A lot of ballet men play around a little in pointe shoes—to get a feel for what their partners are experiencing, or just because they're curious.

But Houston Ballet's Hayden Stark, Derek Dunn, and Daniel Durrett aren't playing.

They're SLAYING. SO. HARD.

Houston Ballet just finished a run of La Bayadère , which is renowned for its beautiful corps of Shades women. Stark, Dunn, and Durrett decided to tackle the ballet's infamously difficult Shades variations, in pointe shoes and tutus (and, in Dunn's case, an adorable little man bun).

These variations are killer for even the most experienced ballerinas, but the trio proved to be up to the challenge:

Why are we particularly obsessed with this vid? Because these men are completely serious, completely in earnest, about doing justice to this iconic choreography. They're not just impressive technically; they're also impressive artistically.

Hey, Hayden, Derek, and Daniel: Can we make a guest appearance with The Trocks happen? Pretty please?

Great contemporary choreographers and soulful singer-songwriters have always made for a perfect match. That's why we were thrilled when we found out "SYTYCD" and "Dance Moms" choreographer Kristin McQuaid created the music video for "Light the Sky," a hit single from "America's Got Talent" winner Grace VanderWaal.

"Grace has inspired me since she was on 'AGT,'" McQuaid told Just Jared Jr . "I cannot believe a 12-year-old writes, plays and sings all of her own music. It's unbelievable!"

Even more unbelievable is how perfectly VanderWaal's uplifting song and McQuaid's dreamy choreo (for a whole crowd of "SYT" alums) go together. But don't take our word for it—watch for yourself below!

Looking for an extra dose of inspiration this weekend? Chloe Lukasiak can help!

In this video for Seventeen Magazine, Chloe's absolutely radiant as she dances through the streets of NYC, opening up about rediscovering her love of dance, and offering some sage advice about not letting haters get you down. (Not to mention, her outfit's on point. #ShoeEnvy, much?) It's a great message and a great watch—catch the full vid below!

...This clip, "'Hamilton' Choreographer Breaks Down His Moves," popped up on my YouTube recommended list. I mean, I could watch Hamilton 's dance wizard Andy Blankenbuehler talk about anything. Have you read our interview with him back when he was making the moves for Bandstand ? The guy is freaking fascinating.

In this video for the Wall Street Journal , Blankenbuehler and Hamilton 's dance captain/associate choreographer Stephanie Klemons break down about 15 seconds of ensemble choreography from the huge production number "Yorktown (The World Turned Upside Down)." Dissecting every single gesture and the inspirations behind each movement, Blankenbuehler reveals so clearly why he's a 3-time winner of the Tony Award for Best Choreography.

So whether you're a huge choreography nerd (hiiiiiii) or just a Hamilfan looking to reignite the obsession, you'll love this next 4 minutes of your life:

You should know Leiomy Maldonado's name, because she's shaped the way you dance. Called the "Wonder Woman of vogue," the trailblazing artist was the first transgender woman to appear on "America's Best Dance Crew," as part of the Vogue Evolution crew. And her signature " Leiomy Lolly " hair flip has inspired everyone from Beyoncé to FKA Twigs to Willow Smith to, odds are good, your own teachers and choreographers. (Smith even asked Maldonado to appear in the video for "Whip My Hair," to show the world how to do the flip properly.)

Now, Maldonado is the star of a new Nike ad celebrating the queer and transgender dancers who form the heart of the voguing community. Directed by Daisy Zhou, the spot is narrated by transgender artist Precious Angel Ramirez, and showcases Maldonado's extraordinary skills, as well as those of several other dancers from the vogue scene.

"Hey Lei," Ramirez asks, "which angels gave you their wings? Which skies have you flown? And when you reached the heavens, who was there to catch you when you fell? And did they tell you that you saved them too, like you saved me?"

It's a beautiful message of self-acceptance, and it resonates especially powerfully during Pride Month.

Performing on a Broadway stage might seem glamorous, but it comes with one of the most grueling schedules a dancer can face. Maintaining your stamina and energy, warding off injury and keeping the material fresh for eight shows a week is no joke. So how do dancers do it? Dance Spirit talked to ensemble members from some of Broadway's danciest shows to get their survival tips.

Balancing Act

You may not have to report to the theater until late afternoon, but that doesn't mean you should jam-pack your days with classes and workouts. "The hardest challenge for me when I started was saving enough energy to get to the 8 pm show and be able to perform at one hundred percent," says Broadway veteran Donna Marie Asbury, who's been dancing in Chicago for 18 years. While she does hit the gym three or four times a week, she's careful not to overexert herself, and she makes plenty of time to rest.

Your muscles also get used to repeating the same choreography every night, so a smart cross-training regimen is essential. "You can get imbalanced doing something on the same leg eight times a week—that's when injury starts to happen," says Hamilton ensemble member Rickey Tripp. He incorporates yoga, Pilates, Zena Rommett Floor-Barre and active isolated flexibility (a stretching technique designed to improve range of motion) into his weekly routine to mix things up.

Set Yourself Up for Success

On the days you're feeling tired, take advantage of downtime at the theater. Tripp swears by the 15-minute power nap, especially on two-show days. And fuel your body with food that will give you the energy you need, instead of slowing you down. "I try not to eat too huge of a meal before the show," says Aladdin ensemble member Andrew Cao. He typically goes for a salad, with grains like brown rice or quinoa. During the show, he'll snack on almonds for a quick energy boost, and drink plenty of water.

Donna Marie Asbury (second from right) in the ensemble of "Chicago" (photo by Jeremy Daniel, courtesy Boneau/Bryan-Brown)

Listen to Your Body

In between shows, take care of yourself and address any soreness you may feel. "The power of Epsom-salt baths and ice is unbelievable," says Asbury, who also takes advantage of the physical therapy offered by the theater. Some aches and pains are a given, but don't ignore the signs of a more serious injury. Tripp stresses that dancers shouldn't be afraid to speak up if their pain feels like it could become a long-term issue. And if you're recovering from an injury, be honest with yourself about what you can do. Cao, who's been nursing a shoulder injury, is still able to perform but knows when to modify his approach. "You have to find a way to slightly adjust things to prevent further injury," he says. For instance, without changing the choreography, he had to tweak the way he dips his partner in one number. "I had to compensate by supporting her more with my good shoulder and letting the left arm do a bit less work."

Find Something New Every Night

Playing the same character and doing the same moves over and over again can get monotonous, but there are little ways to keep things exciting. "I give myself a challenge each show," says Tripp, who looks for opportunities to find something new in the choreography. That could mean making eye contact with a different person than usual, looking at a different part of the set or accenting a slightly different moment in a phrase. Playing off your fellow dancers, both onstage and off, helps too. "We play silly games before the show starts, to get us laughing and having a good time," says Cao. And there's one thing that's different every night, no matter what: the audience. "You're never going to get the same reaction twice, so you always have to be on your toes," says Asbury. "You have to stay in the moment."

Ultimately, remember that you're out there doing what you love—and have fun with it. "Eight shows a week is tough," Cao says, "but it's a pretty awesome way to make a living."

This week, we're in the Big Apple: home of Broadway, New York City Ballet, and Dance Spiri t HQ! They say if you can make it here, you can make it anywhere. So who made it to The Academy this week? Pretty much everyone—with lots of amazing Vanessa Hudgens one-liners along the way. (We love you, Vanessa!)

Let's give it up for the night's standout performers—because they're all going to The Academy!

Kaylee "Impavido" Millis

She says Impavido is "Italian for 'to fear less," and that's what she stands for as a dancer. Kaylee has always wanted to be a dancer, and when she was young her parents were like, "Nah, you can pay for that hobby yourself." So, at 12, she got a job working at her mom's deli, and used the money to travel and dance. (If Kaylee looks familiar, it's probably because you've seen her as a PULSE Elite Protégé.)

The judges say: Nigel praised Kaylee's individuality and her "neat style" and "great face where you know you're pleasing people." He also liked her funk. Mary "absolutely loved it."

Vanessa says: "So beautiful! You are such a beautiful dancer! So much precision. Your groove is amazing. Beautiful, beautiful dancer."

Ana Sanchez

The 4'11" ballroom dancer tells Cat Deeley in her pre-performance interview that she "wants to get on the Hot Tamale Train." Spoiler: She does. (Also, can we puh-lease get some more Cat Deeley up in here?) Ana and her partner (who isn't technically auditioning because he's "too old") perform a Colombian salsa, which, they explain, is faster and has more flavor and passion than a regular salsa. (Sounds like some salsa shade-throwing, amirite?) The lifts were great, but Ana seemed more focused on the steps than on having fun with them.

The judges say: Mary screamed really loud, then praised Ana for her stamina and called her a "little hot tamale." Nigel liked the lifts and said he "can't wait to practice some of those lifts with Vanessa." 😬

Vanessa says: "YAS QUEEN! Good things do come in small packages! That was so fun! The way you're like WOO when you're dancing!"

Koine Iwasaki

The Japanese-born dancer—whose parents are both sushi chefs—says dance "helps her communicate in a way that language can't." That is so beautiful, and so was her performance. Lots of deep second pliés, loads of emotion, and one very bendy back.

The judges say: Standing ovation! Nigel said she had power, strength, and tremendous technique, and that her performance was very professional. Mary appreciated the layers to her performance, as well as her beauty and strength.

Vanessa says: "Oh my gosh, oh my gosh. I got chills when you hit your last pose. Your control! Your precision! You showed so much. When you smiled, I literally said awwww and it just made me so happy."

Joseph "Klassic" Carella and Huwer "Havoc" Marchet

Their style is called "flexing," and you can read more about it (and see it!) here . It's a genre that originated in Brooklyn, and it involves "connecting, punchlines, grooving, gliding," and other elements. It's weird and different, and we would've liked to see them go to the choreography round, but...

The judges say: ...straight to The Academy! Nigel says it was very artistic, and he thinks Havoc is a genius. Mary says it was "sick."

Vanessa says: "You like, told a story. And there was like, some comedy." (Bless your happy heart, Vanessa.)

Chaz Wolcott

This guy! He's a professional Broadway dancer who toured with both CATS and Newsies , so there's that. He's also on faculty at Broadway Dance Center. As if this tapper's not going to get through. His sounds are clean, he's super classy, and he pirouetted for long enough that the cameras eventually cut away to Vanessa screaming "YAS!"

The judges say: Standing ovation! Mary says Chaz was the first tapper to get her teary-eyed, and Nigel says Chaz was one of the best tappers he's seen in years.

Vanessa says: "You are so good! So so good! I felt you through your dance. There was a certain yumminess to your dancing."

Ryan Bailey

He's a quirky guy who has his own quirky contemporary style, and we love him. He says his style "sometimes confuses people" (foreshadowing), but it's nice to see some totally original work. He danced to "Time of My Life"—that Dirty Dancing classic—and took it in a totally unexpected direction.

The judges say: They didn't so much say words as they did just kinda fumble around looking for the right way to describe what they'd just seen—but they knew they liked it.

Vanessa says: "Your routine was really confusing to me. I saw a duck..."

That's all for this week! There's more to come from NYC, so we'll see you back here next time!

Oh man. This is getting ROUGH.

Last night marked the second round of head-to-head duels on "World of Dance." Once again , we were feeling real pity for the judges—and it takes a lot for us to pity J. Lo—because we've reached a point in the competition where there aren't any clear winners. Everyone's insanely good. And yesterday's showdowns paired acts that were so unalike, comparing them felt a little unfair.

So, who emerged from these cruel duels victorious?

Les Twins vs. Kyle Van Newkirk

Actually, OK: We did call this one. We had a feeling that our favorite Parisians , who earned the highest score in the qualifying round, would continue their leaderboard domination, and their creepily mesmerizing routine didn't disappoint. That said, tapper Van Newkirk gave the twins a run for their money with his hip-hop-meets-old-Hollywood solo.

Winner: Les Twins

Diana Pombo vs. The Posse

Sometimes we feel weird about large groups competing against solo acts. But tiny Diana Pombo's warrior-princess routine had more emotional juice than The Posse's clean but comparatively dry number.

Winner: Diana Pombo

Super Cr3w vs. Royal Flux

This competition's arena-style setting definitely gives high-energy hip-hop acts an edge. While Royal Flux's contemporary routine featured gorgeously intricate lifts and knotty formations, Super Cr3w's world-class b-boy tricks just played better on the "WOD" stage.

Winner: Super Cr3w

The Lab vs. Boys of Temecula

This was one of the tightest races of the night, mostly because the dueling acts—both large groups of hip-hop kids—had so much in common (for once). Ultimately, The Lab's boxing-themed routine packed a bigger punch (sorry) than Boys of Temecula's sweet but one-note number.

Winner: The Lab

The next "WOD" episode (the show returns July 11, following the Independence Day holiday) features the third and final round of duels—which, apparently, includes a three-way battle. Color us intrigued!

We've said it before and we'll say it again: dance and film are made for each other. In the past couple of years, ballet companies have used the medium to promote new work, creating "trailers" that give beautiful peeks at upcoming premieres. These short films reach many people who are unable to see the ballets performed live—and they definitely debunk the misconception that ballet is boring. Here are five of our all-time favorites.

1. Justin Peck's In the Countenance of Kings

Justin Peck + Sufjan Stevens + a rustic location + San Francisco Ballet's beautiful dancers = the perfect trailer. The director, Ezra Hurwitz—a former dancer with Miami City Ballet— explained that he filmed several sections from the ballet and set them to different parts of the music, but the result feels effortlessly seamless.

2. Myles Thatcher's Ghost in the Machine

This film features choreographer Myles Thatcher preparing for and rehearsing his new ballet. The propulsive Michael Nyman score creates a feeling of anticipation and excitement.

3. Justin Peck's The Times Are Racing

Film a ballet trailer in an NYC subway station? Sure, Justin Peck can do that! This excerpt from his sneaker ballet—which features Peck and Robert Fairchild in a nonstop duet—seems to have more in common with tap than ballet, and it generated a lot of excitement for the ballet's premiere.

4. "Now More Than Ever"

"Now More Than Ever," also directed by Ezra Hurwitz, premiered on the opening night of Ballet Across America, and served as a promo not for a single ballet but for the festival as a whole. Choreographed by American Ballet Theatre principal Marcelo Gomes, it features ABT's Stella Abrera, Isabella Boylston, Calvin Royal III, James Whiteside, and Gomes himself dancing all over the beautiful Kennedy Center.

5. New York City Ballet's 2017-2018 Season

New York City Ballet's videos are always genius. This trailer for the company's whole 2017-2018 season, directed by Bon Duke, transports the viewer to another world.

Attention, ladies and gentlemen: We've officially hit Nationals season! And that means it's time to dig through those closets to find the perfect clothes to get you noticed during convention classes. The task can feel totally overwhelming—but we're here to help. Follow our guidelines, and you'll be rocking the dance floor with Travis Wall and making Stacey Tookey yell "GORGEOUS!" in no time.

1. DON'T choose slippery footwear.

Giphy

Make sure whatever you put on your feet has enough traction for those slick convention ballroom floors. Find a sock or shoe that has great turning potential, but can simultaneously handle an Andy Pellick combo without making you fall flat on your face during a battement.

2. DO wear clothes that elongate your lines.

Christina Riccuci serving up some stunning lines (courtesy Break the Floor Productions)

How many times have we all been told to elongate? So. Many. Times. So don't let your clothes shrink you! For an an extra bit of length, avoid pieces that cut off your lines. Certain capris and crop tops can keep you from showing the full beauty of a movement.

3. DON'T wear something uncomfortable.

Giphy

Just don't do it. Can you imagine learning Misha Gabriel's fast and intricate movement while wearing the world's most restrictive halter-top? YIKES! Only choose items you can move and breathe in. Those days of classes are long and exhausting, and you deserve to feel good.

4. DON'T dance with your hair in your face.

StockSnap

There are few things more powerful than a well executed, perfectly timed hair flip (aka Leiomy Lolly). That being said, nothing's more distracting than hair you just can't get out of your face. Make sure your hair doesn't pull your focus away from the choreography, and that teachers and judges can connect with your eyes when you perform.

5. DO wear something that makes you feel awesome.

Giffy

Confidence at convention is key. From the first moment you step into that room, teachers and students can sense how you feel about yourself. Wear something that makes you feel like the best version of you—regardless of what everyone else is wearing. You'll dance better when you know you look good.

Knock 'em dead, people! This is your year!

The Big Apple is dancer heaven, with more to do and see than anyone could possibly exhaust. Want to make the most of your visit? Take the personality quiz below to get an itinerary tailor-made for your dancer needs.

Meet Your Tour Guides

• Traci Finch of New Chamber Ballet, The Suzanne Farrell Ballet and CelloPointe

(Photo by Rachel Neville, courtesy CelloPointe)

• Jacoby Pruitt of Ailey II

(Photo by Whitney Browne, courtesy Alvin Ailey American Dance Theater)

• Katie Currier of Peridance Contemporary Dance Company

(Photo by Cesar Brodermann, courtesy Peridance Contemporary Dance Company)

• Kaleigh Cronin of A Bronx Tale: The Musical on Broadway

(Photo by Jeffrey Mosier, courtesy Kaleigh Cronin)

1. What's on your feet?

a. stillettos

b. birkenstocks

c. heeled booties

2. You never leave the house without:

a. journal

b. camera

c. headphones

3. Your ideal Friday night includes…

a. …dressing up for a fancy dinner with a few friends

b. …getting lost in a new neighborhood

c. …throwing a dance party in your basement

4. Pick one:

a. shine

b. shimmer

c. sparkle

5. Your spirit animal is:

a. cat–graceful and elegant

b. snake–grounded and flexible

c. bird–energetic and flashy

6. What hurts the most right now?

a. your hips

b. your knees

c. your feet

7. What do you look for in a theater?

a. marley flooring and orchestra seating

b. intimate seating and unique character

c. great acoustics and trap doors

8. Your favorite song…

a. …has incredible instrumentals

b. …isn't being played on the radio right now

c. …has lyrics that give you the feels

If you answered mostly A's: You're an Uptown Girl

Everything is beautiful at the ballet, and you like to keep things classy.

1. Start off at Milos Café and Yogurt Bar (135 W 56th St) for a morning yogurt. Traci Finch says: "It's right outside of New York City Center, where I rehearse with New Chamber Ballet. I love going there for a healthy pick-me-up before a long day of dancing."

2. Try out a Cunningham Trust class at New York City Center Studios (130 W 56th St). "At just $15, it's a real bargain in the city. And it's a great technique challenge for ballet dancers," Finch says.

3. Grab a light lunch at Fairway Market (2131 Broadway). Finch says: "It's great because their bowls are cheap, and you get to choose exactly what you want. I love the rice with chicken and veggies."

4. Head back to class at Steps on Broadway (2121 Broadway). Finch says: "I always take Wilhelm Burmann's ballet class. He can be a bit intimidating for the walk-off-the-street dancer, but he'll really push you."

5. Treat yourself to a giant cookie from Levain Bakery (167 W 74th St).

6. Dress in your theater best for an evening at Lincoln Center to see American Ballet Theatre (Metropolitan Opera House, 30 Lincoln Center Plaza).

7. Get your postshow noms at Souvlaki GR's Midtown location (162 W 56th St). "We love hanging out there after performing at City Center—great food and environment," Finch says.

Pro Tips:

• If you're a ballet fanatic, consider heading down to Gibney Dance's 890 Broadway location. "Ashley Tuttle gives a great all-around ballet class. She's so encouraging, and you'll end up doing all this crazy stuff you never thought you could do," Finch says.

If you answered mostly B's: You're a Downtown Diva

You love getting grounded in hole-in-the-wall studio spaces and unique, hidden venues.

1.Start your day off at Café Mocha (116 Second Ave) for a flavored latte and a breakfast sandwich, or at Liquiteria Juice Shop (Union Square East, 145 Fourth Ave). "The Mean Green Smoothie is the perfect healthy sugar boost," Katie Currier says.

2. Stop by Peridance (126 E 13th St) for a ballet or contemporary class. "Julia Ehrstrand's contemporary is a great class to just move your body," Jacoby Pruitt says.

3. If it's a nice day, head east to Alphabet City for brunch at Pardon My French (103 Avenue B). Currier says: "They have an outdoor garden that's the perfect place to relax in."

4. Head over to Movement Research (55 Avenue C) for a $14 drop-in class, or just to check out the dance-lab space. Or head south to Gibney Dance (280 Broadway). "If anyone from Bill T. Jones is teaching, take the class. It's life-changing," Pruitt says.

5. For your evening entertainment, check out the lineup at Danspace Project at St. Mark's Church (131 E 10th St), or head up to The Joyce Theater (175 Eighth Ave).

6. Grab a postshow dinner at Brazen Fox (106 Third Ave). Currier says: "We spend most of our postshow nights there. Their burgers are unparalleled, and the brussels sprouts are surprisingly delicious."

Pro Tips:

• Want to get away from the crowds? "I love wandering west to Battery Park. There are grassy spaces by the piers that are super-calm and inspiring," Currier says.
• If you can pull yourself away from the East Village, drop by Ailey Extension (405 W 55th St) to take class—and enjoy the studios' beautiful views!

If you answered mostly C's: You're a Midtown Mama

The Great White Way is your runway, and you're ready to see your name in lights.

1. Start your day with a good sweat at Dance Body (939 Eighth Ave and 520 Eighth Ave). Kaleigh Cronin says: "Take Rachel's cardio and toning class. You'll get an amazing workout without even noticing."

2. Get your caffeine fix at La Masseria Café (235 W 48th St). "It's run by the sweetest Italian men, and the coffee with caramel is delicious," Cronin says.

3. Head west for class at Broadway Dance Center (322 W 45th St), where you can take everything from Broadway jazz to locking.

4. Grab lunch at City Kitchen (700 Eighth Ave). Cronin says: "It's an urban upscale cafeteria right in the Broadway theater hub. There are several different restaurants to choose from, with communal seating, so it's a great place to hang out preshow."

5. Head north to Steps on Broadway (2121 Broadway) for Nick Palmquist's commercial jazz class. "It's easy to get sidetracked with the business side of performance. Going to Nick's class reminds me of my pure love for dancing, and since a lot of my Broadway friends take his class, as well, it gives me an opportunity to get re-inspired," Cronin says.

6. Drop by TKTS Times Square (1565 Broadway) for last-minute, discounted theater tickets.

7. After your show, dine at Glass House Tavern (242 W 47th St) for some Broadway people-watching. "It's the Broadway hangout, so you'll spot tons of familiar faces," Cronin says.

Pro Tips:

• Step off Broadway! While not in the heart of midtown, Sleep No More at McKittrick Hotel (530 W 27th St) is a must-see for performers. "It's an immersive theater experience, and it's so different from Broadway," Cronin says.
• "Midtown isn't just Times Square craziness. I love taking a calm stroll down Ninth and Tenth Avenues, where there are fantastic, quiet restaurants and less-trafficked music venues," Cronin says.

Final Tips from Your Tour Guides

Traci Finch: "While the Upper West Side may be the hub for ballet dancers, it's nearly impossible to find affordable rehearsal space there. It's a bit of a hike, but Spaceworks NYC in Long Island City, Queens [33-02 Silkman Ave] is the rehearsal spot for independent projects right now."

Jacoby Pruitt: "It's really fun to walk the streets of the East Village. Drop into galleries, check out graffiti, lose yourself in the energy and art of the environment."

Kaleigh Cronin: "Don't prejudge the hop-on-hop-off double-decker bus tours! Even as a local, I learned so many things about Broadway on the midtown loop."

Bless Channing and Jenna Dewan Tatum for understanding that our Step Up love burns with a flame that will never die. It's just been announced that the magical twosome are executive producing "Step Up: High Water," a new series based on the Step Up franchise coming to YouTube Red this fall. And as you'd expect of a Tatum family production, the dancing looks like it's going to be very, very legit.

The 10-episode drama will revolve around students at the (fictional) High Water Performing Arts School in Atlanta. Our "Glee" love Naya Rivera will play a former dancer who's now an administrator at the school, and who has a bit of a history with the school's founder, played by Ne-Yo. None other than Jade Chynoweth will appear as a series regular, and the cast also includes Disney phenom Lauryn McClain and commercial queen Kendra Oyesanya.

"Step Up: High Water" is YouTube Red's first large-budget original drama. We're pretty excited that they decided to invest big in such a dance-y project. (And in #TeamTatum. #TeamTatum is always a good bet.)

Obviously we'll be all over this story, but follow @stepupseries for up-to-the-minute info about the show.

Broadway baby Paloma Garcia-Lee has been all over the Great White Way: She's performed in The Phantom of the Opera , Nice Work If You Can Get It and On the Town , and was the dance captain in Natasha, Pierre & the Great Comet of 1812 . Her mom was a Broadway performer as well, and Lee grew up training at the studio her mother owns, The Pennsylvania School of the Performing Arts, in Newtown, PA, and commuting back and forth from NYC to take class at Steps on Broadway during the day. By the time she was 14, Garcia-Lee was studying ballet seriously at North Carolina School of the Arts. These days, the 26-year-old is performing in Charlie and the Chocolate Factory.

Dear Paloma,

You're first and foremost a passionate human being. Keep that endless fire burning. Never stifle the passion you have in your heart and soul. You're so driven and you never let anyone stand in the way of what you want. Never, ever lose that tenacity. It's one of the things I adore most about you.

You don't know exactly where you're going to land yet, but know that what is meant for you will not pass you by. You love to dance, sing and act, and, most importantly, you love to work. Keep loving the work and the process; always be a student and seek to better yourself as a person and an artist. If I ask you to trust that it's going to be even better than you imagined, take a chance
and believe me. Trust that the universe is conspiring for your greater good at all times.

In "Natasha Pierre & the Great Comet of 1812" (photo by Matthew Murphy, courtesy Garcia-Lee)

You're not conventional. You're unique, and while that might be uncomfortable at times, it's something I want you to start celebrating. Each of us has a magic all our own, and the people you look up to now have embraced their singular magic. Soon, you'll see that you need to step up and claim yours, too.

I'm learning that the journey is still just beginning. I'm 26 and am dreaming bigger than ever before. I feel like I'm just now at the very beginning of my career and there is so much that I still want to do. I want you to know that I'm very, very proud of you, and
I really believe that you would be proud of me too.

I love you. I can't wait to see what the future has in store.

Paloma

Garcia-Lee as a young dancer (courtesy Garcia-Lee)

At this point, it's safe to say Emma Portner's imagination knows no bounds. The November 2016 cover star is constantly creating (I'm talking a new, stunning choreo clip on Instagram a day), and her latest project, a collaboration with Ajani Johnson-Goffe called "Lavender," gives us some serious feels.

Portner, who has as much of a way with words as she does movement, explains how she and Johnson-Goffe "carve through through the implicit oppositional issues of private vs. public, quiet vs. loud and seen vs. watched. As performers adhered to an auditorium, [we] deconstruct the confines what it means to perform. Moving boldly as a form of existence with a quest to belong." As always, her insanely unique movement quality is on full display (not to mention, she and Johnson-Goffe are a match made in dancing heaven). It's an incredible watch—check it out below.

It's been a major week for dance movie sequels. First we got wind of the upcoming YouTube series inspired by Step Up —and now comes the news that there's going to be a second High Strung movie, with a cast just as stellar as the original film's .

High Strung: Free Dance will follow a talented contemporary dancer and an innovative classical pianist as they join the cast of an international live tour called Free Dance. And the contemporary dancer? She'll be played by Juliet Doherty , who's becoming quite the movie star these days. (British actor Harry Jarvis will play the pianist, and Descendants 2 's Thomas Doherty—no relation to Juliet—will play Free Dance's young choreographer.)

Rounding out the dancer cast are familiar names like Desmond Richardson (casual!), Philip Chbeeb , Kerrynton Jones , and Makenzie Dustman . The choreographic team, led by Tyce Diorio , also includes Myles Thatcher and Nakul Dev Mahajan . Oh—and #bosslady Jane Seymour will reprise her role from the original film, too.

High Strung: Free Dance is filming this summer in Europe and NYC, and Dance Spirit' s got the inside scoop. Stay tuned for more info and peeks at the behind-the-scenes action!

Juliet Doherty and Bogdan Radacina on the set of "High Strung: Free Dance" (courtesy Riviera Films)

Netflix's dance movie game is seriously on point(e) right now! We've compiled a list of the best films to help you narrow down your options for your next dance movie night. Check it out!

A Ballerina's Tale

YASSS Misty Copeland!! The queen is on Netflix, and she's serving up all of the inspiration you need to achieve your dreams. This documentary follows her rise as the first African American principal dancer with American Ballet Theatre. It's brilliant. She's brilliant. That's really all there is to it.

High Strung

Fantastic dancing? Wonderful love story? Set in NYC? What more could we ask for? High Strung has a classic dance movie storyline: boy and girl meet, boy and girl fall in love...boy and girl combine hip-hop dancers and classically-trained performers to make dance magic. Follow the love story of Ruby and Johnnie as they prepare for the competition of a lifetime. (And get excited for the sequel !)

Mr. Gaga

Trust us, you're gonna go gaga for this one! The documentary shares footage of rehearsals and performances that celebrate the career of choreographer Ohad Naharin, the artistic director of Batsheva Dance Company who's best known for developing the movement language known as Gaga. The dancing is phenomenal, and your eyes will be opened to Naharin's genius.

Desert Dancer

This film dramatizes the true story of Afshin Ghaffarian, an Iranian dancer who strives to live his dream of becoming a professional dancer despite a nation-wide dancing ban. Watch this the next time you have a rough rehearsal day—it's a great reminder to never take your opportunities for granted.

First Position

Just a friendly reminder that this gem is still on Netflix. Whether you're basking in the memories of YAGP's past, or getting pumped for next year's season, it's always the right time to watch this documentary. Follow the stories of six young ballet dancers as they prepare for one of the most prestigious ballet competitions in the world.

Ballet 422

Any production highlighting the New York City Ballet is bound to be spectacular! This documentary goes backstage with Justin Peck as he creates the 422nd original ballet for the company. It's a must watch for all you bunheads!

Lift Me Up

This film tells the story of a young girl who uses dance to endure and overcome the challenges of loss. It's a powerful story—and oh my goodness, star Sarah Frangenberg is one dreamy dancer. Those feet are everything.

Thanks for making our dance movie dreams come true, Netflix! (And fingers and toes crossed that they add Step Up and Center Stage next...)

In our "Dear Katie" series, former NYCB 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,

My hip flexors are constantly sore. What am I doing wrong technically, and how can I ease the pain? I've tried stretching and massage, but nothing seems to help much.

Christy

Dear Christy,

It sounds like you're gripping your hip flexors without realizing it. To keep that from happening, think about standing nice and tall, creating an extra inch of space in your waist. Don't tuck your pelvis or arch your back; just lengthen. Work on maintaining that sense of length when you dance. Dancers tend to grip their hip flexors when they're trying to flatten the turnout of their supporting leg, particularly during steps like grands battements and développés. Don't let your pelvis tuck when you lift your leg.

Also, make sure you're massaging your psoas muscle, which is in your stomach area (a quick web search will show you exactly where). Tight hip flexors are sometimes due to a tight psoas.

Dear Katie,

My father's in the army, so my family moves all the time. It's hard to find good, consistent dance training when we're never in the same place for long. What can I do to make sure my technique keeps improving?

Alyson

Dear Alyson,

I just married a military man, so I understand what you're going through. When you're constantly moving, it's helpful to keep a technique journal. Write down all of your corrections. When you move to a different studio, reread your journal. If the teachers at your new studio are giving you the same corrections you've been getting all along, you'll have a road map for what you specifically need to work on.

Also, do a lot of research when you're searching for a new dance school. Read faculty bios, look at the class schedule, and see if there are any performance opportunities. Taking the time to find the right school is important.

I know changing schools can be scary, but in the end it might be a good thing for you. It's helpful to hear different people's opinions about your technique! Make a conscious effort to think of your frequent moves as opportunities rather than problems, and stay focused on improving each and every day.

Dear Katie,

I love pointe, but even though I've been on pointe for a year now, I haven't developed calluses on my toes—I just keep getting blisters. How can I get calluses to form? Or am I doomed to have blisters for life?

Julie

Dear Julie,

I feel your pain! I had horrible blisters before my calluses developed. They do take a while, but the exact time frame depends on the amount of time you're spending on pointe. If you dance in your shoes every day, your calluses will develop more quickly. If you only have pointe class once a week, it'll take longer.

If your blisters persist no matter what, visit a professional pointe shoe fitter. Your shoes could be too narrow, or too wide. Sometimes shoes that are too big create more friction, which means more blisters. Once I found my correct size, I almost completely stopped getting blisters—and the same might be true for you!

New York City Ballet soloist and resident choreographer Justin Peck is never not busy: This year alone, he's created works for San Francisco Ballet, Miami City Ballet and NYCB. But Peck's latest ballet for his home company, The Most Incredible Thing , is his biggest production yet. Based on the Hans Christian Andersen fairy tale, it features 50 dancers; a score by Bryce Dessner, of the band The National; and costumes and sets by popular artist Marcel Dzama. Dance Spirit caught up with NYCB corps de ballet member Gretchen Smith, a Most Incredible Thing cast member, to get the scoop on Peck's new work. — Olivia Manno

Dance Spirit : What have rehearsals been like?

Gretchen Smith: I'm constantly in awe of Justin and his brain. He rarely hits a wall with the choreo; he's always got more ideas. He's also open to mistakes, and will use our mess-ups if he likes them. It makes for an encouraging atmosphere.

DS : You've worked with Peck on many of his ballets. What are some of your favorite "Peck-isms" in The Most Incredible Thing ?

GS: There are so many! His ballets are always high-energy and expansive, and his footwork is incredibly quick—it requires mad coordination. There are a lot of beautiful nods to Balanchine, like wide échappés and nuanced movements of the wrists.

DS : Speaking of Balanchine, we know from Peck's Instagram account that The Most Incredible Thing includes some riffing on Balanchine's Apollo .

GS: I can't reveal a lot, but mythology is definitely a huge part of the ballet's structure. I'm one of the piece's nine "muses," and Justin made it very clear that our divertissement was an ode to Apollo and its muses.

DS : Peck is known for his contemporary ballets, but The Most Incredible Thing is based on a fairy tale that's nearly 150 years old. Does it represent a "modern" story ballet?

GS: Well, things that might be more spelled-out in a traditional story ballet are less so in this work. For our roles as the "muses," for example, Justin just wants us to represent nine powerful women. And the dancing feels modern in that it requires a lot of athleticism.

Ah, the world of competitive ballroom dance—there's nothing quite like it. The sparkles, fringe, and super-fierce dancing makes for an all-around amazing experience, and photographer Kurtiss Lloyd perfectly captures this with his photographs of young competitors at a ballroom championship in England.

I mean, seriously guys—how perfect are these dancers? Their costumes and poses are beyond on point, and their confidence is contagious. Catch all the photos below, take notes from them on how to #ownit, and go have a fierce 4th of July weekend!

As dancers, we know how crazy things can get backstage before a show. But backstage before a show by the world-class American Ballet Theatre at the 3,800-seat Metropolitan Opera House? That's a completely different level of crazy.

The New York Times recently took a camera behind the scenes at the Met as ABT got ready for a performance of Alexei Ratmansky's Whipped Cream . They condensed the two-hour tour into a seven-minute video ("Don't blink," says a helpful caption)—and captured a little bit of all the different parts of the Met's bustling backstage world.

We see tons of delicious dance stuff, of course: Misty Copeland warming up in class, David Hallberg texting in a hallway, James Whiteside (ID'ed not only by his given name but also by his drag queen name, which is amazing) prepping to play Prince Coffee. But it's also nuts to realize just how much non-dance stuff is happening inside the giant theater. While ABT may be about to take the stage, the scenic shop is busy crafting faux flowers for an upcoming opera production of Madama Butterfly, and the Met Orchestra is rehearsing Mahler's Symphony No. 1 in a basement room with (very famous) conductor Esa-Pekka Salonen.

Take a look, and then click over to the NYT page for all kinds of other juicy tidbits.