers who want to go independent, generally speaking, are those who really think they want to make a living as a dancer or have dance as a large part of their life," she says. For Kylie, at least, it's been worth it. "I felt like it gave me a different opportunity to see the dance world, and a different outlook on what I wanted to pursue," she says.

Watch Ballerina Isabella Boylston Review 11 Famous Dance Scenes

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There are few things we love more than big movie and TV dance scenes. Are they, generally speaking, accurate and flattering depictions of the IRL dance world? Well...no. But each one is an opportunity to bring a more mainstream audience inside this wonderful, HIGHLY specific universe we inhabit. And who better to break down some of the most iconic dance scenes of the past three-odd decades than American Ballet Theatre principal/Instagram celebrity/all-around delight Isabella Boylston?


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Insider asked Boylston to talk through 11 famous Hollywood takes on dance, from the oh-so-'80s audition scene in Flashdance to Mac's surprisingly accomplished contemporary routine in "It's Always Sunny in Philadelphia" to the legendary costume changes of Center Stage's grand finale. Boylston does not disappoint, providing insightful and funny commentary as she rates each scene on a one-to-ten scale. We especially love her dance double radar—that ability to point out the exact moment in the footage when the dance double takes over for the actor. (Maybe she's so good at it because Boylston herself served as a dance double for Jennifer Lawrence in Red Sparrow, which, yes, is one of the films discussed.)



How Practicing Gratitude Can Make You a Better Dancer

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Gratitude practice is an exercise that's as straightforward and simple as it sounds—and it can have a major positive impact on your dancing. Here, we break down the basics, benefits, and best ways of practicing gratitude—just in time for Thanksgiving.


What Is It?


Gratitude practice means taking a few moments to pause and reflect on something or someone you're grateful for—like stopping to smell the roses over the course of your day, and really appreciating their scent. Sound almost too simple? The science behind practicing gratitude speaks for itself. Multiple studies highlight its positive effects on mental and physical health

How Can It Help My Dancing?


Regularly practicing gratitude is linked to greater levels of enthusiasm and joy, better sleeping patterns, and even stronger immune systems—all crucial to help you through the long Nutcracker season. It's also been shown to help stave off feelings of bitterness and jealousy, which, let's be honest, many dancers experience on the reg.

But beyond that, actively attuning your mind to gratitude often leads to an entire shift in perspective—especially if you're battling an injury. Gratitude practice can help you focus on the positives of healing and rebuilding your strength, rather than feeling down throughout your recovery.

Where Do I Start?


There are tons of ways to implement gratitude practice, but it all starts with focusing your attention on the things you might take for granted. Each morning, spend a few minutes jotting down a list of things you're looking forward to that day: taking class from a teacher you admire, your first rehearsal for a big role, hanging out with your dance friends at the studio, or climbing into bed with Netflix and a face mask once it's all over. When you get home, do the same thing, this time reflecting on the things that happened during the day.

Practicing "exterior gratitude" (expressing your gratitude to others) is another great option—and it's in keeping with the spirit of the holiday season. Write your teacher a note to thank them for all that they do for your dance career, or post an Instagram captioned with your favorite things about your studio friends. Not only will it motivate them to make it through that final stretch of the season, but it might also inspire them to pay it forward, too.

"DWTS" Finale Recap: And the Winner Is...

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It's beyond crazy that Season 28 of "Dancing With the Stars" is over. This has to have been one of the most dramatic seasons in the show's history, complete with major injuries, last-minute mother-daughter replacements, shocking eliminations, controversial contestants—the works. But it's also been one of our favorite seasons, because the dancing has been next-level amazing, week after week.

Last night's finale required every couple to perform twice: first, a dance they'd done before, and then, of course, their freestyle. And we are such suckers for a good freestyle, when the professionals and stars can bring their personalities to the ballroom, and you never know quite what to expect.

In case you missed it, here are all of last night's freestyle performances—plus the Season 28 champions!


Ally Brooke and Sasha Farber


Okay, Ally Brooke, we see you, manifesting your own destiny in the finale by starting your freestyle inside a giant Mirror Ball. Ally and her partner Sasha Farber performed a fast-paced, energetic number jam-packed with Latin and contemporary elements. We were a little surprised to see the couple still struggling with some of their more challenging lifts, but the judges loved the performance, awarding the couple three 10s.

Lauren Alaina and Gleb Savchenko


We love, love, LOVED watching "country girl" Lauren Alaina get back to her roots—and loved watching everyone's favorite Russian stud Gleb Savchenko get into the vibe, too! Lauren and Gleb's freestyle was more about having fun than anything else, and it managed to feature line dancing, Luke Bryan, and lots of cowboy hat choreography. The judges gave the country couple three 10s, for a perfect 30.

Hannah Brown and Alan Bersten


We're just going to say it: This girl was on FIRE. We were absolutely blown away by Hannah Brown's freestyle with partner Alan Bersten. She delivered a powerful performance, with elements of Argentine tango, waltz, jazz, and hip hop, and some totally jaw-dropping lifts thrown in for good measure. The judges gave Hannah and Alan three 10s, and Carrie Ann Inaba even described the freestyle as "victorious." 👀

Kel Mitchell and Witney Carson


Kel Mitchell and Witney Carson's freestyle made us want to "Jump" (sorry not sorry) up and dance along with them. The duo's routine was inspired by Kel's hometown, Chicago, and they totally brought the Chi-town funk—lowrider car and all. It's rare that we see serious hip hop in the ballroom, but Kel and Witney's freestyle totally delivered. The duo received two 10s and a 9 (and head judge Len Goodman got more than a few boos for docking them a point).

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So after all that amazing dancing, who was awarded the Mirror Ball Trophy? Your Season 28 champs are...

...HANNAH BROWN AND ALAN BERSTEN!


We're totally thrilled for Hannah. After all, who needs a final rose when you've got a Mirror Ball?

Dear Katie: Help! I Can't Hold My Turnout on Pointe!

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In our "Dear Katie" series, Miami City Ballet soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

When on pointe, I find it very hard to maintain my turnout, especially in first and second position. If I try to force my heels forward, I can't get over the box. It's very frustrating. Is there anything I can do to fix this?

Spring


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Dear Spring,

If you're having trouble maintaining your rotation on pointe, you probably need to rethink your whole approach to turnout. Slippery pointe shoes don't let you use the friction of the floor to help you get your heels forward. But you should be holding your turnout from the backs of your thighs, not forcing it from your knees or feet.

You need to retrain your muscles so you can support your turnout correctly. Start with pliés at the barre, feeling the rotation from your thighs every time you straighten your knees. Once you put your pointe shoes on, keep that same feeling every time you relevé. The less you cheat and the more you work the backs of your legs, the stronger your turnout will get!

This New Tiffany & Co. Vid Features Ballet Dancers Dripping in Jewels

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When Elle Decor approached Ezra Hurwitz to create a campaign with Tiffany & Co., the former Miami City Ballet dancer-turned-filmmaker knew just who he wanted to feature: the dancers of New York City Ballet.


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Elle Decor was looking to develop organic sponsored content featuring the famous jewelry brand, and gave Hurwitz a huge amount of creative freedom in building a concept. "Tiffany & Co. had initially suggested something about featuring a modern family and highlighting unusual or progressive family units, and how that looks in their domestic spaces," says Hurwitz. "Having been a professional dancer, I felt that a company is very much like a family." Hurwitz decided to develop that idea on two levels: an imagined dream house in which dancers from NYCB all lived together, and individual family units that have developed within the company. His finished video, seen below, features nine current and former NYCB dancers, among them Troy Schumacher and his then-nine-months-pregnant wife Ashley Laracey (they welcomed their twin babies into the world last week), sisters and corps de ballet dancers Olivia MacKinnon and Mary Thomas MacKinnon, principal dancer Maria Kowroski and her four-year-old son Dylan, and former soloist and current ballet master Craig Hall and his husband, NYCB yoga teacher Frank Wildermann.


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The film is accompanied by three stories published on the Elle Decor website on Korowski, Schumacher and Laracey, and Hall and Wildermann, featuring stills from Hurwitz's shoot. "The whole thing was about this domestic intimacy, and I wanted the dancers to be more than pretty faces," he says. "I was really happy that we could expand upon the visual story with these articles."

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Filming took place over one day in Elle Decor's Manhattan apartment showroom, which came with its own set of challenges. "Shooting in lived spaces can be tricky, because you don't only need space for the talent, but twice as much space for the equipment," says Hurwitz. There was also the task of making all of the dancers—including the very pregnant Laracey and injured Jenelle Manzi—comfortable. Hurwitz brought Sara Mearns into the mix with the idea of shooting her in a bathtub while wearing diamonds. But he didn't realize that the showroom didn't have hot water. "She full on submerged into a cold plunge pool," he says. "She was totally game, so kudos to her." Hurwitz's partner, NYCB principal Gonzalo Garcia, was on set to wrangle Kowrowski's young son; the jewelry also came with its own babysitters. "There was security on set from Tiffany & Co. for the four plus million dollars worth of diamonds that we had," says Hurwitz.

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Nevertheless, Hurwitz was able to bring his dream to fruition. "The concept was a play on glamour and fashion but in a domestic space, with lots of quirky colors," he says. "I definitely wanted it to be less than realistic. Not dancers in their homes in their pajamas, but a fantasy of how we imagine them." That goal is more than evident in the images of the MacKinnon sisters sitting on a couch, dripping in jewels while sewing their pointe shoes, and Kowroski playing with her son in a red Valentino gown. To that end, Hurwitz titled the campaign Ballet Flat. "It's just a fun play on words," he says. "It was my fantasy of what a house of dance might look like."

How to Master Ballroom Dance’s Distinctive Hand and Arm Styling

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If you've ever noticed the flirty curl of a wrist in a cha-cha or the elegant swoop of an arm in a waltz, then you know how arm styling can elevate ballroom dance, bringing nuanced character to every step. But dancers new to ballroom—especially those already trained in ballet's classical port de bras—might find it surprisingly tricky to master the details of hand and arm styling. Here's how to use your upper body like a ballroom pro.


What Sets Ballroom Arm Styling Apart?


Some ballroom arm positions are very similar to those seen in ballet. What ballet dancers know as first, second, and fifth positions all have a place in ballroom technique. Other arm positions—like the high V-shape known as "crossover" (in rhythm dances) or "New Yorker" (in Latin dances)—are unique to the ballroom world. Unlike ballet, ballroom doesn't have an official vocabulary for its arm positions outside of frame, so different coaches and teachers might have different names for various shapes.

The ballroom "star" hand is more universal. You can achieve it by fully stretching your fingers and then imagining holding a small object, like a business card, between your middle finger and thumb. It's a beautiful, expressive shape—though it might feel strange at first. "Often ballroom hands are considered 'ugly' in the ballet world," says Adriana Ardila, who got her start in ballet before becoming a professional ballroom dancer.

Within ballroom, there are distinct differences between arm styling in smooth dances (like waltz and fox-trot) and rhythm or Latin dances (like cha-cha and rumba). "While they both use the same basic principles, smooth dances are much more continuous in their styling, never stopping the flow of motion," says veteran ballroom dancer Melanie Spanko. "Rhythm arm styling is much sharper and more staccato." And each specific dance has a unique character that informs how the arms and hands are used.

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Common Mistakes


One of the biggest mistakes new ballroom dancers make is assuming that ballroom arm lines are static positions, when actually they're dynamic, rooted in the movements of the body. Looking at an arm line in a photo, it may appear to be behind the torso—but in reality, the arm is still in second position, and the rotation of the shoulder is creating an illusion. It's important to understand the technique behind these lines, so you don't end up distorting your posture and alignment. "Arm lines are the bow on the package, not the gift itself!" Spanko says.

Ballroom arm and hand styling also impacts your dance partner—literally, if you're not careful. In order to avoid injuries and maintain your connection, you must be aware of where your space ends and where your partner's begins. For solo ballet and contemporary dancers learning ballroom, this can be a difficult adjustment. "The partnership comes first, then the style," Spanko explains.

Practice Makes Better


The best way to improve your styling is practice. But Ardila also recommends finding inspiration in other ballroom dancers you admire. "Watch other people move!" she says. "Look at your neighbor and then test out the aspects of their styling that you like." Imitation is the highest form of flattery, and a great way to improve your arm styling by trying what you see.

Here Are the 2020 YoungArts Award Winners in Dance

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Congratulations to the 39 talented dancers just named 2020 YoungArts award winners! This year's group of awardees includes several familiar faces from the competition scene.


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YoungArts awards—given annually to teenage students in the visual, literary, and performing arts, at three different levels (Finalist, Honorable Mention, and Merit)—are a very big deal. Winners are selected by panels of A-list professionals in their respective fields, and gain access to all kinds of support for their creative work. Awardees in the Finalist category receive up to $10,000 in prizes; are invited to participate in National YoungArts Week, which features all kinds of master classes and workshops, each January; and might be nominated to become U.S. Presidential Scholars in the Arts.

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Here are the 2020 dance winners, including comp-circuit standouts Joziah German, Alina Taratorin, Sydney Revennaugh, and (repeat winner!) Rosie Granito. You can find a complete list of awardees—and information about when to apply for next year's competition, an option you should definitely consider—at the YoungArts website.

FINALIST


Tomoe Carr, Hip Hop
High Tech High School, Secaucus, NJ

Rush Carson, Choreography
New World School of the Arts, Miami, FL

Nicholas Khoa Dao, Modern/Contemporary
Willow Glen High School, San Jose, CA

Emanuel Dostine, Modern/Contemporary
Michigan Great Lakes Virtual Academy, Manistee, MI

Joziah German, Modern/Contemporary
Booker T. Washington High School for the Performing and Visual Arts, Dallas, TX

Andre Imanishi, Tap
The Urban Assembly Gateway School for Technology, New York, NY

Jacqueline Jankovsky, Modern/Contemporary
Booker T. Washington High School for the Performing and Visual Arts, Dallas, TX

Nouhoum Koita, Modern/Contemporary
Fiorello H. LaGuardia High School of Music & Art and Performing Arts, New York, NY

Claire Lucas, Modern/Contemporary
Orange County School of the Arts, Santa Ana, CA

Aidan Lynch, Hip Hop
Christ Presbyterian Academy, Nashville, TN

Lucas Marinetto, Tap
University of Nebraska High School, Lincoln, NE

Lindy Mesmer, Ballet
Laurel Springs School, Ojai, CA

Keara Nichols, Ballet
Cabrillo Point Academy, El Cajon, CA

Amelie Or, Tap
Oak Ridge High School, El Dorado Hills, CA

Tyrone Reese, Ballet
W. P. Davidson High School, Mobile, AL

Sydney Revennaugh, Modern/Contemporary
Marion High School, Marion, IN

Alina Taratorin, Ballet
Palo Alto Senior High School, Palo Alto, CA

Kailey Worontsoff, Modern/Contemporary
Alexander W. Dreyfoos School of the Arts, West Palm Beach, FL

HONORABLE MENTION


Maya Alvarez-Coyne, World Dance/Irish Step
Orange County School of the Arts, Santa Ana, CA

Atticus Dobbie, Modern/Contemporary
Fiorello H. LaGuardia High School of Music & Art and Performing Arts, New York, NY

Ashton Edwards, Ballet
Flint Southwestern Classical Academy, Flint, MI

Aydin Eyikan, Jazz
The Keystone School, Bloomsburg, PA

Brenan Gonzalez, Modern/Contemporary
Alexander W. Dreyfoos School of the Arts, West Palm Beach, FL

Krupa Hegde, World Dance/Classical Indian
The Carol Martin Gatton Academy of Mathematics and Science, Bowling Green, KY

Irene Kim, Modern/Contemporary
Crean Lutheran High School, Irvine, CA

Janiya Pearson, World Dance/African
Professional Performing Arts School, New York, NY

Arya Pratap, World Dance/Classical Indian
Saint Francis High School, Mountain View, CA

MERIT


Deven Ayambem, Hip Hop
Downingtown STEM Academy, Downingtown, PA

Joseph Boswell, Ballet
James Madison High School, Norcross, GA

Victoria Chapa, World Dance/Mexican Folkloric
Valley View High School, Pharr, TX

Angelina Diaz, Choreography
Miami Beach Senior High School, Miami Beach, FL

Jau'mair Garland, Modern/Contemporary
Pittsburgh Creative and Performing Arts, Pittsburgh, PA

Rosie Granito, Choreography
Denver School of the Arts, Denver, CO

Shashank Iswara, World Dance/Classical Indian
Flower Mound High School, Flower Mound, TX

Demetrius Lee, Modern/Contemporary
Cleveland School of the Arts, Cleveland, OH

Francesca Levita, Modern/Contemporary
Saint Charles North High School, Saint Charles, IL

Jeremiah Moorehead, Modern/Contemporary
Douglas Anderson School of the Arts, Jacksonville, FL

Julian Sanchez, Modern/Contemporary
New World School of the Arts, Miami, FL

Nyoka Wotorson, Modern/Contemporary
Fiorello H. LaGuardia High School of Music & Art and Performing Arts, New York, NY

The Dance Things We’re Thankful for This Year

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We have a Thanksgiving tradition here at Dance Spirit: Every November, I ask my fellow editors to send me a list of the dance performances/artists/trends/miscellany from the past year that made them grateful to be part of this wild, wonderful little world. Because we're always looking for excuses to celebrate all things dance—and what better excuse than #GratitudeSeason?


Without further ado, here are our dance-specific gratitude journals. Happy Thanksgiving, everyone!

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Cadence Neenan, Assistant Editor: I'm thankful for the chance to watch my #BachNation fave Hannah Beast compete (and WIN!) on "Dancing with the Stars," for all of the absolutely bonkers dancing going on in Moulin Rouge! The Musical (courtesy Sonya Tayeh), for the #LizzoBalletChallenge, and for literally everything Caleb Teicher does. Oh, and super thankful for my first few months at this amazing job, where I get to talk about dance all day, every day!

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Amanda Sherwin, Assistant Managing Editor: I'm thankful for people of all ages and experience levels grooving together to celebrate National Dance Day, for the dance community in particular and their incredible support around #BoysDoBallet as we continue to break dance stereotypes, and for all the jaw-dropping, beautiful ways dance was captured on film, from music videos to company promos to national commercials. Keep up all the positive energy, creativity, and pure joy for this art form we love.

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Margaret Fuhrer, Editor in Chief (yours truly): I'm thankful for the (slow but steady) progress the dance world has made in terms of diversity and tolerance. I'm thankful to have been able to feature 18 mind-bogglingly talented artists on our cover over the past year. I'm thankful for the gorgeous ray of sunshine that is Mark Kanemura. And after nearly two decades of resenting the heck out of The Nutcracker (oh, the cynicism of a former bunhead), I'm once again thankful for that magical ballet, which I'll be seeing through new eyes when I take my 3-year-old to a performance next month.


Five Reasons Dancers Should Consider Training Abroad—and the Challenges to Be Aware Of

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More and more dance students are starting to consider training options outside the U.S. Studying abroad allows dancers to immerse themselves in different dance styles, not to mention different cities and cultures. And in some cases, the application process is surprisingly easy. Here's how you could stand to benefit from international study—and some real talk about how to navigate the logistical challenges.


It's the Ultimate Way to Get Outside Your Comfort Zone


"These programs are a chance to diversify your training," says Jackie Kopcsak, assistant professor of practice at University of Southern California Glorya Kaufman School of Dance. "So much growth can happen, especially when you're outside your typical cohort." Lund Fuller, a Ballet West Academy student who attended the Royal Ballet School summer intensive in London this past summer, definitely found this to be true. "I didn't have the distractions of my normal life, so I could put all my focus on what was happening in the studio," he says. "I truly feel like I leveled up."

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It Helps You Make New Dance Connections


International study can introduce you to a totally different dance network. "Training abroad gives dancers a chance to work with choreographers they might not have exposure to in the U.S.," says Dasha Korol, director of gala programming and marketing for Youth America Grand Prix, which has facilitated hundreds of scholarships for competitors to pursue training abroad. "They meet other students from all over the world and establish partnerships, friendships, and connections that last a lifetime. International exposure can absolutely expand a dancer's horizons."

It Can Provide a Fresh Take on Your Technique


Fuller felt he particularly benefited from having a different set of eyes on him in class. "I'm not the best jumper, but when my teacher suggested starting a sissonne from second to get a better sense of the timing before starting in fifth, something just clicked," he says. In addition, teachers facing a class of students who speak many different languages may be more descriptive and hands-on than your instructors back home. "Sometimes the way another teacher is able to phrase a correction can spark a new understanding," says Kopcsak, "and that can lead to major breakthroughs."

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It Can Be a Career Eye-Opener


Beyond giving you a taste of life on your own, international programs can broaden your perspective on the opportunities that await you when you're ready to start your career. "I learned that there are so many companies outside the U.S. that may appreciate what you do well," says Fuller. "While I hope this experience will open doors for me in the future, it has already given me a glimpse of what my career and goals might be."

It Might Be Easier Than You Think to Apply


There's no denying it: Studying abroad is expensive. But there are many scholarships out there, and it's not necessarily difficult to apply and be accepted to an international school. "I let my parents know that this was something I wanted to do, and then I just had to submit specific photos with my application—no audition video required," says Fuller. Other schools may want to see you on film, in competition, or in a U.S. audition. For more complex applications, there may be program alumni at your studio willing to talk you through the process and how they found success.

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When You're Swimming Upstream to Get Across the Pond:

If you're under 18 and interested in studying abroad, finding a reputable international dance program that accepts Americans can be tricky, especially when the process is complicated by language barriers. Plumb the depths of company and institution websites and get in touch with recruiters to learn more. Earning a scholarship to an international school via a dance competition is probably the simplest way to make this dream come true; scholarship winners have more help when it comes to navigating the logistics (and costs) of getting overseas and securing travel visas.

But even without a scholarship, the current listing of recent scholarship awardees from a trusted competition is a great place to start your research. Dasha Korol of Youth America Grand Prix says that before the competition hands out scholarships, it vets programs to make sure they're offering a high quality of student life, adequate performance opportunities, and a good post-graduate employment rate. (Do keep in mind, though, that some of these programs are invitation-only.)

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International Training Programs to Have on Your Radar:

A Behind-the-Scenes Look at Michelle Dorrance's Delightful Tap "Nutcracker"

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There's a new holiday dance tradition in the works, thanks to the genius brain of tapper Michelle Dorrance. Dorrance Dance, her innovative company, is putting its own spin on The Nutcracker, using Duke Ellington and Billy Strayhorn's jazzy version of the classic score and a slew of talented tappers, including Josette Wiggan-Freund as the production's "Sugar Rum Cherry." Check out this behind-the-scenes look at the company's fast-paced, anything-goes creative process, and catch the world premiere of The Nutcracker Suite at The Joyce Theater in NYC from December 17 to January 5.


What Inspires Choreographer Gemma Bond

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Gemma Bond's rise as a choreographer has been not meteoric but steady, characterized by constant creativity and commitment to her craft. Her style is informed by her dancing career—she performed in the corps de ballet of two of the world's most renowned companies, the Royal Ballet and American Ballet Theatre. Because of this, she says, "I tend to do more of a company piece. You can never really say there's one principal couple." Bond began choreographing at age 13, in the Royal's Sir Kenneth MacMillan Choreographic Competition. More recently, she's created works for ABT, The Washington Ballet, Atlanta Ballet, New York Theatre Ballet, and others. Her ballets have been performed at the Joyce Theater, Jacob's Pillow, the Youth America Grand Prix gala, and the Erik Bruhn Competition. You can see a world premiere of Bond's new work for the National Ballet of Cuba at the International Ballet Festival in the fall of 2020. –Cadence Neenan


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"I recently saw some of Akram [Khan]'s Giselle, and I was really inspired by that. It was very different to what I've ever seen before, and I just thought, 'Maybe I don't have to put so many boundaries on myself.' Sometimes I do a movement naturally, and then I think, 'That isn't classical at all,' or that I haven't put enough ballet in, but, at the end of the day, I don't think it matters, as long as there's movement and a narrative."

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"When people ask me 'What do you do?' I always say it's very traditional ballet with traditional technique. And then, the dancers that have danced my works will shake their heads and say, 'No, you have crazy port de bras.' "

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"I take inspiration from so many people in different ways: Christopher Wheeldon's partnering is amazing, Alexei Ratmansky's corps de ballet work is so strong, the structure of Pam Tanowitz's work is amazing—the list goes on and on."


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"I always love to see New York City Ballet. The way the dancers move is really inspiring. It doesn't matter what they're doing, they seem to play with the music in such an interesting way. And, because I didn't have that training, when I'm watching them, it really inspires me to play with the rhythms of the technique."

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"I think, if you're a corps de ballet dancer, you have a lot of responsibility, but in the grand scheme of things, you have the least responsibility in the production—the most weight falls on the principals. So, when I started, I had to prove myself, that I could take all that responsibility. I hadn't been seen in that capacity before."

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"I'm not interested in telling stories like Sleeping Beauty or Cinderella. I want to tell stories that are happening today, that we can all relate to, stories that I know."

Why You Should Know Captivating Comp Queen Phoenix Sutch

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With her confident smile, insane flexibility, and razor-sharp execution, Phoenix Sutch instantly commands every stage she sets foot on. At just 13 years old, Phoenix has already worked with her dance idols Andy Pellick and Joey Dowling, and has won the titles of National Mini Female Outstanding Dancer at New York City Dance Alliance Nationals in 2017 and First Runner-Up National Junior Female Outstanding Dancer in 2019. She's also a BLOCH Young Artist and an Ambassador for Jo + Jax.

The young dancer definitely isn't slowing down anytime soon: She plans to continue training, especially in ballet, and attending conventions around the country.


Fast Facts


Full name: Phoenix Alexa Sutch

Age: 13

Birthday: September 5, 2006

Hometown: Warren, OH

Trains at: Krystie's Dance Academy in Warren, OH (run by her mother, Krystie!)

Three words to describe her dancing: Powerful, graceful, expressive

Favorite thing about dance: "Being able to express my feelings and tell stories"

Favorite styles: Contemporary and lyrical

Nondance hobbies: "Traveling, especially going to Disney World!"

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Favorite movie/TV show: "'Friends', and all the Disney movies"

Place she'd love to visit: Paris, France

Best piece of advice: "My favorite quote is by Walt Disney: 'If you can dream it, you can do it.' I live by that statement!"

Future dance goals: "I hope to go to college in NYC and one day be on Broadway."

Dream superpower: Invisibility

Surprising fact about her: "I'm a vegetarian."

9 Ways Dancers Can Beat Backstage Boredom

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Nutcracker season is upon us, which means we're all basically camping out at the theater. And even after a full warm-up and make-up session, there's still a LOT of downtime backstage. Instead of scrolling through your Instagram feed for the millionth time, try one of these more productive (or at least different!) ways to beat backstage boredom.


Listen to Your Favorite Playlist


Because to get in the zone, you've gotta drown out the Party Scene music happening in the background.

Find Creative Locations to Stretch


Theaters are full of weirdly perfect stretching locations. (Just maybe not an escalator.)

Try a New Makeup Technique


There's no better time to try out a cut crease than Nutcracker show #8472!

Take Some Glammed-Up Selfies...


Because those new Snow costumes are pretty fab.

...And Some Ensemble Shots...


Let's savor this moment with our dance friends, before we all get SUPER sweaty.

...And a Group Boomerang


Ready, set, BEVEL! Gotta keep those Instagram Stories interesting.

Challenge Your Cast to a Heated Round of Heads-Up


Assuming they're prepared to lose.

Plan a Gift Exchange


The only thing better than a Secret Santa is a Secret Santa with your dance crew.

Watch the Magic from the Wings


As long as your stage manager says it's OK! 😁

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