Go to the head of the class in back-to-school styles that make the grade.

Modeled by Jenna Kulacz

Photography by Jayme Thornton

Science

You don't need a microscope to see the beauty of this stunning print.

Art

Edgar Degas + a rich, unexpected ochre = the art of making art!

Music

Dress in sheet music's elegant black and white, and you'll know what Balanchine meant by "See the music, hear the dance."

French

"Ooh là là" doesn't begin to describe how we feel about this très chic Parisian ensemble.

Geometry

Show even the strictest dance teacher that your angles are SO RIGHT.

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've been a ballet person my whole life, but now I'd really like to start pursuing musical theater. What do I need to do to make that a realistic option?

Laura

Dear Laura,

Good for you! Musical theater is a wonderful world that can open so many doors for ballet-trained dancers.

First, look into supplementary training options, like weekend master classes, that would allow you to study musical theater without sacrificing your ballet training. Broadway hopefuls need to be true triple threats, so if time and money permit, add some jazz and tap classes, as well as voice and acting lessons, to your schedule. (And being the person who can do it all will make you marketable beyond the musical theater world, too.)

I'd also encourage you to get involved in community theater, because what you need most is real stage experience. Reach out to local theater programs, especially when they're mounting dance-heavy shows like A Chorus Line or West Side Story. Odds are they'll be thrilled to have a talented dancer like you!

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

And RuPaul is producing the show! Werkkkkkkkk.

Alyssa Edwards (offstage name: Justin Johnson)—Miss Gay America 2010 and probably/definitely the best dancer ever to emerge from "RuPaul's Drag Race"—will star in a new docuseries called (what else?!) "Dancing Queen." The eight-episode series will be available to stream on Netflix starting October 5.

Based on the trailers released thus far, it looks like the series will focus primarily on dance-centric drama at Beyond Belief Dance Company, the competition studio in Mesquite, TX, that Johnson owns and runs. "Dance Moms" 2.0?! YES, PLEASE.

You probably know Edwards best as the one of the saltiest (and most quotable!) "Drag Race" queens, but the series promises to show another side of this multitalented personality. After all, in 2016 Johnson told the Dallas Observer that the dance studio will always be his first love.

Another moment from that interview gives us a hint of what we might be able to expect from "Dancing Queen:" "This is my world," Johnson said of Beyond Belief. "It brings me so much joy. But I want it to be full-out. If I put on a T-shirt that says 'YAAAS,' I want to mean it." YAAAS, Alyssa, we are READY to go full-out on October 5!

This month marks just 24 months (squee!) until the next Summer Olympics, set to go down summer 2020 in Tokyo, Japan. And what better way to get in the Olympic spirit starting RIGHT NOW than to learn a surprisingly intense choreographed dance?

The Tokyo 2020 Organizing Committee based this ditty and its accompanying moves on the theme song for the 1964 Summer Olympics, aka the last time Japan's capital city hosted the Games. But the lyrics have been updated to include references to the accomplishments of Paralympic athletes, the song got a new arrangement designed to appeal to young people, and this choreography was specifically chosen to be easily performed by people with or without disabilities/physical limitations. Win-win-win!

Yuichi Kodama, who directed the music video, said: "We've tried to bring fresh life to the Tokyo Gorin Ondo song with a more uplifting arrangement and updated choreography. I have a good feeling that fun summers are on their way, and that this song and the dance can help take our minds off the stresses of daily life."

Tokyo 2020 President Yoshiro Mori added: "We are expressing the wish that many people, old and young, men and women, will dance and feel happy when the Tokyo Gorin Ondo 2020 song is played. A video is available on our website, through which people can learn the song and the dance routine. We hope that people around the world can thus have a glimpse of Japanese culture."

Well, what are you waiting for? We've only got two years to go, so it's high time you started perfecting that samurai-warrior-helmet port de bras!

Yep, summer is over and school is back in session. Cue the tears! Heading back to the classroom after a great few months off can be heart-breaking, to say the least, and dancers are way too familiar with these 10 back-to-school feelings.

​When rehearsal runs super late, but you still have to get up early the next day​

​The exhaustion is so real. Will we ever catch up on sleep?

Trying to do homework on the car ride to dance

How are we supposed to finish this essay when mom keeps hitting the break every four seconds!?

When you have a long rehearsal ahead and your teacher doesn't assign homework

Sometimes, teachers can be the best!

When you grab your backpack but not your dance bag

A dancer's worst nightmare.

When your best friend says she'll take notes for you because you're too tired

BFFs for the win!

Zoning out in class while thinking of your dance routine

Have to be prepared for competition weekend.

Trying to understand how chemistry is going to help your dance career

Spoiler alert: It probably won't.

Being the best during the yoga unit in gym class

Flexibility at its finest.

Lugging all your essentials to school each day

Books, folders, binders, lunch, leotards, pointe shoes, and everything else you need!

When your teacher lets you make up an assignment you missed for dance

Shoutout to these teachers!

This graphic LeaMarie leo is the perfect look for the dance studio. Whether your a bunhead, a modern dancer, or a jazz queen this leotard makes a statement. Enter below for your chance to win it!

After just three live shows and just as many brisk eliminations, we have our Season 15 Top 4! And we'll get to that. But first, here's what went down during the two hours that the Top 6—Hannahlei, Genessy, Jensen, Jay Jay, Darius, and Slavik—performed together last night.

Namely: The All Stars returned to the "So You Think You Can Dance" stage! Each All Star made it to the Top 4 of his or her respective season, and returned to this show to usher the newest Top 4 into theirs.

The Opening Routine

Choreographer: Mia Michaels!

Song: "Spring 1" by Max Richter

Mamma Mia! We've missed having Mia's choreography on the "SYT" stage every week. But this lovely opening routine was worth the wait. It was happy and joyful, sweet and serene, and deceptively difficult and high-energy. (All that bouncing! All that jumping!) The dancers were clad in all-white, lace-detailed outfits (bless those puffy shoulders!), and the girls got the added bonus of some colorful floral headpieces. Mia, you're a legend, and this was a super smiley way to start the show.

Jensen & Kiki

Style: Cha Cha

Choreographer: Jenna Johnson

Song: "Bailar" by Deorro ft. Elvis Crespo

Jenna Johnson made her "SYT" choreography debut—and for Jensen and her former partner, Kiki, no less! And Jensen, despite a runny nose, absolutely crushed. this. It's always fun seeing how the current crop of contestants can hold their own alongside dancers who have been through the "SYT" ringer before, and Jensen didn't just match Kiki's energy, technique, and showmanship, she dominated the stage. (Anyone else catch that little wink during a mid-routine pause? Loved it.) It was clear Jensen was a pro going into this competition, and she's delivered every single week. She's a total package dancer—so it's not surprising that fellow ballroom queen Mary Murphy approved and gave Jensen a standing ovation. And, yes, an ear-piercing scream granting permission on board the Hot Tamale Train. Nigel said Jensen has gotten better every week (agreed), Vanessa liked that Jensen was telling Kiki what to do and said "it was hot," and tWitch called it crazy.

Genessy & Lex

Style: Contemporary

Choreographer: Mandy & Elizabeth

Song: "Be Brave" by My Brightest Diamond

Masks! Layers! "The idea of what perfect is." Genessy admitted during rehearsals that she's struggled with being the perfect dancer, and with being the dancer everyone thinks she is and should be. As Genessy and Lex danced—almost constantly intertwined, interacting, and connected—they peeled the masks away from their faces. And the concept was great, but so was Genessy, with her long, powerful legs and that intense performance quality she's shown every week. Nigel told Genessy that she's exceeded their expectations of her, and called the performance beautiful. Vanessa appreciated Genessy's intensity, tWitch said the mask forced Genessy to feel—that's a good thing—and Mary said Genessy has shown her true self every week, "and that is just beautiful."

Slavik & Jaja

Style: Hip Hop

Choreographer: Comfort

Song: "Beggin & Pleadin" by Brandy

Love some character-driven hip hop! This performance had angst, attitude, and Slavik at his grooviest. (Did anyone else get total Titanic-era Leonardo DiCaprio vibes from Slavik during this routine?) Slavik has proved he can do the high-energy, hard-hitting hip hop, but this performance, even with all its personality, was a little softer, a little slower, a little more mysterious. Plus, there was a door, and everyone knows the best "SYT" routines have doors. Vanessa praised Slavik's Elvis-y swagger, while tWitch noted that this type of grounded hip hop was outside Slavik's element and that it needed more devotion and commitment. Mary noted that Slavik's journey on this competition has been impressive, and Nigel made divorce jokes.

Hannahlei & Marko

Style: Contemporary

Choreographer: Robert Roldan

Song: "Welcome Home" by Joy Williams

Hometown lovers, reunited! (That's what the piece is about. That's not Hannahlei and Marko IRL.) This was delightful. Hannahlei has been a bit underrated throughout this competition. Yes, the judges praise her, but can we get some more hype for this girl? Every single routine she performs is amazing. She's committed and full-out, technically sound and then some. Marko was probably great in this piece, too, but our eyes were glued to Hannahlei. tWitch called Hannahlei one of the hardest-working dancers this season, Mary noted Hannahlei's class and joy, Nigel said he forgets Hannahlei is small (she's teeny tiny!) because she dances so wonderfully big, and Vanessa called the performance flawless.

Jay Jay & Lauren Froderman

Style: Jazz

Choreographer: Mandy Moore

Song: "Runaway Baby" by Bruno Mars

Mandy told Jay Jay and Lauren during rehearsals that she wants to bring jazz back into peoples' hearts. And if anyone can do it, it's Mandy—but it's also, clearly, Jay Jay. This routine was fun, happy, and swaggy and included something Mandy called "Ultimate Leap Frog" (Jay Jay jumping over 5'2" Lauren and nailing a perfect center split en route). In a world of heavy contemporary routines (nothing wrong with those!) and furiously fast ballroom performances (nothing wrong there, either!), this was like a breath of fresh, funky air. Mary called it "out of this world" and called Jay Jay a star. Then Nigel said it was all brilliant, and he dared Jay Jay to play Ultimate Leap Frog with six-foot-something Cat Deeley—which he did, and she fell, and it was awkward and terrifying and adorable and rendered Vanessa speechless.

Darius & Taylor

Style: Contemporary

Choreographer: Travis Wall

Song: "It Takes A Lot To Know A Man" by Damien Rice

Talk about hitting the choreographer jackpot on this episode! Way to go, "SYT!" This was very dream team-y, and the story was a personal one: Travis talked about coming out, Darius talked about bullying, and we cried before they even hit the stage. The gender-role-reversed routine—with Darius in a dress and lipstick, and Taylor, sans makeup, in a T-shirt and pants—truly gave Darius the chance to shine (well done, Travis). There were moments when Taylor was completely still, giving Darius a chance to go all-out on his own. By the end, Darius, too, was in a T-shirt and pants, but still rocking the makeup and reapplying that lipstick. A standing O from the judges, and unanimous praise for the choreography, the performance, and Darius. (Oh, and Nigel called Darius his favorite dancer this season. NBD. And Vanessa said she was "shook.")

Jensen & Jay Jay

Style: Tahitian

Choreographer: Tiana Nonosina Liufau

Song: "Lugahiva" by Te Valka

Hello, new-to-"SYTYCD" style! Hello, hips! It would be easy to look at this routine and think, "fun luau routine!" But no. No no no. This was so much more than that. There were giant feather headdresses and huge hula-style skirts. There was a whole lotta hip shaking. But there were also carefully choreographed, culturally accurate themes and moves, and Jay Jay and Jensen, unsurprisingly, developed a solid grasp on them in a short amount of time. Vanessa loved it, tWitch felt his inner Tahitian warrior coming out, Mary said Jay Jay and Jensen set the stage on fire, and Nigel talked about the time he did Pilates, which we would really love to see.

Genessy & Slavik

Style: Salsa

Choreographer: Jonathan & Oksana

Song: "Machika" by J Valvin, Jeon & Anitta

Intricate arms, intricate feet, "and of course, tricks," Jonathan explained during rehearsals. What he should have said? "Serious, death-defying tricks." The routine started with a lift, transitioned into some fast and sexy spin-heavy moves, included a few more tricks, and chased them with a few more spins. It was a lot. It was no joke. And, admittedly, it was neither Genessy nor Slavik's best. They were hustling out there, but it felt a little slow, a little heavy, a little challenging. If this were the first week of competition, this would've been a solid performance. But on the cusp of locking down the Top 4, this fell a little flat. (Hey, they can't all be the best routines ever.) tWitch wasn't fully convinced by Slavik's performance, and Mary agreed, but said Genessy was fire. Nigel noted this as Slavik's weak spot, and Vanessa "agreed with everything they've been saying."

Hannahlei & Darius

Style: Argentine Tango

Choreographer: Leonardo & Miriam

Song: "Tanguango"

Oh, the Argentine Tango. There was a time on "SYTYCD," in the very early seasons, when this style was known as the kiss of death—or rather, elimination. Almost no one could master it. It almost guaranteed contestants an elimination, or at least some very critical feedback. But Hannahlei and Darius, masters of everything, defied the grim odds. It was passionate, sexy, sultry, and wonderful—and the judges agreed unanimously.

Who wants results?

After the biggest vote of the season (!!!), Jensen is safe.

The Top 3 Guys

Choreographer: Christopher Scott

Song: "Violence Broken" by No Mono

They floated (kind of) atop cinder blocks, they moved in perfect unison, and they were smoother than Jif peanut butter (you know, the really smooth kind). Jay Jay, Darius, and Slavik were collectively excellent during this performance, but it was Jay Jay that captivated us the most. (Yes, no, maybe? Where were your eyes glued? Let us know!) Nigel was pleased, Vanessa was proud of everyone, tWitch told Chris Scott he's "like an architect, bro," and Mary said it was simple and innovative and that it worked.

More results? OK! Slavik is safe!

The Top 3 Women

Choreographer: Luther Brown

Song: "Bump" by Trish

THESE. WOMEN. The hair! (Er, wigs.) The black catsuits. The choreography. This routine was at times fun and bouncy, and then, an eight count later, smooth and sultry. And each dancer got a chance to shake it and shine at center stage. Lots of fun! Vanessa wanted in on the fembot fun, tWitch, based on that routine, has high hopes for the future, Mary loved the girl power, and Nigel said it really worked for him.

More results! Hannahlei is safe!

And then, after a quick commercial, break...

Jay Jay and Darius were sent home, which meant Genessy will join Jensen, Slavik, and Hannahlei in the Top 4. It's an unprecedented move: three women and just one male in the Top 4! Who run the world? No question.

Pam Tanowitz's dances are a lot like diamonds: They dazzle with compositional brilliance, reveal even more facets when you look closer, and are the products of an unusually intense creative force. Growing up in The Bronx, NY, Tanowitz trained at the Steffi Nossen School of Dance before getting a BFA from Ohio State University and an MFA from Sarah Lawrence College. A two-time Bessie Award winner, she's earned countless fellowships and sets work on companies and universities across the country. Here's where she finds inspiration. —Helen Rolfe

I rarely have auditions. I meet dancers by word of mouth, see them dance, or fall in love with their personalities. I spend more time with my dancers than anyone else, so I have to like them. My dancers have impeccable technique, but more than that, I have to feel connected to them. We share a sense of humor. They have to be super-smart because we collaborate all the time. I expect them to give themselves to my work. I once hired Stuart Singer after hanging out with him for an hour. I got a good feeling from him.

Tanowitz (photo by Erin Baiano, courtesy Tanowitz)

I'm very inspired by French New Wave cinema, but don't generally make dances to look like certain movies. It's more about how those filmmakers broke down foundations and redefined the telling of a story. That said, in the story progresses as if in a dream of glittering surfaces, part of the dance is like a movie trailer: We do all these full-body phrases as a moving tableau, and every time the dancers repeat a phrase, the scrim is saturated with a different primary color. That's a direct reference to Jacques Rivette's films.

(From left) Sarah Haarmann, Lindsey Jones, Melissa Toogood, and Dylan Crossman in the "Story Progresses As If in a Dream of Glitering Surfaces"(photo by Ian Douglas, courtesy Tanowitz)

Every piece's starting point is different. If I could tell you how I make a dance, then I could retire. But each piece has a focus, like spacing or composition. With New Work for Goldberg Variations, the music came first because I knew it would be to Bach's iconic Goldberg Variations. That was big, because I'd never worked with Bach before. My choices usually skew toward new music, living composers, weird electronic scores, and alienating string quartets. Having to be traditional and formal was actually experimental for me. I found there can be freedom in tradition and formality because you have something to push against.

(From left) Stuart Singer, Dylan Crossman, Melissa Toogood, and Maggie Cloud in "Broken Story" (photo by Christopher Duggan, courtesy Works & Process at the Guggenheim Museum)

In 2013, the Joyce Theater residency grant paired me with postmodern dancer/choreographer/writer David Gordon, and the mentorship stuck. His focus is more theatrical than mine, and he taught me to leave in components I don't like for a while to figure out why they don't work. Dance is an oral history, so I love his stories about his company, the Judson Church movement, dancing with Yvonne Rainer, and the Grand Union improv group.

Viola Farber (photo by Los Greenfield, courtesy Dance Magazine Archives)

Viola Farber was a founding member of the Merce Cunningham Dance Company and a choreographer who helped change the face of dance in the '70s and '80s. During my time at Sarah Lawrence, she taught me to push myself physically. She also taught me to see what's in front of me in rehearsal, not what I think I see. She'd say, 'Dance is not a warm bath. It's not comfortable.'

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "Choreographer's Collage: Pam Tanowitz."

After countless hours in the studio, late nights, early mornings, and perhaps 10,000 bobby pins, you may be asking yourself, "Where am I going from here?" If you are an aspiring ballet dancer, you may audition for School of American Ballet, ABT JKO School, the Rock School, or countless other renowned ballet programs. However, if your trajectory is not ballet, there aren't many options available where you can go to further your future potential.

Kanyok Arts Initiative has brought together all pillars of the professional community to adequately prepare its members for all aspects of the creative process. If you or your child has passion, discipline, and aptitude, and is seeking a comprehensive program that provides a unique opportunity to be exposed to and learn from industry leaders in an intimate yet professional setting, then Kanyok Arts Initiative's Collective program is your answer.

Laurie Kanyok, founder and director of Kanyok Arts Initiative is bridging the gap between the collegiate and professional worlds. According to Kanyok, "There comes a point where students need to shift their focus from drilling choreography to training to be an accomplished artist."

Kanyok believes that the dance competition circuit has come a long way in the past 20 years, and now more than ever, education is the focus. Conventions are competing to attract studios by bringing in top choreographers to create performance opportunities. The heightened convention scene inspired multiple hit television series and has created a new awareness in commercial dance.

Laurie Kanyok is a Broadway veteran who has enjoyed an impressive career as a professional dancer. Her career path took a turn toward casting, recruitment, and talent management when she realized that there was a component missing for young aspiring artists. She believes the studios have done a great job instilling a work ethic and igniting a passion in students, but dancers who have professional ambitions need to broaden their skill set.

KAI Collective's program was created to foster young talent and become the conduit to the most prestigious universities and ultimately be the main resource from which professionals in the community can draw talent. Kanyok's vision is brought to life via a four-day-a-week training program consisting of classical dance disciplines and current commercial styles as well as additional focus on voice and acting. With this solid foundation, she has built a training program that also showcases group and solo performances.

The dance community is taking notice. KAI is attracting dancers from all over the United States with varied backgrounds, aptitudes, and levels of experience. According to Kanyok, "While some KAI members are from New York and the Tri-state area, Grace Farrell, a Nashville native, and Kayla LaVine of Syracuse relocated to join KAI Collective and pursue a more refined training program. Our team provides support and guidance as many of them are preparing to apply to colleges. This is a critical time in their lives."

Jared Harbour, a recent KAI graduate, is heading to Princeton University this fall. "I have seen a growth in my artistic abilities and in my ideology. I was hesitant to continue my dance career post high school. I was unaware of the opportunities that were within my grasp. I have a newly instilled sense of confidence and pride in my ability to make a positive impact on the dance community on and off stage. KAI was a major component in my acceptance to several Ivy League institutions. The program introduced me to leading entrepreneurs, and now my ambitions have grown from an artistic level to exploring academia."

The industry is watching and waiting to see what is next.

"Kanyok Arts Initiative / Collective is the next generation of well-rounded artists. I look forward to being in the room with them one day, as they no doubt will be taking the arts by storm." Christopher Gattelli—Tony award-winning choreographer

KAI is changing how the dance and artistic communities view training and individual development. Come be a part of this groundbreaking program.

To learn more about Kanyok Arts Initiative and its foundational beliefs and training opportunities, visit https://www.kanyokartsinitiative.com and contact us at (917) 331-5461 for any questions. Registration is now open for the 2018–2019 season.

The multitalented Galen Hooks has solidified herself as an L.A. icon, thanks to her fierce moves and detailed, versatile choreography. As a teen, the L.A. native assisted choreographer Marguerite Derricks on movies including Donnie Darko and shows like "That '70s Show." Hooks graduated from Penn State University and has worked with artists including Janet Jackson, Justin Bieber, Britney Spears, Usher, and Miley Cyrus. These days, you might also recognize her from her viral videos—she's had over 60 million views across her social media pages. —Courtney Bowers

Galen,

You're on exactly the right path. The hard work you put in, performances you do for free, and your teachers and friends, will play a role in your future in ways you can't imagine.

You're living in the final moments of dance pre–social-media. Soon, dance will be forever changed, and you'll get to experience both sides of it.

You're going through some tough stuff right now: an extreme amount of rejection; not working when all of your friends are; being yelled at, picked on, and punished; being told you're not good enough. It feels terribly depressing and unfair, but these trials are making you work even harder to be the best dancer you can be. One day you'll learn what it's like to be on the other side of the table as a choreographer. You'll use this knowledge to teach dancers what you weren't taught and help them avoid the hurdles you had to overcome.

Hooks at age 8 (courtesy Hooks)

You'll never believe it, but you'll become all of the things you never ever thought you'd be. You'll teach, choreograph, direct, and produce—and you'll LOVE it!

Thank your mother every day for everything she does for you. She drives you to rehearsals, waits until midnight, takes you to auditions, sits on set, and dedicates her life to helping you achieve your dreams. You are so fortunate.

I love you with all my heart and I'm so proud of you.

Galen

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "Letter to My Teenage Self: Galen Hooks."

We are less than a month out from the 27th—twenty-seventh—season of "Dancing with the Stars"! The latest iteration of the be-sequined show kicks off (literally) September 24th on ABC. And while we still don't know which celebs will be taking to the ballroom floor (only that the group won't include any athletes), we were just gifted the names of the 13 pros who'll be squiring them.

Highlights from the list include Cheryl Burke, returning for a shot at her third Mirrorball Trophy; newly-engaged lovebirds Jenna Johnson and Val Chmerkovskiy, which, so many #couplegoals; and newbie pro Brandon Armstrong, a longtime standout member of the "DWTS" troupe.

See the full lineup below. And don't forget—this fall will also feature the much-anticipated debut of "Dancing with the Stars: Juniors," which premieres October 7th! Find out more about the young talents who'll be blowing up the ballroom here.

Sharna Burgess

Cheryl Burke

Emma Slater

Lindsay Arnold

Witney Carson

Jenna Johnson

Sasha Farber

Val Chmerkovskiy

Gleb Savchenko

Artem Chigvintsev

Keo Motsepe

Alan Bersten

Brandon Armstrong

Once in a while, a dance film comes along that stops us right in our tracks. Andrew Winghart's latest project, "A Thousand Faces," does just that—and then some. Starring none other than the otherworldly Emma Portner, the film is an 8-minute tour de force.

In an interview with Booooooom TV, Winghart elaborated on the creative process with Portner:

"Working with her was really special, this was our first time collaborating in this capacity. She has such a strong sense of who she is as an artist and choreographer, and I didn't want to try and remove that with this project. We really challenged each other to try things we both normally wouldn't.

When I wrote the treatment for the film I used an image of Emma in the page outlining the hero lead. I actually thought she was out of the country at the time. But the next day she came and took a class I was teaching and the rest just fell into place. In her work I love that she is so unapologetically herself. It is both feminine and masculine at the same time. Strong yet fragile. I wanted to capture that duality in this film."

We're not exaggerating when we say that every single frame of the film could stand alone as a stunning photograph, with Portner clad in any number of gorgeous costumes, shifting from one unique shape into another. These two clearly feed off each other creatively in a rare and special way, and we're so here for any future collaborations. Catch the entire video below, and read the rest of his interview here.

Commercial dancer Justine Lutz's raw, emotional contemporary performances have helped her take the L.A. scene by storm. Lutz started dancing at the age of 3 in her hometown of Plymouth, MN. Later, she attended Loyola Marymount University and worked as an assistant for The PULSE On Tour before moving to L.A. in 2013. Since then, she's performed on TV shows, including "Glee," "Liv & Maddie," and "The Ellen DeGeneres Show," and has worked with loads of music industry greats, including Taylor Swift, Kesha, Ariana Grande, Kelly Clarkson, and P!nk. Read on for The Dirt!

If you were a superhero, what would your special power be?

Teleportation! Go wherever, whenever!

If you could work with any choreographer, who would it be?

Rich + Tone. They are so raw and are masterminds.

Do you have any bad dance habits?

I forget a lot of times to roll out after a show. I skip to icing my knees.

What are your pet peeves?

Smacking when eating, moving to other lanes without blinking, and people on their phones while out to eat.

What performer would you drop everything to go see?

Banks. She's so rad as an artist.

What did you want to be when you were a kid?

I wanted to travel the world and buy/sell paintings.

What would you be if you weren't a dancer?

I would work in visual communications and design.

Do you have any hidden talents?

Jewelry making. I create rings and bracelets.

What's your favorite book?

The Four Agreements, by Miguel Ruiz

Who's your dance crush?

Wade Robson. Even when he's marking, it's magical!

Do you have any guilty pleasures?

When in new cities, I go to at least 2 to 3 coffee shops a day.

What dance item can you not live without?

Kneepads—a must!

What's the last thing you do before you go to bed?

Soak in a tub with lavender Epsom salt and candles.

What's your best advice for young dancers?

Trust yourself! Develop that inner strength and perseverance. Continue to learn, implement, and expand. Open ears, open heart, and open mind.

If you could go anywhere in the world, where would you go?

Bora Bora, in a villa above the water.

Who can always make you laugh?

My grandpa (Rampa). Every day it's something new.

What's one food you can't live without?

Avocado toast.

Do you have any nicknames?

My family calls me Bean, my friends call me J, and people that don't know me call me Justin, ha!

Who would play you in a movie?

Jennifer Lawrence. She's unconventional. She stands in her truth and goofiness off-camera.

Have you had any embarrassing moments onstage?

I wear clip-in extensions for performances, and this one time it completely came out! It caught on one of my fingers and it ripped the whole track out.

Who's your dance role model?

Brian Friedman <3 He does it all! He continues to stay open and evolves throughout the years. He sees every single detail and is efficient as a creator. 100 percent respect.

What's the most-played song on your playlist?

"Got It Good," by Kaytranada (ft. Craig David).

What's your most-watched TV show?

It's a tie. "How to Get Away with Murder" and "Black Mirror."

What's your favorite dance movie?

Grease.

Where do you feel the happiest?

Cabin/lake—Minnesota life.

What's your go-to stress reliever?

Journaling.

What's your biggest fear?

Not living out my fullest potential as a human being.

What are you most nervous about?

Dance injuries—ice is my friend.

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "The Dirt with Justine Lutz."

Dance moms: Where would we be without them? We all know how much support and help they give us—in addition to loads of love. Here are 10 reasons real-life dance moms are undeniably the best.

They'll Drive You Everywhere

Need a ride from school to the house...and then to the studio...and then back home? Mom's got you covered.

They'll Make Sure You're on Time

Speaking of driving you everywhere, you can count on dance moms to make sure you're never, ever late for dance.

They Always Have Snacks

Because dance moms know that pre-rehearsal hanger is a real—and scary—thing.

They'll Help You Look Fabulous 

Need a costume adjustment? No problem. Dance moms always seem to have a needle and thread handy.

They're Up on the Latest Drama

While you're in rehearsal, they're spilling the tea with their other dance mom friends.

You Can Talk to Them About Everything

Whenever you need to talk about something serious, dance moms are there to listen and offer advice.

They'll Fight for You

Having trouble with someone at the studio? Frustrated by casting? Your dance mom has your back.

They're the Best at Giving Pep Talks

When the nerves kick in right before competition, dance moms are there to boost your confidence.

They Speak the Truth

Sometimes you just need someone to tell it like it is—and dance moms know exactly how to do that.

They'll Support You, No Matter What

Through studio drama and forgotten choreo, costume mishaps and competition disappointments, dance moms will support and love us for our entire lives.

How obsessed are you with Serena Williams right now? In addition to rocking multiple tennis tutus at the US Open—and, you know, generally dominating the tournament—Williams just put out a new commercial for Beats by Dre that's the danciest thing she's done since getting down with Beyoncé. (Or getting down on the tarmac. Or getting down with Taylor Hatala and Willdabeast.)

Filmed in Queens, where the US Open is held, and also featuring Queens native Nas and the song "Majesty" by Nicki Minaj, who makes a cameo herself, the tongue-in-cheek spot is punnily titled "Queen of Queens." We see Williams literally pulled in different directions by hordes of dancers, representing her roles as new mom and star athlete. In the end, those dancers present Queen Serena with a crown and—naturally—#bowdown.

Yesterday, modern dance giant Paul Taylor passed away. He had turned 88 at the end of July.

Considered the last of the 20th-century modern dance titans, Taylor celebrated the 60th anniversary of his company in 2014. A prolific dancemaker, he continued to make new works into his final year, the last of which premiered during the company's annual Lincoln Center season in March—his 147th. Aureole, Cloven Kingdom and Promethean Fire are among his iconic works, though perhaps none is so beloved as his 1975 masterpiece Esplanade. During his performing career, Taylor danced roles created for him by Martha Graham, Merce Cunningham and George Balanchine, as well as in his own work.

Paul Taylor choreographing "To Make Crops Grow" on Parisa Khobdeh (photo by Whitney Browne, courtesy PTDC)

The news comes just months after the surprise announcement, mid-May, that Taylor had named Michael Novak artistic director designate. Novak, a 35-year-old member of Paul Taylor Dance Company, was expected to continue performing while preparing to take the reins of the multi-faceted Taylor enterprise, from the school to the company itself. It seems that Novak will be stepping into the role sooner than may have been expected.

Prior to naming Novak his successor, Taylor had begun to prepare his company for the future with the launch of the Paul Taylor American Modern Dance Initiative in 2014. The PTAMD season includes not just Taylor's works, but also repertory pieces from other iconic modern choreographers (such as Graham, Cunningham and Trisha Brown) and new creations from contemporary choreographers (Doug Varone and Bryan Arias in the most recent iteration).

Taylor's distinctive choreographic voice has been a major force shaping American dance for decades. His legacy will endure, but Mr. Taylor will be missed.

This article originally appeared on dancemagazine.com.

Last night, "World of Dance" went through the second week of merciless cuts, leaving us with the top 12 acts who will advance to the divisional finals. As befits the thirteenth (!) week of competition, many super-impressive talented acts saw their "WOD" luck run out, while six were fortunate enough to net spots on top of their individual divisions. Without further ado, let's dive into how it all went down.

Upper Teams

1st Place: The Ruggeds

Derek perhaps summed this performance up best: "Holy mother of angels, bro!" While one dancer's physics-defying hollowback handstand nearly stole the show, the plentiful acro stunts were well-supported by athleticism, creativity, and musicality from the entire team. This all-male group's reward? A score of 92.7.

2nd Place: S-Rank

The studio audience basically never stopped screaming this entire piece, and it's not hard to see why. Taking a Frankenstein concept and running with it to Kendrick Lamar's "D.N.A.," S-Rank proved their mettle with absurdly sharp hits and can't-tear-your-eyes-away stage presence. The judges agreed, awarding the troupe a 92.3.

Juniors

1st Place: Charity & Andres

Talk about a tough act to follow! The contemporary-conquering pair got a perfect score last week, and admitted in their post-performance interview last night that the pressure has since made them question whether they deserved such a rare accolade. Well, doubt no longer: The teens turned out another performance that reminds us why contemporary is so powerfully beautiful when done right. The judges agreed, handing these two a 92.7.

2nd Place: Sean & Kaycee

Sean Lew must've been extra-nervous before last night's performance, as the budding dancemaker was not only dancing alongside longtime friend Kaycee Rice, but also choreographing the number. Sometimes nerves work in your favor, though, and that was definitely the case with this routine, which earned the DS faves a 92.0—not to mention some high praise from Derek, who said, "You guys are masters of the action/reaction…it's so subtle but so effective and that's a sign of a truly talented choreographer."

Also advancing to the finals are Jaxon Willard in the Juniors division, with a 90.7, and Poreotics in the Upper Team Division, having netted a 91.7. Meet us back here next week for another recap as "WOD" gets ever-closer to the $1 million prize!

American Ballet Theatre boasts nearly 90 dancers. But when the company is mounting an elaborate story ballet at NYC's cavernous Metropolitan Opera House, it actually needs more bodies to complete the picture onstage. Enter supernumeraries, aka "supers." These supplementary performers are hired for non-dancing background roles (think "third courtier from the left" or "tall market lady"). Being a super is a fabulous way to get onstage experience—not to mention an up-close-and-personal look at some of the dance world's biggest stars.

All photos by Kyle Froman

Many supers are older performers with little or no dance training. But some shows call for younger supers who can carry themselves like dancers, and many of them are ballet students who aspire to professional careers of their own. We followed 18-year-old Justin Souriau-Levine, a student at ABT's Jacqueline Kennedy Onassis School and a veteran super, through a rehearsal for ABT's Romeo and Juliet, in which he played three different supernumerary parts.

Justin as the Bride's Groom

In this production of Romeo and Juliet, there were 59 supers in total, although there can be as many as 63. The youngest was 12, and the oldest were in their 60s.

In the first act, Justin played a litter bearer; in the third, an anonymous monk. But in the second act, he had a real moment in the sun as the Bride's Groom, who gets to stand center stage with his Bride and receive congratulations from the crowd. "Supers do every show, so I got married eight times!" he says. "I mean, that's pretty cool."

Justin as the litter bearer

What's most challenging about being a super? "Well, sometimes you just want to start dancing with the dancers, doing the variation!" Justin says. "You have to hold yourself back. I've been told to tone down my acting and gestures many, many times. But I always think it's better to give a little more than to give a little less. You have to use your entire body to create a role, big enough so everyone in the back rows can see you—even if they're not necessarily looking at you."

They might not do any dancing, but supers do still have to audition. "Everyone lines up, and the artistic crew goes down the line and makes their picks," Justin says. "Sometimes it's more about your size and look than anything else—whether or not you'll fit the costumes they have."

With ABT's Thomas Forster

Justin loves not only the onstage experience of supering, but also the time spent backstage. "You do interact with the company members, and, actually, I've become quite good friends with a few of them," he says. "Getting to know and be around such high-caliber dancers is truly inspiring. You see what being a dancer here is really like, which is especially great if, like me, you want to join the company someday."

Though still a student, Justin has already supered in 13 (!) ABT productions. He actually originated super parts in several ballets by ABT resident choreographer Alexei Ratmansky, including the mischievous Little Mouse in The Nutcracker and the 11-foot-tall Nicolo, Master of Ceremonies in Whipped Cream.

A version of this story appeared in the September 2018 issue of Dance Spirit with the title "Super-lative."

"Ballet pink" tights and palest-pink slippers. "Nude" fabrics that match only the lightest of skin tones. Unfortunately, many dancewear staples have historically been available only in a single "flesh tone" that tended to exclude non-Caucasian dancers.

Thankfully, in recent years dancewear companies have begun to respond to this issue, offering more varied shades of tights, pointe shoes, body tights, etc. (One former Knicks City Dancer even made inclusiveness the foundation of her business model.) Now, you can also get foundation garments that suit your unique skin tone with the new Mariia True Bare Collection.

The collection for women is made up of dance briefs, a pull-on skirt, a crop top, and no fewer than six different leotard styles—all available in a sextet of "nude" tones selected to match dancers' beautifully diverse range of skin tones.

The launch of this collection (along with the new "nude" shades popping up in stores and on other dancewear manufacturers' sites) indicates that progress is being made to design and make products that meet the needs of every dancer. But there's obviously still much more work to be done. Next, how about nude leotards for children in a more inclusive range of fabric colors?

First, there was the original trilogy of epic Maddie/Sia video collaborations. Then came one-off live performances galore, cementing the glorious Sia-Maddie Ziegler creative bond. Now, Maddie and Sia have joined forces with DJ Diplo and musical Renaissance man Labrinth for possibly their most off-the-wall music video yet.

As we've seen in previous vids, Maddie stands in for Sia. This time, though, Saddie/Mia is joined by a marionette avatar of the pop star herself, as well as Diplo and Labrinth. The fabulous foursome set out on a psychedelic bus ride through candy-colored clouds. (Yes, you read that right.)

While there's not as much full-out choreo as in some of this dynamic duo's previous videos, Maddie does get several extended sequences to rock it out on top of the flying bus. We can't wait to see what other visuals the LSD (Labrinth–Sia–Diplo) collaborative produces. Until then, we'll just be over here watching "Thunderclouds" on repeat.