Last year, in a segment on "The Today Show" on diverse shades of pointe shoes, Dance Theatre of Harlem artistic director Virginia Johnson reflected on the groundbreaking 1970's-era performance when DTH founder Arthur Mitchell had the company dance in dyed shoes for the first time. "When the curtain went up you saw a range of people in all different skin tones," she said. "It was the most exquisite thing to see." Yet it wasn't until 2017 that Gaynor Minden made waves as the first pointe shoe brand to offer shoes in a diverse range of shades, saving Black and Brown dancers massive amounts of time and energy spent pancaking their shoes by hand. Freed followed suit in 2018, in a collaboration with London-based Ballet Black.

So it should come as no surprise that in the midst of nationwide protests demanding racial justice, the ballet community has turned to social media to demand that two other major pointe shoe makers—Bloch and Capezio—start to make shoes in darker shades. Yesterday Bloch released a statement online sharing the company's plans to release a line including more inclusive pointe shoe shades this fall. "We have been intently listening, reflecting on what we are doing and what we can do better and acknowledge we have not been moving fast enough," the statement says. "Due to the outbreak of COVID-19 product development was severely slowed down however we are fully committed to following through with these plans and confirm we will be introducing darker shades into our pointe shoes and Blochsox range in fall this year."

This announcement came after a two-year-old Change.org petition went viral over the weekend, garnering 169,804 signatures before closing. A similar petition directed at Capezio has 289,930 supporters just two days after its creation, and is steadily gaining more. "If you don't fit the one shade of shoe color, you automatically feel like you don't belong," wrote Megan Watson, the petition's creator. "Every person deserves to feel included in something they love."

I remember the first year that I competed at the Youth America Grand Prix. I was 17 years old and particularly excited to be participating in a competition that focused on ballet. First up for my age group was classical, where I danced Kitri's Act I variation showing off all of my strengths: personality, speed and the ability to jump and turn. I felt really proud of how it went—imperfect, but not terrible.

The next day I performed my contemporary solo, a dance I choreographed to a jazzy version of The Beatles' "Blackbird." I danced in bare feet with my natural hair out. Halfway through the solo I forgot the steps and improvised my way through the rest. I felt mortified, defeated and heartbroken. Later that day, I was pulled aside by one of the competition's organizers congratulating me (what?) and telling me that they wanted to work to get me a scholarship to The Ailey School. I had already participated in Ailey's intensive the summer prior and had discovered that modern dance was not the language in which I wanted to develop. I wanted to do ballet.

At the time I didn't understand why Ailey kept being pushed on me, but looking back I understand that in this moment, the reason had not much to do with my dancing and more to do with the texture of my hair and the color of my skin.

Well-intended ignorance. The ballet world is full of it. It took me years to see it. Why were the same three places—Dance Theatre of Harlem, Alvin Ailey American Dance Theater and Houston Ballet—always mentioned to me when people recommended where to dance? Eventually it dawned on me that while two of these are well-known as historically Black companies, all three organizations had been known to have women of color at the forefront: Virginia Johnson, Judith Jamison, Lauren Anderson.

These suggestions are examples of what I consider well-intended ignorance, also known as implicit bias or micro-aggressions in today's conversations regarding race. These subtle comments are put in place to remind you to stay within the box that society is comfortable with you residing in. Don't look too eccentric, don't get too angry, don't go into this neighborhood, don't, don't, don't… The ballet world, with its Eurocentric history of extreme racial discrimination and elitism, is no exception to this. "You don't have the right body type for ballet, you couldn't possibly dance there because there are no others like you, powder your skin lighter so you blend in, you're so good at contemporary." And also, the whispers behind our backs: "They have to be featured because they're the only Black person." All of this amounts to the realization that no matter what work you put in, your dancing will always be overshadowed by your skin color.

These are the experiences of most dancers of color: your friends, your peers, your teachers. Yet our resilience is clear. We continue to show up because despite the systemic racism that follows us like a shadow every day, we have the right to be here.

I went on to become a principal dancer with Dance Theatre of Harlem for several years, where I found my voice as a Black ballerina. I embody their message proudly, and when I felt the time was right I went on to join Boston Ballet. Here, I am currently the only African American woman on the company's roster, and the first in 10 years. Since joining this company, I have risen to the rank of soloist.

So, with the outrage we are seeing over the murder of George Floyd, which has sparked the kindling of oppression that has plagued people of color for years, you might be asking yourself:

How are my friends of color feeling?

In short: angry, sad, frustrated, exhausted. Personally, I've spent much of this time protesting (on crutches, I might add) and using my words and experiences to help shape the understanding of those around me. It's incredibly taxing—but I think, above all, our entire community is empowered to fight with everything we have until we are seen as equals.

I love my friends of color. How do I tell them that and what can I do to help them?

Start by checking in on them. This is a traumatic time for our entire community, but reaching out to those close to you shows that you support them. While they might not always have the words or energy to express how much it means to them (because quite frankly, we are exhausted), it matters.

In having these conversations, listen to them and really hear what they are saying. As uncomfortable as it might be, try your hardest to pivot your feelings away from yourself. This isn't the appropriate time to show your empathy by inserting your personal experiences because, in a way, it belittles the severity of what we are experiencing right now.

Consider finding ways to donate to the cause. Do your research and find what place you want your money to go (historically black dance institutions, MoBBallet, Black Lives Matter, and the George Floyd Memorial Fund to name a few). If you need to raise money in order to donate, get creative with how to do that and don't be ashamed to tell the world what you're doing it for. If you're crafty you can make items and sell them, if you're good at teaching you can teach classes for the sole purpose of donating your income, the options are endless.

And then what?

Continue to educate yourself about why this is happening. Learn about the history of Black culture and oppression. Writings by authors like Ta-Nehisi Coates, Toni Morrison, Maya Angelou and James Baldwin are a good place to start.

Search for and sign petitions that demand racial equality. One example that is particularly relevant to us as dancers is the Racial Equality in the Ballet World petition found on change.org.

Learn about the history of organizations and steer your support towards brands that don't promote hate or have a racist history or tendencies. The internet is an excellent tool for learning about the history of just about any organization if you take the time to dig in a little.

Keep the conversation going! You have a voice, too, and the world needs to hear what you have to say!

My fight isn't over yet—and neither is the fight of my fellow Black and Brown dancers. We will not stop until this art form becomes a space in which Black and Brown people are welcomed, respected and valued for their merits and not the color of their skin. We will not stop until all people are recognized as equal human beings.

Another episode of "World of Dance," another week of qualifiers. But frankly, there's no chance of us ever getting tired of this game of "getting to know you," because week after week, "World of Dance" is bringing us some of the most talented dancers in the industry. We were absolutely blown away by last night's talent—many of whom made it through to the Duels. Read on for our fave acts from last night's episode.

Keagan Capps

Contemporary queen Keagan Capps brought the comp realness last night with her solo. Judge Derek Hough put it best when he called Capps "otherworldly"—she looked like an uber-flexible, Gumby-brought-to-life alien. But, as judge Jennifer Lopez pointed out, Capps also brought the emotional depth and technical strength to back that up. All three judges gave Capps the go-ahead to the Duels.

Josh & Erica

Urban duo Josh & Erica stunned last night, with a piece set to "Mount Everest" by Labrinth. (Will the "Euphoria" fans in the house please stand up?) They dazzled the judges with their undeniable chemistry, and their next-level musicality. All three judges are hoping to see Josh & Erica push themselves a little further in the future, but both J.Lo and Derek Hough sent the duo straight through to the Duels.

MDC 3

Oh, hello, Dance Spirit Cover Model Search finalist Diego Pasillas! We loved seeing a member of the Dance Spirit fam up on the "World of Dance" stage, so maybe we're biased, but Diego and his fellow dancers blew us away. They had incredible chemistry, impeccable technique, fantastic emotional depth—everything the judges have been looking for this season. We felt like we were a part of the love triangle, too! Which might be why the judges were so impressed—all three sent MDC 3 on to the Duels.

It is vital for BIPOC dancers to feel that the studio setting, physical or virtual, is safe and inclusive. Dance teachers and studio owners have most of the power when it comes to creating that environment, but students are not powerless. Master ballet teacher Preston Miller, known as The Dance Artist Coach, and jazz teacher Hollie Wright share how they've personally navigated racism within the dance studio, and what students can do if they experience or witness racially-driven interactions.

Ballet's Unfair Biases

For BIPOC dancers in the ballet world, in particular, these kinds of interactions are all too common. Many young Black ballerinas dream of joining the same classical companies as their white counterparts, but are faced with the unfair reality that the path isn't equally set. Frequently, they're pushed to consider non-ballet dance options. "I regularly have to hold uncomfortable conversations with my students of color," Miller says. "If you are ever in a predicament where you feel resistance in a classical ballet setting due to the color of your skin, speak from your perspective exclusively and express how you feel. You may not change your director's beliefs, but you will change their thought process."

Miller has also heard instructors label Black students as technically inadequate for the ballet world solely based on their body type. In these situations, again, open communication is key. "I always encourage students to talk with their directors if they feel held back in their growth because of their skin color," says Miller. "When you feel like you're being overlooked for roles you can execute, talk to your director about it. And if they don't want to talk about how you feel racially disadvantaged, they may not be the teacher for you. Find a studio or teacher where your voice is valued."

Hair and Dress Codes

Natural hair can also be a source of dance-studio tension. Halfway through class, Wright always encourages students to take their hair down to promote individuality. During one of her classes, she witnessed one Black student get teary and uncomfortable as white students swarmed to touch her hair. "I've seen this happen multiple times," shares Wright. "If you're ever in that type of situation, you have to speak up and let your peers know that it makes you extremely uncomfortable. Usually they don't mean any harm—they just don't know how it feels."

Miller has also seen Black students feel uncomfortable when required to wear pink tights and shoes instead of options that match their skin tones. "I believe that all students of color should be able to wear brown ballet shoes and tights," Miller says. He suggests pointing out to your teacher that doing so will actually help your technique: "It completes the line," he says. "If students can't wear tights and shoes that match their skin, they have to work twice as hard to find their own alignment in the mirror."

Finding Allies and Using Your Voice

Since both Wright and Miller teach diverse student bodies, they've laid out steps young dancers can take to address race-based issues and help prevent them from continuing. Miller emphasizes the need for BIPOC dancers to find allies in the studio space. "If you, as a young Black student, need to talk about a racial occurrence, see who's in your friend circle to give you support," he says. "Those conversations are tough, and you shouldn't have them alone. Bring a friend or a parent."

Wright expressed the importance of students speaking up if they witness something wrong. "If you hear something, step up and say something," she says. "You know deep down when something is wrong. Don't be afraid to use your voice. Be aware of your surroundings and stay in tune with what's going on." That advice is especially important for white students: Though the goal is for BIPOC dancers to feel comfortable speaking up if they've experienced an inappropriate interaction, the responsibility shouldn't rest solely on them. "Young dancers should recognize their privilege, whether it's their skin color, age, or level, and use it to speak out against racism in their studio," Miller says.

Difficult Truths

It is also important to have frank conversations about the inequity that still pervades the professional dance world. "There is a harsh reality that dancers of color can't give anyone a reason to not hire them," says Wright. Being late, wearing the wrong outfit, or having the wrong tone can easily get BIPOC dancers labeled as difficult to work with. Each semester, Wright holds a mock audition to prepare her students for that unjust environment.

Wright encourages her Black students to confront these unfair truths head on, encouraging them to remember their beauty and value. Miller has them reframe having to be "twice as good" as not a moment of defeat, but a purpose that will make them unstoppable.

Both teachers agree that the best way to change your surroundings and move your peers into a space that glorifies diversity and equity is to use your voice to call attention to what you're observing. Once we start to prioritize empathy and become more aware of injustice, we can start to build a dance environment that represents, empowers, and celebrates all dancers, regardless of the color of their skin.

As the COVID-19 pandemic puts the majority of dance performances and auditions on pause, some professional dance teams associated with the NFL have opted to hold the initial rounds of their auditions online. Rather than gathering in a studio to learn choreography, dancers have been submitting videos of themselves performing in their living rooms and backyards. Here's what the experience has been like for three auditionees.

As a two-year veteran of the Raiderettes (dancers must re-audition each year), Monica Galvez has been through a more traditional dance-team audition, and described the online experience as, unsurprisingly, completely different. But there are definitely silver linings.

"This time, they taught us a dance and gave us three days to learn it and record and send it in, versus learning it on the spot and having maybe an hour to learn and perform it," Galvez says. Jamie Carpio, a finalist for the Las Vegas Raiderettes, says that she filmed herself performing the choreography, reviewed it, and re-filmed it several times before submitting—definitely not an option during a live audition, when dancers may be able to perform only once for the judges.

Monica Galvez's audition video

Jamie Carpio's audition video

Holly Durham's audition video

Finding an appropriate at-home dance space for a high-level dance team combo, on the other hand, can be tricky. "It was challenging to rehearse at home without a mirror," says Carpio, who ended up filming her audition in front of her backyard pool. "I definitely had to rewatch the video several times to dive into details that they may be looking for, and sometimes it's hard to figure out mistakes when you can't watch yourself!"

It's also harder to get noticed on video. "I think the most challenging and interesting part is just trying to make yourself stand out without the personal face to face experience," Galvez says.

And there's something to be said for the unique energy of a big in-person audition. Holly Durham, a finalist for the Dever Broncos Cheerleaders, attended an in-person prep class for the team before the audition was moved online. Though she's grateful to be able to audition virtually, "I really enjoyed the connection I had when I attended the prep class," she says. "The most challenging part of this experience was the isolation part of it. I love being in a room with the other dancers and vibing off of all the positive energy we create." (The Raiderettes made up for the lack of in-person interaction with an interview-based semifinal round, in order to get to know the dancers better.)

Despite the unusual circumstances, all three dancers saw the experience as positive and a chance for growth. "Once the final round of dancers were announced, Raiderette veterans were very sweet and welcoming as they reached out to offer any advice and answer any questions I had," Carpio says. "I've had nothing but great encounters with veterans through Instagram, which is very comforting to experience right now."

Both the Raiderettes and the Dever Broncos Cheerleaders plan to host their final round in-person before announcing their teams for the upcoming season. That promises to be the most familiar step in an otherwise very unfamiliar audition process.

Congratulations to Dance Spirit's 2020 Cover Model Search finalists: Jasmine Cruz, Abigail Jackson, and Jamaii Melvin! One of them will win a spot on Dance Spirit's Fall 2020 cover. Learn more about the dancers by clicking on their names here:

Read Jasmine's profile

Read Abigail's profile

Read Jamaii's profile

Then, vote for your favorite below. You can vote once a day, now through July 15.

We also want you to get social! We'll be factoring social media likes and shares into our final tallies. Be sure to show your favorite finalist some love on Facebook, Instagram, and Twitter, sharing their profile pages and using the hashtag #DanceSpiritCMS.

Click here to vote for Jasmine.

What's the dance equivalent of perfect pitch? Whatever it is, Jasmine Cruz has it. The 18-year-old is immediately attuned to the nuances of any piece of choreography, whether it's a harmonious classical variation or a strikingly discordant contemporary solo. And since Jasmine is blessed with gorgeous facility, she's a virtuoso in command of an extraordinary instrument.

Jasmine honed her dance "ear" at Westlake School for the Performing Arts in Daly City, CA. As a teeny kid, she followed her older sister into classes. "My teachers say that I used to roll up in my stroller and say, 'I want to do a solo!' " she remembers. She continues to train at Westlake today, under the guidance of mentor Irene Liu.

Though she initially studied ballet, tap, and jazz, Jasmine fell hardest for ballet, entering Westlake's pre-professional ballet program at age 9. From the beginning, she competed regularly, and the pressure and thrill of the competition stage helped her figure out who she was as an artist. "Competitions became a huge part of my life," she says. "They got me out of the mirror, and taught me how to speak to an audience and harness my adrenaline." The accolades piled up quickly: Not only has Jasmine been named National Mini, Teen, and Junior Outstanding Dancer at New York City Dance Alliance, but she's also earned high-level awards at Youth America Grand Prix, World Ballet Competition, and ADC|IBC.

It's a brilliant resumé, but it doesn't tell the whole story. Jasmine has struggled with injuries, including a spiral fracture in her tibia that required months of recovery. "As a dancer, you always want to push yourself, but it was challenging for me to find a balance, to push without going past the point of exhaustion," she says. "I've had to learn to be smarter about taking care of myself."

She's also had people discourage her from pursuing ballet professionally. "I'm 5 feet tall and very muscular—not your typical 'ideal' ballet body, and some have said that classical ballet is out of my reach," she says. But Jasmine isn't deterred. (In fact, she already received an offer from Ballet San Antonio.) "I have a lot to give, and these days, there are many companies more accepting of different body types," she says. "Misty Copeland, the first brown ballerina that I saw, is also very petite, and I've always thought that if she can do it, I can do it. I'm of Filipino heritage, and I hope to bring awareness to that, too. I want to help diversify the dance community."

This fall, Jasmine will enroll at the USC Glorya Kaufman School of Dance, where she'll add yet more tones to her dance voice. Her ultimate goal? To join a classical troupe that will appreciate her uniqueness. "My dream company is English National Ballet, because I feel like there's no prototype there, no specific look you need to have," she says. "It's really just, 'Can you dance? Are you an artist?' " She can, and she is.

"What makes Jasmine special is her versatility as a technician, and her fearlessness. She has a combination of charisma and power that draws you in. Her strength allows her to be truly free onstage." —Irene Liu, faculty member at Westlake School for the Performing Arts

Fast Facts

Birthday: January 31, 2002

Hometown: San Francisco, CA

Favorite dancer of all time: "Maria Kochetkova was a big inspiration growing up. Alina Cojocaru, too—I used to glue myself to the TV, watching the video of her as Aurora in The Sleeping Beauty. And Misty Copeland, of course."

Favorite food: "I love noodles. All kinds."

Weirdest thing in her dance bag: "I have a lot of 'foot paws,' these bright yellow half-circles with straps, that stretch out the back of your leg. They look like torture devices."

Dance crush: "That changes depending on the video I'm watching, or the Instagram post."

Her dancing in three emojis:

Best advice she's ever received: " 'Dance with no regrets.' It's a cliché, but it's true, and it's become my motto. My solo last year was even set to 'Non, Je Ne Regrette Rien.' "

Click here to vote for Abigail.

When you watch Abigail Jackson perform, you're flooded with an overwhelming sense of calm. It's partly the effortlessness of her technique—her perfect turnout, her beautiful extensions, her flawless turns. But there's more to it. "It's easy watching her," says Danni Heverin, a Radio City Rockette who doubles as Abigail's mentor. "She sends out this serene energy." It's the kind of presence most dancers work for their whole lives. But for Abigail, it's simply who she is.

Abigail took her first class when she was only 2—"Your average once-a-week ballet class," she says. But it wasn't until she was 14 that something bigger clicked. That's when she saw the Radio City Rockettes perform—and, suddenly, she knew where she belonged. "Watching them dance, I just thought, 'I really want to do that. I want to be a part of something like that,' " she says.

She began working toward that goal—starting with the Rockettes Summer Intensive. (She's attended for four summers now.) She also reached out to Heverin, who spends her off-seasons in Abigail's hometown of Atlanta, GA, for private lessons. She doubled down on perfecting her technique at her home studio, the International City School of Ballet, and worked on pushing through her natural shyness.

"She has grown tremendously since I've known her," says Heverin. "She's not staying back in the corner anymore. She's commanding attention, going that extra step, dancing bigger. You can tell she's ready for the next step in her career."

For Abigail, that next step will be Pace University in NYC (incidentally, only a 20-
minute subway ride from Radio City Music Hall) this fall. "I love how dedicated the Pace faculty are to their students," she says. "They're trying to prepare their dancers for the outside world, and help them in the dance community."

And while Radio City might be the dream, as long as Abigail is performing, she's happy. "Every time I get onstage, it's so magical for me," she says. "I feel like myself. There's no better feeling than getting to share yourself with an audience."

"There's this moment I love, when Abigail catches her own eye in the mirror—and she smiles. You can just see that she knows she has it. That's when she's ready to go out and shine. And when she does, all eyes are on her." —Danni Heverin, Radio City Rockette

Fast Facts

Birthday: January 15, 2002

Hometown: Atlanta, GA

Power dance move: "Definitely a tilt. A little leg, here and there."

Three words to describe her dancing: Graceful, elegant, authentic

Something essential in her dance bag: "I can't go to class without a TheraBand."

Favorite musical artist right now: SZA

Favorite TV show: "Stranger Things"

Advice to DS readers: "Never give up. Nothing that's worth fighting for is ever easy. There are ups and downs, but at the end of the day it's worth it to keep pushing towards your goals and dreams."

Click here to vote for Jamaii.

Watching Jamaii Melvin dance feels more like having a conversation than observing a performance. Yes, the 19-year-old has flawless technique, and moves with an arresting combination of strength and vulnerability. But he's not dancing for himself. Instead, Jamaii uses movement to react to and shape the world around him.

Jamaii started dancing around age 7 at Paramount Dance Studio in Homestead, FL, and later moved to Dance Empire of Miami. He made a splash in the comp circuit early on, winning Mini Male Best Dancer at The Dance Awards in 2012 and 1st Place National Junior Elite Dancer at West Coast Dance Explosion in 2014. But he remembers beginning high school at New World School of the Arts in Miami as a turning point. "They introduced me to the world of concert dance, which completely shifted my approach," he says. "I noticed I liked more structure and rigor, so ballet and contemporary became more apparent in my dance vocabulary and choreography."

After his junior year, Jamaii started training at Miami Dance Collective, and quickly flourished on his newfound path. In 2019, he choreographed "Into One's Gray," a raw and emotional solo that helped him earn him NYCDA's Senior Outstanding Male Dancer title and made him a YoungArts finalist in choreography. The piece also served as college audition material, captivating the panel of judges at his dream school, Juilliard.

Jamaii, who was the 2019 winner of the NYCDA Foundation Dance Magazine College Scholarship, is now about to begin his sophomore year at Juilliard. What are his longer-term goals? "My dream is to dance for Nederlands Dans Theater, but I also want to have my own company," he says. "I want to fuse contemporary, ballet, Gaga theater, everything that helps tell a story." He's constantly sharing new ideas and choreography on his Instagram platform, Uncharted Figures (@uncharted_figures)—hopefully the name of his future company.

Ultimately, Jamaii hopes to keep developing his passions for dance, choreography, and connection. "Dance lets me articulate my thoughts and ideas," he says. "I love that this art can affect something greater than ourselves."

"Jamaii has a special sense of musicality that is only enhanced by his technique. With the mind of a choreographer, he has many different perspectives to lean on when he's interpreting repertory. The sky is truly the limit for him." —Alicia Graf Mack, director of the dance division at The Juilliard School

Fast Facts

Birthday: April 13, 2001

Hometown: Miami, FL

When he's not dancing: "I'm either journaling or singing."

Song that always gets him on the dance floor: "The Box," by Roddy Ricch

Favorite movie: "Confessions of a Teenage Drama Queen, because I can relate!"

Favorite choreographer: "Just one?! Crystal Pite, and Alexander Ekman."

Biggest dance inspirations: Jamar Roberts, Barry Gans, and Mackenzie Meldrum

If he couldn't dance: "I would try to compose music. I don't play any instruments, but in another life I definitely would. There's never been an interest for me in doing anything but art."

After a spring filled with sad announcements about COVID-canceled recitals and competition events, you knew the IRL summer intensive cancellations were coming. But the disappointment still stung.

That said, for those willing to continue training online, there are silver linings to all-digital summer programs (in addition to staying healthy and helping to stop the spread of COVID-19). From scheduling advantages to serious financial savings, here are four reasons to actually get excited about virtual dance intensives.

You May Get to Dance MORE

You won't be jetting off to a new city, but you might have the opportunity to train with teachers in many places around the world this summer—and often in the same day. The NYC-based Peridance Center, for example, is hosting three summer program tracks including classes not only with its regular faculty members, but also with teachers currently in Belgium, France, and Germany.

Not traveling also affords you extra time to schedule more classes—throughout the summer, as well as in the course of one day. And if your home studio is open, or possibly opening soon, you might be able take class in person at your studio and online. "If your studio offers a lot of ballet and contemporary, consider signing up for more hip-hop or improv classes," says Holck. "Supplement your curriculum."

Some virtual programs are also archiving their live classes, so you can view them when it's convenient for you. Included in registration in CLI's 2020 Dance Experience is year-long access to the entire archive of its program, totaling about 300 classes. "The live classes are every day from 9:00 am to 3:00 pm PT, but if you miss something live, you can always go back and watch it," says CEO and founder Jon Arpino.

In fact, once summer intensives have ended, you might be able to re-take your favorite classes before fall semester, to prevent that end-of-summer slump. Or you could use an archived online class to brush up on a choreographer's movement style before a big audition or in-person master class.

It's a More Affordable, and Sustainable, Model

The high cost of summer study is a hurdle for many dancers—especially now, as families cope with COVID-19's economic impact. Between tuition fees, travel expenses, and room and board costs, a traditional summer intensive can be extremely pricey. And the plane flights and/or daily commutes required to attend an in-person program also contribute to a dancer's overall carbon footprint.

Virtual intensives are both more affordable and sustainable than their IRL counterparts. "We want to be mindful of the economic effect that COVID-19 has had on families, and make this experience more accessible and affordable," Arpino says. "It can be cost-prohibitive to fly to L.A., stay in a hotel, and train for a week. We want to help democratize access to amazing instruction and creativity."

It Will Broaden Your Dance Horizons

A virtual intensive's weekend activities may not include exploring a new city's market or going to a baseball game. But online programs are supplementing their class offerings in more targeted—and, often, more meaningful—ways, with innovative opportunities to learn valuable skills and make professional connections.

Peridance's three summer programs include workshops in such topics as dancing for the camera and lighting design, and a repertoire class will lead to a virtual performance. CLI Studio's 2020 Dance Experience includes streams of performances, Q&A sessions with concert dance company members, access to podcasts hosted by faculty including tWtich and Dana Wilson, and opportunities to take part in cyphers. "There will even be opportunities to watch the making of a dance film, or be a fly on the wall while choreographers set work," says Arpino.

You'll Still Be Able to Make Summer-Intensive Friends

Traditional summer programs have always been fantastic places to make lasting friendships. While this aspect of summer study can't be completely replicated, virtual-program directors are trying to facilitate a feeling of community. Recognizing that taking class at home can be isolating, they're exploring creative uses of digital spaces to offset that feeling.

CLI Studios is experimenting with tailored virtual social networking, including a function that lets dancers take class with their friends. Peridance classes are being taught over Zoom, where students can use the chat function to talk with teachers and get to know each other. "We're trying to find new ways that students can communicate with each other and with faculty," Holk says, "while absolutely being mindful of safety and online privacy."

Implicit bias and racial stereotyping are rampant in the dance world. That's a fact dancers of color have always known. But the anti-racism protests sparked by the murder of George Floyd—protests whose effects have reverberated through a myriad of industries—are bringing new attention to the problem. Though dance has been heavily influenced by Black culture and creators, most of its large institutions are overwhelmingly white. Eurocentric body standards are still the norm in much of the industry. And dancers of color continue to face erasure in one of the most basic and necessary components of the art: dancewear.

The issue is especially prevalent in ballet. Pointe shoes, typically covered in light pink satin, are meant to blend into the leg, extending its line. But that pink covering isn't "skin tone" for everyone. For decades, Black and Brown dancers have been forced to spend money and time "pancaking" their shoes, coating them in foundation so that they match their skin color. (Brands like PointePeople, founded by a biracial couple, have created products to help make pancaking easier.)

In recent years, pointe shoe manufacturers have begun to acknowledge the issue. Gaynor Minden began offering shoes in "nude-for-all" shades at no additional cost in 2017. "I'd wanted to offer brown skin tones since 1986, even before the Gaynor Minden pointe shoe and company were realities," head designer Eliza Minden says. (The company initially couldn't afford to produce shoes in a range of shades.) In the early days of development, Minden consulted with the now-late Leslie Woodard of the Dance Theatre of Harlem, and was upset to learn what dancers of color had to go through to find products that matched their skin tones. "Pointe shoes that more closely resemble the skin tones of BIPOC dancers are a powerful message of not just inclusivity, but of welcome," Minden says. "They say, 'Ballet wants you. You belong here.'"

Other pointe shoe brands have also begun to embrace inclusivity—slowly, and then, thanks to public pressure, all at once. Freed began offering brown and bronze shoes in 2018, as part of a collaboration with Ballet Black. Last week, in response to a petition that received more than 169,000 signatures, Bloch announced that they would add more satin options to their pointe shoes. Quickly, Russian Pointe, Capezio, Nikolay, Grishko, and Suffolk followed suit, releasing plans to add inclusive shades to their pointe shoe collections later this year.

Of course, the problem goes well beyond pointe shoes. Alison Stroming, a Brazilian-born dancer, model, and business owner, has long been frustrated by pink "flesh-colored" tights and pale "nude" leotards. "It is so important for dancers to feel confident and comfortable in their dancewear, and to see themselves represented in the brands they choose to wear," she says.

To empower female dancers of all backgrounds, Stroming founded her own line, AS Dancewear. Inspired by the colors and styles of her home country of Brazil, and featuring mesh panels in a range of skin shades, the brand reflects dance's ability to unite individuals of different races, religions, and genders. To further support dancers of color, Stroming also created the AS Mentorship program, which develops young talents from around the world. "My dream is for all dancers of all backgrounds to have equal opportunity and embrace their unique qualities," Stroming says.

Several other brands owned by dancers of color have made inclusivity a top priority. Ballet Café Naturals, which offers tights in six flesh-toned shades, and Blendz Apparel, which produces leotards, tights, and ballet and jazz shoes for diverse skin tones, consider their audiences not only when designing, but also when marketing and pricing their dancewear. They offer styles suited for a range of body types and skin tones, feature models of color on promotional materials, and sell pieces at accessible price points.

"As a dancer of color, it's very important to see dancewear companies using dancers of color to represent their brand," AS Mentee Iliana Victor says. "By having dancers of color as a part of their team, they're actively encouraging me and the younger generation, saying that we too can become great dancers and be accepted into society."

Inclusive dancewear continues to be the exception rather than the rule. Recently, more and more dancers of color have come forward about their negative experiences shopping for dancewear. Second Skin Costumes came under fire last week for using homogeneous models, resisting feedback, and refusing to do custom orders for BIPOC dancers. (In response to backlash on social media, the company launched a scholarship fund aimed at supporting dancers of color.)

The recent announcements by Bloch, Capezio, and other large dancewear companies mean real change might be on the horizon. But we must keep holding brands accountable, making sure they continue to promote inclusivity and showcase diversity. A dancer should never have to worry about finding tights to match their skin tone, or foundation rubbing off their pointe shoes—they should be able to focus on their performance. Black lives matter, and Black dancers matter: Dancewear should reflect that.

"I wish I had a better story about the name," says Molly Long, founder of the Orange County, CA–based dance studio Project 21. In truth, it's a play on the fact that she was born on the twenty-first of August, and 21 is her favorite number. "I was away on a teaching tour, the audition announcement was going live on Instagram the next day, and I desperately needed a name. Project 21 was just the least cheesy of the options I thought of!"

The fact that fans might expect the name to have some profound meaning speaks to the near-mythic status Project 21 has achieved on the competition and convention scene since its founding in 2014. Long's dancers are all wholly individual, yet jell seamlessly as a group, and are consistently snagging top prizes everywhere on the circuit. Each season brings a slew of new accolades, high-caliber faculty, and legions of devoted followers.

The industry has taken notice of the studio's unique ethos. "Molly gets through to her dancers in a special way, and they have this incomparable level of commitment to their craft as a result," says dancer and choreographer Billy Bell, who's worked closely with Long and her dancers. "That's what sets them apart—it's like a little dose of magic."

"Never Own a Dance Studio"

As the daughter of a dance teacher, Long spent the better part of her childhood in the studio. Her mom owned California Dance Academy, also located in Orange County, which later merged with another studio to become Dance Precisions, where the bulk of Long's childhood training took place. "My mom taught the minis, my aunt Leslie handled the juniors, and, when I turned 16, I also started working at the studio," Long says. "I was never the best dancer when I was younger, but I absolutely loved being there—it felt like home." She gradually took over choreographing for the minis, and saw instant competition success with a number of routines, including "My Boyfriend's Back," which featured a then seven-year-old Autumn Miller, and earned national titles at Hall of Fame Nationals and Showbiz Nationals in 2009.

After six years teaching and choreographing at Dance Precisions, Long needed a change. "I just remember clearly realizing that I needed to do my own thing," Long says. "Growing up, my mom constantly said to me, 'Never own a dance studio, it's the worst job ever' "—she laughs at the memory—"but starting a company felt like the right move for that moment in my life." Project 21 began its inaugural season in 2015.

Finding Her Footing

Long sums up the early days of Project 21 with one word: scary. "There were so many little things you don't initially think about, like billing, securing studio space, administrative tasks," she says. But beyond that, two larger questions loomed: What kind of dance teacher did she want to be, and what did she want Project 21 to represent? "I had a tendency to crowdsource opinions during those first few seasons, and I got lost in what everyone else had to say about running this company," she remembers.

Gradually, Long's confidence grew, and her vision for a company chock-full of driven, diverse, and versatile dancers began to take shape. Soon, Project 21's group and solo entries (often choreographed by Long) were earning raves at competitions, and her students were making waves in convention classes. "I noticed Project 21 dancers Selena Hamilton and Dyllan Blackburn in class at Radix pretty early on, because they were clearly taking responsibility for their own training," Bell says, "and that's really rare to see. Molly has this amazing way of creating drive without feeling like a dictator—people just want to work with and for her."

The hallmark of a Project 21 dancer is their work ethic. "It's my biggest thing," Long says. "I want my kids to walk out of class feeling like they've done everything in their power to improve that day." Long also encourages her dancers to express their opinions—and she really listens to them. "I try to nurture what they like and what they're interested in, because I think it's great when they're outspoken," she says.

A Fully-Formed Identity

Project 21 now feels like a family, and Long has put that sense of camaraderie on display in some of her viral-hit group routines, including "One Night in Bangkok" (Radix's 2019 Best in Show winner) and "Bohemian Rhapsody" (which has nearly one million views on YouTube). "All of Molly's dancers are great soloists, but they work unbelievably well as a group," Bell says. "They understand how to share this energy onstage, and it's definitely their defining quality."

That cohesive energy has attracted an impressive crew of guest choreographers. Many of them come to Project 21 to set pieces after working with the dancers at conventions over the years. (That route brought Bell and Teddy Forance to the studio in 2020.) Others discover the studio thanks to its competition and social media reputation, like Madison Hicks, who reached out to Long early last year and is now on faculty at Project 21. A Juilliard graduate and former member of L.A. Dance Project, Hicks, who is currently enrolled in the graduate dance program at CalArts, was blown away by everything Long and the students had to offer. "It's so beyond a studio," she says. "Molly is an incredible businesswoman, role model, and teacher. She makes sure that everyone who is at Project 21 wants to be there, and I think our small size and unity are what set us apart."

A Foundation for the Future

While Project 21 has already experienced a ton of success, Long knows there's always room to grow. "I'd love to build a stronger technical program going forward," she says, "and while I'm not sure if expansion is in the cards yet, it would certainly be nice—I always dreamed of having a huge studio." Beyond that, Long's unwavering goal is to mold her kids into the most respectful, responsible, and hard-working dancers they can be. "We're not always going to win, and that's okay," she says, "because my kids know that at the end of the day, they have the work ethic to get them where they want to be."

Meet Three of Project 21's Standout Stars

Dyllan Blackburn

You'd be hard-pressed to find a dancer as calm, cool, and collected as 14-year-old Dyllan Blackburn, who has snagged top prizes at Radix, 24Seven, JUMP, and NUVO. "Dyllan is all lines, perfection, and details," says Molly Long. "The way she can sit in these pockets of musicality while performing is otherworldly." Dyllan has been with Project 21 since the beginning, and credits Long for transforming her into the dancer she is today. "Molly really pushes us and prepares us for the future," she says. Looking ahead, Dyllan hopes to clinch the Female Best Dancer title at The Dance Awards at least once in her career: "I've been first runner-up, which was great, but I would love to win!"

Fast Facts

Birthday: May 2, 2006

Her dancing in three words: Precise, technical, and committed

Dance bag must-haves: Tiger Balm, Advil, and deodorant

Pre-performance rituals or superstitions: "My mom has to wear black when I compete my solo, and before each performance, I do the sign of the cross like a million times!"

Favorite Project 21 group routine: "One Night in Bangkok"

Dyllan Blackburn

You'd be hard-pressed to find a dancer as calm, cool, and collected as 14-year-old Dyllan Blackburn, who has snagged top prizes at Radix, 24Seven, JUMP, and NUVO. "Dyllan is all lines, perfection, and details," says Molly Long. "The way she can sit in these pockets of musicality while performing is otherworldly." Dyllan has been with Project 21 since the beginning, and credits Long for transforming her into the dancer she is today. "Molly really pushes us and prepares us for the future," she says. Looking ahead, Dyllan hopes to clinch the Female Best Dancer title at The Dance Awards at least once in her career: "I've been first runner-up, which was great, but I would love to win!"

Fast Facts

Birthday: May 2, 2006

Her dancing in three words: Precise, technical, and committed

Dance bag must-haves: Tiger Balm, Advil, and deodorant

Pre-performance rituals or superstitions: "My mom has to wear black when I compete my solo, and before each performance, I do the sign of the cross like a million times!"

Favorite Project 21 group routine: "One Night in Bangkok"

Dyllan Blackburn

You'd be hard-pressed to find a dancer as calm, cool, and collected as 14-year-old Dyllan Blackburn, who has snagged top prizes at Radix, 24Seven, JUMP, and NUVO. "Dyllan is all lines, perfection, and details," says Molly Long. "The way she can sit in these pockets of musicality while performing is otherworldly." Dyllan has been with Project 21 since the beginning, and credits Long for transforming her into the dancer she is today. "Molly really pushes us and prepares us for the future," she says. Looking ahead, Dyllan hopes to clinch the Female Best Dancer title at The Dance Awards at least once in her career: "I've been first runner-up, which was great, but I would love to win!"

Fast Facts

Birthday: May 2, 2006

Her dancing in three words: Precise, technical, and committed

Dance bag must-haves: Tiger Balm, Advil, and deodorant

Pre-performance rituals or superstitions: "My mom has to wear black when I compete my solo, and before each performance, I do the sign of the cross like a million times!"

Favorite Project 21 group routine: "One Night in Bangkok"

Dyllan Blackburn

You'd be hard-pressed to find a dancer as calm, cool, and collected as 14-year-old Dyllan Blackburn, who has snagged top prizes at Radix, 24Seven, JUMP, and NUVO. "Dyllan is all lines, perfection, and details," says Molly Long. "The way she can sit in these pockets of musicality while performing is otherworldly." Dyllan has been with Project 21 since the beginning, and credits Long for transforming her into the dancer she is today. "Molly really pushes us and prepares us for the future," she says. Looking ahead, Dyllan hopes to clinch the Female Best Dancer title at The Dance Awards at least once in her career: "I've been first runner-up, which was great, but I would love to win!"

Fast Facts

Birthday: May 2, 2006

Her dancing in three words: Precise, technical, and committed

Dance bag must-haves: Tiger Balm, Advil, and deodorant

Pre-performance rituals or superstitions: "My mom has to wear black when I compete my solo, and before each performance, I do the sign of the cross like a million times!"

Favorite Project 21 group routine: "One Night in Bangkok"

Dyllan Blackburn

You'd be hard-pressed to find a dancer as calm, cool, and collected as 14-year-old Dyllan Blackburn, who has snagged top prizes at Radix, 24Seven, JUMP, and NUVO. "Dyllan is all lines, perfection, and details," says Molly Long. "The way she can sit in these pockets of musicality while performing is otherworldly." Dyllan has been with Project 21 since the beginning, and credits Long for transforming her into the dancer she is today. "Molly really pushes us and prepares us for the future," she says. Looking ahead, Dyllan hopes to clinch the Female Best Dancer title at The Dance Awards at least once in her career: "I've been first runner-up, which was great, but I would love to win!"

Fast Facts

Birthday: May 2, 2006

Her dancing in three words: Precise, technical, and committed

Dance bag must-haves: Tiger Balm, Advil, and deodorant

Pre-performance rituals or superstitions: "My mom has to wear black when I compete my solo, and before each performance, I do the sign of the cross like a million times!"

Favorite Project 21 group routine: "One Night in Bangkok"

Gracyn French

Eleven-year-old Gracyn French is the epitome of an old soul. "She was born with this incredible confidence, and the way she's able to captivate an audience is unreal," says Long. Since joining Project 21 in 2017, Gracyn has earned accolade after accolade: In 2019, she capped off a banner year by winning Mini Female Best Dancer at The Dance Awards. When she's not touring with NUVO and 24Seven on the weekends, she's working on polishing her technique and improv skills in weekly classes with Molly and Madison. As for what the future holds? "I'd love to be on Broadway one day!" she says.

Fast Facts

Birthday: November 28, 2008

Non-dance hobbies: "Swimming with my sisters and vlogging."

Dance bag must-haves: Icy Hot, and shoes for tap, ballroom, and ballet

Favorite Project 21 group routine: "Grease Is the Word"

Pre-performance rituals or superstitions: "When I'm alone backstage, I just repeat 'You've got this, go out there and do your best' to myself."

Gracyn French

Eleven-year-old Gracyn French is the epitome of an old soul. "She was born with this incredible confidence, and the way she's able to captivate an audience is unreal," says Long. Since joining Project 21 in 2017, Gracyn has earned accolade after accolade: In 2019, she capped off a banner year by winning Mini Female Best Dancer at The Dance Awards. When she's not touring with NUVO and 24Seven on the weekends, she's working on polishing her technique and improv skills in weekly classes with Molly and Madison. As for what the future holds? "I'd love to be on Broadway one day!" she says.

Fast Facts

Birthday: November 28, 2008

Non-dance hobbies: "Swimming with my sisters and vlogging."

Dance bag must-haves: Icy Hot, and shoes for tap, ballroom, and ballet

Favorite Project 21 group routine: "Grease Is the Word"

Pre-performance rituals or superstitions: "When I'm alone backstage, I just repeat 'You've got this, go out there and do your best' to myself."

Gracyn French

Eleven-year-old Gracyn French is the epitome of an old soul. "She was born with this incredible confidence, and the way she's able to captivate an audience is unreal," says Long. Since joining Project 21 in 2017, Gracyn has earned accolade after accolade: In 2019, she capped off a banner year by winning Mini Female Best Dancer at The Dance Awards. When she's not touring with NUVO and 24Seven on the weekends, she's working on polishing her technique and improv skills in weekly classes with Molly and Madison. As for what the future holds? "I'd love to be on Broadway one day!" she says.

Fast Facts

Birthday: November 28, 2008

Non-dance hobbies: "Swimming with my sisters and vlogging."

Dance bag must-haves: Icy Hot, and shoes for tap, ballroom, and ballet

Favorite Project 21 group routine: "Grease Is the Word"

Pre-performance rituals or superstitions: "When I'm alone backstage, I just repeat 'You've got this, go out there and do your best' to myself."

Gracyn French

Eleven-year-old Gracyn French is the epitome of an old soul. "She was born with this incredible confidence, and the way she's able to captivate an audience is unreal," says Long. Since joining Project 21 in 2017, Gracyn has earned accolade after accolade: In 2019, she capped off a banner year by winning Mini Female Best Dancer at The Dance Awards. When she's not touring with NUVO and 24Seven on the weekends, she's working on polishing her technique and improv skills in weekly classes with Molly and Madison. As for what the future holds? "I'd love to be on Broadway one day!" she says.

Fast Facts

Birthday: November 28, 2008

Non-dance hobbies: "Swimming with my sisters and vlogging."

Dance bag must-haves: Icy Hot, and shoes for tap, ballroom, and ballet

Favorite Project 21 group routine: "Grease Is the Word"

Pre-performance rituals or superstitions: "When I'm alone backstage, I just repeat 'You've got this, go out there and do your best' to myself."

Gracyn French

Eleven-year-old Gracyn French is the epitome of an old soul. "She was born with this incredible confidence, and the way she's able to captivate an audience is unreal," says Long. Since joining Project 21 in 2017, Gracyn has earned accolade after accolade: In 2019, she capped off a banner year by winning Mini Female Best Dancer at The Dance Awards. When she's not touring with NUVO and 24Seven on the weekends, she's working on polishing her technique and improv skills in weekly classes with Molly and Madison. As for what the future holds? "I'd love to be on Broadway one day!" she says.

Fast Facts

Birthday: November 28, 2008

Non-dance hobbies: "Swimming with my sisters and vlogging."

Dance bag must-haves: Icy Hot, and shoes for tap, ballroom, and ballet

Favorite Project 21 group routine: "Grease Is the Word"

Pre-performance rituals or superstitions: "When I'm alone backstage, I just repeat 'You've got this, go out there and do your best' to myself."

Selena Hamilton

Is there anything supremely versatile 15-year-old Selena Hamilton can't do? "She's my variety girl, and her strength and natural talent set her apart," says Long. "Molly holds us accountable," says Selena, who's been with Project 21 from its first days. "She knows if we're not working as hard as we can be, and she knows how to bring out the best in all of her dancers." Selena's versatility, magnetic stage presence, and commitment in the studio have catapulted her to the title of Radix Core Performer in both the Junior and Teen categories. Beyond the competition scene, she dreams of dancing for Katy Perry or Beyoncé someday.

Fast Facts

Birthday: August 26, 2004

Favorite Project 21 group routines: "Dance Like Your Daddy" and "One Night in Bangkok"

Favorite Project 21 memory: "After every 24Seven convention, we all go to Denny's for waffles."

Her dancing in three words: Athletic, powerful, clean

Non-dance hobbies: Online shopping, TikTok, and baking cakes

Selena Hamilton

Is there anything supremely versatile 15-year-old Selena Hamilton can't do? "She's my variety girl, and her strength and natural talent set her apart," says Long. "Molly holds us accountable," says Selena, who's been with Project 21 from its first days. "She knows if we're not working as hard as we can be, and she knows how to bring out the best in all of her dancers." Selena's versatility, magnetic stage presence, and commitment in the studio have catapulted her to the title of Radix Core Performer in both the Junior and Teen categories. Beyond the competition scene, she dreams of dancing for Katy Perry or Beyoncé someday.

Fast Facts

Birthday: August 26, 2004

Favorite Project 21 group routines: "Dance Like Your Daddy" and "One Night in Bangkok"

Favorite Project 21 memory: "After every 24Seven convention, we all go to Denny's for waffles."

Her dancing in three words: Athletic, powerful, clean

Non-dance hobbies: Online shopping, TikTok, and baking cakes

Selena Hamilton

Is there anything supremely versatile 15-year-old Selena Hamilton can't do? "She's my variety girl, and her strength and natural talent set her apart," says Long. "Molly holds us accountable," says Selena, who's been with Project 21 from its first days. "She knows if we're not working as hard as we can be, and she knows how to bring out the best in all of her dancers." Selena's versatility, magnetic stage presence, and commitment in the studio have catapulted her to the title of Radix Core Performer in both the Junior and Teen categories. Beyond the competition scene, she dreams of dancing for Katy Perry or Beyoncé someday.

Fast Facts

Birthday: August 26, 2004

Favorite Project 21 group routines: "Dance Like Your Daddy" and "One Night in Bangkok"

Favorite Project 21 memory: "After every 24Seven convention, we all go to Denny's for waffles."

Her dancing in three words: Athletic, powerful, clean

Non-dance hobbies: Online shopping, TikTok, and baking cakes

Selena Hamilton

Is there anything supremely versatile 15-year-old Selena Hamilton can't do? "She's my variety girl, and her strength and natural talent set her apart," says Long. "Molly holds us accountable," says Selena, who's been with Project 21 from its first days. "She knows if we're not working as hard as we can be, and she knows how to bring out the best in all of her dancers." Selena's versatility, magnetic stage presence, and commitment in the studio have catapulted her to the title of Radix Core Performer in both the Junior and Teen categories. Beyond the competition scene, she dreams of dancing for Katy Perry or Beyoncé someday.

Fast Facts

Birthday: August 26, 2004

Favorite Project 21 group routines: "Dance Like Your Daddy" and "One Night in Bangkok"

Favorite Project 21 memory: "After every 24Seven convention, we all go to Denny's for waffles."

Her dancing in three words: Athletic, powerful, clean

Non-dance hobbies: Online shopping, TikTok, and baking cakes

Selena Hamilton

Is there anything supremely versatile 15-year-old Selena Hamilton can't do? "She's my variety girl, and her strength and natural talent set her apart," says Long. "Molly holds us accountable," says Selena, who's been with Project 21 from its first days. "She knows if we're not working as hard as we can be, and she knows how to bring out the best in all of her dancers." Selena's versatility, magnetic stage presence, and commitment in the studio have catapulted her to the title of Radix Core Performer in both the Junior and Teen categories. Beyond the competition scene, she dreams of dancing for Katy Perry or Beyoncé someday.

Fast Facts

Birthday: August 26, 2004

Favorite Project 21 group routines: "Dance Like Your Daddy" and "One Night in Bangkok"

Favorite Project 21 memory: "After every 24Seven convention, we all go to Denny's for waffles."

Her dancing in three words: Athletic, powerful, clean

Non-dance hobbies: Online shopping, TikTok, and baking cakes

Art can be a critical part of social justice activism. And the recent Black Lives Matter protests have given rise to all kinds of dance art, with Black dancers and choreographers using their bodies to speak important truths. Below are eight must-watch dance works by Black artists that address this moment of uprising.

"This Is America," by Jakevis Thomason

Thomason choreographed this piece as a way of contributing to the movement and showing his community's reality. He's long been drawn to Childish Gambino's "This is America," and felt the song perfectly fit his vision for the video. "It's simple, it's literal, and it's effective," Thomason says. "I didn't want to sugarcoat anything. I just don't think there's any room for that. It might make some people uncomfortable, but that's the point."

"Say It," by Sheopatra Jones

Jones created "Say It" before this current moment of protest, but re-shared the work recently. The song, "Hell You Talmbout" by Janelle Moane and Wondaland, lists the names of Black men and women who have been victims of police brutality and other racist crimes. Jones and her dancers compel you to watch—and to acknowledge the injustice of these deaths.

"I Can't Breathe," by Marcelino Sambé

Sambé, a Royal Ballet principal, created this simple and moving piece, set to a composition by Thom Yorke, as a memorial to George Floyd's last words.

"Listen Feel Dance," by Alain "Hurrikane" Lauture

Lauture prefers to communicate his feelings through movement, saying it's more honest and less frightening than speaking with his voice. When he filmed this four-minute freestyle, he was intentional about the song and clothing choices, wanting them to reflect today's reality, as well as who he is as a person. "My whole being is a statement of being proud of who I am, my Blackness," he says. "People like to say that we are all one, but we are different. And being different is absolutely beautiful."

"Changes," by Norah, Yarah, and Rosa

Dutch sisters Norah, Yarah, and Rosa Mukanga have been sharing self-choreographed videos on Instagram since 2018. This work, set to 2Pac's "Changes," is a reminder that the younger generation is an integral part of this movement, and that its members' voices should be heard.

"A Black Man's Heart," by Michael Frye

Performed in the middle of a New York City protest, and set to Cynthia Erivo's "Stand Up", Frye's solo expresses defeat and despair, but also strength and energy—the energy he needs to stand up for his community.

"Say It Loud," by Stephen "tWitch" Boss and Affion Crockett

Boss and Crockett responded to the movement with a joyful work. Choreographed to James Brown's "Say It Loud—I'm Black and I'm Proud," it uses Locking to honor their culture and their identity.

"Reflect the Times," by Mike Tyus

Tyus, a founding member of Jacob Jonas The Company, choreographed to the words of Nina Simone: "An artist's duty, as far as I'm concerned, is to reflect the times." It's clear Tyus feels called to do just that through his work.

Last night's episode of "World of Dance" introduced us to one final round of incredibly talented, inspiring performers, all vying for a select few spots in the Duels. The judges seemed even more selective than usual this week, sending three acts directly to the Duels while giving the other eight either nos or callbacks. Clearly, the competition is fiercer than ever before, and we can't wait to see that energy come through in the callback performances next week! For now, here are a few acts we have our eye on from last night's show.

CBAction

This crew of street dancers from Argentina was a surprise! After tearfully sharing the heartbreaking news that the fifth member of the group had just been sidelined from a knee injury, they launched into an adorably cheeky, incredibly tight, and hilariously entertaining number. Wanting to get another glimpse of the group's potential post-damage-control, the judges decided to give them a callback.

Project 21

Shoutout to the dancers of Project 21, who currently grace the cover of Dance Spirit's Summer issue! Fierce, fabulous, and flexible as usual, the group's cohesiveness clearly showed that they've been dancing together for a while. The judges weren't entirely sold, and sent them to callbacks next week. But honestly, we're okay with that—we're here for any chance to see these ladies kill it on the floor.

Kurtis Sprung

This contemporary dancer sure ended Qualifiers on a high note. While Kurtis shared his experiences being bullied as a male dancer in his small hometown, his performance was all things strong, powerful, and joy-filled. His technique was clearly on par with "World of Dance" standards, but the judges weren't entirely sold on his ability to translate his emotions into his movement and connect with audiences. Nevertheless, he ended up snagging a "yes," sending him straight to the Duels.

Well, dance friends, this is not the "So You Think You Can Dance" news we want to be bringing you today, but here we are: Unfortunately, Fox has officially called off Season 17 of our beloved dance show, due to COVID-19–related health and safety concerns. According to the network's official statement, "While we were looking forward to its return this summer, we cannot meet the standards we've set for viewers and contestants in light of the show's unique format, intricate production schedule and limited time."

We're super bummed about the prospect of a "SYT"-less summer, but the safety of the dancers, judges, and everyone involved clearly comes first. And while we may have to wait longer than expected to board the hot tamale train, there's still plenty of incredible dancing to watch online and on TV this summer, from "World of Dance" to the world of TikTok. In the meantime, take a walk down memory lane with some of our favorite past "SYTYCD" covers below.

If you want some serious practice-makes-perfect inspiration, look no further than American Ballet Theatre soloist Skylar Brandt's Instagram (@skylarbrandt). In between gorgeous shots of the spirited ballerina onstage and goofy outtakes featuring her fellow ABT dancers, you'll find post after post of Brandt in the studio, drilling the choreography in rehearsal. Now, you can catch her teaching virtual classes for Youth America Grand Prix and other platforms.

Do you have any favorite quotes or mantras?

My grandfather always said "All you have is your time." I try to live my life by that.

What's your go-to stress reliever?

Admittedly playing "Candy Crush" or "The Sims," hanging with friends and family, or watching TV.

What's your favorite show to binge-watch?

"Curb Your Enthusiasm," "Cheer," and "The Office."

What did you want to be when you were a kid?

A ballerina, duh!

What's one food you can't live without?

PASTA!

Do you have any nicknames?

At ABT, people call me "Sk" which also doubles as a sound that's good for getting people's attention from across the room. Other nicknames are Sky, Sky-Sky, Ski, Payles (my middle name is Paley), Sky-P, and Strich.

Dance-wise, do you have any bad habits?

Sometimes I don't get to class early enough to do my Pilates exercises beforehand. That's really bad.

What's the strangest thing you have in your dance bag?

I have this little rubber hand puppet that one of my greatest friends, Gabe Stone Shayer, gave me. I actually use it to keep my hairpins in now.

What's your biggest piece of advice for young performers?

Put in the hard work! It pays off and it is necessary for achieving the highest level of any profession. Life is not about having things handed to you, and even when they are, don't settle.

A version of this story appeared in the Summer 2020 issue of Dance Spirit with the title "The Dirt: Skylar Brandt."

The backspin is a classic breaking move we could all use in our special skills repertoire. We asked Robert Taylor Jr.—a Broadway Dance Center faculty member whose resumé includes dancing with Rihanna on "So You Think You Can Dance" and in Spongebob SquarePants: The Broadway Musical—to walk us through the backspin step by step. Watch him demonstrate how to execute a backspin with perfect form, whether you're trying it out at home or in the studio.

The pressure is always on in the "World of Dance" universe—you're always performing for J.Lo, Ne-Yo, and Derek Hough (not to mention a national television audience), after all—but last night's episode felt especially high-stakes. For the first time, the show added a Callbacks round, an in-between moment to reevaluate 10 acts that impressed during the Qualifiers, but not quite enough to advance automatically to the Duels. And with only four Duels spots left to fill, every act was eager to prove that it had an edge on the other Callbacks contestants.

So, who made it through last night? (And how did our current cover stars, the fabulous dancers of Project 21, fare?) Here are the four acts that'll be coming back for another round:

The Young Cast

The Junior Division hip-hop crew was the last to perform last night, but the first to discover it'd earned a place in the Duels. Not a surprise, given the judges' enthusiastic response to its super-clean, super-intricate routine, which had a standout opening.

305

We are always here for a strong Latin ballroom team, and last night, the Junior Division dancers of Miami-based 305 had Derek on his feet. They leveled up from their Qualifiers performance, with more compelling choreography and more precise execution—enough to put them through to the next round.

The Rise

This Upper Division hip-hop group from Arizona was the first to dance last night, performing a suave routine to Usher's "OMG." While the number felt a tad low-energy, the crew's charisma and polish ultimately earned them a spot in the Duels.

GRVMNT

These Junior Division hip-hop dancers seemed like underdogs based on their Qualifiers performance—but their intro package showed just how hard they've been working since then. And while we will never hear Lil Jon's "Outta Your Mind" and not think of this, GRVMNT's scrappy, in-the-pocket routine to the song last night almost made us forget all about Alex Wong and tWitch's famous therapy session. We're excited to see this team continue to grow in the Duels.

We try to remain impartial when it comes to TV dance competitions, but we were sad to see Project 21's "WOD" run come to an end last night, especially since the limited glimpses we got of their chair-oriented routine looked pretty impressive. We'll miss you, P21!

Dancing alone at home during quarantine can make you feel trapped, in multiple senses. You're probably in a small space, unable to use your full range of movement; you might also feel creatively stymied, unable to draw inspiration from the more varied experiences of non-quarantine life.

This video from Cubique, a collective that creates art addressing socially relevant topics, gets inside those kinds of feelings. "Alone Together" features three dancers based across Europe: Roki Lionel Tanaka, in Germany; Venance Gwladys, in Switzerland; and Gee, aka Lil Sniper, in France. Each performs self-choreographed movement from inside a small cube-shaped space, delineated by strings of lights. They express frustration and despair with the limitations imposed by isolation—but also, ultimately, hopefulness about the future.

As explained in the making-of video, this project originally had a different focus: Cubique wanted to film dancers performing inside cube-shaped frames set in picturesque landscapes. After the pandemic made that impossible, the creative team rethought the concept, and chose to make quarantine itself the subject.

When the world began isolating as a result of the COVID-19 pandemic, the dance community sprang into action. Social media was flooded with virtual classes, and at any given moment you could easily find a dozen free options on Instagram. But the novelty of our Zoom-based reality is beginning to wear off—and dancers are feeling physically and mentally exhausted trying to keep up with this new normal. "We need social interaction and direct feedback," says Dr. Brian Goonan, a psychologist who works with dancers in Houston, Texas. "Most people can't self-sustain for two months in the absence of feedback."

It's okay to struggle with feeling motivated or joyful about dancing in the current circumstances. That's not an indication that you don't love dancing, but instead a clear sign that you need a break. In fact, experts agree that one of the best things a dancer can do right now is stop dancing for a while.

The Benefits of Taking a Break

Many dancers don't have much time off. Between a full school year of classes and summer intensives and competitions, there's rarely a moment to recharge. "I think young dancers in particular are in a chronic state of being overworked. They aren't getting enough rest," says Jason Harrison, a strength and conditioning coach who works with dancers in Dayton, OH. He says that many dancers have a mentality that more means better—add a dance class or 20 more minutes on the elliptical—which can lead to exhaustion. "If you look at how sprinters train, you don't get faster when you're tired," he says. Instead, he advises that dancers should be deliberate in their training and schedule in rest periods. "Ask yourself, 'Am I doing this class or workout because I'm anxious and insecure? Or am I doing this because I think it's going to help me?'" he says. "I think that too often the dancer is operating from a place of insecurity."

Catherine Vargo, a physical therapist who works with dancers at Pittsburgh Ballet Theatre, says that dancers tend to have a lot of physical imbalances that can lead to injury, like when you spend several months working on a piece of choreography you may be lifting one leg ten times and the other only once in that piece. Rest is one of the only ways to fix those imbalances. "Consider using this time to get things properly evaluated by a physical therapist, whether it is virtually or in person," she suggests. Vargo also points out that many dance injuries, including tendinitis and stress fractures, are overuse injuries. "This is an opportunity to slow down and really allow some of those chronic overuse injuries the time to truly heal," she says.

Don't Stress About Falling Behind

Many dancers are competitive and perfectionistic, but it is important to remember that this is an extraordinary situation, and everyone is struggling. "Dancers think that every minute that they aren't in the studio is a minute that they will lose to their competitors, and in this environment that is just not true," says Goonan.

From a physical standpoint, your hard-earned conditioning is tougher than you think, according to Harrison. "Cardiovascular and physical strength are both incredibly resilient attributes. You can take time off and still come back and get strong." Harrison recommends keeping up with conditioning at home by sprinting and jumping (with sneakers on if you don't have a sprung floor). And in terms of reps, both Harrison and Vargo agree that it is the quality of the jump that matters, rather than the number you do.

As dancers in some parts of the world and the country are re-entering the studios, they are likely finding that some of their skills may feel more difficult than before. But Vargo urges dancers to understand that some of those setbacks may have come with or without the pandemic. "Younger dancers are always transitioning, so a skill that was easy two weeks ago can suddenly become a challenge," she says. She adds that these challenges come as a natural part of development from hormonal changes, growth, changes in center of gravity and balance as well as others. "Dancers need to give themselves a little bit of grace, and say, 'This is hard for me now, and it may be because of growth and change, and not just time away."

Expand Your Interests

In the same way that this time out of the studio is an opportunity to address the balance in your body, Goonan encourages dancers to address the balance of their interests as well. Mental health professionals who work with dancers repeatedly cite many dancers' association with a fixed identity of "a dancer" as a psychological hurdle they need to overcome. If your sense of self is completely tied to dance, injuries, rejections, or, say, a global pandemic will leave you at higher risk for mental health challenges. Goonan asks dancers to finish the following sentence: "I am a person who..." He says the first answer is predictably, "dances," to which he replies, "Great, now what are the other 11 things?" He advises dancers to actually write these multifaceted elements of their identities down, look at their lists every day, and ask themselves how they're honoring each of those things.

"If I had a 14-year-old or 15-year-old dancer and their choice was between taking a lot of random Zoom classes that may or may not be appropriate, or learning how to cook, I would want them to learn how to cook ten out of ten times," Harrison says.