Once upon a time (until the 2014 Winter Olympics in Sochi concluded, to be exact), figure skaters had to compete to music without words. Before this rule change, a skater faced an automatic point deduction if the music even hinted at vocals. Understandably, there were *a lot* of Olympic programs skated to classical music, and you'd tend to hear the same music selections over and over and over.

Fast-forward to this Olympics, where skaters are having tons of fun with their music selections. (I mean, did you see how Adam Rippon brought Coldplay up to crazy new heights through his Benji Schwimmer-assisted free skate ? He better slay.) But we're also thrilled to see many skaters continuing to breathe triple-lutzious (#sorrynotsorry) new life into music from the world of classical ballet —and ending up on the podium for their efforts.

Last night in the ladies' free skate, Olympic athlete from Russia Alina Zagitova nabbed gold performing to selections from Don Quixote . At just 15 years old, her maturity of expression and épaulement have a ways to go, but check out how terrifyingly brilliant those jumps are! And yes, we're big fans of the very Kitri-worthy mini red tutu.

And then there's Kaetlyn Osmond, who turned in what commentators Johnny Weir and Tara Lipinski said was "the skate of her life" to music from Swan Lake . Dressed as the black swan Odile, Osmond bourréed, arabesqued, and generally flew across the ice to snag a well-deserved bronze for Canada.

What do you think of figure skaters paying homage to classical ballet—love it or leave it? As long as their port de bras is pretty, I'm so here for it. How about a Rose Adagio next?

(Editor's note: Footage from last night's free skate competition has not yet been released to YouTube etc., so we've included clips from past major competitions that closely matched how well these athletes skated last night in PyeongChang.)

Last month, we asked why there wasn't a Best Choreography category at the Oscars—and discovered that many of you agreed with us: Choreographers should definitely be acknowledged for their work on the super-dancy movies we can't get enough of.

Now, we're taking matters into our own (jazz) hands.

We've decided to create a Dance Spirit award for the best cinematic choreography of 2017. With your input , we've narrowed the field to four choreographers whose moves lit up some of the bestmovies of the year. Check out our nominations for best choreography—and vote for the choreographer you think deserves the honor.. We'll announce the winner on Friday, March 2.

The Olympics are always full of inspiring Cinderella stories, where athletes no one had heard of mere months ago end up blowing all expectations out of the water, and maybe even nabbing a medal in the bargain. But we've recently caught wind of a different kind of Cinderella story—and it's one we really, really hope shows up in the Closing Ceremonies of the PyeongChang Olympics, airing tonight on NBC starting at 8 pm Eastern/5 pm Pacific time.

We're talking about the "Dream Team," composed of Mr. Pizza—basically the Pizza Hut of South Korea—kitchen staffers turned champion pizza dancers. According to HelloGiggles , the five-member group has won two World Pizza Games championships (yeah, we didn't know that was a thing either) AND has broken the Guinness World Record for the most over-the-shoulder pizza tosses. If pizza twirling/dancing/tossing were an Olympic sport, the South Koreans would have it on LOCK.

And while we don't have high hopes that pizza dancing will show up as a sport for the 2020 Summer Games in Tokyo, Japan, our fingers are crossed that these top-notch tossers maybe get to show their stuff in tonight's closing ceremonies. Oh Jang-hwan, PyeongChang's director of ceremonies, got hopes up further when he said on the International Olympic Committee website that the closing ceremonies "will include quite a lot of traditional Korean humor and fun elements to add to the party feel." Soooooooo pizza dance party, anyone?

Did you do a happy dance when you heard that "So You Think You Can Dance" had been renewed , hoping that Season 15 would be your chance to shine on the small screen? Well, the first step on every "SYT" dancer's journey is the audition. Here are all the ways you can get your best moves in front of the judging panel.

In-person auditions for Season 15 kick off this Friday, March 2, in NYC. If you're between the ages of 18 and 30, download all the registration forms , and then get your booty to the Gelsey Kirkland Academy of Classical Ballet at 7 am on Friday. Callbacks will be held over the 3rd and 4th, with the official "judges round" happening at the Brooklyn Academy of Music on the 4th.

The show will be holding auditions in L.A., too, but dates and times have yet to be announced. To get up-to-the-minute info, send your name, phone number, and email address to SYTYCDCASTING@gmail.com .

This season, "SYT" hopefuls also have the option to audition online. Upload a video or a link to a performance showcasing your best material, and if the team likes what they see, producers will reach out to schedule an in-person audition.

Click here for full rules, regulations, etc. Merde, everyone!

Last month, we asked why there wasn't a Best Choreography category at the Oscars—and discovered that many of you agreed with us: Choreographers should definitely be acknowledged for their work on the super-dancy movies we can't get enough of.

Now, we're taking matters into our own (jazz) hands.

We've decided to create a Dance Spirit award for the best cinematic choreography of 2017. With your input , we've narrowed the field to four choreographers whose moves lit up some of the best movies of the year. Check out our nominations for best choreography below—and vote for the choreographer you think deserves the honor. We'll announce the winner on Friday, March 2.

Choreographer Andrew Winghart has become well-known for his ability to command an extra-large group of dancers. His viral video to Justin Timberlake's "Cry Me a River" featured 37 fab performers, and even won him Dance Magazine 's Best Viral Video title last December. The extreme synchronization that we've come to know and love is on full display in Winghart's latest video " Moment of Truth ," too.

Similar to his viral "Cry Me a River" hit, this piece features one dancer who stands out from the monochromatic crowd swirling around them. This time though the theme is a tad more militant, and all about how "individuality threatens an environment that commands conformity."

The visual effects are in a word, stunning, thanks to camera angles positioned above the dancers. That, combined with Winghart's signature precision, gives the whole scene a dreamy kaleidoscope vibe that's super captivating.

And watching Nicole Ishimaru's stunning solo, where she gracefully finds the courage to stand apart from the crowd, is pretty dang powerful. Watch for yourself:

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 can't turn, and it's awful. No matter how many tips and tricks I try, I can barely pull off double pirouettes. What's wrong with me? Am I just not a "natural" turner? Is that even a real thing?

Callie

Dear Callie,

It does seem like some dancers are just born doing beautiful pirouettes, right? And it can be frustrating if you don't feel like a "natural" turner.

But here's my pirouette secret: Turning is 90 percent mental. No matter how strong or talented you are, if you get too in your head about turning, it'll never work. If your brain is telling your body "You can't turn!", your muscles will automatically tense up, and the odds of pulling off a successful pirouette will be against you before you even start your preparation.

Relax. The worst that can happen is you'll fall out of your turn—and get to try again! Think about loosening your neck muscles, which can free up your spotting and give you a better turn. Your leg positioning can also make a difference. Pull up in your supporting hip to give yourself as straight and strong a supporting leg as possible, and snap quickly into a high, well-placed passé. You can do this!

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

OK, no, we haven't seen the film yet (it comes out Friday!). But when Boylston's involved, you know it's gonna be gooooood .

Center Stage famously didn't use dance doubles for most of its cast, since Amanda Schull, Sascha Radetsky, Ethan Stiefel, and Julie Kent were, um, more than capable of doing their own dancing. But then-New York City Ballet dancer Aesha Ash stepped in for Zoe Saldana during the film's most intense dance scenes, including the big finale performance choreographed by Jonathan (*cough cough* Christopher Wheeldon *cough*).

Drama, drama, drama! While ABT's Sarah Lane was officially credited for her work as Portman's double on Black Swan —well, for "stunts," anyway—controversy arose over how much of the dancing Portman had actually done on her own.

It's frankly eerie just how much Crockett, who was a principal with the Martha Graham Dance Company during filming, looks like Blanchett , whose character in the movie was supposed to be a ballet dancer.

How awesome is it that this thriller prominently featured real-life dance company Cedar Lake Contemporary Ballet (RIP, Cedar Lake)? While Blunt's dance skills were pretty impressive—enough to earn her a Dance Magazine cover —CL's Acacia Schachte took over during super-technical moments.

The original dance double scandal! Beals had not one, but three doubles during filming—and, infamously, none of them were credited. Jahan did most of the technical dancing, Shapiro did gymnastic stunts, and b-boy Crazy Legs (yup, a dude) pulled off the impressive breaking moves in the famous audition scene.

Guys, how excited are you for Red Sparrow ? The fabulous-looking thriller, starring Jennifer Lawrence as a ballerina-turned-spy, has dancers everywhere buzzing—in no small part because a real star dancer, American Ballet Theatre principal Isabella Boylston, acts as Lawrence's dance double . (The film's ballet bona fides don't end there, btw: Your boyfriend Sergei Polunin makes an appearance as Lawrence's partner, and Justin Peck provided the choreography.)

Red Sparrow got us thinking about some other famous onscreen dance doubles—and about the controversy they've inspired. (Always credit your dancers, filmmakers!) Here are a few of our all-time faves.

Bring serious edge to your next barre in cool-girl classwear.

Modeled by Morgan Quinn

Photography by Kenneth Edwards

Bloch Inc. leotard and tights

Just for Kix leotard

AinslieWear leotard

Grishko unitard

So Dança leotard, Discount Dance Supply leggings

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "Rebel on Pointe ."

Competition award ceremonies represent the culmination of months of preparation. It's no wonder dancers feel the pressure! But the truth is, most of us won't come away with the grand prize. How do you prepare yourself for the results, whatever they may be? DS spoke with teachers and comp judges on how to cope at different stages of the competition—and to use any disappointment to your advantage.

You're Getting Ready For The Competition, And You're Already Nervous About How You'll Place.

"Being competitive isn't bad," says Bea Arnold, competition judge and former jazz program director for United Spirit Association, and dance team director for Classical Academy High School in Escondido, CA. "That's where drive comes from, and it's how we push each other to improve. But don't lose sight of your larger goals and objectives."

Set goals that aren't tied to the awards podium, like technical or showmanship elements that you hope to nail. Offstage goals could include taking a workshop from a choreographer you admire, or representing your team or studio well by being friendly and encouraging to your peers.

The other side of preparing for a competition involves managing your expectations. Working hard in hopes of earning recognition is one thing, but expecting a certain award sets you up for disappointment, no matter how talented you are. "Work really hard, but remember there's always somebody better, so don't expect anything," says Christy Curtis, owner and director of CC & Co. Dance Complex in NC.

You Just Finished Your Routine, And You Feel Like You Messed Up And Hurt Your Odds Of Winning.

Disappointment is natural, but "when you come offstage, know that everybody who loves you is moved by your courage to perform, regardless of the outcome," says Curtis. "Your mistake does not determine your value as a dancer." Tapper and choreographer Anthony Morigerato, who judges at competitions like NUVO and The Dance Awards, advises dancers to do this: "The minute you come offstage, write down three things you think were amazing about your performance. Then, write down three things that could've been better." This helps put mistakes in perspective and has you take responsibility for your artistic and technical development. "Your performances will improve because you're in competition with yourself—not with an adjudication system or another dancer," he says.

You're Disappointed By The Outcome At The Awards Ceremony.

Etiquette and sportsmanship help you handle tense moments. Many studios and teams have awards-ceremony guidelines: "No talking, phones down, pay attention. 'Eyebrows up' to show you are engaged and thankful to be part of this process," Arnold says.

Photo by Aaron Williams, courtesy Showstopper

Applaud for all categories, and stay for the full ceremony. Your reaction reflects your character, and graciousness goes a long way. As a director and choreographer, Morigerato hires dancers from competitions, and talent is not the only factor he considers. "Being a good person is more important than winning an award," he says.

As the awards wrap up, express your gratitude. "Acknowledge and thank everyone who participated in the event: fellow dancers, staff, and administrators," Curtis says.

Other Dancers Are Posting About The Competition On Social Media.

Never complain about competition results on social media. "Being passive-aggressive or a sore loser on social media is just as bad as in real life," Morigerato says.

How to engage authentically if you're disappointed? Lift up fellow dancers. "Give fair due to everybody's effort and energy," Morigerato says. You may notice that being positive about other performances and people who inspire you helps buoy your spirits.

You're Back At Your First Rehearsal After A Loss, Reviewing Judges' Feedback.

Remember that critiques are for your benefit. "As a judge, I'm trying to find constructive things for dancers to work on to help them become better performers," Morigerato says.

(From left) Anthony Morigerato and Mike Minery presenting the Best Tap Performance award at The Dance Awards (courtesy The Dance Awards)

At Curtis' studio, dancers use this to their advantage. "Every criticism is taken into consideration," Curtis says. "Feedback videos are valuable rehearsal tools."

Compare the judges' notes to your own, and work with your teachers to prioritize and address them. Morigerato encourages dancers to focus on a few notes at a time instead of trying to correct everything all at once.

Keep in mind that this score sheet represents one performance and one panel of judges. Subjectivity is unavoidable in adjudication, which is why it can help to attend multiple competitions in a season to get a range of reactions to your work.

In the end, the process and the experience matter more than the outcome. "When you really work hard at something and you enjoy it," Curtis says, "the reward is that you feel great about yourself."

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "Winning Isn't Everything ."

This time last year, Eva Igo was already a comp-world star, having won national titles for a good three years running. But it wasn't until "World of Dance" producers asked her to audition for the show that Eva became a household name—not to mention champion of the Junior Division, thanks to her breathtakingly precise, gorgeously musical performances. Eva wrapped the "WOD" live tour last November and is now hoping to rack up more TV experience. "J.Lo told me in a mentoring session to just break down my wall and emote through the movement," Eva says. "Learning from her and Derek Hough inspired me to get back on camera, but also behind the scenes: I'd like to produce or supervise choreography in the future."

Everything happens for a reason. Always work your hardest and put your trust in that.
-Eva Igo

Fast Facts

Birthday: November 9, 2002

Age: 15

Hometown: Inver Grove Heights, MN

Trains at: Larkin Dance Studio in Maplewood, MN

Favorite dance movies: Black Swan ("It's a little scary, though!"), Step Up

Weirdest thing in her dance bag: An empty bag of Cheez-Its

After dancing in the "World of Dance" Finals (photo by NBC World of Dance, courtesy Igo)

Favorite foods: Pesto cavatappi, penne rossa, and Mexican food

Who would play her in the movie of her life: Emma Watson

Dance mentors: Nappytabs, Tessandra Chavez, Kyle Hanagami, and Michele Larkin Wagner

Most-played songs: "Unstoppable," by Sia; "Moonlight," by Grace VanderWaal

First thing she does in the morning: "I make sure to play with my Sheltie, Ryder."

Last thing she does at night: "I watch old Gordon Ramsay videos on YouTube."

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "You Should Know: Eva Igo."

Here at Dance Spirit , we have a special tradition of asking our cover stars to whip out their most explosive, amazing, gravity-defying tricks—their "power moves"—at the end of the photo shoot. The result? An amazing collection of videos featuring everything from Italian fouettés to backwards worms. Below, we rounded up our 5 favorites, but be sure to catch the rest over on our YouTube channel !

1. Jade Chynoweth's "Backwards Worm"

One word: WHAAAAAAAAT.

2. Tate McRae's "Tate Tilt"

This one's self-explanatory. Girl's got legs for daaaaays, and we're so here for it.

3. Gisele Bethea's Italian Fouettés

Gisele casually whipped these out after hours of pointe work and jumping, and they are literal perfection.

4. Tatiana Melendez's "Leg Hold"

There are tons of stunning photos of Tatiana in this exact pose, but seeing it in person was amazing.

5. Kida Burns' "Ferris Wheel"

The "SYTYCD: The Next Generation" champion proved with this move why he was beyond-deserving of the win.

The control, the balance, the tilts, those legs—we still have no idea how then–14-year-old Tate McRae became a dance powerhouse at such a young age.

Ricky Ubeda's crazy extensions alone were enough to propel him to the top of Season 11—and then there's that powerful stage presence.

Pretty much nobody knows how to pump up a crowd—or a judges' panel—quite like Cyrus "Glitch" Spencer.

Jim Nowakowski is (and continues to be) the definition of #LegGoals.

We're not crying, YOU'RE crying. After this intensely emotional audition, we were more than a little sad that Ida Saki had to withdraw from Season 7's competition (although being named a Presidential Scholar in the Arts was a pretty good excuse).

Bryan Gaynor may not have made it on to the show as a contestant, but his repeat auditions—showcasing his impressive animation skills, despite his severe scoliosis—always inspired.

Ballroom standout Jenna Johnson's audition was, in a word, iconic—and it didn't even hint at her crazy beyond-the-ballroom versatility.

It takes a lot to make the judges crack up during the audition round. Leave it to the ever-impressive, ever-hilarious Fik-Shun to make that happen.

We loved Melanie Moore's gorgeous combo of strength and grace from the first moment she stepped on the "SYT" audition stage.

The ballet powerhouse absolutely nailed it from his first moment onscreen—only to get injured four weeks into the live competition. 😥😥😥 (Thankfully for Alex fans, Wong went on to have pretty stellar career on Broadway and in the commercial world.)

Auditions for Season 15 of "So You Think You Can Dance" are right around the corner, and we're so ready to see the talented turnout (pun VERY much intended!). Want a little audition-spiration? Whether you're preparing to try out yourself or are just looking to get into the "SYTYCD" mood, here are 8 phenomenal past auditions we're still obsessing over.

Congratulations to the February Cover Model Search Editors' Choice video winner, Madison Bay! Catch her solo by clicking here , and enter the Cover Model Search here !

Watch Nardia Boodoo discuss her (classic) dance crushes and secret talents. Read about more up-and-coming black ballerinas here .

It's impossible not to love dance photographer Jordan Matter's 10-minute photo challenges . His videos of the rapid-fire shoots in totally unlikely locations have become huge YouTube hits. But his 10-minute challenge with dancer Stephanie Consiglio—who recently beat stage 3 germ cell cancer—is next-level incredible.

Matter brought Stephanie back to Cohen Children's Medical Center, where she received her cancer treatment, for the shoot. Stephanie, who danced every single day she was in chemo, became close with the Cohen staff over the course of her time at the hospital. And watching her—fully recovered, and dancing gorgeously—reunite with some of the doctors and nurses who helped her conquer cancer will make you feel all the feelings.

Stefanie Roper didn't take her first ballet class until she was 20. Despite her obvious facility, she encountered plenty of naysayers. "I remember one teacher telling me, 'Honey, you're just too old,' " she says. And she did have to overcome obstacles as she entered the ballet bubble. "People talked about how good my feet were, and I didn't understand what they meant for the first four months," Roper remembers, laughing. But she found a mentor at Utah Valley University, where she was a student, and persevered. Now, six years later, Roper's professional resumé includes a stint with BH dos , Ballet Hispanico's second company.

It seems like most professional ballet dancers started taking ballet classes before they were born, especially the women. For those who didn't discover ballet until after elementary school, it can feel impossible to catch up to dyed-in-the-wool students. But it's not. Late starters face plenty of hurdles, but good facility and hard work will take you far—even if it isn't into the ranks of a ballet company.

Is It Too Late?

"The first thing I ask late starters is, 'What is your intention?' " says Natalie Wright, who owns and teaches at Ballet Conservatory West in L.A. Wright sees a lot of dancers come to ballet between the ages of 10 and 12, and says that the hardest thing about working with them is adjusting their expectations. "It's common to have a fantasy about being a ballerina, and I'm very clear with late starters up front it's not easy to achieve that fantasy," she says.

If your goal is to become a professional ballet dancer, you need to possess a fair amount of natural talent and facility to get there, particularly if you start after puberty. Pittsburgh Ballet Theatre School principal Janet Popeleski, who didn't start taking ballet seriously until she was 12 but went on to dance with American Ballet Theatre, Pittsburgh Ballet Theatre, and several other companies, says the main things a late starter needs are natural coordination and a ballet-friendly physique. But, she adds, "determination can take you far. If you have talent and determination, there's no reason you can't catch up.

Pittsburgh Ballet Theatre School principal Janet Popeleski says determination can take late starters far. (Photo by Aimee Diandrea, courtesy Pittsburgh Ballet Theatre School)

"While not every late beginner will become a professional dancer, that doesn't mean studying ballet isn't worthwhile. "I talk to our former students, and whether they have moved on professionally in ballet or in another career, they can all cite ways that their training has helped them succeed by developing a good work ethic, fortitude, and grace," Popeleski says.

Get the Right Training

If you discovered ballet late but are serious about a professional career, find a reputable school—now. "The first two years of training are the most important, no matter when you start," Wright says. Popeleski points out that older dancers who begin ballet with no prior training are often better off than students who've been getting poor training for years. "Bad habits are hard to break," she says.

Wright starts all older beginners in a class with 7-year-olds. "I tell them to set aside their egos and soak up everything they can, like a sponge," she says. "Many of them complain that it's boring at first, because the fundamentals of ballet can be boring. But they literally have to learn how to stand up correctly." Wright also points out that it's better to move a student up a level if she's advancing quickly than to discourage her with a demotion if she isn't picking up the basics. Even after you move up, Wright says, it's a good idea to keep taking lower-level classes to hone those fundamental skills.

Roper with Nick Fearon in a BHdos rehearsal (photo by Alona Cohen, courtesy BHdos)

Focus on Your Strengths

While you may be disappointed to find yourself dancing next to little kids, don't get discouraged: Late beginners have some inherent advantages, too. "Older students often move up through the levels quickly because they tend to be stronger and more dedicated than younger ones," Wright says. She had one pupil who started at 12 and moved up four levels in one year because of her laser-sharp focus.

Don't let your bottom-of-the-pack status discourage you. Make it drive you. Popeleski, who was accepted at the School of American Ballet just three years into her training, found that being the underdog pushed her to work harder. "I always felt like I had to catch up," she remembers, "and that's a great motivator." Roper feels the same way. "I've been blessed, but the reason I did well is because I wanted this so badly," she says. "I had to want it even more than other people."

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "Fashionably Late ."

The much-anticipated ballet thriller Red Sparrow hits movie theaters today, March 2. The film tells the story of a fierce Russian ballerina, played by Jennifer Lawrence, who's recruited by the Sparrow School, a secret Russian intelligence service that trains young people to use their bodies and minds as weapons. Expect lots of suspense, but also lots of dreamy dance scenes, thanks to Lawrence's dance double , American Ballet Theatre principal Isabella Boylston; Lawrence's dance partner, Sergei Polunin; and choreography by New York City Ballet's Justin Peck.

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "Up Front: Red Sparrow Features Some of Our Fave Dancers ."

It was Valentine's Day when then–16-year-old Lia Cirio auditioned for Boston Ballet—and was hired on the spot. Every year since, Cirio has celebrated February 14 ^th as not only a day for teddy bears and chocolates, but also as the day she became a professional ballet dancer.

Now, Cirio is a principal at the company, and she knows firsthand that it takes more than a solid supply of pointe shoes (though she can go through 30 pairs in a week!) to survive the ballet world. From the glowing highlights to the frustrating letdowns, Cirio shares what it's really like to be a principal dancer in a world-class ballet company.

Ups and Downs

Cirio's rise in the company was steady: She achieved principal status within six years of joining Boston Ballet. But even a relatively smooth ride through the ranks can feel like a rollercoaster.

John Lam and Cirio in George Balanchine's "Stravinsky Violin Concerto" (photo by Igor Burlak Photography, courtesy Boston Ballet)

Cirio recalls some of her proudest moments with Boston Ballet: dancing her first principal role, going onstage after learning a part in one day, and performing her first full-length ballet. "I feel most proud whenever I triumph over a particularly difficult part," Cirio says. "I'm happiest when I'm getting the opportunity to grow and learn more about myself as an artist."

Yet, despite her success, Cirio has always struggled with confidence, and that's something she's had to work on consistently. Competition is inherent to the ballet world, and the pressure can take its toll. "I'm not a competitive person," Cirio explains. "At times, I found it debilitating to be competing day in and day out."

During her second season as principal, Boston Ballet performed Cranko's Romeo and Juliet , and to Cirio's disappointment, she wasn't cast as Juliet—one of her dream roles. "I was devastated, and my dancing suffered tremendously as a result," she says. But she soon learned that the ability to handle rejection well is an essential skill—even at the top ranks of a company.

"Throughout my career, I've dealt with the fact that I won't be cast in certain roles because of the way I look," she says. "It could be that I have darker skin, or the fact that I have broad shoulders—I don't fit the 'perfect' description of a ballerina." She's glad that times are changing for ballet dancers of all shapes and colors, however, and hopes to shed even more light on this issue. "Instead of becoming angry, which is how I would've reacted before, I've learned to use the energy to better my dancing," she says.

A Day in the Life

There are two kinds of days for a principal dancer at Boston Ballet: rehearsal days and performance days.

On a typical rehearsal day, dancers have class from 9:45 a.m. to 11:45 a.m., followed by up to six hours of rehearsal depending on what's being rehearsed. "If I have breaks in my day, I like to occupy that time with Pilates and cross-training on the elliptical or bike. I do not deal well with not being busy," Cirio says. "The busier I am, the happier I am. So I welcome the six hours of rehearsal!"

Performance days start around noon, with no more than two or three hours of rehearsals before show time. Shows typically begin at 7:30 p.m., and each dancer prepares differently. "I like to arrive at the theater about two hours before curtain," says Cirio. "I usually do my makeup and hair, and then I begin a warm-up. But that all depends on what I'm dancing and where I am in the line-up of the show."

Cirio notes that Boston Ballet's repertoire is what has kept her there for nearly 15 years. From classical to neoclassical to contemporary, the dancers are exposed to many different styles. Plus, Cirio grew up with many of the dancers at Boston Ballet. "We've seen each other through the highs and lows of this career, and although we're sometimes dysfunctional, hey, we're family!" she says, laughing.

Cirio in the studio with friend and fellow Boston Ballet principal Kathleen Breen Combes (via @msliac on Instagram)

Beyond Ballet

After her first year as a soloist, Cirio decided she needed some time away from ballet. "I was questioning whether or not I wanted to stay in the profession," she says. She joined Trey McIntyre Project for its inaugural season, which gave her a great deal of perspective. Ultimately, Cirio realized she missed ballet. She returned to Boston, danced more than ever, was given challenging roles, and by the end of the season—yep, you guessed it—was promoted to principal.

These days, Cirio makes a conscious effort to maintain a good balance between ballet and, well, everything else. "It's important to have a life outside the ballet—to have hobbies, and things to take your mind off the daily grind," she says. "Friends and family give perspective and an outside life helps dancers become even better onstage."

As for future plans, Cirio is currently taking courses in organizational communication and management to learn more about the social media aspect of ballet companies. "I've gotten some experience in that area thanks to Cirio Collective, a pickup company I run with my brother, Jeffrey Cirio," she says. (Jeffrey is a principal with American Ballet Theatre in NYC.) "I'd love to see the Collective continue to grow."

Bored with buns? We broke down the basics of three classic, class-perfect braids.

Modeled by Haley Hilton

Photography by Jayme Thornton

French Braid

1. Gather a small section of hair from just above your ears.

2. Divide that section evenly in thirds.

3. Cross one third over the other two, as if making a regular braid, to create an "anchor" for the French braid.

4. As you cross the next third over, add in some hair from the side of your head.

5. Keep adding in pieces of hair from the sides of your head as you braid.

6. When you reach the nape of your neck, finish the tail of your hair with a regular braid. Secure the end with an elastic.

Tip: If you have very long hair, rake your fingers through the tail of each section as you cross it over, so the ends don't begin to twist.

Rope Braid

1. Make a ponytail and divide it evenly in half.

2. Twist each section into a loose rope.

3. Begin to wind the two sections around each other, continuing to twist each one individually as you create the larger rope.

4. Keep twisting and winding until you reach the end of the ponytail. Secure the end with an elastic.

Tip: Product is especially important for this braid. A spray wax is the best option, because it stays flexible longer than hairspray, allowing you to twist your hair more easily.

Fishtail Braid

1. Gather a small section of hair from behind your ears, divide it evenly in thirds, and cross the right third over the other two to create an "anchor," as if beginning a French braid.

2. Pull out a 1/2-inch strand of hair from underneath the left side of the braid. Cross that strand over to the opposite side, pulling it tight.

3. Pull a 1/2-inch strand of hair from underneath the right side of the braid and cross that one to the opposite side, tightly holding the weaving you've already done.

4. Continue pulling small strands from underneath each side of the braid and crossing them over. You should see the signature "fishtail" look emerge after crossing five or six sections.

5. Keep going until you run out of hair. Secure the end of the tail with an elastic.

Tip: If your hair is fine and/or slippery, before you get braiding, prep it with a mousse or gel to give it a little grip.

A version of this story appeared in the March 2018 issue of Dance Spirit with the title "#Braidspiration ."