Sure, roses are pretty, and chocolate is sweet and all—but what are we actually craving this Vday? Here are can't-miss suggestions for every dancer's valentine.

1. A massage.

From you? Sure, great. From a pro at a salon? Even better. From a super hardcore PT who will beat the heck out of our aching muscles? YES YES A THOUSAND TIMES YES.

2. Tickets to one of the gazillion dancy shows about to open on Broadway.

Carousel ! Frozen ! Mean Girls ! Seriously, so many options.

3. A photo session with Lee Gumbs.

Best. Audition pics. Ever.

4. All the things from the Sara Mearns for So Dança line/Tiler Peck for Body Wrappers line/Misty Copeland's Égal line, etc.

Dancewear that might make us look like a gorgeous ballerina ? YUP YUP YUP.

5. An infinite supply of bobby pins.

Just, like, boxes on boxes on boxes of them. Because we have no idea where they disappear to. It'd be legit romantic .

6. An Instagram shoutout from Jennifer Garner.

Because we love you, valentine, but Jennifer's love is the holy grail .

7. A casual hang with Adam Rippon.

Because he's kind of a better dancer than we are and we're not wearing skates, so obviously we need to get all his secrets. (What? It's not like he's busy right now.)

8. Alternatively: a casual hang with Jenna Dewan Tatum.

Bonus points if Channing stops by too !

9. Alternatively: a casual hang with the Shaping Sound tour cast.

Ideally wherever this happened .

10. Chocolate.

OK, fine: We want it. Heart-shaped box optional.

As New York Fashion Week comes to a close we're looking for ways to extend the glitz and glamour of the world's most fashionable event a little longer. And we're in luck because one of fashion's most iconic brands, Rag & Bone has given us some superb eye candy that we can replay to our hearts' content.

What's even better is this fashion film is a collaboration between some of the best dancers from multiple genres, and captures the fabulousness of fashion while incorporating some fierce choreography by none other than Benjamin Millepied himself. The dancer-turned-choreographer demonstrates his versatility as a co-director for the film and brings an edge that we've never seen before.

Though eight American Ballet Theatre dancers, three HipLet Ballerinas, YouTube dance sensation Kandi Reign, and three members of Bulletrun Parkour performing side by side may sound like the opening line of a joke, the seamless synchronization of their styles is anything but. And watching actors Kate Mara and Ansel Elgort star alongside these dance wizards is the icing on top of this decadent dancing cake.

We love watching dance seep into other industries, and this video is evidence of why we hope this trend sticks around.

Happy Valentine's Day, DS readers! ❤️ We truly love each and every one of you, which is why we made you some valentines. Print these out and give them to your boyfriends, your girlfriends, your best friends, your pas de deux partners, your dance crushes, or your pets. And remember—dance will always be your valentine.

1. Houston Ballet Soloist and February cover star, Harper Watters

2. March 2017 cover star and ABT corps member, Aran Bell

3. December 2017 cover star and "SYTYCD" champ, Lex Ishimoto

4. April 2016 cover stars Austin Joson and Nino Dzneladze

The Winter Olympics are in full swing—and we can't get enough of all things figure skating. The skill, the technique, the glamorous costumes: What's not to love about this elegant sport? And while their perfectly choreographed performances look amazing on the ice, we think some of these insanely graceful artists could kill it onstage, too.

Here are 6 skaters we hope will make their dancing debuts soon.

Adam Rippon

Number one on our list is none other than Adam Rippon . His talent, as both a skater (obviously) and a natural mover, is undeniable—and we can't get enough of his personality! Watch this routine, choreographed by Benji Schwimmer , to see for yourself.

Mirai Nagasu

Mirai Nagasu made a huge mark at this year's Winter Olympics by becoming the third woman to ever land a triple axel in competition. She's definitely got the athleticism to nail 32 fouettés—and she's got pretty lines, to boot.

Evgenia Medvedeva

Not only did this Russian superstar just break the record for the highest score ever given to an Olympic skater for the ladies' short program, but she also has a ( very well-documented ) love of hip-hop dance! We think those long arms and legs would make her a natural in the ballet studio, too.

Nathan Chen

We already know this Olympic frontrunner has a ballet background —and if we hadn't known, we would've guessed it, based on his musicality and well-placed port de bras. So, Nathan: When are you going to make your return to the ballet stage?

Yuna Kim

There's no denying that six-time South Korean national champion Yuna Kim is a powerhouse. Her #flawless routine at the 2010 Olympic Games earned her the gold medal, and she recently had the honor of lighting the Olympic cauldron at the opening ceremony. What's next for this figure skating icon? A dance career showing off those pretty balletic lines, we hope!

Patrick Chan

Patrick Chan made headlines for helping Team Canada win the Olympic gold medal in the team event and, tbh, we weren't surprised at all. Chan skates with an elegance and beauty that elevate his skating talents. We're guessing he could SLAY some Travis Wall choreography.

Ever since High Strung: Free Dance —the sequel to the original, fabulously dancy movie —was announced last summer , we've been eager for peeks at the behind-the-scenes action. And yesterday, the High Strung team dropped the juiciest preview footage since our own Facebook Live events on set .

Featuring star Juliet Doherty, fantastic supporting cast members like Phillip Chbeeb and Kerrynton Jones, and choreographer Tyce Diorio, this video package has a little bit of everything: drama, goofiness, and (of course) top-notch dancing. It'll get you even more psyched for the film's release, set for this summer.

And psst: Fans of High Strung and/or Juliet—so, everybody— won't want to miss our July/August issue !

Just chatting with Carter Williams, you'd never guess he's comp-world royalty. He talks about his favorite dance movie ( Chicago ), his dream company (Shaping Sound), and his dance crush (Jenna Johnson—"She's so beautiful and awesome") with the enthusiasm and humility of someone who hasn't won Best Dancer at The Dance Awards, appeared on J.Lo's "World of Dance," and performed at DancerPalooza as part of the Beat Squad three years running. Last December, he brought his precise fluidity and can't-look-away stage presence to the 2017 World Dance Council Amateur League World Championships in Paris, France.

"I love connecting with an audience, sharing what I've learned and what I'm portraying. It's the best feeling. "
-Carter Williams

Fast Facts

Age: He turns 16 this month!

Hometown: Sandy, UT

Trains at: Center Stage Performing Arts Studio in Orem, UT

Must-see TV: " 'Grey's Anatomy.' I'm obsessed with Ellen Pompeo and Sandra Oh—they have me
dead every single episode!"

Favorite food: Pizza with ranch dressing

Carter competing with ballroom partner Anika Baker (photo by Dancesport photography, courtesy Divine)

Performers he's dying to work with: Katy Perry, Lady Gaga, Beyoncé, Sam Smith, and Ed Sheeran

Weirdest thing in his dance bag: A container of slime

Most-played song: "Tell Me You Love Me" by Galantis, featuring Throttle

Favorite dancers: Stefano Di Filippo, Chaz Buzan, Sasha Altukhov, Travis Wall, Nick Lazzarini, and Riccardo Cocchi

Dance BFF: "Kenedy Kallas. We've known each other since we were really young, and she's always there for me. We talk every day, even though we live in different states now."

If he could be a superhero, his power would be: "Mind reading. I'm always so curious what people are really thinking!"

A version of this story appeared in the February 2018 issue of Dance Spirit with the title "You Should Know: Carter Williams."

Though ballet has come a long way from its early days, New York City Ballet corps member, Olivia Boisson—one of the handful of black dancers in the industry—says there's still plenty more that can be done to promote diversity within the art form. Boisson got real about her experience in an article for Women's Health, which discusses everything from Boisson's early training to her work with NYCB.

When Boisson first started studying ballet at Dance Theatre of Harlem, she was surrounded by other black ballet dancers. But when she enrolled at the School of American Ballet—the feeder school for NYCB—she was the only dancer of color in her classes. Boisson praises the contributions of the black dancers who went before her, like dance legend Arthur Miller, but also admitts that as a student, she was hungry for a role model. That's why setting an example for today's young black ballet students is so important to Boisson. She's even begun wearing her hair natural for performances, so that other aspiring ballet dancers of color can see themselves in her.

Read the whole article here . And to learn about other black ballerinas who are working on transforming the ballet industry, check out our March Cover story. .

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 just moved up a level at my studio, and I'm really intimidated by the dancers in my new class. They're older than I am, and they're all so good. I feel like I don't belong, and that makes me even more likely to mess up. What can I do?

Abby

Dear Abby,

Congratulations on moving up a level! It's clear that your teachers believe in you and your talent—and that's the most important thing to remember. They wouldn't have placed you in that level if they didn't think you were ready for it. You do belong.

The other girls in your class may be talented, too, but don't waste time obsessing over their strengths. You're in class to focus on yourself and your own technique. And the majority of the time, your classmates are doing exactly the same thing—analyzing themselves, not you.

Stay the course. Continue working on your placement and technique, and write down all your corrections. If you admire your fellow students, let them inspire you rather than intimidate you. You'll be feeling more confident in no time.

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

American Ballet Theatre principal Sarah Lane charms audiences with her bright energy and crisp technique. The San Francisco, CA, native first started dancing at age 4 at a local community center, and at age 7 started training in Memphis, TN, at the Classical Ballet Memphis. Her family later moved to Rochester, NY, where she continued studying at the Draper Center for Dance Education. In 2002, she was a YoungArts Foundation winner in dance, allowing her to become a U.S. Presidential Scholar in the Arts. She joined American Ballet Theatre as an apprentice in 2003, was made a soloist in 2007, and was promoted to principal last fall. Recently, she originated the role of Princess Praline in Alexei Ratmansky's Whipped Cream . Catch her later this spring during ABT's Metropolitan Opera season. —Courtney Bowers

Dear Sarah,

Do you remember when you were a little girl in Memphis, and you didn't care why or how, you simply danced? You got lost in another world where you could create something beautiful, no matter how imperfect.

Now, you're in the real world. It's OK to be afraid, but you're stronger than your fear.

You're going to have to learn how strength and humility go hand in hand. You're not perfect, but you're enough. Stop judging yourself to the point where you're defeated. You never liked the spotlight, so when you step onstage, let God's grace cover you. You're moved to dance because you are His and you are already loved. You have nothing more to prove.

It's easy to get caught up in yourself, especially when you have to look in the mirror all the time, or when you want to please every critical eye. You'll never please everyone, and trying to will only tear you down. People will say things that aren't true and do things that aren't just. Before you react, remember the grace that you've been given and give it back to others. Be humble, gracious, and caring.

Lane as a teenager in "Cinderella" (photo by Nancy Sands, courtesy Lane)

Working your hardest and trusting God will guide you through the darkest days. No matter what, persevere. There is light ahead. That kind of faith may require more patience than you ever thought possible.

Keep learning! You can always improve. Strive to wring out more creativity and more inspiration, even when you think you can't. You're an artist, so create. You're human, so share your experiences and feelings. You're alive, so enjoy every moment. Nothing lasts forever. If you give your whole heart and your whole soul to what you love on- and offstage, you'll have no regrets. If you look beyond yourself, you'll find your balance. And if you're grateful, you'll be happy.

Love,

Sarah

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "Letter to My Teenage Self: Sarah Lane ."

Yesterday, the dance community was heartbroken to learn that Jaime Guttenberg and Cara Loughran, both 14-year-old dancers, were among the 17 people killed on Valentine's Day in the shooting at Marjory Stoneman Douglas High School in Parkland, FL.

Jaime trained at Dance Theatre in Coconut Creek, FL and was a member of the studio's DTX competition team. Dance Theatre owner Michelle McGrath Gerlick said this on Facebook:

Cara Loughran studied at the Drake School of Irish Dance in Coral Springs, FL. In a statement on Facebook, the school said:

Our hearts go out to everyone who loves Cara and Jaime, and to everyone touched by the shooting in Parkland.

Contemporary phenom Christina Ricucci has super-flexible hips, which means she can stretch her legs to unbelievable heights. But when she noticed herself making contorted positions in class, Ricucci realized she was approaching her extensions all wrong. "I went back to the basics in class, squaring my hips and using my turnout," Ricucci says. "I learned to create proper positions, rather than whacked-out versions of them."

Some dancers are so wonky they have a hard time supporting their high legs, while others struggle with limited flexibility. But no matter your facility, you can find a balance of stretch and strength to achieve your fullest range of extension. It's not about how high (or not) your legs can go: It's the quality of the movement, and how you get those legs up, that counts.

If You're Tight…

Stretch, but Don't Overstretch!

Some dancers just don't have much flexibility in their hips and back. If you're one of these people (and most dancers are!), set aside time to stretch each day. "But there are a lot of crazy stretches, and it's easy to pull a muscle or do something harmful," Ricucci warns. "You have to be careful and go one step at a time. Don't push yourself too hard all at once."

Ian Hussey, principal dancer at Pennsylvania Ballet, says he has "unbelievably tight hips," and recommends the following tried-and-true routine. Before barre, he does core work to get his blood flowing, which makes it easier to stretch. He uses the barre itself as a stretching tool, putting his foot on it and leaning into the stretch. To find the correct, fully extended positions to the front and side, "I grab my heel and get my leg as high as I can, dropping my hip in the socket and pulling up my standing leg," he says. "Then I let go, and hold it up as long as I can." He focuses on turning out from the tops of the thighs, and avoids pronation in his standing foot by thinking about keeping his little toe on the ground.

You can also use a Thera-Band to help you get those extra few inches of stretch. "Make two loops with the ends of a Thera-Band, and put them around your ankles," says Samantha Williams, a teacher at Center Stage Performing Arts Studio in Orem, UT. "On your back, do coupé, then passé turned out, get your knee to your armpit, and extend." Pull gently on the ends of the Thera-Band, so you feel the stretch deep in your muscles—but be careful not to overdo it.

Use the Music

Adding dynamic phrasing to your extensions will make them more beautiful and more interesting to watch, no matter their height. Adagio is the perfect time to explore that musicality. "The dynamics might not be sharp, like they are in petit allégro," says Tina LeBlanc, an instructor at San Francisco Ballet School, "but it's not monotone. It should be like writing, with punctuation in each phrase."

Christina Ricucci went back to the basics in class to learn how to properly support her extension. (photo by David Hoffman, courtesy Ricucci)

"If you just whack your legs as high as you can, the magic is gone," Hussey says. "But when you use the music intelligently, it can really show who you are as an artist." Hussey suggests accenting the way you pick your foot up to coupé, moving quickly through passé, and then slowing down again, luxuriating in the lengthening of your leg.

If You're Flexible…

Find Control

Dancers with tons of flexibility, like Ricucci, need strength and a solid foundation to
support their full extension. "Even when I'm doing more funky positions in contemporary, I still have to know the technique," Ricucci says. "We do a lot of crazy things with our bodies, and if you don't have the strength to stabilize it, those skewed, cool positions aren't going to work." To gain more control, Ricucci does resistance exercises with a Thera-Band and focuses on placement and endurance in ballet class.

At Center Stage, Williams also works with Thera-Bands and small ankle weights (2 pounds or less) to help students use
the correct muscles. "I talk about peanut butter a lot, especially with dancers who are loosey-goosey," she says. "We envision pushing their extensions through peanut butter, or mud, or honey, so that they engage all of their muscles."

Even if you can reach 180 degrees (or beyond!), you shouldn't use your max extension all the time. "You still need a range," LeBlanc says. "Just because your leg is high, doesn't mean it's better." Practice and practice until you know exactly where 45 and 90 degrees are, without having to look in the mirror. (You should even be able to find them with your eyes closed!)

Stand Strong

When the working leg goes high, the standing leg might bend or buckle. "That can
be counterproductive, since you lose the strength of the opposition," LeBlanc says. Think about standing tall on your supporting side, keeping your weight over your toes and pressing into the floor. This straight, strong bottom leg will help you control even the highest extensions. For an added challenge, Williams suggests doing an adagio exercise on a BOSU Ball, which will force you to focus on the standing leg.

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "Your Best Extension ."

Is it summer yet?

Great news: We don't yet have to face a world without Cat Deeley's fabulous outfits (and plummy accent), Nigel Lythgoe's biting commentary, and—of course—Mary Murphy's Hot Tamale Train. As reported by Deadline , FOX has renewed 15-time Emmy winner "So You Think You Can Dance" for a jaw-dropping 15th season, set to air this summer.

If you're between the ages of 18 and 30, you can audition next month in Los Angeles or NYC for your chance to snag a spot in The Academy, launch your career as far as Vegas Week, or even become America's Favorite Dancer!

When the renewal was announced, Lythgoe said, "It's incredible to make it to 15 seasons, which just speaks to the impact this program has had, not only on the world of dance, but also on our loyal fans and viewers, to whom we are most grateful." Not as grateful as we are for being gifted another summer of nail-biting competition!

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 want to dance in a ballet company, but I'm insecure about my body. I'm not skinny, and I don't think I ever will be, because that's just not the way I'm built. Please be honest with me: If I don't have the traditional ballet body, do I have a future in professional ballet?

Lucy

Dear Lucy,

Here's the good news: There's a growing movement in ballet to prioritize healthy bodies over simply skinny ones, which means there are many professionals today who don't have the "typical" ballet body. You don't have to be a string bean with perfect facility to have a ballet career. Most company directors are more concerned with how you dance than how much you weigh, and every director wants to hire strong, energetic artists.

Here's the bad news: The reality is that some directors do still like the look of thin bodies, which means some doors in the ballet world might be closed to you. But don't let that discourage you. Focus on your health, and aim to be the best dancer you can be, in your own beautiful body.

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

You know that thing when you're onstage at a competition and you catch your teacher unconsciously marking through every step of the choreography in the wings, just willing you and the rest of the group to dance perfectly?

Yeah—that happens in ice dancing, too. Case in point: the scene at the Olympic rink yesterday, as Canadian ice-dancing legends Tessa Virtue and Scott Moir skated their way to their third Olympic gold.

Obviously, their performance was all kinds of epic. But the off-ice "performance" given by their coach, Marie-France Dubreuil, was EVERYTHING.

Congratulations to Tessa and Scott (and to Maia and Alex Shibutani, who earned the bronze for the U.S. !). And Marie-France: Please, please keep living your best life.

When Ruby Castro became a Top 10 finalist on "So You Think You Can Dance" Season 13, she was a fresh, feisty new face to most at-home viewers. But in the dance world—particularly on the ballroom circuit—Ruby was already a household name. Miami-based Ruby grew up as a belle of the ballroom: Her parents, Manny and Lory Castro, are veritable superstars of the scene. They're the owners of Dance Town, an ultra-competitive studio in Doral, FL, and raised Ruby to follow in their furiously fast footsteps. Before she graced the "SYT" stage, Ruby had already been named a U.S. Junior Champion in Latin Ballroom, and competed on "America's Got Talent"—twice!

So, we know she's talented, we know she's versatile, we know she's stunning, and we know she can dance. But here's what you may not know about Ruby.

1. What's the first thing you do when you wake up in the morning and the last thing you do before bed every night?

The first thing I do when I wake up in the morning is go back to sleep, because I really am not a morning person! The last thing I do before I go to bed is watch a minimum of 20 YouTube videos. I'm obsessed with makeup tutorials!

2. What are three things you eat every day?

Tequeños, café con leche, and raspberries

3. What are three things you can't dance without?

My inhaler, a tennis ball to roll out my muscles, and my international dance shoes

4. In your very expert opinion, what's the best dance movie of all time?

On the Town

5. If you were given an hour to take class from ANY instructor — living or dead — who would you choose?

Ohad Naharin

6. What's the coolest place you've ever performed?

Blackpool Dance Festival

7. What songs are in heavy rotation on your playlist right now?

"Some Other Spring" by Billie Holiday, "Misty" by Johnny Mathis, and "Sweet Dreams" by The Eurythmics

8. Other than dance, what's your favorite way to work out?

I don't work out in any other way than dancing!

9. What's your favorite way to spend a Sunday?

I love spending my Sundays at dance conventions. After a long week, it's the perfect way to wrap it all up.

10. What has been the single greatest moment in your dance career so far?

One of the greatest moments in my dance career so far is making it to the Top 10 on "So You Think You Can Dance." It was such an incredible experience, and something I will remember forever.

You and I both know that dancing is the best thing since chocolate chip cookies! But its always nice when dance gets the recognition it deserves from non–dance-world peeps. That's why we did our own happy dance when we saw Shape magazine's article on how dancing can actually make you a better athlete.

The piece emphasizes the physical benefits of dance, which include increased flexibility, coordination, and endurance, as well as its mental benefits, like social connections and an added awareness of one's surroundings. (Tell us something we don't know 😉 .) Add the fact that dance sets rigorous exercise to the motivation-boosting sounds of Tchaikovsky or Beyoncé, and it's no wonder athletes are getting better results in their own sports after giving the dance floor a try.

So don't be too surprised if you see an Olympian walk into your studio. After all, their gold medal may only be one dance class away.

"Whole, low-fat, or skim?" The question of which milk to drink has gotten a little more complicated lately, with a wide variety of nondairy milks popping up in grocery stores. To find out which ones are worth your milk money, we had registered dietitian Monika Saigal answer some FAQs.

What's in Nondairy Milk?

Nondairy milk (or, sometimes, "plant milk") is generally made by soaking nuts, soybeans, or coconut flesh in hot water for a period of time, finely grinding or blending the softened mixture, and filtering out any remaining nut particles. Small amounts of oil, gums or thickening agents, and preservatives, like ascorbic acid (aka vitamin C), may be added to keep the texture smooth, like dairy milk, or preserve freshness and shelf life.

The most common nondairy milks are soy milk, almond milk, and coconut milk. But there are plenty others, each with its own nutritional and flavor profile, including: hemp milk, macadamia milk, rice milk, cashew milk, pea milk, oat milk, and rice milk.

Can Plant-Based Milk Replace Cow's Milk?

"For vegans, dancers with a milk allergy, or anyone who prefers not to drink dairy, plant-based milk can substitute if chosen carefully," Saigal says. Keep in mind that nutritional content varies a lot by brand and type of milk. Always check nutrition labels to choose what's best for your needs.

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How Much Protein Is in Plant-Based Milk?

"Rice milk, coconut milk, almond milk, cashew milk, macadamia nut milk, hemp milk, and oat milk usually have little to no protein," Saigal says. "Nuts and seeds are a decent source of protein, but by the time they've been processed into milk, there's little protein left." Saigal recommends choosing milk substitutes with protein content comparable to dairy milk: about 8 grams of protein per 1-cup serving. Soy milk and pea milk are good options. And some nut- or seed-based milks include added protein (usually pea protein)—check the labels!

Are Plant-Based Milks Good for My Bones?

Like dairy products, nondairy milks can be good sources of calcium and vitamin D, which are needed to build strong, healthy bones. "It's important that dancers get calcium and vitamin D, especially during their preteen and adolescent years," Saigal says. Choose milk substitutes with calcium and vitamin D levels at least equivalent to the amounts in cow's milk (nearly 30 percent daily value of calcium and 25 percent daily value of vitamin D per serving).

What Are Other Nutrition Facts to Look For?

"Plant-based milk may be fortified with vitamin B12, which is helpful for vegan and vegetarian dancers," Saigal says. "Pea milk (or milk with added pea protein) is a good source of iron, an important nutrient for dancers. Coconut milk is high in inflammatory saturated fat. If you like coconut milk, you don't need to eliminate it from your diet, but be cautious not to consume many other foods high in saturated fat."

Should I Buy Sweetened or Unsweetened?

Most unsweetened plant milks are low in added sugar, which is a #win. But, says Saigal, "they also tend to be low in carbohydrates, the main source of fuel for brains and muscles." Therefore, dancers choosing unsweetened plant milk need
to get enough carbohydrates from other sources to keep their energy levels up and help with focus. "Unsweetened rice and oat milk are generally higher in carbs than other plant milks, but unless food allergies make these necessary, I wouldn't recommend either because of their low protein content," adds Saigal. "Some unsweetened plant milks are quite low in calories, which may not be best for busy dancers who find it challenging to eat enough during short breaks to support their activity level. Sweetened or flavored plant milk may help dancers with higher calorie and carbohydrate needs, like dancers who are still growing, some male dancers, or dancers recovering from an eating disorder."

Should I Buy Organic?

Whenever possible, Saigal recommends consuming organic dairy products, which are produced without antibiotics or synthetic hormones. "Organic plant milks don't offer much bump in health benefits compared to nonorganic, but there may be other reasons, like environmental concerns, that make it worth purchasing organic," she says.

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "No Dairy? No Problem ."

The high-flying leaps of grand allegro are meant to be incredibly exciting. But at the end of an intense ballet class, when you're exhausted, it can be hard to give them the attention they deserve. Want to pump up your big jumps? Follow these 10 vital tips from Jennifer Hart , curriculum director and instructor at Ballet Austin.

Prep Wisely

Getting ready for grand allegro should begin at the barre. "Pay attention when performing quick tendus, battement jetés, and grand battements, because all those exercises prepare you for grand allegro," Hart says.

Plié, Plié, Plié

This goes without saying, but your plié is so important. "A plié must rebound," Hart says. "If it dies at the bottom, it kills the jump."

Use Your Toes

"Don't forget to engage the whole foot, including toes," Hart says. "There are a lot of small muscles on the bottom of the feet that can facilitate jumps."

Keep Your Chin

Raising your chin and eyes will help keep you airborne mid-jump. "Don't look down, because that pulls you down," Hart says.

Control Your Ar ms

"Make sure to coordinate your arms with your legs," Hart says. "If you initiate a jump with the arms, the whole body will be in balance. Then, when landing, let the arms float just slightly after the legs," to create the illusion of more ballon.

Engage Your Back

Your back can help you build momentum into a jump. "Use your back to propel you forward," Hart says.

Try Syncopation

To improve the height of your jumps, "syncopate the transitional steps," Hart says. "For example, the précipité before a big jump should be quick so that the plié and push off are energized," which will give you more air time.

It's Not All About the Legs

Because grand allegro involves many jumps, you may be tempted to focus all your attention on your legs. But the whole body needs to be activated. "Don't do a jump solely with the legs!" Hart explains. "Using the core helps elevation. My old teacher used to talk about imagining yourself in a baby jumper, thinking of your core lifting you into the air."

Just Add Energy

Obviously, energy is a grand allegro essential. "Slow legs won't get you off the floor," Hart says.

Use Your Imagination

If you can picture it, you can slay it! "Sometimes just imagining yourself hovering in the air can help a jump," Hart says.

Thinking about declaring a dance major? We had professors discuss all the factors you should consider before submitting that major-declaration form.

Think seriously about:

General Education Requirements

"Be aware of the general education requirements at your institution, and think about consistently working on those in conjunction with your dance work. Look for courses you're excited about taking, rather than feeling like you have to get them over with."

—Annie Kloppenberg, associate professor of theater and dance at Colby College in Waterville, ME

Your Faculty Adviser

"Your advising situation is super-important to your success as a dance major. Make time to meet frequently so your adviser can get to know you and your goals."

—Tauna Hunter, dance director and associate professor of dance at Mercyhurst University in Erie, PA

Self-care and Time Management as You Balance Academics and Rehearsals

"Many dance departments have an entry-level course to learn about nutrition, sleep habits, and how to manage your time at school. If your college doesn't offer such a course, seek out resources from student counseling, student health services, and the academic resource center to build the skills you need as a busy dance major." —TH

Focus Within the Major

"You should decide on your path within the major by sophomore spring, so you can successfully graduate on time. Hopefully there's an exploratory time of 18 months
to 2 years before then, when you
investigate paths available within the department." —TH

If You Want to Double-Major

"If the second major requires a lot of courses that don't overlap with dance and you declare late in the game, that can be challenging. On the other hand, there's nothing wrong with declaring a second major early and starting to follow those paths. If you realize it's the wrong path for you, there's time to change." —AK

Study Abroad

"If it's a priority for you to study abroad, talk to your adviser sooner rather than later. Look at the language requirements for the abroad programs, as well as what your home university requires. Think strategically about which courses you'll take abroad to count toward your major and/or move you toward graduation." —AK

Don't need to worry about it yet:

Senior Thesis

"The work you do in the major evolves and develops toward the thesis. Students make a lot of changes from freshman to senior year in their personal and artistic development." —TH

Postgrad Plans

"It's perfectly acceptable to major in dance even if you don't think you're going to pursue it as a career. The college major serves a broader purpose: It's a framework for learning and shaping your future citizenship and engagement in the world. The more important question to ask yourself is, 'Am I going to be deeply engaged in the majority of these courses?' "

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "The Major Requirements ."

There are plenty of current Olympic figure skaters who'd make beautiful dancers (first among them Adam Rippon, whose gorgeously choreographed long program won the internet, if not the gold ). But today, as we wait for the women's figure skating competition to crown its new champions, we wanted to throw it back to one of the most beautifully balletic skaters of all time: Sasha Cohen.

The whole world fell in love with Cohen at the 2002 Salt Lake and 2006 Turin Olympics. (She won silver at the latter.) Her skating was technically impressive, of course, but what we personally couldn't get enough of were her LINES. She threw off 6-o'-clock penchée spirals like they were nothing, landed even the craziest triple jumps with her back perfectly upright, and topped it all off with expressive, supported-from-the-back port de bras. She looked like she would've been right at home in a pair of pointe shoes.

Cohen's mother was a ballet dancer, which explains some of her natural ability. And possibly some of her music choices—here she is performing to a montage from Swan Lake :

Happy #TBT!