Most years, American Ballet Theatre closes its spring Met season with a sweet surprise: company promotions. Artistic director Kevin McKenzie just announced that two members of the corps de ballet—Aran Bell and Joo Won Ahn—are being promoted to soloist, effective September 1.

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Ever since we saw a young Aran Bell in the 2011 film First Position, we've known he was destined for something big. The Maryland-born Bell joined ABT's Studio Company in 2014, became an apprentice in 2016 and a member of the corps in 2017. This season alone he made two major princely debuts: Prince Désiré in The Sleeping Beauty and Siegfried in Swan Lake. And last year marked his turn as Romeo. His repertoire also includes Lankendem in Le Corsairs, St. John in Cathy Marston's Jane Eyre and roles in Tharp's Deuce Coupe and In The Upper Room, Ratmansky's Songs of Bukovina and The Seasons, and much more.

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Originally from Korea, Ahn joined the ABT Studio Company in 2013 after winning a gold medal at Youth America Grand Prix, and he was quickly shepherded through an apprenticeship and into the corps in 2014. He's already built up a pretty thorough classical repertoire including Solor in La Bayadère, Ali and Lankendem in Le Corsaire, Bluebird in The Sleeping Beauty and the Russian and Spanish dances in The Nutcracker. He's also had the chance to hone his contemporary skills in Wayne McGregor's AFTERITE, Twyla Tharp's In the Upper Room and a handful of works by Alexei Ratmansky.

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ABT apprentices Jacob Clerico, Jarod Curley, Michael de la Nuez, Léa Fleytoux, Abbey Marrison and Ingrid Thoms have all been promoted to the corps. And Studio Company dancers Leah Baylin, Kanon Kimura, Melvin Lawovi, Joseph Markey, Duncan McIlwaine and Chloe Misseldine will become apprentices.

Congratulations to all!

Freddie Falls in Love, a joyously unrestrained and captivating dance play starring some of today's hottest performers from stage and screen, including Matt Doyle and Melanie Moore, will play a limited theatrical engagement this summer at The Joyce Theater in NYC. Enter below to win a pair of tickets to the 7 pm performance on Wednesday, July 24!

Congratulations to the June Cover Model Search Editors' Choice video winner, Jamaii Melvin! Catch his solo below, and enter the Cover Model Search here.

We asked judges Lisa White (of Starpower) and Chris Pederson (of Leap!) to answer reader-submitted questions. Survey says that you might be more than a little surprised by what they had to say.

What Do You Look for in Dancers?

"I'm huge on polished technique and proper placement. I also look for performance quality. If it's a contemporary piece where they're emoting, I look for emotion and storytelling. If it's a musical-theater piece, I look for star quality. If the choreography calls for synchronized movement, I look for precision." —Lisa White, judge with Starpower

Lisa White, judge with Starpower (Paul Fenton, courtesy White)

"I look for performance right off the bat. I love to see younger dancers really show an emotional side. Whether it's a large group or a solo, when dancers give you a story—joy, pain, sorrow, whatever—that takes the dancing to another level." —Chris Pederson, judge with Leap!

Chris Pederson, judge with Leap! (David Greenhouse, courtesy Pederson)

What Are Your Biggest Pet Peeves?

"My top pet peeve is age-inappropriate music or movement. There are thousands of songs out there to choose from. Why push the envelope? I also don't like thumbs sticking out. That's a comment I commonly give in lyrical pieces." —LW

"Lack of preparation. Judges want to know the work has been put in. I see plenty of dances where kids are looking around with no clue what step is coming next. The other thing is choreography that's beyond your technical abilities, or emotional content that's beyond your maturity level. It's good to push your limits, but equally important to understand those limits." —CP

Are Boys Scored Differently Than Girls?

"I assess each dancer based on where they are as an individual. It doesn't behoove anyone to score a male higher just because he's male. My wife is a dancer as well, and we've discussed many times how her career has been more difficult than mine, because the dance world feels like it's 95 percent women and 5 percent men. I would never jump a boy's score up because he's the only guy there. You have to earn every inch, whether you're a girl who's been dancing since you were 3 or a guy who picked it up two years ago." —CP

Dancers performing at Starpower (Universal Event Photography, courtesy Starpower)

I'm Injured, but Feel Like I Can Push through the Pain. Should I Go Ahead and Compete My Solo?

"It's up to the parent, the performer, and the teacher. If you're almost back to 100 percent, maybe try your performance out with some modifications, but if it's a severe injury that needs rest, wait until you feel ready. I don't want anybody to worsen an injury and prolong the healing process, just to perform their solo." —LW

Does the Time of Day I Dance Affect My Score?

"Mental toughness has to be part of a judge's work ethic. There are moments when I wrack my brain to find something to say that I haven't said 50 times that day. I'd be lying if I said that giving 100 percent from 7:30 am to 11 pm isn't exhausting. But that's my job. As clichéd as it sounds, the kid at 7:30 am and the kid at 10:59 pm deserve my full attention. What I look forward to as I'm watching is, who's got a little something different? Looking for each dancer's unique qualities takes me into the next performer and the next." —CP

Are You Bothered By Political or Religious Messages in a Piece?

"Everyone's entitled to their opinion. As long as the piece and the message don't insult other people, it's OK." —LW

"What I sense is whether the dancers really connected to the issue being portrayed. Dance is a sensitive, passion-driven, physical art. I've seen beautiful pieces with messages that I don't personally share." —CP

More Is More When It Comes to Makeup and Costuming, Right?

"I gear toward light, natural, minimal, clean makeup. Not bright-red lips or a lot of eyeshadow, unless the piece calls for that and you're older. Each piece calls for a different costume, and your score won't be affected by whether or not I think yours is really great." —LW

What's the Comment You Write Most Often?

"The most common corrections I give are core placement (closing your rib cage and engaging your lower abs) and turnout (in battements, extensions, and jumps). Just keep everything square and properly placed!" —LW

"I'm tired of saying the dancer was 'dead from the neck up.' A dancer who takes me on a two-minute journey is always preferable to one who's got unbelievable extensions." —CP

A version of this story appeared in the Summer 2019 issue of Dance Spirit with the title "You Asked...The Judges Answered."

As a dedicated dancer, you're probably pretty proud of the number of hours you spend in the studio. You may even feel guilty whenever you divert from your normal non-stop routine. But time spent outside the studio can actually be super beneficial for your dancing.

Here are seven non-dance activities that can help you become a better dancer.

Attending Every Performance Possible

Local dance companies, touring Broadway shows, plays, recitals…if you're not onstage yourself, get in that audience, because you can learn SO much from watching other people perform. As an observant audience member, pay attention to who draws your eye onstage and why. Chances are, you can apply what you like to your own performance toolkit.

Brushing Up on Your Dance History

If you want to be taken seriously as a dancer, you have to know Graham from Giordano–and everyone in between. Hit the library! Or, if Netflix binging is more your learning style, start with this list of 40 Of the Best Movie Dance Scenes, and then move on to these must-see classics.

Studying Other Art Forms

Whether you like to play an instrument, write poetry, draw or photograph, spend some time expressing yourself outside of dance. Even simply listening to music can help you grow as an artist, and give you tons of inspiration to draw from when it's time to hit the studio again.

Getting (More) Talented

From acting to tumbling, singing to aerial work, dancers are expected to do it all these days.

Is the "special skills" section on your resume looking a little sparse? Carve out some time to give a new dance-adjacent talent the attention and energy it deserves.

Exploring Other Cultures

There are so many life-changing effects that come with experiencing new places, and those benefits can spill over into your dancing! While you're traveling, learn about the dance community in that city or country, especially if the area is famous for originating a particular style.

Becoming a Cross-Training Queen

Cross-training is a great way to supplement your dancing and keep your body healthy and happy all year. Check out these cross-training tips just for dancers.

Trying Out a New Style

Ok, so this is technically a dancing activity, but come on, you can't expect to sideline a dancer for that long! Local organizations are always hosting fun community events like salsa and swing classes, which give you a chance to try out a new dance style in a low-pressure environment.

To quote old-lady Rose Dawson from Titanic:

OK, so maybe it hasn't really been a full 84 years since Season 16 of "So You Think You Can Dance" first graced our screens. But it kinda feels like it, right? The entire summer so far has been dedicated to auditions! Along the way—five episodes, not 84 years, for the record—we've seen some really stellar talent. And next week, we'll get to see how all that talent fares at The Academy.

But let's not get too ahead of ourselves. Let's talk about what went down during the last few auditions.

Andrew Avila, 25, and Melany Mercedes, 24, Bronx, NY, Salsa

If Andrew and Melany look familiar, that's because they auditioned last season. Their high-energy street-style Latin routine, with solid partnering and a hefty amount of sass, was a great way to start the episode, earning a standing ovation from all four judges. Mary said they were "on fire for sure" and called the way they danced their patooties off authentic. Cut to all four judges holding up Academy tickets. And we're off!

Michael Salas, 25, Matawan, NJ, Hip Hop

Michael was bullied in school for being "that shy Filipino kid." So here's your weekly reminder that bullying is never OK. But then Michael found dance—and he's awesome at it! This high-flying b-boy can floss, nae nae, and whip, and he does so at parties, bar mitzvahs, and beyond. On the "SYT" stage, he showed off all his trickiest tricks, sickest spins, and freakiest freezes. Laurieann liked the "braggadocious swagg." (Can we get a spell check here, Miss Gibson? Please advise.) Dominic thought it was all great and said it inspired him. Mary said he nailed, Nigel loved the musicality, and all four deemed Michael worthy of showing his best stuff at The Academy.

Mariah Russell, 19, Nashville, TN, Contemporary

Mariah's dad is in jail and she hasn't seen him since she was 6 or 7 years old. She and her brother have been raised by a super-strong single mom, who worked multiple jobs so Mariah and her brother could both do the dance competitions they love. (Can we get a standing O for Mama Russell, please?) Mariah's contemporary performance was divine, with impossibly high jumps, legs for days, that drop-center-split with a pause at the bottom for effect, and moments of quiet stillness. Laurieann shed several tears and reminded Mariah not to be ashamed of where she comes from. Dominic thanked Mariah for her performance. Mary said she smoked it and called Mariah "so Season 16." And Nigel said it was exhilarating. It's a unanimous "heck yes" to send Mariah to The Academy.

Phoebe Kochis, 19, Denver, CO, Jazz

Phoebe! So much love for this one. Phoebe, who has Down syndrome, has been dancing since she first learned how to walk. Dancing is when she feels happiest. And watching her dance is when we feel happiest. Phoebe tells Cat Deeley auditioning for the show has been her dream since she was 6 years old. Now, here she is, with that smile, and that spirit! Hyping up the crowd before she started dancing—what a star! And OK, let's talk about that gorgeous opening developpé! The audience loved it. Laurieann praised Phoebe's sass and called Phoebe her hero. Dominic loved getting a wink from Phoebe, and applauded her confidence and passion. Mary loved her love for dance and called her a ham. And Nigel said it was great to watch. Technique-wise, Phoebe isn't competition-ready. But Nigel invited her to The Academy to join in and enjoy herself, which is lovely. And Phoebe's mom got emotional and we got emotional and Phoebe, girl, the world needs so much more of you and your great energy.

James Cody, 26, Dallas, TX, Hip Hop/Animation

10, 11, and 12: Those are the seasons of "SYT" for which James has auditioned thus far. And along the way, he's been living with bipolar disorder. His father also battled bipolar depression, and died by suicide when he was the age James is today. So, heavy stuff here. But what a pleasure it was to see James channel all he's been through into something remarkable onstage. He was sharp and smooth, serious and silly, with movements that alternated between huge and itty bitty. Dominic liked it, and hopes James can do choreography. Mary said he connected with everyone in the audience. Nigel told James he's "annoying"—because he's brilliant at what he does, even though he hasn't put the work in. (The delivery of this felt a little harsh, TBH.) Laurieann mostly sided with Nigel. Ultimately, though, James was a yes for Mary, Nigel, and Laurieann—so he gets to show his best stuff at The Academy.

Maia Bliudnikas, 19, Leominster, MA, Contemporary

It's no surprise to learn Maia is a lifelong dancer. It's pronounced MAY-uh, BTW, not MY-uh—and we'd better learn how to say and spell her name, because within the first few seconds of her ridiculously controlled, ridiculously technical performance, it became clear that Maia is probably going to be around this competition for a while. From head to toe, Maia was just ON. Nigel loved the way she used the stage and called her musicality flawless and her routine entertaining. Laurieann praised the strength of her extension. Dominic loved it. And Mary said it was strong and powerful and called it "one of the most perfect auditions of the season." An obvious yes to The Academy.

Eddie Hoyt, 19, Boscawen, NH, Tap

Remember Eddie from last season?! He came out on national television—a casual life-changing moment. Afterward, he got a job offer to teach at Center Stage in Orem, UT (love them!). And he said his life has changed in all the best ways since then. But you know what hasn't changed? How darn GOOD he is. Those crisp, clear feet! That ability to make a tap routine emotional! (Anyone else getting subtle Ed Sheeran vibes from Eddie?) Everyone on the panel rose to their feet. Eddie got emotional, and then Mary got emotional ("I don't think I've ever cried over a tap routine before!"), and then we got emotional, and then everyone was crying, and then Eddie got sent through to The Academy and everything was wonderful. Yay Eddie. Yay dance!

And now—tears and all—we're off to The Academy. See you next week!

In our "Dear Katie" series, Miami City Ballet 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 in recovery from a binge-eating disorder. While I'm doing much better than before, I'm still really insecure about my body, and am always comparing myself to others. How can I reset my perspective?

Alyson

Dear Alyson,

Eating disorders of any kind are so debilitating. I'm thrilled to hear you're in recovery.

My first piece of advice is to accept that nothing will happen overnight. It's going to take time to reset your brain. When you're struggling, take a moment to look back on how far you've come. Start seeing yourself as healthy and fit instead of skinny. You're being kind to your body now—be proud of that!

Work on shifting your focus to what you DO like about yourself. I was never the thinnest one in the room. (I'm still not.) But I love my port de bras and how long my legs and feet are. That kind of positive thinking will help your confidence grow over time.

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

Grab your dancing shoes and put on those thinking caps—the dance video we've been waiting for is here!

American Dance Movement (formerly known as Dizzy Feet) just released this year's Official National Dance Day (NDD) routine, and it has us feeling electric.

The routine is choreographed by none other than Matt Steffanina (who's casually the most-followed dancer in the world, thanks to his 10 million YouTube subscribers), and set to the high-energy Dua Lipa/Silk City collab "Electricity."

In the video, Steffanina breaks the combo down move by move, assisted by a team of dance icons including Rollettes founder Chelsie Hill and Season 15 "So You Think You Can Dance" winner Hannahlei Cabanilla. Staying true to the everyone's-invited spirit of NDD, the routine features plenty of options to modify each step based on your own abilities. And now that NDD's been moved from late July to September 21st, you and your dance buds have a whole three months to rehearse and add your own signature flair (formations, levels, cannons, we expect it all from our DS readers).

Check out the video below to start learning the routine. Once you've got the combo down, post your own video to show your stuff. And if September 21st can't come fast enough for you, start looking for an official NDD event taking place near you—or better yet, register your own!

Picture this: You peek into a studio and see 10 different duets happening simultaneously. Some pairs move through a lift, while others roll swiftly across the floor. Everyone appears to be making it up as they go, yet the partnering is seamless. What the heck is happening? It's contact improvisation!

What is it?

Sarah Konner, who teaches contact improvisation (CI) at NYC's Movement Research, describes it as two dancers moving through space in response to gravity, momentum, and inertia. "CI is an improvised dance form first envisioned by Steve Paxton in 1972," she says. "It was meant as a performance exploration, but has since transformed into a mostly nonperformance practice." After Paxton introduced the form, it was influenced by other collaborators and innovators, including postmodern dancer Nancy Stark Smith. generally, a CI class starts as partners find a point of shared weight. Then, dancers maintain that shared point as they start to explore a wide range of movement possibilities, including lifting someone much heavier than you or getting to and off the floor with ease.

Suzanne Lapps and Stephanie Nugent teaching (courtesy Nugent)

K.J. Holmes, an instructor at New York University's Experimental Theatre Wing, The Juilliard School, Sarah Lawrence College, and Movement Research, adds that CI isn't only about partnering- it asks individuals to sharpen their own sense of physicality as well. "CI plays with trust, listening, and reflexive action," she says. Improvisation is not about controlling what happens, and, Holmes says, it's not just doing whatever you want. "CI practices widening our senses so we can tune into potential new movement."

When Holmes teaches a CI workshop, dancers focus on specific mechanics and movement tools, as well as improvisational skills. The goal is for dancers to become more attuned to their center and to the subtleties of touch. "I explore musicality and movement phrasing, specific rolls and lifts, experimental anatomy, and various release technique," she says.

Nugent partnering (courtesy Nugent)

Your First Class

First things first: Wear comfortable pants and a long-sleeved shirt, and bring knee-pads. "We utilize all surfaces of the body to slide across the floor," says Konner, so you'll want to stay covered. And though you'll spend a lot of time on the floor, you'll quickly realize that it's not just rolling around.

CI is about responding to impulse and sensation, not replicating what you see. "We practice allowing ourselves to fall, release weight, and roll with momentum, which might require undoing some of the well-practiced ways we hold ourselves up," Konner says. Even as you learn specific mechanics, like how to roll, Konner says dancers should come to class with a sense of curiosity and imagination so you're improvising from the beginning. "You can't force it to happen," she says. "CI is created among you, your partner, the ground, and gravity." It's totally OK to be a little clunky as your figure out what that means.

CI Class vs. CI Jam

In college, your first introduction to contact improvisation will most likely be a class If you keep pursuing it, you'll probably hear more experienced dancers talk about a "contact jam." What's the difference?

K.J. Holmes, an instructor at NYU's Experimental Theatre Wing, The Juilliard School, Sarah Lawrence College, and Movement Research in NYC, says the main difference is that class i led by a teacher. "The teacher guides students into practices that will aid them in finding new movement patterns, like specific rolls, falls, qualities of movement, and touch," she says. Sara Konner, a CI instructor at Movement Research, says that class is a good time to break down mechanics and more challenging CI concepts. A jam may or may not feature a guided warm-up, and dancers may come or go throughout. "Generally, there's no leader at a jam," Holmes says, "but there's a facilitator who's available to assist in any way necessary." A jam is also an invaluable opportunity to dance with more experienced CI practitioners. "That kinesthetic exchange is an important way to learn CI," Konner says. "I recommend both class and jams."

Colleen Thomas and Anthony Phillips at Barnard College (courtesy Thomas)

Staying Safe

Ideally, any partner you find yourself dancing with will be able to "listen" to your body, but Sarah Konner says it's always OK to dance away, walk away, or verbally tell your partner that you want to take a break. "You can get water, rest, and watch for a while" she says. "That's part of the practice, too." K.J. Holmes encourages dancers to remember that CI isn't "happening to you," but rather it's a technique and process to use.

A version of this story appeared in the Summer 2019 issue of Dance Spirit with the title "First Contact"

Could it be? Yes it could. Something's coming, something good…

Well, two somethings, to be precise. Next February, a West Side Story revival, directed by Ivo van Hove and choreographed by Anne Teresa de Keersmaeker, is coming to Broadway. And next December, a new West Side Story film, directed by Steven Spielberg and choreographed by Justin Peck, is coming to movie theaters.

The two productions promise radically different takes on the iconic musical, originally directed and choreographed (for both stage and film) by Jerome Robbins. But—as we discovered yesterday, when casting for the Broadway revival was announced—six remarkable dancers will be part of BOTH projects.

Meet, or re-meet, the West Side Story multitaskers: Yesenia Ayala, Ben Cook, Kevin Csolak, Carlos E. Gonzalez, Jacob Guzman, and Ricky Ubeda.

Yesenia Ayala (Anita on Broadway, Sharks ensemble in film)

The gifted Ayala—one of our 2019 Broadway ensemble standouts—is three-time Chita Rivera Award nominee. She's danced on Broadway in Charlie and the Chocolate Factory and Carousel, working with Peck on the latter.

Ben Cook (Riff on Broadway, Jets ensemble in film)

Does Cook look familiar? You might recognize him from his run as Billy in the North American tour of Billy Elliot. Or from his scene-stealing turn in the Mean Girls ensemble on Broadway (and our Mean Girls cover). Or from the HBO film Paterno. Which is all to say he's got both dancing and acting skills in spades.

Kevin Csolak (A-Rab on Broadway, Jets ensemble in film)

In addition to appearing on Broadway in Mean Girls, Csolak is a commerical-dance standout who's performed with Hayley Kiyoko and Justin Timberlake. He's also an accomplished actor, with credits including "Boardwalk Empire" and "Blue Bloods."

Carlos E. Gonzalez (Sharks ensemble on Broadway and in film)

The magnetic Gonzalez, born and raised in Cuba, is an alum of Montclair State University. He made his Broadway debut in On Your Feet!, earning an Astaire Award nomination for his performance.

Jacob Guzman (Chino on Broadway, Sharks ensemble in film)

The very talented Guzman has an impressive Broadway resumé that includes Fiddler on the Roof and Newsies. He also danced in the Angelica Tour of Hamilton and appeared in "Peter Pan Live!" on NBC. (And—fun fact—he's a dancing twin.)

Ricky Ubeda (Sharks ensemble on Broadway and in film)

Ubeda's first Broadway role, in On the Town, was part of the prize package he earned as the winner of "So You Think You Can Dance" Season 11. Clearly bitten by the Broadway bug, he went on to lend his high-spirited charm to the Broadway productions of CATS and Carousel.

Just imagine: You're settling in for a long international flight, when suddenly Tchaikovsky's Swan Lake starts playing on the intercom—and a group of feather-clad ballerinas bourrée down the aisle. That's exactly what happened last week to Air France customers on a Paris-bound flight from Shanghai, when 10 members of the Paris Opéra Ballet gave a impromptu performance throughout the plane's cabins.

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The company was on its way home from a two-week tour of Asia. To celebrate its successful run, POB teamed up with Air France, its official partner and carrier for the tour, to give a surprise in-flight show. POB coryphée Yvon Demol choreographed the short piece, set to music from Swan Lake and Antonio Vivaldi's Four Seasons, adapting it for the plane's limited aisle space. No room for tutus, here, either, but the 10 dancers glammed up their simple white T-shirts and black pants with feathered swan tiaras. We love the audiences'—er, passengers'—reactions as they realize what's going on! See for yourself below.

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While dancers tend to spend every waking moment inside the studio, one of the best things about dance is that you can bust out your killer moves pretty much anywhere. So why not get creative with your choice of scenery—especially since it just might spark more creativity in your dancing?

See how many of these out-of-the-box improv spots you can check off your bucket list. All the world's your stage!

The Grocery Store

Admit it: You already strut down the empty aisles of your local supermarket. Why not add in some more advanced choreography?

The Beach

Soft sand, a nice breeze, and waves crashing…sounds like the perfect backdrop for some cool, calm and collected improv (or a full-out dance party).

A Local Landmark

Show your hometown some love by making a well-known spot the scene of your next improv sesh.

A Not-So-Local Landmark

Lucky enough to be taking a trip? Compliment your sightseeing pics with videos of you dancing at iconic locales.

A Park

Wide-open spaces make for beautiful dancing. Take a dancer's version of a nature walk in your favorite park or preserve.

A Closet (No, Seriously)

Here's a challenge: Try improv-ing in a small space, like an open closet or stairwell, and see how it affects your movement. You may discover something new about your dancing!

In our "Dear Katie" series, Miami City Ballet 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 used to know what I wanted—a dance career—but now I'm not so sure. These days, my parents are so involved in my training that sometimes it feels like I'm pursuing their dream instead of mine. How can I figure out whether I really want to do this, or if I'm just doing it to make them happy?

Anonymous

Dear Anonymous,

This is an extremely difficult situation, but good for you for being aware of it. The first thing I want to tell you is this: If you decide you don't want to dance, that's OK. You are NOT a failure.

Ask yourself some honest questions. If nobody else's feelings were involved, would you stop dancing? Can you see yourself pursuing another dream? If the answer to either of those questions is "yes," it might be time to consider other paths. A dance career requires complete commitment, so if your heart isn't in it, you won't make it.

If you're hazy on your feelings, I'd suggest sticking with dance for one more year. In that year, give it 150 percent. If, after a year, you're tired and have clearly fallen out of love with dance, then you have one answer; if you're newly energized and have rediscovered your old passion, you have another.

It's worth taking the time to figure out if dance is really your calling—as you said, there was a time when you dreamed of being a dancer. But don't freak out if it isn't. You need to live for yourself, not for other people.

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

"Welcome to the real world, kids." —Laurieann Gibson, Disher of Hard Truths

But seriously! Welcome to The Academy, that magical/terrible place where choreography comes hard and fast, meltdowns are par for the course, someone is bound to get injured, and the cuts are absolutely brutal—every. single. time.

After approximately 14 million weeks of individual auditions, 79 dancers were given "golden tickets" to The Academy, held at L.A.'s famous Dolby Theatre this year. There, they faced four rounds of choreography: hip hop with Luther Brown, ballroom with Emma Slater and Sasha Farber, contemporary with Talia Favia, and the group round with Mandy Moore.

This week's episode documented the first three choreo rounds. Here's what went down at the Dolby.

Hip Hop with Luther Brown

Luther Brown was up first, and not only was the choreography no joke, he was all business. (Casually telling the dancers they're being disrespectful? Ouch. But also, fall in line!) After 90 minutes, the dancers performed in small groups for the judges, and let's just say it: The first few rounds were really rough. Dancers messed up, and gave up. (So frustrating to watch!) Fortunately, that made the cuts easier for the judges, but no one likes to see a dancer blank and lose it onstage, especially after working so hard to get there.

Twins Trent and Colton Edwards—remember them?—brought their twinning A-games, but Trent couldn't quite master it, so he was told to dance for his life. Translation: Take off your sneakers, don't take a breath, don't pass go, don't collect $200, just perform a solo, right this second. And he did. And it was...interesting? Nigel said it best: "Strange." Ultimately, Colton advanced, and Trent was sent home.

Ballroom with Sasha Farber and Emma Slater

By day 2, and 69 dancers remained—and it was time to cha cha! Emma and Sasha's routine was sassy, intricate, and involved a lot of trickery and quick partnering.

Fortunately, this round got off to a better start than the previous one, with the first six dancers doing a darn good job. (Remember when the judges predicted Gino Cosculluela would make the Top 10? He's certainly still headed that way.) But here's the thing about a ballroom round like this one: If you're awesome but your partner, uh, isn't (or specializes in a totally different style), that makes it a lot harder to move forward in the competition. Fortunately, many of the familiar faces we came to love over the past few weeks were just polished and professional enough to make up for their lackluster partners.

And then! "Smac"—aka Sarah McCreanor, the Lucille Ball of dance—was ordered her to dance for her life. Her ballroom wasn't so splendid, but her solo was just as entertaining as her original performance. Ultimately, though, the judges decided it wasn't what "SYT" as a competition is all about. So it was a no for Smac.

Contemporary with Talia Favia

Ah, the "ever-emotional contemporary round," as the flawless and fabulous Cat Deeley described it. With 54 dancers remaining, "things are going to get tougher," Cat said, in the understatement of the year. Talia called her choreography fast, challenging, athletic, and emotional, and she was not lying.

Benjamin Castro and Jay Jackson, who'd sailed through The Academy so far, were up first in the contemporary round—and that's where the sailing stopped for Jay, whose technique just wasn't quite up to snuff. Benjamin, full of heart and passion, lived to dance another day, though.

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Next week, they're bringing in the big guns: Mandy Moore will be in the house, with her famous group routine! And we'll see the field narrowed to 10 guys and 10 girls. Let's do this!

When you think of a Balanchine ballerina, the dancer you imagine probably looks a lot like Teresa Reichlen. The New York City Ballet principal brings long-legged extensions and queenly poise to her extensive repertory of Balanchine "goddess" roles. She's also a captivating force to be reckoned with in works by Jerome Robbins, Justin Peck, and Christopher Wheeldon. Born in northern Virginia, Reichlen began training at age 10 at the Russell School of Ballet. Asked to stay for the winter term following her first summer at the School of American Ballet, Reichlen became a New York City Ballet apprentice a year later. She received her corps contract a year after that. You can see her perform the principal role in Balanchine's Tchaikovsky Piano Concerto No. 2 during the company's annual Saratoga Performing Arts Center residency this week. —Helen Rolfe

At age 16, about to perform Balanchine's "Stars and Stripes" in the School of American Ballet Workshop (courtesy Reichlen)

Dear Tess,

Embrace what makes you different. In a few years you will see the merits of standing out from the crowd. What you excel at is so unique. Even though you may be an outsider where you are right now, don't worry—there are others who have the same passions as you and you will soon find them.

Keep up with school. Even though it can feel like a distraction from ballet at times, in the future it will be what grounds you and inspires your artistry.

You don't have to give into peer pressure to be cool; you have so much talent and it is OK if you want to put all of your energies into that. When you get older and know you didn't squander opportunities for frivolities, that will be a thing of pride.

Choose integrity and hard work over flattery. It will be a constant source of frustration for you, but you will gain respect (and the most devoted, caring friends and support system) because of it.

If something doesn't feel right or fair to you, speak up about it. Just because a few are doing it doesn't make it OK. If you don't feel comfortable confronting someone directly, find a friend to confide in. Tell someone, anyone. You are probably not the only one who feels how you do.

You are a late bloomer, so please be patient. Don't get frustrated with yourself. Put in the hard work and your dreams will come true!

As the title character in Balanchine's "Firebird" (Paul Kolnik, courtesy New York City Ballet)

The Primetime Emmy Award nominations are out! Congrats to the seven choreographers who earned nods for their exceptional TV work this year. Notably, that work was made for just two shows, "So You Think You Can Dance" and "World of Dance." And there was a particularly remarkable snub: While the dance-filled hit "Fosse/Verdon" earned 17 nominations across many of the major categories, Andy Blankenbuehler's fabulous Fosse remixes weren't recognized in the Outstanding Choreography field.

Here are all the dance routines up for Emmys:

"It Takes a Lot to Know a Man," Travis Wall, "So You Think You Can Dance"

"Glass Heart Concerto," Travis Wall, "So You Think You Can Dance"

"Bump," Luther Brown, "So You Think You Can Dance"

"Juice," Luther Brown, "So You Think You Can Dance"

"Yummy," Luther Brown, "So You Think You Can Dance"

"Drop It Like It's Hot," Melvin "Timtim" Rogador, "World of Dance"

"Headband," Melvin "Timtim" Rogador, "World of Dance"

"DNA," Melvin "Timtim" Rogador, "World of Dance"

"Malhari," Suresh Mukund, "World of Dance"

"Yeh Raat," Suresh Mukund, "World of Dance"

"O Fortuna," Suresh Mukund, "World of Dance"

"Pegate," Karen Forcano and Ricardo Vega, "World of Dance"

"La Malanga," Karen Forcano and Ricardo Vega, "World of Dance"

"Caminare," Karen Forcano and Ricardo Vega, "World of Dance"

"Piece By Piece," Tessandra Chavez, "World of Dance"

"Don't Wanna Think," Tessandra Chavez, "World of Dance"

"Fix You," Tessandra Chavez, "World of Dance"

Dreams, drama, and capital-D DANCE: The brand-new High Strung Free Dance trailer just dropped, and it is chock-full of everything we love.

Quick catch-up: High Strung Free Dance is the much-anticipated sequel to the original 2016 High Strung film. The new movie stars two-time Dance Spirit cover girl Juliet Doherty as Barlow, a stunning contemporary and ballet dancer determined to make it to the Broadway stage. Barlow finally gets her big break when she's cast in Free Dance, a Broadway show choreographed by the dazzling Zander Raines (played by Thomas Doherty—no relation to Juliet). But tensions arise when Barlow catches the attention of both Zander and the show's dashing young pianist, Charlie (Harry Jarvis). We're not sure how everything works out, but Doherty did reveal to DS that she kisses both guys in the film!

Swoon-worthy love triangle aside, from the looks of the trailer, High Strung Free Dance is full of incredible dancing (and we'd expect nothing less from its Emmy-winning lead choreographer, Tyce Diorio). The film boasts a cast of over 80 dancers, including the one and only Desmond Richardson, and features cameos from such luminaries as Nigel Lythgoe.

Mark your calendars and group-text your dance buds: High Strung Free Dance hits theaters nationwide October 11th. Until then, check out the trailer below!

Jellicle obsessives, rejoice: There's a new video out that offers a (surprisingly substantive) look at the dancing that went down on the set of the new CATS movie. And you can watch it RIGHT MEOW.

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It's truly got everything. Francesca Hayward giving all kinds of gorgeous legs! Andy Blankenbuehler making several very intense faces! Les Twins being superhuman! Judi Dench giggling with Ian McKellen! Kolton Krouse doing a back handspring into a full layout! Tom Hooper earnestly discussing "digital fur technology"! Taylor Swift shoulder-rolling! Taylor Swift swing dancing (??) with Idris Elba! Taylor Swift FULLY making cat claws and meowing!

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CATS won't hit theaters until December 20th, but the first official trailer drops tomorrow. Here's hoping it includes lots more dancing—and a look at that digital fur technology.

The tap dance world has been home to extraordinary talents for multiple generations. Who are some of the best tappers of all time? Here are 13 tap dancers sure to inspire you.

Bill "Bojangles" Robinson

Bill Robinson—yes, Mr. Bojangles himself—is, of course, at the top of our list. His legacy inspires dancers to this day. Not only did he make his mark on Broadway, but also had a starry career in vaudeville, Hollywood, radio, and television. He may be most recognized for dancing alongside Shirley Temple in several films.

John W. Bubbles

Vaudeville star John W. Bubbles (born John William Sublett) is known as the inventor of rhythm tap, and performed alongside fellow innovator Ford L. "Buck" Washington as Buck and Bubbles.

Eleanor Powell

During the Golden Age of Hollywood, Eleanor Powell's dazzling footwork earned her roles in Born to Dance, Broadway Melody of 1938, and Rosalie. She was even named the World's Greatest Tap Dancer by the Dance Masters of America in 1965.

Charles "Honi" Coles

The elegant Charles "Honi" Coles was a standout tapper by the 1930s, had a successful vaudeville act with fellow standout Charles "Cholly" Atkins in the '40s and '50s, and went on to become one of the leading figures of the 1970s tap renaissance. (You might remember him as Tito in Dirty Dancing.) He was awarded the National Medal of Arts by president George H.W. Bush in 1991.

Ann Miller

During the 1940s and '50s, the electric Ann Miller was one of the tap queens of Hollywood. From On the Town to Dames at Sea to the iconic "Too Darn Hot" number in Kiss Me, Kate, her legacy is, thankfully, well-documented on film.

The Nicholas Brothers

The Nicholas Brothers were a world-famous "flash act," astonishing audiences with their signature combination of charm and jaw-dropping acrobatic tricks. Fred Astaire called their show-stopping routine from Stormy Weather "the greatest dance number ever filmed."

Gene Kelly

Perhaps one of the best-known dancers ever, Gene Kelly had, to put it mildly, some serious tap skills! A titan of both Broadway and Hollywood, he starred in and/or directed such classics as Singin' in the Rain, An American in Paris, and Hello, Dolly!

Fred Astaire

Speaking of the most famous dancers in the world: Everyone from Mikhail Baryshnikov to George Balanchine to Jerome Robbins to Bob Fosse has cited Fred Astaire as an influence. Over his 76-year career, Astaire starred in more than 10 Broadway musicals and made 31 musical films, including Top Hat, Shall We Dance, The Band Wagon, and Funny Face.

Ginger Rogers

Of course, we can't mention Fred without highlighting his incredible partner, Ginger Rogers, whose dancing was as electric as it was elegant. Her easy charisma shone in such iconic films as Follow the Fleet, Swing Time, Shall We Dance, and Carefree.

Gregory Hines

Tap legend and movie star Gregory Hines was a true inspiration. He starred in more than 40 films during his lifetime, many of them involving tap, and also made his mark on Broadway, earning four Tony Award nominations and one win. His work still serves as a reminder to tap dancers today of how excellent they can truly be.

Savion Glover

All-around icon Savion Glover started out as a tap prodigy: He made his Broadway debut at age 11 in The Tap Dance Kid. At 15, he received a Tony Award nomination for his performance in Black and Blue. He helped bring tap into the contemporary mainstream with the groundbreaking musical Bring in 'da Noise, Bring in 'da Funk, which he choreographed and starred in. Most recently, he choreographed the well-reviewed Broadway revival of Shuffle Along.

Chloe Arnold

Emmy-nominated tap dancer and choreographer Chloe Arnold has appeared all over film and television, and is the co-founder (with her sister, Maud) of the DC Tap Festival. But she's probably best known for her all-female tap ensemble, the Syncopated Ladies. The group's Beyoncé tributes are the stuff of YouTube legend.

Michelle Dorrance

MacArthur Fellow Michelle Dorrance, director of Dorrance Dance, continues to prove her excellence and influence on the tap community with every performance and new work. The New Yorker called her "one of the most imaginative tap choreographers working today." In addition to her MacArthur "genius" grant, Dorrance's accolades include an Alpert Award and Jacob's Pillow Dance Award.

Every year, dance-world luminaries gather on picturesque Fire Island for the Fire Island Dance Festival, a celebration and fundraiser hosted by Dancers Responding to AIDS. This year, the festival celebrated its 25th anniversary—and more than $6 million raised to help those struggling with AIDS—with a phenomenal lineup (hosted by Cabaret's OG Emcee Joel Grey) including a premiere by Emmy Award nominee Al Blackstone, back for his fourth (!) time.

Blackstone loves being surrounded by the diverse group of artists who participate in the festival—and the always-enthusiastic audience. "You have professional ballet companies, you have Broadway performers, you have dancers from Paul Taylor and Alvin Ailey, you have tap dancers. It's magical," he says. "And it's amazing to know that we're raising money to provide assistance to people who really need it." Another highlight: setting choreography for the festival's outdoor stage. "One of the shows takes place at sunset, and it's the most beautiful thing," he says. "When I'm making the work, I'm always thinking about what it's going to look like in front of the sky."

The 2019 FIDF ran July 19–21 and also featured works by Paul Taylor, Kyle Abraham, Michelle Dorrance, and Christopher Wheeldon.

A version of this story appeared in the Summer 2019 issue of Dance Spirit with the title "The Fire Island Dance Festival Turns 25."