We all know the feeling: You wake up the day after class or rehearsal just to find that you literally. cannot. move. To answer all your burning (pun intended!) questions about the way-too-relatable topic of soreness, Dance Spirit enlisted the experts: board-certified sports medicine specialist Dr. Selina Shah, and Michelle Rodriguez, MPT and physical therapist to Broadway shows like Carousel and Charlie and the Chocolate Factory.

What even is soreness?

If you're working extra hard—taking more classes than usual, or dancing a super-"puffy" piece—your body's normal aerobic metabolism (how it uses oxygen to produce energy) can get overwhelmed. That's when anaerobic metabolism kicks in—producing lactic acid and metabolic toxins. "This buildup of lactic acid and other toxins isn't harmful or abnormal," says Rodriguez. "But once it reaches a certain level, you'll experience soreness."

How can you prevent it?

Because it's chemical buildup in your muscles that makes you feel sore, the key to minimizing the ouch is to flush these chemicals out sooner rather than later. "For some dancers, getting on a stationary bike for five minutes with no resistance can make a difference," says Rodriguez. You might also try self-massage, icing, or baths (see sidebar). Otherwise, Shah says to make sure you're taking time to warm up properly: "Doing a little bit of light cardio and literally warming up the muscle should ease your discomfort."

If you've ever been so sore that you couldn't walk on the second or third day of a summer intensive, you've experienced firsthand the importance of what dance-medicine professionals call "ramping up." While taking breaks should be part of any year-round training regimen, you don't want to go straight from not dancing at all to dancing eight hours a day. "Soreness occurs when muscles have gotten weaker and aren't used to working that hard that fast," says Shah. A week or two before your intensive, start to gradually increase the amount of physical activity you're getting each day.

What if it's not just soreness?

Don't freak out, but it's important to keep in mind that some overuse injuries can feel like soreness that just doesn't. go. away. Pay attention to how long you've been feeling sore, says Rodriguez: "Delayed-onset muscle soreness, or DOMS, can happen within six to eight hours, and last for 48 to 72 hours. After that, if you're still pretty sore, you should get seen by a medical professional."

Also pay attention to where you're feeling sore. "Usually it's muscles that make you feel sore, but tendons also can," says Shah. Ligaments and bones can't get sore—so if you feel like that's where the pain is coming from, get it checked out.

Is soreness inevitable?

In short, yes. "Soreness isn't necessarily a sign that something's wrong," says Rodriguez. Nor is it a badge of honor: "Soreness is just a marker of how strong or fit that particular muscle is in that particular dancer at that particular moment in time," says Shah. "You may get sore in some areas where your friends don't, and vice versa." If you take good care of your body, though, you'll be able to minimize the pain enough to dance full-out—even on the sore days.

The Dancer's Soreness Toolkit

Massage! Foam rolling can feel a little too intense to muscles that are already sore, says Dr. Selina Shah, so don't roll out until a day or two after you first feel sore. Michelle Rodriguez, MPT, recommends gently kneading your own muscle tissue after a soreness-inducing day.

Stretching! Stretching is most beneficial at the end of class or rehearsal, when muscles are warm, says Shah.

Strategic breaktime! "If you don't need to run to the bathroom during your five-minute break, lie on the floor with your butt up against the wall, and put your legs straight up on the wall," suggests Rodriguez. "You can then do little ankle pumps to flush out your legs."

#Bathleisure! "Try alternating between hot baths and ice baths," suggests Shah. The circulation boost caused by the change in temperature will help ease soreness.

Hydration! Sleep! Electrolytes! Enough said.

Well, we've officially made it to week two of "Dancing with the Stars," pandemic edition! And with no bedazzled face masks in sight, we can only assume that the "DWTS" team's #SocialDisDancing protocol is holding up. Pause for (pre-recorded, because there isn't a live audience) applause.

But even a pandemic isn't going to stop the "DWTS" judges from sending someone home, because well, this is a competition, after all, and Carrie Ann Inaba doesn't have time for tears. In case you missed last night's episode (or in case you were too busy trying to figure out exactly who Dixie D'Amelio is dating now), we rounded up some of the highlights—and who was this season's first cut.

Nev Schulman and Jenna Johnson: Cha Cha

We have to be honest—our hopes weren't too high for "Catfish" king Nev Schulman when we heard he'd be joining this season of "DWTS." But whew, were we wrong. Schulman's cha cha with partner Jenna Johnson was absolutely "Dynamite" (hello, BTS Army!), with all the hip action we ever could have dreamed of. The judges gave Schulman and Johnson three 7s, for a total 21.

Jeannie Mai and Brandon Armstrong: Cha Cha

Hello, Jeannie Mai, bringing us all of the energy we need in 2020. TBH, watching this performance is better than drinking a triple shot of espresso. Miss Mai was out there mugging with the best of them, and we couldn't get enough. The judges gave Jeannie and her partner, Brandon Armstrong, three 6s for a total score of 18, advising Jeannie to reign her dancing in a bit—but honestly, we only want *more* from this couple.

Kaitlyn Bristowe and Artem Chigvintsev: Foxtrot

We're just gonna say it: Former Bachelorettes make the best "DWTS" contestants, send tweet. Following in former champ Hannah Brown's footsteps, Kaitlyn Bristowe absolutely dazzled last night with the dreamiest of foxtrots. Bristowe managed to overcome an ankle injury (and uncertainty as to whether or not she'd even be able to perform) and received the highest score of the night: two 7s and an 8, for a total 22.

Sadly, with the second week of the season came the first elimination. And with Charles Oakley and Carole Baskin in jeopardy, the judges chose to save Baskin and partner Pasha Pashkov. We guess cat-itude really is everything! (And yes, the cat puns are here to stay.)

Civil rights leader Malcom X famously said that "the most disrespected person in America is the Black woman." Decades later, those words still resonate. And the dance world isn't immune to subjecting Black women to unfair treatment. After all, it wasn't until this year—and after mounting pressure from online petitions—that many major dancewear brands pledged to make tights and pointe shoes in hues that match the complexions of Black women.

But other, more insidious issues continue to obstruct progress for Black women in the dance world. Dance Spirit spoke with five Black women about the obstacles they've faced as professional dancers.

Facing Microagressions

Tap dancer Maud Arnold, who's a member of the popular tap troupe Syncopated Ladies, says she's felt the effects of being treated differently as a Black woman throughout her career. "In my experience, being a Black woman in spaces that are not run or controlled by Black women can be extremely hostile and condescending," she says. "In addition to being a dancer, I also produce large-scale dance events. Yet I have walked into hotels where I am renting ballrooms and theaters, where I am executive-producing the show, and been asked, 'Where's the boss?' or 'You know you need a team to do this, right?' or 'We anticipate you might sell 50 percent of the tickets,' " Arnold recalls. (And for the record, the event ended up selling out.)

Such microaggressions—comments or remarks that reveal stigma towards historically marginalized groups—range from subtle innuendos to harsh judgments. "I was told to consider limiting my expectations, and instead aim to get into a small or semiprofessional company," Erica Lall says, who's currently a dancer with American Ballet Theatre. "I had to learn to progress mostly by applying the instructions and corrections that my classmates and colleagues received because I was often overlooked."

Jacqueline Green, a principal dancer at Alvin Ailey American Dance Theater, says she also experienced microaggressions as a young dancer, most notably when she trained at prestigious summer programs. "Not only did some of the young dancers I trained with participate in reminding me of my Blackness by giving me backhanded compliments like 'You're, like, really good,' but some of my teachers also had similar reactions to my level of talent and skill," Green says. "Not all of these responses were malicious or meant to single me out, but for a 13-year-old girl, it was a wake-up call. Ballet wasn't a field yet familiar or comfortable with the presence of the Black body, and, unfortunately, it still isn't quite there."

Lack of Opportunities

For Black women, the hard part about navigating the dance world isn't just getting the job—it's finding one. Broadway veteran Monique Smith says there simply aren't many musical theater tracks created for Black women, which translates to fewer opportunities for employment. "When white female dancers have a chance to receive one out of four possible tracks in a show, there is usually only one possible track for the Black female dancer," Smith says.

Keisha Hughes, a commercial dance artist who's worked with some of the biggest names in music, including Cardi B, Nicki Minaj, and Lil' Kim, says colorism comes into play in casting, with some creative teams favoring lighter skin tones over darker ones. "Casting directors and artists are still looking for ethnically ambiguous women because that is what they think will be best received by the world," she says. "They refuse to switch that formula up."

Culture Shaming

Because Black women tend to have different hair textures, physical builds, and cultural experiences than their white counterparts', they are often made to feel unfit for the dance world. And many of its microcosms, like the ballet community, uphold whiteness as the standard. "I've been called 'the dark one' and been told I had bulging muscles everywhere, when I never really had bulging muscles," Lall says. "I just had a perkier booty that was more prominent than those of my other classmates."

Arnold recalls being singled out for her hair at several auditions. "One panelist asked me, 'Can your hair do anything else?' I have always worn my hair naturally, wild and curly, but that was before the natural-hair movement," Arnold says. "Since many people on the other side of the table do not look like me or have friends who look like me, they do not understand the possibilities of my hair."

Powering Forward

Being a Black woman in the dance world poses many unique challenges. But the five women we interviewed have persevered through it all, and agree that believing in yourself is the key to accomplishing your goals. "No industry is perfect, and you may experience some things that feel wrong or questionable," Green says. "But keep going with what you know is right. There's a place to dance for everyone, and if you don't find one, maybe you need to create it."

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

Dear Katie,

After so many months trying to train at home in quarantine, I'm sad and frustrated. I'm just not motivated to dance anymore. I've even been thinking about quitting. How can I push through this slump?

Madeline

Dear Madeline,

I promise you're not alone in this! So many dancers are frustrated right now. My advice? Take a break, and don't feel guilty about it.

This is actually an ideal moment to think carefully about whether dance is the path you want to take. Sometimes, we need a break to get a sense of perspective on the bigger picture. You may find, when you take a step back, that you miss dance terribly. In that case, you can restart your training with twice the motivation you had before. Or, you might realize this is a natural endpoint for your training.

If you decide that you no longer want to pursue dance as a career, that's perfectly fine. Don't force it. Be gentle with yourself—always, but especially right now. You'll be much happier in the long run if you dance because you want to, rather than because you feel you ought to.

For more of Katie's helpful tips and advice, click here.

Having to wear a mask is a small price to pay to finally be back dancing with partners other than our family members and pets. But we won't lie: Masks are uncomfortable. If you've experienced "maskne"—increased irritation and acne from frequent mask-wearing—you're not alone. Luckily, dermatologists have quickly become experts on this new dilemma. Dance Spirit spoke to two to get their top tips for mask-wearing dancers.

Make sure your mask fits

"Masks that are too tight or rub the skin too frequently can cause excess irritation and worsen your risk of breaking out," says Dr. Claire Chang, a board-certified dermatologist in NYC. Plus, the more you have to adjust your mask, the more acne-causing bacteria can transfer onto your mask or face. When it comes to choosing

a mask, avoid synthetic fabrics, like nylon and polyester, especially if you have sensitive skin. Chang recommends high-threadcount cotton or cotton-blend masks, as they're hypoallergenic, absorbent, durable, and breathable, and can control moisture buildup between your skin and the mask.

Avoid makeup and other irritants

It's official: 2020 is the year of au naturel. Both dermatologists strongly advise against wearing makeup under your mask. But if you absolutely must, Chang recommends you only apply it to parts of your face that won't be covered (hello, dramatic cat-eye), and stick to products that are noncomedogenic and oil-free to prevent clogged pores and acne breakouts. According to the American Academy of Dermatology, mask-wearing can make your skin more sensitive, so

if any harsher products—like scrubs, retinoids, or acne treatments—seem to be irritating your skin more than usual, use them less frequently for now. The one product you shouldn't skimp on? Sunscreen. Chang says, "Whether you're exercising outside or dancing close to windows, sun protection is still essential. Use lightweight, oil-free sunscreens to avoid breakouts."

Simplify your skin care

When you start seeing signs of the dreaded maskne, your first response may be to try a bunch of different cleansers, home remedies, and spot treatments to fix it. But the best thing you can do is stick to a gentle cleanser and noncomedogenic moisturizer. According to Dr. Nava Greenfield, a dermatologist in NYC, a light layer of moisturizer can actually serve as a protective barrier between your skin and a mask, reducing any friction

that could irritate your skin. Chang says, "Choose moisturizers that have hydrating ingredients, like ceramides, and anti-inflam-matory ingredients, like niacinamide and vitamin C."

Make sure you give the moisturizer a few minutes to be absorbed before donning your mask. When you're done dancing for the day, Greenfield recommends you wash your face immediately, or use micellar cleansing water to wipe away the oils and bacteria that may have accumulated
under the mask. Other than that, stick to quick rinse-offs or facial wipes if you sweat frequently, as over-washing can strip the skin of its natural oils and cause even more breakouts.

Keep multiple masks handy

The American Academy of Dermatology recommends taking a "mask break" for 15 minutes every four hours. But if you're working hard in rehearsal, you may want to pause more often to switch to a fresh mask, since, according to Greenfield, "sweat will attract dirt and clog your pores, causing breakouts and irritation." Always bring multiple masks that you can cycle through during a long dance day, and remember to wash your hands before removing your mask or putting on a new one. When you get home, be sure to wash each mask with a gentle soap or fragrance-free detergent to reduce bacteria buildup.

At the end of the day, maskne is just another form of acne, which means there's no one cure-all. "If your acne isn't responding to over-the-counter options or is severe, you should consult your board-certified dermatologist for possible prescription medications or to rule out other skin conditions," Chang says.

Welcome back dance fans, to the chaos that is "Disney Night" on "Dancing with the Stars." Have you ever wanted to see a pro football player dressed as a candlestick? A realtor from "Selling Sunset" dressed as a Disney princess? Carole *bleep* Baskin dressed as a giant lion? No? Well, it's "Disney Night," so you don't really have a choice.

But even amidst all of the chaos, there was some truly amazing dancing—this cast is next level, y'all. In case you missed last night's episode (or if you were too busy researching tonight's presidential debate, in which case, good job!) here's all the best dancing rounded up. Plus, the purrson who went home...hint, hint.

Jeannie Mai and Brandon Armstrong: Viennese Waltz

Raise your hand if you've been personally victimized by the first 15 minutes of the movie Up. Because if so, proceed with caution to this Viennese waltz. Jeannie Mai and partner Brandon Armstrong, performing as quite possibly the cutest elderly couple to ever grace the "DWTS" stage, had us all in our feels last night—in the best way. Jeannie showed off her softer side, and the judges loved it, giving the couple two 7s and an 8, for a total 22.

Nev Schulman and Jenna Johnson: Argentine Tango

We love to see Nev Schulman doing his part to revive our favorite early 2000s trend: guyliner. He served Captain Jack Sparrow realness, performing his Argentine tango to pirate perfection. Pirates of the Caribbean always brings great things to Disney Night, folks. The judges gave the pirate pair three 8s, for a total 24.

Johnny Weir and Britt Stewart: Rumba

The cast of "Dancing with the Stars" really be doing everything they can to keep us in our feels, okay! Johnny Weir and partner Britt Stewart performed the loveliest, gooiest, most lyrical rumba we've seen in a minute. And while rumbas are usually all passion, Johnny and Britt brought the *love* to this performance—and we *loved* it. The judges gave the dancing duo three 8s (!), and we swear we even saw Carrie Ann Inaba shed a tear.

Sadly, not even the magic of Disney Night could stop the judges from sending someone home—CAI might have shed some tears, but she's still CAI, folks. With the lowest scores of the night, Anne Heche and Carole Baskin ended up in jeopardy. The judges unanimously agreed to send Carole and partner Pasha Pashkov packing—and no lion, we'll miss them. We're feline blue without our favorite crazy cat lady.

But at least we'll always have this photo. Happy 2020.

Live performances and classes may still be mostly on pause, but the dance community continues moving and shaking. Podcasts are one of our fave ways to keep up with the dance world in an entertaining and informative way. Try listening to one of these pod recs while stretching, cooking, or on your commute—even if your commute these days is from your bed to your at-home dance studio.

The Dance Edit Podcast

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On this week's episode of The Dance Edit Podcast: Extended closures and the need for racial equity on Broadway, intellectual property rights in the age of digital programming, mental health for dancers, and more. Listen now on Apple Podcasts, Spotify, or wherever you get your podcasts. Link in bio.

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Dance Media's own podcast features a rotating panel of Dance Media editors recapping all of the week's biggest dance-related news. Everything from the latest ballet company promotions to social media's newest dance trends are covered in less than 30 minutes—just the right amount of time for your morning coffee or your stretching routine.

Conversations on Dance

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It’s our 200th episode of Conversations on Dance! To celebrate, we get together to chat about the beginnings of COD, some favorite memories, and catch up on what we have been up to recently.⁠ ⁠ Tune in via your favorite podcast app. And while you are there, take a minute to leave us a review to help us celebrate 200 episodes! 🎉 ⁠ ⁠ Thank you as always to our amazing sponsor, @yumiko for their continued support of the pod! This episode is also brought to you by @veyettevirtualballetschool.

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In "Conversations on Dance," Former Miami City Ballet dancers Rebecca King Ferraro and Michael Sean Breeden take a weekly dive into the ballet world with interviews featuring professional dancers, choreographers, artistic directors, and educators from around the world. The longer episodes are perfect for indulging your inner (or outer) dance nerd.

The Ensemblist

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Yeman Brown and Kei Tsuruharatani from Broadway’s Jagged Little Pill. • Photographed in front of New York’s Broadhurst Theatre by Michaelah Reynolds for The Ensemblist

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If you're still mourning the (temporary!) closure of your fave Broadway show, this podcast might help tide you over until we can return to the Great White Way. "The Ensemblist" shines the spotlight on some of the hardest working performers on Broadway—the ensemble. (Side note: We're still waiting on a Tony Award for Best Ensemble!) Each episode features interviews with ensemble performers talking about anything and everything—from their toughest auditions to the teachers that inspired them.

Three Bonus Podcasts From Our Dance Faves

Some of our favorite dancers have dabbled in podcasting and have archived episodes available to stream.

"The Stage Rightside with James Whiteside" is another ballet-themed podcast hosted by ABT principal and social media superstar James Whiteside.

"The Dance Room" with Heather Morris and Ava Bernstine-Mitchell focuses on the danciest shows on TV and conversations with some of our commercial dance faves.

On "The Kathryn Morgan Show," Kathryn Morgan (hey girl!) offers her trademark sisterly advice to young dancers.

Up until 2004, Alice Sheppard was a medieval-studies professor. But after seeing disabled dancer Homer Avila perform, Sheppard took her first dance class—and loved movement so much that she resigned her professorship to pursue a career in dance. She made her professional debut with Infinity Dance Theater, and has since danced with AXIS Dance Company, Full Radius Dance, MBDance, and more. Today, Sheppard also works as a choreographer, creating movement that challenges conventions surrounding dance and disabled bodies. Follow her on Instagram @wheelchairdancr to see more of her work. —Cadence Neenan

Dear Teen Alice,

You are not yet a dancer. I know you worry about your body, sexuality, hair, money, and place in the world. Don't. You will have an uproarious life. You will one day be one of the magical humans dancing on the stage, above the orchestra pit.

I know, right? That seems unimaginable. Right now, you are peeping at these seemingly unreal humans. But one day, you will use a wheelchair and crutches and you will dance on the floorboards, bathed in incredible light.

You do you, right now. Read books; train hard in music. Practice every hour of every day. Nothing will be lost; everything will come together. You will never lose your music, even if you don't become a professional musician. You will never lose your love of books. All of this will matter someday. Your heart will lead you.

One day in the future you will take a huge risk. And then another. And another. Someone will dare you to dance and you will accept that dare, and you will fall deeply, wildly in love with movement, the connection to other dancers onstage, and the relationship with people in the audience. It will be everything you sort of suspected those gorgeous dancers knew. You and your wheels will fly.

You will continue to learn and grow and fully evolve into your disabled, queer, artist-of-color self. Don't be afraid to take risks, even when it seems like your life is over. Even when you crash and burn (and you will), someone will be there for you. *You* will be there for you.

You and a loving, challenging, brilliant disabled community will imagine a new kind of future, and you will live in it. It will be hard and heartbreaking at times, and it will also be magical.

With love,

Alice

You may have caught a glimpse of the mesmerizing movement on your Explore page, or you might've peeped the repost with over 1M views right on Chloe x Halle's Instagram page. But if you haven't watched it yet, you need to. The viral "bbygrl" video, highlighting 20 Black dancers of all shapes, complexions, and sizes came from the mind (and heart) of choreographer and visual artist, Thom White. He conceptualized, choreographed, cast, directed, and edited this mind-blowing creative project—all while in lockdown—leaving viewers feeling beautiful, healed, and empowered (and bringing many to tears!). We got a chance to explore his process and dive into the deeper meaning behind the magic.

Closing the video, White spotlights a handful of the many Black girls that we've wrongfully lost throughout the years, urging viewers not to forget their names, and familiarize themselves with their stories. With glistening glimpses of Breonna Taylor, Nina Pop, Sandra Bland, and countless others, he leaves us with these words: "Please share. Please search the stories of any names you don't recognize. Please include them in your conversations. #SayHerName #SayTheirNames." We love seeing impactful creativity rooted in freedom and empowerment come out of such a restrictive time. In the words of Chloe x Halle themselves: "This is what true art is about."

Make sure to follow Thom on Instagram @thomeography. —NS

​How has your creativity been throughout quarantine?

My creativity definitely felt a bit stifled at first, but adapting is one of my strong suits. We can create anything with the bare minimum. Though we may have our limits, art does not.

Was this entire masterpiece your vision from the start? How did the idea come to be?

Oh yes! The way I visualize dance is heavily intertwined with the way I listen to music. Sometimes I'll hear a special arrangement of rhythms/melodies/lyrics and I'm completely enveloped. That was Chloe x Halle's "Baby Girl" for me. It's a love letter that reminded me of a magic that is specific to Black women, and I wanted to honor that.

​The visuals were insanely beautiful! How did you go about the editing process?

Thank you so much! It was a very experimental process. I spliced together footage of each person in their own space, using Final Cut. I wanted to create an immersive, Zoom-inspired platform to emphasize the power of dialogue and the importance of names!

Have you edited anything like this before?

I use similar methods and tools to edit all my projects, but I've never completed something with this level of precision.

How long did the entire process take from concept to completion?

It took almost a month. There was a lot of material created and distributed for the women to learn. Then I had to sift through hundreds of videos to stitch together, but that didn't take as long as you might think!

Did you have any inspiration, dance-wise, when creating this piece?

Absolutely. When I choreographed this piece, the movement from Aaliyah's "Rock The Boat" music video was in my mind the entire time. Which is cool because the musical production of Chloe x Halle's "Baby Girl" also reminds me of "Rock The Boat".

​Was your intention to get Chloe x Halle to see your work, or did that happen organically?

A little of both! This work wouldn't exist without Chloe x Halle, and I definitely wanted them to know how much their artistic contributions are appreciated. But I did NOT expect a response of that magnitude from them.

How does it feel to know that you've sparked so much emotion in people that have come across your video?

It was overwhelming at first, but it's deepened my already profound love for the arts. My inspiration to create has skyrocketed.

Can we expect more creative magic from you in the near future? Any new projects in the works?

Oh, yes indeedy. Much more in the works! I can't wait to share.

Want to learn the choreography? Check out Thom's patreon at: https://www.patreon.com/thomeography

In a year that couldn't possibly get any more bonkers (we wouldn't be surprised, though), the world needs smart, resourceful, and creative people more than ever before. And who does that description remind us of? That's right...dancers. It may seem like jobs for dancers are scarce these days, but in reality, there are plenty of opportunities out there for dancers willing to think outside of the box. A college degree in dance can help you do just that—expand your career possibilities and develop your potential—even in the midst of a global pandemic.

Dance Spirit spoke to four alumni of Marymount Manhattan College, a liberal arts school in NYC with one of the most prestigious dance programs in the country, to explore all the ways their MMC dance degrees have helped them navigate the dance world, both before and during the pandemic.

Austin Sora

Originally from Toronto, Canada, but now based in NYC, Austin Sora is the dancer-textbook definition of "versatile," largely thanks to her time spent at Marymount Manhattan. As a BFA dance major with an arts management minor, Sora spent her college years exploring the dance world both onstage and off. "I've always been academically inclined, and I knew that I wanted to keep learning before I was ready to start auditioning," she explains.

At Marymount, the city itself became Sora's classroom."We would see shows and take trips to museums, and then talk about them in class the next day," she says. "Part of my college experience was hopping on the subway to my internship between classes, or performing at a theater in Brooklyn." Sora's unique college experiences helped her secure not one but two jobs post-grad: apprenticing with Buglisi Dance Theatre, and working at Artists Striving to End Poverty (ASTEP), an NYC-based nonprofit where she had interned as part of her minor. "I completed my minor to prepare me for life after my dance career was over, never thinking I'd be able to have two simultaneous careers," she says. "Especially now, it's come in handy."

Fast-forward to this past March, when Sora had just completed a national tour of Phantom of the Opera. Although the onset of the pandemic put plans for her next dance job on pause, she's still been able to thrive artistically, thanks to her work with ASTEP, and has even used this time to develop her own passion project: "My own venture is an online resource for dancers called Studio A. I figured it was a good opportunity to share any knowledge that I've gathered with dancers who are just starting out or currently working," she says.

Overall, Sora credits her BFA in dance and minor in arts management for giving her the tools and resources necessary to flourish. "My career has taken so many turns, but I've never been unprepared thanks to Marymount."

Gabrielle Sprauve

Ballet Hispánico dancer Gabrielle Sprauve decided to go the college route in the hopes of forging connections that could help launch her career. "I liked the idea of being in smaller classes and having more individual attention from those teachers, which led to me choosing Marymount," she says.

Ultimately, the relationships she built with her Marymount professors became one of the most impactful parts of her college experience. "My professors taught me, more than dance, how to handle life and how to go through the dance world and advocate for yourself," she says. Before Marymount, Sprauve had always considered herself a ballerina. But throughout her time as a BFA dance major she discovered her love for modern, contemporary, and even commercial dance. After receiving her BFA with concentrations in both ballet and modern, Sprauve joined Ballet Hispánico and has been with the company ever since. And when her fourth season was abruptly paused in March due to COVID-19, Sprauve barely missed a beat. Between remote Zoom rehearsals with Chicago-based choreographer Stephanie Martinez, teaching for New Jersey Performing Arts Center, and signing with a modeling agency, she's kept plenty busy through her strong career network .

"As dancers, we're so adaptable, which I think is one of our best qualities," she says. "Depending on whatever situation we're in, we figure it out, and we know how to survive."

Deanna Flanagan

"When deciding on college and my major, I wanted to have a well-rounded education so I could find new ways of using my artistry and dance education, in addition to performing," says professional dancer and dance teacher Deanna Flanagan. From the moment she auditioned, she knew Marymount was the place to explore these possibilities. "I was never just a number. They wanted to hear all about me and what I wanted from the program," she remembers.

Flanagan was surprised by all the different aspects of dance she discovered in college. "I thought majoring in dance would be very similar to dancing at my local studio," she says. "But dance education at the college level is much more comprehensive, from intensive technique, music theory, composition, dance history, and diving into different aspects of the dance world I didn't know about. MMC's program opened my eyes to more career options than I thought possible," she explains.

Flanagan started getting hands-on experience immediately once she started college as a BA dance major concentrating in teaching, with an arts management minor. "In my teaching classes, you had to apply the skills you learned right away," she says. That meant internships, like teaching at the Ailey School and working at local arts companies in NJ. Towards the end of her senior year, Flanagan's professor recommended her for a job teaching dance at a local high school, leading to her first full-time job postgraduation.

By the time the pandemic hit in March, Flanagan had completed her masters in dance education, joined the Jets Flight Crew, and was teaching dance full-time at an elementary school. The changes brought about by COVID-19 required Flanagan to put everything she'd learned to the test. "MMC taught me that there's always opportunity on the horizon, and if there's not, you can create it. That's been so important to remember during this pandemic," she says. "For me, that means creating my own way of training and making sure I can continue taking classes, and figuring out how to adapt my curricula to this new age of learning." Thanks to her college experiences, Flanagan has managed to thrive doing just that. "Even though I'm young and just starting out in the grand scheme of things, I already have so many tools in my back pocket that I can use," she says.

Andrew Mikhaiel

Andrew Mikhaiel grew up dancing both at competitions and at his performing arts high school in Canada. Encouraged to pursue college dance by his teachers, he enrolled at Marymount as a BFA dance major with a ballet concentration. "I do my best work when I'm able to have a dialogue between my teachers and other students, and that translates into my dance training as well," he says. "I wanted that one-on-one attention from my professors, as opposed to being one of 500 people in a lecture hall."

Mikhaiel utilized his time at Marymount to perform in several pieces each semester, take as many technique classes as possible, and most importantly, network. "I found a lot of opportunities both at Marymount and outside of college aided by the Marymount faculty, and also just from the personal connections I was able to make living in NYC," Mikhaiel says. As part of Marymount's liberal arts curriculum, Mikhaiel was also able to take courses like American Sign Language and Arts for Social Change. "Those classes broadened my perspective, gave my dancing more purpose, and helped me acknowledge how our bodies are capable of expressing important ideas, if we choose," he says. Ultimately, Mikhaiel graduated with exactly what he came to college for: a job. "In January of my senior year, I auditioned for Les Ballets Jazz de Montréal (BJM), my favorite company. Six weeks later, I had signed a contract, which was a dream come true."

In March, Mikhaiel had just embarked on a European tour with BJM when the company was sent back to Canada under stay-at-home orders. While he waited to return to the studio, he relied on the habits he had built in college. "Marymount does a good job of ingraining a sense of discipline and accountability. When we were at home for three months, it was second-nature for me to go on Zoom and take class consistently to keep up my training," he says. And his work paid off: After quarantining, the entire company has just resumed rehearsals in an "artistic bubble" in Quebec.

Not only does 14-year-old Keagan Capps have insane flexibility, but she uses it to the fullest extent (pun intended). And her ability to nail a range of emotions and musical accents draws audiences in. Keagan took home the title of National Junior Best Dancer at The Dance Awards in 2019. This past summer, she took her talents to a global stage, competing on Season 4 of "World of Dance" in the Junior division.

Fast Facts

Full name: Keagan Elle Capps

Birthday: July 19, 2006

Hometown: Moore, OK

Trains at: The Pointe Performing Arts Center, Oklahoma City, OK

3 words to describe her dancing: Fierce, emotional, tricky

Favorite thing about dance: "I love being able to inspire others and tell any kind of story or emotion through movement."

Favorite styles: Ballet and contemporary

Nondance hobbies: Traveling, art, shopping, and hair & makeup

Favorite TikTok dances: "Renegade" and "Savage"

Favorite show or movie: "The Greatest Showman and Frozen 2. I also love 'World of Dance,' of course!"

Favorite musical artists: Billie Eilish, Dermot Kennedy, Celine Dion, and Jennifer Lopez

Place she'd love to visit: Italy

Dance idols: Tate McRae, Ella Horan, and Diego Pasillas

Advice for other dancers: "When you go onstage to perform, instead of being nervous, trust that you've put in the practice to go out and kill it."

What's your training routine? "I typically train 30-plus hours a week. I'm pretty much at the studio all day."

Favorite performance: "Performing my solo at The Dance Awards last year was my favorite."

Where she sees herself in five years: "When I'm older, I'm hoping to either be auditioning for dance jobs or going to school for dance at USC Kaufman."

Favorite foods: Mushrooms, chicken, and Brussels sprouts

The queer community has found a new home on TikTok.

Although not without its downsides—trolls seem to find their way onto every social media platform—many users who identify as LGBTQ+ are finding support on the app, which has opened up space for them to present their identities in a way that feels authentic. For dancers, who train and work in a world that often reinforces the gender binary, claiming space on TikTok can feel especially validating.

That sense of inclusivity is "primarily due to the fact that the main demographic of creators and users on the app are Gen Z," says dance and social media star Dexter Mayfield, who's done everything from performing with Jennifer Lopez and Katy Perry to walking major runway shows. "I have never seen a more intelligent and inclusive and engaging group of young people that are determined to truly be better than those who have come before them."

That network of support has propelled some queer dancers to the forefront of TikTok fame. Here are four of those artists who are dominating the app, doing things their way.

Dexter Mayfield

@dexrated

Obvi HAD to bring this dance back for ##DuaVideo ✨💯 dc: ME! @dualipaofficial ##levitating

♬ Levitating - Dua Lipa

Dexter Mayfield is the kind of influencer who's easy to become "friends-in-your-head" with. The L.A.-based dancer and creator has built a brand of feel-good, genuine content, and his smile, which lights up his face whenever the body-positive role model dances, is infectious. "We need to smile," he says. "We need to be hopeful; we need to grasp on to whatever light or happiness we can find in all of this darkness. And if I can help do that with a 15-second video, then let's do it!"

Mayfield's positive attitude has helped him attract more than 400k followers on the app. His popularity has even begotten deals with high-profile brands—he says the app has been essential to creating opportunities during the pandemic, which has shuttered dance communities all over the world. "I truly feel creating content for TikTok has singlehandedly secured almost every job I've had in 2020," he says.

To those trying to climb the TikTok ladder, he recommends finding your own voice and staying true to it. If you don't, "the TikTok audience will see it immediately," he says.

Zackery Torres

@zackery_torres

PSA! ##dancemoms ##thenandnow ##tranformation ##gay ##fashion ##dance ##foryou ##fyp ##viral ##xyzbca ##gendernonbinary

♬ Woah - KRYPTO9095

The last time you saw Zackery Torres may have been on the reality-TV show "Dance Moms," but these days, the USC Kaufman dance major is laser-focused on advocating for inclusivity, especially for people, like Torres, who identify as nonbinary. "I love being able to serve as a role model, or even as someone relatable on the app," they say. "The more people, no matter what age they are or what reason they stumble upon my profile, that hear about gender inclusivity, the more our communities can evolve."

Torres is more than just connecting with their over 100 thousand followers. Their passion for activism revealed another calling: "I recently started a company called Continuum Community, which empowers communities to make the necessary steps to be gender inclusive," Torres says.

Like most influencers, Torres gets some negative comments from users on the app. "I'm not going to gloss over it: Being on TikTok is hard," Torres says. "I notice the most hate coming from people who don't realize they're doing it." But Torres shakes it all off and has pressed forward to, perhaps, their most meaningful achievement yet: publishing a 27-page guidebook called An Evolving Conversation on Gender: Dance Edition. Torres says they hope the book will help "bring people into the conversation in a welcoming manner, so that they feel empowered to learn and grow."

Howard Johnson

@howardjohnson_

A repost because im still so proud of this moment. ##fyp ##viral

♬ original sound - Howard Johnson

If you haven't seen the Nicole Kirkland–choreographed "WAP" concept video, run, don't walk, to your nearest streaming device. (Disclaimer: The video features the explicit lyrics of the song, so click with caution!) The video amplifies a message of queer power, and features dancer Howard Johnson, who slithers across the floor, left split by right split—in three-inch pumps, no less. Johnson is such a standout that rapper Cardi B took notice. "She reposted a clip of me from the video to her Instagram account. I was extremely excited," Johnson says.

And he has every right to be: His "more is more" persona, gag-worthy vogue dips, and rubber-band flexibility have helped him amass over 600 thousand followers on TikTok. He's parlaying his success not only into partnerships with huge brands and companies, including HBO Max, but he's also using his platform to spread a message: Just be you. "Everyone is truly capable of anything they put their minds to," he says. "I am inspired daily to keep creating content that, hopefully, inspires my audience to be authentically themselves, no matter where they are or who's around them."

Prima Punk

@primapunk

🙃🙃🙃 ##trans ##ballerina ##penche

♬ How You Like That - BLACKPINK

If you don't know Prima Punk, her life motto almost perfectly sums up her personality: "I'm trans. I'm 6' 3". And I'm here to break the ballet binary!" We're convinced she very well could.

With legs for days and a facility that could make even Dusty Button blush, Punk exudes the elegance of a classical ballet dancer, but with a no-effs-given attitude that distinguishes her from other TikTok dancer influencers. She wasn't always this confident, though. "When I was working with ballet companies, I was not out as being trans, and always had to perform masculine roles, which felt inauthentic," she says. Punk hopes to one day get a contract with a ballet company, but as a ballerina, playing the roles she identifies with.

She credits TikTok and the community she's cultivated there—more than 340 thousand followers—with helping her feel more comfortable being out. "I think the best thing to come out of being on the app is the amount of support and validation I receive from the queer community," she says. "I'm living life as my authentic, feminine self."

Looking to make a statement when you return to the studio? Enter to win the "Zara" leotard from Ainslie dancewear, now available at Discount Dance Supply. With bold lines, mesh accents, and a modern mock-tank neckline, you're sure to stand out, whether you're dancing on Zoom or at an audition.

Big congrats to the September Cover Model Search Editors' Choice video winner, Gabi Allen! Catch her solo below, and make sure to enter the Cover Model Search here.

Gabi Allen, "Listen to the Music"

Move over, Black Swan. The original Swan Lake movie adaptation is still the best.

That's right, I'm talking about Barbie of Swan Lake.

Being six years old and a baby bunhead at the time of this movie's direct to home video (yes, as in VHS tape) release, I was exactly the target demographic for this movie and I was *obsessed*. Like, "watching my copy over a hundred times" obsessed. "My older brother fled from the room whenever the music started" obsessed. "My dad mimicking the choreography to tease me" obsessed.

Swan Lake wasn't the first Tchaikovsky ballet that Mattel adapted into a children's film. In 2001, Barbie in the Nutcracker was released on VHS and the plot was wildly different from what dancers perform each Christmas. If I remember correctly, Barbie of Swan Lake at least bears slightly more resemblance to the ballet as we know it.

But how does this 2003 classic hold up in 2020? Here are my beat-for-beat reactions as I rewatch the movie that first introduced so many younger Millenials/Gen Z kids to ballet.

1. The twinkly sounds as the music starts! Ugh, my childhood.
2. Okay, already we're veering away from the original and starting the movie with the Act 1 Finale music.
3. Choreography by Peter Martins?? Oh noooo…
4. In traditional Barbie movie fashion, we've got a frame narrative before diving into the main ballet. This time, Barbie is a camp counselor (sure, why not?) and she's pointing out the Cygnus constellation to a camper who can't sleep. And segue…
5. I like how we're centering the story on Odette rather than starting with Price Seigfried. More heroines in charge of their own stories in ballet, please.
6. Another thing I love about these movies is how much of the original music gets incorporated. Now we have Odette dancing around her bakery to more music from Act 1.
7. Odette has a sister? Um, what is she busy doing when her sister gets turned into a swan?
8. I remember the animation being better than it looks now, but it was 2003. ¯\_(ツ)_/¯
9. Odette had better get that bird out of her bakery, that's a health code violation.
10. We're at minute eight and we have already gone OFF THE RAILS. A purple UNICORN?
11. A purple TALKING unicorn? I take it back, this movie is not similar to the ballet whatsoever.
12. Now Odette's followed the talking unicorn to a *magic* part of the forest, and she's already pulled a magic crystal the size of her hand out of a tree.
13. Who is this fairy queen? Plenty of ballets have fairy queens, but Swan Lake certainly isn't one of them.
14. Odette, completely unfazed by the glowing fairy woman who flew down from the sky, sure.
15. Alright, let's get some exposition in the form of a flashback. The Fairy Queen is Rothbart's cousin and Rothbart became an evil sorcerer out of jealousy of the Fairy Queen. Trés dramatique.
16. And since she found the magic crystal, Odette is destined to save the forest from Rothbart. I actually don't mind Odette as the hero of this story instead of a passive victim, even if it's a bit of a deviation from the original.
17. Imagine if the movie ended here, with Odette saying she doesn't want to challenge Rothbart. Roll credits.
18. Since this is a children's movie, we have a few obligatory animal friends, complete with cheesy one-liners. They're silly now, but those jokes killed when I was younger. Instead of a corps of swan maidens, we have a fox, a duck, a skunk, and a porcupine. Kind of iconic.

@lunapaintsbysoph

I had so much fun messing with this last night so here’s some other ones ##fyp ##barbie ##swanlake

♬ Savage - Megan Thee Stallion

19. Nice of Rothbart to fly around laughing evilly, in case we weren't clear on who the villain of this story is. One thing that ballets and children's movies have in common is that it's very clear who the bad guys are, from their menacing background music to their dark colored clothes. We love a villain with style.

20. Odile's voice is VERY familiar so I looked her up and she's Maggie Wheeler, the actress who played Janet on "Friends," wow! A+ casting, I'm here for it.

@ryanbillings2479

This is the cringiest thing I’ve ever made 💀, but Odile is iconic so idc lol ##fyp ##foru ##foryoupage ##foryou ##barbie ##swanlake ##gay ##lol

♬ original sound - Ryan Billings

21. We're 20 minutes in and Odette has just now been turned into a swan—we're finally caught up to the start of the ballet.
22. Six-year-old Catie thought that a crown with a gem in the middle of her forehead like Odette's was the height of glamour. Adult Catie might have to agree.
23. Now we have a new quest, to find a magic book that can break the swan spell on Odette! There's a magic book, a magic crystal, Rothbart has a magic ring and now the Fairy Queen has given Odette a magic leaf..? Lots of moving parts here.
24. Hold up, they've renamed Prince Seigfried to Daniel. Basic. Is he appearing on this season of The Bachelorette?
25. This movie feels like it should be a musical.
26. What does it say about me that I can quote lines from this movie from memory?
27. The Tchaikovsky score is really well incorporated into some of the scenes that don't have any dancing, just to amplify the drama. The music is already so cinematic and it's handled well for a kid's movie. Credit to the music department.
28. "You know me?" Prince Daniel, you are literally the crown prince of the kingdom, of course she knows who you are. Between this and the cube-shaped globe you had earlier, you're not coming across as the sharpest arrow in the quiver.
29. Finally, some animated dancing! And some costume changes. Don't forget, we're trying to sell dolls here.
30. Prince Daniel needs to straighten his legs and point those biscuits. Come on dude, a prince should have better technique.
31. A 2003 article in the New York Times says that the dancing in this film was modeled after motion-capture footage of New York City Ballet dancers, including then-City Ballet principal Charles Askegard and current City Ballet-star Maria Kowroski. If so, why do all the animated characters have wonky arms and bent knees? Make it make sense.
32. I wonder if Benjamin Millepied still lists the role "Ivan the dancing porcupine" on his resume.

@morgon.wrong

Barbie of swan lake teaching us n00bs how to dance. ##barbie ##foryou ##fyp ##morgonwrong

♬ original sound - Mo gon wrong

33. Oh my goodness, your party is not at the top of anyone's priority list right now Daniel. Read the room. Read the enchanted forest.
34. We were off to such a strong start from a feminist perspective just for the magic book to say that Odette needs Daniel's true love to break the curse. Ah, 2003.
35. Odette and the Fairy Queen are both rockin' romantic tutus during this dance lesson for Odette. I'm a fan.
36. Rothbart is really out here monologuing his evil plan like a James Bond villain.
37. Let's go, ball scene! I'm ready for more clunky animated pas de deux.
38. Odile's screechy voice not being disguised and potentially giving her away is a fun addition. Maggie Wheeler is the scene-stealer of this whole movie.
39. Cross your ankles in those bourrees, Odile!
40. Gosh darn it Prince Daniel, you ruin everything.
41. Even though she can fly, the Fairy Queen arrives in her unicorn-drawn pink swan carriage just in time to see Odette passed out on the floor. The makers of this movie really know how to sell Barbie merch.
42. Finally, a face-to-face matchup between Rothbart and the Fairy Queen!
43. Nevermind, he turned her into a mouse. That was fast.
44. Quick sidebar, this thing is almost over and we haven't seen or heard the iconic Swan Lake Pas de Quatre and I'm bitter about it.
45. Rothbart managed to hit both Daniel and Odette with his magic ring and the crystal is supposed to be powerless after Daniel professed his love to Odile, so how is it that the crystal suddenly powers up and defeats not just Rothbart but also repairs the entire forest? What in the deus ex machina…
46. Oh right, it's the power of true love. All the spells are broken and the day is saved!
47. Time for a celebration dance party! Odette has another new dress, and could it be…? The skunk, fox, duck, and porcupine are doing the Little Swans Pas de Quatre! Ugh finally, I'm satisfied.
48. Odette's father is there at the enchanted forest celebration? How did she manage to explain the past 48 hours to him?
49. Odette's sister didn't bother to show up to the enchanted forest party. Why did Odette even need a sister?
50. And the moral of the story is, "Odette learned she can be brave!" and Barbie passed that message along to her camper. Very cute. And somehow 2020-appropriate. Good work, everyone.

Dance teachers are so much more than just teachers—never has that been more clear than 2020. They're choreographers, life coaches, our biggest cheerleaders, and these days they're flexing their tech-savviness to reach beyond the walls of the studio and provide virtual dance training. This year, World Teachers' Day means even more than usual, especially for dancers.

Here are five ways to celebrate the teachers in your life, both past and current.

Send a thank-you note

Simple, yet meaningful. A thank you text, video message, or even a classic handwritten card is an easy way to let your teachers know how much their training and guidance has meant to you. Taking the time to reflect with a written message allows you to gather your thoughts and recount all the lessons and memories your teachers have left with you, which will make the thank you that much more personal.

Reach out to a former teacher

If you've been on your dance journey for a while, odds are there have been some teachers who have come and gone from your life. Social media makes it so easy to track down former mentors for a chat—why not give them a life update, ask how they're doing, or let them know just how much of an impression their classes left on you as a dancer?

Post some photos

Who doesn't love a good throwback? If you have some choice backstage photos with your teachers (flowers in hand, smudged makeup—whatever, they're cute!) post them on social media with a nice message. A surprise notification could make your teacher's day.

Write a nice review

Many dance studios, large and small, have been impacted financially by the global pandemic. If a teacher or studio has been a positive in your life, let the world know by writing a five-star review for them on Google or Yelp. Your recommendation could bring your teachers new business, and help them to stay around to teach the next generation of kiddos.

Send a small gift

It could be a coffee shop gift card, a framed photo, fuzzy socks, or even scented hand sanitizer—the thought really does count. Choose something you think they would appreciate that says "Thank you for all you've done for me."

We've officially made it to week four of this season of "Dancing with the Stars," and apparently, that's how long it took to arrive at the season's biggest mishap (so far). And before you get #stressed, no, it wasn't a COVID-related mishap. We've had enough of those this week.

The confusion was surrounding this week's elimination, which got a little messy and a lot reminiscent of the 2017 Academy Awards "Best Picture" announcement. But before we get to that, we have a lot of amazing dancing to discuss. In case you missed last night's episode (or were too busy stalking Claudia Conway on TikTok) we rounded up the highlights.

Nev Schulman and Jenna Johnson: Rumba

There's nothing we love more than a man who can confidently dance a rumba to Celine Dion dressed in an all-lilac outfit. That's on non-toxic masculinity, folks! And the fact that Nev dedicated this dreamy rumba to his wife? The cherry on top of a near-perfect performance. The judges gave Nev and partner Jenna Johnson three 8s, for a total score of 24.

Kaitlyn Bristowe and Artem Chigvintsev: Viennese Waltz

Calling all bunheads: Is it just us, or does Bachelorette Kaitlyn Bristowe appear to have some ballet training? Because we were absolutely blown away by her graceful, Grace Kelly-esque Viennese waltz last night. This performance was all old Hollywood glamour, and we couldn't get enough of it. The judges gave Kaitlyn and Artem two 8s and the season's first 9 (!) for a total 25.

Skai Jackson and Alan Bersten: Foxtrot

We loved watching the ever-gorgeous Skai Jackson perform a tribute to her close friend and former co-star Cameron Boyce, who passed away last year. Skai's foxtrot with partner Alan Bersten was gorgeously simple and simply gorgeous, bringing even the judges to tears. Skai and Alan received two 9s (!) and the first 10 (!!) of the season, for a well-deserved 28 total.

But here is where the night got weird, and veeery evocative of the 2017 Oscars. (In case you don't remember, 2017 was the year of the infamous "Best Picture" envelope mixup snafu.)

Here's a brief summary: Monica Aldama and partner Val Chmerkovskiy were initially called safe, and exited the stage. But only moments later, host Tyra Banks announced that there had been a mixup—and Monica and Val were actually in jeopardy, alongside Anne Heche and partner Keo Motsepe (much to the confusion of everyone onstage). The magic of live television, apparently?

The judges were asked to decide who would be dancing another week—and opted to save Monica and Val. And TBH, we think they owed it to the pair after that rollercoaster of an elimination.

The COVID-19 pandemic and the ongoing struggle with systemic racism have shaken the dance world. Now more than ever, connection, empathy, and activism must be cultivated in dance settings. And one of the best ways to do that is through social dance forms, which come out of rich and diverse cultural traditions. "It's one of the ways we heal the discrimination, the injustice, the fear," Abdiel Jacobsen, former principal with Martha Graham Dance Company, says of his social dance experience. Here's how social dance can benefit studio dancers as both artists and humans.

What Is Social Dance?

Social dance forms weren't made for stages, but were instead created in streets and clubs, often by members of oppressed communities, as a means of expression and communication. Examples include salsa, swing dance, hustle, and samba, though there are many more. "Social dances tell a story about history, culture, and social justice," explains Francine E. Ott, a lecturer at North Carolina State University, whose work blends hip hop, house, and African diasporic dance. "These dances are a voice of the people."

Finding Comfort in Your Identity

Social dance styles tend to emphasize community building over conformity in the pursuit of different aesthetics. That kind of learning environment can help studio dancers gain a greater self-appreciation. Lindy Hop dancer and teacher Evita Arce, for example, knew she didn't want a future in ballet, so she thought she couldn't be a professional dancer. Her professional career, she recalls, "almost happened by accident, because I just kept doing what I loved."

When dancers feel comfortable being their fullest selves, they might also discover more space to challenge societal norms. Jacobsen worked professionally in both the modern dance and ballroom worlds and often faced microaggressions in those environments. But he found acceptance in social dance: "Hustle was the first social partner-dance community where I finally didn't have any fear about my race, my sexuality, or my effeminacy." Buoyed by that support, he and his dance partner, Kristine Bendul, became the first male/female duo to compete professionally as a gender-neutral couple in DanceSport, with each swapping roles of leader and follower equally.

Gaining Skills and Agency

Many studio dancers, accustomed to following highly specific instructions, panic when asked to improvise. But living in the moment is inherent in social dance, where you're often responsible for a partner, or for the community energy. It's a space where vulnerability occurs organically—and that can have real benefits for your dancing overall. "I have students who want all of the information instead of being in the moment and understanding that learning within the social context is creativity," Ott says. She tells her students, "If your voice is louder in your head than me and the music, you're not engaging with what's happening in the space."

Partner-based social forms are especially useful for helping dancers develop confidence and spontaneity. When you're leading or following a partner, "the decision-making part of your brain has to become really adaptable and flexible," Arce says. Those skills can help you make stronger choices in improvisational moments and choreographic processes.

Embodying History

Understanding the history of social dance forms helps dancers become better-informed artists and humans. "Swing dancing is American history," Arce says. "Its roots are in slavery and the migration of Black people going up to the northern cities seeking freedom." Similarly, Jacobsen discusses the birth of the hustle at the intersection of the Stonewall Riots, civil rights movement, and the end of the Vietnam War. "There was so much oppression in the '60s, and the '70s was about breaking it all down—this idea of freedom and liberation," he says. "When you learn hustle, it's so expansive and wide because that's what it was expressing."

It's important to consider that many styles taught in studio settings have roots in social dance, too. Hip hop and tap, for example, are largely influenced by, and can be considered, social dance forms. But in studios, these classes are often taught facing the mirror, with little to no interaction between dancers, and little to no mention of the styles' rich histories. Seek out teachers and resources who can help you better understand the context in which these forms developed. "You shouldn't learn a dance without understanding its social setting," Ott says.

Dancers who experience social dance forms will step into the future with new skills, a stronger desire to connect, and a better understanding of how oppressive histories have infiltrated our spaces. And they can use all of that to help the dance industry—and the world—move forward.

Social Dancing While Social Distancing

Social dance forms, particularly partnered styles, have inevitably been impacted by COVID-19. While dancers may be able to stay six feet apart for certain classes, that's not possible for social partner forms. Cue the creative solutions!

Arce and her dance partner, Michael Jagger, started an online Lindy Hop community and education library called Syncopated City back in 2015. During the pandemic, they've found innovative ways to deal with the fact that not everyone is quarantined with a partner: "We started to use stretchy bands, or walls or doorknobs, to replicate the feeling of working off something," Arce says. They've also been holding discussions on Instagram to reinforce that while the physical practice of partner dancing may look different during lockdown, the form can still be studied.

Jacobsen has been going live weekly on Instagram for "Hustle Monday Disco," in which he dances solo and then invites others to submit videos of themselves dancing to the same song. He and Bendul have also been working on projects in which partner dances are adapted virtually, with cues taken from an onscreen partner. Jacobsen hopes dancers will eventually return to their IRL spaces with a greater sense of care for their communities: "I believe this is a chance, if we really honor it, to respect life more."

If you keep up with the #fitfluencer community, chances are you've heard of the latest nutrition trend: intermittent fasting, or IF. Proponents of intermittent fasting boast all kinds of benefits, from improved sleep to decreased inflammation. But is intermittent fasting the real deal? And is it right for dancers? Dance Spirit spoke with Rachel Fine, dietitian and founder of To The Pointe Nutrition, to find out more.

What is intermittent fasting?

"Intermittent fasting is defined differently depending on who you ask," Fine says. "But the general idea of it is that you have a specific, limited period of time where you are 'allowed' to eat food."

One of the most common intermittent fasting patterns is the 16:8 method, in which you eat normally for eight hours of the day, and then fast for a 16-hour period. But there are also many other protocols popular in the IF community. "People often make it up as they go," says Fine.

Is intermittent fasting effective?

In short, nobody is completely sure. Inter-mittent fasting is a relatively new trend, so studies of its efficacy are limited. "There is some evidence that show potential health benefits, like improvements in sleep and lowered risk for some diseases," says Fine.

While IF has sparked some scientific interest, there isn't a consensus in the medical community yet as to whether or not it's as effective as some IF fans claim it is. If you see an Instagram post listing lots of benefits to intermittent fasting, make sure to double-check the sources the author is citing before taking their word for it.

Is intermittent fasting right for dancers?

In short, no. "Intermittent fasting isn't practical for dancers," says Fine. "If a dancer is placing a hard and fast rule around eating behaviors, it makes it very difficult to navigate normal life—much less, say, a summer intensive or performance season."

Fueling consistently throughout the day is incredibly important for dancers. "The body can use one of two sources of fuel for energy," says Fine. "It can use your glycogen stores, which are stored carbohydrates, or it can use your fat stores." Over the course of one dance class, your body will tap into both of these sources—unless, of course, you haven't been fueling it with nutritious food, and there is no carbohydrate storage to tap into. Then, your body may start to break down protein—i.e., muscle—which is a huge risk in terms of muscle building and muscle recovery.

"At the end of the day, if dancers aren't fueling themselves with food regularly, they're going to feel tired and sluggish, and will therefore be at greater risk of injury," says Fine. There's also a greater risk of bone injury if dancers don't consume enough calories while intermittently fasting, and a greater risk of binge eating in the time that they're "allowed" to eat. "You can see extremes at both ends," says Fine.

Can you recall the moment you knew dance had to be it? For many dancers, that lightning struck during an utterly unforgettable performance—something they watched early in their training, or at a moment when they needed an encouraging boost. Dance Spirit asked seven industry leaders about the performances that made the biggest difference in their careers.

Alex Clayton

Dancer, Paul Taylor Dance Company

"When I was growing up in Kentucky, the dance companies I'd see—especially local ensembles—were comprised of predominantly white dancers. It seemed like there were always two or three coveted spots for dancers of color. I couldn't really fathom dancing professionally, because how hard would it be to enter a field in which there were so few spots available?

"My world instantaneously got larger between my junior and senior years of high school, when I saw Alvin Ailey American Dance Theater. It was galvanizing to see all these beautiful and muscular Black bodies—just like mine. That was the impetus I needed. I started training at the Louisville Ballet School, and after high school I went to Stephens College in Missouri for dance. Through it all, I kept the image of watching Ailey onstage in my mind, and made it a goal to train at The Ailey School. That goal became a reality in 2013 after college. Having looked up to the dancers in the company for so long, it felt like destiny."

Nathalia Arja

Principal, Miami City Ballet

"When I was 8 years old, my mom gave me a DVD of The Royal Ballet's La Fille mal gardée, starring Lesley Collier and Michael Coleman. Mom had a whole collection of ballet DVDs, but La Fille was always my first pick. I was obsessed—I watched every day. It was so beautiful. I loved the playfulness, the jumps, the sweet romance—there's a bit of everything. Lesley was so wonderful in her pantomime, and her connection with Michael was so real that it felt like I was watching a film. She's not performing for the audience—she's just being herself in her element."

Jasmine Harper

Commercial dancer

"Watching 'So You Think You Can Dance' and 'The Wade Robson Project' on TV changed my life as a dancer. I'd watch every episode. On 'So You Think,' Robson's 'Ramalama (Bang Bang)' especially stood out—I think I'm just a Wade super fan!—as did Travis Wall and Martha Nichols' performance of 'Steam Heat.' I actually performed a trio to 'Steam Heat' at my studio in Rochester, NY, after we saw it on TV. But watching the shows as a whole made a professional career seem really tangible. I'd see kids coming from dance studios, going through the audition process, and making it. That proved to me that if I put in the hard work to get to their level, it was something I could do."

Maleek Washington

Freelance dancer and choreographer

"I was just about to start high school when my mother and I saw Complexions Contemporary Dance Company's first-ever performance. I'd seen a lot of dance by that point, but nothing spoke to me like this did. I was floored. It gave me the validation that dance was possible for me, and I wanted to move like those dancers. Desmond Richardson was, of course, the star, and to me, he looked like a football player—or like a guy I'd see walking in my neighborhood. But he was also so smooth and elegant in his movement, and his flexibility was mind-blowing. While we were there, my mom read Desmond's bio and saw that he had gone to Fiorello H. LaGuardia High School of Music & Art and Performing Arts. It was right down the street! In that moment I thought, OK, that's where I'm going. The performance really changed everything for me, and gave me a clear direction."

Andy Blankenbuehler

Broadway choreographer

"I remember watching Singin' in the Rain for the first time when I was 11 years old. The moment of Gene Kelly actually singing in the rain hooked me. My career hasn't led me to do big, sweeping romantic shows like that dance. But it showed me just how joyful dancing could be—as well as masculine and sensitive at the same time.

"A few years later, my dance teacher brought in a video of Michael Jackson's 'The Way You Make Me Feel.' That was the first time we learned choreography that felt famous. It was so outside my world in Cincinnati, OH. We could do something the stars were doing! Jackson's 'Smooth Criminal' video also impacted me deeply. There's even a section in the In the Heights choreography called 'smooth criminal,' because it plays on the video's iconic, sharp start-and-stop movement vocab."

Adji Cissoko

Dancer, Alonzo King LINES Ballet

"Really, my first inspiration was music. My dad is a musician—he plays the kora, a Senegalese string instrument. He'd play for hours, so there was always music in my house that made me want to move. When I was 6 years old, my mom's best friend gave me a Tchaikovsky CD that had music from Romeo and Juliet, The Nutcracker, Swan Lake, and Sleeping Beauty. Without ever having seen the ballets, I'd listen and create my own movement. The first ballet I did see was the Bolshoi Ballet's Nutcracker. My grandparents lived in Russia, and we went to a performance during one visit. Of course the music resonated, but what really stuck with me was that there was such an ease to the movement. It was flowing. I wanted to move like that."

Jessica Tong

Associate artistic director, Hubbard Street Dance Chicago

"In my late teens, I saw Batsheva Dance Company perform a version of Decadance. In one part, a naked woman stood downstage with a projection of another naked woman on her body—her skin was used as the backdrop. I was completely blown away. Contemporary dance was still very new to me, and just seeing the possibilities of what dance and art could be was profoundly life-changing. At the time, I had recently moved to New York, and I'd been dancing with Ballet Tech. So I was really figuring out what I wanted to do and taking gigs where I could. Seeing that performance solidified my path and inspired me to focus my energy on a contemporary dance career."