"Mister Travis Wall," as Cat Deeley would say, has had one heck of an epic "So You Think You Can Dance" journey. Since first appearing on the show as a contestant during Season 2 (back when he had frosted tips!), he's become one of the series' most respected choreographers and mentors. In fact, his work for "SYTYCD" has earned him Emmy nominations every year since 2011. EVERY. YEAR.

To celebrate his latest Emmy noms—for "SYT" Season 14's "Change is Everything" and "Strange Fruit"—The Wrap magazine talked to T.Wall about what the show has meant to his life. And as always, Travis was full of dancy wisdom.

" 'So You Think You Can Dance' has helped shape my career, and kind of helped shaped me and my creative process, my voice as an artist," he said. "I get to share a piece of my life every summer on television—I create from very personal places. The show obviously has a huge part in the DNA...of my career."

He also paid tribute to the power "SYT" has to spark larger conversations, both inside and beyond the dance community. "I think that's what's so beautiful about what we do on this show [is that] we're putting art out there, things that you can make up your own mind about or your own interpretation of what we're saying, because we're not speaking with words, we're showing you visuals," he said.

Check out the full story here.

I never thought we'd make it here, you guys, but after 11 grueling weeks of competition and five rounds of Duels, "World of Dance" will enter The Cuts phase of the show next week. The talent is unreal this season, which makes the goodbyes that much harder. Last night, during the last round of The Duels, we witnessed a mass exodus, as only six acts advanced to the final round. My heart still hurts a little, and I've got no more tears left to cry, but I'll pull it together to recap the evening for you.

Victoria Caban vs. Mishella & Daniel

First up was pint-sized flamenco dancer Victoria Caban—and she was 🔥. Victoria wowed both the judges and the audience with her fierce footwork and intense passion, while dancing to "Havana" by Camila Cabello. J.Lo gushed, even saying "You killed that routine." Victoria had some intense competition, though. She was up against the sassy, tiny ballroom duo Mishella & Daniel, who J.Lo dubbed a "mini Derek." The pair brought all the energy and Derek was super impressed by their technique, but in the end, Victoria pulled through and made it to the next round.

Brotherhood vs. Embodiment

So, ICYMI, Embodiment is actually Rudy Abreu and his crew, and a version of the piece they performed last night also won them an award at the Capezio A.C.E. Awards earlier this month. How crazy is that?! #WorldsColliding. That being said, last night, the group whipped out one of their best performances yet. It was powerful, super-precise, and full of gravity-defying tricks. The judges were moved, and J. Lo said, "it's so beautiful to see a group of strong men be so vulnerable." We couldn't agree more. But their fellow Duelin' competitor also brought their A-game. Brotherhood, a male hip hop crew, came to fight (literally, they were dressed in camo) and dominated with an intense piece and the coolest choreo—they even threw down some pretty dang good ballet moves in a friendly nod to their competition. In the end, Embodiment squeezed through to the next round by only .6 of a point.

Madison Brown vs. Elektro Elite

We seriously can't get enough of fabulous comp queen Madison Brown. She is in this competition to win it and we're calling it: she's goin' alllll the way. Madison performed a stunning piece that was equal parts grace and equal parts power. Her lines and flexibility are gorgeous, but it's her mature emotional performances that really make her stand out. She reigned supreme and moved on The Cuts.

Picture this: You're in rehearsal, and you finally get a move the way the choreographer wants it—except that it makes your back twinge each time. Should you say you're in pain, or should you suck it up and keep going? You don't want to injure yourself, but you also don't want to jeopardize your role.

The dance world often teaches students to be quiet and obedient around authority figures. That said, there are definitely instances when you need to speak your mind. Try these tips to navigate sticky situations.

When to Speak Up

Expressing your feelings can be nerve-racking, especially if you're worried you'll face repercussions. The good news? Those consequences you're anticipating might be all in your head. "Many dancers make assumptions about when they're allowed to speak," says Nadine Kaslow, a psychologist who works with dancers at Atlanta Ballet. "In fact, teachers want you to speak up in certain circumstances."

Say something when you're working with an injury, or when you feel one looming. Bullying and other inappropriate behavior—from students or teachers—also need to be brought to light. And while some would say dancers should leave non-dance problems outside the studio doors, it can be smart to let someone know when you're dealing with rough stuff. "Whether it's a bad breakup, a hard situation with parents, or another life issue, it helps me to have a heads-up," says Kate Crews-Linsley, school artistic associate at Nashville Ballet. "If I see a bad mood in class, I want to know why. A quick conversation can help me coach you through it."

What's the common thread here? When your physical, mental, or emotional well-being is on the line, tell someone. Your teachers and choreographers can't assist you unless they know what's wrong.

How to Speak Up

To get the best response, consider the way in which you broach the subject. Keep your tone respectful, and try to be clear and concise as you describe the issue. Answer questions and, if you can, propose solutions. Fostering a conversation is generally more effective than launching into a confrontation.

Timing also matters. For instance, immediately before class is a great time to tell your teacher that something's hurting. "Then I can keep an eye on you as you warm up," Linsley says. "I can help you determine if this is something you can push through or if you need to take a day off to rest." However, if your situation requires a more in-depth discussion, or if you're liable to become emotional, Linsley recommends scheduling a private meeting.

Of course, there are times when you won't be able to wait. Acute injuries while dancing would fall under this umbrella, but so might serious interpersonal conflicts. If teasing or arguing between dancers is stopping a rehearsal in its tracks, for example, you probably need someone to step in and mediate right away.

Telling Tough Truths

The most difficult topics to talk about can also be the most important. If you experience or hear about improper touching or physical or verbal abuse from someone in a position of power at your studio, tell a trusted adult as soon as possible. "If you're being made to feel uncomfortable, or if you witness mistreatment of someone else, the sooner the problem is dealt with, the better," Linsley stresses.

The same goes for peer bullying, which Linsley points out often happens where teachers can't see it. "Honestly, no bad behavior is too small or silly to bring to us," she says. "We can take appropriate action to put the fire out."

If you're embarrassed, anxious, or overwhelmed at the prospect of whistle-blowing, find an ally. Get a teacher or parent on board, or gather a group to speak up together. If it's hard to verbalize what's happening, write an email; speaking up doesn't have to mean shouting in front of a crowd. Above all, if you're not being taken seriously by the people in charge, it might be time to look for a new dance environment.

The Communication Habit

Finding your voice isn't a one-time achievement. It's a habit you develop through practice. Not sure where to start? Look for situations with low stakes. "You might ask for clarification about a step during class," Kaslow says. "If that goes well, try speaking up about something bigger, to build confidence."

The goal isn't to complain about every little thing that bothers you. You'll likely have a hierarchy of concerns, from scheduling conflicts to casting woes to aches and pains, and beyond. Kaslow says to pick your battles, keeping your health and safety at the forefront. Once you become used to a level of communication in the studio, you'll be ready to use your voice when it matters most.

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "Finding Your Voice."

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

Dear Katie,

I'm on the fence about switching studios. My current studio is pretty relaxed about technique, but it's like a second home to me—I have so much fun with all my friends there. There's another studio nearby that's much more serious technically. I want to dance professionally when I grow up. Should I choose the school that has a great community, or the one that will help me reach my dream faster?

Erin

Dear Erin,

Switching studios can be daunting. But wonderful as a great, supportive community is, it's not going to get you the training you need. If dancing professionally is your dream, I'd encourage you to pursue the best training available—and if you aren't being challenged or pushed at your current studio, that training is elsewhere.

The good news is that doesn't mean you can't continue to be friends with the dancers at your current studio. Plus, you'll probably end up making wonderful new friends at the new school. And being around other serious dancers will inevitably push you and inspire you to improve. Your training years go by quickly. Don't risk looking back and regretting not making the leap.

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

Summer's coming to a close which means it's time to head back to school and back to the studio. And though we have no doubt that you'll log a lot of dancing this fall, every dancer knows that there's bound to be down time in between technique classes, rehearsals, stretching, and waiting to be picked up. So give your Insta feed a break and check out these dance-tastic books that'll not only entertain you, but might even teach you a thing or two.

"The Maddie Diaries" by Maddie Ziegler

Thought you knew everything about dance prodigy Maddie Ziegler? Think again. Maddie's memoir is a fun read that talks about the hard work and dedication she's put into her dance career and the lessons she's learned along the way. Readers get an up close and personal look at the glamorous parts of Maddie's life, which include starring in music videos, going on tour, and becoming an actress. Perhaps reading about her journey through the dance world will help you figure out your own path.

"A Unicorn in a World of Donkeys: A Guide to Life for all the Exceptional, Excellent Misfits Out There" by Mia Michaels

A Unicorn in a World of Donkeys: A Guide to Life for all the Exceptional, Excellent Misfits Out There, is choreographer extraordinaire Mia Michaels' answer to your average self-help book. But it's actually a lot more extra than your average self-help. In between quizzes, lists, charts, inspirational quotes, and exercises Michaels shares gems of advice from her own life. In an interview with Dance Spirit, Michaels explained that the "workbook format helps the reader access their own inner unicorn—their true uniqueness and authenticity. My lessons are your lessons. What I learned along the way to celebrate my unicorn will help you learn to celebrate yours." TBH, she had us at unicorn! Read this ASAP and become the unicorn you were meant to be.

"The Audition" By Maddie Ziegler

It's safe to say that Maddie Ziegler is a jack of all trades. She's proved that with her dancing, acting, and now, her writing. This novel focuses on what Maddie knows best—dance. And though the story is fictional, we have no doubt Maddie drew from first-hand experiences in the dance world to create this drama-filled tale. There are characters in this book that we're all familiar with—from mean girls to new girls—so, its super relatable.

"Trailblazer: The Story of Ballerina Raven Wilkinson" by Leda Schubert

This might be a picture book, but the story it tells is worthy of audiences of all ages. Based on the life of Raven Wilkinson, the first African American to dance with Ballet Russe de Monte Carlo, this book tells of the challenges and trials Wilkinson endured to achieve her dreams of dancing ballet professionally in the '50s and '60s. Despite bigotry and threats on her life, Wilkinson cemented her legacy as a dancer and is also Misty Copeland's mentor. Read this book as a reminder to not let anyone deter you from pursuing your dreams.

"Kenzie's Rules for Life: How to be Happy, Healthy, and Dance to Your Own Beat" by Mackenzie Ziegler

Mackenzie Ziegler has thoughts, and she wants to share them with you. Maddie's little sister came out with a book of her own this year, where she offers tips on friends, family, fitness, personal style, and a whole lot more. The book is intended to give other teens the confidence to follow their dreams and be themselves. Grab a copy and find out how this dynamo dancing queen navigates life in the public eye and stays motivated.

"A Day at the National Museum of Dance" by Vanessa Salgado

This picture book gives readers a glimpse inside the National Museum of Dance, located in Saratoga Springs, NY. Filled with beautiful illustrations, you'll feel like you've visited the museum yourself after flipping through the colorful pages. From ballet to tap to contemporary there's fun facts and fabulous images to inspire dancers of all styles.

Y'all already know that what you really need after hours of studying is a well-deserved break in the form of an epic dance party. But what are you supposed to do when you're stuck in the library and can't crank up the volume on your favorite tunes?

If you're Reese Hatala, you grab your headphones and make. it. WERK! In this new Old Navy spot, the younger Hatala sister stars as a mischievous grade-schooler who, with the help of equally fun-focused classmates, turns the school library into a silent disco—all without the stern librarian noticing what's up.

We're living for the energetic choreo by The Greatest Showman's Ashley Wallen; for the can't-help-but-move song "Move Your Feet" by Junior Senior; and of course for the hordes of super-talented hip-hop littles giving it their all. If only actually going back to school were always this fun...

Dance teachers have to deal with a lot. While open communication with your teacher is obviously key, lame excuses for less-than-great behavior are guaranteed to get on her nerves. Always avoid these seven excuses that will 100 percent get your dance teacher's blood boiling.

"That makes me look silly."

It's okay to look less-than-perfect when trying a new combination! TBH, your dance teacher expects you to look bad sometimes. It's the only way to learn.

"I'm so tired."

Seriously, don't even try this one. Find that inner strength and energy to power through!

"I can't come to class today. I made other plans."

If you're serious about your dance training and not seriously ill, you'd better be in class.

"Sorry, I just didn't get a chance to sew my pointe shoes/buy the class uniform/put my hair in a proper bun."

Come prepared for class, or don't come.

"This is too hard."

News flash: Dance IS hard. Please don't say this to your teacher. HER JOB IS TO CHALLENGE YOU.

"Sorry I'm late!"

In the pro dance world, being late can mean losing your job. Always get to the studio on time.

"There's a football game tonight, so I need to skip rehearsal."

Look, it's good to lead a well-rounded life, but football over dance? What kind of world are we living in?!

Where in the world is Miko Fogarty? Just three years ago, she seemed unstoppable. After being featured in the 2011 ballet documentary First Position, she became a teenage social-media star, winning top prizes at competitions in Moscow and Varna and at Youth American Grand Prix, and dancing in galas around the world. Last most of us heard, it was 2015 and she had just joined the corps of Birmingham Royal Ballet and even appeared on Dance Spirit's cover. A year later, she dropped off the ballet radar.

Turns out Fogarty, now 21, was taking time off to reevaluate her life, including the role she wanted ballet to play in it. She is now starting her junior year as a biology major at University of California—Berkeley and is considering going to medical school. (Her brother and fellow First Positionsubject, 19-year-old Jules, is a junior in the Berkeley economics department.) On the side she teaches private ballet lessons and gives master classes, and is the part-time conservatory director at San Jose Dance International, a new school in the San Francisco Bay Area led by artistic director Yu Xin. We caught up with her by phone.

Last we heard, you were at Birmingham Royal Ballet. Where have you been over the last couple of years?

I've been kind of quiet on social media about what I'm up to. I hope in the future to be more open with my followers on my daily life. I'm kind of in the process. Right now I'm a premed student at Cal and I'm researching science, which is completely different from what I was doing a couple of years ago. I'm also teaching a lot. I love teaching ballet; it's definitely one of my passions.

What led you to change your path?

Even before I joined a company, I started losing the passion for dancing ballet and feeling like it wasn't the career that I imagined myself doing for much longer. Of course, I didn't open up about this on social media; I didn't want to discourage anyone else. I felt like I had achieved a lot already in ballet, and I was ready for something more to experience. After a whole year of considering it and reevaluating my choices, I decided to apply for college. I was very sure of my decision when I made it, and I have no regrets.

Where did you start your college education?

My first year was at Feather River College, which is in Quincy, California. It's a tiny school in the mountains. It was a nice break from the city life I was living and all the social media. Then I came back and took courses at Contra Costa College.

You were so young when First Position came out, and it catapulted you into the spotlight. Did you burn out? Or did ballet just run its course for you?

I don't mind having followers and posting on Instagram, and being part of First Position was absolutely an honor. That's not what made me want to change. It was ballet as a career—I was going into class and every day I was like, this is not what I want to keep doing. Even performances —when I was younger, I liked the feeling after a performance, but before and during it was kind of nerve-racking for me. It was kind of hard to enjoy; especially competitions. I thought that would change when I joined a company. It was a little better, but I didn't feel the euphoria I hoped I would feel.

You were so known for competitions and galas. I would never have suspected you were so nervous.

I performed better when I was nervous. But I don't want to be nervous all the time. And another side of ballet is always being so skinny. That was really mentally hard for me to sustain healthfully. That caused a little bit of depression for me. That was another reason I decided to do something else.

What were the positives you got from ballet?

Ballet has honestly given me so many amazing experiences. Traveling, knowing how to work hard, how to be disciplined about doing something is such a great skill to have in any field. Ballet taught me how to push myself past my comfort zone. It kept me healthy, and I got so many friends out of it. I'm forever grateful towards ballet. And it will be part of my life forever.

Tell me about San Jose Dance International.

We're still in our infancy. We're just putting together different events, such as Dancing for a Cure, which is a performance to donate to patients with cancer and their families. I recently led a (variations) workshop. It was really fun to teach variations and technique to students in the Bay Area. It's what I do on the side, I guess; right now my full focus is school and research (on brain tumors, at UC—San Francisco). I teach private lessons and occasionally master classes, and help out with SJDI.

Is there anything you want to say to other dancers who might be going through some of the same things that you've gone through?

Be true to yourself, and don't be afraid to switch careers just because you've done ballet for so long or worked so hard. If you feel like you're gonna enjoy a different kind of career, then go for it. But make sure you make your decision well enough that you know you won't regret it. You can have as much ballet as you want in your life – you can have a lot or a little bit, or somewhere in between, like I've been doing. And I want to say thank you to everyone who's been supporting me through this journey.

This article originally appeared on pointemagazine.com.

It's showtime, folks! On Thursday, the first two principal cast members were announced for this fall's pre-Broadway engagement at the National Theatre in Washington, DC, before the show transfers to Broadway next year.

School of Rock's Alex Brightman will play the (deliciously wacky) title role. But—drum roll, please—Sophia Anne Caruso will play Lydia Deetz, the death-obsessed teen originally brought to life (*evil laughter*) by Winona Ryder!

If you're a longtime DS reader, you'll recall that we featured Sophia in the May/June 2014 issue as a rising triple threat who "You Should Know." The then-12-year-old Sophia was already headed for a seriously impressive resumé. She'd just finished playing Brigitta Von Trapp in "The Sound of Music Live!," and would later that year portray the little sister of Tiler Peck's Marie Van Goethem in Susan Stroman's musical Little Dancer. Now Sophia is poised for her first starring role in a Broadway musical—and she hasn't even turned 18 yet!

Here's what audiences are in for, according to the press release: "Beetlejuice tells the story of Lydia Deetz, a strange and unusual teenager obsessed with the whole "being dead thing." Lucky for Lydia, her new house is haunted by a recently deceased couple and a degenerate demon who happens to have a thing for stripes. When Lydia calls on this ghost-with-the-most to scare away her insufferable parents, Beetlejuice comes up with the perfect plan, which involves exorcism, arranged marriages and an adorable girl scout who gets scared out of her wits."

We're maybe most excited to see how the Broadway version of Lydia might move, especially because the show's choreographer is the innovative Connor Gallagher, who won an Astaire Award in 2016 for his work on the Western musical comedy The Robber Bridegroom. You can buy tickets now for the show's DC engagement October 14 through November 18. If you need us until then, we'll be trying to imagine how Sophia might interpret these ghoulishly goofy grooves.

How is American Ballet Theatre gearing up for its fall season, October 17-28 at Lincoln Center? With an epic video featuring its dancers being their beautiful selves on a beautiful NYC rooftop, as you do.

Directed by dance-videographer-about-town Ezra Hurwitz, the vid features a slew of ABT standouts, including Misty Copeland, Isabella Boylston, Hee Seo, Calvin Royal III, and Catherine Hurlin, doing mind-bendingly beautiful things with the NYC skyline as a backdrop. They're living on the edge, quite literally—because nothing adds to the excitement of world-class ballet like a little bit of danger.

We're also way into the three teasers the company posted over the weekend, highlighting the talents of Copeland, Boylston, and Royal in particular:

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You could say that Donielle "Lil Dee Dee" Hansley joined the family business: His dad (a dancer and recording artist) was his first dance teacher, and his three older siblings are a circus artist, a rapper, and a singer. Dee Dee's been carving out a path in the entertainment world since the tender age of 6, when he first toured with kid rapper MattyB. In fact, you probably recognize his hard-hitting energy and undeniable charisma from Step Up: High Water, Tyler Perry's If Loving You Is Wrong, Lip Sync Battle Shorties, or—super-casual—dancing behind Usher and Chris Brown.

My mentors have always told me, Never give up on yourself. Of course there'll come times when you're like, 'Maybe dance isn't for me. I'm probably better at something else.' There's always someone better than you are—so what? Work 10 times harder so you're better than they are! —Lil Dee Dee

Fast Facts

Age: 14

Birthday: March 4, 2004

Hometown: Richmond, VA

Trains at: Various studios in L.A. and Atlanta, GA

Artists he's dying to work with: Tony Rich and Laurieann Gibson

Most-played music: The soundtrack from Black Panther, especially "King's Dead," by Kendrick Lamar, Future, and James Blake

Favorite dance movie: "You Got Served—of course, that's a classic. If you're a dancer, that's one movie you have to watch."

Favorite school subject: Science. "I'm always trying new things and seeing what I can get out of it. I made slime for everyone in my family one Christmas."

If he were a superhero, his power would be: Flight or super speed

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "You Should Know: Lil Dee Dee."

We've officially reached the point in this competition where the finalists are just doing so. much. dancing. Last night, each contestant performed two duets, a solo, and a group routine. Even just typing that sentence made us tired. After all that choreography, the Top 8 became the Top 6. Here's what happened (minus recaps of the solos, because they were all delightful):

The Opening Routine

Choreographer: Christopher Scott

Song: "Runaway" by Nathan Lanier

This was AWESOME. With the male contestants stationed on individual platforms, the lady contestants were free to command the stage. But give it up for the dudes, who mastered some seriously intricate, demanding Chris Scott choreography while all tied up.

Jensen & Jay Jay

Style: Smooth jazz

Choreographer: Sean Cheesman

Song: "I Got You (I Feel Good)" by Jessie J

Last week, Nigel called these two the strongest team on the show this year. Casual praise. This week, the power duo got to portray a sultry, Mr. & Mrs. Smith-esque couple. In the past, Nigel has called Jensen too sexy, so despite this routine's seductive nature, Jensen's goal was to keep it subtle. Apparently the performance included some wardrobe malfunctions—but nothing we noticed until Jensen pointed it out in the post-routine interview. Nigel called Jensen "the poster child for 'So You Think You Can Dance,'" Vanessa loved their personalities, tWitch said there's nothing this couple can't do, and Mary appreciated that they kept it PG.

Genessy & Slavik

Style: Contemporary

Choreographer: Mandy Moore

Song: "Fall For You" by Leela James

That moment when you decide to tell someone "I love you"—that, Mandy Moore says, is what this routine was about. Genessy and Slavik have had the chemistry factor on lock since day 1; the challenge with this routine, Mandy said, was getting Slavik to point his toes. Unsurprisingly, the performance was lovely, with both dancers pretty much nailing the whole "I'm so vulnerable right now" vibe. Genessy, a contemporary dancer, was clearly comfortable with the choreography. Was Slavik? Maybe he's not the most technical contemporary dancer, but guy's got heart, soul, and a whole lotta love. Vanessa called their connection pure and said she loved it, tWitch noted their commitment level, Mary gave it a "holy smokes" and said there's love in the air, and Nigel appreciated Slavik's toe-pointing efforts.

Magda & Darius

Style: Hip hop

Choreographer: Phoenix & Pharside

Song: "Killa" by Disto

Magda was in the bottom four last week, which seemed crazy. So this week, Darius said, "We have to kill it." And boy, did they make that clear onstage: They hit this routine hard. Darius seemed to roll with the choreography really well, but while Magda started super strong, her energy started to fade big-time about halfway through. tWitch said Magda's execution was lacking a bit. Mary praised Magda for fighting for every step on that stage, and applauded her effort and determination. Nigel said Magda has crushed everything so far, from contemporary to Bollywood, but that this didn't work for him. Vanessa said, "Whoomp, Dar-i-us!" (To the tune of "Whoomp, there it is." Obviously.)

Hannahlei & Cole

Style: Broadway

Choreographer: Travis Wall (yes, you read that right!)

Song: "Get Happy (Live)" by Judy Garland

For years, Travis has been the show's contemporary golden boy. So why not let him try something new by dishing out a Broadway routine? (Actually, if you know Travis Wall, you know he's merely returning to his roots: He got his start on Broadway!) This little number was sweet, happy, and adorable—you really can't go wrong with massive fan kicks underneath a big ol' umbrella—and Hannahlei and Cole had a lot of fun with it while managing to pull off all its technical challenges. (Since this was, after all, still a Travis Wall piece, there were plenty of tricky elements in the mix, including leaps, turns, jumps, and lifts.) The audience went nuts for it. Mary said it made her happy, Nigel agreed, Vanessa called Hannahlei "literal sunshine," and tWitch said it was one of Cole's most honest performances.

Genessy & Slavik

Style: Jazz

Choreographer: Ray Leeper

Song: "House Work" by Jax Jones

Those tuxedos and white gloves! This piece felt like a hip-hop-meets-jazz hybrid, and it may have been the first time Slavik stole some attention from Genessy, who generally commands the stage no matter who else is on it. The choreography was fun and upbeat, and it earned the night's first standing O from the judges. Nigel thought it was fabulous, Vanessa wanted in on the routine and said her heart literally exploded inside her body (side note: we hope not literally), and tWitch reminded Slavik to stay excited but not so excited he gets ahead of the music.

Magda & Darius

Style: Contemporary

Choreographer: Jaci Royal

Song: "Undertow" by Ane Brun

Power and praise, as always, to Jaci Royal, for choreographing something so intricate and emotional that everyone was in tears before it even started. The concept: Magda and Darius were bound together by a rope throughout the routine, in a way that was reminiscent of that haunting "Gravity" piece Mia Michaels made for Kayla and Kupono back in Season 5. Vanessa said something about rope burn, tWitch acknowledged the trust and commitment between the pair, Mary called Magda "liquid grace," and Nigel thought the concept overwhelmed the content (burn). And then Nigel and Mary argued, which was fun!

Jensen & Jay Jay

Style: Hip hop

Choreographer: Hef & Randi

Song: "Cookin" by Fat Joe, Remy Ma, and French Montana

Bakeware! Aprons! Poultry! We'd just heard Nigel say he didn't want big concepts to control the choreography, so it was a little nerve-racking to see Jensen and Jay Jay surrounded by pots and cooking spray and a whole raw chicken (!). But they ditched the accoutrements after just a few seconds, and then this routine was all choreography. Despite burning whatever it was they were "cooking," these two seemed to be having a blast from start to over-done finish. (Also, give it up for Hef—formerly known as Hefa—Tuita and Randi Kemper, making their "SYT" choreographic debut!) tWitch loved the personality and special sauce (cooking reference!), Mary said, "Sock it to me sock it to me sock it to me sock it to me," (#RIPAretha), and Nigel said Jay Jay brought the juice and said someone should do a reality show about Jensen's family, aka "a family with talent" (sick burn to those Kardashians, amirite?).

Hannahlei & Cole

Style: Cha cha

Choreographer: Sasha Farber & Emma Slater

Song: "Sing It Back" by Moloko

"This song isn't about being gentle and caring," the choreographers explained during rehearsals. "It's about lust, not love." Onstage, that translated to tricktastic, hot 'n' steamy choreo—and shirtless Cole, hooray! This one got a unanimous standing O from the judges. Mary loved the tricks, said it was the best Cole ever danced, and gave us that famous, deafening Mary Murphy scream. Nigel said Hannahlei did a good job with her hips and that Cole performed brilliantly. Vanessa said it was the sexiest cha cha she'd ever seen in her life. tWitch said it made him want to go to the gym "immediately" (SAME).

Group Routine: The Top 4 Girls

Choreographer: Talia Favia

Song: "Wanderlust" by Empara Mi

These four girls could definitely run the world. And this routine was beautiful and powerful. Magda, Hannahlei, Jensen, and Genessy threw themselves across the stage and into every count of the choreography. Nigel was into all the surprises throughout the routine, Vanessa loved the emotion and presence (particularly from Hannahlei and Jensen), tWitch reminded us to vote (and said we can't complain about the results if we don't vote!), and Mary said all four of these women are wonderful.

Group Routine: The Top 4 Guys

Choreographer: Luther Brown

Song: "Juice" by Yo Gotti

This was WAY too much fun. Each of these men is so strong and comes equipped with loads of personality, but Jay Jay and Slavik definitely commanded the stage—despite all four dudes being dressed identically in The Mask-style black suits and neon-yellow jackets and hats. The judges gave the routine a well-deserved standing ovation. "Y'all brought it," Vanessa gushed, and she said Darius and Jay Jay, in particular, did it for her. tWitch, again, reminded us all to #rockthevote. Mary said each guy got a moment to shine. And Nigel said Darius stood out for him.

Then it was final results time: Cole and Magda were sent home, which means Hannahlei, Jensen, Genessy, Jay Jay, Slavik, and Darius are the show's Top 6. Remember to vote, vote, vote to determine the final four! (And don't miss next week's show, either: Rumor has it Mia Michaels is making her triumphant return as a choreographer.)

Hi guys. Are you sick of #InMyFeelingsChallenge videos cluttering your feed? Has your Aunt Linda started asking you about "that dance Will Smith did on a bridge"? Is the whole meme starting to seem a bit...done?

Well, genius choreographer Kyle Hanagami just achieved the seemingly impossible: He made a video that got us feeling feelings about "In My Feelings" again.

How? By putting his dancers in inflatable dinosaur suits. OBVIOUSLY.

For his take on the internet-destroying trend, Hanagami and his crew headed to Universal Studios Hollywood for a little Jurassic World-inspired hilarity. It's about exactly as ridiculous, and delightful, as it sounds.

Kiki, do you love me...darn you, Kyle. We're back in it.

So you want to be a dance major? Wonderful! But in college, your choices don't end there. Pedagogy, kinesiology, arts management: What can those different tracks help you with? Choosing a college concentration that opens up multiple career options is a smart move, setting you up for not only an exciting performance career, but also a lifetime of opportunities in the arts. Perhaps you're hoping to start your own dance company, but you have no idea how to run a business—a dance management degree will put you on the right path. Or maybe you want to keep performing while also teaching at local studios—dance pedagogy can help you build an exciting resumé. Read on for a breakdown of what to expect within various dance-program concentrations.

Concentration: Pedagogy

OCU students learn skills like costuming in both dance management and dance pedagogy concentrations. (photo by Ryan Barrett, courtesy OCU)

Interested in teaching dance, or even starting your own studio one day? A dance pedagogy focus may be the best option for you. Some programs come with K–12 certification, allowing you to teach at private studios as well as in public schools, while others are focused specifically on training studio teachers. A certification program will require classes in the education department as well as student teaching in a public school, while a non-certification program may only require classes specifically offered in the dance department. "Our dance-teacher students are also taking plenty of technique classes, so they can still pursue performance while also building or managing their own studio, or teaching at dance conventions," says Melanie Shelley, associate dean of the Ann Lacy School of Dance and Entertainment at Oklahoma City University.

Concentration: Performance and Choreography

Perhaps the most prevalent of the dance concentrations, a performance and choreography degree allows you to focus on your technique while also learning the ins and outs of behind-the-scenes aspects, including technical theater, performance contracts, music fundamentals, and dance health. "Many of our choreography and performance concentrations become professional dancers in companies, but some have also gone on to arts administration or even television productions," explains Dr. Purnima Shah, director of the dance program at Duke University.

OCU dancers (photo by Ryan Barrett, courtesy OCU)

Besides taking composition courses, performance and choreography students will learn about lighting design, dance for the camera, and improvisation. Final projects often include choreographing and producing an evening-length work on fellow dance majors—just one of many dances that you can feature in your choreography reel at the end of your degree, which makes you a fantastic candidate to work as guest choreographers for dance teams, theaters, or studios.

Concentration: Management

Students in OCU's dance management program (photo by Ryan Barrett, courtesy OCU)

A dance management concentration can be a great option for students interested in both dance and business—and it's easier to handle than a double major. Dance management majors will usually need to take crossover classes within their college's school of business, such as promotional writing, marketing, business law, and accounting. "My favorite class was performing-arts tour management—our final project was planning our own fictional tour of a Broadway show. I had no idea how much went into the process!" says recent OCU dance management alum Molly Smith. Be sure to ask what internship opportunities are available through the school, too, as many have connections with local theater and dance companies that allow you to work technical or administrative positions for even more behind-the-scenes opportunities.

Concentration: Kinesiology and Dance Science

Interest in dance therapy is growing, so it's no wonder dance science degrees are gaining popularity. Dancers interested in learning how to safely train their bodies for long, healthy careers will love the in-depth anatomy courses. "Some people see dance science as a separate study, but for us, it's about integrating the information on dancers and bringing it back to use in the classroom and in performance," explains Christine Bergeron, director of the Texas A&M dance program.

Texas A&M dancer Kali Taft concentrated in dance science. (photo by Gor Kraguliac, courtesy Texas A&M)

"The misconception about studying dance science is that you won't have chances to perform," says Texas A&M graduate Kali Taft. "But I danced in well over 50 works in college and even traveled to the Edinburgh Festival Fringe to perform. I was so excited to learn about how to correctly train my muscles for optimum développés, turnout, and splits, and now I'm hoping to start my own dance company."

A kinesiology major also sets dancers up for additional schooling, such as occupational or physical therapy. Texas A&M alum Hannah Juenke hopes to pursue graduate studies in occupational therapy, and is now studying how dance can help autistic children have greater tactile function, with the idea of offering movement therapy classes at local studios.

Concentration: History and Culture

Love watching old ballet clips of Baryshnikov dancing in Don Quixote? Interested in preserving the art of swing dance and incorporating it into choreography and teaching? A concentration in history or culture may be for you. While dance history courses are offered as part of most undergraduate programs, specific concentrations in history and culture, such as those offered by Duke University, allow students to develop a senior thesis with a political, social, or activist focus. "One student concentrated her research on how inclusion of dance in regular school curricula generates mental, emotional, and intellectual growth in children," says Shah. A history or culture degree is also good preparation for those hoping to go on to a master's or doctoral program in dance and for careers as dance historians or critical writers.

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "Choosing Your Concentration."

Last night Jennifer Lopez "danced the night away" at the MTV Video Music Awards, and though no words can truly do justice to her jaw-dropping performance, we have to try. The dance legend began her 10-minute mash-up of best hits descending from the heavens, like the dance goddess she is—and somehow things only got better from there. The 49-year-old pulled out some of the fiercest moves we've ever seen, proving why she's such an icon in the industry.

After the performance, Lopez graciously accepted the Michael Jackson Video Vanguard Award, becoming the first Latina artist to receive the title. "Music, acting, performing—this career has always been an obsession for me... I kind of had to forge my own path and rules," Lopez said. And then she paid the ultimate compliment to her mother Guadalupe Rodríguez, calling her "the original dancing queen. Anybody who knows Lupe knows that's where I get my skills from," she told the crowd.

The only way MTV will ever be able to outdo this performance is if they get J. Lo and her mom up on that stage next year for a duet. Till then, we'll just be over here replaying this epic routine.

Sure, we've known for a bit now that Camila Mendes—aka Veronica Lodge on "Riverdale"—has some moves. (Exhibit A being, of course, the kind of epic Veronica/Cheryl dance battle that happened on the show last year.) But this month, Mendes has been taking her dancing up a notch in not one but two music videos that y'all need to watch right now.

First, the 24-year-old starlet appeared as a backup dancer in her friend Maggie Rogers' "Give a Little" vid, choreographed by Ashley Robicheaux. Rogers and Mendes actually went to New York University together, and according to Rogers, the video was inspired by "when we used to go dancing in college," which, awwwww! (Mendes' cameo starts about 1 minute in.)

Then there's Mendes' star turn in The Chainsmokers' new video for "Side Effects," where she plays a disgruntled hotel employee who decides to blow off some steam by throwing a solo dance party. The choreography (by Juri Onuki) may be relatively simple, but Mendes' commitment is 💯. And honestly, we'd expect nothing less from Veronica.

More studio time = more improvement? Not always, according to Roman Zhurbin, American Ballet Theatre soloist and certified personal trainer. "It's absolutely necessary to take rest days so your body can reset and you stay motivated," says Zhurbin. "Seven days a week of hard training is just unhealthy." What is healthy: letting your body recover from a jam-packed dance schedule so you can give your best possible performance.

Give It a Rest

But lying on the couch is wasted time, you might say. Think again! "When you work hard in class or rehearsal, micro-tears form in the fibers of your muscles," says Michelle Rodriguez, an NYC-based physical therapist who specializes in helping dancers. Sounds scary, but these tiny, tiny tears are what allow your muscles to hypertrophy—i.e., grow—which makes you stronger. You have to give your muscles periodic time off so they can do this repairing and rebuilding.

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A weekly rest day is even more essential if you're still growing or under 15. "Growth plates are the part of your bone that literally lengthen to make you taller," says Dr. Selina Shah, a sports and performing arts medicine specialist and the physician for San Francisco Ballet School and Diablo Ballet. "Time off without the stress of impact allows for normal growth without injuring those growth plates." Even if you're done growing, regular days off help prevent stress fractures and other overuse injuries.

The Rest of the Best

What does a healthy rest-and-recovery regimen look like? Rodriguez, Shah, and Zhurbin agree that, ideally, you won't set foot in a dance studio one or even two days each week. Getting eight hours of uninterrupted, high-quality sleep—more like 9 or 10 if you're training intensely or still growing—is also crucial. Rodriguez recommends stretching, massaging, foam rolling, and wearing thigh-high compression socks during downtime to help hardworking muscles bounce back more quickly.

Oh, and the bathtub should be your BFF. "Muscles contract and relax because of the opening and closing of sodium and calcium channels," says Rodriguez. "When you're going hard, these electrolyte supplies can be depleted. When you lie in a bath containing Epsom salts or magnesium, your skin absorbs some of those minerals."

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Feeling extra-brave? Take a page from Zhurbin's book and opt for a cold shower or ice bath. "Research has proven cold temperatures assist in recovery," explains Shah. "You can put a covered ice pack on sore areas or get in a cold bath for up to 15 minutes." (That said, if a warm bath is what feels most relaxing to you, go for it!)

What to Do When You Literally Can't Even…

…take a rest day, that is. The reality of life as a serious dancer is that you won't always—or even usually!—be able to control your training and performance schedule. That just means it's your responsibility to use the recovery time you do have to your
advantage. On a quick break between rehearsals? "Don't spend it standing up," says Rodriguez. "Sit down, eat a snack, then lie down and put your legs up on the wall. Even brief periods of true rest make a huge difference in recovering on a daily basis."

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"Unlike most athletes, dancers are in season all year," Rodriguez says. "Look at your career as a marathon, not a sprint. You don't want to burn out because you've done too much." The next time you have a week off between an out-of-town intensive and the start of classes at your home studio, don't be afraid to spend that time relaxing. Or do as Shah suggests: "Try a sport you don't have time for during the school year, just to allow your muscles to work in a different way." Your body—and your dancing—will thank you.

What About Active Recovery?

American Ballet Theatre soloist and personal trainer Roman Zhurbin recommends incorporating active recovery into your cross-training plan up to three times a week. Think of active recovery as your regular cross-training workout, but less intense and half as long. "I'll do lifting, pull-ups, body-weight exercises, push-ups, and anything else I'm working on," says Zhurbin. "It's classic strength and conditioning, but shorter and not fatiguing to the point where I'm exhausted."

Personal trainer and American Ballet Theatre soloist Roman Zhurbin working with ABT principal Stella Abrera (courtesy Zhurbin)

You should actually feel more energized at the end of active recovery, as opposed to a regular cross-training session, which might leave you feeling pretty tired. Yoga, biking, walking, or a half-hour of barre are all great active recovery options.

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "R&R For Dancers."

How many times have you seen a music video that was so amazing that you and your friends wanted to recreate it? And how many times have you actually spent the time and effort to learn the choreography and actually film it? TBH, we've all been inspired by a catchy tune that's paired with some great choreo and cool cinematography. Some of us may even have actual footage of such embarrassing attempts buried deep in the archives of our phones. But four girls from Thailand, did what most of us mere mortals only dream about. They flawlessly recreated one of their favorite band's music videos—and broke the internet in the process.

From the dance moves to the cinematography, these kids created a spot-on parody of the K-Pop group BLACKPINK's hit music video "Ddu-Du Ddu-Du." Though the kids take a little artistic license, replacing a dog with a Furby and a crown with a shower cap, the result is so similar to the original it's almost spooky. Ok not really—it's actually super adorbs! Watch these littles nail BLACKPINK's choreography right down to the hair flip, and join the rest of the internet in saluting these darling dancers and their fierce recreation.

Happy birthday, Gene Kelly! The dance icon would've been 106 years old today—and his legacy still burns as bright as ever. We thought we'd honor the incredible performer with a look at five of his greatest routines ever.

"The Worry Song," from "Anchors Aweigh" (1945)

In which Kelly dances seamlessly alongside the animated Jerry Mouse like it's NBD. (It was—and still is—a BD.)

"Squeaky Floor Routine," from "Summer Stock" (1950)

Just Kelly, an empty stage, a felicitously squeaky floorboard, and a few stray newspaper pages. Genius.

"I Like Myself," from "It's Always Fair Weather" (1955)

HE STRAIGHT-UP TAP-DANCES IN ROLLER SKATES. *bows down*

"I Got Rhythm," from "An American in Paris" (1951)

Yes, "Our Love Is Here to Stay" and the film's epic final ballet sequence are both gorgeous, but Kelly's at his most charming teaching English—and, of course, dance appreciation—to a group of cute French kids.

"Singin' in the Rain," from "Singin' in the Rain" (1952)

Not only one of Kelly's best performances, but also one of the best dance performances of all time. 'Nuff said.

Y'all, it's been a long 12 weeks. But at long last, "World of Dance" has made it to the Cuts—and it's every bit as intense as we were expecting. (I'm talking dancers advancing by razor thin margins.) There's a lot to unpack from last night's episode, so let's get into it.

Junior Teams

1st Place: The Lab

The Lab turned in an absolutely mind-boggling performance—and, as a result, earned a perfect score from Ne-Yo, 98.3 overall, and 1st place honors. This group is the real deal, you guys. The choreo (shoutout to D-Trix 👏) was stunning, and every single dancer performed it full-out and then some. It's safe to say that everyone in that room was moved by The Lab's turn on that stage last night. There wasn't a dry eye in the house.

2nd Place: Fabulous Sisters

These girls are the definition of fierce. Their dancing is technical, versatile, and sooooo entertaining—the perfect trifecta. Last night's routine featured some unbelievable choreography and a whole lotta stage presence. Not surprisingly, the judges were blown away, giving them a 96.3, 2nd place, and a spot in the Divisional finals.

3rd Place: The Rock Company

Rounding out the Junior Group top 3 was The Rock Company. At the conclusion of their performance, J. Lo said they were "beautiful, poetic, and magical," and we couldn't agree more. This group has got it all, from amazing lines and extensions, to real, unforced stage presence. The judges awarded them with a 93.7, good for 3rd place and a spot in the Divisional Finals.

Upper Division

1st Place: Karen Y Ricardo

Who is even surprised? This absolutely insane duo 👏 did 👏 not 👏 come 👏 to 👏 play. I mean, they literally had a burning wall of fire as a backdrop. They scored an oh-so-casual 99 (with another perfect 💯 from Ne-Yo), and danced like they'd never felt nerves in their lives. We're so here for it, the judges are so here for it, the audience is so here for it, and clearly, the rest of the world is so here for it.

2nd Place: Michael Dameski

Michael is a jack of all trades dancer. He's got tricks, fluidity, presence, musicality, and so much more. Not to mention, he's an absolute joy to watch. His performance last night captivated the judges, who awarded him a 93—enough for 2nd place and a spot in the Divisional Finals.

3rd Place: Ashley & Zack

This powerhouse couple blew the audience and judges away last night. Their performance was filled to the brim with emotion, and each move was danced with intention. And once Zack revealed the piece was about a friend who'd passed away recently, it became that much more heartfelt and moving. The judges awarded Ashley & Zack a 91.3, securing them a spot in the Divisional Finals and 3rd place.

Clearly, it was a night to remember. But it's not over yet—next week is the second half of the Cuts! We'll catch you back here same time next week for another recap.