High-level competitive swimmers: They're just like us!

Or, at least, University of Alabama swimmer Christian Strycker is. Because the butterfly/freestyle specialist preps for big meets exactly the way we prep for big onstage moments: by recreating Beyoncé choreography.

Christian's actually been posting Beyoncé dance tributes for a bit now (his take on "Single Ladies" is adorable). But his most recent Bey moment, a poolside step-by-step recreation of one of her epic Coachella dance breaks, is next-level stuff. And a lot of people—including Chelsea Clinton and Kathy Griffin—are INTO IT.

If you're wondering how close Christian got to Queen B's actual choreo, check out the side-by-side comparison video the swimmer oh-so-considerately put together:

And if you're wondering whether this boy's Beyoncé love is real, just check out his Twitter feed, which is basically a shrine to Mrs. Carter. (Same!)

Heyyyyy, Bey: If you're looking to add another dancer to your already-enviable collection, Christian's free for the summer.

Just when you think the dance routines can't get any better on "World of Dance," someone lights up the stage and sets the bar a little higher. This week was no exception. There were moves upon moves, with dancers performing tricks we didn't even think were humanly possible. Leave it to "World of Dance" contestants to rewrite the anatomy of the dancer.

12-year-old Madison Brown stole the show last night with her insane extensions and her expressive performance. She danced way beyond her years and floored the judges with her maturity and overall technique. Though it's still early in the competition, we think Madison's one to keep an eye on as she advances to the next round with an average score of 87.

Marissa & The Heartbreakers gave a performance that had us ready to jump off the couch and join in. As if dancing full-out on live TV isn't hard enough already, these ladies upped the ante as one of the only groups performing their routine in heels. And man were they on 🔥🔥! With some truly fabulous hair flips and some unreal variations of the split, these ladies were by far the fiercest performance of the night. On top of that their performance was totally in sync and clean. And proving the world truly is small in the dance world, J.Lo remembered Marissa auditioning for her show in Vegas. These strong dancers are bound to bring a little girl power to the stage as they move to The Duels with an 83.5.

Last, but certainly not least, Royal Flux came back to the show with a vengeance. Having been eliminated in The Duels segment of the show last season, Royal Flux seems determined to win and is willing to do whatever it takes. In fact, one of the dancers even performed the routine despite having fractured her foot during rehearsal earlier that day. The choreography was as mesmerizing as the tricks and transitions. The panel of judges also acknowledged how emotive the performance was. Royal Flux seems to be the whole package and we can't wait to see what this contemporary crew will come up with next as they go into the next round with a score of 87.

There's a reason (or a million reasons) so many young dancers set their sights on the city that never sleeps: NYC is an artists' haven, with opportunities to create and grow everywhere you look. But pursuing a dance career in NYC can also be downright expensive, and a steady company paycheck is basically a unicorn. "I really wish I'd sat down and mapped out all the expenses before making the big move," says NYC freelancer Krissy Harris. "After about a year or so, I got in the swing of things. But it was a process!" Here's advice from Harris and four other New York dance pros on how to survive the grind.

Securing a Roommate

Whether you're making the move for a summer, a semester or a career, you're going to need a place to call home, and for most dancers, living alone isn't a financially viable option. "The easiest way to find compatible roommates is to look within your own networks," says Patch Schwadron, senior career counselor of Career Transition For Dancers at The Actors Fund. "Seek out acquaintances from school who may also be moving to the city."

If that doesn't work, Harris recommends expanding your network through social media. "Lots of people find housing by posting on Facebook, or by asking a friend who's already in NYC to post for them," she says.

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Many dancers also have success with Ghostlight Housing, a Facebook page for artists seeking affordable housing in NYC. Allison Piccone, a freelance dancer with Rebecca Kelly Ballet, has found most of her roommates through the page. "NYC artists have similar lifestyles, working several jobs with potentially odd hours, and I find that really important in a roommate," she says.

Of course, you want to be safe and smart about the process. "Do your research, check your sources, and make sure an apartment is safe and actually exists before you put any money down," says Emily Collin, director of educational programs at Broadway Dance Center.

If you decide to couch-surf friends' apartments while you find housing, consider attending the Actors Fund's weekly affordable housing seminar, where you can get up-to-date rental information while connecting with fellow dancers and artists in the same situation.

Taking Class

Like most things in NYC, dance class isn't free. Even if you take just one $20 class per weekday, that's already $100 a week. Piccone recommends investing in a class card at your favorite studio, which will offer a block of classes at a discounted rate. She frequents Mark Morris Dance Center in Brooklyn because it has more-affordable rates than most major NYC studios.

Work-study is also a great option if you find yourself taking most of your classes at a single studio. "It's basically an unpaid internship, where you get credit towards classes in exchange for administrative work," Harris says. But do your homework: "I've seen dancers commit to so many hours of work-study they can't get time off to take the classes that drew them to the studio," she says. "Confirm with your supervisor that you'll be able to schedule your hours around those classes."

Krissy Harris in "Tinsel Time," by Harris and Sarah Lass (photo by Scott Shaw, courtesy Harris)

Harris has also found several studio spaces available for rent at approximately $10 per hour, such as Movement Research on the Lower East Side. While she typically reserves these spaces for choreography and rehearsal, on occasion she'll give herself what she calls a "power class." "I'll block off an hour to warm up and work on something specific, especially something that I feel isn't being addressed in the more formal class setting," she says.

Getting Around

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When it comes to affordable transportation in NYC, you can't beat the subway. A $2.75 swipe can get you pretty much anywhere in the city. The real question is whether to go for the unlimited monthly card, which currently costs $121, or to pay per ride. "It really depends on where you're taking class and rehearsing in relation to your apartment," Piccone says. As a rule, if you're taking the subway at least twice a day, five days a week, the monthly card will save you money. So if you know you're going to commute to and from class each day, it's probably worth it. Piccone recommends that dancers with irregular schedules calculate on a month-to-month basis.

Finding Fuel

When you're running from class to rehearsal to your second job, squeezing in the time to cook a healthy meal for yourself can seem impossible. The fact that grocery store prices are likely much higher than you're used to doesn't exactly help the cause. "I was appalled at how expensive produce was when I first moved here," says Kelli Erdmann, who moved to NYC last summer to join the cast of Wicked on Broadway. "Trader Joe's has been a real lifesaver in terms of price." She recommends going around 10 am on a weekday to avoid the notorious wraparound lines. "If I can take a bit of time to meal-prep for the week, I end up saving so much money and eating much healthier than if I were constantly grabbing food in Times Square," she says.

Allison Piccone (photo by Appleby, courtesy Piccone)

Of course, there's no harm in picking up a prepared meal here and there. "I try to always eat breakfast at home," Piccone says. "If I'm going to eat out, I save it for lunch because there are a lot of great, healthy lunch specials throughout the city." For a quick dinner when she doesn't have time for a big grocery shop, she'll pick up a few ingredients from a neighborhood bodega.

Seeing Shows

"Spending some time as an audience member is so important for staying inspired," Erdmann says. She makes it a point to see another Broadway show anytime she has a matinee or evening performance off. "If you have the time, go from box office to box office to see if there are any rush tickets," she says. "That's how you'll get the best deals." Alternatively, you can scroll through the TodayTix app on your phone. "And be on the lookout for Broadway Week, when you get two-for-one ticket deals," Erdmann adds. Make sure to visit nycgo.com and search Broadway Week to sign up for email alerts on when the next one is happening.

Kelli Erdmann (photo by Erin Wilson, courtesy Erdmann)

Bunheads can take advantage of New York City Ballet's "30 under 30" tickets—$30 tickets for anyone under the age of 30. "You can also see a lot of smaller shows for free by offering to usher," Piccone says. She also finds that a lot of freelance companies will offer dancer discounts to their shows. If you're a high school or college student, Collin recommends keeping your student ID handy. "Many theaters, such as The Joyce, offer student discounts," she says.

The NYC grind may seem intimidating at first, but take comfort in the fact that thousands of dancers are making it work every day. "Moving here can be daunting, but it's so worth taking the chance," Piccone says. "It's actually a pretty small dance community, which makes it feel like you have a family supporting you every step of the way.

A version of this story appeared in the July/August 2018 issue of Dance Spirit with the title "The Big Apple on a Bite-Sized Budget."

"So You Think You Can Dance" alum Gaby Diaz has been a familiar face in the commercial dance world ever since she won Season 12 of the hit reality show. Not only did she return to "SYT" as an All Star, but she also performed alongside dance legend J. Lo and toured with Shaping Sound. Now, Diaz is adding a new and exciting plot twist to her career: She's transitioning into concert dance.

We caught up with the dance darling to get details on her new gig with Hubbard Street Dance Chicago, and to find out why she decided to make the leap.

What inspired your transition from commercial to concert dance?

I dove into the commercial world so quickly and got so wrapped up in saying yes to any and everything that I found myself neglecting my training. Once I stopped taking class every day, I was bored with myself as a dancer. It sounds harsh, but I really felt like I didn't have anything special or unique to offer, and I knew I was capable of more. It freaked me out to think I had reached the peak of my career at 20 years old, so I wanted to do something about it. I knew transitioning to concert dance would require me to train every single day, and I got excited just thinking about working like that again.

Did performing with Shaping Sound ease the transition to Hubbard Street Dance?

Shaping Sound sparked my interest in concert dance even more. The company bridges the gap between the commercial and concert worlds. Being able to rehearse something for an extended period of time and perform on a proscenium stage validated that I wanted to continue working like this. More than performing, I love being able to be part of a creative process.

How did you get involved with Hubbard Street Dance Chicago?

I first heard of Hubbard Street when I was in high school. I'd never seen the company live, but I followed them online and would look up clips of their performances on YouTube. I've always admired how technically sound and versatile their dancers are.

After one of the legs of Shaping Sound's tour, I came to Chicago for a few days before returning to LA. I went on Hubbard Street's website to see if there were any classes I might be able to take, and I came across information about their Professional Training Program, which they launched in the fall of 2017. I auditioned for the program, was accepted, and moved to Chicago the day after "SYTYCD's" Season 14 finale. Immediately, I was in class every day from 9am to 5pm. The growth I've noticed in myself after just a year in this program proves that this is where I need to be. I've had some breakthrough moments and am learning so much about myself as an artist. I've been asked to apprentice with the main company this fall, and I feel that's the perfect next step in my career.

Diaz (second from left) performing with Hubbard Street Dance Chicago in Ohad Naharin's "Decadance/Chicago" (photo by Todd Rosenberg, courtesy Diaz)

You recently had your first performance with the company, dancing Ohad Naharin's Decadance/Chicago. What was that like?

What have you enjoyed most about dancing with Hubbard Street?

I love being in an environment where everyone is so willing to explore. I feel safe to try new things and know I'm supported by not only the dancers around me, but by the faculty as well.

Are you leaving commercial dance for good, or are you still open to commercial jobs in the future?

I never want to say I'm leaving anything for good! But right now, I feel very fulfilled by the work I'm doing and want to continue to nurture it. I'm happier than ever!

How has the "SYTYCD" fam responded to your career shift?

"SYTYCD" will always be home. I still maintain close relationships with the other dancers, choreographers, producers, and even the hair and makeup team. Everyone has been very supportive and proud that I'm doing something that excites me and makes me really happy.

How have the skills you learned on "SYTYCD" helped you with this career shift?

On "SYT" I worked with many different choreographers in a variety of styles, and it taught me a lot about communication in the workspace. I've learned it's important to remain respectful of the people in charge without feeling you've lost your voice as an artist.

Diaz (4th from the right in the third row) performing in Hubbard Street Dance's "Decadance Chicago" performance (photo by Ian Robinson, courtesy Diaz)

Have there been any habits you've had to un-learn?

I'm working on learning how to take my time. Doing commercial gigs, I got very comfortable working at an extremely fast pace. It's frustrating going back to ballet classes and not being able to do a double pirouette on the left for two months. But I'm reminding myself that I'm in no rush. It's worth it for me to put in the time and effort.

What are your plans for the future?

Right now, the goal is to do work that I believe in and that fulfills me. I don't ever want to categorize myself as one type of dancer. Commercial dance, concert dance, and Broadway dance are all very different, and none is more valid than the other. I appreciate all the shapes and forms a professional dancer's career can take, and I'd love a taste of it all! I want to constantly find myself in an environment where I'm learning new things and am always growing.

What advice do you have for young dancers?

I hope to inspire dancers to see beyond what "success" looks like according to social media. That could be one person's way of life, but it doesn't have to be the only way. Choosing to do something different doesn't mean you've failed. As long as you're working hard to be excellent, you don't need anyone else's validation. Find what fulfills you!

Las Vegas has been home to some of the most fabulous shows of all time—including, these days, the dance-filled Jennifer Lopez showcase All I Have. What's it like to perform on The Strip with a world-class artist? We asked J.Lo dancer Natalie Romero for the inside scoop.

Booking with Jenny from the Block

Since J.Lo has real dance chops and works with big-name choreographers like Tabitha and Napoleon D'umo and Kyle Hanagami, spots in her dance crew are especially coveted. Romero's All I Have journey began in an unusual place. "Tabitha and Napoleon held a very exclusive, invite-only audition for Jennifer Lopez—at her house!" Romero remembers. "The room was filled with talented dancers. When Jennifer came in to watch us in small groups, I swallowed my nerves and danced my heart out for her." Romero was first booked as Lopez's stand-in for a one-time performance, and that role helped her secure a spot in All I Have.

Romero working that fringe onstage in "All I Have" (courtesy Romero)

Lopez's packed schedule leaves her with limited time to rehearse. That means she works hard and picks up choreography fast—and she expects the same of everyone around her. "When she walks into the room, there's an elevated energy that follows her," Romero says. "Working with her is like working with a whole team of masters. She sees, she hears, and she feels it all."

Onstage on The Strip

Every All I Have show is a bit of a whirlwind. Each performance begins with a prayer circle to focus the group. Once the dancers hit the stage, you'll hear them hooting and hollering to pump each other up. Wardrobe techs are stationed in the wings to help with the crazy quick changes, which involve everything from ballroom-style dresses to sexy unitards.

A backstage selfie (courtesy Romero)

All I Have opened three years ago. "We do our show about three times a week, and sometimes we have breaks for over a month between our runs," Romero says. To keep things lively night after night, the dancers might challenge themselves to perfect an especially tricky section in one performance, or choose a new character to play in another. "The show also gets repolished by the creative team each time it returns," Romero says. "That's really kept it interesting and fresh."

Viva-ing in Las Vegas

Typically, dancing with J.Lo would mean touring the world. But while touring is an incredible experience, Lopez's residency in Las Vegas definitely has its perks. "The residency provides stability," Romero says. "On tour, you're changing time zones and traveling on your down time. Being in one city allows you more time to rest and reset your body before every show. Plus, we're able to take other work between show runs." Romero is also a Vegas native, which means she gets to hang out with her family and friends when she's off. (Talk about work/life balance.)

How does Romero stay grounded during All I Have's intense runs? "I like to start my day with meditation and some yoga, followed by a veggie-filled smoothie," she says. "Before heading to the theater, I'll spend time working on the furniture company I run with my fiancé, Mattalie Design, and tend to my large garden." After lunch, she'll take it easy to make sure she has plenty of energy for the night ahead. "We have a rehearsal onstage at 5 pm to smooth out any issues from the previous show," she says. "Then we do hair and makeup and BOOM—it's show time!"

Being Prepared

Courtesy Romero

Want to follow in Romero's footsteps? If you dream of dancing with an artist of J.Lo's caliber, Romero suggests sharpening your dance skills—all of them—and taking really, really good care of your instrument. "We do every style in our show, including salsa, hip hop, and vogue, and we learned from multiple choreographers," Romero says. "And dancing in a show like this means thinking and training like a professional athlete, especially in terms of nutrition and physical therapy."

"Monday is more of a down day," says Bella Klassen: "I wake up at 5:30, do a jump-rope workout, then ballet and jazz, a 30-minute lunch break, five hours of academics, then acro, and then my day is done!" It's safe to say work ethic isn't a problem for this rising comp-circuit star, who's gifted with superhuman control, fearless turns, and a stage presence far beyond her years. Her intense training also helped Bella earn a featured role in the music video for Animal Years' song "Friends," and the 2017 Junior Best Dancer title at The Dance Awards—a victory made all the sweeter by having made it to first runner-up in 2016 and 2015.

"Never let anyone dull your sparkle! That's been my motto. I'm always amazed and intimidated by everything other dancers can do. I have to remind myself to be confident about what makes me special as a dancer." —Bella

Fast Facts

Photo by Chehon Wespi-Tschopp, courtesy Christine Klassen

Age: 14

Birthday: June 4, 2004

Hometown: Calgary, Alberta, Canada

Trains at: YYC Dance Project, School of Alberta Ballet

Favorite dancers of all time: Nick Lazzarini, Chaz Buzan, Kayla Kalbfleisch

Favorite foods: "My mom makes this amazing kale salad with lemon juice and parmesan. I could also eat steak every single day for the rest of my life."

Dance crush: "Will Loftis! Ugh, I love his choreography SO MUCH."

Hidden talent: "Bedazzling!"

Most-played songs: The Greatest Showman soundtrack, "Personal" by HRVY, anything by Ed Sheeran

A version of this story appeared in the July/August 2018 issue of Dance Spirit with the title "You Should Know: Bella Klassen."

Summer is here, which means it's time for a good dance movie binge. But which iconic films should you put on? To narrow your search, we went ahead and ranked 30 of the greatest dance movies of all time.

Of course, we know a list like this is bound to be controversial—so if you disagree with our lineup, have at it in the comments!

"Honey"

Jessica Alba as a small-town dance teacher with huge choreographer dreams? Yes, please!

"Happy Feet"

Tap-dancing penguins? YAS!

"Burlesque"

Cher + Christina Aguilera + all kinds of fun dancing = GOLD.

"Strictly Ballroom"

We're always here for killer ballroom skills, and Strictly Ballroom certainly doesn't disappoint.

"Step Up 2: The Streets"

This film had us wishing we, too, could be rebellious street dancers.

"Step Up 3D"

The third film in the Step Up franchise comes in one place better than its predecessor thanks to Jon M. Chu's fabulous direction.

"Save the Last Dance"

We always save time for this early-2000s classic.

"You Got Served"

You can serve us some amazing street dancing any day of the week, TBH.

"High Strung"

A romance between a classical dancer and a rebellious violinist? SO GOOD.

"Fame"

Fame had us dreaming that we could attend the High School of Performing Arts in NYC, too.

"Swing Time"

We're throwing it back all the way to 1936 with this Fred Astaire dance film, which is nothing short of legendary.

"The Turning Point"

Shirley MacLaine is a goddess in this 1977 film, which also features some incredible real-life dance stars (hello, Mikhail Baryshnikov!).

"Hairspray"

YOU CAN'T STOP THE BEAT! Sign us up for any dance film starring Zac Efron.

"All That Jazz"

Of course Bob Fosse's semi-autobiographical film had to make our list. Ann Reinking is so many #goals in this one.

"Chicago"

Speaking of "All That Jazz"—you can never have too much Fosse in your life. And Catherine Zeta-Jones' dance skills are impressively legit.

"Shall We Dance?"

WHY YES, FRED AND GINGER. YES WE SHALL.

"The Red Shoes"

The film that inspired a whole generation of girls to start dancing is a forever classic.

"Black Swan"

Body-double controversy aside, this thriller does feature some great dancing.

"White Nights"

We LIVE for the dance skills of Gregory Hines and Mikhail Baryshnikov and the choreographic talent of Twyla Tharp.

"Saturday Night Fever"

This iconic disco film made John Travolta a dancing star.

"Flashdance"

What a feeling this '80s classic gives us every time we watch it!

"Footloose"

Obviously, we're talking about the 1984 original. Everybody cut, everybody cut...

"Cabaret"

Willkommen, bienvenue, welcome—to one of the best dance films ever.

"Step Up"

It doesn't matter how many sequels they make: No Step Up film will ever be better than the original.

"An American in Paris"

Gene Kelly can do no wrong. An American in Paris is the stuff of legend.

"Billy Elliot"

Following 11-year-old Billy's journey from a small coal-mining town to the ballet stage will give you alllll the feels.

"Singing' in the Rain"

SO much love for Gene Kelly, Debbie Reynolds, and Donald O'Connor!

"Dirty Dancing"

Nobody puts Baby—or this '80s spectacular—in a corner. Patrick Swayze's dancing takes things to a whoooole other level.

"West Side Story"

Nobody had ever seen anything quite like this revolutionary film when it premiered, changing the dance (and film) world forever.

"Center Stage"

Well, OBVIOUSLY. The best dance movie ever made—and possibly just the best movie ever made, period.

We have so much ❤️ for the Capezio A.C.E. Awards, the annual competition that highlights gifted emerging choreographers from all over. Since starting in 2009, it's become an eerily reliable predictor of the Next Big Thing in choreography. And that's not an exaggeration: Past winners include Travis Wall, Al Blackstone, Melinda Sullivan, Talia Favia, and Martha Nichols.

This year's A.C.E. Awards will be held August 4 in NYC, and the just-announced list of finalists features some exciting names (if you don't already know Jaclyn Walsh, Nicholas Palmquist, and Rudy Abreu, believe us when we say that YOU WILL SOON):

Which of these top-level talents will win funding to produce their very own shows? We'll find out in almost exactly a month! In the meantime, take a look at all the impressive works submitted for this year's A.C.E. Awards, and at the winning pieces from last year's contest.

Congratulations to the June Cover Model Search Editors' Choice video winner, Jada German! Catch her solo by clicking here, and enter the Cover Model Search here!

Once competition season has ended, it can seem like forever until you're ready to compete again. Don't let the down time between competition seasons drag on. Dance conventions are an easy and fun way to learn new skills, meet inspiring choreographers, and stay involved in dance all year long. Showstopper's Dance Conventions offer dancers an experience you cannot get anywhere else. Here is why you cannot miss Showstopper Dance Conventions!

Dance AND vacation with your friends
Showstopper's Dance Conventions are the perfect opportunity for you to have fun with your dance friends. You will all feel motivated and inspired to take on the next competition season as a stronger team than before. The fun doesn't stop when you're not dancing. Showstopper Dance Conventions are always at family-friendly, fun locations! Whether it's a waterpark, beach, or Universal Studios, it's always a great time.

Learn from top dancers in the industry
Showstopper instructors can be seen on the sets of SYTYCD, America's Got Talent, Dancing with the Stars, and Glee. You can see their amazing performances on award shows, in today's top music videos, movies, Broadway shows, and more! By working in different dance professions, each instructor offers a unique and different perspective. You will learn valuable skills to use on and off the dance floor. The instructors work closely with each dancer to help you improve on specific techniques, answer questions, and feel comfortable performing your best.

Selfies and autographs with instructors
Every dancer gets a free Showstopper Convention poster of the instructors. After each class dancers are given time to take pictures with their favorite instructors, new friends, and get their posters autographed. #showstopperfun

Free bonus classes
We know you are all well rounded and that your talents probably aren't limited to dance. Showstopper offers bonus classes at no extra charge. From pom pon and belly dancing to voice and audition classes, it has something for everyone. Bonus classes are the perfect way for you to learn how to utilize your dance skills in other outlets.

Shop the most fabulous dancewear
Don't forget to leave room in your suitcase. The Showstopper Stores at conventions are filled with the latest in fashion, dancewear, and accessories for prices as fabulous as the clothes themselves! Most merchandise falls between $5 and $20. It's the perfect time to restock on dance merchandise for the upcoming season!

Dance on extra large, professional dance floors
Ballroom floors aren't always safe to dance on. Showstopper Dance Conventions have professional dance floors to ensure everyone can dance like a professional. Don't worry about feeling squished; with plenty of flooring in each room there is space for everyone to bust a move. There are also large monitors on the side of each stage that display the instructors so you don't miss a beat.

Be the highlight of the Showstopper Glitter Drop
Enjoy life on the big screen! Everyone has the opportunity to be in the highlights from the weekend that appear in Showstopper's weekly Glitter Drop series. Each week on the Showstopper Glitter Drop, Showstopper highlights what's trending in teen lifestyle and dance news!

Front row seats for the Showstopper Showcase
Experience a rare opportunity to get an up close view of the hottest dancers in the industry showcasing their talents for you. The Showstopper Faculty Showcase is the highlight of the weekend because faculty put together solos to perform for you. So, once classes are all over take a seat on the dance floor and watch your favorite instructors work it!

Are you ready to register?? We don't blame you!
Once you know which location you want to attend, tell your dance studio. If you want to attend without your studio or only with friends, no problem! You can register independently here.

Orlando, Florida | September 28th-30th, 2018
DoubleTree by Hilton Hotel at the Universal Studios Entrance and Holiday Inn Hotel and Suites

Wisconsin Dells, WI | October 13th-14th, 2018
Kalahari Waterpark Resort

Sandusky, OH | October 20th-21st, 2018
Kalahari Waterpark Resort

Grapevine, TX | November 2nd-4th, 2018
Great Wolf Lodge

Houston, TX | November 17th-18th, 2018
The Westin Hotel, Memorial City

Myrtle Beach, SC | January 18th-20th, 2019
Landmark Resort, Crown Reef Resort, and Sea Mist Convention Center

It's America's birthday week, which means gold sparklers, family BBQs, and festive parades are just around the corner. But what happens when our enthusiasm for red, white, and blue moves from the backyard to the stage? Like a firework, sparks fly! See for yourself with these three, patriotic dance classics.

1. George Balanchine's Stars and Stripes

Three cheers—or, really, développés—for the USA! Here are excerpts from Washington Ballet's performance of the iconic ballet.

2. "Our Favorite Son," from Will Rogers Follies

Now that's what we call a Fourth of July outfit! We love Tommy Tune's inspired choreography for this Broadway production.

3. "Heart," from Broadway's Damn Yankees

Baseball on Broadway—an all-American dream. With original choreography by Bob Fosse, this Broadway show hits it out of the park. But Fosse didn't stop there, continuing this patriotic streak in several sections of his Broadway show, Dancin'.

Shirlene Quigley will never forget the audition that changed her life: a call for Beyoncé's "Crazy in Love" video. It was one of the street dancer's first shots at a professional gig. But she had another reason to be nervous: Heels were required. "It was my first time dancing in heels," says Quigley, who didn't even own a pair at the time. "I wore knee-high boots, borrowed straight from my mom's closet!"

During the audition, Quigley found herself challenged at every turn (literally). "I kept saying to myself, 'Don't trip. Pull up,' " she remembers. At the same time, the shoes unleashed something new in her dancing. "It was so much fun," she says. "It felt so feminine and so fearless." In the end, Quigley booked the job, which led to a spot on the promo tour for Beyoncé's Crazy in Love album. Since then, she's basically lived in heels, performing for artists including Rihanna and Missy Elliott, and now she leads regular heels classes at Broadway Dance Center and Peridance in NYC and Millennium Dance Complex in L.A.

Dancing in heels has long been an industry staple, yet it's a skill that can be quite tricky for performers who've spent years training in sneakers or bare feet. We spoke to Quigley—and three other famously heel-clad dancers—about how to find your (heeled) footing.

Are You Ready?

Just like pointe shoes, which require a certain level of technical ability, heels aren't always appropriate for young dancers. And waiting until a teacher or parent gives you the go-ahead won't delay your progress. "You're not likely to book a job that requires heels until you're 17 or 18," Quigley says. "My rule of thumb: Character shoes are completely proper until you can at least drive yourself to my class. If someone in my class is younger than 16, I ask them to remove their heels."

Yanis Marshall (courtesy Marshall)

There's also no denying that heels choreography often skews sensual. But Quigley wants her younger students especially to know they shouldn't feel pressured into sexualizing movement to book jobs. "As dancers, we're storytellers, and there are always a lot more stories to tell than just sex," she says. Choreographer and dancer Yanis Marshall agrees, recommending that younger dancers in heels classes focus more on the technical challenges than on sexy presentation. "Yes, I love to play with sensuality in dance, and wearing heels helps that side of me come out," he says. "But there's also real technique in my classes. Essentially, you're doing lyrical or contemporary combinations—just in heels."

The Perfect Pair

Pretty as those 5-inch stilettos might be, it's definitely going to take some time to work up to them. "When you're first starting out, don't choose shoes with crazy-high heels," celebrity choreographer Brian Friedman says. "And ankle support is paramount. I also always advise staying away from open-toed shoes, which let your foot slide forward over the edge."

Quigley suggests alternating between a few different pairs of heels, depending on the movement style. "If I'm working for a super-hard-hitting choreographer like Bobby Newberry, I'll need a boot that'll stay on through anything. But if I'm doing something slower and more lyrical, a regular pump can work." Regardless of style, both Friedman and Quigley tell students it's not necessary to spend a lot of money on heels for dance. "You want a sassy, fierce pair, but they'll get ruined in class," Friedman says. "So shop within your budget." Commercial dancer Mishay Petronelli, who teaches heels classes at Broadway Dance Center in NYC and regularly performs in stilettos, likes shoes from Steve Madden and Aldo: "I know those brands' shoes will last, but they're still affordable, and their heels are a good not-too-high height, around 3 or 3 1/2 inches."

Posture Pointers

Heels transform your whole shape, which will take a little getting used to. "Even when you're just standing still, your tailbone will curve slightly back," Friedman says. "It's an undeniably dominant stance, but you have to pull your shoulders up and back to make sure you're on top of the shoes and not tilted forward." Petronelli agrees. "To get the right placement, you'll want to feel your shoulder blades squeezing together—so much so that your elbows kind of pinch back at your sides," she says.

Mishay Petronelli (photo by Matthew Murphy, courtesy Petronelli)

Once you start moving, core strength becomes everything. "It can be really challenging to stay in alignment while shifting your weight quickly, especially if you're used to dancing in sneakers," Quigley says. "Think about engaging your lower abs and using your inner thighs and seat muscles to pull up and out of the shoes."

Sound familiar, bunheads? When you're wearing heels, you're basically constantly working in relevé. Taking extra ballet classes will help build the strength you'll need to maintain that position. Studying ballet will also help you create clean lines, which are especially important during heels work since it calls extra attention to your legs and feet. "My biggest pet peeve is people in heels trying to work in plié the whole time!" Petronelli says. "You have to have straight legs to get the right lines in heels."

Healing from Heels

There's a reason medical pros typically recommend sneakers for everyday wear: Heels can tighten hamstrings and hip flexors, and put extra strain on your lower back. But regular self-care can go a long way to staying injury- and pain-free.

Friedman notes that the first few months of heels classes are often hardest on the body. "It's a shock to your system, not dissimilar to a ballet dancer starting out on pointe," he says. Especially for jazz-funk dancers who aren't used to being on relevé, stretching your calves, Achilles tendons, and hamstrings is crucial. "I massage my feet and arches with yoga balls, roll out my calves on a foam roller, and use massage sticks on my IT bands," he says. "Give your body the rest and love it needs."

Feeling the Power

Wearing heels won't only increase your height by a few inches. It can also give your confidence a boost—whether you're a girl or a guy. Friedman says the first time he donned a pair of platforms, he discovered a new kind of inner strength. "I felt in command," he says. "I spent most of my career choreographing for female artists in heels, but wearing them myself allowed me to find a femininity within my movement I didn't even know existed. My choreography transformed. If I'm going to ask a woman to do something in heels, I'd better be able to, too."

It's the most wonderful tiiiiime of the year—and by that, we don't mean the winter holidays (obviously), or even the Fourth of July (though yes, tomorrow is the day to wear your most patriotic leotard). Nope: We're talking about the approach of National Dance Day! On July 28th, dancers and dance fans from across the US of A will celebrate this art form we all love so much. And there are tons of ways for you to get in on the dance action.

Let's start with the official 2018 National Dance Day routine, which just debuted. As ever, it's designed to be accessible to dance lovers of all levels and abilities. But it's especially appealing to us hardcore dance folks this year, given that it's choreographed by Mandy Moore and demonstrated by the likes of Kida Burns and Chelsie Hill. Learn it, record your take, and share the vid using the hashtags #DanceMadeMeDoIt and #NationalDanceDay2018.

Those of us in Orange County or DC can also attend the NDD flagship events on the 28th. On the West Coast, the Segerstrom Center will feature all kinds of live performances, dance lessons, and appearances by dance celebrities. Out East, the Kennedy Center will also host a lineup of classes and performances during the day, plus a big Dancing Under the Stars party at night. All of that goodness, in both locations, will cost you exactly zero dinero.

If you're not based in CA or DC, no worries: There are oodles of NDD celebrations happening all across the country. You can search the event's database to find out what's happening near you. If you're the enterprising sort, you can also create and register your very own party. (Might we suggest a poolside Beychella reenactment?)

And don't forget that NDD is a fundraising opportunity for the Dizzy Feet Foundation, which created the celebration back in 2010. By making a donation on NDD, or by fundraising for the foundation at your NDD event, you can support DFF's mission to sponsor dance education in underserved communities. Find more info here.

You're in a studio that's not your own, surrounded by dancers you don't know. You're excited and nervous, all at the same time. It's the first day of your summer intensive, and you're eager to make a good impression. But how? We asked the experts for advice.

On Mentality

Before you even take your place on the barre, you make an impression. In fact, studies show that a first impression is made in a matter of seven seconds, with attitude leading the list of what's considered. At a summer intensive, attitude is often the first tell-tale sign of whether or not a student will succeed. Be aware of your body language and how you interact with those around you. Crossing your arms, leaning on the barre, rolling your eyes at corrections, and scoffing or snickering at faculty or fellow students can communicate a bad attitude.

Raegan Wood, director of the Taylor School, says a student's overall mentality is integral to the impression he or she makes. "Students who have a really positive attitude and a great work ethic, coming with a real willingness to learn, are the ones who stand out the most," Wood says. Bill Piner, director of the Ballet Austin Academy, agrees. "I'm drawn to students who are really present and come in with a very open attitude," he says.

A Ballet Austin summer intensive student with academy director Bill Piner (Anne Marie Bloodgood, courtesy Ballet Austin)

On Approach to Training

While summer intensives focus on increasing technical proficiency, teachers consider a host of factors beyond technique. Just because you can turn like a top or développé past 180 degrees doesn't mean you're guaranteed to make a good impression. Both Wood and Piner agree that a student's approach to training goes hand in hand with the height of their extensions or the quickness of their jumps. "It's one in the same," Piner says. "You can't have one without the other."

Wood says a dancer's eagerness to learn can offset what they lack in technical skill. "What factors the most in terms of leaving a really good impression is how engaged they were in the process, and how excited they were to learn," she says. The best impressions are made by those students who are invested, focused, and committed—both in class and rehearsals.

To Piner, students who wholeheartedly apply what they're given in class and rehearsal—no matter how foreign it may feel—make the best impressions. "I appreciate dancers who really try to work in class, not just show what they already know," he says. "I want students to be willing to push outside of their comfort zones."

Students in class at a Taylor Intensive (Alan Olshan, courtesy Paul Taylor American Modern Dance)

On Conduct—In and Out of the Studios

Whether far away or close to home, summer intensives mean some degree of independence. But with that independence comes responsibility.

Piner says that a student's conduct both inside and outside the studio—their adherence to everything from dormitory rules to studio policies to dress codes—is just as important as their artistry and technical ability. The decisions you make in every situation influence the impression you leave, and, potentially, the opportunities you're offered. "If they can't adhere to our policies even for the six weeks of the summer program, it's a real red flag for us," Piner says.

Ballet Austin summer intensive students with associate artistic director, Michelle Martin (Anne Marie Bloodgood, courtesy Ballet Austin)

On Communication

No one's perfect: Everyone oversleeps, gets hurt, and makes mistakes sometimes. It's not the end of the world. What matters is how you handle those situations.

Piner explains that communication is key to making and maintaining a good impression. "Communication is absolutely the best way to work through whatever situation is going on," he says. Without it, you run the risk of allowing faculty to make incorrect, and potentially unfavorable, assumptions about you.

Don't be afraid to talk to your teachers about whatever may be holding you back. They want what's best for you, but they can't read your mind.

Students in class at a Taylor Intensive (Alan Olshan, courtesy Paul Taylor American Modern Dance)

On Why It Matters

The dance world is small—smaller than you think—so the impressions you make during your training truly make a difference. You never know who a director may talk to, or when you'll cross paths with faculty again. Summer intensives are prime pools from which to draw potential year-round students or future company members, and teachers are always on the lookout for dancers who might be good fits.

Once competition season has ended, it can seem like forever until you're ready to compete again. Don't let the down time between competition seasons drag on. Dance conventions are an easy and fun way to learn new skills, meet inspiring choreographers, and stay involved in dance all year long. Showstopper's Dance Conventions offer dancers an experience you cannot get anywhere else. Here is why you cannot miss Showstopper Dance Conventions!

Dance AND vacation with your friends
Showstopper's Dance Conventions are the perfect opportunity for you to have fun with your dance friends. You will all feel motivated and inspired to take on the next competition season as a stronger team than before. The fun doesn't stop when you're not dancing. Showstopper Dance Conventions are always at family-friendly, fun locations! Whether it's a waterpark, beach, or Universal Studios, it's always a great time.

Learn from top dancers in the industry
Showstopper instructors can be seen on the sets of SYTYCD, America's Got Talent, Dancing with the Stars, and Glee. You can see their amazing performances on award shows, in today's top music videos, movies, Broadway shows, and more! By working in different dance professions, each instructor offers a unique and different perspective. You will learn valuable skills to use on and off the dance floor. The instructors work closely with each dancer to help you improve on specific techniques, answer questions, and feel comfortable performing your best.

Selfies and autographs with instructors
Every dancer gets a free Showstopper Convention poster of the instructors. After each class dancers are given time to take pictures with their favorite instructors, new friends, and get their posters autographed. #showstopperfun

Free bonus classes
We know you are all well rounded and that your talents probably aren't limited to dance. Showstopper offers bonus classes at no extra charge. From pom pon and belly dancing to voice and audition classes, it has something for everyone. Bonus classes are the perfect way for you to learn how to utilize your dance skills in other outlets.

Shop the most fabulous dancewear
Don't forget to leave room in your suitcase. The Showstopper Stores at conventions are filled with the latest in fashion, dancewear, and accessories for prices as fabulous as the clothes themselves! Most merchandise falls between $5 and $20. It's the perfect time to restock on dance merchandise for the upcoming season!

Dance on extra large, professional dance floors
Ballroom floors aren't always safe to dance on. Showstopper Dance Conventions have professional dance floors to ensure everyone can dance like a professional. Don't worry about feeling squished; with plenty of flooring in each room there is space for everyone to bust a move. There are also large monitors on the side of each stage that display the instructors so you don't miss a beat.

Be the highlight of the Showstopper Glitter Drop
Enjoy life on the big screen! Everyone has the opportunity to be in the highlights from the weekend that appear in Showstopper's weekly Glitter Drop series. Each week on the Showstopper Glitter Drop, Showstopper highlights what's trending in teen lifestyle and dance news!

Front row seats for the Showstopper Showcase
Experience a rare opportunity to get an up close view of the hottest dancers in the industry showcasing their talents for you. The Showstopper Faculty Showcase is the highlight of the weekend because faculty put together solos to perform for you. So, once classes are all over take a seat on the dance floor and watch your favorite instructors work it!

Are you ready to register?? We don't blame you!
Once you know which location you want to attend, tell your dance studio. If you want to attend without your studio or only with friends, no problem! You can register independently here.

Orlando, Florida | September 28th-30th, 2018
DoubleTree by Hilton Hotel at the Universal Studios Entrance and Holiday Inn Hotel and Suites

Wisconsin Dells, WI | October 13th-14th, 2018
Kalahari Waterpark Resort

Sandusky, OH | October 20th-21st, 2018
Kalahari Waterpark Resort

Grapevine, TX | November 2nd-4th, 2018
Great Wolf Lodge

Houston, TX | November 17th-18th, 2018
The Westin Hotel, Memorial City

Myrtle Beach, SC | January 18th-20th, 2019
Landmark Resort, Crown Reef Resort, and Sea Mist Convention Center

It's crazy that "So You Think You Can Dance" is in its 15th season! Time flies when you're revolutionizing dance on TV, right? The show's definitely come a long way since its premiere back in 2005, and tbh, there hasn't been a single season we haven't loved. But which season did we love most? Here's our (sure-to-be-controversial) ranking of 14 seasons of "SYT" goodness.

Season 1

"SYTYCD" started off with a talent-filled first season, including besties Nick Lazzarini and Melody Lacayanga. But the show was still getting into its groove—and hadn't yet been graced with Cat Deeley's presence.

Season 6

Russell Ferguson made history as the first-ever krump dancer to win the show, bringing new attention to the dance style. But Season 6 aired during the fall, immediately after the epic Season 5, and suffered a bit by comparison.

Season 9

Though it wasn't the most memorable season, it did give us the incredible Cyrus "Glitch" Spencer and the one-two ballroom punch of Witney Carson and Lindsay Arnold.

Season 7

Because of the show's new format, with All Stars joining a Top 10 rather than a Top 20 for the live shows, Season 7 had a few bumps along the road. But it also featured the dancing skills of Lauren Froderman, Robert Roldan, and Alex Wong—not to mention Ellen DeGeneres.

Season 4

Otherwise known as the season in which the talent pool was so deep, Stephen "tWitch" Boss came in second place.

Season 8

Melanie Moore, Sasha Mallory, and Marko Germar were the stars of this all-around solid season.

Season 12

The Team Street vs Team Stage concept proved compelling enough to win over the skeptics—and we loved watching Gaby Diaz become the first tap dancer to win the show!

Season 3

When Mary Murphy joined the show as a judge for season three, we were #shook. Also, OMG DANNY TIDWELL. (We miss you, Danny!)

Season 14

OK, serious question: How does Lex move his body like that?! We knew right from his audition that he'd win, but we're so glad Season 14 also gave us the equally delightful Taylor, Kiki, and Koine.

Season 5

Jeanine Mason—in our opinion one of the best dancers to actually win the show—will forever have a special place in our hearts. And that Travis Wall "If It Kills Me" routine? Instantly iconic.

Season 11

Two words: Ricky Ubeda. Need we say more? His season 11 audition clearly speaks for itself. This was also the season that featured the one and only Misty Copeland as a guest judge.

Season 10

Season 10 included so many amazing dancers we're still following. Amy Yakima, Fik-Shun, Jasmine Harper, Makenzie Dustman, Jenna Johnson, Paul Karmiryan, Nico Greetham, Curtis Holland—pretty much everybody #slayed.

Season 13

This is controversial, but we totally loved "SYTYCD: The Next Generation"! Thank you, Season 13, for introducing the world to the charms of J.T. Church, Kida Burns, and, of course, Tate McRae, whose legs are longer than most people's life spans.

Season 2

Travis Wall and Benji Schwimmer and Allison Holker, plus the introduction of Cat Deeley, plus all kinds of instant-classic routines (hello, Wade Robson's "Ramalama Bang Bang" and Mia Michaels' "Calling You")?! Season 2 was so good, we're STILL talking about it 12 years later.

World, if you haven't already, meet Jay Ledford.

She's an incredibly gifted 18-year-old student at the Kirov Academy of Ballet with lines for dayyyyys. She's also transgender. And describing her as inspiring is a bit of an understatement.

Jay began transitioning relatively recently, and has been documenting her journey on Instagram. She's an active advocate for transgender youth, the kind of role model that so many young people—inside and outside of the dance world—need right now.

She's also just. so. beautiful. I mean:

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Recently, in a post for New York City Ballet's "With Ballet" campaign, Jay talked about how ballet has helped her become her most authentic self:

"With ballet I am able to be who I am. I am able to express myself in ways that aren't possible through words. Being transgender I am able to not only express who I am through ballet but I am able to show others that you can do anything without giving up. Ballet is a way to get away from everything and just breathe. Dance is a breath of fresh air."

Keep living your truth, Jay. We're predicting great things for you—and the other trans trailblazers of the dance world.

A lot of what's happening in the world today can be hard to talk about—It's too upsetting, too controversial, or too ugly for words to do it justice. But dance can. And crew Choreo Cookies showed us just how powerful dance's impact can be with its latest performance, a meditation on discrimination in America, at Arena Dance Competition in LA.

The routine opens with a video montage including clips of police brutality and audio from Martin Luther King Jr.'s "I have a dream" speech. The lights go up to reveal costumes in a gradient of skin colors. Personal commitment to the cause augments the crew's incredible togetherness and dynamism.

Unsurprisingly, the crew, led by co-directors Carlo Darang and Jason Patio, placed first at Arena Dance. Watch Choreo Cookies use dance to promote equality at a time when that message is truly needed.

The North American tour production of The Phantom of the Opera is massive, with a large cast and a fabulously elaborate set (including that famous chandelier). How do all those moving parts get from city to city, giving audiences across the country the same spectacular show? Unsurprisingly, cast and crew alike have their travel routines down to exact sciences. We talked to Emily Ramirez, a former professional ballet dancer who stars as Meg Giry, and to production stage manager Heather Chockley about how Phantom hits the road.

A crew member adjusts the famous chandelier (photo by Matthew Murphy, courtesy Broadway Booking Office)

When your show includes a one-ton chandelier, a huge revolving wall, double-height opera boxes, 100 moving lights, and almost 100 wireless microphones, preparation for each stop on the tour has to begin well in advance. "About a year out, our production guys will go to each prospective theater and get every possible measurement," Chockley says. "Then we'll drop our show map onto their theater map, and troubleshoot sticking points." Large theaters, like the Kennedy Center in DC or the Hobby Center in Houston, don't require many adjustments. But in smaller locations, significant changes might have to be made to accommodate the complicated production. "For one theater in South Bend, IN, we had to add a big structural steel beam over the audience to hang the chandelier from," Chockley says.

The chandelier in its cover (photo by Matthew Murphy, courtesy Broadway Booking Office)

"The chandelier is its own beast," Chockley says. "It fills the whole width of its truck, and has its own traveling cart. We usually have to build some portable decking over the seats to roll it out, and we'll have previously installed some motors in the ceiling to pick it up. Then, there's all kinds of safety testing that happens based on the height it'll travel in the theater."

Ramirez as Meg Giry (photo by Matthew Murphy, courtesy Broadway Booking Office)

For the cast, traveling looks a little different every time. "There's always a company travel option—a flight, or a bus, arranged by the show," Ramirez says. "But you don't have to take it, and a lot of people do their own thing. You might be able to take a buyout for the price of the flight and book a ticket home for a day or two, for example. I tend to switch it up."

The corps de ballet in "Hannibal" (photo by Matthew Murphy, courtesy Broadway Booking Office)

Because Phantom's set covers the entire stage, including the floor, the dancers don't have to worry much about variations in stage dimensions or floor surfaces. Backstage, however, is a different story. "We might get lucky and have a full mirrored, marleyed studio to warm up in," Ramirez says. "Or we might be warming up in a triangle-shaped storage closet with carpet on the floor!"

Dancer Daniela Filippone warming up (photo by Matthew Murphy, courtesy Broadway Booking Office)

Staying in shape on the road poses a special challenge for the show's dancers. "If I know I'm going to be stuck on a plane or bus for a while, I'll do little things to keep the juices flowing," Ramirez says. "In the airport, I never get on the people mover or take the escalator; I'll always walk. If I have a long layover, I'll walk the entire airport!" Once in her hotel room or Airbnb, she'll do some kind of workout that involves her own body weight—Pilates, yoga, or TRX. And she counts her humidifier, collection of essential oils, probiotic supplements, and neti pot among her travel must-haves. "Just keeping yourself healthy on the road is a full-time job," she says.

Tutus backstage, ready for the dancers' quick change (photo by Matthew Murphy, courtesy Broadway Booking Office)

To transport sets and costumes, the show uses 20 semi-trailer trucks. All of the show's scenery breaks down into "manageable, or at least truck-sized, pieces," Chockley says. Most costumes travel in big rolling closets with hard shells, which the crew calls "gondolas."

Ramierez prepares for "Masquerade" during intermission (photo by Matthew Murphy, courtesy Broadway Booking Office)

Despite the complexity of the show, load-in and load-out happen quickly—feats made possible by the intensive advanced planning. "Standard load-in is three days, with a show the evening of the third day," Chockley says. "Then we'll have about 15 hours to get everything out afterward. It's always easier to take a puzzle apart."

Ramierez and the corps onstage (photo by Matthew Murphy, courtesy Broadway Booking Office)

The cast has relatively little prep time before the first performance in a new theater. "Usually we'll be called in at 5 pm, and we'll run different pieces from a couple numbers and then one number in its entirety," Ramirez says. "But that's not really for us; it's for the sound people, to get their levels right in the space." At 8 pm that same day, they perform their first show. "Unless we're putting in a new person, we don't have other rehearsals built into the schedule," Ramirez says. "We might go a month or two without rehearsal. But when you're performing eight times a week, you know what you're doing."

Dance Captain Lily Rose Peck repairing her shoes (photo by Matthew Murphy, courtesy Broadway Booking Office)

Despite the sometimes less-than-glamorous daily realities, Ramirez finds touring life deeply fulfilling. "This show has such an incredible reputation and history," she says. "There are a lot of variables when you're on the road, but no matter how I'm feeling or what kind of warm-up I just had or what my flight was like, the thing that's always consistent is that I want the audience to have an amazing experience. That's what keeps me grounded."

A version of this story appeared in the July/August 2018 issue of Dance Spirit with the title "Let's Take This Show on The Road."

You're in a studio that's not your own, surrounded by dancers you don't know. You're excited and nervous, all at the same time. It's the first day of your summer intensive, and you're eager to make a good impression. But how? We asked the experts for advice.

On Mentality

Before you even take your place on the barre, you make an impression. In fact, studies show that a first impression is made in a matter of seven seconds, with attitude leading the list of what's considered. At a summer intensive, attitude is often the first tell-tale sign of whether or not a student will succeed. Be aware of your body language and how you interact with those around you. Crossing your arms, leaning on the barre, rolling your eyes at corrections, and scoffing or snickering at faculty or fellow students can communicate a bad attitude.

Raegan Wood, director of the Taylor School, says a student's overall mentality is integral to the impression he or she makes. "Students who have a really positive attitude and a great work ethic, coming with a real willingness to learn, are the ones who stand out the most," Wood says. Bill Piner, director of the Ballet Austin Academy, agrees. "I'm drawn to students who are really present and come in with a very open attitude," he says.

A Ballet Austin summer intensive student with academy director Bill Piner (Anne Marie Bloodgood, courtesy Ballet Austin)

On Approach to Training

While summer intensives focus on increasing technical proficiency, teachers consider a host of factors beyond technique. Just because you can turn like a top or développé past 180 degrees doesn't mean you're guaranteed to make a good impression. Both Wood and Piner agree that a student's approach to training goes hand in hand with the height of their extensions or the quickness of their jumps. "It's one in the same," Piner says. "You can't have one without the other."

Wood says a dancer's eagerness to learn can offset what they lack in technical skill. "What factors the most in terms of leaving a really good impression is how engaged they were in the process, and how excited they were to learn," she says. The best impressions are made by those students who are invested, focused, and committed—both in class and rehearsals.

To Piner, students who wholeheartedly apply what they're given in class and rehearsal—no matter how foreign it may feel—make the best impressions. "I appreciate dancers who really try to work in class, not just show what they already know," he says. "I want students to be willing to push outside of their comfort zones."

Students in class at a Taylor Intensive (Alan Olshan, courtesy Paul Taylor American Modern Dance)

On Conduct—In and Out of the Studios

Whether far away or close to home, summer intensives mean some degree of independence. But with that independence comes responsibility.

Piner says that a student's conduct both inside and outside the studio—their adherence to everything from dormitory rules to studio policies to dress codes—is just as important as their artistry and technical ability. The decisions you make in every situation influence the impression you leave, and, potentially, the opportunities you're offered. "If they can't adhere to our policies even for the six weeks of the summer program, it's a real red flag for us," Piner says.

Ballet Austin summer intensive students with associate artistic director, Michelle Martin (Anne Marie Bloodgood, courtesy Ballet Austin)

On Communication

No one's perfect: Everyone oversleeps, gets hurt, and makes mistakes sometimes. It's not the end of the world. What matters is how you handle those situations.

Piner explains that communication is key to making and maintaining a good impression. "Communication is absolutely the best way to work through whatever situation is going on," he says. Without it, you run the risk of allowing faculty to make incorrect, and potentially unfavorable, assumptions about you.

Don't be afraid to talk to your teachers about whatever may be holding you back. They want what's best for you, but they can't read your mind.

Students in class at a Taylor Intensive (Alan Olshan, courtesy Paul Taylor American Modern Dance)

On Why It Matters

The dance world is small—smaller than you think—so the impressions you make during your training truly make a difference. You never know who a director may talk to, or when you'll cross paths with faculty again. Summer intensives are prime pools from which to draw potential year-round students or future company members, and teachers are always on the lookout for dancers who might be good fits.