With the pandemic interrupting live performances around the world, many dance companies are putting extraordinary content online, and much of it is available for free. Usually, full-length productions from major companies are only accessible to people who can afford pricy tickets and travel to large urban opera houses. Now, significant pieces that have influenced thousands of dancers and dancemakers are just a click away.

It's a remarkable chance to explore unfamiliar works and expand your dance horizons. But if you're used to watching shorter dance clips on social media, you might find it challenging to get into a performance that isn't made for the screen. To help you make the most of the resources currently available, we asked three top professionals for their advice on watching dance.

Imagine the Full Experience

When you watch dance on TikTok or Instagram, pretty much everything you see has been made with a camera in mind. But that's not the case when you're watching a live performance that's been filmed. The choreographer and other artistic creators envisioned their work for a live audience. So try to imagine what it would be like to be in the theater. Picture the lights going dark, and the energy of the cavernous space changing as the curtain rises. (It might help to dim the lights wherever you are in real life.) Can you feel the thrum of the live orchestra? Can you hear the dancers breathe, and the sounds of their footfalls?

Look at the Entire Production

A live performance is about more than perfect dancing. As dancer Jordan Pelliteri of Nederlands Dans Theater 2 (NDT2) notes, most professional choreographers are really trying to say something about the world with their art. See if you can figure out what the dance itself is trying to express. How are the lighting, sets, and costumes contributing to the overall feeling of the production?

Elisa Clark, who's danced for Mark Morris, Alvin Ailey and many others, suggests you consider "the arc of the whole dance, energetically." Notice how the choreographer uses space, unison, and facings to produce an effect. Ask if there's a story. If there is, how does each movement phrase contribute to the narrative? If there isn't, what other choreographic throughlines do you see? Brandon Cournay, a member of Mark Morris Dance Group, recommends looking for motifs (signs, symbols, or patterns) that reappear throughout a dance.

Focus on Specific Dancers

The world-class dancers in these performances will inevitably impress you with their technique—but they can also teach you a lot about artistry. "In professional dance companies, everyone is amazing, and yet usually you're still drawn to a favorite," says Clark. "What is it about their performance that's captivating you?" Analyze how that standout is interpreting each phrase.

Pay special attention to the in-between moments. When Pelliteri first saw videos of Nederlands Dans Theater years ago, she was blown away by the way a single dancer managed to infuse every part of her body with energy as she moved through each step. Cournay feels similarly. "There are high leg extensions and virtuosic moves in the professional world," he says, "but what about the transitional movements?" What does the dancer do before and after the hyperextended line that makes your jaw drop?

Be Curious—and Act on Your Curiosity

Clark, Cournay, and Pelliteri all agree that curiosity and research are critical to taking your dance viewership to the next level. If you want to fully understand a production, explore the context in which it was made. Find out when the dance was created, and what else was happening in the world at that time. Many famous choreographers also worked for other big names in dance; who may have influenced this choreographer? When you're drawn to a particular dancer, find out where they trained, and see if you can learn more about what helped them develop into the artist you see on the screen.

If possible, get your information from the sources themselves. Clark suggests looking up interviews with the dancemaker and/or dancers to learn more about what went into the piece. (Right now, many interviews are also available online.)

Bring It Back to Your Body

Want to take your engagement with online dance a step further? Try learning some of the choreography you're watching. A lot of professional jobs will ask you to pick up repertoire from a video, something Cournay said he didn't know to expect when he first started his career.

Find a dance online that you enjoy, and see if you can learn one small phrase from the work. (Safety is key here, so if you're not sure what choreography is appropriate for your environment or skill level, ask your teacher.) You might not have space to do big moves full-out, but as Clark notes, sometimes the simplest things are the hardest to do well onstage. This is a great time to figure out how to stand with your whole body energized, express meaning through every part of a small gesture, or find the performative power of focusing your eyes.

Think like a professional. Developing every moment of your dancing will help you become a more complete artist. Channel the beautiful performers you've admired onscreen. Imagine yourself on that big proscenium stage.

Everyone knows that the best day of the year is when your ballet teacher lets you take class with "fun music." And now that we're all taking ballet class in our own homes, every day can be "fun music" day. Practicing pliés? Put on some Post Malone. Attacking allegro? Ariana Grande is the answer. To help you soundtrack your at-home class with style, we rounded up nine of our favorite combo-ready pop songs.

Pliés: "I'm Ready" by Sam Smith and Demi Lovato

If you're feeling less-than-motivated, here's the perfect song to kick off your at-home class. Nobody can resist the power of Sam Smith AND Demi Lovato—and the strong beat on this track is perfect for your plié combination.

Tendus: "Adore You" by Harry Styles

We'll take any excuse to listen to Harry Styles, and this song's beat is easily countable and just the right tempo for tendus.

Frappés: "The Bones" by Maren Morris

On the flip side, this song is all about syncopation. Challenge yourself with some syncopated movements: Can you vary the rhythms of your frappés to match Maren Morris's singing?

Fondus: "everything i wanted" by Billie Eilish

This track by Billie Eilish is perfect for smoother steps, like melty, gooey fondus. Let the fluid feeling of the song inform the fluidity of your movement.

Ronds de Jambe: "Circles" by Post Malone

That title is basically begging you to do some ronds de jambe, right? Okay, maybe we're stretching it, but whip out some ronds de jambe en l'air as Post hits the chorus, anyways. Musical perfection.

Adagio: "Lose You to Love Me" by Selena Gomez

This song by Selena Gomez was basically made for your at-home adagio combination. Slow things down with the help of this beautiful ballad, and focus on holding your extensions allllll the way to the ends of Selena's high notes.

Turns: "Don't Start Now" by Dua Lipa

Oh, you're practicing pirouettes? Do a "full 180" with the help of pop diva Dua Lipa. The boppy beat of this recent release will have you picking up the tempo on your turns.

Petit Allegro: "Stupid Love" by Lady Gaga

It's pretty much impossible not to jump up and down when you hear Lady Gaga's latest hit—so jump right into some changements and échappés.

Reverence: "Intentions" by Justin Bieber

Ballet class at home doesn't mean you should skip reverence! Use this slowed-down track by Justin Bieber to accompany your end-of-class curtsies, and celebrate yourself for following through on your "Intentions" to take class.

Hello, all you members of the great Dance Class of 2020. With the world on lockdown, this hasn't been the graduation season you expected. You likely weren't able to go to prom; your commencement ceremonies have probably been delayed or canceled; and you might not have been able to take your planned-for final bow onstage.

Since you're missing out on so much, we'd like to give you a virtual ovation, to recognize all you've accomplished. And what's the highest honor we can bestow? The cover of Dance Spirit!

Here's the plan:

• If you're a high school or college senior dancer, use this form to submit your information and dance portrait.
• Each day during the month of May, we'll create a digital Dance Spirit cover starring one of you, chosen at random—31 covers in total.
• At the end of the month, we'll create a "commencement video" featuring even more of your submitted dance photos.
• 100 of you, selected by lottery, will also receive free one-year subscriptions to the print magazine.

Merde, 2020 graduates, as you dance your way into the future!

High School and College Senior Dancers: Submit Your Photo Here

Quibi, the app devoted to short-form TV shows, seems 100 percent invested in fun dance programs. Their latest dance-centric show, "Floored," is hosted by none other than YouTube star Liza Koshy—and it's not like any dance competition you've seen before.

Half of the show's premise is pretty basic: Two dance teams compete routines in front of a panel of judges. But the other half is WILD: The teams perform on a floor that moves, shakes, and spins in time to the music, and face obstacles (read: giant moving objects designed to knock them off their feet) when they least expect it. So while getting Koshy's approval may be the main goal, just managing to stay upright is another pretty big challenge.

These dance crews won't even know what hit them.

Watch the first three episodes of #Floored, hosted by @lizakoshy, NOW on #Quibi: https://t.co/GBumk6KD5f pic.twitter.com/CVqLwuJGd9

— quibi (@Quibi) April 27, 2020

As an added bonus, Koshy will be joined each week by a next-level lineup of guest judges, including Dance Spirit faves like Maddie Ziegler, Janelle Ginestra-Adams, Adam Rippon, Matt Steffanina, and more.

The first three episodes of "Floored" are available now on Quibi.

Since the outbreak of COVID-19, you've likely been introduced to a whole new world of virtual dance training.

From Zoom classes with your studio to Instagram lives with your favorite dance celebs, there are more ways than ever to get your training in at home.

And while these options are great solutions for this unprecedented time, none of them replace the training you get in-person at your home dance studio, says New York City Dance Alliance founder and executive director Joe Lanteri, who recently launched NYCDA's #StudioSpirit campaign to highlight how dance studios are continuing to inspire their students at home.

We talked to Lanteri about virtual training, the future of dance post-COVID-19 and why your dance studio community is more important now than ever:

Why online training isn't a replacement for in-person training:

"As great as it is to be able to take a ballet barre with Tiler Peck or Misty Copeland or learn a piece of choreography from some Broadway legend, that doesn't change the need to have a strong sense of community, loyalty, accountability and responsibility to your core training at your home studio.

The most important thing you can do for yourself is make sure you're a part of a network. Everything is about the team and the ensemble and how that unit works together. Right now, you can't go to your studio, but those are still the people who are there to support and nurture you—both your teachers and your fellow dancers. You want that in your life. You don't want to feel isolated and removed from those people. This whole situation we're in right now is already isolating enough without letting go of that piece of it."

On practicing self-care while social distancing: 

"With the content that is out there, there is opportunity to create your own daily routine. Dancers thrive on that sense of discipline and commitment to a schedule. Right now, it really is important to think about your mental health in terms of staying positive. Remain hopeful, realize that this is going to end and rely on the resiliency that dancers innately have as part of their DNA. When you're challenged by the isolation that we're all feeling right now, rely on your community—your friend, mentors, parents, family and teachers. Realize that we're all going through this together."

On the future of dance training:

"I think training as we know it may be forever impacted by this experience. It will be interesting to see where online training will fit into the future landscape of dance. I think there was a time when any purist would define dance class as showing up at your 'dance temple' and taking class there. There was a time when people would not embrace the idea of taking class online. We've all been forced to accept training in a different way. It will be interesting to see where this lands in the future of dance. I think it will find its place."

On how the dance community is evolving:

"I think the concept of community remains an enormous part of the DNA of dance. Gathering to dance will always be the most important thing that we do, and we will always be naturally drawn to that part of it. However, I think about how dance is going to transcend geographic boundaries. That, to me, is one of the most exciting parts of this. There will be no limits. Dance teachers can share their information with the world. The only limit is your internet connection.

We have to focus on all the things we do have. Dance is a gift. There is always something to be grateful for. That brings promise, positivity, and excitement for putting this behind us and moving into the future."

Talia Favia has had the kind of career contemporary choreographers dream of: She has worked on several competitions and conventions. She choreographs videos that regularly garner hundreds of thousands of views on YouTube. She creates standout contemporary pieces for "So You Think You Can Dance" and "Dancing with the Stars." She has her own LA-based contemporary dance company, The Difference Between. And Favia isn't slowing down—if anything she's speeding up, choreographing more works and deepening her own creativity. Follow her on Instagram, @taliafavia, to see where and when her works will next be performed. —Cadence Neenan

"Be patient. We live in a world where everybody wants instant gratification, but I'm a big believer in that if it's supposed to happen, it will. I know it can get defeating, but you just have to keep creating."

"If something you created has resonated with even one person, that's the most inspiring thing as a choreographer—there's nothing more fulfilling or inspiring than that. If my voice can do that for others, that's enough inspiration to keep me going."

"I'm obsessed with Crystal Pite. I can pretty much watch her work or listen to her speak for hours on end."

"I get nervous every single time I choreograph something. It could be a 40-second combo, it could be a solo, it could be a full piece—I'm just nervous. I have to let my instincts tell me what to do, or else I overthink everything—each move to every lyric, where I want to go, the message I want to say."

"My work tends to be athletic. It involves a lot of strength, though that's never my intention. I'm just doing what comes naturally to me, what comes out of my body. I'm not sitting there and saying 'How can I make this really hard?' There's no thought of trying to make a cool move. It's who I am, what I do."

"My goal in my work is to communicate with people. I want every single human to be able to relate, whether it's my 8-year-old niece or a professional dancer."

"I think this past season of 'So You Think You Can Dance' was the first season I was really proud of myself. In past seasons, I've left feeling like I could have done better. But this season, I got to do 'Amen,' which I've been trying to get on the show for two years. I first submitted it as a duet, but Mandy Moore suggested that I think about it as a group piece. I left that meeting thinking, 'No, I don't think it could be a group, no way.' But then all of a sudden, this season, when they told me I had the three boys, everything in my body suddenly knew it should be 'Amen.'

"It truly does take an army. It's not just the work—it's the dancers, it's the lighting, it's the producers, it's the assistants, it's everything. When all of those things finally come together, you just feel this insane amount of gratitude."

"You don't need the best dancers in the entire world, you don't have to hire the 'right' person. The room you create your work in is a really sacred space. It's important to have the right people in it. Trust your instincts."

Knowing exactly what dancers need is nothing new for Dream Duffel. For over ten years now, they've been making innovative and ultra-convenient duffel bags that have become dance competition staples, and that seem to predict every detail that a dancer or dance parent could ever want out of such a bag.

So it's no surprise that Dream Duffel's latest venture—a dancewear line called X Body by Dream Duffel—was built with a dancer-first focus that's sure to make it a wardrobe must-have. (And lucky for you, we're giving away the whole line!)

Made by a team of designers who are dancers and dance educators themselves, the line of dance fundamentals—bras, leggings, joggers, tanks and tees—will cover every player in the business, including teachers and parents.

Suitable for class, rehearsal, performance and everyday wear, the X Body items come in sleek shapes and colors. "We wanted there to be an option between classic black and a pop of color," says Dream Duffel's Kia Hill, who is also a dance educator. The line's quality is as durable and top-notch as its duffel bag predecessor, at a reasonable price point. "It's a luxury item, but it doesn't break the bank," says Hill.

The X Body line was inspired by dance education—specifically Bartenieff Fundamentals, which posits that all movement stems from the body positioned as an "X," and that by sequencing through the body, we can move with more ease. The designers at Dream Duffel channeled this concept to create a line that emphasizes connection and support. "We wanted to design something that was going to aid movement and help the body express what it needs," Hill says.

But this idea of support goes beyond just creating quality dancewear that will allow dancers to move their best. For Dream Duffel, it's also about products that truly work for everyone—every body type, every gender. (Even the product names emphasize the focus on inclusivity, from the Harmony Tank to the Unity Joggers.) "At Dream Duffel, we all come from completely different backgrounds," says Hill. "It doesn't matter who you are, this is open, and this is for you."

X Body's clean and clear silhouettes make it the perfect option for dance studio dress codes for all genders, but its products aren't limited to the studio or classroom. Hill says X Body's leggings and tops have been a stage-ready look for her students at competitions, and the high-quality fabric doesn't become sheer under stage lighting. Plus, the "x" logo is just subtle enough to not distract.

Whether onstage, in the classroom, or out and about, Dream Duffel hopes the X Body line is a boon to dancers' confidence—especially for those students whose bodies are changing, and who need dancewear that can grow with them. "We want them to feel like they're loved and they're worth it," Hill says.

And that goes for parents and teachers, too. "One of the hardest things to do as a parent or teacher is to invest in yourself," she says. The X Body line is well-suited for parents going from workout to carpool, or dance teachers who need a consistently professional and comfortable look. "We're striving to take care of everyone," says Hill.

Enter for your chance to win all the X Body products here.

Dream Duffel has a brand-new activewear line called X Body Apparel—and we're giving away all six items to one lucky winner.

Enter here by May 31 for your chance to win a head-to-toe wardrobe makeover—complete with leggings, joggers, bra, tank, and tee.

The phrase "social distancing" implies isolation—and yet, during this period of social distancing, the dance community has created so many beautiful displays of togetherness. Here's one of our new favorites: Bolero Juilliard, a 10-minute video featuring 100+ Juilliard students and alumni dancing and making music at home, alone but also not alone.

The montage features direction and choreography by Larry Keigwin (the choreo is an adaptation of his ever-evolving Bolero project) and associate Nicole Wolcott, and is set to a reimagining of Ravel's famous score conducted by David Robinson. And the performers? They're dozens upon dozens of current and former Juilliard dance, music, and theater students. You'll see some familiar dance faces in the crowd of Zoom squares, including Andrea Miller, Bobbi Jene Smith, and Bebe Neuwirth.

The logistically complex project was a labor of love. "The creation of Bolero Juilliard involved each musician, dancer and actor rehearsing live on Zoom and then recording their own individual part," Juilliard president (and dance icon in his own right) Damian Woetzel said in a statement. "In the end, more than 500 video clips and over 150 audio tracks were edited and synchronized. Through collaboration on a group project we connected as a community, with more than 100 students and alumni participating, all creating together, even though we are all apart. We thought about what the students are missing—their day to day cross-pollination and the camaraderie of our New York City campus life—and we wanted to create a space for that sense of belonging to exist in today's online world."

We're thrilled to be honoring members of the great Dance Class of 2020 on special digital covers. One new cover star will be revealed every day during the month of May. Take a look at our winners so far below—we'll be updating the list daily. And if you're a 2020 high school or college dance senior, enter here from now through May 31st for your chance to be on the cover!

May 1: Jessica Thompson

From the most famous choreographers to the newest of dance newbies, we're all going through the same pandemic-related struggles right now. So, how are the pros coping with it all? To find out, we're doing an interview series, #SocialDisDancing, in which we catch up with some of your favorite dancers to see how they're step-ball-changing their way through this unprecedented moment in dance history. This week, we chatted with VMA-nominated choreographer, teacher, and L.A.-based dance on camera extraordinaire, Galen Hooks.

(Be sure to check out Galen's takeover of our Instagram tomorrow for an inside peek at her day in the #SocialDisDancing life.)

Where are you currently social distancing?

I'm at my home in L.A. with my husband. We both typically work from home anyways, so fortunately this has been a change of lifestyle that we've been able to manage. It's been extremely busy, but we have the luxury of having time and mental space to dedicate to helping other people.

I've been quarantined since March 16, even before they issued official stay-at-home orders in L.A. I have family that work in the healthcare field, so we've been taking things very seriously and erring on the side of caution.

What were you up to right before social distancing was advised?

I was prepping to direct a music video, I had a TV show I was working on, and I had an artist that I was doing promo work for, in addition to my teaching that was scheduled throughout the rest of the year. I had just announced summer class dates in both Europe and the U.S. Like everybody else, everything got derailed at once. Fortunately though, I've been teaching from home, and I've really enjoyed building a new kind of student community online.

What have you been up to while social distancing?

Well, the beginning of this feels like years ago. I spent the whole first week trying to set up my livestream classes, which was really labor-intensive. I'm not sure if people realize how much work it takes. My husband and I both spent a lot of time researching platforms and best places to film. But once we cracked that code, the following weeks became much easier.

I did a couple classes on Instagram and a YouTube Live class, but I really wanted to make sure that everyone that was tuning into my class chose to be there, and carved out the time for it—so I ended up taking my classes off those platforms. Now my virtual classes feel really at home and as close to a real class as possible. My teaching style isn't any different. It feels incredibly focused.

In terms of a routine, I've never had one. The first week or so, I was very active and working out, taking people's classes. There was definitely an excitement each day to do certain things. Fortunately, every day I have something that I'm working on, which gives me at least a bit of structure. For example, I've been setting up several charity events to raise money for the Actors Fund, so my whole week is spent preparing for each event. I've really been focusing my energy and time around what I can do to help other people.

Have you picked up any new social distance hobbies?

This isn't outside of dance, but I've always missed tap dancing. It was a huge part of my childhood, and I did it almost every day as part of a company. As an adult, I've always lamented not having time off to get back into it, so being able to again was so exciting. Anyone can try whatever they want with no pressure right now, which is so great.

How do you think the dance world will change once this is over?

I think this pandemic has revealed how much pressure the dance community specifically feels like its under to pump out content. The fact that people are willing to sacrifice their civic duty of staying home to make that content concerns me a bit, when I think about what things will be like after this. There's going to be even more of a push for people to do things, and I imagine an overwhelming wave of people pushing their brands. I definitely want to continue offering virtual classes to people who can't come to the cities I teach in. It's certainly a positive that everybody can have access to the teachers they want to take from. But, I'm hoping that it doesn't overshadow the great instruction that students can get from their local studios.

Right now, the least I can do is teach from home and not break any rules, because it's not fair for me to go to a dance studio with a videographer and fancy lights when other teachers are trying to use Zoom in their living room. If everyone in L.A. set that example, I think it would help show solidarity with the local dance studio community. L.A. in particular sets such a high bar for the rest of the dance world, so I think it's important that if we continue to have this much virtual dance content, that we create it thoughtfully, and don't jump the gun. We're all in this together.

Who's the first person you want to see after social distancing?

My whole family.

First dance class you want to take or teach?

I can't wait to rent a space and do something for all of my Galen Hooks Method alumni.

First place you want to go?

The beach!

Any last words of advice for your fellow dancers?

In terms of all the classes being offered, just take advantage of how much your heart feels good about. Know that resting and relaxing and recovering and finding new interests also changes you for the better as an artist. There's nothing lazy about that.

TikTok is famous for turning young talents into household names. The app is also full of black American culture: the music, the movements, the swag. In fact, the creators of two of the most popular dances on the app, "Renegade" and "Savage," are black. Meet four talented black dancers who are using the platform to share their moves with the world­—and, along the way, attracting devoted fans.

Kendra Oyesanya (@MizzKO)

@mizzko

Just when you thought I was savaged out 😂 This ##SavageRemix tho 🔥 ##beyonce ##dance ##savagechallengrDc: @naenaetwins 💕🙌🏾

♬ Savage Remix - Megan Thee Stallion

Kendra Oyesanya is the hip hop dancer we all want to be: musical and dynamic, with the charisma to make the most challenging choreography look easy. She wasn't always so confident, though. "I used to be really hard on myself, and it affected my confidence in a huge way," says the Oklahoma City, OK, native. "But I realized I was the only one holding myself back."

She's since learned to believe in her talent—and, not coincidentally, so do some 340K followers of her TikTok account. Now, she's pledging not to let anything hold her back. "I am not the typical dancer, nor do I look like one," she says, "but that's what makes me unique."

Quickfire Questions

Favorite song to dance to rn: "Cool Off" by Missy Elliot
Favorite TikTok trend: #SavageChallenge
Dancer she looks up to: Chris Grant

Derrell Underwood (@dancemachine45)

@dancemachine45

Did I hit every beat? ##dance ##hiteverybeat ##foryou ##fyp

♬ Lïl pëêp - peachybbg721

You know the one friend who seems to be good at literally everything? Well, dancing machine Derrell Underwood is the TikTok version of that friend. He's got a killer arsenal of dance moves (a mix of swaggy grooves, intricate arm-ography, and punching Boogaloo poses); his video editing skills­ are impressive; and he even has real acting chops. You could think of him as a Renaissance man in the digital creator world—except he's too humble to admit it. "It's still unbelievable to me how much my fans like my content," Underwood says. "It's them that I love most." Something tells us his more than 700K followers on TikTok would argue the feeling is mutual.

Quickfire Questions

Favorite song to dance to rn: "Drew Barrymore" by Bryce Vine
Favorite TikTok trend: #BoredInTheHouse
Dancer he looks up to: "Honestly, my friend Brian Johnson, whom I've known since 10th grade."

Shayné and Zhané Stanley (@naenaetwinsofficial)

@naenaetwinsofficial

That walk at the end tho 🤩 dc: @mayahdance10 🔥 ##icemeout @kashdoll ##dance ##naenaetwins ##twins ##icemeoutchallenge

♬ original sound - nicolelaeno

There's something truly special about the Stanley twins, Shayné and Zhané. Sure, they can execute choreography at lightning speeds in perfect unison. Sure, they have beautiful extensions on the right AND left sides. And sure, they radiate a positivity that could make even Eeyore break a smile. But what really sets them apart is their versatility, which they attribute to their training. "We started dancing very young with the help of our mother's nonprofit organization," say the 25-year-olds, who live in L.A. "Our mother saw how gifted we were and decided to put us in local classes, where we trained in hip hop, ballet, and jazz."

Once the twins started posting videos of themselves dancing, their fanbase grew, and they've now amassed almost 300K followers on the platform. For these ladies, it's safe to say this is only the beginning.

Quickfire Questions

Favorite song to dance to rn: "Savage Remix" (feat. Beyoncé) by Megan Thee Stallion
Favorite TikTok trend: #PutAFingerDown
Dancer they look up to: "We look up to each other!"

Since the dance world changed overnight due to COVID-19, we've been bringing you constant content on how our community is adapting to the pandemic—from following dancers who are #SocialDisDancing to asking the experts for tips on taking class at home.

Now, we're launching Dance Media Live!, a curated class series with everything from ballet to Pilates to cardio to jazz, featuring some of our favorite teachers.

So join us on Zoom, Tuesdays and Thursdays from 1-2 pm ET, beginning May 7. Classes are $10 each.

Sign up here, and see the full class schedule below:

May 7: Improving Grand Allegro with Hiroto Saito

Join Ballet Jörgen ballet master Hiroto Saito for a ballet barre designed to support your jumps—including a special strength-training session to help you build jumping power when you're not able to jump at home.

Sign up here.

May 12: Cardio with Jaclyn Baker

Professional dancer-turned-bodybuilder and International Federation of Bodybuilding and Fitness Olympian Jaclyn Baker will lead a 30-minute cardio sweat session, focused on increasing stamina. Suitable for all fitness levels and ages.

Sign up here.

May 14: The Dancer's Workout

Join Jules Szabo, founder of The Dancer's Workout, for a dance fitness class targeted to dancers and incorporating ballet, jazz and contemporary dance.

Sign up here.

May 19: Jazz and Q&A with Courtney Ortiz

Courtney Ortiz, owner of Impact Dance Adjudicators and a professional dancer, teacher and competition judge, will teach a jazz class designed for small spaces geared towards intermediate/advanced dancers and teachers. The class will be followed by a Q&A session with Ortiz, where participants can ask her advice on a professional dance career.

Sign up here.

May 21: Ballet with Philip Neal

Philip Neal, dance dean at the Patel Conservatory and artistic director of Next Generation Ballet, will lead a ballet technique class, mostly consisting of barre work. The former New York City Ballet dancer will focus on lightness and speed.

Sign up here.

May 26: Intermediate Contemporary with Melissa Rector

Join Melissa Rector, assistant artistic director of Koresh Dance Company, for an intermediate contemporary class focused on groundedness, breath, body percussion, stylized gesture and quick transitions.

Sign up here.

May 28: Intermediate Pilates Mat with Elizabeth Lowe Ahearn

Elizabeth Lowe Ahearn, dance professor and founding director of the Pilates Center at Goucher College, will teach a Classical Pilates mat class designed to improve stretch, strength and control.

Sign up here.

June 2: Ballet with Timour Bourtasenkov

Join Cary Ballet Conservatory faculty member and Youth America Grand Prix judge Timour Bourtasenkov for an advanced/pre-professional level ballet class.

Sign up here.

June 4: Contemporary Jazz with Natalie Stys

Natalie Stys, a New York City-based dancer and choreographer, will teach a contemporary jazz class designed to push students to cultivate their artistic voice. Class will include a conditioning-focused warm-up, guided improvisations and a combination with influences from hip hop, jazz, ballet and theater.

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June 9: Vogue Femme with Gay Men's Dance Company

Join Gay Men's Dance Company member Tony Tran for an open-level vogue femme class.

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Jamar Roberts is an Alvin Ailey American Dance Theater icon. He's danced with the company for more than 15 years, and at 6' 4", he cuts a powerful and immediately recognizable figure onstage. As a choreographer, he is prolific, passionate, and political—his most recent, instantly iconic piece for Ailey, Ode, is a meditation on the fragility of life in the age of gun violence. Though several of Roberts' planned premieres have been postponed because of the COVID-19 outbreak, we can't wait to see his works performed again. —Cadence Neenan

Hello, young man,

First, I would like to say that I commend you for being smart enough to build all those walls around your little heart, to protect you from the pain and shame of all that you have endured. Just know that the walls cannot stay there forever. When you are older, I ask that you do your best to gently, gently, start working at bringing them down. It will be essential to your overall health, and will assist you in experiencing life and love more fully.

I know that you have felt the bitter sting of abandonment from the ones you love, but do not let your heart grow callous, do not be afraid to let your heart love the things that it loves. That includes dance. Dance is your gift. Use it as a way to heal, or at least as a way to feel good! As long as you do, it will not abandon you.

The power of dance is so much bigger than that of the dancer. It is a divine act of generosity, and it's what you have to contribute to making the world a better place. No matter the wreckage, persist, persist, persist. I promise you that the hard work will pay off.

Continue to quietly observe the world. Know that your silence is golden, not awkward. One day you will create worlds of your own that will act as mirrors, reflecting the beauty of humanity back onto itself. Keep your heart and eyes open.

Love,

Jamar

There are do-it-all dancers, and then there's Tiler Peck. The New York City Ballet principal is also known for designing dancewear with Body Wrappers, curating (and dancing in) the BalletNOW series at The Music Center in Los Angeles, and teaching daily Instagram LIVE classes during the COVID-19 pandemic. She can now add another accomplishment to that list: she just co-wrote a children's book.

Peck's book came about through another side project: starring in the Degas-inspired musical, Marie. Originally titled Little Dancer when it premiered at The Kennedy Center in 2014, the show introduced Peck to her co-star and now co-author, Broadway and television actor Kyle Harris. When they reprised their roles last spring in Seattle, they decided it was the perfect time to create their own characters on paper. The resulting children's book, Katarina Ballerina (Simon & Schuster, $16.99), for kids ages 8–12, is officially out May 5. But it's set to become a series, following the duo's own little dancer as she navigates her ballet training along with her trusted dog Lulu (who looks an awful lot like Peck's own dog, Cali).

Ahead, Peck shares how she and Harris teamed up to create Katarina Ballerina, and the book's lesson that Peck unexpectedly found herself in need of following her injury last year.

How did the idea for the book come about?

When Kyle and I were doing Little Dancer in DC, we started writing a little rhyming picture book called "Katarina Ballerina"—it was kind of inspired by my character in the show, and what Kyle saw when he was watching me dance. And we thought, "This is actually pretty good. Let's try to make a picture book."

We went to Simon & Schuster, and they were super-interested, but they thought it could possibly be a children's chapter book. We were like, "Uhh, okay, that's going to be a little more work than we thought." But we took a stab at it. Writing was one of my favorite subjects in school, and Kyle is a great writer— I think he learned a lot from the screenwriters on his television show, Stitchers.

I am very proud of the book and excited for people to read it. Even though it's coming out at a really difficult time, I think it's going to bring smiles and hope in this time of uncertainty.

What was the collaboration process like?

Kyle is based in New York City, too, but we did most of our writing and drafting when we were in Seattle recently for Marie. We had a little rhyme that we based the book off of, but we never made a picture of Katarina. It wasn't until the illustrator, Sumiti Collina, sent us the drawings that Katarina really came to life. Sumiti is based in Italy, so we actually never met face-to-face. We'd make tweaks and send drafts to each other. I had to make sure all of the ballet positions looked right. I was really adamant that something like passé, for example, was technically correct. At one point, they had her in ballet shoes, and we really wanted Katarina in Converse because we wanted her to be different. I love that she has a little tutu with Converse.

Katarina's dog Lulu looks a lot like your dog, Cali. Was that intentional?

The doggy, Lulu, definitely resembles her. I was really set on Katarina having a dog because Cali is such a big part of my life—she comes with me every day to ballet. I even sent photos of her to Sumiti.

Are any parts of the book based on your own experiences?

We put a little bit of both of us in Katarina. She's a little pigeon-toed, like Kyle. There's a lot in the story about not comparing yourself to the image that you think is perfect. Because really, nobody is perfect.

Even I have to tell myself the lesson that I hope people get from the book, which is owning your own gifts. There are so many dancers that I could look at and say, "Oh, she has more extension than me, or better feet." But I feel like I have something else. And Katarina might not have as much turnout as the other girls, but she has that thing that you can't teach—that light from within that makes people want to watch a dancer. Once you find out how to use the gifts that you were given to the best of your ability, you can the best version of yourself.

How have you gotten past moments of self-doubt in your career?

I suffered a major neck injury recently, and it was a really hard time for me. I was told I was never going to dance again, and that if I were to get hit onstage, the impact could affect me ability to walk, let alone dance.

I felt a lot of self-doubt after that and needed people around me to help build me up again—my family, my physical therapist, who was with me every single day, keeping me positive. It's hard to get through something like that alone—you need a support system. That was a message Kyle and I really wanted put in the book, too.

Can you tell us what Katerina's next adventure will bring?

We actually just got an email, saying, "Guys, Katarina 2 is due." It's going to center around a character named Ricky. I'm not going to give the story away, but he is someone that Katarina meets through ballet. We want it to be like a pen-pal pact, where Katarina meets people from around the world at an international dance camp, and we dive into these other characters' stories.

One of the most inspiring things to witness over the past couple of months has been the incredible displays of solidarity among dancers and dance companies. None have been left untouched by this crisis, and so many have banned together to help each other out.

American Ballet Theatre's Misty Copeland and her former colleague Joseph Phillips have launched the most recent fundraiser: Swans for Relief. They corralled 32 ballet dancers from 14 countries to film themselves performing Mikhail Fokine's Le Cygne (often referred to as "The Dying Swan") from wherever they're isolating right now. The resulting film strings their movements together one after the other.

Viewers are encouraged to donate to a GoFundMe campaign, which will distribute the money among COVID-19 relief funds at the participating dancers' companies and other arts- or dance-based relief funds.

"Art brings people together to provide a beautiful escape, and ballet in particular is a very unifying experience both on and off the stage, filled with history and imagination," said Copeland in a statement. "The theater thrives on people coming together to experience a performance. Because of the coronavirus, the livelihood and careers of dancers are in jeopardy, and this will continue to have massive effects even after we start to reopen our cities."

The featured dancers in the film include:

• Stella Abrera, American Ballet Theatre
• Precious Adams, English National Ballet
• Nathalia Arja, Miami City Ballet
• Isabella Boylston, American Ballet Theatre
• Skylar Brandt, American Ballet Theatre
• Misty Copeland, American Ballet Theatre
• Monike Cristina, Joburg Ballet
• Ashley Ellis, Boston Ballet
• Greta Elizondo, Compañia Nacional de Danza Mexico
• Nikisha Fogo, Vienna State Ballet
• Angelica Generosa, Pacific Northwest Ballet
• Sarah Hay, freelance ballerina, U.S.
• Francesca Hayward, The Royal Ballet
• Robyn Hendricks, The Australian Ballet
• Whitney Jensen, Norwegian National Ballet
• Yuriko Kajiya, Houston Ballet
• Maria Khoreva, Mariinsky Ballet
• Ako Kondo, The Australian Ballet
• Misa Kuranaga, San Francisco Ballet
• Stephanie Kurlow, freelance ballerina, Australia
• Sara Mearns, New York City Ballet
• Ginett Moncho, Ballet Nacional de Cuba
• Katherine Ochoa, Ballet Nacional de Cuba
• Hannah O'Neill, Paris Opéra Ballet
• Denise Parungao, Ballet Philippines
• Tiler Peck, New York City Ballet
• Tina Pereira, National Ballet of Canada
• Ida Praetorius, Royal Danish Ballet
• Jemima Reyes, Ballet Philippines
• Ingrid Silva, Dance Theatre of Harlem
• Bianca Teixeira, San Francisco Ballet
• Xu Yan, The National Ballet of China

You've been dancing in self-isolation for five, maybe six, weeks now. The novelty has worn off, and you're daydreaming about your long-anticipated homecoming to a studio filled with moving, breathing, sweating humans. If you had to pick what you miss most about the pre-COVID-19 dance world, maybe it's dancing with your fellow bunheads in person, or traveling across a marley floor in one combination (pinch me, was that ever a real thing?), or not having to worry about grand battement-ing into your dog. It can feel like everything about training at home is sub-par.

In an effort to emphasize the positives as we plié in our pajamas, let's consider the silver linings of this less-than-perfect situation. By acknowledging the opportunities at hand for progress and inspiration, we can continue growing as dancers—and dare I say as people—while we social dis-dance.

1. Less reliance on mirrors

For the majority of dancers, training at home looks like taking barre at the kitchen counter or doing center work in a rearranged living room. If you're one of the fortunate few to have an in-home studio, great! But many of us find ourselves training in mirrorless spaces for the time being. While we wouldn't want to train without mirrors forever, dancing without your reflection does have its upside. You have to feel your muscles and placement rather than looking to check in the mirror. Case in point: Have you ever had that teacher who makes the class turn away from the mirror and repeat a combination? There's a method to that madness. Now's your chance to use your épaulement and develop your artistry without the temptation to glue your eyes to the mirror and relentlessly self-correct. We dancers are perfectionists, and sometimes a hiatus from all those staring contests with our inner critic in the mirror is just what we need.

2. No one to follow if you don't know the steps

Even if you are using Zoom to take class with other dancers, virtual class means that it's not so easy to follow along if you're unsure about the combination. (I don't know about your eyesight, but those boxes in gallery mode are awfully small, and, ironically, the larger the class size, the smaller the dancing!) Without a room full of fellow students to watch, dancers can challenge themselves to really learn the steps and the timing on their own.

3. More time to slow down and correct technique issues

When students are at school and dance all day, it may not be as easy to go slowly and focus on technique during class. There are shows to prepare for, challenging combinations to master, and partnering exercises to work on. With more time on our hands as we stay away from the studio—and all its collaborative, communal efforts that can only take place in person—we can slow things down for a time. Been meaning to improve your balance, strengthen your core or work on keeping your hips still during dégagés? Now you can—and at your own pace.

4. The option to dance outside

If you're lucky enough to have a backyard, why not take your next class or improv session out in the spring sunshine? So long as you check to make sure the ground is even, the opportunity to dance outside can bring fresh inspiration and motivation during these challenging days. The outdoors can provide a needed change of scenery, offer new perspective while you dance and allow your imagination to roam freely as you improvise or choreograph. (And why not have fun channeling your inner Isadora Duncan, while you're at it?)

5. The ability to experiment with different teachers

There are opportunities aplenty to learn from coaches, studios and companies that dancers would not have easy access to when everything is business as usual. Dance professionals are live-streaming classes from their basements, posting videos of training routines on YouTube, offering coaching lessons through Skype and teaching master classes on Zoom. Without our regularly scheduled programs to attend, we can branch out and learn from faces and places we can't normally access. And a new teacher might give just the advice or encouragement you needed to hear.

Though training at home would not be ideal in the long-term, it offers us a unique chance to work in new and exciting ways. As long as we reframe our mindsets and focus on the positives, we can leverage this peculiar moment in human history—and dance history—for the best.

New to the competitive ballroom world? Even experienced studio dancers can be a bit confused by the variety of styles on display at ballroom competitions. The National Dance Council of America (NDCA) is the official governing body of ballroom dance in the United States, and it recognizes four dance categories for competition: International Ballroom, International Latin, American Smooth, and American Rhythm. (Outside of the U.S., most people exclusively learn and compete International styles.)

We asked ballroom experts to break down the four major categories, and the dance styles that fall under each one.

International Ballroom (Standard)

International Ballroom, also called Standard, includes five dances: waltz, tango, Viennese waltz, slow foxtrot, and quickstep. With dances that date back hundreds of years, Standard is the oldest ballroom style, developed largely in Europe. Dances in this category are performed exclusively in closed positions, meaning partners are required to stay in contact at all times.

International Latin

International Latin, usually referred to as simply Latin, also includes five dances: cha cha, samba, rumba, paso doble, and jive. Like Standard, Latin developed in Europe before attaining worldwide popularity. But unlike the Standard dances, only the paso has European roots. Cha cha and rumba are both Cuban dances, the samba originated in Brazil, and jive, the fastest of the Latin dances, developed from Lindy Hop, which was born in the USA. "What distinguishes Latin is the sensual connection of a couple," says Latin expert Vlad Kvartin.

American Smooth

American Smooth includes four dances adapted from the Standard category—waltz, tango, foxtrot, and Viennese waltz—and is therefore often confused with Standard. But Smooth allows closed, open, and solo dance movements, creating more freedom in competition choreography. And although each dance shares characteristics with its Standard counterpart, most Smooth dance figures are unique. Standard and Smooth tango, for example, both use the same percussive and passionate expression inspired by the dance's Argentinian roots, but the basic figures have four and five steps, respectively, making the footwork entirely different in each category.

American Rhythm 

The American Rhythm category includes five dances: cha cha, rumba, swing, bolero, and mambo. With the exception of swing, which is native to the U.S., Rhythm dances have Afro-Cuban roots and share a distinctive hip action known as "Cuban motion." While similar hip motion is also found in the Latin category, bent knees differentiate the way Rhythm dancers move.

Swing dance requires a bit more breakdown. "Swing is an umbrella," explains Rhythm expert Natalie Duke-Honkonen. "There are many different styles of swing, depending on the music and what area of the country you are in." From Carolina shag to West Coast swing, there are nearly 20 different versions of swing danced in the United States. East Coast swing is the style most commonly danced in ballroom competitions, often to big band music or old-school rock and roll.

Who Dances What?

While most professionals ultimately specialize in a single category—Kvartin in International Latin and Duke-Honkonen in American Rhythm, for example—many competitors begin by learning all the dances in either the International or American categories. In competition, this is known as International 10-Dance and American 9-Dance. At every competition, "there are the same 19 dances from all over the world, each with their own personality and defining characteristics," explains Duke-Honkonen. It takes a tremendous amount of skill to become a ballroom champion in any one category.

Months into the COVID-19 pandemic, social distancing is still very much part of our reality. What does that mean for two of the most highly-anticipated dance events of the year: the 17th season of summer-TV staple "So You Think You Can Dance," and National Dance Day, planned for September 19th? We caught up with the one and only Nigel Lythgoe—executive producer of "SYT" and co-founder of NDD's host organization, American Dance Movement—to get the scoop on both.

As you may recall from last year, National Dance Day has officially moved to the third Saturday in September. Usually, the big day centers around two large-scale events on both coasts, as thousands of dance-lovers gather to watch performances and perform the official NDD combo together. Like many other annual events, this year's festivities may look a bit different—but only time will tell. "Because it's months away, we hadn't started much planning on it before we went into lockdown," Lythgoe says. "We remain hopeful that it'll happen. The whole idea of the day is to bring people together, but whether that can be accomplished in-person is going to depend entirely on state and federal guidelines come September." But one's thing for sure: "We'll definitely still be posting an official NDD routine. Even if it can't be danced together in person, we'll dance in our living rooms, gardens, yards, on Zoom—wherever we can," he says.

And when it comes to the highlight of our summer TV lineup? Similar news.

"We're scheduled to start shooting the live tapings of Season 17 of 'SYTYCD' in August, but we don't know how many people will be allowed in the studio, and how many live shows we can do, if any at all," Lythgoe says. "It's difficult to project what's going to happen in August, but we can keep preparing for it now." For the time being, producers are sifting through the thousands of video submissions they received during the entry period. The contestants they'd like to see more of will receive a video of a routine that they have 48 hours to learn, perform, and send back to producers. "Once we get all those back, we'll judge participants against each other doing the same choreography," Lythgoe says. "We're not sure yet if we'll narrow things down to a top 10 or 20."

According to Lythgoe, the worst-case scenario would, in fact, still make for some pretty entertaining television.

"I love audience participation and want to keep that alive. So if we can't have our normal competition, another option is to put our past seasons in competition with each other, and have viewers vote on their all-time favorite dancers and dances," he says. "There's a lot you can do in editing with 16 seasons worth of material."

Whatever ends up happening with both "SYT" and NDD, Lythgoe (unsurprisingly) wants dancers to stay at the top of their game. "You're athletes, so just like all the other professional athletes around the world, you have to keep training," he says. "There's so many more classes you can take virtually now, so make the most of that opportunity."

With COVID-19 causing mass cancellations of commencement ceremonies, colleges around the world have had to get creative and improvise remote graduation celebrations. But no one does "creative" like the dance world. We spoke with leadership at some top college dance programs about how they're honoring the class of 2020.

Celebrating Seniors on Social

In the age of quarantine, Instagram has become a major virtual dance hub—so it only makes sense that college dance programs would utilize the platform to celebrate their senior class. Many schools have launched hashtag campaigns recognizing their fabulous graduating classes.

USC Kaufman is also highlighting its graduating dancers further on Instagram with "2020 Tutorials"—Instagram Live classes taught by members of the senior class, held each week on Thursdays.

Reimagining Commencement Ceremonies

Most colleges have already moved their commencement ceremonies online. However, those ceremonies are typically for the entire school, and many smaller departments or programs have taken on the challenge of creating individualized online graduation ceremonies. New York University's Tisch dance department, the Elon dance department, and USC Kaufman are all planning special graduation celebrations for their seniors, to be held on Zoom.

"We plan to host our own virtual celebration including video messages, slideshows and a few surprises," says Jodie Gates, USC Kaufman vice dean.

Final Performances Go Virtual

"For a dancer, no online event can replace the thrill of performing on stage," says Seán Curran, chair of the dance department at Tisch, "But our virtual activities are being designed to maintain our sense of community and to continue our rituals of coming together to honor and celebrate the hard work and substantial achievements of our graduates."

The class of 2020 will always be remembered as special for succeeding and graduating in such challenging times. And seniors, if you haven't yet—be sure to check out how the Dance Spirit team is honoring all your hard work.