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“World of Dance” Week 1 Recap: It’s an Ambush!

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From the opening minutes of last night's debut episode, it was clear that Season 4 of "World of Dance" would hit a little different.

First, we saw the contestants in a warehouse, thinking they were about to audition for the show's producers. But: surprise! In walked judges Jennifer Lopez, Derek Hough, and Ne-Yo, announcing that this was in fact the Qualifiers round—the dancers' official "WOD" debut. Everyone was shocked, and we do mean shocked (never have we ever seen so many "I AM SHOOK!" reaction shots in a single episode of television, and we say this as "Real Housewives" fans).

Also, the show has done away with numerical scoring for this round. Instead, each act needs at least two "yes" votes to continue to the Duels. If the judges are undecided, they can opt to have the dancers return for a callback. It's pretty much the "So You Think You Can Dance" model.

So, which acts managed to stand out despite the surprise formatting changes? The duos and solos, for the most part. It's becoming harder and harder for the large groups that've historically been successful on this show to make an impact—the standard is just so high. Here are the folks who impressed us most.


Jefferson y Adrianita


Do we have a soft spot for salsa acts? Oh, absolutely. But come on: This routine to a classic Celia Cruz song was objectively impressive. The pair from Cali, Colombia pulled out all the stops, and by that we mean they never stopped—flipping, spinning, and throwing out lighting-speed footwork. J.Lo said their technique could be even tighter, but all three judges sent them on to the Duels.

Jake & Chau


Jake (Mcauley) and (A.T.) Chau from San Jose, CA have chemistry to spare, which further elevated their fluid and technically rock-solid contemporary performance. We're fans of the way they incorporated acrobatics and even a little contortion in a way that didn't feel jarringly show-offy. The judges loved it all, and sent them right to the Duels. Keep your eyes on these two.

Bailey & Kida


We all love Bailey Sok and Kida Burns, and we all came into this assuming they'd deliver fabulous, super-clean hip hop, as ever. Still: We'll really never tire of watching these two. So much charisma on one stage! As Lopez said, you can tell that they've only just begun to dance together—but they're through to the Duels, so we'll get to watch their partnership evolve on the "WOD" stage.

Savannah Manzel


Oh, my gosh: This solo was pretty much the entire dance competition world distilled into two minutes and one tiny 9-year-old body, right?! Celine Dion's "River Deep, Mountain High"! Multiple gymnastic passes! Cazy-fast à la seconde pirouettes! That huge and truly infectious smile! We've seen a lot of routines like this over the course of our Dance Spirit career, but Savannah has pretty sound technique underneath all that flash, and there really is something special about her onstage presence. We'll see you at the Duels, small-but-mighty one.


(Virtual) Dancing with the Stars: How to Get the Most Out of Online Classes with Dance Celebs

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When your dance studio is your second home, taking class in your actual home just isn't the same. But if there's one silver lining to the current situation, it's that some of the biggest dance stars from stage and screen have gone online to lead barres, host dance parties, demonstrate combos, and teach technique classes—some of which are completely free.

"Students can learn so much from working with the pros directly," says American Ballet Theatre principal Isabella Boylston, who teaches on Zoom through Universal Ballet Competition as well as offering the Cindies Ballet Class on Instagram Live with fellow ABT principal James Whiteside. "It's inspiring and eye-opening to connect with dancers all over the world."

So what benefits do these virtual master classes offer? How do they fit into your overall training regimen? And how do you even navigate all of the content that's out there? Read on for advice from the pros.


Be Choosy


Is there a teacher you've always wanted to take from, but couldn't get to in person? Are dancers from your dream company or summer intensive offering online classes? Lisa Pelliteri, owner of Plumb Performing Arts Center in Scottsdale, AZ, encourages seeking out virtual classes that will help you explore your career goals. "I tell my students, 'Please experiment!'" she says. "Learn what's out there. See what a style feels like on your body. Try something different." Celeb master classes can count as research toward your future.


As you follow your dreams and whims, consider the pros and cons of various platforms. Is the class live or pre-recorded? Will there be interaction with the teacher? Will you be able to access a recording after the live session, to keep practicing? Wanting a workout is different from craving technical feedback, and there's content out there to meet every conceivable need.


Plan How You'll Learn


For virtual workshops, let go of the pressure to get every detail right. "Focus on broad strokes first," says commercial performer Dana Wilson, who teaches for New York City Dance Alliance, including NYCDA's ongoing Virtual Dance Experience. If the teacher posts YouTube videos, prep for success in the live session by watching them, to get a feel for their style. Also, on a platform like Instagram Live where the teacher can't see you, "feel empowered to do a bit of your own thing," Wilson says. "A hidden gem here is that you can exercise your creativity."


On Zoom, which promises more interaction, go in with realistic expectations about the kind of feedback you'll be able to get, and how much. Francesca Hayward, principal at The Royal Ballet and star of the 2019 movie CATS, prefers not to single anyone out in her Zoom classes for UBC. "When I see something, I'll give everyone a reminder of what I would think of while doing that movement," she says. Because UBC's virtual workshops also include a Q&A with the teacher at the end of class, any lingering questions can be addressed then.



Lags between devices and mirrored camera settings can keep teachers from assessing your timing, musicality or footing. Instead, anticipate comments on placement, shape, spatial orientation and performance quality. Wilson has also been using her Zoom classes to introduce camera terminology. "Mid-shot, closeup, extreme closeup—this is language dancers may need when jobs come back," she says.


Finally, whatever type of class you're in, "treat it like a private lesson," Wilson advises. "If the teacher asks a question, answer it out loud, even if you're on mute. Talking out loud can commit lessons to memory, just as dancing full out encourages muscle memory."

Take It Home


"Online master classes aren't a replacement for your studio classes," cautions Pelliteri. Even in a time when physical contact isn't an option, your regular teachers know you on a personal level. "We know what you're working on and can give more precise corrections," Pelliteri says. If a comment in a master class resonates with you, bring it to your studio teacher to dig deeper.


Above all, remember that the benefits of a virtual master class go far beyond honing your technique and performance. "This is such a tough time," Hayward says. "At the moment, we all need inspiration and motivation, and to remember the joy of moving our bodies in space. I hope classes like mine can help keep things feeling fresh and exciting until we're all safely back to the studio."

How to Dance Outside

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We've all been stubbing our toes and whacking our elbows dancing in less-than-roomy indoor spots lately (hello, 5' x 8' patch of bathroom tile). If you're lucky enough to have access to a backyard or other big green space right now, you're probably itching to take your grand allegro outside, especially as the weather gets warmer. But how can you dance safely and productively in the great outdoors? We got pro tips from Mike Tyus of Jacob Jonas The Company and Xin Ying of Martha Graham Dance Company, both of whom were dancing outside long before COVID-19 hit.


Make Smart Footwear Choices


What you put on your feet can make or break your outdoor dance experience—and, if you're not wise, your ankles, too. Your footwear should reflect the style of dance you're doing and the purpose of the outing. "If I'm just posing, like for a photo shoot, I might take my shoes off for the shot," Ying says. "But if I'm really dancing, that's not a good idea. I stick to sneakers that protect my feet." Tyus looks for a combination of flexibility and support. "I like to wear shoes that I can feel my feet in, yet still have a sole for protection," he says. "I like canvas shoes, like Converse or Vans."

Find the Right Location


If you're dancing in public outdoor spaces, choosing a safe location is crucial, especially in this era of social distancing. "You want to avoid as many people as possible," Tyus says. "With restaurants and grocery stores closed, many parking lots are completely empty, leaving some great open spaces." Tyus also likes to dance in empty parking garages. "The smooth concrete floors are ideal for turning," he says.

Beyond practicality, choose a location that inspires you. "The greatest thing about dancing outdoors is what the location itself adds to your dancing," Tyus says. Ying likes outside spots with a view. "Go up on your roof or out to the park," she says. "Use the sensation of the wind through your hair, or the way the birds are singing, to dance in a way you never have before."


Manage Unpredictable Surfaces


The natural world doesn't come equipped with sprung Marley floors, so you're going to have to troubleshoot for less-than-ideal dance surfaces. "Concrete is nice and smooth for turns, but you don't want to do huge tricks or jumps on it, because it's super hard," Tyus says. "Soft grass, on the other hand, absorbs shock, so it's great for big jumps and acrobatics. And sand can be really fun because you can fall without hurting yourself, and the resistance of the sand will strengthen your muscles."

If your outdoor space is problematic, Ying recommends not pushing yourself too hard. "You don't necessarily have to do turns or jumps," she says. "You can avoid the things that might injure you by focusing on more lyrical, stretchy movement. Alter your dancing depending on the surface."

Plan for the Weather


Weather conditions like glare, wind, and rain can throw a wrench in your outdoor dance plans. Establish your own weather-related boundaries. "I don't like to dance in the rain, so I simply don't go out on bad weather days," Ying says. "Some people enjoy it, but I would rather watch the forecast, and go out on a day that's nicer."

Tyus, on the other hand, often embraces unexpected weather. "The glare of the sun can look great in a lot of photos, and the wind looks really cool moving through loose clothing. Even rain can produce some really fun stuff," he says. "You just need to adjust your perspective." That said, you should never dance outdoors if you hear thunder or see lightning, or if winds are strong or unpredictable.


Enjoy It!


"I've always danced outdoors," Ying says. "I'm glad other dancers are using this time to explore the joy that can come from it. Beyond the inherent inspiration, it's a great way to get over any fears of dancing in public."

Tyus agrees. "Dance isn't something that was made to be inside," he says. "It was made as a reflection of, and connection to, nature itself. Right now we get to go back to where we started. Dancing outdoors has changed the way I see dance, and I hope it changes the way other people see it, too."

Here's How to Keep Your Competition Solo Performance-Ready While Quarantining

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When you're bored in the house (and you're in the house bored), Nationals can feel like a dream that might never come true. But Kendall Moshay, Hollywood Vibe's Intermediate Dancer of the Year 2019, knows that now is the time to make like a Girl Scout and be prepared: "Sooner or later, everything will go back to normal—and you don't want to be left behind." Here are some top tips to keep your competition solo totally stage-ready, even when you couldn't be farther from a stage.


Get Your Head—and Hair!—in the Game


You've probably heard this from your own teachers a million times, but it bears repeating: "You wouldn't come to the studio with your pajamas on and your hair a mess, so don't practice your solo like that," says Kelly Burke, owner and artistic director of Westchester Dance Academy in Mount Kisco, NY. Burke's found that those who get ready for quarantine solo rehearsals like they're "normal" solo rehearsals tend to focus and perform better.


Modify to Maximize


Chances are that you can't safely execute every single step of your solo at home. Mallauri Esquibel, a teacher at NRG danceProject who also guest choreographs across the country, urges caution with floor work, repetitive high-stress jumps, and any acro. At the same time, it's important to keep going through as much of your solo as you can in order to maintain stamina. Don't slip into marking your arms, and make sure you're thinking about activating the muscles you'll need to execute later what you can't exactly do full-out now. "You don't need as much energy to dance in a small space as you do in the studio," Burke says. "Still, try to push yourself through those three minutes as if you were onstage." Moshay also recommends adding some cardio cross-training (like jumping rope or boot-camp moves) to your weekly routine in order to keep stamina high.

Dream It Up


If you're recording your solo practice to watch later (which you should!), it's all too easy to fall into the trap of beating yourself up over the smallest mistakes. Positive visualization—which Esquibel does with all of her solo clients—can help. Before you begin each practice session, lie on the floor while your music plays. Think your way through the choreography, picturing yourself nailing every trick and authentically channeling the emotions you want to convey.


Find Friends


Both Esquibel and Burke note that it's trickier for teachers to give valuable individual corrections onscreen. Take a page from Moshay's book and buddy up to get more feedback and accountability. "My friends and I are constantly FaceTiming to give each other tips," Moshay says. You could also try learning each other's competition solos—teaching someone else might show you new ways to improve your own performance.

The Write Stuff


There's never been a better time to start keeping a dance journal. "You need to write down how you're feeling during this difficult time," Esquibel says. "Your highs and lows, short-term and long-term goals, and corrections that you want to remember." And, no, the Notes app on your phone doesn't count, says Esquibel: "When we do things on our phone, it kind of just feels like texting. It goes in one ear and out the other."

You Are Your Own Best Teacher


Now's your chance to get used to performing your solo without a mirror, really paying attention to whether a step feels right. Esquibel, for one, believes the pandemic could actually help some more than it harms: "It's unfortunate circumstances, but this generation is for sure going to be the strongest and most creative, because they're having to take responsibility for their own training and artistic development."

Above all, don't quit refining your solo because of the uncertainty surrounding this summer's Nationals. "Don't let yourself think that all your work was for nothing," Burke says. "You're still working on your solos to become a stronger, better, more technical dancer, no matter when you get to perform them."


Nyoka Wotorson is Your April Cover Model Search Editors' Choice Winner

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Congratulations to the April Cover Model Search Editors' Choice video winner, Nyoka Wotorson! Catch her solo below, and make sure to enter the Cover Model Search here.


Nyoka Wotorson, "Horton Technique Solo"


Is the #EsmeraldaChallenge Quarantine's Next Big Thing?

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By this point in the coronavirus pandemic shutdown, people are completely burned out on dancing at home. So it's no surprise that last week, all-around dance superstar Alex Wong posted a video on Instagram performing the famous La Esmeralda variation...but in his living room. And with a frying pan instead of a tambourine.



The variation, which stems from a rarely-performed 1844 ballet based on Victor Hugo's famous novel, The Hunchback of Notre-Dame, is a competition classic, favored by bunheads eager to show off their extension and control. But earlier this week, American Ballet Theatre principal Isabella Boylston took to the internet, channeling her stir craziness into her own version: complete with frozen pizza.


Soon after, BalletMet dancer Jim Nowakowski joined in, also risking toe-bruising with a frying pan, à la Wong. But note that Nowakowski one-upped the other two by masterfully turning his développés.


Of course this begs the question, is the #EsmeraldaChallenge (as we've chosen to coin it), quarantine's next big thing? At least we've given you a task for your weekend: Pull out your own pans, pizzas, frisbees, tortillas or whatever else you have on hand, and add your own version to the mix. Don't forget to use the hashtag #EsmeraldaChallenge and tag @pointemagazineofficial on Instagram. Happy dancing!

Listen to Black Dancers Speaking Out Against Racial Injustice

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This weekend, protests against racially-charged police brutality—spurred by the unjust killings of George Floyd, Ahmaud Arbery, Breonna Taylor, Nina Pop, Sean Reed, and so many others—swept the country. Supporters, including many of members of the dance world, took to social media to share their thoughts, and express their grief.

As allies, one of the first actions we can take in this moment is to listen to and amplify the voices of Black members of our dance community. Here are some of the most powerful posts written by Black dancers.



"How is it that someone can look at me and decide that I'm a threat? It doesn't make sense. I am human. We are all human. We need allies to support us and stop these injustices from happening. Because at the end of the day, tolerating racism is racism." —Nardia Boodoo


"This is the time to come together, to unite, to raise awareness, to expand our perspectives, to support, and most importantly love one another." —Alison Stroming


"I don't want to carry hate and negativity in my soul. None of us should have to. This has to end. We all deserve a fair chance at life." —Calvin Royal III


"If Martin Luther was living, he wouldn't let this be. Nor shall we." —Lil Buck


"It's time to speak out. Silence is not going to help. If you have a fear of being uncomfortable while speaking out against racial justice, now is the time to break that wall of fear and speak out." —Erica Lall


"It's a choice to act a certain way towards another human! We all have choices! What do you choose?" —Lloyd Knight


"Isn't it obvious this needs to end?! Aren't you tired of watching videos of us being killed so senselessly?!" —Courtney Hollinquest


"I'm no longer standing, I'm running. At full speed towards change and justice. My shoes are strength and truth and my sweat reminding me of the blood and tears of my ancestors." —Martha Nichols


"Senseless brutality from the people sworn in to protect us is an outrage." —Desmond Richardson


"Silence is deafening. Simple. It saddens me that this is the reality we live in...we all have the opportunity to change this!" —Nikisha Fogo


"When black people can jog without being shot, talk to the police without being treated like an animal, take a knee against brutality and be heard instead of scrutinized, live without constant fear of being judged, held back, pigeon-holed, or murdered over the color of our skin then we can talk about what equality means!" —Gabe Stone Shayer


"I cried. And then—I prayed. I prayed for love. I prayed for understanding. I prayed for courage. I prayed for my black brothers. I prayed for my black sisters. I prayed for justice. I prayed for healing." —Melany Centeno


"Living your daily life without the fear of being murdered simply because of the way you look is white privilege." —India Bradley


"We are the ones. We. We. We. What I want for myself, I want for everyone." —Ayodele Casel


"My skin color does not define me. I matter, we matter." —Michaela DePrince

Debbie Allen Is Throwing a Massive Dance-a-thon—and You're Invited

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In this global economic crisis, it sometimes feels like the plight of dancers has been largely ignored. Debbie Allen is on a mission to change that. "They don't list dance and the arts as essential," she says, "but we are! We give people more joy and hope than almost anything."

To spread that joy and hope—and raise some sorely needed funds—Allen is putting on a 12-hour digital dance-a-thon on Saturday, June 13, called Dance To The Music. Along with her co-host, choreographer JaQuel Knight, Allen will be livestreaming from 12 pm to 12 am Pacific, sharing impromptu performances from top dancers, inspirational conversations with celebrities, dance classes with major choreographers, spotlights on studios around the country, and DJ sets that will get us all moving together.



Black and white closeup of JaQuel Knight, leaning toward the camera


Presented by Debbie Allen Dance Academy, JaQuel Knight Foundation, Dance Media, AIDS Healthcare Foundation and Annenberg Foundation, the event's main goal is to raise funds for dancers, choreographers and dance teachers whose jobs have been derailed by the impact of COVID-19. But Allen also hopes to uplift everyone though dance, and raise awareness for the many virtual dance opportunities being shared online today.

"Right now, as governors announce that our industry will be part of the last phase to open, artists like myself, we're dying to be creative," says New York City Ballet principal Tiler Peck, who will be featured on the stream. "So many of us feel so isolated—we're all at our respective homes, but we're used to dancing together. We're dying to be unified as one community."

The lineup includes dozens of special guests: mainstream names like Dolly Parton, Catherine Zeta Jones, Ellen Pompeo and Billy Porter, plus dance stars like Misty Copeland, Mia Michaels, the Rockettes and Savion Glover.

"Debbie is like the mother of dance to all of us," adds Peck. "If anyone can pull all these people together, it's her."


The entire event will stream live on Allen's Instagram, @TheRealDebbieAllen, and Facebook page.

Before the show, Dance Magazine, Pointe, and Dance Spirit will be hosting "red carpet" conversations on Instagram Live with several of the stars that are scheduled to appear.

One more element of fun? The dance studio that hosts the biggest digital watch party with their students on Zoom or Google Meet will receive complimentary subscriptions to Dance Media magazines and special recognition at the Dance Teacher Magazine Awards. To enter, just send a screenshot of your video chat and a count of participants to danceathon@dancemedia.com by Monday, June 15.


Funds raised through Dance To The Music will go to The Actor's Fund, Career Transition for Dancers, The International Association of Blacks In Dance, International Association for Dance Medicine & Science, Dance Resource Center, Debbie Allen Dance Academy, The JaQuel Knight Foundation's Dancer Relief Fund, National Dance Education Organization, Dance/USA, The NYC Dancer Relief Fund and other non-profit organizations.

What's more, Allen hopes this event will bring "energy and light" to the dance world, and connect us all together.

"When I did my very first Instagram class in March," she recalls, "there was a woman who was raising her children and hadn't taken a moment for herself, but decided, 'I'm going to go take this class.' And she came out of it so motivated. She had been in kind of a dark place. And then outside, dancing, she remembered the trees were green, the clouds were flowing, the birds were flying and the world was still beautiful in the midst of all we're dealing with. That is what dance brings."


Why Dancers Make the Best Livestream Fitness Instructors

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Today more than ever, fitness platform subscriptions are replacing gym memberships. Dancers have always been great in-person fitness class instructors; now, they're becoming popular leaders of streamed sessions, too. Why? Because many of the skills required to teach a livestream class are dance-world fundamentals. We know how to motivate a crowd, perform for the camera, and demonstrate perfect form from all angles.

We asked four fitness-platform instructors to share how their dance careers prepared them to lead classes for thousands of viewers.


It's a Natural Transition


All of the instructors we spoke to followed a similar path from dance to fitness: They needed a stable and sustainable career. Teaching streaming classes paid well, made use of their physical skills, and offered the scheduling flexibility they needed.


Modern dancer and Obé instructor Emily Diers first supplemented her dance income waiting tables, but eventually found it exhausting. She was inspired by her mom's example as a fitness professional. "She showed me that I can use my knowledge of movement and the body to support myself" outside of the professional dance world, Diers says.


After dancing for top musical artists, Peloton instructor Cody Rigsby was tired of the entertainment industry's tendency to undervalue dancers, and decided to prioritize financial stability. As someone who already cross-trained, Rigsby was connected to Peloton through a choreographer and fully committed to the opportunity.

It's Still a Performance


As natural performers, dancers shine online. "The performance part becomes even more important, because whatever energy and enthusiasm you're bringing to a live class, some of that energy is inevitably lost through the screen," says Diers.


Like dance performances, most streamed classes are live events, and dancers are well-versed in that kind of pressure. Originally, online fitness studio Sky Ting TV developed pre-recorded classes, but now they produce live, one-take videos. "You don't know what's going to happen, which means the classes have so much more personality," says Sky Ting cofounder Chloe Kernaghan. And live classes require artistry, too. "A great teacher is a great storyteller," says Sky Ting's other cofounder, Krissy Jones.



Prior to COVID-19, Rigsby taught many in-person classes and played off of the energy in the room. Now, when coaching for the camera, "I always perform into that camera as if it's someone I really, really care about," he says. "I truly do believe that I'm rooting for each and every person that takes a class with me"—in person or online.

It's a Powerful Platform


Streaming classes use fewer resources than in-person classes, and usually don't require travel—a plus for dancers committed to sustainable lifestyles. And teaching on a digital platform often means having a larger, more diverse audience than you would in a traditional fitness class (or a traditional performance venue). Since Sky Ting TV, for example, isn't limited to specific geographic locations, it has "a more global audience, reaching more people without having to actually travel," says Jones. That kind of reach is powerful. "Knowing that you have a platform to inspire one person or 1,000 people is an honor," says Rigsby.

The Serious Dancer's Guide to TikTok

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It's paradoxical but true: On TikTok, a platform driven largely by dance, people with little to no dance background are becoming megastars—and highly-trained dancers can seem like fish out of water. The most popular dances on the platform aren't usually the most technically challenging. And often, serious dancers have a hard time figuring out what will connect with TikTok viewers, since it's not the kind of content that speaks to more traditional dance fans.

But with canceled performances creating more free time for dancers, TikTok can be a great way to keep performing and stay engaged with an audience. We spoke with four pros who've built large followings on the app about how trained dancers can find TikTok success.


Don't Treat It Like Instagram


TikTok is different from other social media platforms. Knowing what type of content will perform best on the video-sharing app is key. In the Instagram dance world, users are typically more willing to watch longer-form media, says Ellenore Scott, whose performances on shows like "Smash," "Glee," and multiple seasons of "So You Think You Can Dance" have made her an in-demand teacher at Broadway Dance Center in NYC. But TikTok users tend to like "fast, eye-catching dances," she says. "Posts that are under 15 seconds long typically do the best on TikTok."


Former Dance Theatre of Harlem dancer Alison Stroming agrees, and adds that "using trending songs and beats, which are always changing on the app," is equally important. "I think Instagram is a great platform for your professional work," Stroming says, but on TikTok, more personal, fun videos perform better.


@alisonstroming_

100% ACCURATE. 😂 felt that cambré back! wearing: @as.dancewear ##JustDanceMoves ##tiktokwellness ##dancer ##barre ##fyp ##foryoupage ##ballerina

♬ original sound - nicksilverioo


The square Instagram aspect ratio is another TikTok no-no. "Generally, try not to post a square video on TikTok," says Alex Wong, who was a soloist with Miami City Ballet before taking the commercial-dance world by storm. "On TikTok, you want your video to fill up the entire screen"—which means you should film in portrait, rather than landscape, mode.


Despite the differences between the platforms, sharing some content between them can help you gain followers, especially if you have an engaged Instagram fanbase. "Posting an occasional TikTok video on your Instagram is beneficial because it shows your followers what they are missing on the other platform, and reminds them to follow you on TikTok," says BalletMet dancer and "SYTYCD" alum Jim Nowakowski.

Fit Your Movements to the Space


Most TikTok choreography recycles popular hip-hop and social dance moves, like "hitting the woah" or the "Milly rock." "You won't be seeing much material from the ballet world on TikTok," Scott says. The limitations of the app's vertical frame mean that dances on TikTok are also mostly stationary sequences of upper-body movements—as opposed to concert or commercial dance choreography, which usually engages the entire body.


@ellenoreshoto

##myheroacademia ##dance by @yakaashi ##bnha##mha##iida##bakugou##kirishima##uraraka##toga##shigaraki##overhaul##deku##denki##fyp##anime##HomeTour##SpaceForceWalk##weeb

♬ WALKED IN - ultradiox


So it's not a great idea to simply post choreography you've done onstage (or on Instagram). Instead, think smaller and tighter. "You're dancing at home in your living room instead of dancing on stage," Wong says. "Two completely different vocabularies. I've noticed TikTok dances are often less 'full-out' than performance clips."

Play Up Your Unique Qualities


When you're trying to build a following, ask yourself: What do you have that others don't? What distinctive quality or interest of yours will win viewers over within the first few seconds of a video? "Find the thing you're good at and craft your content around it," Stroming says.


If you have a specific passion or idea, explore it on the platform, because there's probably already an audience for it. "I knew I wanted to create content for people who watch anime—I love anime!—and I used my dancing as a way to make certain characters move," Scott says. "My momentum started because I created content that was true to who I am."


"TikTok is about offering some sort of special entertainment to your audience," Wong says. His personal winning TikTok formula combines displays of his fabulous facility with spot-on slapstick comedy.


@alexdwong

WTF 😂 ##dance ##dancer ##dancers ##funny ##comedy ##flexible ##fitness

♬ Savage - Megan Thee Stallion

Avoid Common Trained-Dancer Mistakes


New users—especially established dancers with equally established Instagram followings, who think they "know" social media—sometimes start posting on TikTok without taking time first to use it. To avoid looking out of touch with what's happening on the app, spend some time watching successful TikTok creators. "Research the type of content you want to make," Scott says. "Once I started focusing on a specific genre, that's when I actually started to build a following."


Yes, a lot of poor-quality videos still go viral on TikTok. But don't neglect to take a few minutes to create a proper setup for your clip—that will only increase its chances of popularity. (The app's algorithm seems to like good lighting, in particular.) "Good lighting and a stabilizer for your camera will go a long way to growing your audience," Stroming says.


Be more aggressive than you normally might about editing, too, especially at the beginning of your videos. "Trim out any unnecessary parts, because you often only have one second to catch someone's attention before they scroll past," Wong says.


@jimnowakowski

A little footsie. ##fyp ##foryoupage ##ballet ##dancer ##maledancer ##foru

♬ Pink Panther Theme - Circus Band


Perhaps the biggest mistake you can make on the app? Taking yourself too seriously. Professional dance has all kinds of moods, but since most TikTok fans use the app to decompress, it probably isn't the place for super-emotional contemporary choreo. "TikTok dances are completely just for fun, to make yourself smile, and to feel good," Stroming says.

How to Support the Black Dance Community, Beyond Social Media

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The dance community's response to the death of George Floyd was immediate and sweeping on social media. Ballet companies, including Dance Theatre of Harlem, American Ballet Theatre, and New York City Ballet all pledged that #BalletRelevesBlackLives, an online campaign to show solidarity with the Black community. Dance artists, including Desmond Richardson and Martha Nichols, used their social platforms to make meaningful statements about racial inequality. Among the most vocal supporters have been dance students, who continue to share the faces and gut-wrenching last words of Black men and women who have died in police custody on their Instagram feeds and Stories.

The work we're doing on social media as a community is important and necessary—and we should keep at it. But now, that momentum must also carry us into taking action. Because to be a true ally, action is required.

A responsible ally amplifies Black voices­­. They choose to listen rather than speak. And they willingly throw their support, and, if they can, their dollars, behind Black dancers and Black dance organizations. Here are some ways you can do your part.


Participate in the Dance Industry Blackout


Activists are encouraging dancers to participate in the Dance Industry Blackout, happening today, June 2. To join the effort, first, post a plain black image to your social feeds. Then, avoid posting content for the remainder of the day. Suspend classes, rehearsals, and meetings, and use this time to identify ways to uplift black dancers and the organizations that support them. Be brave, and try to feel okay in the discomfort that these conversations may create.

Attend a Dance Class Fundraiser


Fundraising classes are a win-win experience: you get to train with master teachers and choreographers, and your donation goes to furthering causes that help propel Black artists. Here are a few options:

  • Peridance Capezio Center will host a full week of online classes starting June 6, with funds raised going to organizations that fight against racial inequality.
  • Gibney Dance will donate all online class revenue through the end of June to organizations on the front lines of the effort.
  • Former Nederlands Dans Theater dancer Spenser Theberge will teach three ballet classes this week, and all proceeds will go to the organization Color of Change.
  • Martha Graham Dance Company is offering all revenue from this week's online classes to the Minnesota Freedom Fund.
  • Instagram account Movement for Hope is hosting classes all week, with the proceeds going to a different organization fighting for equality each day.
  • Next week, the "Cindies Ballet Class" (with ABT principals Isabella Boylston and James Whiteside) will be collecting donations for @fairfightaction and @aclu_nationwide.

Educate Yourself


Seek out works by authors of color, because their perspectives will most accurately reveal what it means to be Black in America. The arts also play a major role in reflecting society, so watching dance works and reading poems that navigate concepts like racial injustice and white privilege can have an equally educative effect on you. A good starting point is this guide, which offers 24 peaceful ways you can get involved in the fight for black liberation without protesting in the streets.

Here are some other resources. This is, of course, an incomplete list—we hope it leads you into independent research.


Books

  • Ain't I a Woman by bell hooks
  • CHOKEHOLD: Policing Black Men by Paul Butler
  • The New Jim Crow by Michelle Alexander
  • Post-Traumatic Slave Syndrome by Dr. Joy DeGruy
  • White Fragility: Why It's So Hard For White People to Talk About Racism by Robin DiAngelo


Poems


Dance Works

  • Jacob Jonas The Company performs "AN ARTIST'S DUTY IS TO REFLECT THE TIMES," choreographed by company member Mike Tyus
  • Royal Ballet principal Marcelino Sambé performs "I Can't Breathe"
  • ink, a dance film by Camille A. Brown and Dancers
  • Alvin Ailey American Dance Theater performs Ode, choreographed by company member and resident choreographer Jamar Roberts


Interviews

“World of Dance” Week 2 Recap: The Qualifiers Continue

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In observance of the entertainment industry's #BlackoutTuesday, NBC dedicated last night's episode to "all those who are fighting injustice, standing up against racism and taking action to make change," and we'd like to echo that message to our Dance Spirit readers. We love you and are standing with you.

The episode picked back up where the premiere left off, with another group of "World of Dance" hopefuls unexpectedly performing in front of all three judges in the hopes of continuing to the Duels. The acts that were successful this week did one, or both, of two nearly impossible things: 1) show off incredible chemistry that's also authentic; 2) show the judges something they still have never seen before. Here are our favorite acts from the night.


Indigenous Enterprise


As one member of the Phoenix, AZ–based dance group Indigenous Enterprise pointed out, Native American dance is often "swept under the rug," receiving far less attention than other dance styles. So it was exciting for this beautiful art form to grace "World of Dance" for the first time last night, and for it to be performed with so much life and passion. Unfortunately, the judges felt that the act wouldn't be able to stand up against the rest of the competition, and they ultimately didn't advance on to Duels.

Oxygen


This Netherlands-based contemporary and hip-hop group's intricate hand movements and dazzling shapes would be impressive to even a casual viewer. But as dancers, we also understand just how much work is involved in this kind of performance—and we spent the entire routine wondering how many hours of rehearsals must have gone into every single eight-count. The crew got a standing ovation from all three judges, with J.Lo saying, "I couldn't even get my dancers to be that clean." A unanimous advancement to the Duels for Oxygen.

Styles and Emma


Emma's insane flexibility and grace, paired with Styles' explosive power and emotion, put this duo on the fast-track to the Duels. Their partnership seems super strong already, and we're looking forward to seeing how it develops. (Side note: props to Emma for managing to dance on pointe on that super-slippery floor.)

Luca and Allessandra


The best word to describe this duo? Professional. The Latin ballroom dancers from Italy have been dancing together their entire lives, and it shows. With lightning-fast footwork and impeccable coordination, Luca and Allessandra's routine combined effective storytelling with the flashier tricks and skills that the judges love. This act will definitely be the one to beat as it advances to Duels.


Meet the First Native American Dance Group to Appear on "World of Dance"

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Now in its fourth season, NBC's "World of Dance" has showcased many types of dance. "They've had styles from Mexico, China, Africa, break dancers, salsa dancers," says Kenneth Shirley, founder of Phoenix-based troupe Indigenous Enterprise.

But until last night, the show had neglected to feature America's oldest homegrown dance traditions, those of Native American tribes.



"World of Dance" performances are short by nature, so in just one minute, choreographer Nathaniel Nez decided to showcase four dances seen at powwows: the fancy men's war dance, men's prairie chicken dance, men's hoop dance and grass dance. "Our main mission was to expose the show to as much culture as possible and not just to do one style," says Shirley.

Though the members of Indigenous Enterprise are Navajo, their dances reflect various tribes, including the Blackfeet Nation, Ponca Tribe and Omaha Tribe. "A lot of these dances, now in present time, are borrowed—especially as powwows became more popular," says men's prairie chicken dancer Ty LodgePole. "It's more than okay for another tribe to be dancing it because a powwow is meant to be a social gathering to uplift everybody's spirits."


"World of Dance" producers discovered Indigenous Enterprise via Instagram after seeing a collaboration they'd done with The Black Eyed Peas' Taboo, whose grandmother is a member of the Shoshone Tribe. They invited the troupe to audition for the show, where they mixed tradition and pop culture by performing powwow dances to Drake.

During filming in February, Shirley says that the importance of representing indigenous dance wasn't lost on the camera crew and producers. "When we'd walk by," he says, "they'd give us a little nudge and be like, 'It's about time that you guys are on the show. We've had four seasons and they've never had Native Americans. It's about time they honor the first people of their land.' "

"Because we filmed in Los Angeles—that's the Tongva people's lands—it was only right that they included some indigenous culture," says Shirley.


Though Indigenous Enterprise didn't advance in the competition, their appearance was a win for authentic portrayals of Native Americans in popular culture, exposing many viewers to their dances for the first time. (Even Shirley remarked how surprised he was that judge Jennifer Lopez, whose career has taken her around the world, had never seen Native American dance.)

"I want people to see that we're still alive and we're passing on our culture," says Shirley, who works with his fellow dancers to dispel stereotypes through educational performances at schools, festivals and events as far away as Australia. "Oftentimes we're seen in the media and Hollywood with this picture of 'cowboys and Indians'—those old movies where they paint us looking like savages with Clint Eastwood."

"When we come out performing and dancing, it lets people know we're real Native Americans and we have real cultures. All the dances we're doing are from way, way before Christopher Columbus came to America."


Essential Viewing: “WE. DANCE.”, a Powerful Video by Ailey’s Dancers

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"When our hearts break, WE Dance."

That's the caption for this video, created by and featuring dancers from Alvin Ailey American Dance Theater. Made in the midst of widespread protests over the death of George Floyd and so many other innocent Black people, it features poetic text written and performed by company member Hope Boykin, and moving, meditative dance footage from 25 other Ailey performers.




Here are the dancers featured, in order of appearance:


Hope Boykin, @hbdance
Yannick Lebrun, @yannicklebrun
Akua Noni Parker, @onlyupward
James Gilmer, @j_gilmer
Jacquelin Harris
Brandon Woolridge, @brandon_michael_woolridge
Samantha Figgins, @sfigg_udigg
Sarah Daley-Perdomo, @cherrysunblush
Jeroboam Bozeman, @jeroboamb
Jacqueline Green, @jagreen711
Jessica Amber Pinkett, @jessica.a.pinkett
Jermaine Terry, @jerms83
Jamar Roberts, @7jlr27
Constance Stamatiou, @constance.stamatiou
Belén Indhira Pereyra, @belen_pereyra_pro
Renaldo Maurice, @r_maurice25
Courtney Celeste Spears, @bahamaballerina
Christopher R. Wilson, @christopher.r.wilson
Vernard J. Gilmore, @vern93
Kanji Segawa
Clifton Brown
Miranda Quinn, @mirandaming4
Patrick Coker, @pcoke
Chalvar Monteiro, @chlvrmntro
Matthew Rushing, @matthewrushing73
Danica Paulos, @lens_of_the_heart

Reed Henry is Your May Cover Model Search Editors' Choice Winner

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Congratulations to the May Cover Model Search Editors' Choice video winner, Reed Henry! Watch his solo below, and be sure to enter the Cover Model Search here.


Reed Henry, "Rattle"



How to Take Charge of Your At-Home Dance Health

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Despite all pandemic-related odds, you've more or less managed to keep up a dance training routine, whether it's via your home studio's Zoom schedule, Instagram Live classes, or Mark Kanemura's living room dance parties. Slow. Clap. That's a feat to be celebrated. But dancing in less-than-ideal environments—i.e., pretty much every at-home space—can take a real toll on the body, meaning lots of aches, pains, and at least a blister or two.

Here, we've rounded up all our best resources and expert connections for advice on what to include in your at-home dancer first aid kit, and how to handle (or even better, prevent) minor injuries that may come up while you're working hard from home.


Prevention: Modify and Moderate


First things first: Do everything you can to make your at-home training regimen as safe as possible. According to Dr. Lauren Borowski, a sports medicine specialist at NYU Langone's Orthopedic Hospital and a physician at Harkness Center for Dance Injuries, "This is a good time to check in with yourself and make sure you're working appropriately based on your own anatomy." Without the safety of sprung floors and the comfort of having a mirror to check your alignment, bad habits like forcing your turnout or poor jump landings can lead to injuries.

Be willing to modify exercises when you're taking virtual class­—it will benefit you in the long run. "Planning ahead as to what might come up in a class and how you can safely modify is so important right now," Borowski says. Simple modifications, like swapping one-legged relevés for petit allegro, practicing jumps in parallel instead of turned-out positions, or holding balances instead of doing full pirouettes can still activate important muscle groups while lowering your risk of injury. "This period of time is great practice to develop spatial awareness in general, because nobody in a crowded class or audition likes getting bumped into," Borowski says.


Be thoughtful about your new #quaranhobbies too. Whether you've picked up running, yoga, or any other form of cross-training, moving your body in a new way could also lead to new aches and pains. "Many yoga and Pilates teachers are offering one-on-one virtual sessions, which are a great way to make sure you're practicing proper form and to receive better attention and corrections than an ordinary group class,"says Desiree Unsworth, a physical therapist at Westside Dance Physical Therapy in NYC.

With both familiar and new activities, moderation is key. "Whether you're taking full rest days or doing a little bit every day, mix it up and vary what you do," says Borowski. "You don't need to take virtual ballet class seven days a week."

If you're looking to take injury prevention one step further, the Harkness Center is now taking their Injury Prevention Assessment offerings online. "We were never able to reach patients outside of NYC to do IPA's, but virtually, we can do them anywhere now," says Lauren McIntyre, a certified athletic trainer (ATC) at the Harkness Center.


Treatment Tips


Whether it's a chance run-in with your dining room table or an old pain that starts aggravating you again, at-home injuries are bound to happen despite our best intentions. What should you do when they do?

Unsworth encourages dancers to always start with the basics of PRICE. "Protect the area, Rest, use Ice for pain management or inflammation, use Compression like tape or a sleeve, and Elevate the injured area to help with swelling and blood circulation," she says. According to McIntyre, you can also never go wrong with foam rolling. "The body tends to reflexively contract to protect an injured area, and sometimes that's helpful, but it also can cause more pain," she says. "Using either a foam roller or tennis ball to self-massage can help release tissue so that it can be mobilized appropriately."

When it comes to recurring injuries or pain, don't forget the techniques that have served you previously. "It's never been more important to do the exercises given to you by an athletic trainer or physical therapist," McIntyre says. Borowski agrees: "It's human nature to stop doing your exercises once you feel better, but the more regularly you do them, the more effective they'll be."

Finally, above all else, do what every dancer needs but almost never allows: rest. "A lot of dancers have more time on their hands now than ever, and they might be filling that time with exercise to manage anxiety. But there are other ways we can cope, like meditation and ensuring proper sleep and nutrition," McIntyre says. "The body is quite resilient—sometimes all it needs is a little break to heal itself." Borowski agrees that especially now, dancers have no reason to push through any sort of pain or irritation. "Now is a good time to tease out the exact movements and activities that may be causing you pain, and back away from just those things for a while," she says.

When to Call in Reinforcements


All of our experts agree: If you've done everything you can to self-treat a minor injury, including PRICE, resting, foam rolling, and training safely, and you still don't see any improvement after one to two weeks, it's time to get a second opinion. "Self-treatment shouldn't start with self-diagnosing," McIntyre says. "Knowledge is power, and once you know exactly what's causing the pain, you'll know what you need to do. Otherwise, you could end up treating the wrong thing, and it won't get better."

Over the past few months, "telehealth" has taken off­—you may be surprised by how much healthcare professionals can diagnose just by using their eyes. According to Borowski, "Between gathering a patient's history, looking at the injured area, and asking the patient to perform various movements, we can usually figure out the cause of the problem and how to best treat it." Unsworth agrees, adding that "We have even more time with the patient than during a normal in-office visit, so we can fully explain what's going on and why we're doing what we're doing." While some healthcare facilities have started to open up again for private visits, even more have switched over to offer virtual visits—take advantage, if you're able.

The Bottom Line


Although this strange period of #SocialDisDancing may feel isolating, you can also use this time to improve your overall wellness. Unsworth says, "This has empowered a lot of the dancers I've worked with to be responsible for their own care even more. They're developing habits that they can use for the rest of their career."

A Virtual Ovation for the Dance Class of 2020

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We're so proud of the Dance Class of 2020. And while we had the chance to celebrate 31 of you as dance grad cover stars, we're showcasing even more of the incredible talent in this year's senior class with this video "ovation." Merde, graduates, as you dance your way into the future!



How the “SYTYCD” Costume Designer Creates Wearable Art for Dancers

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Ever wondered what goes into the production of the hundreds of costumes used in the live episodes of "So You Think You Can Dance"? Always innovative—and often straight-up jaw-dropping—they're an important part of the show's memorable dance storytelling.

The genius behind "SYTYCD"'s costume magic is designer Marina Toybina, a four-time Emmy winner who's been working with dancers for a decade. In addition to her "SYT" designs, you've probably seen and admired her costumes for the first three seasons of "World of Dance," Taylor Swift's Red World Tour, and the 2015 Super Bowl Halftime Show. (She's also responsible for the brilliantly surreal ensembles on "The Masked Singer.")

As we wait to hear whether "SYT" will be able to return this summer, we talked to Toybina about how she collaborates with choreographers and dancers, what goes into the creation of danceable fashion, and how great costuming can elevate a dance.


How did you first start making dance costumes?


Around 2009, I started to mainly work with music stylists, slowly shifting my focus from couture fashion to costume and stage. From there, I had an incredible opportunity to team up with a well-known dance crew, The Beat Freaks, and collaborate with them on multiple projects and performances. Later on, I was introduced to the iconic choreographer Brian Friedman. We instantly hit it off. With Brian, I started to explore the world of dance in multiple outlets: music videos, award shows, tours, and television. Brian is also the main reason that I got the call to design my very first TV show, "The X Factor," in 2010. That's when my avenues truly opened up, and I was able to design for dancers on bigger platforms. Looking back at the past 10 years, it's fair to say that I owe the majority of my success to this wonderful man, a man I'm honored to call my dear friend, mentor, muse, and inspiration.


What are the challenges of costume-making for dance?


In the very beginning, I definitely made some mistakes—poor fabric choices, wrong shoes—due to my lack of knowledge and experience. Then, over time, the language of dance truly became second nature. I educated myself in proper pattern-making, draping, use of materials, and sewing techniques. The challenges became less worrisome for me when I started to communicate more effectively with the dancers. I started to pay closer attention to their needs—how they executed their choreography, what their bodies required to move freely, what fabrics and footwear and accessories were necessary.


How did you get involved with "SYTYCD"?


I was working on "The X Factor"—it was my third season—when [executive producer] Jeff Thacker approached me about coming on board "SYT" for Season 10. I was very excited about the opportunity. I knew it would allow me the chance to explore and expand my creativity, and to offer something new and different to the show.

What is the creative process like on "SYT"?


Usually we have four to five days between live shows to turn over about 60 costumes. We start each show with a creative meeting, led by Jeff, to go over the concepts and ideas pitched by the choreographers. I then contact the choreographers individually and have them discuss their mood boards, music choices, costume inspirations, and overall tone for their pieces.

From there, the shopping, sewing, crafting and designing begins. I do work very closely with make-up and hair departments, and our collaboration is key when it comes to live shows. Fittings follow within three days of prep from all the departments, and then it's showtime! Most of the time, we get everything done and perfected before the shows go live. But of course I've had moments where I had to sew in my dancers right before they go onstage. It's a rush, lots of hard work, but in the end, it's well worth it!

What are your go-to tricks and techniques to help costumes move better?


Using proper fabrics (four-way stretch anything) is my main trick, as well as frequent use of hidden elastics and secure closures. I make sure my seam work, patterns, and construction are designed for mobility and durability, so the costume acts and feels like a second skin to the dancer. The fact that we finish all of our costumes by hand allows me to control the fine details.


Which dance costumes are you especially proud of?


For "SYTYCD," I was actually recognized in my first season, when I won alongside my wardrobe department for Tyce Diorio's exquisite piece. My strength has always been period costuming, and Tyce had created this incredible routine with a Victorian element to it. I was able to use vintage pieces and then incorporate these brand-new sewing and fabrication techniques that were truly breathtaking. The amount of work that went into that performance was insane! And it looked stunning. Wearable art is what I would call it.

"World of Dance" was a slightly different experience for me, because it wasn't just executing a vision, it was also dealing with different age groups, multiple languages, and different cultures from all over the world. On Season 2, we had a group from Japan, the Fabulous Sisters—13 female dancers ranging in age from 8 to 15. I was really impressed with the way we were able to communicate purely through the language of dance, and create these gorgeous, elaborate costumes for them, which left viewers visually in awe.


What do you enjoy about working with dancers?


Helping them tell their story—helping them communicate powerful emotions—that's what brings me joy. I'm personally very moved by dance and its power. When I design for dancers, and then get to stand back and see it all come together, I notice that the costume often acts as an introduction of feeling. It gets you to understand an emotion before the music even starts. I love that my team and I get to create that visual, to set the tone for the work you're about to fall in love with."

Houston Ballet's Harper Watters: Thoughts on My First Uprising

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I recently spoke to the dancers and management of Houston Ballet, where I dance, as part of ongoing conversations covering racial injustice. I was going to start by asking them how they were doing. But I quickly realized what kind of reaction I'd get. It's the one you have the morning after a six-hour rehearsal day, when your calves and neck have left the group chat, and the last thing you want to do is to show up to class, but you do, and the teacher comes in and asks, "How is everyone feeling?" You stare back at them, silent, while internally answering, "I don't want to be here, I'm in so much pain." However, when the music starts, you grab the barre, you start pliés, and you push yourself to be the best you can be in that moment.

That is what I asked of my company, and what I implore everyone else in this community to do as well: Keep pushing yourself to do the work.



There is a massive amount of information coming at us right now. News reports, terrifying data, lists of charities to donate to, educational videos, trauma resources, powerful quotes, videos of police brutality, videos of peaceful protests, opinions about whether or not you should post that black square. There's a sense of anxiety and uncertainty that comes with trying to navigate everything, and contributes to the feeling of weight and pressure I'm sure everyone is living with right now. The magnitude at which you're experiencing these emotions is a direct manifestation of the severity of this situation.


We watched a nine-minute video of a black man being murdered by a white cop. That video has created a massive uprising.


The uprising now includes protests in all 50 states. But we're still protesting the same issues that we were protesting in 2014, the 1960s, the '50s, the '30s, 1880. These are the same issues we've been dealing with for centuries in this country. The protests are visual representations of the pain people are harboring. They also represent the amount and scale of work we must do to change the infrastructure of society, including the dance world.


I know for a lot of the dancers of Houston Ballet, this is their first uprising. It's definitely mine. I wanted to make sure they knew I considered them all to be allies. They support me, uplift me, interact with me. They created the space for me to become this fully-realized, fabulous version of myself. But now it's time for them, and everyone else, to level up and become activists.


Watters, in purple bike shorts, poses in forced-arch with his arms at an angle, staring directly into the camera, on a teal seamless


We can no longer accept complacency and silence. Not saying or doing something because you're scared or uncomfortable—that's human nature, but that doesn't make it OK. As trans activist Peppermint said, "That's like saying 'I'm uncomfortable and I don't want to' when you're asked to pay your taxes, and we can't have that." Being scared to speak up because it goes against your brand or because you're afraid of the repercussions only highlights the fact that you can live your life unaffected without speaking up. That is the definition of privilege.


Stepping into and accepting your place in privilege is a difficult action to take. I'm doing it myself. Although I am Black, I was adopted by two white parents and grew up in an affluent neighborhood. I attended private school and dance training programs on scholarship, which led me to a job at one of the largest ballet companies in the US. That all plays a part in my behavior, my thought process, and my decision making. The ways and times I've chosen to engage in racially-charged situations have often been determined by how those situations would affect me, rather than by what was right or wrong. That is privilege, and that needs to change.


"Racism is a spectrum with varying levels of unconscious and learned behaviors reinforced by society every day," Padma Lakshmi said. "It's not: either you're a racist or you're not. It's to what degree are you prejudiced, against, whom, and why?" The idea of a spectrum also applies to being an ally, and, more importantly, an activist. Where do you fall? How much are you going to activate?


I believe our biggest call to action as activists is to continue learning. Knowledge is power, so the more you read, watch, listen, and share, the more confidence you will have in writing your next post, having your next conversation, and identifying and confronting racial injustice when you see it. And the more change we will see.


Personally, I think I'm still in the reflective stage of this uprising. I'm not yet able to say with conviction that this is how we'll end racial injustice in ballet. I'm still going over moments in my own past, asking myself, should I have spoken up? Why didn't I speak up? Should I have spoken up louder? I'm finding my answers are rooted in both fear (of harm to myself) and love (in an unwillingness to hurt others). I'm learning that the the hierarchical structure of ballet, its foundations in white systemic racism, has contributed to me suppressing my own impulses when I know something is wrong. I'm also acknowledging that times might have shifted enough for me to have a seat at the table, but sometimes my action, or rather inaction, has resulted in what looks like tacit approval of dance companies' archaic behaviors.


We're seeing companies make statements and start to take action. What I'll say to them is: Don't let us down. To all Black dancers: You are gorgeous, you are essential, you are the change we so desperately need. Black Lives Matter and Black Dancers Matter.

Where to Take Virtual Dance Class to Benefit Anti-Racist Organizations

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Many dance students are seeking ways to take action in the ongoing fight against racism and police brutality. And many amazing dancers and dance organizations are donating revenue from virtual classes to important social-justice organizations working against systemic racism.

To help dancer-activists get active this week, we gathered information on some of the many dance-class fundraiser options.


Steps on Broadway


Today, June 9, Steps on Broadway will be donating all proceeds from virtual classes to Black Lives Matter, so be sure to sign up soon!

Manhattan Youth Ballet


This week, all proceeds from Manhattan Youth Ballet's online master classes will go to the NAACP Legal Defense and Educational Fund. Take class from industry pros like Sara Mearns, Gabe Stone Shayer, Maria Kowroski, and more—all benefiting an incredible organization!

Spenser Theberge


Choreographer, dancer, and teacher Spenser Theberge will be donating all proceeds from his ballet classes this week to Black Visions Collective, a Minnesota-based organization committed to dismantling systems of oppression.

Peridance Capezio Center


All this week, Peridance will be raising funds for anti-racist organizations and causes, with money from online classes going to Black Lives Matter, The NAACP Legal Defense Fund, The Dance Union, and to George Floyd's family.

Miles Keeney


Last week, Miles Keeney was able to raise almost $500 for the Black Visions Collective—an amount that he matched with his own donation to the NAACP Legal Defense Fund. Keeney also announced that a portion of future revenue from his #MilesMondays classes and his classes with Broadway Dance Center will be donated to other anti-racist organizations or charities.

Broadway Dance Center


Broadway Dance Center will be hosting a series of virtual classes with portions of proceeds going to groups like the NAACP, Campaign Zero, and the International Association of Blacks in Dance. Be sure to check out the BDC website for more information on which classes will benefit anti-racist organizations.

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