We always love a good halftime performance. And we LIVE for halftime performances involving talented kids. (Fingers and toes crossed that Justin Timberlake follows Missy Elliott's lead and invites some fabulous littles to share his Super Bowl stage.)

So obviously, our hearts completely melted for 5-year-old Tavaris Jones. Tavaris may have just started kindergarten, but during Monday night's game between the Cleveland Cavaliers and Golden State Warriors, the Detroit native danced with the panache of a veteran pro at halftime.

Tavaris was backed by the Cavaliers' Scream Team hip-hop crew, whose members we feel deeply sorry for at the moment. They were fantastic. Approximately nobody watched them.

And in case you're wondering: Why yes, Tavaris has appeared on "Ellen ." Twice.

Mark your calendars, bunheads! On Monday, January 29th, at 2:45 PM (EST)/11:45 AM (PST), Pacific Northwest Ballet will be streaming a live rehearsal of Act II of Kent Stowell's Swan Lake .

There are few things cooler than getting a front-row seat to a major ballet company's rehearsal, especially when swans, Prince Siegfried, and Tchaikovsky's lush score are involved. According to PNB, the stream won't be recorded or saved, so that's double the reason for you to tune in! Head over to their website to sign up for a reminder. Only 12 more sleeps until the 29th!

There's a common misconception that a dancer's body has to be thin. But the truth is that talent knows no body type, and the number on the scale never determines an artist's capabilities. Here are some extraordinary dancers fighting the stereotype of what a dancer "should" look like.

Amanda LaCount

With her large social media following and impressive resumé, Amanda LaCount is a role model to dancers all over the world. She's proof that artists who refuse to conform to the "traditional" dancer image can still become Capezio brand ambassadors and perform with the likes of Katy Perry. She's used her platform to launch the inspirational hashtag #breakingthestereotype .

Cathleen Meredith

Cathleen Meredith is the creator of Fat Girls Dance Movement , a worldwide initiative aimed at breaking body image stereotypes through the power of dance. Meredith frequently features plus-size dancers in all styles, from tap to Broadway jazz to contemporary, on the Fat Girls Dance Movement's official Instagram page .

Lizzy Howell

After a video of her doing fouettés went viral, 16-year-old Lizzy Howell soon became a role model for young plus-size dancers around the world. "It feels good to represent the diversity in dance," Lizzy told Teen Vogue . "But there shouldn't need to be a diversity. We should all be equal."

Erik Cavanaugh

Speaking of viral videos: Dancer and choreographer Erik Cavanaugh has received attention for his Instagram vids, which showcase his incredible skills. His mission is "attempting to change the mind and shape of dancers"—and his tilt (or pretty much any of his moves) will blow you away.

The members of Pretty BIG Movement

Founded by Akira I. Armstrong, Pretty BIG Movement is an international hip hop, jazz, Afro and contemporary company comprised solely of full-figured dancers. The aim of the group is to show all how powerful, talented, and gorgeous dancers with curves truly are.

Postmodern pioneer Trisha Brown redefined how dance is seen and felt. A founding member of Judson Dance Theater, Brown frequently collaborated with other experimental artists like Yvonne Rainer, Merce Cunningham, Twyla Tharp, and Steve Paxton.

She embraced pedestrian movement, pairing everyday gesture with rhythm and fluidity. "It's liquid," says Wendy Perron, who danced with Brown in the '60s and '70s. "Like a river with many tributaries, water coming out of a faucet, or being on a raft and seeing the water move away in different directions." Brown also pushed beyond stages with choreography in fields, museums—even on the sides of buildings.

Brown passed away last March, but the Trisha Brown Dance Company, founded in 1970, continues performing worldwide. "There's no official Trisha Brown technique," says current company member Cecily Campbell, "but there are whispers and flavors of her work all over the place." If you've ever happened upon choreography that doesn't necessarily mirror the music, with released yet controlled limb movements, sudden rushes of energy, and humorous elements, you've seen firsthand the widespread influence of Brown's work on the dance community.

You'll likely encounter Brown's style—and maybe even her choreography—in college and beyond, as former TBDC company members include dance-world heavyweights like Stephen Petronio and Vicky Schick. DS asked the experts what it's like to dance Trisha Brown's work, and why her brand of fast-paced fluidity continues to captivate.

Cecily Campbell in Brown's "Primary Accumulation" (photo by Hal Horowitz, courtesy TBDC)

The Movement

Brown's early movement style was very logical. "She would focus on the simple mechanics of how your arm bends, then intersperse choreography with an everyday life gesture," Perron says. "She would try to shed the drama in movement. Not like Martha Graham's emotional contraction and release—just dance as a thing that happens."

The result is complex, yet simple. A leg reaches out and the body leans, an impulse suddenly spins into a torque of the spine, arms are flung and the torso undulates, then everything pauses for a slight flick of a wrist. "There's dialogue between natural, clear ways of moving and extraordinary surprises in the physicality and structure," Campbell says.

Leah Morrison, who joined TBDC in 2005, was attracted to the style because "it tends to feel good. There's an improvisational spirit—we hang on to spontaneity, even as we're getting into precise details." This spirit is featured in one of Brown's most iconic works, Set and Reset , which premiered in 1983. With a score by Laurie Anderson and a set by Robert Rauschenberg, it's a layered feast of seemingly improvised movements that are actually set (and reset).

Trisha Brown in 2018

There's no company class or warm-up routine before rehearsal at TBDC. "Everyone finds their own approach to warming up for the work," Campbell says. "We're responsible for figuring that out ourselves, and it does change depending on the piece." Campbell says the full body has to be ready to move quickly: "That's important for the quirky, unexpected physical pathways Trisha loved." In addition to bones and muscles, Campbell warms up another key feature: "Because Trisha's eyes and mind were so alert and interested in putting many layers at play, I find it helpful to make sure my eyes are seeing in a detailed, clear way."

You can find Trisha Brown–style classes all over these days, though class structure shifts depending on the teacher. When Morrison teaches, "I focus on the bones and making sure students have underlying support for movements that can be free, fluid, and flung." Morrison says what's taught in a Trisha Brown class can apply to other dance styles, but also that because of the work's pedestrian nature, "you can take a Trisha Brown class and then practice what you learn as you're walking, going to the gym, or playing frisbee."

With Brown's passing, her work lives through TBDC, and through past company members teaching and making their own choreography. "I hold the movement in my body. I feel honored to have worked with her directly," Morrison says. Campbell feels she can access Brown by performing the work. "We're fortunate she imbued this work with herself, with such strong spirit. She gave us places to find her inside."

A version of this story appeared in the January 2018 issue of Dance Spirit with the title "Dancing Trisha Brown ."

Harper Watters is a ballet dancer for today's generation. A social media maestro and a charismatic performer, the Houston Ballet soloist is equally at home in front of the camera hosting his hit YouTube series, "The Pre Show"; interacting with fans on his crazy-popular Instagram account; or showing off his beautiful classical technique onstage. It's a multifaceted identity that's proven to be invaluable to his career—and it's taking him to places he never even dreamed of.

Baby Boy

Watters was born in Atlanta, GA, but was adopted at two weeks old and raised in Dover, NH. He started tap and jazz classes at an early age. "I was a constant mover as a kid," he says. But his first exposure to ballet wasn't in the classroom—it was via a VHS tape of New York City Ballet's production of The Nutcracker. "I watched it 10,000 times," he says. "I even choreographed my own one-man Nutcracker over a holiday break."

Photo by Thornton

However, becoming a ballet dancer wasn't his end goal. "I was set on joining Alvin Ailey American Dance Theater," Watters says. "They were the first professional company I saw perform, and I was so inspired by the fact that dancers who looked like me were up on that stage. I researched how to get into the company, and found out that a ballet class was part of the audition. So, it was set—I had to become better at ballet to join Ailey." Watters started training at the Portsmouth School of Ballet in Portsmouth, NH, where he learned the fundamentals and "most importantly," he jokes, "the proper way to put on a dance belt."

Schoolin' Life

After Watters spent his sophomore and junior years at the Walnut Hill School for the Performing Arts, and attended the Washington Ballet summer intensive, a career in classical dance seemed more real. "I attended the Houston Ballet summer intensive the following year, and they placed me in the highest level, so I basically thought I was the next Carlos Acosta," Watters says. "The first day proved I was highly delusional."

Photo by Thornton

At the end of that summer, he was offered a contract with Houston Ballet's second company. "I loved that Houston Ballet was dancing amazing rep, and that their dancers had this incredible mix of finesse, confidence, and artistry," Watters says. In 2012, he was promoted to the main company, and by 2018, he was a soloist.

Me, Myself, and I

These days, Watters is also a bona-fide social media star. But his internet fame didn't happen overnight. "When I first started my YouTube channel, I was only copying things I'd seen—viral challenges, trends—and those videos weren't doing very well," he says. "I just kept reminding myself that Beyoncé wasn't built in a day."

Photo by Thornton

Enter "The Pre Show," Watters' hilarious, honest, and unfiltered view into his dressing room shenanigans. " 'The Pre Show' started out of pure boredom. The conversations that happened between my dressing-room mates and I were too funny to not film," he says. Viewers agreed, and "The Pre Show" took off. "I think it resonated with people because they saw these unique dancers who werevocal and breaking stereotypes," he says.

Watters recognized how powerful and positive social media could be. " 'The Pre Show' happened organically, and the response was incredible," he says. "Building a community of people was so rewarding, and that's what keeps me going. People follow me for me , for what I'm doing and who I am. And that taught me how crucial it is to be 100 percent authentic."

Six-Inch Heels

That authenticity is on full display in the now-viral video of Watters and former Houston Ballet company member Rhys Kosakowski strutting their stuff on treadmills while wearing sky-high pink stilettos. It's been viewed over a million times, and it became the first in a series of heels videos that have brought Watters one opportunity after another. "People might see these videos and think, 'Oh, that's funny,' but it's way more than that," Watters says. "They embody this long journey towards self-acceptance." The social media success was also a big boost to his confidence. "In the heels videos I was projecting this persona that was sassy and fabulous, and I was like, 'Why don't I do this every day?' You have to own it, and once I did, I was able to explore new movement, shake off little things that used to really irritate me, and come into my own."

Photo by Thornton

Kosakowski, who's a mainstay on "The Pre Show," agrees. "Harper's showing people not to be afraid of who they are," Kosakowski says. "If you want to put on makeup and heels, do it. His message is exactly what this generation of ballet boys, and the whole ballet community, needs right now."

He Came to Slay

Despite the success of the heels series, Watters is quick to clarify that he is first and foremost a classical ballet dancer. But that doesn't mean he isn't seizing every opportunity he gets, especially when it comes to educating the general public about the ballet world. "The treadmill video has been picked up by everyone from the TV show 'Broad City' to Elle.com, and their audiences don't know much about dance," he says. "Using these opportunities to shatter ballet stereotypes is important to me."

Photo by Thornton

One particularly special collaboration was with Urban Outfitters for its #UOPride campaign, which launched last June in honor of Pride month. "I think Harper shows that professionalism and authenticity don't have to be mutually exclusive," says Jason Donahoe, former senior content editor for UO. "To do what he does, onstage and online, requires an openness and vulnerability, a lot of self-knowledge, and a lot of self-acceptance. Dancer or not, I think everybody can learn from that."

Who Run the World?

Unsurprisingly, Watters' dream project is totally original—and totally him. "I'd love to have a talk show, but with a performance aspect, like if Wendy Williams and Beyoncé had a child," he says. "I don't want to do anything that's already been done."

Photo by Thornton

In the meantime, his priority is continuing his ballet career, while remaining tapped into pop culture and social media. "When I first started using Instagram, everyone laughed it off," he says. "But look at everything it can bring you, and all the ways you can use it. We're living in a time where the most powerful thing you can be is yourself. So, own it."

A version of this story appeared in the February 2018 issue of Dance Spirit with the title "He Ain't Sorry ."

So book your tickets to Tulsa already, people!

Yesterday, Tulsa World reported that Hamilton , Bandstand , and CATS revival choreographer Andy Blankenbuehler will make his ballet-choreography debut with Tulsa Ballet's final production of the 2018-2019 season.

Blankenbuehler's as-yet-untitled piece will be performed May 9–12, 2019 at the Lorton Performance Center as part of The Signature Series, which puts the spotlight on dancemakers whose works for ballet AND the Great White Way are equally stellar. Who are those other dancemakers, and which works has artistic director Marcello Angelini chosen to spotlight? Oh, you know, just Jerome Robbins (the jaunty, hilarious Fancy Free , later expanded into the musical On The Town ) and George Balanchine (the jazzy, sassy Who Cares? ). It's casual.

This collaboration has apparently been long in the making: "A mutual friend introduced Andy to me back in 2014, and after some discussions, we reached the point where we were ready to sign a contract," Angelini told Tulsa World . "Then I got a note from Andy, saying that he had been offered a Broadway gig that he couldn't turn down, so I put this project on the shelf." No bonus points for guessing what that irresistible Broadway gig was!

"When I reached out to Andy, he said he was still very interested in working with us because he was wanting to do something different," Angelini also said to Tulsa World . "I'm really excited to see what he will come up with because he's just a fountain of ideas."

Coincidentally, Blankenbuehler's new piece will premiere around the same time when the Hamilton tour is set to touch down in Tulsa. "What are the odds the gods would put us all in one spot," amirite?

When we think of a dancer who's broken barriers, American Ballet Theatre principal Misty Copeland tends to be the name that comes to mind. And though Copeland has been a crucial advocate for equality in the world of ballet, Raven Wilkinson—a mentor of Copeland's—is considered one of the original pioneers of the movement.

In 1955, Wilkinson became the first African American to dance with the renowned Ballet Russe de Monte Carlo. Her fortitude in the face of bigotry and hate cemented her legacy. Now, with the release of the new children's book Trailblazer: The Story of Ballerina Raven Wilkinson , a new generation of dancers will be inspired by her tale of overcoming obstacles to achieve a dream.

The book details Wilkinson's life, from her experience as a young dancer training in Harlem, to her run-ins with the Ku Klux Klan while on tour with Ballet Russe, to her later ballet career in Europe. "There were times where my heart really hurt because of the situations I had to deal with," she says. "But I always had faith that I was made to be a dancer and that I was gonna dance."

Dance Spirit spoke with Wilkinson to discuss the new book and get her take on racial equality within the ballet world.

Tell us a little more about Trailblazer .

The cover for Wilkinson's new children's book (courtesy Crystal McCoy/Bonnier Publishing)

The book's been a long time in the making. I was first contacted about it in 2009, and it was a complete surprise.

I have a great fondness for young folks and young minds, and I have the joy and privilege of addressing young people. They're going to need to learn about the injustices of society. And they need to know about their history. This is the history of America. This isn't just the history of black people. This is the history of the country.

Why do you think this book is relevant today?

We're having a cultural revolution, and the book brings up things the whole of humanity needs to tackle. They are going to keep hitting us in the face until we honestly try to face them, rather than saying "Well that's just the way it is." The same issues have to be settled within politics, art, and the ballet world.

The world is a lot better now than it was back in those days. But it's three steps forward and two steps back.

What do you hope people will take away from your story?

Wilkinson (right) (courtesy Crystal McCoy/Bonnier Publishing)

That if you love something and you chose to pursue it, you'll have to endure challenges and continually persist. And that applies to any dream.

We all have obstacles in life that we have to get over, under, and around. It doesn't matter if you're black or white, female or male—everyone has something to overcome, and that's what I wanted this book to emphasize. It's a story we all share.

What do you think is the hardest part about being an African American in the ballet world?

The burden doesn't lie in the fact that we didn't get the job or the part because of our race. Our burden lies in the fact that we don't know the exact reason why they didn't choose us. The burden is in not knowing why.

Ballet Russe de Monte Carlo didn't take me until the third time I auditioned. And I wondered, was it my technique? Was I not qualified for the part? Or was it my race? You can't put your finger on it, which makes it a lot harder.

On the other hand, one time a student told me that she had auditioned for this and that, and said she hadn't gotten any of the roles because of her race. I don't think that's the right attitude to have. If we keep saying every time we don't get something, that it's because we're African American, that takes away from our actual achievements.

How has Misty been able to create such momentum and progress within ballet?

Misty is a phenomenon. She has so much of everything. By the time she was made a principal ballerina, she'd had a lot of experience already. She's in a wonderful place because she's performed so many different roles. And the technique is honed to perfection. You can't see the seams between her technique and expression.

I love ballet and I love good dancing and I don't care about the who. But when she steps out there, there's a graciousness that flows out of her limbs. The fact that she's so good has helped put her in this place of influence.

What advice would you give the current generation of African American dancers pursuing ballet?

Wilkinson (center) (courtesy Crystal McCoy/Bonnier Publishing)

When I teach, the main thing I tell my students is that you've got to have hope, courage, and faith in yourself. You have to have determination and you can't let disappointment detour you.

The change isn't fast. It takes patience. It takes an awfully long time to start a movement. Patience is the operative word. You can only do your part by continually trying, improving, auditioning, and never giving up.

Look out, 'cause here they come!

To celebrate "This Is Me" from The Greatest Showman winning Best Original Song at the 2018 Golden Globes, Warner Music Japan has put together a stunning dance video that we just couldn't NOT share with y'all. The clip stars the Tomioka Dance Club, a high school dance team hailing from the major city of Osaka, Japan. These ladies are no strangers to fame: The team has won titles at the national level and even went viral in Japan last fall .

Filmed on location at Wakayama Municipal High School and choreographed by their coach/choreographer, who goes by the name akane, it's a powerful rendition of the anthem that's already inspired tons of original dances—just check Insta. But there's something—or maybe several things—about this version that really strike a chord. There are the dancers' uniforms, a not-so-subtle reminder of the bullying so many of us have faced at school. There's the exuberant last verse filmed on the roof of the school. (Watch all the way to the end; you won't regret it.) There's the unstoppable girl-power magic that pulses through every single shot. And then there's the fact that The Greatest Showman doesn't even open in Japan for another month, yet there's already this INCREDIBLE official music video—Talk about a universal message!

Happy birthday, George Balanchine! The great choreographer and founder of New York City Ballet would have been 114 years old today. Balanchine revolutionized ballet, especially American ballet—and he also had quite a way with words. To celebrate Mr. B's birthday, we rounded up some of our favorite iconic Balanchine quotes.

"See the music, hear the dance."

"Why are you stingy with yourselves? Why are you holding back? What are you saving for—for another time? There are not other times. There is only now. Right now."

"First comes the sweat. Then comes the beauty, if you're very lucky and have said your prayers."

"Dancers are instruments, like a piano the choreographer plays."

"Put a man and a girl onstage and there is already a story; a man and two girls, there's already a plot."

"I don't want people who want to dance. I want people who have to dance."

"God creates, I do not create. I assemble and I steal everywhere to do it—from what I see, from what the dancers can do, from what others do."

"The mirror is not you. The mirror is you looking at yourself."

"There are no mothers-in-law in ballet."

"Someone once said that dancers work just as hard as policemen, always alert, always tense. But I don't agree with that, because policemen don't have to look beautiful at the same time."

"Ballet is important and significant—yes. But first of all, it is a pleasure."

There are zillions of things to think about when choosing a summer program, but here's one you might not have considered: using an intensive as an opportunity to focus on a new style. Maybe you're a tap dancer who's ready to see where else your rhythm and quick feet can serve you, or a contemporary dancer curious about the more traditional roots of your genre. A summer program can be the perfect place to broaden your horizons, giving you the opportunity to make technical and artistic changes that stick throughout the year.

Why Summer?

An intensive's deep-dive format can feel totally overwhelming, even in a style you're confident in. But that unique format is also what makes it the best time to try something new. "Immersing yourself in intensive summer study allows for pure focus," says Limón Dance Company program manager Becky Brown. Unlike a master class or workshop, a summer program permits dedicated practice over the course of several weeks, giving you the time you need to absorb detailed instructions.

Embrace Being Not-Perfect

Feeling out of your depth is a good thing—it means you're growing. But don't be nervous that attending a summer program outside of your style will mean weeks of awkwardness and discomfort. Michelle Chassé, director of Boston Conservatory at Berklee's Musical Theater Dance Intensive, often sees contemporary and ballet dancers attend the summer program, but the compressed time frame and high level of intensity quickly help them feel at home. "Students are really challenged, even bewildered, in the first few days of the program," she says. "But by the end of the first week they've already begun to absorb and digest what they're being taught."

Giordano musical theater dance intensive students Celia McLennan and Michael Haggerty (photo by Eric Antoniou, courtesy Amy Giordano)

Reap the (Career-Building) Rewards

In addition to the training you'll receive, an intensive is a major networking opportunity, because it gives you time to build relationships. And if you spend part of your summer with an entirely new dance community, you're likely to create dozens of relationships that might not otherwise have been available to you. "Use the intensive as an opportunity to expand your network of contacts," says Amy Giordano, executive director of the Gus Giordano Dance School in Chicago, IL. "Parents, teachers, photographers—you're exposed to all these new people."

Change Your Big Picture

It seems counterintuitive, but spending a summer studying an unfamiliar technique might just make you better in your "home" genre. "Every style incorporates inspiration from the others," says Brian Young, owner and director of Sweatshop Dance in Denver, CO. "So learning a new style of dance might be just what you need to connect the dots, even in the styles you're most familiar with."

Or a summer program experience could change the course of your career. Student Ilana Cohen studied primarily ballet before attending her first Limón summer program. "I'd started to feel stuck in my ballet training," she says. "My body wasn't physically shaped to do it, and while I had taken classes in more contemporary styles, I didn't understand them because I couldn't see what the goal was." When she first started studying Limón technique, the framework and instruction made sense. "Before the intensive," she says, "it had never occurred to me that it would be possible to consider a career in dance."

Want to branch out, but not sure which intensive might be right for you? We've got some ideas:

If you're a bunhead who's ready to loosen up, try: Complexions Contemporary Ballet summer intensives

If you're a contemporary dancer who wants to dig into improvisation, try: The Gaga intensives

If you're a tapper who's eager to explore rhythm in a different way, try: Belén Maya flamenco workshops

If you're a comp kid who lives for acro, try: Bandaloop

A version of this story appeared in the January 2018 issue of Dance Spirit with the title "The Summer Study Style Challenge ."

If you're in need of a piece that's both trendy and sophisticated, look no further than this Só Dança crop top. Featuring elegant long sleeves, a high neckline, and a delicate lace trim, it's both classic and contemporary—perfect for everything from that big audition to a long night in the studio. Enter below for your chance to win it!

The second round of 2017 Future Star winners showcases more dancers with singular talent and ability. We're thrilled to celebrate their success!

Giuliana Siraguso

Photo by Hall of Fame Dance Challenge, courtesy Carol Siraguso

Age 11

Priscilla + Dana's School of Dance, Kansas City, MO

Starpower International Talent Competition, Branson, MO

Myckena Surber

Photo by Same Day Productions, courtesy Myckena Surber

Age 18

Adams School of Dance, Belleville, IL

Dupree Dance, Destin, FL

Juliana Friedman

Courtesy Juliana Friedman

Age 15

Studio L Dance Co., Waldwick, NJ

Starpower International Talent Competition, Orlando, FL

Martina Schiano-Lomoriello

Photo by James C. Richards, courtesy Carmela Schiano-Lomoriello

Age 12

New Castle Dance and Music Academy, Newark, DE

Imagine Dance Challenge, Hershey, PA

Maia Bliudnikas

Photo by DRC/Dancebug, courtesy Turn It Up Dance Challenge

Age 17

Spotlight Dance Academy, Westford, MA

Turn It Up Dance Challenge, Hyannis, MA

Dayjah Monet Keys

Photo by Bill Menzel, courtesy Backstage Performing Arts

Age 16

Tiffany & Co Academy of Dance Hamilton, NJ

Chelsea Bailey

Photo by Dancebug, courtesy Chelsea Bailey

Age 15

On Your Toes Dance Studio, Twinsburg, OH

Extreme Talent National Competition, Pittsburgh, PA

Basia Rhoden

Courtesy Starpower

Age 14

Dolce Dance Studio, Fresno, CA

Starpower International Talent Competition, Las Vegas, NV

Chloe Shaw

Photo by Shannon Schultz Photography, courtesy Rochelle Shaw

Age 14

Perception Dance Company, Lenexa, KS

Starpower, Branson, MO

Brooke Renfrow

Photo by Starpower Photography, courtesy Brooke Renfrow

Age 16

Strictly Rhythm, Franconia, VA

Believe/Imagine, Ocean City, MD

Leah Farquharson

Photo by Andrew Holtz, courtesy Starbound

Age 17

Danceworks, Mississisauga, ON, Canada

Starbound National Talent Competition, Chicago, IL

Adrian Curiel

Courtesy Adrian Curiel

Age 17

Power Elite Dance Academy, Globe, AZ

Step Up 2 Dance, Phoenix, AZ

Louise Hindsbo

Courtesy Artists Simply Human

Age 11

Studio 19 Dance Complex, Mars, PA

Artists Simply Human, Orlando, FL

Nick Alvino

Photo by DRC Dancebug, courtesy Turn It Up Dance Challenge

Age 16

Alexa's Dance Academy, East Meadow, NY

Turn It Up Dance Challenge, Ocean City, MD

Riley Noonan

Photo by W Cunningham, courtesy Spirit of Dance Awards

Age 11

Spotlight Dance Academy, Westford, MA

Spirit of Dance Awards, Hyannis Cape Cod, MA

Abigail Richards

Photo by Dancebug, courtesy Wendy Richards

Age 18

DeGrasse Dance Studio, Haymarket, VA

Elite Performance, Mystic, CT

Elizabeth Hazelwood

Courtesy Jennifer Hazelwood

Age 18

First Landing Dance Center, Virginia Beach, VA

Encore Dance Competitions for the Stars, Virginia Beach, VA

Eric Decaminada

Photo by DRC/Dancebug, courtesy Turn It Up Dance Challenge

Age 17

The Pulse Performing Arts Studio, Bedford Hills, NY

Turn It Up Dance Challenge, Long Branch, NJ

Mackenzie Casey

Courtesy Mackenzie Casey

Age 17

Edge Dance Center, Lumberton, NJ

Step Up 2 Dance, Atlantic City, NJ

Kaylee Couite

Courtesy Step Up 2 Dance

Age 17

Pat Snows Dance Academy, Bridgewater, MA

Step Up 2 Dance, Manchester, NH

Abby Sebastian

Photo by UEP Photography, Courtesy Dancers Burlington

Age 10

Dancers Burlington, Burlington, Ontario, Canada

Starpower International Talent Competition, Myrtle Beach, SC

Ava Lahey

Photo by Platoon Event Photography, courtesy Ava Lahey

Age 15

Sara's Studio of Dance Jacksonville, IL

Revolution Nationals,Chicago IL

A version of this story appeared in the January 2018 issue of Dance Spirit with the title "Dance Spirit Future Star 2017: Round 2."

Auditioning for summer intensives in person may be the ideal—but for Anna McDowell, a 16-year-old student at Juneau Dance Theatre in Juneau, AK, it's rarely possible. “Living in Alaska, it's difficult to travel to auditions," she says. “It gets way too expensive!" Instead, each year, with help from her teachers and a videographer, she puts together a well-crafted video and submits it to schools around the country. Last year, her high-quality video helped her earn acceptance to nearly every program she applied for. Most summer intensive programs, eager to attract students from far and wide, will accept video auditions from those who can't travel to take class. But major schools look at hundreds of submissions each year, which means video auditioners have just a few minutes—or even seconds—to make a great impression. If you're about to create an audition video, follow these tips from the professionals to put your best digital foot forward.

Before you step in front of a camera, visit each summer intensive's website and make a list of their video requirements. Most ballet programs will specify certain steps they want to see, both at barre and in center. “Some places want to see the entire class on pointe, or a variation at the end," McDowell says. That may mean you have to make multiple versions of your audition video. (One year, McDowell made five different videos to accommodate requests from different schools.)

If you're auditioning for a non-ballet program, the directions might be less specific. “Don't be afraid to ask questions," says Nel Shelby, professional videographer and owner of Nel Shelby Productions, who frequently films audition videos. “Email the school or choreographer and ask what they want to see."

Prep for your video shoot as you would for a live audition: Sleep well the night before, make sure you're warm before you dance and choose an appropriate audition look. “I prefer a simple leotard and pink tights," says Lawrence Rhodes, director of The Juilliard School's dance program. “We should see the body completely, and be able to tell what your proportions are like and what your capabilities are."

If you'll be dancing a variation, make sure you're well rehearsed and at ease with the choreography. “Choose something you feel good about, that shows you at the top of your game," Rhodes says. It's worth practicing the basics, too. “Rehearse everything, even barre exercises, to make sure you're comfortable before you film," says Steven Wistrich, director of City Ballet of San Diego.

Ask your coach or teacher to be there on shoot day. He or she can provide technical feedback, and can also help by giving you combinations that will highlight your strengths.

If you can afford a professional videographer, it's worth it: A pro will help you make sure you look your best. But if that's not in your budget, a high-quality smartphone video will work fine, provided you're strategic about the filming process.

Reserve a studio so that you can film yourself solo, rather than trying to tape a regular class. “When there are other people around, I don't know who I'm supposed to be watching," Wistrich says. Make your video easy to watch by choosing a simple background, like a white wall, and avoid shooting in front of a mirror, since seeing the front and back of you at the same time can be confusing and distracting. “Fluorescent studio lights are tricky on film," Shelby says, “so do a test shot to make sure you don't have shadows on your face."

Nel Shelby filming Pacific Northwest Ballet's Margaret Mullin (photo by Christopher Duggan, courtesy Shelby)

Sound levels are also important. Again, do a few tests to ensure your music records at a normal volume. “If it's really loud or soft, people might turn off the video right away," Shelby says. And keep in mind that wearing brand-new pointe shoes that tap the floor noisily might make people think you're not using your feet properly.

There are all kinds of user-friendly editing programs, like iMovie, available to help you compile your footage. But there's no need to get fancy during the editing stage. In fact, the most successful videos are frequently the simplest ones: They're as clear and easily viewable as possible, without a lot of busy graphics, special effects or text. “I don't think it's important that people have a slick reel and fancy cover page," Rhodes says. “We're looking at the dancing. You want to focus on putting something forth that is movement-oriented, musically sound and well coordinated. Those things actually count a lot."

Surprising Video Dos and Don'ts

Videographer Nel Shelby lays out filming rules that might not be intuitive to nonprofessionals.

Shooting from multiple angles might seem sophisticated, but it's actually a DON'T. “It's disorienting to see shots that are high, low, and from the side," Shelby says. “A simple, one-camera angle is best."

DO stabilize your camera. “Even if you're shooting on an iPhone, make sure that it's steady," Shelby says. “Buy a little tripod or mount the phone on the wall."

If you're using a smartphone, DON'T shoot vertically! “We tend to hold our phones vertically, but if you do that, you'll end up with black bars on each side of the finished product, and you'll look smaller in the frame," Shelby says.

DO think about how you're framing your body with the camera.

Be sure not to leave too much room on the top or bottom of the screen.

The second round of 2017 Future Star winners showcases more dancers with singular talent and ability. We're thrilled to celebrate their success!

Giuliana Siraguso

Photo by Hall of Fame Dance Challenge, courtesy Carol Siraguso

Age 11

Priscilla + Dana's School of Dance, Kansas City, MO

Starpower International Talent Competition, Branson, MO

Myckena Surber

Photo by Same Day Productions, courtesy Myckena Surber

Age 18

Adams School of Dance, Belleville, IL

Dupree Dance, Destin, FL

Juliana Friedman

Courtesy Juliana Friedman

Age 15

Studio L Dance Co., Waldwick, NJ

Starpower International Talent Competition, Orlando, FL

Martina Schiano-Lomoriello

Photo by James C. Richards, courtesy Carmela Schiano-Lomoriello

Age 12

New Castle Dance and Music Academy, Newark, DE

Imagine Dance Challenge, Hershey, PA

Maia Bliudnikas

Photo by DRC/Dancebug, courtesy Turn It Up Dance Challenge

Age 17

Spotlight Dance Academy, Westford, MA

Turn It Up Dance Challenge, Hyannis, MA

Dayjah Monet Keys

Photo by Bill Menzel, courtesy Backstage Performing Arts

Age 16

Tiffany & Co Academy of Dance Hamilton, NJ

Chelsea Bailey

Photo by Dancebug, courtesy Chelsea Bailey

Age 15

On Your Toes Dance Studio, Twinsburg, OH

Extreme Talent National Competition, Pittsburgh, PA

Basia Rhoden

Courtesy Starpower

Age 14

Dolce Dance Studio, Fresno, CA

Starpower International Talent Competition, Las Vegas, NV

Chloe Shaw

Photo by Shannon Schultz Photography, courtesy Rochelle Shaw

Age 14

Perception Dance Company, Lenexa, KS

Starpower, Branson, MO

Brooke Renfrow

Photo by Starpower Photography, courtesy Brooke Renfrow

Age 16

Strictly Rhythm, Franconia, VA

Believe/Imagine, Ocean City, MD

Leah Farquharson

Photo by Andrew Holtz, courtesy Starbound

Age 17

Danceworks, Mississisauga, ON, Canada

Starbound National Talent Competition, Chicago, IL

Adrian Curiel

Courtesy Adrian Curiel

Age 17

Power Elite Dance Academy, Globe, AZ

Step Up 2 Dance, Phoenix, AZ

Louise Hindsbo

Courtesy Artists Simply Human

Age 11

Studio 19 Dance Complex, Mars, PA

Artists Simply Human, Orlando, FL

Nick Alvino

Photo by DRC Dancebug, courtesy Turn It Up Dance Challenge

Age 16

Alexa's Dance Academy, East Meadow, NY

Turn It Up Dance Challenge, Ocean City, MD

Riley Noonan

Photo by W Cunningham, courtesy Spirit of Dance Awards

Age 11

Spotlight Dance Academy, Westford, MA

Spirit of Dance Awards, Hyannis Cape Cod, MA

Abigail Richards

Photo by Dancebug, courtesy Wendy Richards

Age 18

DeGrasse Dance Studio, Haymarket, VA

Elite Performance, Mystic, CT

Elizabeth Hazelwood

Courtesy Jennifer Hazelwood

Age 18

First Landing Dance Center, Virginia Beach, VA

Encore Dance Competitions for the Stars, Virginia Beach, VA

Eric Decaminada

Photo by DRC/Dancebug, courtesy Turn It Up Dance Challenge

Age 17

The Pulse Performing Arts Studio, Bedford Hills, NY

Turn It Up Dance Challenge, Long Branch, NJ

Mackenzie Casey

Courtesy Mackenzie Casey

Age 17

Edge Dance Center, Lumberton, NJ

Step Up 2 Dance, Atlantic City, NJ

Kaylee Couite

Courtesy Step Up 2 Dance

Age 17

Pat Snows Dance Academy, Bridgewater, MA

Step Up 2 Dance, Manchester, NH

Abby Sebastian

Photo by UEP Photography, Courtesy Dancers Burlington

Age 10

Dancers Burlington, Burlington, Ontario, Canada

Starpower International Talent Competition, Myrtle Beach, SC

Ava Lahey

Photo by Platoon Event Photography, courtesy Ava Lahey

Age 15

Sara's Studio of Dance Jacksonville, IL

Revolution Nationals,Chicago IL

A version of this story appeared in the January 2018 issue of Dance Spirit with the title "Dance Spirit Future Star 2017: Round 2."

Maud Arnold is one of the busiest tap dancers on the planet. As a member of the Syncopated Ladies , Maud—along with her big sis and fellow tapper Chloé Arnold —is on constantly the road for performances, workshops, and master classes. For the average person, that kind of schedule could lead to a serious derailment of healthy habits. But Maud's far from average. Here's how the fit, fierce, flawless tap star stays stage-ready—no matter what time zone she finds herself in.

1. She puts on a happy face—literally.

"I wake up every day and smile, whether it comes naturally or I force it," Maud says. "I make the choice to start off my day in a state of happiness and gratitude."

2. She gets sweaty.

"I work out every day, either with my brother and his Cuerpaso fitness program, with my friend Jelany at Pit Performance LA , or dancing with the Syncopated Ladies," Maud says.

3. She loves a good haiku.

"I write a daily haiku because it activates my brain and makes me unplug, even if just for the two or three minutes it takes me to write it," Maud says. (She usually shares her haikus on Instagram , so check 'em out!)

4. She eats well and indulges.

"I try to drink a lot of water and I avoid fried foods," Maud says. "But if I want chocolate or a dessert, I have it! My brother Tadeo is a personal trainer, and he says it's better to have a little bit now than to binge later when you finally give in to the craving."

5. She understands the power of personal connection.

"I love speaking to people," Maud says. "Whether it's people I know or just small interactions with strangers during the day, a smile, hug, or high five makes my heart happy."

6. She's unabashedly herself.

"I walk in my own truth, so I am never apologizing for loving myself or for being who I am," Maud says. "I think that's the healthiest thing we can all do."

The 2018 Oscar noms are here . Which is fun and all; we'll never not get excited about a night of glitz and glamor and, when we're lucky, pretty great dancing . But we'd be a heck of a lot more excited if the Academy Awards included a Best Choreography category. And really—why don't they?

Last year, La La Land 's Oscars domination (FOURTEEN nominations) made the fact that Mandy Moore couldn't be recognized for her fantastic choreo—a huge, indisputable part of the film's success—seem especially cruel. This year, it feels weird not to recognize the dance contributions of Ashley Wallen ( The Greatest Showman ) , Anthony Van Laast ( Beauty and the Beast ), and Aurélie Dupont ( Leap! ), to name just a few.

Yes, there's a workaround: Gene Kelly, Jerome Robbins, and Onna White received honorary Oscars for their dance work on (respectively) An American in Paris, West Side Story , and Oliver! . A year ago, choreographer Liz Imperio started a campaign to get Moore an honorary award of her own ; sadly, it was unsuccessful. (Also—little-known fact—from 1935 to 1937, there was a Best Dance Direction category , whose nominees included Busby Berkeley and Hermes Pan.)

But why not just make Best Choreography a permanent category? There'd be no shortage of potential nominees. More and more movies are hiring brilliant choreographers, and many of them are doing beautiful work. Let's recognize the people who make motion pictures move .

Getting injured during college doesn't have to ruin your semester. DS asked a professor, a certified athletic trainer, and a student who's overcome injury how you can deal.

Lauren McIntyre, ATC, certified athletic trainer for The Conservatory of Dance at SUNY Purchase through the Harkness Center for Dance Injuries at NYU Langone Health

"Injuries happen around midterms, performances, and finals, when students get busy and fatigued. Fear can keep dancers from getting seen by a medical professional right away: 'How will I be graded? What does this mean for my college career?' Getting a diagnosis helps you figure out how bad it is and how much you can safely work through.

Don't just skip class. You learn so much from observing! If you truly can't participate, figure out how to become a rehearsal assistant. Use the resources on campus. The psychology of injury can be devastating; you should be seeing someone from college counseling if possible.

To prevent injuries, remember you are at school to dance. So you can't live a traditional college life: partying, eating poorly, staying up all night. These lead to fatigue, inflammation, and irritation, not recovery. Plan your cross-training and rest according to when your breaks and concerts will be."

A SUNY Purchase junior who wished to remain anonymous

"I had ankle pain that kept popping up every semester, so I got an MRI. Turns out there was a tear in my FHL [flexor hallucis longus] tendon. Since then I've been out of dance, and I had surgery to repair the tendon at the beginning of this year.

I knew before last fall there was no way I could dance enough to be graded, so I decided instead of
taking the semester off, I would turn my arts management minor into a major. I never really understood how 'normal' college students feel. I've realized how much study time goes into academic classes. I'm glad I've explored subjects other than dance: My mind was opened to things I might want to do after my dance career, and I made amazing friends who aren't dancers."

Ann Murphy, associate professor of dance, Mills College, Oakland, CA

"Talk to professors about modifying class, give your body time to heal, and take the advice of the professionals around you. Be transparent with faculty—treat us as your co-problem-solvers. Come to class early to take care of your body's needs; the professor may not address your particular issues."

A version of this story appeared in the February 2018 issue of Dance Spirit with the title "Intro To... Injury? "

Why do you love ballet? Does it help you escape? Provide a creative release? Give you an eloquent way to speak with your body? Push you to strive for perfection every day? (All of the above?)

New York City Ballet just launched a new campaign, With Ballet, that asks ballet dancers and fans to talk about what ballet means to them. It's a lovely idea, and it comes with an easy-to-use website that makes sharing your ballet story super simple.

Visit withballet.com to create an Insta-ready image, and then tell the world about your personal ballet journey, using the hashtag #withballet. Not sure where to start? Let NYCB principal Lauren Lovette's video inspire you:

Every dancer knows the audition process is full of rejection. But hearing "no" again and again, from the same casting team, and then coming back for more? That takes some serious motivation. These dancers were all cut multiple times from auditions for their dream jobs, took it in stride, and ended up getting the gig.

Marko Germar: "So You Think You Can Dance" All-Star

Marko Germar with Koine Iwasaki on "So You Think You Can Dance" (courtesy Adam Rose/Fox)

Number of times he auditioned for "SYTYCD": Three

Round After Round

"The first time I auditioned for 'SYTYCD,' in Season 5, I went to Vegas but got cut in the first round. During Season 7, I went to Vegas and got cut during the contemporary portion. I came back during Season 8 and went all the way through to the finale. Each time, I felt like I had to get past where I was cut before."

Getting an Edge

"In between the auditions, I took class at the Edge studio so much that people thought I was on scholarship there. I was constantly training and auditioning. It taught me how to be professional. That gave me the confidence, and physical and mental stamina, to keep trying."

Banishing Nerves

"By the third time I auditioned, I had a veteran mentality. There's no reason to psych yourself out, because you've already done it! The judges asked me to dance with multiple partners, which made me think they trusted me, and that helped me to know I could do it."

Advice for DS Readers

"A setback is a reason to try again. Just because one person says 'no' doesn't mean the next person will."

Chalvar Monteiro: Alvin Ailey American Dance Theater

Alvin Ailey American Dance Theater's Chalvar Monteiro (left), in Kyle Abraham's "Untitled America" (photo by Paul Kolnik, courtesy Alvin Ailey American Dance Theater)

Number of times he auditioned: Seven

Commitment to the Dream

"I made a promise to myself that I would never stop trying for something I truly wanted. I learned everything I could at the company I was dancing for at the time, and then took that with me to Ailey."

Finding Patience

"I learned to stop trying to speed up the process of success. I took the time to understand what I truly wanted for myself as a person, and whether I was making career moves that really resonated with me."

What It Felt Like to Hear "Yes"

"It was a big relief, but also very daunting. I was the only dancer to be hired that year, and I felt like all eyes were on me."

A Transformational Journey

"The seven-year process to joining Ailey transformed me into my own biggest support system. I was able to focus on clarity, quality, and spirit. I truly feel I became the dancer I am today because of the beautiful people I worked with along the way."

Mary Kate Hartung: Wendy, "Finding Neverland" national tour

Mary Kate Hartung (courtesy Anita Dloniak & Associates)

Number of times she auditioned: Two ("But I auditioned for the same casting director at least 20 times within a year.")

Booking the Gig

"My first audition for Finding Neverland marked my transition from concert dance to musical theater. I broadened the classes I took, the kinds of auditions I went to, and was blessed with some amazing opportunities that allowed me to grow tremendously as an artist. I came into my s econd audition with much more confidence and a better skill set to back me up.

" What It Felt Like to Hear "Yes"

"I was scrubbing gunk off my kitchen floor when I got the call from my agent. I couldn't believe it! I felt like all my hard work had paid off in exactly the way I'd wanted it to, but I'd be conceited to dismiss the importance of luck and timing."

Emeri Liza Fetzer and Kayla Farrish: "Sleep No More"

Kayla Farrish (photo by Stephanie Crousillat, courtesy Farrish)

Number of times they auditioned: Three and five, respectively

Loving the Process

Kayla: "When I did my first audition, I absolutely loved the entire process—the improvisation, phrasework, partnering, storytelling movement concepts, and musicality techniques. Every part of it was so exciting, and that's unusual for an audition. The movement and ideas allow you to bring yourself into a role, while still challenging your skills."

Necessary Self-Confidence

Emeri: "The first time I auditioned, I was kept through all the cuts, with an extraordinarily talented group of people. It didn't pan out. When I came to the next open call, I was cut in the first round. When I went back the third time, I had a strong feeling of 'I'm going to book this job.' I felt that I finally knew what the casting team needed to see from me. I danced for the show for two years."

Advice for DS Readers

Emeri: "The audition process changed my perspective on the business of dance. It's a game of persistence and resilience. Sometimes it won't be enough to just do the combination right."

A version of this story appeared in the February 2018 issue of Dance Spirit with the title "When Persistence Pays Off ."

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,

I'm applying to some summer programs by video this year, and I can't afford a professional videographer. Is it OK to film an audition video on my phone? What can I do to make it look polished?

Lindsay

Dear Lindsay,

Take heart: Few summer programs expect students to submit professional-quality videos. Many actually prefer something less polished, technologically speaking, because that means they won't be distracted from you and your ability. They don't want the edited version of you—they want the real you!

A phone video will work just fine. Make sure you turn the phone horizontally to get a wider shot. Lighting is also key. Find the brightest studio you can, so that your technique won't be obscured by shadows. Finally, edit as little as possible. Cut-and-spliced combinations are a big red flag to program directors. Try to do every combination or variation in one take.

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