It is perhaps the understatement of the century to say that Misty Copeland—American Ballet Theatre principal, trailblazing role model, and straight-up ballet icon—knows how to work a pair of pointe shoes. But a new campaign for Stuart Weitzman, in which Copeland trades her ballet "boots" for some boots of the more traditional kind, proves (yet again) that she's a dance goddess in any kind of footwear.

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Titled "Step Inside," the shoe brand's holiday campaign includes short videos of Copeland set to a snappy remix of "The Dance of the Sugar Plum Fairy." Because there's nothing this artist can't do, she actually choreographed each of the dance-driven spots herself.

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There's also an interview in which Copeland talks about how central The Nutcracker is to her holiday experience:

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Copeland is always in high demand, but she's been especially busy these past couple of months. In addition to this campaign, she performed alongside Taylor Swift at the American Music Awards, and she's the latest in a line of A-list celebrities to host an online MasterClass. That's all on top of her Nutcracker duties at ABT, where she's scheduled to dance the role of Clara, the Princess beginning next weekend.

From Copenhagen, Denmark, to San Francisco, CA, a ballet student's day starts the same way: with class. Ballet class is a given at schools around the world, but there is a myriad of differences—from the studios to the technique—between them. We decided to pack up our dance bags, grab our passports, and take a trip around the globe for class at four different schools: The Royal Ballet School in London, England; Royal Danish Ballet School in Copenhagen, Denmark; San Francisco Ballet School in San Francisco, CA; and the Tanya Pearson Academy in St. Leonards, New South Wales, Australia.

The Royal Ballet School, London, England

The Royal Ballet School, London, England

The Royal Ballet School, London, England

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The Royal Ballet School, which is the Royal Ballet's official feeder school, is steeped in history. Founded in 1926, its alumni list—which includes Dame Margot Fonteyn, Sir Kenneth MacMillan, and Alessandra Ferri, among others—speaks for itself.

The school, which currently enrolls over 200 students, has two sites: one in Richmond Park, the other in Covent Garden. The Covent Garden campus is adjacent to the Royal Ballet's studios, so run-ins with some of the world's preeminent ballet dancers are a common occurrence. Students at the school learn the official Royal Ballet School System of Training, developed by Dame Ninette de Valois, who founded both the company and the school. It's informed by the many greats de Valois learned from, including Edouard Espinosa, Enrico Cecchetti, Nikolai Legat, and Olga Preobrajenska.

"It is a great privilege to work at The Royal Ballet School with not only students, but also staff, who are focused, committed, and talented. As a team, we are united in the common goal: ensure every student achieves their full potential during their time with us." —Jessica Clarke, artistic manager

"Dancing at The Royal Ballet School is so special because you're treated as an individual and not compared to others. You feel that every teacher really cares about every student, not only in ballet class, but in all aspects of their training and life." —a third-year student

Royal Danish Ballet School, Copenhagen, Denmark

Royal Danish Ballet School, Copenhagen, Denmark

Royal Danish Ballet School, Copenhagen, Denmark

Royal Danish Ballet School, Copenhagen, Denmark

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Founded in 1771, the Royal Danish Ballet School serves as the official training school for the Royal Danish Ballet. The school offers both dance and academic training, thanks to a curriculum provided by the Danish public school system, which means that students graduate with a high school diploma. The school's 110 to 120 students are taught the Bournonville method, founded by Danish ballet master August Bournoville. It's a distinctly Danish technique that emphasizes natural flow, musicality, and alignment.

The theater itself (where all the classes are taught) features beautiful arches, intricate carvings, and large round windows that dot the façade of the upper level, making for a distinctly European feel within the studios."I love passing the school's traditions on from generation to generation. It unites us as a family. Bournonville gives our students incredible strength, musicality, and flow. They channel their inner actor so they can interpret certain roles in the Bournonville repertoire they'll be dancing later in their career." —Thomas Lund, former Royal Danish Ballet principal and current Royal Danish Ballet School headmaster

"I think American ballet students would be surprised by just how unique the Bournonville style really is. It's quite special in Denmark because of its history and heritage within the world of Danish ballet." —Nicolas Markovic, second-year Apprentice Program student

San Francisco Ballet School, San Francisco, CA

San Francisco Ballet School, San Francisco, CA

San Francisco Ballet School, San Francisco, CA

San Francisco Ballet School, San Francisco, CA

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Right in the heart of San Francisco sits San Francisco Ballet School, San Francisco Ballet's official training school. Their training method is rooted in strong classical technique, with equal parts energy and athleticism—a combo that reflects the demands of the company's broad repertory.

SF Ballet School boasts an all-star faculty roster—its teachers have danced with companies including American Ballet Theatre, English National Ballet, and, of course, San Francisco Ballet. The students (all 500-plus of them!) come from all over the world, as well, traveling from as far as Asia and Australia.

"SF Ballet School trains dancers with strong classical technique who can adapt to different styles, preparing them to join companies like SF Ballet, where 65 percent of the company is made up of former students. We pride ourselves on building a roster of teachers who offer diverse perspectives on the art form, and give students the opportunities to perform with the company, tour throughout the world, and choreograph new ballets alongside today's top dance makers." —Patrick Armand, director of SF Ballet School

"I've been training at SF Ballet School for 12 years. I've learned from some of the world's best teachers, performed with the company alongside dancers I've admired since I was a young girl, and have been given the opportunity to develop my skills as a choreographer. I think it's wonderful that we get to take class and rehearse in the same building where company members start their day, too." —Pemberley Ann Olson, SF Ballet trainee

Tanya Pearson Academy, St. Leonards, Australia

Tanya Pearson Academy, St. Leonards, Australia

Tanya Pearson Academy, St. Leonards, Australia

Tanya Pearson Academy, St. Leonards, Australia

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The students and alumni of Tanya Pearson Academy consistently snag top spots at Youth America Grand Prix and Prix de Lausanne, as well spots at some of the most competitive ballet schools around the world, and contracts with companies including The Australian Ballet.

Founded in 1971 by Tanya Pearson, the academy is now under the direction of Lucinda Dunn, OAM (Medal of the Order of Australia), a former principal with The Australian Ballet (and the company's longest-serving dancer ever). There are currently around 60 full-time students and 250 part-time students enrolled. The academy also has a partnership with Sydney City Ballet, which provides students with invaluable stage and performance experiences.

"Each student that is accepted to the academy has huge aspirations to become a professional dancer, and that path is both arduous and long. The faculty have all danced professionally and are an incredibly inspired and inspiring group of teachers. They give their best to all students, and provide them with an atmosphere in which they can thrive, flourish, and reach their full potential." —Lucinda Dunn, OAM, Artistic Director

"I moved from Chicago, IL, to study at Tanya Pearson Academy. Without a doubt, I have received excellent training and guidance from their exceptional teachers and physio staff. The academy has afforded me many wonderful opportunities and rewarding experiences, including my acceptance into the prestigious Vaganova BalletAcademy in Russia." —Claire Zalunardo, 2019 full-time program graduate

Congratulations to the November Cover Model Search Editors' Choice video winner, Jasmine Cruz! Watch her solo above, and enter the Cover Model Search here.

Towards the end of your first semester as a dance student, you'll participate in something that resembles an exam. Whether your school calls it a jury, a placement, an evaluation, an assessment, or an appraisal, the structure remains roughly the same: You take class in front of all of your dance professors, they scribble furiously on a clipboard (that you wish you could read), and you wait anxiously for their feedback.

And while that anxiety is totally understandable, it's typically misplaced. Evaluations and exams aren't designed to intimidate or scare you, and they definitely don't determine the entire future of your dancing career. But in case you're still feeling a little nervous about the whole process, we spoke with educators at three major dance colleges about how you can be best prepared.

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What It's All About

Again, these types of assessments are not going to make or break your dancing career. Likely, they won't even make or break your college career. The faculty simply use this time as a chance to see how you're growing and what you've learned.

"When the faculty is sitting in the room, think of it as a mini performance," says Susan Jaffe, the dean of dance at the University of North Carolina School of the Arts. "We're there not only to give some input, but also to see how much the students have progressed since the beginning of the year."

Try to remember that there's a lot to be learned from the exams themselves. Take them as a chance to apply the information you've been given throughout the semester.

"It's really all about how useful it is for you," says Seán Curran, the chairperson of the dance department at New York University's Tisch School of the Arts. "It's about how you are going to use all this knowledge as a professional dancer, or choreographer, or dance teacher. We're developing minds as well as bodies."

Set Yourself Up Right with Self-Care

"Cramming" for a dance exam with extra classes isn't productive. As dancers, tending to our bodies and minds is just as important as our training. While you should take your studies seriously, nothing should come before self-care.

"You think for a final, all you need to do is study hard?" says Curran. "No, you need to take really good care of yourself. Fatigue, dehydration, and soreness are your enemies. Self-care is as important as studying for the final."

Make time in your busy day to tend to your own needs. Factor eight hours of sleep into your daily schedule, make yourself healthy meals, and try not to substitute coffee for water (no matter how long your days might get).

Jaffe recommends taking five to 10 minutes each day for a quiet meditation, to help bring down any feelings of anxiety you might have around your final assessments. "I don't think the stress will ever go away, but it can be curtailed with some self-care," she says.

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Get Out of Your Head

The real key to success, of course, is your mind-set. If you're able to approach your evaluations or exams with a healthy, positive state of mind, you're much likely to be happy with the outcome.

Katie Langan, the chair of the dance department at Marymount Manhattan College, recommends using your performance in your evaluations as a reminder to yourself of your own progress. "Look back at the very beginning of the semester and see how far you've come," she says.

Try to think about your dance training holistically. While exams are important, they aren't the be-all, end-all. Use your grades and feedback to see how far you are progressing on your overall goal. Then, continue to focus on working towards achieving those goals.

"I always say 'Process, not product,' " Curran says. "I don't want you worrying about opening night on the first day of rehearsal, in the same way I don't want you worrying about the final on the first day of class."

On Monday, September 16, 2019, at precisely 6:59 pm Pacific Standard Time, 19-year-old Bailey Muñoz was named America's Favorite Dancer. The confetti fell from above the "So You Think You Can Dance" stage, and Bailey was immediately smothered in congratulatory hugs from his nine fellow finalists. As he was hoisted high in celebration, the audience was being ushered from the soundstage, and the show's technical crew was starting to pack up. But for Bailey—the first b-boy to win the competition—the journey was just beginning.

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The post-win hustle is a true grind. By late Wednesday morning, Bailey had flown across the country to NYC, performed on "LIVE with Kelly and Ryan," and made his way to his Dance Spirit cover shoot downtown. But the grueling schedule only seemed to fuel Bailey's cheerful spirit. He arrived at his DS shoot full of energy, hugging each member of the staff and crew, and jumping right on set to display that signature mix of goofiness and swagger that made America fall in love with him.

"I felt so honored to get to do my style out there," he says, while taking a bite of pizza—the only thing he wanted during his short NYC stay. "I worked so hard every single day, every single second, not just to be better for myself, but to be better for my partner, and to represent my family, and to inspire the b-boys out there. The show felt so much bigger than myself."

The Dream

When "SYTYCD" debuted in July 2005, Bailey was just 5 years old. But it wasn't long before he was dreaming of being on the show. At 9, Bailey took his first dance class. The prodigy joined the Rock Steady Crew before signing with Bloc Agency at age 10. The same year, he made his television debut, performing on "America's Got Talent." By 13, Bailey was winning b-boy battles against dancers twice his age. He toured with Bruno Mars and Justin Bieber, and did a four-year residency at the Cosmopolitan Hotel in Las Vegas. Though he was home-schooled during middle school, he went on to attend and graduate from the Las Vegas Academy of the Arts. (Fun fact: "SYT" Season 10 winner Du-Shaunt "Fik-Shun" Stegall is also an alum.)

Through it all, Bailey spent hours watching routines from past seasons of "SYT" on YouTube. He was inspired by fellow b-boys and hip-hoppers, including Stephen "tWitch" Boss, Comfort Fedoke, Hokuto "Hok" Konishi, Fik-Shun, and Dominic "D-Trix" Sandoval. He studied their careers—D-Trix's journey from "SYT" to "America's Best Dance Crew," and tWitch's foray into acting—and set his sights on following in their footsteps. "They looked like superheroes to me," Bailey says. They also helped him realize that b-boys could have hugely successful careers beyond the dance floor. "They've built these establishments," he says of tWitch and D-Trix in particular. "That's my big plan—to inspire others through dancing or acting, making the world a better place."

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The Reality

The first time the judges and viewers saw Bailey, it was at his audition in L.A. He opened up about his size: Just 5 feet tall, Bailey was often teased about his height, and he felt insecure. Dance, he explains, became the way he could express himself. Bailey became an immediate fan favorite, and his own idol, D-Trix, called him "the newest generation of b-boy." Bailey was sent straight to Academy week, and sailed through each round of choreography, landing a spot in the Top 10. During the break before the live shows began, Bailey woke up every day at 5 am for ballroom lessons. He took privates, he worked on his solo routines with his mentor, and he took hip-hop and ballet classes. To prepare, he says, "I did anything and everything I could."

When the live shows began, Bailey was paired with 19-year-old contemporary dancer Mariah Russell. "I remember seeing Bailey at the Academy," Mariah recalls. "During the contemporary round, I teared up and got chills watching him." Judge Laurieann Gibson also had her eye on Bailey from the start. "Every performance was a breakthrough moment for Bailey," she says. "He consistently stepped up, continuing to build himself and allowing his greatness to come through."

During week two, Bailey and Mariah were considered the ones to beat. Still, week after week, the judges seemed equally delighted and surprised by Bailey's progress, repeatedly bringing up his height. "Height does matter," Bailey admits, "but I feel like there's an inner strength that matters more. It's about having the confidence that you can do it. I want to represent for the shorties out there! No matter your shape or size, you can do anything you want." For Mariah, Bailey's size was never a concern. "I felt like we were in the same boat, and I felt where he was coming from," she says. "I know what it's like to be a short person and have everyone constantly tell you that. But Bailey worked so hard in every style, and was always there for me."

Bailey flourished throughout the season, exhibiting major technical growth and an irresistibly fun personality. When it came down to the finale, Bailey may have been the only one surprised by the outcome. By that point, he had been "America's Favorite Dancer" for the entire summer.

"Back when Bailey auditioned," D-Trix recalls, "the only question I thought was, 'Can this b-boy do other styles? Now I only ask myself, 'What can't this b-boy do?" Though he was surprised by Bailey's split leaps and double pirouettes, he wasn't surprised by his success. "This kid was a winner even before he won," D-Trix says.

The Reflection

For a dancer who was just starting kindergarten when Nick Lazzarini became America's first winner of "So You Think You Can Dance," what makes the show irresistible, 16 seasons later? "If you're a dancer, you know this show," Bailey says. "Even people who don't know dance know 'So You Think You Can Dance.' To be a part of it is to be a part of this history. The show has inspired so many, and started so many dance careers."

Bailey knew he wanted to be a part of that growing legacy. What role might his "SYT" win play in his professional path? "I'd love to collaborate with D-Trix," he says, an idea suggested by Nigel after a taping one night. Otherwise, he wants to keep dancing and performing wherever he can, and he'd love to come back as an All-Star.

For the b-boy community, Bailey's "SYT" triumph is especially meaningful. "I believe Bailey's win will help evolve the way people define b-boy," D-Trix says. "Often on this show, we hear the compliment 'That was great for a b-boy,' which can sound like 'That was great for someone I didn't think could do it.' But Bailey, b-boy or not, was simply great. We couldn't have asked for a better representative to help shape the definition of what a b-boy can do."

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Fast Facts

Most-used emoji: Heart

Go-to improv song: "Beggin," by Madcon

Favorite place to shop: "My dad's closet!"

Favorite food: Filipino food

Greatest fear: Scary movies

What the "SYTYCD" audience at home didn't know about him: "I get super-nervous, so I ate a lot during every performance—pizza, pasta, all the good stuff."

Dream "SYTYCD" team: "My dream is to make a contemporary b-boy company! So let's go with an all-boy, all-Asian group—Hok, Tadd Gadduang, Marko Germar, Alex Wong, and Lex Ishimoto. And our choreographers are D-Trix and Talia Favia."

Favorite judge: "Oh, come on! I can't pick! But as a fellow b-boy, D-Trix knew the obstacles I faced every week. I remember him telling me that if you put your truth out there, it makes the audience feel something. He told me that the best thing in the world is to give, and I apply that to everything I do now. And it's cool, because he was the first b-boy judge, and I got to represent him and the past b-boys who have inspired me."

Backstage BFF: Gino

Which choreographer left the most lasting impact? Luther Brown. "I want to be him when I grow up! He's a visionary."

Dance Spirit is thrilled to announce our 2019 Future Star winners! Every year, DS partners with competitions to recognize dancers with exceptional presence and ability, and this year, you all delivered in full force.

Abigail Teal

Age 9

Oceanway School of Dance and Performing Arts, Jacksonville, FL

Fluid Nationals, Phoenix, AZ

Adriana Phillips

Age 10

Jersey Cape Dance & Gymnastics Academy, Cape May, NJ

Starpower National Talent Competition, Ocean City, MD

Aydcen White

Age 13

Inspirations Dance Center, Savannah, MO

Akiva Green

Age 13

Next Step Performing Arts Center, Frisco, TX

Alexis Finazzo

Age 18

Kay's Act II Dance Studio, Trevose, PA

World Dance Pageant, Meadowlands, NJ

Alyssa Lekites

Age 14

Gainesville Dance Center, Gainesville, VA

Amelia Dole

Age 15

Xtreme Dance Studio, Sanford, FL

NRG Nationals, Phoenix, AZ

Ande Godwin

Age 16

Dv8 the Company, Southlake, TX

Andrew Camacho

Age 18

Xtreme Dance Center, Naperville, IL

Imagine Dance Challenge, Nashville, TN

Annalyn Salonga

Age 9

Michaela's Dance Magic, Glendale, AZ

Fluid Nationals, Phoenix, AZ

Arianna Reynolds

Age 9

Spotlight Dance and Performing Arts Center , Mentor, OH

Ava Bagan

Age 15

River Rhythms Dance Center, Baldwinsville, NY

Encore DCS, East Rutherford, NJ

Ava Lawson

Age 11

Rock City Dance Center, Little Rock, AR

Ava Richards

Age 17

DeGrasse Dance Studio, Haymarket, VA

Elite Performance Challenge Nationals

Ava Rosenwasser

Age 15

Formations Dance Company, Gibsonia, PA

Berkley Houchin

Age 12

The Edge Amarillo, Amarillo, TX

Breez Carver

Age 11

DV8 the Company, Southlake, TX

Streetz Dance Convention, Galveston, TX

Caitlin Cunningham

Age 17

Apogee Dance Academy, Southington, CT

Callie Carter

Age 12

Dance Warehouse Inc., Lafayette, LA

Carolina Garcia

Age 16

Rosemary's School of Dance Education, Barrington, RI

Chelsie Keyhea

Age 14

Academy of Dance, Newport News, VA

StarQuest Nationals, Virginia Beach, VA

Christian Pacheco

Age 15

Star Makers Academy of Dance, Bowie, MD

Imagine Talent Competition, Hershey, PA

Dani Tiegel

Age 11

Essex Dance Academy, Fairfield, NJ

Turn It Up Dance Challenge, Long Branch, NJ

Darren Luces

Age 10

Dominique's Dance Creations, Syracuse, NY

ASH Nationals, Orlando, FL

Delaney Connelly

Age 12

Artistic Designs Dance Academy, Liverpool, NY

Turn It Up Dance Challenge, Foxwoods, CT

Diarra Grace Smith

Age 17

5-6-7-8 Dance, Totowa, NJ

E'Jay White

17

Dance Artistry Unlimited

Ellie Storm

Age 13

DCJ Dance, Carrollton, TX

Starbound National Talent Competition, Chicago, IL

Emily Aslanyan

Age 15

Dance Xpress, Staten Island, NY

Emily Barton

Age 17

Parker Dance Company, Carrollton, GA

Emily Berg

Age 15

Rhythm Dance Company, Westborough, MA

Emily Wagner

Age 10

Special Touch Talent, Kettering, OH

Stage One Nationals, Gatlinburg, TN

Emma Featherstone

Age 18

QC Dance, Blaine, MN

Emree Phillips (2x Future Star Award Winner)

Age 10

Studio 320, Kearne, MO

Stage One Nationals, Branson, MO, & Dance Out/Spirit of Dance, Kansas City, MO

Eric Moreno

Age 17

AZ Hype, Phoenix, AZ

Gabi D'Arco

Age 16

Broadway Dance Theatre, Watchung, NJ

Georgina Needleman

Age 16

Paramount Dance Academy, Holtsville, NY

Starbound National Talent Competition, Atlantic City, NJ

Giovanna Taddeo

Age 17

Dance Mixx, Tinton Falls, NJ

Grace Lyon

Age 18

Barbara Ann's School of Dance, Lexington, KY

Fusion National Dance Competition, Daytona Beach, FL

Hailey Cronin

Age 17

Donna's DanceWorks, Elkins Park, PA

Step Up 2 Dance, Atlantic City, NJ

Hamilton Kerney

Age 17

Alliance Dance Academy, Bluffton, SC

Iralyn Hicko

Age 9

Prestige Arts Company, Merrillville, IN

Starpower National Talent Competition

Dance Spirit is thrilled to announce our 2019 Future Star winners! Every year, DS partners with competitions to recognize dancers with exceptional presence and ability, and this year, you all delivered in full force.

Isabel Zukowski

Age 11

Cathy Taylor School of Dance, Auburn, MA

Turn It Up Dance Challenge, Ocean City, MD

Jacinda Weatherholt

Age 16

Starfire Dance Company, Emporia, KS

Odyssey Dance Competition National Finals, Grand Lake, OK

Jacob Carriker

Age 15

The Dance Studio/People In Motion, Kirksville, MO

Fury National Dance Competition, Branson, MO

Jade Boerman

Age 17

Charleston Dance Center, Charleston, SC

Jocelyn Geisel

Age 16

The King Centre for the Performing Arts, Butler, NJ

Johanna Loiseau

Age 17

Dance Studio Elite, West Fargo, ND

Celebration Talent National Finals, Wisconsin Dells, WI

Joy Gardner

Age 14

Dance Elite All Stars, Rocklin, CA

Julia Richards

Age 12

Move Dance and Fitness, Richmond, TX

Kailyn Kreth

Age 17

American Dance Company, Spring Branch, TX

Kali O'Donnal

Age 16

Chrissy's Dance Academy, Helotes, TX

Kate Gilpin

Age 13

LMACE Studios, Seven Lakes, NC

Katie Rhodus

Age 18

Studio 320, Kearny, MO

Stage One Nationals, Branson, MO

Kaylee Jenkins

Age 16

Precision Dance Club, Wilmington, MA

Kensington Dressing

Age 8

Studio 19 Dance Complex, Mars, PA

Kortlyn Martin

Age 8

Cathy Kurth Dance Academy, Lake Charles, LA

Kyleigh Harrison

Age 12

The Dance Place, Hicksville, NY

Lauren Froehle

Age 10

Studio 55, Rockford, MN

Lauren Polizzotto

Age 15

Love to Dance Inc., San Diego, CA

Leah Hutt

Age 9

The Dance Spot, Fullerton, CT

Lena Garcia

Age 9

Dance Empire of Miami, Miami, FL

Lilly Beaver

Age 17

Let's Dance Studio, Kannapolis, NC

Lindsay Weber

Age 17

Studio Bleu Dance Center, Ashburn, VA

Luke Keeping Brown

Age 11

Davenport Dance Project, Waterloo, ON, Canada

Madison Marshall

Age 13

Encore Studio, Midlothian, VA

MaKayla Briana Connors

Age 15

Dance Reflections, Kings Mountain, NC

Marissa Gebeau

Age 17

Jordan Center Dance, Cleveland, OH

Mary Kate McNulty

Age 14

Veracity Dance Project, Janesville, WI

McKenna Markham

Age 9

The Company Project , Pantego, TX

Meadow Harper

Age 16

Dance Fusion, Tiverton, RI

Turn It Up Dance Challenge, Ocean City, MD

Miranda Felt

Age 16

Let's Dance, Mauldin, SC

Nathali Prieto

Age 13

Moving Artist Dance Company, Miami, FL

Nina Conte

Age 15

Academy of Dance Arts,

Noeleia Dellinger

Age 11

Studio Bleu Dance Center, Ashburn, VA

ASH Nationals, Orlando, FL

Paige Cummings

Age 15

Premier Dance Performing Arts Center

Paige DeAngelo

Age 18

Ovations Dance Studio, Oaklyn, NJ

Paislee Garland

Age 18

Studio 109 Dance, Voice & Drama, Gonic, NH

Quaya Cloud

Age 15

Dolce Dance Studio, Fresno, CA

Remie Goins

Age 14

International City School of Ballet, Marietta, GA

Riley Miller

15

Artistic Designs Dance Academy, Liverpool, NY

Rivyn Scofield

Age 13

Michigan Dance Company, Lapeer, MI

Rylie Owens

Age 11

Dancers Edge Revolution, Greenville, NC

Sarah Agrusa

Age 17

Deborah's Stage Door Center for the Performing Arts, Rochester Heights, MI

Groove Nationals, Myrtle Beach, SC

Sarah Gray

Age 24

Perth Circus and Dance Academy, Perth, Western Australia

Skyler Jade DeSefarino

Age 16

Integrity Dance Center, Winter Springs, FL

Tiffany Aumiller

Age 13

Limelight Dance Studio, Wyomissing, PA

Tyree Burton Williams

Age 17

Complexity Dance Center

Zoe Browne

Age 15

Jaimie's Dance Odyssey, Deptford, NJ

Zoe Juliettee Holladay

Age 8

Performance Edge, Weston, FL

Zoe Mouchyn

Age 14

Expressions Dance and Music, College Station, TX

Lights up on Washington Heights—because the trailer for the movie adaptation of the hit Broadway musical In the Heights has arrived. It's our first look into Lin-Manuel Miranda's latest venture into film—because LMM isn't stopping at three Tony awards, a Grammy award, and an Emmy.

As an added bonus, we get to take a first look at choreographer Christopher Scott's moves for the movie, which we have no doubt will be next-level amazing. After all, Scott's resumé also includes choreography for Step Up Revolution, Step Up All In, both Teen Beach Movie films, and Z-O-M-B-I-E-S.

The two-minute trailer has us counting down the days until the film's release next June. (And, of course, counting down the days until LMM is awarded his much-deserved EGOT. 👀)

There's also an extra, specially-edited version of the trailer on TikTok, for all you social media-savvy dancers. We have the feeling that we're about to watch it roughly "96,000" times.

New York City Dance Alliance wouldn't be the same without the warmth and positivity of master teacher and choreographer Suzi Taylor, who has been with the organization since its inception in 1994, and is a beloved staple at Steps on Broadway, Pace University, and companies around the world.

Taylor prioritizes physical and mental health in all her classes, leading students through challenging exercises focused on strength and alignment and emphasizing the importance of self-care. She's known for celebrating the little things in the studio, and for encouraging her students to support one another. So naturally, she's the perfect candidate for our second "Whole Dancer" feature, where we hear from NYCDA dancers, choreographers and teachers about wellness and more:

On her journey with NYCDA:

"I have formed lifelong friendships and been given the opportunity to travel the country and work with many beautiful aspiring dancers. Many of our present teachers were NYCDA kids. Being able to watch their growth and then continue the relationship with them as teachers has been such a gift. The NYCDA community is very special. It really is my second family."

On how she helps dancers through injury:

"I am a firm believer in proper technical training, especially when it comes to alignment. So many injuries occur because a dancer is working incorrectly. Lack of strength and alignment leads to compensation and wear and tear on the joints and muscles. Many dancers have come back to me over the years to regain strength and recover from injuries. I am a very maternal person and I try to always look out for my students. Whether they're suffering from an injury or just having an emotional day, I want my class to be a place they feel safe and cared for."

On the importance of taking a break:

"I hope that my dancers find people that truly support them, that they forgive themselves after a less than successful day in class or auditions and that they find the time to take care of their often overworked bodies. It's also important that they take at least a day every week to enjoy life out of the dance world. I had a hard time with that one when I was young. It is only now that I see how important it is to take a break now and then."

On the bigger picture:

"NYCDA cares about training, building the proper foundation and teaching dancers how to work correctly. But along with the technical knowledge, we hope to communicate that this is only one piece of the journey. We want dancers to take this experience, grow from it and know there will be so many opportunities ahead. We want them to make good friends and nurture those relationships because those are the people who will carry them through the harder times."

On her self-care routine:

"I try to stay in the best physical shape I can, to give myself a barre, go to the gym, take a hot bath every night and eat healthfully. But even more so, I make sure to appreciate every moment I have with my family and friends. I travel so much that home time is precious. It gives me the peace that the sometimes-frenetic world of dance can challenge."

On her best advice for students:

"I would tell my dancers to be kind to themselves, appreciate the small gains and be patient. Work consistently and correctly so that your body is cooperative, feed it well and sleep! Surround yourself with a support system, one that knows the daily challenges of this business. Stay strong and confident in your own self-worth. It is not an easy path, but for many of us, it's the only one."

On her greatest inspiration:

"From my teachers to fellow dancers to ballet superstars that I was obsessed with as a child, I have had many incredible role models. But what continues to inspire and motivate me today are my students. They are the ones who show me that the information I have shared is valuable. They are the ones whose beauty and talent bring my choreography to life. They are the ones whose progress makes my heart happy."

2020 is almost here—and with a new year (a new decade, even!) comes new resolutions. What are your dance ambitions for the upcoming year? Improve your technique? Build your social presence? Jumpstart your pro career? All of the above? To help you kick off 2020 strong, we've made a list of 9 dance resolutions that are (literally) #goals.

Post More Dance Videos to Your IGTV Account

Gotta keep those feeds interesting!

Get Your Pointe Shoes to Last a Little Longer

Have you tried these hacks?

See All the Amazing Dance Movies Coming Out

In the Heights! West Side Story! EEEEEEE.

Get Your Dance Challenge to Go Viral on TikTok

You've got the talent. You've got the imagination. YOU CAN DO IT.

Work on Your "Bad" Side

Because you can get that right leg up to 180 degrees in penché. We believe in you!

Teach Your Parents Some Ballet Vocabulary

"OK, Dad, let's start with something easy. Fondu means 'to melt.' Yes! Yes! Like what you do with cheese!"

Add to Your Ever-Growing Leotard Collection

Not that we really have to make it a resolution, since we'll be doing it regardless. 😉

Get Featured on a Choreographer's Instagram Account

BEST. FEELING. EVER.

Take Even More Dance Classes

We've got a new decade of dance to look forward to! Here's to another 10 years of doing what we love every day.

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

Dear Katie,

I'm confused about what my hips are supposed to do during grand battements and développés à la seconde. My teacher is always telling me to "drop the hip," but how is that physically possible when your leg is higher than 90 degrees? Even in photos of professional dancers with gorgeous extension, I see a raised hip on the working side. Am I misunderstanding something?

Marie

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Dear Marie,

It's tricky to find that sweet spot in développé à la seconde. Unfortunately, there's no straightforward answer here, because different ballet techniques have different rules. In the Vaganova method, the hips are indeed "stacked," with one hip lifting so the leg can extend flat to the side. (But the hips should never be allowed to stick out toward the back.) In the Balanchine technique, as well as several other styles, the hip must be down in à la seconde, and sometimes the leg is moved slightly in front of the shoulder to allow that to happen.

Whatever the style, the key to a beautiful développé in à la seconde is to think of your supporting side. The more you take the focus off the working side, the less likely you'll be to hold the position by gripping your quads. Work on lifting the leg from underneath—ultimately, that alignment is more important than the position of the hips.

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

It's time for year-end roundups, dance friends! We decided to commemorate the conclusion of 2019 by gathering the 10 Dance Spirit stories readers couldn't get enough of this year. From profiles of Instagram sensations to a deep dive into the history of why we say "merde," there's something on this list for every dancer. Take a look—and happy (almost) New Year!

Ballet YouTube Star Luna Montana Isn't Afraid to Talk About Body Dysmorphia

Luna is YouTube-famous for all the right reasons. In addition to being a gorgeous dancer, she's also honest, transparent, and fearless—all qualities that made her video about dealing with body dysmorphia so compelling. We talked to the gifted teen about her goals for her channel, her budding ballet career, and how she found the courage to be her authentic self online.

7 Ways Being a Dancer Makes You Smarter

Because dancing impacts pretty much every aspect of our lives—including our brains.

Meet the Radio City Rockettes Class of 2019

For almost a century, the Rockettes have been celebrated for their signature style of precision dance, which combines ballet, tap, and classic jazz to awe-inspiring effect. These 80 women (two casts of 36, plus four swings/dance captains) have always been the undisputed stars of the Radio City Christmas Spectacular. But the Rockettes are out to start some new traditions, too. This year's Spectacular features one of the most diverse kicklines in Rockette history—including an unprecedented 13 fresh faces. We introduced you to four of them.

4 Strengthening Exercises for Flawless Pirouettes...

In addition to solid technique, perfect pirouettes require a lot of strength. We turned to Roman Zhurbin, soloist with American Ballet Theatre and owner of Roman Empire Fitness, for a breakdown of the best ways to strengthen the muscles used in a pirouette.

...and 3 Exercises for Better Pointework

Every young ballerina dreams of her first pair of pointe shoes. But a lot (A LOT) of hard work has to be done before the big moment arrives. We turned to Jenna Lavin, former Miami City Ballet dancer and principal of the pre-professional division at Ballet Academy East in NYC, for three exercises to strengthen, train, and stabilize the muscles you'll be using once you're on pointe.

The 8 Dancers You Meet at Every Audition

The One Who Always Has to Be Front and Center. The One with the Insane Body. The One Who's a Childhood Friend You Haven't Seen in Years. YUP, YUP, YUP.

Why We Can't Stop Watching Instagram Star Autumn Miller—On Screen and Off

Does she have 1.4 million (and counting) devoted Insta followers? Ayup. But the contemporary dance phenomenon is also completely devoted to her craft, attacking every combination with a fearlessness and confidence rarely seen in a teenager. Autumn is a rare breed: an Instagram dance sensation more focused on her art than her follower count. And the whole dance world is obsessed.

Why Do Dancers Say "Merde"?

According to the Oxford English Dictionary, "merde" is a French exclamation that loosely translates to, er, "poop." So how did dancers end up saying "merde" to each other instead of "good luck"? We found out.

Nigel Lythgoe and Cat Deeley's Favorite "SYTYCD" Routines of All Time

Can you believe it's been 14 years (!) since "So You Think You Can Dance" first graced our television screens? Over its 16 seasons, the prolific show has presented hundreds of fabulous routines. So in a way we weren't surprised that, when asked to pick their favorite "SYT" numbers, producer Nigel Lythgoe and host Cat Deeley had the same initial response: It's too hard! We asked them to choose 5 to 10 pieces; Lythgoe couldn't narrow his list to fewer than 12. Check out their agonized-over choices, including stone-cold classics and some unexpected picks.

How TikTok Is Changing the Dance World

TikTok seems tailor-made for dancers. The app's short-form video format makes it easy to show off your best moves to a song that's gone viral. That's one of the reasons dance challenges are especially popular on TikTok, with over one billion views for the hashtag #DanceChallenge alone. And the growing trend has had a wide-ranging impact on both the music and dance communities. We took a closer look at five of the most influential TikTok dance challenges.

Although dancers are well aware of the many benefits of cross-training, most would probably still rather spend an hour in their favorite dance class than mindlessly jogging on a treadmill. But what if working out had the exact same thrill as the moment you step onstage?

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Dancer and choreographer Joseph Corella had a mission: to combine the showstopping, electric energy of Broadway with cardio fitness. Ultimately, he created 567Broadway! A New Musical Workout, an all-levels workout set to Broadway hits. "As a dancer, you have to be physical, so fitness is already a big part of your training," he says.

Corella's dance career took off at age 13, when he became a member of Marguerite Derricks' Tremaine Teen Company. He later debuted on Broadway in All Shook Up, and went on to tour in productions of Grease and West Side Story. After living in NYC for over seven years, Corella left the East Coast for L.A., a city known for its boutique fitness industry. "L.A. is very health-centric, but it can get competitive and exclusive," he says. "By creating 567Broadway!, I was able to really start to build a community there, which is what musical theater is all about. It's not exclusive; it's for everyone."

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Corella first started teaching 567Broadway! about six years ago in dance studios around L.A., including Edge Performing Arts Center, and recently released a digital version of the live class that can be accessed anywhere. The high-energy class combines cardio training, dance, and toning moves, but the driving force of the workout, according to Corella, is definitely the music.

"Broadway music has always been essential in my life. The songs are so powerful and uplifting, which makes working out much more fun," he says. From choreographed squats to Legally Blonde: The Musical's "Bend and Snap" to a pony-filled rendition of Hairspray's "You Can't Stop the Beat," Corella aims for the class to be equal parts performance and workout. "When you're performing eight shows a week on Broadway, you've got to give it 100 percent. I love to use a lot of theater lingo to inspire people during the workout," he says.

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It's no surprise that Pitch Perfect and upcoming Cats film star Rebel Wilson quickly caught on to the trend. Wilson's friend enlisted Corella to do a private 567Broadway! Cats-themed class for her birthday. "Rebel immediately got what 567Broadway! was about—having fun, getting crazy, and letting go," Corella says.

Corella says that 567Broadway! has been a way for performers, including himself, to recharge in the often high-pressure dance industry. "Finding ways to practice self-care as a professional dancer is really important and requires a lot of self-examination," he says. He also aims for the program to encourage those outside of the dance world to have a greater appreciation for the arts. "I want to show what the arts, movement, and community can do," he says. "This isn't just jazz hands—there's a powerful message behind it of joining people together and taking care of ourselves. Broadway really helps improve people's lives."

On any given day, dancers are dealing with some kind of physical discomfort. And while ice-heat-rest-repeat is often the best remedy, persistent pain could indicate something more serious—like a stress fracture. Stress fractures have a myriad of causes and can mimic many other injuries. How do you know if your pain is from a stress fracture? Dance Spirit turned to Joseph Turcic, PT, DPT, CMPT, CSCS, FRCms, FRAs, of Symbio Physical Therapy in NYC, for a breakdown.

What They Feel Like

According to Turcic, you'll feel a sharp, deep pain that doesn't get better with rest, heat, ice, or massage. It's most noticeable after landing a jump or absorbing shock of any kind. "The pain can also get worse if you're sitting in a bumpy car or bus, because the vibrations will irritate the fracture," he says.

What Causes Them

The most common locations for stress fractures are the tibia bones in your legs, the tarsal bones of your feet, and the lower back. "The main causes are overuse and trying to dance through lingering injuries that didn't heal or weren't rehabbed properly," Turcic says. However, there are also medical causes to consider, including osteopenia, which is a condition that causes weak bones often due to low vitamin D levels.

What It Could Be Instead

Stress fractures, while common, aren't always the right diagnosis. "There are plenty of injuries that feel similarly," Turcic says, "including tendonitis, ligament sprains, shin splints, or lower back strains." The only way to know for sure is to consult your doctor, who will perform all the necessary testing.

So You Have a Stress Fracture—Now What?

If the stress fracture's in your foot or lower leg, you can expect to be in a boot for anywhere from 4 to 8 weeks. If it's in your lower back, your doctor will determine whether or not you need to wear a brace. The bottom line is that in order to let your body heal, you need to rest—otherwise there's a high chance you'll just aggravate the stress fracture more in the future.

If you're at a dance competition or a studio's end-of-year showcase, odds are you'll hear some serious cheering happening, both in the audience and the wings. Vocally supporting your fellow dancers can definitely feel great—and in the right context, it might add to the performance. But mid-show cheering etiquette is complicated. When those shouts are excessive or disrespectful, they can have negative consequences.

So, to cheer or not to cheer? We asked dance-world experts to share their thoughts on the topic.

First things first: Cheering that distracts from the artistry of the performance is always a no-go. "Any time you're in a situation that it's a story and the dancers from backstage start yelling, it pulls the audience right out of that story," says Cassie Farmer, director of Bozeman Dance Academy in Bozeman, MT. Most experts agree that yelling individual dancers' names isn't a good idea, either. It's highly distracting, and can discourage dancers who aren't getting called out. "When someone's just yelling people's names throughout the piece, it makes you think, 'OK, so they're cheering for that one person, but why aren't they cheering for the other people?'" says Kayla Kalbfleisch, judge and faculty with 24 Seven Dance Competition.

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Sandy Young, director of Young Dance Academy in Oak Creek, WI, has little tolerance for cheering other than at the beginning and end of a performance—the places cheering is appropriate in a professional concert dance environment. "If anybody at any time is planning on doing this in their life as a career, they should know that mid-show cheering doesn't happen in the theater," she says. "You're not going to get the same feedback when you're performing in a professional setting."

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During competitions, remember that the performance you're watching isn't only for the audience. It's being judged, too—and loud screaming can distract adjudicators from their job. "For judges, cheering through a piece or excess cheering can be very distracting and even pull us out of the piece," Kabfleish says.

That doesn't mean all mid-show cheering is inappropriate. "It feels great to get a reaction from the audience!" says Joyce Winter, a frequent competition judge and freelance choreographer and instructor with studios such as Dancers Edge in Visalia, CA, and Brandon School of Dance Arts in Seffner, FL. Finding a balance is important. Christy Wolverton-Ryzman, owner and director of Dance Industry Performing Arts Center in Plano, TX, emphasizes that dance is an art form, and deserves the utmost respect from the audience, but she understands the importance of showing support to her students. "You're investing so much into these kids, they're literally like your own children!" she says. While watching a student hit something they normally miss in a piece, Wolverton-Ryzman will absolutely let out a cheer.

Winter suggests paying attention to the overall mood and context of the performance. A routine done on the court at the halftime of a basketball game is very different than a heartfelt lyrical number danced in a formal theater. "When it comes to cheering, that's the most important thing: right place at the right time," Winter says. "Respect the environment."

Every year around December, Nutcracker fever descends on the entire dance community. (Symptoms include blisters, lack of sleep, and Tchaikovsky's "March from Act I" playing in your head for days on end.) Nevertheless, the beloved holiday production holds a special place in dancers' hearts, especially because it offers a chance to revisit favorite roles or take on challenging new ones. In fact, over the course of their career, a single dancer might dance upwards of a dozen parts in the ubiquitous ballet.

Dance Spirit asked four professional ballet dancers—i.e., long-time Nutcracker all-stars—to share their entire Nutcracker histories, as well as their favorite memories and mishaps. Read on for our new favorite holiday tradition: "My Nutcracker Resumé."

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Ella Titus' "Nutcracker" Resumé

Corps de ballet, Miami City Ballet

Miami City Ballet's George Balanchine's The Nutcracker

2003–04: Angel

2005–06: Marie

2007: Polichinelle

2011–14: Chinese Tea

2015: Maid, Snowflake, Flower, Spanish

2016: Maid, Grandma, Columbine, Snowflake, Flower, Spanish

2017–19: Maid, Columbine, Snowflake, Flower, Spanish, Marzipan

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Nutcracker mishap: "My second year as Marie, the Prince got my crown stuck in the netting of the scenery, so he walked up to my bed to wake me up with an 'invisible' crown."

Nutcracker memories: "I remember watching MCB principal Jeanette Delgado as the Sugarplum Fairy when I was Marie and thinking, 'This is what I want to do with my life!' "

The role that got away: "Since I'm still early on in my career, I don't feel that any role has 'gotten away' from me yet. I'm still growing as a dancer and try to improve every season! I know this sounds cliché, but I would love to dance the Sugarplum Fairy because I think it really showcases each dancer's personality."

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Dylan Wald's "Nutcracker" Resumé

Soloist, Pacific Northwest Ballet

The Nutcracker–The Rat King, 2007

Fritz

Mouse

Spanish (corps)

Shepherd Boy

Loyce Houlton's Nutcracker Fantasy, 2010–12, Minnesota Dance Theatre

Party Parent

Snow King

Spanish

Russian

The Stowell and Sendak Nutcracker, 2013–14, Pacific Northwest Ballet

Father

Masque Mouse King (pas de trois)

Sword Doll

Warrior Mouse

Fight Scene Nutcracker

Pasha's Attendant

Moors

Dervish

George Balanchine's The Nutcracker, 2015–18, Pacific Northwest Ballet

Dr. Stahlbaum

Toy Soldier

Mouse King

Lead Hot Chocolate

Mother Ginger

Sugarplum Fairy's Cavalier

The Nutcracker, 2018, Lafayette Ballet Theatre

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Nutcracker mishap: "The Nutcracker and I didn't get off to the best start. I was 11, and a new production of The Nutcracker was going to be presented in my hometown. They needed children to supplement the show, and came to my studio. There would be professional dancers, a live orchestra, and it was going to occur at an historic opera house in Minneapolis, MN. We soon realized this occasion wasn't all it was cracked up to be (pun intended). By the time we got to the stage, there didn't seem to be any props, sets, or costumes, and some of the dances themselves were not yet completed. The performance week culminated in large amounts of volunteering from parents and kids to pull together the show by completing divertissement choreography, buying costumes, and discovering a large ladder backstage to play the part of the growing Christmas tree. It was an experience I don't think any of us, or the audience, will ever forget."

The role that got away: "My first year as a corps dancer with PNB corresponded with the first year the company was presenting George Balanchine's The Nutcracker. Having watched the version featuring Macaulay Culkin on VHS growing up, I was excited. I had been cast to learn all sorts of new roles that year, including Father, Toy Soldier, Mouse King, Hot Chocolate, Mother Ginger and Cavalier. One day my name was added in red ink to learn Drosselmeyer. I hadn't thought of my 19-year-old self as being that magical uncle I had observed for years. However, I was excited for the potential of working on and developing the character. In the last minutes of my first (and only) rehearsal, I was asked to perform the iconic 'crack the walnut with the Nutcracker, give it to the party kids' moment at the party scene. I believe I performed this gesture about three times, rubbed my belly, and the rehearsal ended. Immediately following that rehearsal, Peter Boal informed me I was no longer going to be learning Drosselmeyer. Perhaps I will get another crack at the part one day."

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Stephanie Williams' "Nutcracker" Resumé

Corps de ballet, American Ballet Theatre

Nutcracker–The Story of Clara, by Graeme Murphy, 2000, The Australian Ballet

Child extra

Nutcracker–The Story of Clara, by Graeme Murphy, 2009, The Australian Ballet

Ballet Student

Snowflakes

Flower Couple

The Nutcracker, by Sir Peter Wright, 2010, The Australian Ballet

Party Guest

Snowflakes (corps, soloist)

Flowers (corps, soloist)

Mirlitons

The Nutcracker, by Alexei Ratmansky, 2012–19, American Ballet Theatre

Party Guest

Mrs. Stahlbaum

Snow

Flower

Spanish

Sisters

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Nutcracker memories: "My first 'professional' work as a dancer was as a child extra in The Australian Ballet's Nutcracker–The Story of Clara, by Graeme Murphy. This was such an incredible experience to rehearse and dance alongside the artists of The Aussie Ballet. I was just a child with stars in my eyes, feeling so lucky to be onstage with my idols. I'll never forget being in the greenroom at the Sydney Opera House, watching these larger-than-life men in Rat costumes playing snooker during intermission!"

"I came full circle years later, when, as a coryphée of The Australian Ballet, I performed a number of roles in the same ballet. It was very special to look at these young kids who were that season's crop of child extras and see how far I'd come."

The role that got away: "I danced many roles in Sir Peter Wright's version of The Nutcracker. I always wanted to dance the Rose Fairy but didn't get the chance. She wears one of the most beautiful tutus I've ever seen, and her choreography has a sweeping freedom to it that I dreamt of feeling."

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Whitney Jensen's "Nutcracker" Resumé

Principal, Norwegian National Ballet

The Nutcracker, Kevin McKenzie, Jaqueline College School of Ballet, 2000-02

Party Girl

Radio City Christmas Spectacular, NYC, 2003-4

Clara

The Nutcracker, Tamàs Solymosi and Wayne Eagling, Hungarian National Ballet, 2008

Guest artist Clara

The Nutcracker, by Mikko Nissinen, Boston Ballet, 2009-2014

Doll

Flower (corps, demi-soloist)

Corps snow flake

Dew drop

Snow queen

Pastorale

Chinese

Sugar plum fairy

The Nutcracker, Norwegian National Ballet, 2016–present day

Arabian

Klara

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Nutcracker memories: "One of my favorites roles was the Doll in Boston Ballet's Nutcracker. We got to dance a bit robotically, and it was technically a challenge, even though it was so short. Plus, if you were lucky it occasionally was the only thing you danced in the show, which meant you were done before the first act finished!"

The role that got away: "As a kid, I always wanted to be a polichinelle—one of the girls under Mother Ginger's skirt! But I never got to be in that dance."

The first-ever Girls' Choice Awards will take place next spring, and you may recognize some familiar dance-world names among the nominees. That's because the awards—which celebrate influencers who use their digital platforms to empower women—include a super-cool "Dance To Your Beat" category. Below are the five dance artists nominated this year. You can vote for your favorite now through February 15, 2020.

DYTTO

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🥶 must dance to @dualipa 🥶(LINK IN MY BIO!!)✨✨✨ thoughts?? 🎥: @monseeworld

A post shared by Dytto 💕🤖 (@iam_dytto) on Dec 13, 2019 at 9:38am PST

A tutting/animation queen who's unapologetically herself, DYTTO is known for her viral freestyle videos and YouTube channel.

Jade Chynoweth

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Flip the switch!! - This #JadeSelfLove Sunday I wanted to talk about adopting tunnel vision. - I think it’s important to remember that high performers didn’t get to where they are on accident. - Who do you look up to? It’s likely that they put a disproportionate amount of effort toward their craft. - I’d like to challenge myself and others to really make that push and go all in on our goals @fit2beitofficial #fliptheswitch

A post shared by Jade Chynoweth (@jadebug98) on Dec 15, 2019 at 2:04pm PST

A passionate dancer, actress and self-love enthusiast, our friend Jade Chynoweth also made the list.

Jenna Dewan

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It’s true i signed up for @soundtracknetflix after a meeting with @joshsafran without reading a script. When life gives you opportunities to be creative, play and have fun like this, you take it. Thank you Josh for helping me live out my fantasy of starring in my own music video in a patent leather catsuit 😂🐱 This and much more in @soundtracknetflix out today on @netflix!

A post shared by Jenna Dewan (@jennadewan) on Dec 18, 2019 at 9:14am PST

Dancer, author, actress, and "Flirty Dancing" host Jenna Dewan was another obvious pick.

Nicole Laeno

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this was probably one of the most fun dances we’ve done together! 😂 thanks matt! #jingledance watch the behind the scenes on matt’s youtube! 🎄 ... choreo/dancers: @nicolelaeno @mattsteffanina song: jingle bell remix video/stylist: @andres_torres place: @dncrloft ... #nicolelaeno #mattsteffanina #nicolelaenochoreo #mattsteffaninachoreo #jinglebells #remix #youbettersleigh #uglychristmassweater

A post shared by Nicole Laeno (@nicolelaeno) on Dec 9, 2019 at 4:59pm PST

At only 14, hip-hopper Nicole Laeno has already made a major mark on the West Coast dance scene and has over a million Instagram followers.

Sherrie Silver

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Afro dance vibes in one of the coolest place ever! 💃🏿 Be the light!!

A post shared by Sherrie Silver - African Queen (@sherriesilver) on Nov 26, 2019 at 8:04am PST

MTV-award winning choreographer and African dance teacher Sherrie Silver is a dedicated activist who serves as the UN's first IFAD advocate for rural youth.

Maddie Ziegler

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🐼

A post shared by maddie (@maddieziegler) on Nov 18, 2019 at 2:57pm PST

What list of dance influencers would be complete without the iconic "Dance Moms" alum?

It's every young dancer's fantasy: Attend a summer intensive, dazzle the artistic staff with your flawless technique, land a company contract, and grand-jeté into the sunset.

If only it were that simple, right? But while the intensive-to-company path isn't all that well traveled, it does exist. You may need to trade the words "company contract" for "second-company contract," "apprenticeship," or even "traineeship." At the end of the day, though, summer intensives are a great first step on the path toward the job of your dreams: They're a place to improve your dancing, get the feel of a company, and introduce yourself to the directors who could potentially hire you.

We caught up with six pros who followed the summer-intensive-to-dream-job route to get the inside scoop on how to give yourself a fighting chance at that coveted end-of-summer offer.

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Maya Harr: Alonzo King LINES Ballet

When Maya Harr attended the Alonzo King LINES Ballet summer program in 2016, she was in an enviable position: She'd already been offered traineeships at both LINES and Ballet West for the following fall. Having attended Ballet West's summer intensive twice before, she was using this final summer to help her make a decision about where she should be the next year. The LINES summer program sold her on the company. Shortly after starting her traineeship, she was offered a full company contract.

On knowing LINES Ballet was the place for her: "I went to the LINES summer intensive thinking the company might be where I belonged. One of my biggest mentors growing up was Kristina Windom, who danced with LINES in the '90s. Over the course of that summer I fell in love with the motivation, the training, and the people I met there."

On giving herself the best possible shot at a contract: "It wasn't my intention to get a contract directly out of the summer program. In my mind that wasn't even a possibility! I just wanted to be in the LINES environment, and to work and grow as an artist. I used it as an opportunity to break out of my classical shell, and to learn how to express myself in a new way."

Her advice for anyone hoping to follow in her footsteps: "Summer intensives are a great opportunity to show the artistic staff what you're capable of. More importantly, they're a great chance for you to grow. Respond to what you're taught. Showing that you can take corrections will demonstrate that you could be an asset to the company."

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Paul Suzi: Boston Ballet II

Paul Zusi's story is fairy-tale magical. On the second-to-last day of Boston Ballet's 2019 summer dance program, Zusi had just finished the first of four program-ending performances when Peter Stark, associate director of Boston Ballet II, requested he follow him to the office of Boston Ballet artistic director Mikko Nissinen. "I kept thinking, 'There is no way this is happening right now,' " says Zusi. Nissinen congratulated him on a beautiful performance, and immediately offered him a contract with Boston Ballet II, starting that fall.

On knowing Boston Ballet II was the place for him: "Boston Ballet's reputation and diverse repertoire caught my eye. But I had no sense of what the company would actually feel like until I began the summer program. That experience showed me this really was what I wanted."

On lessons learned from the intensive: "Early on, I decided to be the most focused and determined person at the intensive. In reality, I was just the most uptight person at the intensive! Eventually, I realized I needed to relax, and to see corrections as a good thing, rather than evidence that I was failing."

His advice for anyone hoping to follow in his footsteps: "Establish good relationships with your teachers, give your all in technique class, and be smart. Taking care of your body is a big part of being in a professional company. They need to see that you can be responsible."

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Jamaris Mitchell: Ailey II

For Jamaris Mitchell, who's in her first season with Ailey II, attending the company's summer intensive made all the difference. After participating in the program for multiple summers, she was awarded an apprenticeship with Ailey II in 2018, and one year later, she officially joined the second company. "When I found out I got it, I wanted to scream, and cry, and yell, and laugh all at the same time," she says. "After all these years of dreaming, I finally did it."

On knowing Ailey II was the place for her: "When I was 6 years old, Ailey II artistic director Troy Powell did a master class in Syracuse, NY. It was my introduction to modern technique, and I ate it up. Once I saw the company dance in person, it was hard for me to think about anything else. I begged my mother constantly until I was old enough to attend the summer intensive. I came hoping it would eventually lead me to a contract—I think everyone at the summer program feels that way—and it worked."

On giving herself the best possible shot at a contract: "First and foremost, I followed the rules. I went to class, I was attentive, and I soaked up all the knowledge I could from my teachers. I also took advantage of the program advisor assigned to me during the experience. I talked with them about my goals, and they gave me advice for how to make them happen. They taught me how to present myself, how to work with choreographers, how to audition—and I listened."

Her advice for anyone hoping to follow in her footsteps: "Make friends. The program is very demanding, just as the company is demanding. The friendships you make will get you through it. They're your support system, and will be a big part of your eventual success."

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Jackie Aitken: Radio City Rockettes

In August 2014, Jackie Aitken, who'd attended the Rockettes Summer Intensive a few months earlier, was performing at the Moulin Rouge in Paris. During intermission one night, she took a moment to check her email, and what she found brought her to tears: She'd landed a contract with the Radio City Rockettes. She was so excited she could barely compose herself in time to finish the show. She'd long dreamed of joining the troupe, but had never imagined her time would come so quickly.

On knowing the Rockettes was the place for her: "During my week at RSI, I was taught by the Rockettes, and given the chance to perform their numbers at Radio City Music Hall. When I actually got to do their choreography, I gained an appreciation for their precision, and it made me realize that this job was exactly what I wanted."

On giving herself the best possible shot at a contract: "There is no time to waste at RSI! I tried to always think on my feet, follow the directions of the teachers and enjoy myself."

Her advice for anyone hoping to follow in her footsteps: "I have come full circle and now teach RSI myself. What I want to see is dancers who are dedicated and hardworking, who have good energy, and who do their homework. We notice the girls who go home and practice and come back prepared."

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Kyle Davis: Pacific Northwest Ballet

In 2008, Kyle Davis won the prestigious Prix de Lausanne competition, and was offered an apprenticeship with the Royal Ballet. But the previous year, he'd had a great experience at Pacific Northwest Ballet's summer intensive, and he couldn't shake the feeling that Seattle was where he belonged. On a whim, he called PNB's offices and asked to be directed to artistic director Peter Boal, hoping Boal might remember him. "I thought to myself, 'The worst thing he can say is no,' " Davis remembers. Davis asked if he could join PNB as an apprentice that fall. Though Boal didn't have any spots open, he managed to work out a deal with the company's board. Not long after, Boal called to offer Davis an apprenticeship. Davis was promoted to the corps de ballet in 2009, and to soloist in 2016.

On knowing PNB was the place for him: "At the PNB summer intensive, I had a lot of technique and variation classes with Peter, and I really enjoyed working with him. The dancers in my class were exceptional, and I remember thinking, 'If these are the types of dancers their summer intensive attracts, the caliber of the company dancers must be really good.' "

On giving himself the best possible shot at a contract: "I didn't just focus on myself. I understood that every dancer in the room was going to have something I wanted, and that I could learn from them. It could be the way they rotated their supporting leg to maintain turnout, or the way they came out of their jumps. If I'd been internally focused, I would've missed the chance to learn."

His advice for anyone hoping to follow in his footsteps: "Show up and be present. It's not enough to just be there on time. If the person at the front of the room sees that you aren't really listening, there's a good chance they won't hire you."

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Hayden Stark: Houston Ballet

By the time Hayden Stark graduated high school in 2012, he'd auditioned for numerous ballet companies without success. Discouraged but not ready to give up, he attended Houston Ballet's intensive that summer, determined to give it his all. And during the second-to-last week of the program, his efforts paid off: He was offered a position with Houston Ballet's second company. One year later, he joined the first company, and in 2017 he was promoted to soloist.

On knowing Houston Ballet was the place for him: "I trained at the University of North Carolina School of the Arts. While I was there, Houston's summer program was strongly recommended—dancers always came back from there with better technique and better attitudes. I'd also heard that they had more short guys in the company, and since I'm 5' 7", that was a draw for me. I had attended summer programs with other companies before, but something about the rep I did that summer with Houston really sunk its teeth in me."

On giving himself the best possible shot at a contract: "I was focused on getting a contract from the moment the summer program started. I worked my butt off. I proved that I could pick up choreography quickly, which showed them that if they put me in the second company, they'd be able to throw me onstage at a moment's notice."

His advice for anyone hoping to follow in his footsteps: "Don't overdo it the first week. That might sound silly, but people always make that mistake. There's always a handful of kids who go a little too hard the first week and end up getting injured and going home."

If you're a high school dancer looking at your summer as the chance to do some serious college prep (and no, we're not talking about another SAT study course), a collegiate summer intensive could be a great option. Dance Spirit spoke to some expert educators about why a summer program offered by a college or conservatory might be the right choice for you.

Get a Taste of College Life

If you're planning on attending a dance program in college, attending a collegiate summer intensive can give you a good idea of what that might look and feel like.

"It can be extremely beneficial for students who are considering applying to conservatory-style programs, because our schedule during the summer mimics our schedule during the year," says Alicia Graf Mack, director of the dance division at the Juilliard School. "The program gives a great sense of what the life of a college dancer would be day-to-day."

Especially if you're used to only dancing after school and on the weekends, a collegiate summer program can give you a sense of the intensity of a college dance schedule—and what it's like to go home to a dorm afterwards.

"This would be the best way to 'audition' us," says Graf Mack.

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Is This School Right for You?

With the stress of college dance auditions looming, it's easy to focus on whether or not you'll be accepted to your dream program. But it's also important to also think about whether or not the program is the right fit for you. Attending a collegiate summer intensive can help you figure that out.

"You get a taste of what it would be like to go to that school," says Ellen Rosa-Taylor, who serves as the chair of the dance department at Idyllwild Arts Academy, a performing arts high school in California. She recommends paying attention to the specifics of the program: what styles of dance you would be studying, what the dorms are like, whether or not you like the faculty, what the studios and other facilities are like.

Collegiate summer intensives can serve as an in-depth college visit. Instead of only visiting for a day and receiving a precooked tour, you'll get to see what life is really like on campus. Plus, you won't have to use up on of your precious "college visit" excused absences.

Get Familiar With Faculty

While attending a summer program at a college doesn't guarantee your acceptance to the school's dance program, it might help you feel more comfortable going into the audition.

"A student who has had experience with our faculty and our classes would be able to approach an audition with more confidence than someone who's never been a part of the Juilliard community," says Graf Mack. "I think that sense of familiarity does help to free the dancer, especially in an audition setting."

Plus, the faculty will be more familiar with you—your work ethic, your focus, and your unfailing tendency to get to class half an hour early to warm up.

"If you're just a number in an audition, it's harder for colleges to make a decision," says Rosa-Taylor. "They see so many students. If you have that extra personal connection with them, they're going to remember you."

14-year-old Elliana Mannella feels right at home in crowded convention ballrooms. After earning the title of Junior Core Performer at Radix Nationals in 2018, the young dancer spent the year traveling as a Radix convention assistant. That experience further honed her incredible musicality and versatility. While she's worked with notable choreographers like Teddy Forance and Talia Favia, most of Elliana's solos are actually a collaboration between herself and her father, Frankie. The dynamic duo loves to create together and their work so far has paid off: Elliana was 1^st runner up for Junior Female Best Dancer at The Dance Awards in 2018 and 2^nd overall at The Dance Awards in 2019. She is currently training abroad in her first year at the Académie Princesse Grace in Monaco.

Fast Facts

Full Name: Elliana Dawn Mannella

Age: 14

Birthday: September 22, 2005

Hometown: Anoka, MN

Three words to describe her dancing: stillness, emotion, breath

Favorite thing about dance: "Being able to connect life experiences to dance, and to communicate a story with your body, without using words."

Favorite styles: improv, contemporary and lyrical

Dance idols: "Too many! My family, my teachers, and the dancers around me are ultimately my idols. I'm always inspired by them."

Advice for other dancers: "You should never feel like you have to change for others to like you. Focus on enhancing your own unique qualities, because no one else can be you."

Dream dance job: Joining Nederlands Dans Theater

Something no one knows about her: "I love baking and interior design."

Place she'd love to visit: Greece