Suffering from Cats-scratch fever after watching that tantalizing trailer all weekend? Eager to know more about the feline-filled film? Well, my fur-loving friends, this should do purrrrfectly (sorry NOT EVEN A TINY BIT sorry):

The new Cats movie famously features artists new to musical theater, from Royal Ballet principal Francesca Hayward to commercial dance sensations Les Twins to, you know, Taylor Swift. But the casting team didn't ignore the show's stage roots. In addition to bringing on choreographer Andy Blankenbuehler, the man behind the latest Broadway revival's moves, it also hired several extremely accomplished dancers who're veterans of the Broadway, West End, and/or touring productions of CATS. Here are a few of our favorites.

Naoimh Morgan (Rumpleteazer in UK and international tours, Rumpleteazer in film)

It looks like Morgan—whose resumé also includes ensemble parts in productions of Mary Poppins, West Side Story, and Cinderella—is the only artist to play the same Cats role both onscreen and onstage. *snaps*

Zizi Strallen (Demeter in UK tour and West End productions, Tantomile in film)

The gifted Strallen also played the title role in the UK tour and West End productions of Mary Poppins.

Freya Rowley (Tantomile on UK tour, Jellylorum in film)

In addition to her CATS stage work, Rowley performed in productions of Strictly Ballroom: The Musical and Jekyll and Hyde.

Kolton Krouse (Tumblebrutus on Broadway, ensemble in film)

Fun fact: The very fabulous Krouse was still a student at Juilliard when he first appeared in CATS on Broadway.

Corey John Snide (Coricopat/dance captain on Broadway, ensemble/creative team in film)

Another Juilliard grad (and a Dance Spirit cover star!), Snide also danced in the Broadway production of Carousel and was one of Billy Elliot's Billys back in the day.

ALMOST Judi Dench (ALMOST Grizabella/Jennyanydots in original West End cast, Old Deuteronomy in film)

As we learned in that rather epic behind-the-scenes video, Dame Dench was thiiiiiiis close to dancing up a storm as Grizabella and Jennyanydots in the very first CATS cast—but then she snapped her Achilles tendon. What could have been!

Last night, "So You Think You Can Dance" gave us The Academy, Part II—which concluded with the judges choosing their Top 10 guys and Top 10 girls. But before that reveal, we got a little more contemporary, a whole lotta Mandy Moore, some solos, and, as always plenty of drama.

"The Academy scares the h--- out of these dancers," Nigel admitted. "And it should." Never one to mince words, that Nigel. Here's how it all went.

Contemporary, Part II

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Last week's episode ended with dancers going all-in on Talia Favia's contemporary choreography. And this week picked right back up with the rest of that emotional, edgy goodness from Queen Favia.

First we saw adorable dating duo (but not, like, competitive duo) Jarrod Tyler Paulson and Madison Jordan, with Jarrod up first. Considering contemporary is his jam, this should've been easy, right? But after his performance, the judges agreed that Jarrod didn't seem to know the choreography, calling it "not the best" and "shaky." So it was a no for Jarrod, who had to exit stage right and explain to Madison what happened. Sad!

But then it was Madison's turn, and girlfriend slayed. She brought Mary Murphy to tears, culminating in her screaming, "Shoot, sister, you killed it!" (How do I make that my alarm sound every morning? I would love to wake up to an enthusiastic affirmation from the Conductor of the Hot Tamale Train.) Madison was, obviously, moving on, and Jarrod said he knew she'd continue to dominate. Same, Jarrod. Same.

Next, contemporary ballerina Kaeli Ware continued her bid for "SYT" stardom—but sadly, and surprisingly, this was where her journey ended. After sailing though the hip-hop round and not-quite-crushing the ballroom, Kaeli got to perform in her element. But Dominic wanted Kaile to be "a little more in the pocket," and called the performance inauthentic. Hard disagree (sorry, Dom). We love you, Kaeli! Come back soon.

By the end of the contemporary round, 43 dancers remained.

The Group Routine

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Raise your jazz hands if you live for Mandy Moore's group routine during Academy week every year! 🖐🖐🖐🖐Moore, assisted by All-Star Robert Roldan, explained that she'd be taking the three combinations the dancers just learned and cutting, pasting, and "staging the heck out of" them, thereby making one big, bold group routine, set to a new song. Cool!

The dancers were given 45 minutes to practice the final choreography in small groups. Just when it seemed like everyone was about to crack under the pressure, we got a "cue music" from Nigel.

And the result...was good! Did anyone else's eyes go right to Madison Jordan at the beginning—and then stay there for a while? Toward the end, were you mesmerized by hip-hopper Sumi Oshima, who had that glorious, super smiley solo moment? Dominic cried! And then we cried! It was such a joyful, happy, delightful routine.

Which led to more cuts, of course. We still have a little whiplash.

The Solos

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Each dancer remaining after the group round was told to get ready to perform a solo. There was more than one reference to "dancing for your life." There was dramatic music. There were so many pirouettes, so many leaps, so many tricks. (Alternate show title: "So You Think You Can Side Aerial"? Just something to think about.)

We were treated to a rapid-fire series of solo clips, including a beautiful bit from standout Gino Cosculluela, a brilliant hip-hop performance from Sumi Oshima, a somewhat shaky tap solo by fan favorite Eddie Hoyt, and a high-energy closer by Bailey Munoz.

Finally: Here's Your Top 20!

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The judges deliberated, and here's the long-awaited list:

The Girls

Ashley Sanchez

Anna Linstruth

Sofia Ghavami

Nazz Sldryan

Madison Jordan

Melany Mercedes

Stephanie Sosa

Sumi Oshima

Mariah Russell

Sophie Pittman

The Guys

Bailey Munoz

Brandon Talbott

Benjamin Castro

Ezra Sosa

Vlad Kvartin

Nathan Cherry

Aleksandr Ostanin

Gino Cosculluela

Bryan "Clocks" Volozanin

Eddie Hoyt

But that's not all. Next week, it's "the final cut—from a Top 20 to a Top 10. Let's goooooo!

Summer is almost at an end. And for dancers, that can mean the onset of PSIS: Post-Summer Intensive Sadness. We learn so much during our weeks away in dance wonderland that it's no surprise we feel a bit let down once we're back home. How can you maintain the training momentum you built at your intensive? Here's how to keep the bliss of summer sessions going in the new season.

1. Keep Your Connections

Besties for the resties? Whether your summer study involved a three-day dance festival, a five-week long program, or a weekend at Nationals, odds are you made some great dance friends. By this point, you might already have a Snapchat streak going with your new ballet bestie or an inside-joke-filled text chain with your SI roommate who lives across the country. Just because this summer is over doesn't mean your new friendships have to be. It's not only fun, but also smart to stay in touch—because the two of you might end up dancing a duet professionally one day, like these pros.

And don't forget your teachers. Summer intensives allow you to interact with some of dance's greatest choreographers, directors, and instructors. Keep in respectable contact with them by sending a thank-you message or taking a class of theirs in the future. The dance world is all about connections, so it's beneficial to build mentor-like relationships with teachers or professional dancers you admire.

2. Carry Out the Corrections

By the end of your summer dance experience, hopefully you've soaked up all the corrections teachers gave you specifically, and also their advice for other dancers. We all know the importance of taking corrections well. Bring those helpful critiques back to classes at your home studio.

3. Write It, Read It, Repeat It

After a summer spent taking in great information, it's important not to forget everything you learned during the busy first weeks of the school year. Get out a journal and jot down details from your favorite classes and most challenging rehearsal experiences. Include reasons you're thankful for choosing the dance program(s) you did. Even throwback photo posts on social media will help you remember all you learned.

4. Say Goodbye to Your Former Dance Self

It can be easy to slip back into old ways of doing things when you return to your home studio. But remember how much you've matured (personally and artistically) over the summer, and resist the temptation to resume any bad habits. Write down a list of goals for how you can keep growing, and check in with yourself periodically to see how you're reaching them.

5. Continue in Confidence

Be proud of yourself! Making it through a summer intensive of any kind is challenging—even if it's ultimately the best part of your summer. You stepped out of your comfort zone, made new friends, and honored your talent by growing in technique and artistry. Hopefully, this instilled a new confidence in you. Carry that self-assurance back to school, the studio, auditions and whatever is coming next in your dance journey.

We grilled a dance professor and a rising sophomore for their best tips on how to make the most of freshman year—starting on day 1.

Get Your Head—and Body—In the Game

According to Michelle Nance, director of dance at Texas State University in San Marcos, TX, the challenges incoming dance majors struggle with most can be physical or emotional. "A lot of times, first-years have learned a lot of skills and tricks, but they're missing core connectivity because their bodies are still developing," she explains. Try seeking out yoga, Pilates, or other dance-adjacent cross-training in the summer before you head to campus.

Even if you feel super-confident about yourself as a dancer, prepare to question some preconceptions in those first few technique classes. "Be open to new definitions of what dance is," Nance suggests. "We don't want you to lose any of the wonderful things you already know, but be willing to see yourself as a beginner again."

Put Yourself Out There...

As a freshman dance major, the intimidation factor is real. Why even audition for the department concert or guest-artist piece if it feels like all the spots will go to upperclassmen? "It actually boosted my confidence to audition for everything my first semester, even though I didn't make it in," says Ilse Mascorro, a rising sophomore dance major at Texas State. "Don't be afraid to take a risk! Every time you're brave enough to put yourself out there, it's easier the next time you audition. "Nance agrees: "Think of it as a free master class, and try not to focus on whether or not you get into that piece. You're at college for the experience, not the outcome— and professors understand that. We don't expect you to come in knowing how to do everything."

Ilse Mascorro (courtesy Mascorro)

…But Don't Spread Yourself Too Thin

Consider spending time this summer rehearsing basic self-care like healthy meal prep and enforcing your own bedtime—especially if a parent or guardian has overseen your daily habits up until now. Nance suggests taking a hard look at your class schedule for the fall to ensure you've allowed enough time to eat properly and rest.

"Coming from high school where teachers baby you and you're with your friends all day, I was unprepared for the amount of independence and huge blocks of unstructured time," Mascorro says. "What helped me was to take one goal or task at a time, and to schedule everything—whether practicing in the studio on my own or making time to see friends over dinner."

Because every dance department—not to mention every college-bound dancer!—is unique, you're bound to feel you've made some mistakes no matter how much you've prepared for that first day of school. "I see so much anxiety among the freshmen because auditioning and placement involve a lot of scrutiny," says Nance. "Not advancing to the higher level your first semester will not affect your career forever! Slow down, enjoy the journey, and take advantage of all the resources your university offers."

A version of this story appeared in the Summer 2019 issue of Dance Spirit with the title "How to Prep for Freshman Year."

The Enneagram, a set of nine basic personality types, is a pretty hot topic these days. There are tons of different tests you can take to find out your Enneagram number—but what do your results mean in dance terms? We've broken down the 9 Enneagram types into dancer categories you can definitely relate to.

Type One: The Dance Teacher

Type One dancers loves to help others. They're rational, principled and purposeful—so of course, they make excellent dance teachers!

Type Two: The First Friend

If you're new at your dance studio, the first dancer to approach you will probably be a Type Two. Type Two dancers are true team players, who want to make sure everyone at the studio—especially newcomers—feels welcomed, appreciated, and seen.

Type Three: The Star Performer

Type Three dancers are in it to win it. Ambitious, energetic, and hardworking, their goal is to be the star of the studio, and for other dancers to see them as a role model. Type Three dancers can be pretty hard on themselves if they make a mistake onstage, but only because they're perfectionists.

Type Four: The Choreographer

Creative, emotional, and a bit moody, Type Four dancers likely spend a lot of time improv-ing to Billie Eilish in the kitchen. Type Fours may be a little shier than others, but they're also amazing at expressing their feelings and telling a story through their movement.

Type Five: The Dance Nerd

Type Five dancers breathe, eat, and sleep dance. Whether they're studying anatomy or watching dance history documentaries, Type Fives want to learn as much as they can about their craft in order to improve. Forgot any of the choreography for the routine you learned last week? A Type Five will definitely be the best dancer to ask for help.

Type Six: The Understudy

Every team needs some solid Type Six dancers, loyal teammates who don't always need to be front and center. Type Six dancers make great understudies, because they're responsible, trust-worthy, and want to cooperate with the rest of the group.

Type Seven: The Qunituple Threat

Type Seven dancers are likely also singers, actors, cheerleaders, musicians, and more. Playful and outgoing, Seven's are super fun to have around the studio—even if they're running off to their next activity immediately after class.

Type Eight: The Dance Captain

When the teacher's not around, Type Eight dancers can be trusted to keep rehearsals running. They tend to be confident, decisive, and up-front, which makes them the best at drilling and cleaning dances before a big performance.

Type Nine: The Studio Sweetheart

Type Nine dancers are everybody's best friend. If there's ever a conflict at the studio, these dancers are the first to help smooth things over. Nines are also good at calming pre-performance jitters, since they're naturally peaceful and easygoing.

What happens when one fabulously talented b-boy/choreographer/director spends more than 300 hours meticulously cutting and arranging 4,000+ pieces of paper? A three-minute video that will leave you absolutely floored.

You probably know Hok Konishi best as a dancer: He's a Quest Crew standout and an alum of "So You Think You Can Dance" Season 3. But Hok's also a gifted director and Emmy-winning choreographer. And those skills are on full display in "Quizás," a new short film that uses stop-motion animation to tell an arresting dance story. It features the same incredible attention to detail that made his performance in the iconic "Hummingbird and the Flower" routine so mesmerizing.

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"Quizás" is currently showing at A+D Museum in downtown L.A. Check out the behind-the-scenes video to see exactly how Hok created the innovative work.

Congrats to Kenny Ortega, who just earned a star on Hollywood's Walk of Fame!

The legendary choreographer and director was presented with the 2,667th star on the iconic thoroughfare yesterday. Ortega's mile-long list of achievements includes everything from Dirty Dancing (1987) to Newsies (1992). And that all came BEFORE the dance-filled franchise we hold near and dear: High School Musical. His latest project was directing and choreographing Disney Channel's dancetastic Descendants movie trilogy. With this extra boost of starpower, we can't wait to see what he does next. From all of us at Dance Spirit, congrats, Kenny!

The Rockettes are getting ready for a growth spurt, and that starts with a newly-created job: artistic director.

While the iconic precision dance troupe has of course always had artistic leaders for each of its shows, its parent organization, Madison Square Garden Company, is now looking to hire someone to oversee the artistic vision of all of the Rockettes' year-round programming. That includes workshops, outreach activities and, intriguingly, new productions.

In a press release, president of creative content and productions Jennifer Vogt said, "It's time to grow the Rockettes brand beyond its beloved annual attraction, the Christmas Spectacular, by expanding the creative direction of this amazingly talented company."

The Rockettes began in St. Louis in 1925 as the "Missouri Rockets," and moved to New York's Radio City Music Hall for the theater's opening in 1932. Today, their extraordinarily popular Christmas Spectacular plays up to five shows a day from November to January. But over the years, the company has also experimented with other productions, trying to replicate that holiday success.

Today's announcement about the search for an artistic director indicates that the brand is looking to evolve beyond the traditional kickline, and become a year-round presence in the dance world:

"The artistic director will be responsible for developing an all-female identifying dance company that moves beyond one production and one style of dance. This individual will work with the productions team to develop and spearhead future shows that attract new creative teams, incorporate new styles of dance and serve as a complement to the long-running Christmas Spectacular."

The use of the term "female identifying" seems to imply that the company might be opening up to a more 21st-century concept of gender when hiring dancers. Particularly since the job description on the application page underscores the primacy of making the troupe more diverse and inclusive.

To be sure, MSG also says they're looking for a director who will preserve the company's historic legacy, so those classic unison high kicks won't be disappearing anytime soon. But we might be seeing a whole new side of the Rockettes in the next few years.

Oh, internet challenges. We don't know who starts them or where they come from, but we definitely love it when dancers get involved.

The past few weeks have seen the rise of the #bottlecapchallenge, which involves someone kicking the top off of a plastic bottle. The slow-motion videos show the cap neatly spinning off. Of course, everyone from dogs to celebs have tried their hand (er, foot?) at the challenge. But dancers have taken it to the next level.

We've rounded up some of our favorite dance takes.

Marlen Fuerte Castro

Marlen Fuerte Castro's focus and precision are remarkable. And, even better, she doesn't let the challenge stop her from finishing with an easy triple.

Petra Conti

Castro challenged principal guest artist Petra Conti, who rose to the occasion. We love her giant, well-deserved smile when she finishes.

Alex Wong

"So You Think You Can Dance" alum Alex Wong's straddle-jump-into-a-spinning-back-kick is perfection. Also note that though he challenged Jennifer Garner, she's yet to show us what she's got (Jennifer, we're ready whenever you are!).

Ashley Coupal

Orlando Ballet trainee Ashley Coupal was also inspired by Castro's skills. If Aquafina's marketing team is looking for a new model, we've found one!

Andrea Freitez

Barquisimeto, Venezuela-based ballet student Andrea Freitez took on the challenge as well, whipping out her own set of fouettés.

Instagram has become a huge part of dancers' lives. At its best, the image-driven platform can be a way for people to share their art and make it accessible to others. For dance influencers, Insta success can lead to opportunities to travel, perform, and build a career.

But recent studies have suggested a link between social media use and anxiety and depression, with Instagram being especially problematic. Possibly motivated by this news, Instagram has launched a trial in seven countries. Right now, instead of seeing the exact number of likes per post, Insta users in Australia, Japan, Canada, Brazil, Italy, Ireland, and New Zealand see something like this when they scroll their feeds:

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Eliminating the "like" count has the potential to dramatically change the way everyone uses Instagram. What would a different feed mean for dance influencers, in particular?

On the plus side, getting rid of likes might make it easier for dancers to start conversations on the platform. Instead of being motivated by a number, they could get to know their followers in the comments section.

"I love the fact that Instagram is considering losing the like," says comp queen Bella Klassen, who has more than 81K followers. "To me, likes are meaningless. What matters is knowing that my content is inspiring people to engage and comment. It creates more of a two-way street between myself and the people checking out my Insta. Comments make me feel like there are real people behind the screen who have taken the time to interact—not just double-tap."

Emerging influencer Bobbi Ponder has a particularly useful perspective on the change: Though she's from the U.S., she's also danced in Australia, one of the countries in the midst of the trial. Like Bella, she thinks the adjustment will be mostly positive. "I think that this will change the 'doing it for the 'gram' mentality," she says. "We are so caught up in what is going to get us likes on IG instead of just posting things because we genuinely like it. Hopefully this feature will teach us to be less concerned about numbers."

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That said, popular dance accounts featuring more than one artist, like those of dance companies or studios, tend to rely more on numbers to generate interest, because the personal connection valued by dancers like Bella and Bobbi is harder to create when there's no single figure driving the account. And knowing what content is most successful—which is what the "like" feature is really about—can help all dance users, whether they have personal or group accounts, decide what to share.

In the dance community, there's particular anxiety around the potential elimination of video view counts. "Since videos are the majority of our content, I would be more concerned if views were hidden as well," says Karla Curatolo, owner and director of Expressenz Dance Center in Indiana, whose Insta account boasts 172K followers. "In general, we don't know how many likes something gets, but we do know how many views we get."

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In the end, most dancers seem to agree: If Instagram eliminates "likes" worldwide, there'd be some adjustment required. But taking the focus away from double taps would also allow room for change and growth, and the platform would still be a space to connect with other artists. "Likes" will never define talent.

In the fall of my senior year of high school, I had a plan for my professional dance career: After graduating, I'd leave my home in Barbados and travel to NYC to audition for the world-renowned Ailey/Fordham BFA program. I'd graduate with honors, work with several amazing companies in NYC, and then make it big on Broadway.

But my plan came to a crashing halt during an ill-fated rehearsal that September. I dislocated my patella, which caused the most blinding, dizzying pain. A few hours later, my knee had swollen to the size of a baseball. I couldn't put any weight on it, much less dance on it.

My Ailey/Fordham audition was two months away. I was devastated, certain that my dreams were over.

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I went to the doctor the following day, and he referred me to a specialist who told me I should reconsider my career options. He was uncertain that I could dance at a professional level, given the nine-month recovery time he estimated and the other "weaknesses" he identified in my anatomy. He said I'd always be prone to this injury, and there was nothing I could do about it.

A part of me believed him. This wasn't the first time I'd injured my knee. What if a professional dance career wasn't for me? I was going to miss all the auditions for the Ailey program, anyway. I didn't know what else to do.

But once the inflammation settled, I started physiotherapy, and there I received a spark of hope. The physiotherapist—a cheerful and positive lady—assured me that the specialist was wrong. With the correct strength training, treatment, and rehabilitation, she said, I would regain full range of movement.

At that point, my dance teacher told me about the Ryerson University's School of Performance, an esteemed program in Toronto, Canada, which offers training in dance, acting, and technical production. Initially, I was skeptical. I was unfamiliar with the school, and had never considered living in Canada. In any case, I still wasn't able to dance yet.

I explained this all to Nadia Potts, Ryerson's dance program director at the time. I told her I had an audition video that I'd recorded for a summer intensive the previous year, and she graciously allowed me to send it in lieu of a live audition.

A few weeks later, I found out I'd been accepted. First I was in complete disbelief—and then I was overjoyed. I was more determined than ever to recover fully. I wanted to prove the specialist wrong. More importantly, I wanted to prove to myself that there was more than one path to a successful dance career.

Six months after my injury, I was dancing again. Hard work and determination got me back in the studio three months earlier than the specialist had predicted. I enrolled at Ryerson in the fall of that year. Four years later, I graduated with honors. Since then, I've had the pleasure of traveling the world as a dancer on the high seas, and performing in London's West End.

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Being injured helped me learn how to properly take care of my body, and I'm stronger now than I have ever been. My setback also taught me a valuable lesson: Sometimes, our dreams are more limited than our potential. As a young girl growing up in Barbados, if someone had said to me I'd one day perform in the West End production The Lion King, I'd probably have laughed at them.

What I've achieved is even more wonderful because of the journey I've had. I didn't plan for my career to happen this way, but I wouldn't change a thing.

Well, unless Nigel Lythgoe (sir!) has something wild and crazy up his sleeves—which he very well may after 16 seasons—it is finally, at very long last, after half a summer and so much patience, almost time to meet the "So You Think You Can Dance" Season 16 Top 10.

Yeah, we're not there quite yet.

On last night's "Final Cut" episode, the Top 10 ladies were each paired with an All-Star and a "legendary choreographer" to learn some critical choreography. (Choreography from outside their comfort zone, that is.) Then, after one last performance for the judges, the 10 became five. Here's what went down, and which women are headed to the live shows next week.

Mariah Russell, Salsa with All-Star Jonathan

The powerhouse Nashville native wowed everyone during her contemporary audition. And since she confessed that ballroom is what intimidates her, naturally she was given a salsa routine, choreographed by Oksana Platero, to perform alongside All-Star Jonathan. You'd never have known the style intimidated her, because she sold it! She nailed the sass, and there was no faking those speedy moves. She went into every lift with death-defying confidence and pulled. it. off. The judges praised her fire, fight, flair, and fearlessness.

Melany Mercedes, Hip Hop with All-Star Fik-Shun

Melany is a trained salsa dancer—not that you would've guessed it based on this chameleon-like performance. Melany slayed Randi and Hef's fun and funky choreography, managing to fully hold her own alongside Season 10 winner Fik-Shun. There were times when she seemed more focused on the specific moves than just easing into the execution, but she said it felt amazing, and it was. Dominic wanted her to be more grounded, and Laurieann and Nigel said their eyes went to Fik-Shun because Melany was a little too smiley. Mary said this performance elevated Melany in her eyes.

Ashley Sanchez, Contemporary with All-Star Lex

This ballroom babe admitted she "barely scraped through the contemporary round" at the Academy. So it's no surprised she got this style again, with choreography by Jaci Royal. (New personal goal: Audition for "SYTYCD." Manage to make it to Academy. Intentionally bomb the contemporary round. Get paired with Lex as "punishment!" Be honest, Ashley, was this your plan all along? Because it's not a bad one, TBH.) Ashley didn't quite redeem herself with this performance, but it was mature and lovely. Nigel wanted more emotion and Dominic said it was a missed opportunity, but Laurieann called it a breakthrough and Mary said she was proud of Ashley.

Anna Linstruth, Jazz with All-Star Marko

Remember the cute blonde hip-hopper who somehow seriously struggled during the hip-hop round? That was Anna, Laurieann's favorite. She showed up ready to give her jazz best, which was evident from the first eight-count of Ray Leeper's choreography. The judges were ooh-ing and aah-ing the entire time, and Anna's energy was on high, but technically, it was lacking. Still, Anna proved she's a gifted performer and a ton of fun to watch. Dominic praised her for being a smart dancer, Laurieann told her not to walk like a truck driver (!), and Nigel said she really pulled it off this time.

Madison Jordan, Cha Cha with All-Star Kiki

Madison has been a fan and judge favorite since her first audition. She made the judges cry. She made me cry. And now, maybe the "SYT" producers wanted to make her cry, because they gave the contemporary goddess a cha cha, choreographed by Sasha Farber and Emma Slater. Madison performed the routine like a contemporary dancer doing ballroom—very pulled up, very technical, very graceful, very elegant. She could've loosened up a bit, but she did a darn good job. Nigel called it strong, Mary loved it, Laurieann called it "everythaaaang," and Dominic reminded Madison (and us) that she's knocked it out of the park consistently. Carry on, Madison!

Sofia Ghavami, Jazz with All-Star Marko

Sofia's first audition this season was with Kiki—remember? She went on to mostly ace the Academy, minus a few hip-hop hiccups. This performance was sleek, sassy, and sharp. There wasn't much in the way of chemistry between Sofia and Marko, but Sofia stuck most of the moves and looked good doing so. Mary called it stunning, Dominic said it fell flat, Laurieann noted that the routine was tough but that it was well done, and Nigel said she did everything that was asked of her.

Sumi Oshima, Contemporary with Lex

Sumi has been so much fun to watch throughout the summer. But as she dug into her choreography last night, courtesy of Talia Favia, she seemed like she was starting to crack. Until she didn't. Maybe it was the pep talk from Lex (awwww!), maybe it was the realization that everything was riding on this one performance—whatever it was, Sumi summoned some serious inner strength and left it all on the "SYT" stage. Laurieann said it was unexpected, Nigel said it was just a bunch of steps, and Mary said she still has a lot of work to do. Love Sumi, but that feedback was ominous.

Nazz Sldryan, Hip Hop with Fik-Shun

Nazz + Fik-Shun + Luther Brown = dream team, right? Look, dancing with Fik-Shun is tough, because that guy commands the stage even if he just stands there and smiles. (Or doesn't smile. It doesn't matter.) But Nazz seemed up to the challenge. Was it the best performance ever? Maybe not. But it was fun, flirty, and a little cheeky, and the judges thought it was tremendous. They laughed, they cheered, they went all-in on Nazz.

Sophie Pittman, Cha Cha with All-Star Kiki

Pro tip: If you tell the "SYT" team which style is most challenging for you, they will definitely make you do that when it matters most. Case in point: Sophie had a tough time with the Academy cha cha, and now she's at it again. Only this time, OMG. Sharna Burgess created choreography that played to Sophie's strengths, and Sophie was absolutely committed to all of it, including those insane lifts. Technically, though, Nigel noted that she looked uncomfortable dancing in heels, and said it wasn't as strong as it could've been. Mary, Dominic, and Laurieann agreed.

Stephanie Sosa, Contemporary with All-Star Robert

Last year, Stephanie got cut right before the Top 10. This year, she got two presents: 1) contemporary choreography from Mandy Moore, and 2) partner Robert Roldan. And oh man, did she ever take those gifts and run with them. This routine was the final one of the evening for a reason. There were a few moments that could've been smoothed out, but overall, it was wonderful. The judges wanted even more—more energy from the limbs, more vulnerability, more openness—but, Mary assured, "you're still a star."

The Top 5 Ladies

At very long last, here are the five women who will be headed to the live studio shows:

1. Mariah
2. Stephanie
3. Anna
4. Sophie
5. Madison

That's it for us until next week, when we find out which gentlemen will be joining them. WE'RE ALMOST THERE, FRIENDS.

You guys already know how much we love a good movie dance scene. But a new mashup game of the highest caliber just took that love to a different level.

It's a simple, and simply brilliant, idea, conceived by Twitter user @lewiswake: Take an iconic onscreen dance. Find a song that's the same tempo as the scene's original music. Dub the new song over the footage. Lather. Rinse. Repeat.

Please enjoy Love Actually vs. Billie Eilish, Napoleon Dynamite vs. Cher, Dirty Dancing vs. House of Pain, High School Musical vs. Sum 41, and so, so many more.

Dagmar Sternad is a professor of biology, physics, and electrical and computer engineering at Northeastern University. She's also a bit of a dance obsessive. And her innovative work with ballet dancers could have far-ranging implications for the worlds of both medicine and robotics.

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A longtime dance lover, Sternad has been been fascinated by the science behind dancers' movements for years. "How do we control our limbs...and how does our brain control our body?" she asks in a new video documenting her studies. "How do we learn motor skills to even approach such exquisite skill as these dancers have?"

Starting with those questions, she began working with dance artists—including members of Boston Ballet—to discover the scientific roots of human balance and coordination. But over the years, she realized that her research could have broader applications, like helping stroke victims relearn and recover skills they might have lost. And, increasingly, she's been investigating her work's connection to robotics.

"There's still a lot to be learned about what it takes to control a multi-link system to get close to what humans can do," she says in the video. "So one potential contribution my work can make is to share some of the insights we've gained on human motor control to robotic control….[and help] humans and robots work together successfully side by side and hand in hand."

Check out the video below (come for the science, stay for the beautiful footage of Boston Ballet's Patrick Yocum and Rachele Buriassi). You can learn more about Sternad's work here.

All photos Anna Marchisello and Jacob Patrick (courtesy Stacey Tookey)

Deep in the hills just outside Calgary, Alberta, Camp Kindle sits unassumingly, nestled in a forest clearing. With rustic cabins, a glassy lake, sprawling lawns, and a giant ropes course, the scene looks like the set of an old-school movie about summer camp- which is why it's so surprising to learn that, for one week each August, some of the competition circuit's most gifted dancers arrive there en masse for Stacey Tookey's Camp Protégé.

"Camp," as it's often referred to by the dancers and faculty, was founded by Tookey in 2016 as a part of her Protégé Movement, which is a series of three-day intensives in L.A., NYC, and Toronto. In the three years since, a spot at Camp has become one of the most sought-after trophies in the competition-convention world, thanks in large part to the unprecedented access to top-tier faculty and unique setting. But beyond that, Tookey has created a world where judgement, self-doubt, and distractions are stripped away and replaced with a sense of safety—in Tookey's words, "Permission to be free." Dance Spirit went inside this one-of-a-kind intensive for a firsthand look.

Dancers group hug after class.

Total Isolation

Upon arriving, one thing becomes immediately clear: Whether you like it or not, you're off the grid. "It was a little shocking at first," remembers Tate McRae, who's been attending Camp since the first year. "You have a mini anxiety attack when you realize there's zero cell service, but you become so aware of everything around you, which is what makes the week so special." Parents and guardians are notified by the staff once the dancers have safely arrived, but after that, getting in touch via cell phone is next to impossible— which is a blessing in disguise. Tookey knows just how plugged in this generation of dancers is. "I don't think they even realize just how addicted they are to their phones, until they get here," she says. "They need to disconnect, because removing the external gratification of, say, hundreds of likes on an Instagram post forces them to find confidence internally, and helps them grow as people." To fill the phone void, Tookey gives each dancer a journal and a pen at the start of Camp, and encourages them to write down everything they're feeling over the course of the week- time that, everyone admits, would usually be spent scrolling through IG.

Protégés enjoy off the grid moments in Camp's scenery.

Jam-Packed Days

Days at Camp start around 7 am with breakfast, then group yoga and meditation. "I like to start and end every day together," Tookey says. Afterwards, dancers break into groups and head to two classes before lunch, and three before dinner. Classes include technigue, choreography, an assortment of nutrition and self-care lessons, acting classes, neuromuscular training, Q&As, and a camp activity like a ropes course. The day ends with dinner and a wrap up class with all the students and faculty.

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Dancers moving across the floor in contemporary

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Moments during a contemporary combination

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Improvisation

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Scenery of Camp Protégé

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"It's About Dancing for Yourself"

Creating a safe, accepting place is Tookey's main goal for Camp, something comp-circuit standout Timmy Blankenship felt right away. "Stacey truly created a space that was filled with total acceptance," he says. "There are no cameras, no judgment. It's about dancing for yourself." "I want every dancer to feel connected, loved, and safe," Tookey says. "We're all working towards the best versions of ourselves, together."

Chantel Aguirre (front) leading a warm up before class

Going with the Flow

"We have a schedule, but often we just follow the vibe of the day when it comes to the dance classes," Tookey says. This organic approach is a highlight for lots of the dancers, including USC Kaufman student Elise Monson, who's attended Camp twice and has assisted Tookey at Protege in L.A. "Stacey wanted Camp to act as a mentorship program for us, and it really does feel like life training," she says. "Rather than just spending time trying to execute a set combination, the classes shape us as humans. We talk about our struggles, our successes, what makes us feel scared, what makes us feel free. It was so much more holistic than a standard convention." Tate agrees. "Classes are where the magic happens. They're totally unpredictable and the energy is crazy. You can end up improvising for an hour, just talking, or all crying together!"

Morning yoga class

Dancers and faculty during a wrap up class

Faculty Equals Family

The faculty at Camp is made up of some of the comp circuit's biggest names, including Kathryn McCormick, Jason Parsons, and Chantel Aguirre. But unlike a convention weekend, they're not just teaching class and heading back to their hotel rooms. "We're all living together, eating meals together, and bonding," Tookey says. "I want the dancers to be able to walk up to the faculty members with questions, concerns, or whatever else. I wouldn't be where I am today without my mentors, so I want to nurture this next generation and pay it forward."

(From left) Jacob Patrick, Kathryn McCormick, Jenn Perry, Heather Lang, Chantel Aguirre, Stacey Tookey's daughter Harper, Tookey, Gene Gabriel, and Jason Parsons

More Than Connected

If there's one thing dancers walk away with from Camp, it's a deep connection with their fellow Protégés. "Because we don't have our phones and are dancing nonstop, we're constantly engaged in physical and emotional contact," Monson says. "That breaks boundaries and creates very special, lifelong connections."

Dancers debrief Camp experiences

A version of this story appeared in the Summer 2019 issue of Dance Spirit with the title,"This Must Be The Place."

If there's one thing every dancer is always working on, it's her pirouette. It's no secret that this skill takes years of honing and practice. But in addition to solid technique, perfect pirouettes require a lot of strength. We turned to Roman Zhurbin, soloist with American Ballet Theatre and owner of Roman Empire Fitness, for a breakdown of the best ways to strengthen the muscles used in a pirouette.

All photography by Erin Baiano. Hair and makeup by Angela Huff for Mark Edward Inc. Modeled by Ava Desiderio.

TheraBand Relevés

Roman's Note: "This exercise strengthens your calves, which are crucial in keeping you up on relevé during a pirouette."

1. Begin standing parallel to the barre, holding it with your right hand. Slightly bend your right knee and keep your left leg straight but not hyperextended, with your left foot planted firmly on the ground and your hips level. Ask a friend or teacher to kneel in front of you and wrap your TheraBand around your left leg, so it hits just above the back of your knee. Have them pull it tightly towards them.

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2. Keeping your core engaged and your spine straight and stretched, slowly rise to relevé on your left foot.

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3. Lower the foot back down and sink into a plié.

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4. Rise back up onto relevé, being careful not to rock forward. Repeat this 8 times per leg, then switch legs. Over the course of a month, work up to 32 reps per leg.

TheraBand Anti-Rotation Press

Roman's Note: "This exercise helps strengthen your lats, which keep you stabilized as you're turning."

1. Tie your TheraBand to the barre, or have a friend or teacher hold it. Hold the two loose ends of the TheraBand and lowly take a few steps to the side, so that tension builds in the band until it's entirely straight. Place your feet a little more than shoulder-width apart.

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2. Bend your elbows so that they lightly touch your abs, and bring your hands up to your chest.

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3. Slowly press your arms out in front of you and hold for 30 seconds, making sure to keep the tension in the band. Repeat this 8–10 times.

Single-Leg Bridges

Roman's Note: "This exercise helps strengthen your hamstrings and glutes. If you release your glutes when you're turning, you'll fall out of your pirouettes."

1. Begin on your back with your legs hip-width apart, your knees bent, and your feet planted firmly on the ground. Keep your arms by your sides, with your palms facing down.

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2. Slowly raise your pelvis up, until there's a straight line running from your back, to your hips, to the bend in your knee. Keep your glutes and hamstrings activated so you don't experience any discomfort in your lower back.

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3. Lift your right leg, keeping the knee bent, and bring it towards your chest, so that it makes a 90-degree angle.

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4. Slowly lower your pelvis until your tailbone grazes the floor, then lift it back up. Repeat this 8–10 times, then switch legs.

Exercise-Ball Transfer

Roman's Note: "This exercise is a killer abdominal workout. A strong core keeps you aligned and stable during a pirouette."

1. Begin on your back with your knees bent and your feet planted firmly on the ground. Place an exercise ball between your lower legs, gripping it with your ankles. Extend your arms straight up to the ceiling.

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2. Keeping your knees bent, lift your legs and the ball up off the floor. Engage your core and curl your upper body and head up off the ground.

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3. Straighten your knees and transfer the ball to your extended arms, making sure your lower back remains on the floor.

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4. Slowly lower the ball behind your head while lowering your legs and feet back to a table-top position. Repeat the entire sequence, this time transferring the ball from your arms back to your legs. Repeat this 8–10 times.

A version of this story appeared in the Summer 2019 issue of Dance Spirit with the title "Pirouette Perfectors."

The Disney Channel's Descendants movies have been fan favorites since the original's premiere back in 2015, thanks to their huge musical numbers and powerful storylines. Following the lives of the children of four notorious Disney villains, the films are chock-full of talented dancers. (Those dancers include Cameron Boyce, whose untimely death last month devastated fans around the world.)

Ahead of the Descendants 3 premiere tonight, we talked to Booboo Stewart, who plays Jay—aka the son of Aladdin's Jafar—about growing up dancing with Boyce, what it's been like to get back to his dance roots, and his love for director/choreographer Kenny Ortega.

You studied dance pretty intensively, right?

Yes. When I first got the part in Descendants, I hadn't danced in a few years. But dancing was really my main thing for a while. I actually took classes with Cameron Boyce when we were really young, and competed at JUMP and did music videos. I recently started taking classes at Millennium Dance Complex again. Kenny Ortega is dance-world (not to mention Disney Channel) royalty.

What was it like to work with Ortega on "Descendants 3"?

Working with Kenny is probably my favorite thing about the Descendants films. He's such a magical person, and he has such a creative mind. He'll walk into the room and change one little thing, and you'll be like, "Oh, yep. That is so much better."

What's your favorite number from the movie, and which one was most challenging for you?

My favorite and most challenging are one and the same: "Good to Be Bad." That song is awesome! It was definitely the hardest dance piece to learn, and also probably took the longest to film because there are so many different sections of the song. But Jamal Sims, who choreographed the number with Kenny, is a groove master—he came up with the grooviest moves that made it all work.

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Click here to donate to the Cameron Boyce Foundation, established in Boyce's memory to provide resources for young creatives.

We all know back-to-dance shopping is the best (okay, one of the best) parts about the new school year starting up. And we're about to make it even more fun—with a chance for you to win a $100 shopping spree to Discount Dance Supply!

Click here to enter by September 4th. We'll be choosing three lucky winners!

Normal human pregnant lady: *reaches the 6-month mark, can only tolerate the stretchiest of stretchy pants, decides walking from the bed to the couch counts as exercise*

Superhuman pregnant dancer: *reaches the 6-month mark, still looks super-cute in crop tops, decides to co-choreograph and then ABSOLUTELY DOMINATE a ridiculously intense hip-hop routine*

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Chachi Gonzales, who is currently growing a small human, melted the internet this weekend with the pregnant-dancer video to end all pregnant-dancer videos. She and old friend Matt Steffanina got together to create an impressive (as ever) combo to the DJ Snake/J Balvin/Tyga collab "Loco Contigo," and then Steffanina posted footage of the two of them—or three of them, rather!—killing said combo. Friends: It's the best thing you'll watch today.

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As Gonzales herself put it, "preggo women can GET DOWN!"

Congrats, Chachi! This baby is destined to come out dancing.

Ballet dancer Alina Taratorin has struggled to control her competitive nature for years. "When I was younger," the 17-year-old Bayer Ballet Academy student says, "I would get so intimidated by the other dancers at competitions. If someone made a nasty face at me or did intimidating stretches, I would actually shake and fall onstage because of it." Her desire to win was strong, but rather than channeling that desire in a productive way, she'd attack herself. "I tend to overanalyze everything," she says. "I had to learn to control my own mind."

These days, Alina uses an array of mental tricks to perform at her peak without getting psyched out by the competition. Are you struggling with overly competitive tendencies? Try these tips from the experts to bring balance to your dancing life.

Focus on YOU

Whenever you begin to fixate on out-performing the dancers around you, take a step back. "Remember why you're dancing," says Dr. Kate Hays, a performance psychologist based in Toronto. "What matters to you about dance? What do you love about it?" Articulating your strengths and your passions can help you stay calm and focused when a competition heats up.

If you're having a hard time concentrating on yourself in key moments, Alina recommends putting on your metaphorical—and literal!—blinders. "Before competitions, I put my headphones in, stand facing the wall, and go over things by myself until it's my turn to dance," she says. Tuning out the competition can help you perform without fretting about what's at stake.

Linda Holland, owner and artistic director of the Dance Institute in Austin, TX, points out that this self-focus starts in the classroom. "Take class for yourself," she says. "You have things you're working on—your feet, your extensions—that aren't the same as what your peers are working on." For big-picture goals, like competition titles or summer intensive slots, you can talk to your teachers to develop a personalized path. "Whatever the goal is, we can outline what you need to do to get there," Holland says. "If everyone is on their own path, it's not about competing with each other. It's about putting in the work."

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Compare Without Criticism

One dancer's arabesque is higher than yours. Another has better feet. Comparing yourself to your fellow dancers is unavoidable, especially when you spend hours every day surrounded by mirrors. "But what are you doing with the comparisons you're making?" Hays asks. "Are you channeling those observations into your own growth?"

If seeing someone else's epic balances inspires you to build your core strength, that's a constructive use of competitive energy. If watching your peers succeed makes you cut yourself down—or if your instinct is to sabotage them, or to lash out so that they feel bad about themselves—that's not so healthy.

Turn to people you trust to help you reset. "When I would get competitive over every little thing, my teachers would remind me that there is no perfect dancer out there," Alina says. "Even the best professionals have qualities that aren't ideal, but they learn to hide them or control them. Also, dance is a subjective artform. One director might not like how I move, but another person might love it. We don't all have to be exactly alike."

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Take It One Day at a Time

Changing your thought processes—let alone any unproductive behaviors associated with those thoughts—likely won't happen overnight. Be patient with yourself, and be willing to engage in some trial and error to determine what helps you most. Your goal is to feel as motivated as possible without crossing the line into harmful patterns.

Hays offers a strategy for learning to modulate your competitive spirit: "Do a self-rating from 0 to 100, where 0 is not at all competitive and 100 is absolutely cutthroat. Based on past experience, what is your optimal amount of competitiveness? Where are you now? If you've gone over your best number, how can you pull back?"

To decrease anxiety, she recommends diaphragmatic breathing, fully expanding the lungs and rib cage into the sides and the back. Visualization can also be useful. As an audition, competition, or other high-stress event draws near, picture how you want to present yourself and practice affirming your abilities. When the day arrives, you'll have tools at the ready to keep your competitiveness in check.

Finally, remember that even if a result isn't what you were hoping for, chances are it's not the end of your dance journey. "There are always lessons you can take back into the studio," Holland says. "You can always look ahead to what's next."