Trailblazer (noun): a pioneer in any field of endeavor.

It seems like choreographic duo Keone and Mari Madrid are always exploring uncharted territory. The husband-and-wife team have a well-earned reputation as dance pioneers, starting a decade ago (long before dance videos were a thing) with their mind-bending YouTube clips, and now with their impressive multidisciplinary work. Having an open mind about where their interests might lead has allowed them to seize opportunities within the dance world—and beyond it. "We stay curious and try not to be fearful," Keone says. "We take the risk and see what happens."

We caught up with the creative couple to talk about their latest projects: a unique dance e-book, Ruth, and an innovative full-length show, Beyond Babel.

A New Medium

Ruth topped the Apple iBook and Google Play charts when it came out in June—probably because there's nothing else quite like it. A dance-centric e-book, it combines choreography, illustration, film, original music, and a touching story. Mari has a degree in creative writing, and for years the couple had searched for a way to incorporate those skills into their dancing. "It was always a recurring joke," Keone says, laughing. "I would say 'Babe, we've got to do something. These student loan dollars can't go to nothing!' "

Putting the book together was a huge, collaborative, multi-year undertaking, and the couple made a conscious effort not to get overwhelmed by the process. They realized that it's OK to fumble when you're trying something totally new. "Maybe you don't speak music yet, or the person you're working with doesn't speak dance," explains Mari. "It's about doing your best to communicate, working on problem solving, and not being afraid of not knowing how to do something."

Beyond the Conventional

Keone and Mari's next creative feat is Beyond Babel, an immersive full-length dance show set for a 10-week run in San Diego this fall. And they had a hand in almost every element of the production: They directed, choreographed, wrote, and will star in the Romeo and Juliet–inspired piece. "We feel most proud of our work when we're able to be involved in every aspect," says Mari. "It's when we feel like we have ownership and can express our true voices beyond just choreography."

That's not to say the show isn't a collaboration. Like most of the Madrids' innovative works, Beyond Babel features contributions from many talented artists, including Josh Aviner and Lyndsay Magid Aviner of the Brooklyn-based production company Hideaway Circus. It'll be presented in its own downtown space, "Beyond Babel Theater," with an elite cast of 12 and crochet set pieces designed by London Kaye. "I feel like the chance to see these dancers, and London's art installations, up close is truly a once in a lifetime opportunity," says Magid Aviner.

(From left) Josh Aviner and Lyndsay Magid Aviner with Mari and Keone Madrid (Carlo Aranda, courtesy Matt Ross PR)

The theater's orchestra sections will also move during the performance, allowing the audience to experience the show from multiple perspectives. "Keone and Mari's style of urban dance hasn't been presented in a live format like this before, and it's a very exciting opportunity to develop material and scenes with this unusual and immersive seating layout," Aviner says.

The Madrids have long dreamed of creating a full-length dance show, and with Beyond Babel, the timing finally felt right. "Current social issues and conversations are a huge motivation to this story," Keone says. "In the times that we're in, with social media and its instant gratification, we noticed that people are starting to put more value on experiences. Providing an unforgettable experience is such an important aspect of this project."

More Trails to Blaze

Where do the Madrids find inspiration for their diverse projects? Outside the dance world, much of the time—from reading, watching TV and movies, being around nature, and training as athletes. "Life somehow introduces ideas," Keone says. "We have absolutely no blinders on to any inspiration." Mari agrees. "We're constantly people watching," she says. "The human experience inspires us, and we try to express that through dance—to express how humans are."

"Wherever stories can be told with dance," Keone says, "we're going to try find a way to do it."

It's no secret that we're kind of obsessed with the new-ish boy band on the block, PRETTYMUCH. And why shouldn't we be? These boys don't just cary a tune, they can also groove to the beat—and despite the high bar the Backstreet Boys set back in the day with their super dancy music videos, it's not super common these days. What's even more unique is boy bands collaborating with some of the best choreographers in the business. Enter, Ian Eastwood. The dance phenom has been working with the boys on a number of different projects, including their latest release "Summer on You."

Last week, PRETTYMUCH premiered the song on "The Late Late Show with James Corden" and offered up some serious couch dancing moves that blew us away. But the release of the music video today brought the dancing component to a whole new level, thanks to some full-on dancing by the band and some cool partnering by pro dancers Shannon Kelly and Hugh Aparente. It should come as no surprise that Eastwood both choreographed and directed the video. The only thing that would make this video better is a cameo appearance by the dance wonder himself. But maybe that's a video for another day. Either way, Eastwood and PRETTYMUCH are giving us some dance-peration #goals!

What goes into the making of an instant-classic dance video? You'll find the answer in the mini documentary Ciara's team just released. Following the creation of the pop star's latest music vid, "Level Up"—choreographed by the ever-epic Parris Goebel, and featuring the magical dancers of Goebel's ReQuest crew—it's a very, very real look at all the sweat and struggles that made the finished product possible. Crazy-talented musical artists: They're just like us! (In that they spend ages rehearsing in the studio, at least.)

We especially love Ciara's honesty about being a total Parris fangirl (same), and the low-key, collaborative vibe the two of them have during the rehearsal process. Most humans would be at least slightly intimidated by the presence of a pop icon, but as we are all well aware, Parris Goebel is not most humans.

The University of Southern California Glorya Kaufman School of Dance is about to graduate its first class of dancers. We asked students Alyssa Allen, Jake Tribus, and Simrin Player to tell us about their experience at one of the best collegiate dance programs in the world.

Alyssa Allen, Class of 2019

From the moment the DS staff first met Alyssa Allen—back in 2014, when she was one of our Cover Model Search finalists—we knew she was going to do great things. Now, she's entering her final year of college as part of Kaufman's inaugural class.

For Allen, Kaufman's artistic opportunities have felt like a gift. "I've realized that school and education are my priorities," she says. "Short-term dance opportunities will always be there, so I'm trying to pursue long-term success." That said, she has been able to book commercial jobs and build her resumé during off-times.

At Kaufman, Allen has discovered that she loves connecting academics with artistry. "I grew up only knowing dance. I was in love with it. And that love has only grown as I see the importance of outside knowledge," she says. "Psychology has really spoken to me, understanding both the body and the mind. I'm very attracted to the whole human."

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Jake Tribus, Class of 2020

Shortly after starring in the 2014 DS video series "The Road to Nationals," Jake Tribus was on the road to college. "I knew right off the bat that I wanted a four-year experience, four years of foundational training," he says. "And I wanted a program that incorporated everything, because I grew up very versatile."

As he navigates Kaufman, Tribus is learning how to be a dance leader, and to combine his passions. "I'm really curious about art, design, and business," he says. "When I graduate, I want to know how to do what I want to do." He's also figuring out his professional work ethic. "I've been thinking about how to get the same result from hard work without overworking myself," he says. "I can be a perfectionist and that gets in the way of my progress. I'm learning how to take the feedback I'm given and apply it instead of being overwhelmed."

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Simrin Player, Class of 2021

A few years back, Simrin Player stole our hearts (and landed our November 2013 cover) as a tiny b-girl. But she's grown into a highly successful and incredibly well-rounded dancer—and even in her earliest dance days, she knew she wanted to go to college. "My parents instilled that in me," she says. USC was her top choice even before she heard about the Kaufman School. She's found the intimacy of a college program to be really special. "You get to work one-on-one with legends," she says.

Player's already-impressive commercial career hasn't slowed down at all during college. "Kaufman has been really understanding about professional development opportunities," she says. These days, though, she's showing up to gigs with a fresh sense of perspective, thanks to her academic classes. "I took a course about dance and feminine sexuality within Western and non-Western forms," she says. "It made me think about how I can approach commercial dance within the entertainment industry."

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A version of this story appeared in the September 2018 issue of Dance Spirit with the title "Game Changers."

If you closed your eyes and pictured dance paradise, what would it look like? Maybe you'd start your morning in rehearsal with a renowned contemporary choreographer, and then work on a dance driven by computer programming, and then run to a music video audition, and end the day discussing the impact of African dance styles on American pop culture.

Guess what? That dance paradise isn't just a dream. It's the University of Southern California Glorya Kaufman School of Dance, a young program that's already attracting some of the most talented dancers around—for good reason.

Click here to meet Alyssa Allen, Simrin Player, and Jake Tribus, three of USC's standout students.

From the Ground Up

In 2015, USC Kaufman opened its studios to its inaugural class, now poised to graduate. Their accomplishments are a testament to (and test of) Kaufman's unique approach: Grads will have studied a vast array of styles, spearheaded interdisciplinary projects, and completed a rigorous liberal arts education. If they go on to successful professional careers, they'll help cement the Kaufman School's burgeoning reputation as the "Juilliard of the West."

When philanthropist Glorya Kaufman, whose major financial gift made the school possible, put the new program in motion, USC was able to design a curriculum and a facility concurrently. Vice dean Jodie Gates describes that as an incredible luxury, one that she and dean Robert Cutietta used to consider what dancers would need from a 21st-century university education. "The ways in which dancers are employed, or creating opportunities for themselves, are changing," Gates says. "We had to build a new model for a new artist."

The exterior of USC's dance center (photo by Ema Peter, courtesy USC)

And they needed to put together a program that would attract top-notch students—because, let's be honest, not every gifted dancer considers going to college, even though the myth that college can hurt a dance career has been thoroughly busted. USC Kaufman capitalized on the existing dance resources of its L.A. location, and also scored a few major coups, including securing the legendary William Forsythe as a faculty member and developing a partnership with Hubbard Street Dance Chicago. Now, with financing and faculty in place, the school seems poised to flip the stereotype that L.A. only has room for commercial dance.

Getting in...

The Kaufman admissions process isn't for the faint of heart. First of all, interested dancers have to get into USC based on their academic standing. Then, they have to make it through a multi-round audition process, which includes performing solos in contrasting styles and interviewing with faculty.

Artistic and academic ability certainly play a big part in the Kaufman admissions process, but Gates says that the school is also looking to create a community among its students. To that end, she and the rest of the department are looking for dancers who can work together, and who are interested in contributing to the wider world. "Our aim is to foster physical thinkers," says Patrick Corbin, assistant professor of practice and Paul Taylor répétiteur. "We want to empower students with the challenge of finding answers, rather than spoon-feeding them everything."

An academic class at USC Kaufman (photo by Ema Peter, courtesy USC)

...and Thriving

Once you're in, there's no slowing down. Dance majors, who pursue a bachelor of fine arts, take core academic classes, plus courses tailored to their major, like Dance Leadership and Dance in Popular Culture. The Kaufman School requires that students take hip-hop classes all four years, alongside ballet, contemporary dance styles, and improvisation/composition. And you won't catch a whiff of senioritis. Seniors are expected to design and

create their own interdisciplinary project, collaborating with peers in at least two fields outside of dance. Gates describes it as a rigorous, yet organic, balance. "We're asking a lot from them, for a BFA," she says. "But I can't give this generation enough kudos. They have remarkable plans. They're shape-shifters."

And they have to be, to keep up with the demands of Kaufman's technique classes. The faculty's performance experiences range from Batsheva Dance Company to Nederlands Dans Theater, and their expertise includes everything from Bollywood to Afro-Cuban styles.

Corbin points out that there are no levels at Kaufman. "Our BFA students move through the program together, which allows them to learn from one another." Not surprisingly, he describes Kaufman students as some of the most versatile dancers he has ever worked with. "And they're smart!"

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "Game Changers."

How dramatic have the "World of Dance" Duels rounds been this year?? We've seen everything from the elimination of last season's Junior champ to the bestowing of the show's first-ever perfect score. And last night's ep promised to bring the drama, too, with previews teasing a three-way showdown.

So, what actually went down during the third round of Duels? Here are our favorite performances from another highlight-filled episode, plus the final results.

Jaxon Willard

Early favorite Jaxon, an extraordinary contemporary dancer, faced off against charming tapper Lucas Marinetto in the Junior division. While we always love a solid tap performance, Jaxon's powerful, emotional routine—inspired by his feelings about being given up for adoption—was on a different level, earning a big standing O from the judges.

Jonas and Ruby

Comparing Jonas and Ruby's fiery tango number to fellow Junior group Freshh's throwback hip hop is like comparing...well, the dance equivalent of "apples and oranges" is basically "tango and hip hop," right? Ultimately, the ballroom duo simply brought more intensity to the floor, blazing through their choreo's lightning-speed footwork—and pulling off a few impressive quick changes, to boot.

FLIP

The Junior Team division featured a three-way, all–hip-hop showdown—and one of the tightest races of the night. Dem Raider Boyz and Cubcakes both put in strong performances (Cubcakes' was especially impressive given that one of their dancers was injured and unable to perform), but FLIP ended up on top after nailing a complex, choreographically sophisticated routine set to Beethoven's 5th (!!).

Who else had a good night last night? Poreotics, who beat out Marissa and the Heartbreakers in their duel; The Ruggeds, who outscored Pursuit; and Connection, who squeaked by Funkywunks. Those three Upper Team groups will join Jaxon, Jonas and Ruby, and FLIP in The Cut round. But we still have one more batch of Duels to go. Tune in to NBC next Wednesday night to see how it plays out!

School cafeterias often conjure up less-than-appetizing images—mystery meats, mushy vegetables, and stale cheese sandwiches are just a few of the things that come to mind. And while this isn't always the case, it can often be a challenge to follow a satisfying, dance-friendly diet if you're buying your lunch at school. Dance Spirit asked Heidi Skolnik, MS, CDN, FACSM, and owner of Nutrition Conditioning, Inc., for her tips, tricks, and hacks for putting together a balanced lunch—no matter what your cafeteria offers.

Load Up on Veggies

Whether they're raw or cooked, vegetables are always a good idea. "They provide you with lots of vitamins, minerals, and fiber," says Skolnik. Luckily, lots of schools these days offer a salad bar, so be sure to fill your plate with raw veggies, like peppers, carrots, cucumbers, and leafy greens. For a healthy dose of fat, drizzle on some olive oil or a vinaigrette. Alternatively, you can grab a portion of whatever hot vegetable is being served—especially if it's a steamed or baked option, like green beans or brussels sprouts.

Prioritize Protein

"Protein is essential for so many functions—from muscle development, to bone health, to mood, to feeling full and energized," Skolnik says. Lots of hot entrées are protein-packed—you just need to know what to look for. Chili (which is loaded with energy-boosting beans and cheese) or grilled chicken with lettuce and tomato on whole-grain bread (which checks off the protein, grain, and vegetable components of a meal) are both great options. Tuna fish and cottage cheese are also smart choices.

Get Your Grains

"Grains and starches are the fuel for your muscles," Skolnik says. Whole grains are also a great source of fuel. Pick the pasta, rice, or bean option, or grab a baked potato. And don't worry about carbs. "The more active you are, the more starch you need to keep your muscles going," she says.

Snack Attack

If you're a light luncher, you can easily put together a lunch from the snack bar. Avoid anything fried (french fries, corn dogs, etc.), and instead grab a few pieces of fruit, a granola bar, and a bag of pretzels.

Keep Your Backpack Stocked

Even if you don't have time to make your lunch at home, try to keep a few baggies of snacks and add-ons, like sunflower and pumpkin seeds, cheese sticks, peanut butter packets, and beef or chicken jerky, handy in your backpack. These serve as great sources of protein, and can make all the difference in your energy levels.

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "The Cafeteria Conundrum."

It's August—the sun is shining, summer intensives are winding down, and Nutcracker seems very far away. But this new trailer for Disney's The Nutcracker and the Four Realms is already getting us in the holiday mood. While this modern take on the classic holiday story, in theaters November 2, is not a dance film, it does include mega-stars Misty Copeland and Sergei Polunin as the Ballerina Princess and Nutcracker Prince.

The Nutcracker and the Four Realms is not all sparkles and candy. The film pulls from the ballet's darker, eerier roots, E.T.A. Hoffmann's 1816 "Nutcracker and Mouse King," although the storyline has been changed. Clara (played by Mackenzie Foy) is on a quest to find a key to unlock a box holding a gift from her late mother, an accomplished inventor. Her search takes her through four realms that should sound familiar to any bunhead worth their salt: the Land of Snowflakes, Land of Flowers, Land of Sweets and the ominous Fourth Realm, home to an evil Mother Ginger (played by Helen Mirren). Beloved characters Drosselmeyer (Morgan Freeman) and the Sugar Plum Fairy (Keira Knightley) join Clara on her journey.

Liam Scarlett, resident choreographer at The Royal Ballet, choreographed the film's dance sequences. Copeland and Polunin, paired together for the first time, are joined by a group of 18 dancers from a variety of countries and schools. Bringing the well-known story to life on screen provides a whole different perspective for dancers for whom the ballet is second nature. Scarlett made his Nutcracker debut as one of Fritz's friends at age 11; Copeland danced Clara at age 13, only nine months into her ballet training. We'll keep you posted as more details on the film are released—in the meantime, join us in counting down the days until November 2!

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,

How do you know when you're ready to go on pointe? I know, I know, my teacher is supposed to tell me—but are there any signs I should be on the lookout for?

Rose

Dear Rose,

There are a lot of factors that determine whether or not you're ready for pointe—and, yes, you absolutely need your teacher's permission! But there are some ways to assess your readiness.

First, evaluate your ankle strength. Are you able to balance on relevé for an extended period of time? On demi-pointe, do your feet roll out toward your little toe (not so good), or is your weight distributed evenly across your metatarsals (great!)? Do you pronate your feet when standing in fifth position (that's a no-no), or are your ankles nice and lifted (perfect!)? You can also find clues during adagio and petit allégro. Are your développés secure in the center, or are you unstable and rocking back and forth on your supporting leg? Are you fully stretching your feet on all jumps, or are you barely getting off the floor?

If your technique isn't quite pointe-ready, add Thera-Band exercises, as well as balance and stability training, to your daily routine. They'll help speed up the process—and, once you're ready for that coveted first pair of pointe shoes, make the transition much easier.

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

What's better then a Disney movie remake? The answer: A Disney movie remake in the form of a musical! Disney Channel's giving the 2003 hit comedy "Freaky Friday" a reboot with all the singing and dancing your heart could ever desire. But choreographing the remake of a classic Disney-movie-turned-TV-musical is no joke, which is why two-time Tony nominee John Carrafa was the perfect man for the job. Known for incorporating real life, everyday movement into his dances, Carrafa brings magic into even the most mundane of movements. From having dancers "slice oranges to the rhythm of the music" to using energetic athleticism, Carrafa's choreography is bound to bring an exciting new spin to this tale.

Checkout this exclusive clip featuring Cozi Zuehlsdorff performing the song "Oh Biology." Zuehlsdorff told Playbill that this song was one of her favorite songs to rehearse and perform. To catch the rest of this dance comedy, tune into Disney Channel tonight at 8 pm ET.

Time for a quick pop quiz: What does "BTS" stand for?

A. Back To the Studio

B. Behind The Scenes

C. Back To School

D. Back To Shopping

Answer: All of the above! We've searched far and wide to round up a quartet of blockbusting BTS online sales that you won't want to miss. Ready, set, stock up on everything you'll need for the 2018–2019 year of dance.

SOFFE

Through Tuesday, August 14, use offer code "EXCLUSIVE30" on soffe.com to nab a cool 30% off dance graphic tees and tanks for guys and gals alike.

DANSKIN

Leotards? 50% off. Tights? 50% off. Tops AND bottoms? 50% off. The Annual Dance Event on danskin.com is an equal-opportunity discountfest.

CAPEZIO

Order three pairs of Capezio tights by midnight eastern time on Monday, August 13 using offer code TIGHTS, and Capezio will throw in a fourth pair for free. No better way to stock up on the dance essential we all "run" through so quickly! (Pun DEFINITELY intended.)

GAYNOR MINDEN

Now through Sunday, August 12, check dancer.com for 25% off popular leotard styles, 50% off the Joy slipper, 3-for-$30 Performance Tights, and some newer items down to half of their original price.

Happy shopping, dancers!

Pointe shoes printed on a 3D printer may sound like something only possible in the future. But imagine our surprise when we found out these high-tech shoes actually exist! Yes, you read that correctly...you can PRINT pointe shoes—and the end result offers less pain and way more durability than traditional methods.

The P-rouette pointe shoe was created by Hadar Neeman. Neeman graduated from Bezalel Academy of Art and Design in Jerusalem and realized the technology of 3D-printed fabrics hadn't yet been used in the world of dance. "I learned about pointe shoes and the more I got into the field, the more I realized that there was a lot of potential for improving the existing shoe and improving the quality of life of the dancers," Neeman told Dezeen, a design and architecture magazine.

via Dezeen

The process has a few different steps and involves scanning the dancer's foot to a computer from a mobile app. Then, the sole is created using an elastomeric polymer that mimics the contours of the foot and the body of the shoe is made using a stretchy material similar to satin.

via Dezeen

There's no glue, box, or nails needed and Neeman claims the printed shoes can last up to three times longer than their traditional counterparts. More comfort and durability? WE ARE HERE FOR THAT. 🙌🙌🙌

No word yet on when you might be able to get your hands on these babies, but we're gonna call it now: In ten years everyone's gonna be dancing in this innovative invention.

If you follow Mark Kanemura on Instagram, then you're no stranger to his viral, always full-out dance videos to Carly Rae Jepsen's song, "Cut to the Feeling." They've been viewed, liked, and retweeted literally millions of times. And this past weekend, all the stars aligned: Kanemura brought those videos to life onstage with none other than Jepsen herself, at the Outside Lands music festival in San Francisco, CA.

It was obvious that something of epic proportions was happening when Kanemura posted this Insta:

Then, the videos started spilling in, and our hearts collectively burst for Kanemura, who was literally living his dream/truth/life up on that stage:

Today, Kanemura posted a beautifully emotional recap of the past 48 hours, explaining why and how "Cut to the Feeling" meant so much to him. (We're not crying, we swear.) Mark, keep doing you forever and ever—#CutToTheFeelingFriday is permanently marked on our calendars for the rest of eternity.

❤️💛💚💙💜

And then there were eight. Just as we were starting to get attached to the Top 10, those pesky "So You Think You Can Dance" rules came into play and forced us (er, the judges) to slash two of the finalists from the competition. How rude! (But, Nigel announced ever-so-proudly, the entire Top 10 will be going on tour together once the season wraps.) Before the eliminations, each couple performed twice—and never in any dancer's own style. "So anything could happen," explained Cat Deeley, clad in a splashy, sequined floral minidress and a massive hair bow. And oh boy, a LOT of things did.

The Opening Routine

Choreographer: Luther Brown

Song: "Yummy" by Gwen Stefani ft. Pharrell

First, give it up for the throwback jam. Then, give it up for the "SYT" glam team and those super dramatic, painted-on eyebrows. Finally, give it up for Cole's ab reveal. (That was Cole, right? It would be helpful if, for just these first few episodes, the contestants wore name tags during the opening routine, don't you think? We're still getting to know each other!) This routine was fun, fabulous, quirky and clean.

Magda & Darius

Style: Bollywood

Choreographer: Nakul Dev Mahajan

Song: "Badri Ki Dulhania" by Badrinath Ki Dulhania (soundtrack)

The good thing about delivering a killer performance during the first week of competition is that you get to set the bar for the entire group. The bad thing? You set it just as high for yourself. Magda and Darius shone last week, which meant they had to be even better this week. As the first couple out of the gates, they exploded onto the stage with a burst of energy and neon-splashed costumes. Their energy faded a bit as the performance went on (understandabl,e considering how intense Nakul's routines are every single time), but that kiss at the end? "Now that is how to do Bollywood," Cat remarked. Nigel said the routine was like "a Vegas buffet" and praised the couple's energy, while Vanessa loved "how joyous that was" and also Magda's hands. tWitch noted the celebratory feel, and Mary thanked the duo for getting the party started. In other words: rave reviews.

Chelsea & Evan

Style: Lyrical hip hop

Choreographer: Christopher Scott

Song: "Love on the Brain" by Rihanna

Not only did Chelsea have to master a tap routine last week, she also suffered a bit of an injury. So girl's got this game stacked against her a bit. But Chris Scott threw her and Evan a bone with this choreography, which was about a couple breaking up and moving out of their shared home. They were so emotional, so committed, and so into it, and the result was angsty and raw. Vanessa appreciated the emotion and the prop work, while tWitch said he still wanted more connection from the couple. Mary said it wasn't bad and that it was better than last week, but wanted it to be more Mr. & Mrs. Smith-esque, and Nigel said it was the most he'd seen Chelsea and Evan connect but that it still wasn't enough.

Hannahlei & Cole

Style: Stepping

Choreographer: Joe Brown

Song: "Pump It Up" by Joe Budden

Stepping on "SYTYCD!" Yes! Joe Brown's routine marked the first time a couple performed this style on the show—and Hannahlei, a former cheerleader, took to it naturally. The choreography was super-intricate—between the rhythmic stepping, the constant arm choreography, the clapping, and the occasional développé or side aerial—but the duo stuck with it. Were they perfectly in sync? Not the entire time. Did Hannahlei totally steal the show, with her extra-large personality packed into her itty-bitty body? Yes. tWitch acknowledged that the energy was there while the rhythm was lacking, particularly from Cole. Mary loved the style and said they did it justice, particularly Hannahlei. And Nigel told Cole to, "Keep working at it, bro."

Jensen & Jay Jay

Style: Contemporary

Choreographer: Jaci Royal

Song: "Lost Without You" by Freya Ridings

The plot here was that Jensen broke up with Jay Jay, but now she wants him back. Jay Jay called it "a doozy," and it was—a beautiful doozy. The intricate partner work was nonstop, and Jensen and Jay Jay matched each other nicely. Overall, it was a solid technical and emotional performance by two solid dancers. It was enough to get Mary choked up, and for her to declare it the best performance of the night so far. Nigel said he knew it was good because Mary and Vanessa were both crying, and praised Jensen for being a powerhouse and Jay Jay for being a strong partner. Vanessa said, "It was like, perfection," and tWitch wrapped things up with "nothing but praises."

Genessy & Slavik

Style: Jive

Choreographer: Sharna Burgess

Song: "Jump, Jive An' Wail" by The Brian Setzer Orchestra

Last week, these two quickly became the couple to beat. This week, the hip hoppers were tasked with jive's fast and fancy footwork—which, it turns out, was NBD for them. Their chemistry is, as we saw last week, undeniable, and they're all about show quality, but they have the chops to back it all up, too. That lift at the end? Crushed it—earning them another standing ovation from the judges! In the immortal words of Vanessa Hudgens: "Literally, oh my god, you guys, what?!"

Magda & Darius

Style: Smooth jazz

Choreographer: Mandy Moore

Song: "Fever" by Peggy Lee

Class, elegance, and style: that's what Mandy Moore was going for here, in a very La La Land way. And not only did it work, it werked. The oh-so-dapper outfits? That sizzling eye contact at the end? This chic but simple routine was downright steamy. Vanessa loved the control and personality, tWitch appreciated the effortless power of subtlety, Mary liked the "just perfect" shimmy at the end and the "hot sauce," and Nigel dug the elegance and sophistication.

Chelsea & Evan

Style: Contemporary

Choreographer: Travis Wall

Song: "Snowing" by Sonya Kitchell

A Travis Wall contemporary routine! With actual snow onstage! JACKPOT. The premise, Travis explained, would be simple, but the choreography? Not so much. Travis forced Chelsea and Evan way out of their comfort zones (as he does), trying to get them to that breakthrough moment. Did they find it? Well, it was definitely lovely. The emotion was there. The snow was very pretty. And the choreography was, as the world knows to expect from Travis Wall, stunning. tWitch said it was beautifully done and to keep chasing that connection, Mary said both dancers are super talented and that they found their chemistry together in this piece. Nigel loved their courage. Vanessa said it was gorgeous but that she didn't feel as much as she wanted to.

Hannahlei & Cole

Style: Disco

Choreographer: Doriana Sanchez

Song: "Last Dance" by Donna Summer

"I don't know anything about the seventies, but I know how to have a good time," Hannahlei said during rehearsal. Cole promised they'd collectively bring the razzle and the dazzle, and did they ever. The opening death drop spin, the splashy costumes, the sassy hip shaking, the big lifts, the beaming smiles, Hannahlei's larger-than-life (and larger than her entire body) hair: It was all fun, energetic, and high-flying. Mary gave it a breathless standing ovation, Nigel called it scintillating, Vanessa said they brought it to another level, and tWitch praised Cole's strength as a partner.

Jensen & Jay Jay

Style: African jazz

Choreographer: Sean Cheesman

Song: "Run" by Hybrid Core Music & Sound

"They are an African totem pole come to life," Cheesman explained. And that concept involved Jensen doing the lifting—so it's a good thing she recently picked up a boxing habit. Again, major kudos to the "SYT" glam team and the costume department, because this look was a lewk. And props to Cheesman for this insane choreography, which packed the intensity of a 45-minute SoulCycle class, a 60-minute Barry's Bootcamp class, and a 90-minute ballet class into a single two-minute routine. It was so awesomely wild, so heart-pumping, so much. The judges gave it a unanimous standing ovation, with Nigel in particular praising just how difficult the choreography was—and calling Jensen and Jay Jay the strongest couple on the show. Vanessa said it was "dumbfounding" and animalistic, and tWitch tried to convince viewers at home to recreate the routine at home to prove its difficulty, which, hard pass, but point made. Mary called it the best number of the night.

Genessy & Slavik

Style: Broadway

Choreographer: Al Blackstone

Song: "Someone to Watch Over Me" by Ella Fitzgerald

What a lovely way to end the evening! (Before the results, that is. Those are less lovely.) This piece was slow, sweet, and sentimental, and played perfectly to Genessy and Slavik's undeniable chemistry while also allowing them to slow down and luxuriate in moves as simple as walking across the stage or holding a flower. Vanessa sobbed ("You did Broadway, and you told a story!"), and Mary tearfully said she wanted to give them a Tony for their "tender" performance.

Then it was time for—gulp—the results.

The bottom four: Chelsea, Magda, Evan, and Cole

ELIMINATED: Chelsea & Evan

We'll miss those two! See you all next week for more great performances—and more tearful eliminations.

Although we watch "So You Think You Can Dance" for the killer choreography and fantabulous dancing, sometimes the show is downright hilarious, too. Here are seven laugh-out-loud "SYT" moments that still have us giggling.

Ellen's Epic Guest Performance with tWitch

Alex Wong getting injured? Not funny. Ellen Degeneres replacing Alex in a redo of his showstopping "Outta Your Mind" hip-hop routine with tWitch? THE FUNNIEST. (And hey, Ellen has some moves.)

Travis Wall's Performance of "It's Raining Men"

Travis Wall snatched our wigs with this little number, dressing in disguise as a "mystery" auditionee and strutting to "It's Raining Men" for the judges. The only thing that could've made it better is if his heels were about three inches higher. Werk!

JT Church's Election Speech

JT Church instantly won us over during Season 13 when he gave his "election speech," which left us in tears of hilarity. JT for President!

The Ballroom Dancers Who Couldn't Stop Winking/Hiccuping

Is there anything better than Mary Murphy's laugh? When ballroom couple Dia and Kurt auditioned, they winked and hiccuped nonstop, causing the judges—especially Mary—to absolutely lose it.

Everything the Ninja Twins Said

This duo's interview before their Season 9 audition was hysterical. Here's one quote that perfectly sums them up: "We're like the Paris Hilton and he's like the Nicole Richie, but we're broke. We live like that A-List celebrity on that B-List budget."

Kristin Chenoweth's Run as a Guest Judge

The show's 15 seasons have seen lot of guest judges come and go, but few have been as hilarious as Kristin Chenoweth. This compilation video of her best moments will have you crying laughing. (Coming in a close second in the guest judge race? Frequent auditionee Jesse Tyler Ferguson.)

Cat Deeley Just Being Cat Deeley, All the Time

"SYTYCD" wouldn't be the same without host Cat Deeley, who's consistently the funniest person onstage. It's impossible to pick one favorite Cat moment, but this short roundup of moments from Season 3 perfectly showcases her infectious personality.

Because they're the one part of college applications you don't do yourself, teacher recommendations can feel like big, scary question marks. As Sarah Langford, college counselor at The Chicago Academy for the Arts, says, "When admissions chooses between equally talented candidates, a memorable letter can put you in the 'yes' pile." But take heart: You have more control over what ends up in these letters than you might realize. Here, Langford and Sarah Lovely, director of college counseling at Walnut Hill School for the Arts, spill the secrets to ensuring you'll get letters that'll help launch you into the dance department of your dreams.

Choose Wisely

Whether the application calls for academic or dance letters of recommendation (or both), you'll want to keep the same principle in mind when choosing your recommender. "The quality of the student–teacher relationship is incredibly important," Lovely says. "Who has written really good comments about you? Who have you engaged with outside of the studio? Who have you gone to for extra help?" The teacher who gave you an A might not have seen you take initiative, persevere, and ultimately grow when faced with challenges.

Think twice before asking a teacher from your freshman or sophomore year, which Langford says raises a red flag: "You were 14 and now you're 17—hopefully a very different, improved learner." And don't make the mistake of choosing people based on job title or fame outside the school or studio. Ignore impulses to ask the department chair or studio owner, for example, if you're not close—what's important is the detail of the recommendation itself.

Ask Early, Ask Often

Ideally, ask recommenders late in the spring of your junior year. "Nowadays, there are so many early deadlines that teachers need the summer to write their recommendations," Lovely explains. If that's not possible, shoot for six weeks' notice. Don't ask for a letter of recommendation within two weeks of the deadline unless it's an emergency. "It's inconsiderate to give teachers less time than that, considering they're writing letters for lots of students," says Lovely.

Don't be afraid to gently nudge your recommenders once or twice as the deadline approaches. "Respectfully remind them how important it is that your application be complete, and that you're grateful for the difference their letter makes," suggests Langford.

Paint a Picture

While you should never write a recommendation letter yourself, feel free to discuss anecdotes and personal qualities you'd like your recommender to highlight. "Talking about the rigor of dance is important," says Langford. "The letter can show what it's meant for you to dance every day and succeed academically."

Other application components may be customized for a particular dance department, but recommendations shouldn't mention a specific institution unless your recommender is an alum or has some other connection. "When I worked in admissions at NYU, the worst was a letter saying 'This is why so-and-so would be a perfect fit at Columbia,' " says Lovely.

What If Your First-Choice Recommender Says No?

Have a good number of teachers in mind so you don't take it personally if someone turns you down. "It's not necessarily about you—it could be they don't have time because of something in their personal life," says Lovely. "Be happy they were honest enough to admit they're not the best person for the job," says Langford. A refusal enables you to find a recommender with meaningful things to say about you as a dancer and student.

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "Highly Recommended."

Tired of uncomfortable tights that dig into your waist and create unflattering bulges? Body Wrappers has the perfect solution; their knitted wide waisted tights will keep you comfortable and give you the confidence you need to perform your very best during dance class. Enter below for your chance to win a pair!

Edgar Degas' famous sculpture Little Dancer Aged Fourteen has been getting a lot of love recently—and by "love," we mean everything from a tutu upgrade to a full-on musical telling her story. But artist Doyle V. Trankina's reimagining of the sculpture, with none other than Misty Copeland taking the place of the young Paris Opéra Ballet School student who inspired the original? It might be our favorite Little Dancer tribute yet.

Copeland just shared Doyle's 360-degree video of the new piece, which eliminates the tutu and emphasizes Misty's beautifully muscular physique. (And Doyle's work has us reminiscing about Copeland's equally gorg Degas-inspired shoot for Harper's Bazaar, in which NYC Dance Project photographers Deborah Ory and Ken Browar captured her channeling Little Dancer, too.)

To echo Copeland's own praise: 🙌 🙌 🙌

In case you missed it, our favorite actress/dance fangirl Jennifer Garner hit the studio this weekend to brush up on her technique (stars, they really are just like us). And the end result might be even better than Garner's #TutuTuesday posts. At the request of American Ballet Theatre principal Isabella Boylston, Garner took to her Instagram story to participate in Lil Buck's #GoinInCirclesChallenge.

#GoinInCircles is the newest dance challenge taking over our feed, started by Lil Buck, Phyouture and Jay R. Hart at the Vail Dance Festival earlier this month. Using the 1969 song "Going In Circles" by The Friends of Distinction as their soundtrack, the three Memphis jookers showed off their best turning combo and challenged the rest of the dance community to do the same.

Boylston and Michelle Dorrance shared their own spin on the challenge, with the duo synchronizing their ballet and tap turns as they nominated Garner and ABT's Aran Bell to try it out next.

We're still waiting on Bell to break out his best slow-mo pirouettes, but in the meantime, we're giving Garner extra points for being ahead of the trend (and the strobe lighting effect).

This article originally appeared on dancemagazine.com.

Let's say this right up front: Everyone agrees that a talented dancer can move to NYC or L.A., start auditioning, and get booked without a dance degree. And graduating from a program doesn't guarantee that you'll have a successful dance career. So, what weight does a degree carry in the industry? "The reality today is that if you don't get a degree, you will be at a disadvantage," says Dr. Sally R. Sommer, director of the Florida State University dance department's semester-long immersion program in NYC. Proactive and engaged college students become more adaptable, thoughtful, and resilient dancers. Combine these qualities with a deeper understanding of dance history, practical experience with the professional expectations of choreographers, and access to a growing community of peers, guest artists, faculty, and alumni, and it's easy to see why a degree could mean more doors are open to you.

Curriculum, Not Just Class

First, there's a big difference between simply taking class and following a course structure designed to give you technique and tools for self-care. "In a college program, it's pretty much a given that you'll be dancing a lot and will graduate in great physical shape, but your curriculum is set up to progressively provide so many other benefits," says Darrah Carr, board of study coordinator for the dance program at SUNY Purchase. "Things like education on injury prevention and developing a warm-up routine will actually enable you to have a longer career. It's very difficult to replicate such comprehensive training on your own."

"I felt very prepared for the professional world after college, because I got the training along with the privilege of being able
to focus," says Lorrin Brubaker, who graduated from Juilliard in 2017 and now dances with BODYTRAFFIC. "I wasn't searching out classes or worrying about how much they cost—the structure of the program was made specifically to turn out a versatile, professional contemporary dancer, and I could trust in that." Receiving a grade in dance classes also trains dancers to be more aware of their approach. Grades can serve as a quantifiable way to hold dancers accountable for how they're approaching the work.

The Pro Treatment

While coursework may be largely laid out for them, dance program students learn to manage a rigorous schedule and take
on professional responsibilities that will seamlessly take them into the industry. "In productions, we parallel Equity, AGMA, and SAG rules, so the students experience the same reality checks as they will in business," says Jo Rowan, dance chair
for the Ann Lacy School of Dance and Entertainment at Oklahoma City University. At OCU, dancers are also taught contract law, how to get agents and managers, and how to navigate the culture of entertainment cities like L.A., Las Vegas, and NYC.

Florida State University student Jenée-Daria Strand

The idea is that upon graduation, students will already be used to a professional rehearsal environment, where dancers are expected to show up on time, retain material week to week, and help to generate material and make choices collaboratively. "You're essentially learning to be a part of a company within a school bubble," says Carr.

Talent and Skills for Today's Companies

These days, many companies are changing in ways that favor college-educated dancers. "A singular aesthetic is far less common now than a blending or fusion of styles," says Carr. "There's a practicality to getting a liberal arts education, because artists want to work with versatile dancers who are also well-rounded people." Having an understanding of dance history and the roots of each discipline can give you the context you need to nail certain performance qualities. And a degree proves you've taken the time to work on your mind and body, which are very much connected.

Many companies also want members who are able to help with social media, press releases, and other business needs to stretch the budget, says Sommer: "Company leaders may be writing grants in their bedrooms, and dancers with degrees are well-equipped for that DIY world." College dance programs also give students a taste of what it takes to present their own work, says Carr, which is extremely helpful if you want to choreograph someday. "Dancers learn to edit videos and talk to a lighting designer—pragmatic skills that augment your technique and creative abilities."

A Network to Get Work

Perhaps one of the most tangible benefits of graduating with a BA, BFA, or BS is entering the industry with a built-in career network. This might mean you already know the people who are hiring, or can get you hired, and have to spend less time and energy to break through. "I'm actually seeing many companies move away from the cattle-call audition—choreographers are meeting prospective dancers through workshops, intensives, and, yes, by working with college students," says Carr.

An American Spirit Dance Company rehearsal at OCU (photo by Ryan Barrett, courtesy OCU)

Brubaker reconnected with the directors of BODYTRAFFIC, after initially meeting them at a winter intensive, thanks to a Juilliard classmate. "My friend was in the company and posted a video of me dancing that caught their attention," says Brubaker. "I can honestly say I wouldn't have gotten the same opportunities without my degree and, partly, Juilliard's name recognition."

None of this means that you can collect a degree and sit back; you still have to be proactive to build a career and continue to grow as a performer. But the incredible resources built into a dance program are likely to put the tools for a great career within your grasp.

Get a Degree to Nab These Jobs

• Company director

• Marketing/PR/social media manager for company, venue, or festival

• Company operations manager or development officer

• Movement therapist

• Physical therapist

• Dance historian

• Dance critic/journalist (editor at Dance Spirit, anyone?)

• Dance filmmaker/photographer

• Costume designer

• College dance professor

• Talent agent/manager

The Fallback Fallacy

We know what you're thinking, but getting a degree is not about developing a safety net in case you can't dance someday. It has everything to do with building a solid foundation for a long and fulfilling career. In fact, if you're not sure exactly where you fit in the dance world as you exit high school, the right college program may help you find your path, suggests Juilliard graduate Lorrin Brubaker. "School is a great place to focus on your craft, gain the tools you need to get started, and get a taste of everything," he says. Dr. Sally R. Sommer, director of the NYC dance immersion program at Florida State University, agrees: "Students learn to read the dance ecosystem and find a niche." Plus, there's no doubt a degree will help if you choose to transition into a new career someday—you're that much closer to becoming a physical therapist, arts administrator, or talent agent than you'd be without one.

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "The Importance of a Dance Degree."