When School of American Ballet student Alexandra de Roos was 8 years old, she placed a collection box at her dance studio for others to donate their gently used dancewear. De Roos, now 17, has since turned that single collection box into a nonprofit organization that aims to minimize economic barriers in the performing arts with free dancewear and classes.

De Roos' organization, Peace Love Leotards, has collected about $2,600 of new and gently-used dancewear and $2,000 in grants and donations since formally launching in April. Dancers or studio owners can request items through a form on the organization's website.

"I knew that dancewear was really expensive and that a lot of students might not be able to do the thing that they love because it's cost-prohibitive," de Roos said. "I really wanted to create something to allow people to have the same experience of the love and joy of dance that I've been so grateful to have."

After SAB shifted its winter term online amid the COVID-19 pandemic, de Roos decided to expand Peace Love Leotards. She reached out to dance companies, resulting in partnerships with brands including Jo+Jax, Lone Reed Designs, RubiaWear and Wear Moi.

"To have them be like 'We want to help you with this and we love this idea and what you're doing is amazing,' that was really exciting to me," she said. "It was very heartwarming."

Jordan Reed, the creator of custom dancewear brand Lone Reed Designs, said she has donated seven items to Peace Love Leotards with plans to donate more consistently every quarter. Custom leotards often retail at higher prices, but Reed, a former Houston Ballet corps member, said the one-of-a-kind clothing offers an "extra bit of confidence, which can go more than a long way in a dancer's journey of training."

Paul Plesh, a sales director for Wear Moi in the United States and Canada, said the company donated 11 leotards after finding Peace Love Leotards' mission to be "commendable." Joey Dowling-Fakhrieh, the founder and creative director of Jo+Jax, said dancewear "can make a significant impact on a student's confidence, as well as how much they enjoy the process of learning dance."

De Roos has worked to expand Peace Love Leotards, Inc. rapidly in the past few months, but she first created the organization at eight years old after participating in a mentorship program with competitors in the Miss Florida and Miss Florida's Outstanding Teen pageants. The pageants, which are part of the Miss America Organization, require competitors to have personal platforms they advocate for as titleholders. As a competition dancer, de Roos instantly thought about the cost barriers to dance when wondering what her own future platform would be.

De Roos said she and her young classmates often outgrew nearly brand-new dancewear, so she approached her studio's owner about placing a collection box at the studio.

Barbara Mizell, who owns Barbara's Centré for Dance in Florida, said she was unsurprised by de Roos' proposal. De Roos always had "such a way of pushing herself and she never forgot those around her," Mizell said. As the box filled up, she distributed the dancewear to others at the studio, local schools with dance programs, and the local YMCA.

"When they could start to see that it was providing happiness for others, then it was almost like the kids couldn't wait to donate," Mizell said.

Nearly a decade after the Miss Florida organization inspired her to launch Peace Love Leotards, de Roos is now a titleholder herself, as Miss Gainesville's Outstanding Teen 2020. Her new mission for Peace Love Leotards is applying for grants, and she has already received a $1,000 grant from the Delores Barr Weaver Legacy Fund that will be used to fund a Title 1 school class.

"The whole organization behind Peace Love Leotards is the dancers," de Roos said. "Being able to help the dancers that are in need and being able to think about the dancewear that they're going to be receiving or have received has been truly amazing."

Since the nationwide fight against racial inequality took center stage in May, organizations across the dance world have been looking for meaningful ways to show their support, rather than fall back on empty social media signifiers. July 10–11, Diamante Ballet Dancewear is taking action with Dance for Change, a two-day event dedicated to fundraising for the NAACP, and amplifying the voices of Black professional dancers.

Organized by Diamante Ballet Dancewear's founder, Nashville Ballet 2 dancer Isichel Perez, and freelance dancer Elise Gillum, Dance for Change makes it easy to participate. Dancers need only to make a donation to the NAACP (in any amount) and email proof to diamante.ballet@gmail.com to be given online access to a full schedule of Zoom master classes taught by Black pros artists. Teachers include Ballet Memphis' George Sanders, Boston Ballet's Daniel Durrett, Pittsburgh Ballet Theatre's Corey Bourbonniere, and more. "It's important that we amplify BIPOC voices during this time, and it's also important that we're conscious of where we're putting our dollars," says Bourbonniere. "Diamante is doing both with Dance for Change, and I'm honored to be in this talented group of melanated dancers."

Participants will also receive a 15 percent discount for Diamante Ballet Dancewear and be entered into a raffle. Prizes include a signed pair of pointe shoes from Boston Ballet principal Lia Cirio and private Zoom lessons from three dancers: Sanders, former PBT principal Julia Erickson, and American Ballet Theatre's Zimmi Coker. Also on the docket this weekend are two Instagram LIVE events; Sam Akins will discuss his experiences in the dance world both in the U.S. and Australia, and NB2 member Alia Federico will conduct a nutrition and wellness chat. "The NAACP's all-encompassing mission to promote equal rights and opportunities for people of color is necessary and invaluable now, and has been for over a century," says Federico. "I am so grateful to be supporting Dance for Change in its pursuit to motivate people to donate to the NAACP."

Scroll down for the weekend's schedule, and don't forget to follow along by using #diamantedanceforchange and
#blackdancersmatter.

Friday, July 10

11 am-12 pm EDT: Ballet with Pittsburgh Ballet Theatre soloist Corey Bourbonniere (featuring live accompaniment by pianist Daniel McTiernan)

12-1 pm EDT: Men's Class with Ballet Memphis soloist George Sanders

1-2 pm EDT: Pointe Class with South Valley Ballet's Simone Muhammad

2-3 pm EDT: Dance Cardio with freelance teacher Samantha Barriento

Saturday, July 11

1-2 pm EDT: Jazz with Grand Rapids Ballet's Ednis Gomez

2-3 pm EDT: Ballet with Boston Ballet artist of the company Daniel Durrett (featuring live accompaniment by pianist Daniel McTiernan)

3-4 pm EDT: Conditioning with Dance Theatre of Harlem's Derek Brockington

After classes, head over to @diamante.ballet on Instagram for the following live events and raffle drawings.

5 pm EDT: Nutrition and Wellness Chat with NB2 dancers Alia Federico and Isichel Perez

7 pm EDT: Q&A with guest artist Sam Akins and Isichel Perez

For years, it was hard for competition dancers to find professional jobs that made full use of their technical polish, astonishing versatility, and onstage ease. But recently, some (smart) companies have begun recruiting comp kids, drawn to their adaptability and fearlessness. We've compiled a list of nine companies that are fit for comp queens and kings. Get ready to put them on your audition radar.

Convention Connection

The following companies have deep roots in the convention and competition world, with company founders and directors who not only teach on the circuit, but were also raised in it.

Royal Flux, L.A.

Jaci Royal, artistic director of Royal Flux, says she created her company to be a crowd-pleaser—something that would appeal to the masses. "It's not abstract," she says. "It's work that audiences can relate to, understand, and appreciate. Competition dance is the same way. I provide a place for dancers to continue doing what they've been training in their entire lives." Though Royal didn't design her company for competition dancers exclusively, she always knew they'd be a good fit. "They're able to perform under pressure," Royal says. "They have natural fight in them, and they are hungry. I can trust them to always take our craft to the highest, most physical level."

Soul Escape, Fort Worth, TX

SoulEscape artistic director and founder Justin Giles created his company in part because he was disappointed with the professional opportunities available to him. "I was frustrated that there was nothing out there that was right for me and all the training I had done," Giles says. "I wanted something that would allow dancers to move the way they wanted to." And that's exactly what SoulEscape is: a haven for contemporary movers. Though Giles says he doesn't make a conscious effort to recruit competition dancers, his connections to that scene means they're natural fits for the troupe. "Many of my first introduction to the dancers in my company have come from conventions or competitions," Giles says. "These dancers have exposure to a vast array of creative processes. Studios bring in multiple outside choreographers every year. They're equipped for almost anything."

Shaping Sound

Shaping Sound combines trendy movement with powerful storytelling. And watching the company perform is like looking at a comp-star family reunion: Every artist involved has either taught, assisted, or won at a range of major competitions. Their founders alone (Travis Wall, Nick Lazzarini, Kyle Robinson, and Teddy Forance) practically run The Dance Awards. So, it's safe to say your competition experience and connections will give you a leg up at the audition.

Cutting-edge Contemporary

These concert companies are relatively new to the dance world. They don't require specific training backgrounds—their dancers come from all over—and their reps incorporate a range of styles, making them a potential fit for competition standouts.

BODYTRAFFIC, L.A.

Founded in 2007, BODYTRAFFIC helped bring world-class concert dance to L.A. Its repertoire includes elements of ballet, jazz, hip hop, and modern—and competition dance is one of the few training backgrounds that require you to be proficient in all of these styles. "We need someone who can do it all," says BODYTRAFFIC dancer and former comp kid Jamal White. "There are only seven of us here. Everyone has to be able to do everything." Tiare Keeno, another BODYTRAFFIC member, says her competition-dance background prepared her well for the rigors of life in a small company. "Through the fast-paced convention world, you not only learn to pick up movement quickly, but also how to pick up movement quality and nuances quickly," Keeno says. "At BODYTRAFFIC, I've had to step into many distinctly different roles in very little time. My background has made that possible for me."

L.A. Dance Project, L.A.

Set in the heart of the commercial-dance world, the critically acclaimed L.A. Dance Project combines avant-garde creations with tried-and-true classicism—a line competition dancers already know how to walk. The repertoire is a mix of creations by founder Benjamin Millepied, reconstructions of historic works, and new commissions from up-and-coming choreographers. The company also frequently produces multidisciplinary projects, exploring film and new technologies. Competition dancers interested in being on the cutting edge while maintaining high-level technique should set this company in their sights.

Classic Concert

These more established groups are grounded in classical and modern training, but their contemporary reps are incredibly physical, requiring the full range of their dancers' powers. If you're technically proficient and fearless (as so many of you are), one of them might be right for you.

Complexions Contemporary Ballet, NYC

Complexions dancer Tatiana Melendez first discovered the company while at competition. "I took class with [Complexions co-founder] Desmond Richardson at New York City Dance Alliance when I was 12 years old," she says. "From then on, joining the company was always a goal of mine." Created 26 years ago by Richardson and Dwight Rhoden,the renowned troupe prioritizes diversity in both its dancers and its rep, which blends classical, contemporary, and more. "We even dance to Kendrick Lamar," Melendez says. Pulling off that range of styles requires the kind of confidence that comp kids, with their wealth of stage experience, have in spades. "As a competition dancer, I was always onstage, and I learned self-assurance," Melendez says. "Without competing, I wouldn't have developed the performance quality needed for this company."

Parsons Dance, NYC

Parsons Dance, founded by modern-dance innovator David Parsons in 1985, has a high-energy, high-power movement quality that's an ideal fit for competition dancers. Company standout and former comp darling Zoey Anderson says Parsons values her diverse background, and often uses it in his works—frequently asking her to incorporate her ballroom training into his choreography, for example. "I can contribute so much to new works and processes," Anderson says. "David stays true to his modern influence, but loves to blend it with other dance styles. He loves to see someone with experience in tap, hip hop, ballet, and gymnastics."

Alonzo King LINES Ballet, San Francisco, CA

A draw for powerful, charismatic ballet dancers since its founding in 1982, Alonzo King LINES Ballet—led by King and showcasing his dynamic choreography—offers a home for competition standouts with a classical bent. And as a relatively small ensemble, its dancers dance a lot. When comp alum James Gowan first joined the company, he was asked to learn three different dancers' roles in the same ballet, and says it was his competition background that prepared him to succeed. "My training and efforts in competitions are completely credible in this environment," Gowan says. "The skills I acquired from that training bolstered my professional endeavors."

Hubbard Street Dance Chicago, Chicago, IL

The prestigious Hubbard Street Dance Chicago—which was founded in 1977, and has an impressively wide-ranging rep—is made up of technically adept, versatile performers who aren't afraid of taking risks. Sound familiar? In fact, the company is known for hiring competition stars, including The Dance Awards 2014 Senior Female Best Dancer winner Alyssa Allen and "So You Think You Can Dance" Season 12 winner Gaby Diaz. Hubbard Street also offers a professional training program for dancers interested in exploring the company—the perfect option for competition standouts looking to dip their toes in the concert space.

In the competition world, a small group of musicians has attained almost cultlike status, with choreographers turning to their tracks over and over. We know how we feel about these bangers—there's a reason we can't stop dancing to them—but how do the musicians feel about us? We caught up with three contemporary artists whose music has dominated the competition scene recently, and gauged their reactions to the dances set to their life's work.

Bishop Briggs

When Galen Hooks and Tim Milgram released a class video set to Bishop Briggs' "River," it was instantly clear that the song would become a competition hit. Since then, choreographers at studios around the country have tried their hand at the song (not to mention the rest of Briggs' music), layering their interpretations on top of her smoky pop beat.

On discovering her dance-world popularity: "It's been surreal to find out what people have created out of my music. I'm really active on social media, so when I see dance videos set to my music, I watch them and comment on them. I stalk! I've met people completely out of the blue who've told me they've made a dance to one of my songs. That's the coolest thing."

On making musical discoveries through choreography: "There are so many different beats that dancers pick up on that I wouldn't have thought of as the obvious choice. My favorite thing about the dance community is they're giving my songs new life. My original goal as a songwriter was to make people feel less alone. So the idea that dancers are taking a song and using it as their security blanket—or their reason to let go of that blanket and be fully themselves—it's just every dream of mine."

Watch Bishop Briggs React to a Competition Dance Routine Set to "River"

On choreographers who cut or change the arrangement of her music: "Nothing rings negative to me about making it your own. In terms of changing a song or using a remix version of a song to do a dance to, that's all part of expression and creativity. I think it's really flattering."

On what makes her music so danceable: "I hope there's something about the beats that makes people want to dance. When I'm writing, it's coming from a place of releasing something from my body, whether that's pain or sadness or joy or anger. When I think of dance, it also seems like such a release. Maybe that's what people are drawn to—it's a similar form of self-expression."

Ryan Lott of Son Lux

Son Lux incorporates elements of post-rock, electronica, hip hop, pop, and even classical—an ideal piece of clay for choreographers to shape. Songs like "Change is Everything," "Dream State," and "Cage of Bones" have blasted through competition speakers so often, we all know each detail by heart. Founder Ryan Lott is no stranger to the dance world, either: He collaborated with Travis Wall on Shaping Sound's show After the Curtain.

On discovering his dance-world popularity: "My niece is a dancer, and at one point years ago, my sister told me she kept hearing Son Lux songs at dance competitions. Around that time, my wife, who teaches dance at a university, also observed that auditionees were dancing to Son Lux. Then we started getting requests to use our music on 'So You Think You Can Dance,' and our Instagram started to light up with young dancers moving to our music."

On how he feels about said popularity: "I think it's rad! I appreciate anyone who spends their precious time listening to our music. And there's something even more special to me for those who choose to move to it."

On making musical discoveries through choreography: "Happens all the time! It's one of my favorite things about experiencing choreography to my music. Once it's made, it's no longer mine. Music lives its own life apart from its makers, and watching dance to my music often reveals this truth."

On what makes his music so danceable: "There's an internal dynamism in Son Lux songs that is relatively uncommon in pop songs. And there are relatively few lyrics in our average song—the instrumental aspects are always doing most of the work. I know a lot of choreographers look for these traits when seeking out new music. I'm not a dancer, but I've been writing music for dance—apart from the Son Lux stuff—for a very long time now. There must be something about movement that has made its way into my creative voice generally, even when I'm not writing explicitly for dance."

Jack Garratt

Dancers around the globe gravitated to Jack Garratt's 2016 "Surprise Yourself," with its powerful message, soaring vocals, and intricate beats. Since then, competition studios have created innumerable pieces to a range of Garratt's songs. And Garratt loves the dance world right back. In fact, his campaign for his latest album, Love, Death & Dancing, features eight videos full of him doing nothing but dancing.

On the role dance plays in his music: "Dance is a hugely important part of the reason I make music. It's always been part of my life, and is an important storytelling method. As someone who makes a form of dance music, the highest compliment I can get is to have someone choreograph to it."

On his personal relationship with dance: "I'm not a trained dancer, but I used to dance when I was a kid. I like music that makes me want to move. Moving is such a vulnerable act."

On his dance-world popularity: "I was aware of it a bit, because people tagged me in videos on Instagram, where my songs were being used in dance competitions. They were geo-tagged in different parts of the world that I'd never even been to, let alone known there was an active dance community there."

Watch Jack Garratt React to a Competition Dance Routine Set to "Surprise Yourself"

On making musical discoveries through choreography: "Whenever I watch a performance to a song of mine, it's amazing to see the details in the music I hadn't spotted myself. Jillian Meyers did a duet to a live performance of a song from my first album called 'The Love You're Given.' She and her partner were able to create moments out of lyrics I didn't realize were as poignant as they showed them to be. It was a story I could never have told myself, because it's their story, even if my music is the base of it."

On watching work set to his music: "You have to separate yourself. This is not my song at the moment, it's theirs. It's very important that I'm able to distance myself from songs once they've gone out and are helping other people, or are being extended by people in different ways."

On what makes his music so danceable: "I think the reason people like to choreograph to my music is because there's a deep well of rhythmic information within it. I layer things up with cross-rhythms, counter-rhythms, and syncopated rhythms. I produce as well as write my songs, so I'm creating the sonic world that surrounds them. And I like to consider the 'movement' of a song—how does it exist in a visual space? The easiest way to do that is to think about how people could dance to it."

Ever brought a friend to a ballet performance and spent all of intermission explaining what happened during act one? Yeah—ballet stories can be, uh, complicated. And that's why we're grateful for ballet student Katelyn Powers' #balletplots TikTok posts.

In a series of videos that's been taking over ballet TikTok, Katelyn explains the (sometimes very weird) stories of classic productions. Beat for beat, she breaks down ballets from Don Quixote to The Nutcracker, featuring herself as narrator, director, costume designer, and performer in every role.

The result? Quirky 60-second videos that are as funny as they are informative. Here are some of our favorites.

"Swan Lake"

@katelyn_power

swan lake story time🤪🩰🦢 ##balletplots ##ballet ##storytime

♬ original sound - katelyn_power

"Sleeping Beauty"

@katelyn_power

sleeping beauty ballet story! ##balletplots ##sleepingbeauty ##ballet ##storytime

♬ original sound - katelyn_power

"The Nutcracker"

@katelyn_power

nutcracker story!!🩰 click here ➡️##balletplots ⬅️ to see the other story videos!! ##ballet ##storytime

♬ original sound - katelyn_power

"Don Quixote"

@katelyn_power

don quixote story time!🩰🤪 ##balletplots ##ballerina ##storytime ##donquixote

♬ original sound - katelyn_power

"Coppelia"

@katelyn_power

Coppelia story time!! ##coppelia##balletplots##ballet

♬ original sound - katelyn_power

"Giselle"

@katelyn_power

giselle story time🤪🩰 ##giselle ##balletplots ##ballet ##storytime

♬ original sound - katelyn_power

Whether through color-specific costumes, classes separated by sex, or the "traditional" view of the roles boys and girls should play in ballet, most dance students are taught that their gender determines their role in the studio beginning in elementary school. And, especially for those struggling with their own gender identity, that can cause harm and confusion. "From a very young age, I did not see myself reflected anywhere in the modern dance field," says trans dancer, choreographer, and activist Sean Dorsey. "There was a really intense message I received, which was that my body and identity don't have a place here."

Despite significant societal progress in regards to gender representation, the dance world has trailed behind, and many transgender and gender nonconforming teenagers still feel lost within the world of dance. Prominent trans and GNC professional dancers are far and few between. "Being a black trans woman means I have to work extra, extra, extra hard, because I have to set the tone for the people who come after me," says Brielle "Tatianna" Rheames, a distinguished voguer.

But the rise of social platforms has given Rheames, Dorsey, and other trans and GNC dancers a path to visibility—and that visibility helps create community and change lives. "Social media plays an extremely big part," Rheames says. "You can't just hide us anymore." Here are eight incredible trans and GNC dancers to add to your own Instagram feed.

Maxfield Haynes

A graduate of New York University and a member of Complexions Contemporary Ballet, Haynes is a non-binary dancer with a talent like no other. Their confident voice has helped create more space for artists like them in the dance world. "I'm most proud of being able to be unapologetically myself throughout my entire career so far, and being met with success," Haynes said in an interview with Dance Informa. "It's not common for somebody who is so unapologetically queer, so unapologetically Black, to be so successful in the dance industry."

Leiomy Maldonado

Maldonado is a trans dancer and activist known as the "Wonder Woman of Vogue." Among her career highlights are appearing on "America's Best Dance Crew," choreographing Willow Smith's "Whip My Hair" music video, serving as a judge on the HBO Max show "Legendary," and choreographing for "Pose." "I love the fact that they take their time [on 'Pose'] to actually educate people on the culture and to show the importance of it," Maldonado said in an interview last month. "I love how they choose to tell the stories and how they choose to celebrate our community."

Hayden J. Frederick

Frederick, originally from Minneapolis, MN, is a GNC dancer well-versed in numerous styles. They've presented work at the Highline Ballroom, Symphony Space, and the Salvatore Peridance Capezio Theatre, among others, and are a popular teacher at Broadway Dance Center in NYC. Frederick strives to create safe spaces in their dance classes, pushing back against industry biases. "In many classes, teachers tend to separate groups by gender—boys in group one, girls in group two—and they offer choreographic choices based on gender," Frederick told Dance Spirit back in March. "However harmless the intention may be, it eliminates the existence of nonbinary folks."

Brielle "Tatianna" Rheames

Finding the ballroom community was crucial to Rheames' self-discovery. "Voguing took my mind off of the hardest things I was going through as a queer youth," she says. "It was definitely a way to liberate myself, help me find my voice, and gain confidence." Today, Rheames is a trailblazer in the industry: She's appeared on "Pose," performed alongside Cher at the Met Gala, starred in Equinox's "Life Is a Ball" campaign, and appeared in Viceland's docu-series "My House," which follows the NYC ballroom scene.

Chase Johnsey

Johnsey is one of the only professional gender-fluid dancers in the ballet world. Currently artistic director of Ballet de Barcelona, he was for many years a dancer with the drag company Les Ballets Trockadero de Monte Carlo, which he left in 2018, alleging a culture of discrimination. Johnsey made headlines again when he performed a female corps de ballet role with English National Ballet later the same year. "When I got to ENB, they wanted me to be myself," Johnsey told Dance Magazine. "Not more masculine or more feminine—they wanted me to be honest. It was liberating, but an artistic struggle."

Sean Dorsey

After starting his career in social justice as a community organizer, Dorsey discovered dance relatively late. But his intense drive and unique vision have set him apart—especially his work with his company, Sean Dorsey Dance. "I'm very blessed to be building and investing in and supporting this community," he says. "I get to have my heart and my artistic self and my batteries recharged by witnessing all of this amazing trans and GNC and queer artistry."

Darling Shear Squire

In 2019, Darling Shear Squire made history as the first transgender artist to receive a grant from the Chicago Dancemakers Forum. Shear has had an extensive dance career, working with top choreographers like Bubba Carr and Rhonda Henriksen, and is also a fashion designer and healer.

Scout Alexander

Trans dancer Alexander is one to keep your eye on. Currently a protégé with Inlet Dance Theatre, Scout grappled with his gender identity as a young dance student. "Up until about age 17, I was struggling with having to train mainly as female, because it was the only option I had," he told Pointe. "I wasn't sure if I'd be able to have a career and have this identity, because I had been told that the two couldn't coexist." But he persevered, and is now an activist for trans representation in the dance world.

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

Dear Katie,

I have a huge problem with self-confidence, partly because I studied for too long with a teacher who was emotionally abusive. Now I'm at a great studio with supportive teachers, but I still feel discouraged all the time. How can I get my old instructor's voice out of my head?

—Tiffany

Dear Tiffany,

Oh, how I wish I could tell you there were an easy answer here. To heal, you need time. That said, there are some ways to spur the healing process.

Start by sitting down and writing out a list of your strengths. It sounds silly, right? But it can really help. Put down everything you do well or like about yourself. Do you have nice port de bras? Are you a good jumper? Is your arabesque line gorgeous?

Once you have your list, use it to help yourself reprogram your brain. Every time the doubt creeps in, think of one of your strengths. Remind yourself of what you do well. Over time, replacing negative thoughts with positive ones will help you slowly start to build your confidence.

Most importantly, don't be hesitant to talk to your current teachers about this. Tell them what happened with your old teacher, and explain that you still struggle with self-doubt. It sounds like your new instructors truly care about your health and well-being. They can be valuable allies during this process. Don't be afraid to consult a mental health professional, either. A therapist can help you talk through your feelings and figure out constructive ways to move forward.

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

This week we were back in battle for another set of Duels, and every act stepped on the floor ready to win. tWitch put it best last night: The task of judging two very different pieces of art makes for really tough decisions. Here are some of the acts that impressed the judges.

Josh & Erica

The charismatic duo took a pretty big risk using suspenders as props for this routine, but the results totally surpassed the judges' expectations. Their performance was daring and dramatic, but it was unfortunately not enough to send them to the Semifinals. Instead, the judges opted for contemporary duo Jake & Chau, who wowed them with gravity-defying lifts and intricate partner work.

Géométrie Variable

The trio's mind-melting performance this week gave us all kinds of flipbook and kaleidoscope vibes, and meshed perfectly with Flume's "Never Be Like You." The judges unanimously voted them on to the Semifinals—but all was not lost for their dueling competitors, Oxygen...

Oxygen

tWitch gave this crew a coveted chance at redemption, and they did not disappoint. In "one of the best precision routines on the show," according to J.Lo, the group blew us away with their musicality, coordination, and funkiness. The judges loved the routine so much they were actually upset that this group needed redemption in the first place—a reminder to all the contestants to never hold back with their performances.

Tune in next week as the competition continues to heat up in the Semifinals!

From oversized mouse heads in The Nutcracker to Jabbawockeez masks, most dancers have experience performing with restrictive costumes or headpieces. But as we transition from taking class at home during the COVID-19 pandemic to sharing a studio with others, masks aren't just a costume accessory: They're a necessary health tool.

While masks are not a replacement for other COVID-19 prevention measures that we've been following for months, such as social distancing and practicing hand hygiene, the Centers for Disease Control and Prevention recommends that people wear face masks or cloth face coverings in any public setting or instance where it's difficult to maintain at least six feet of social distance—and that includes the dance studio.

We spoke with medical experts and dancewear manufacturers about what to look for in a protective mask for dance.

Why masks are a must

COVID-19 is mainly spread through respiratory droplets and aerosols that are produced when an infected person talks, coughs or sneezes. Covering your nose and mouth is one of the easiest things you can do to prevent the spread of COVID-19, and keep your fellow dancers safe, says Dr. Nita Bharti, an infectious disease expert from the Center for Infectious Disease Dynamics at Penn State University.

The point of wearing a mask is to protect other people from your own respiratory droplets, says Dr. Charlotte Baker, assistant professor of epidemiology at Virginia Tech. Everyone in the studio must wear a mask, because people can carry and spread COVID-19 without having any symptoms. "The more people wear a mask, the safer everybody gets to be," she says.

Masks are particularly important when you're indoors, because there's less airflow for respiratory droplets to disperse. If you're in an enclosed indoor dance studio, for example, your droplets will essentially be confined to that room, Bharti says. Not to mention, you tend to breathe heavier during physical exercise, which means that you're spreading even more droplets, Baker says.

Keeping your nose and mouth covered throughout a day of rehearsals and classes comes with its challenges, but it's worth it for your long-term health. "Even if you're young and healthy, this virus can do horrible things, with lasting effects that could really have a negative outcome on your dance career," Bharti says.

Find the right fabric

Ideally, your mask should be breathable so you can still exert yourself, but thick enough to stop your respiratory droplets. Baker recommends a simple fabric test: Put your mask on, hold your hand six to 10 inches from your face, and take a deep breath. If you can feel the air on your hand as you exhale, your mask isn't thick enough, she says.

Since your mask will be close to your face for prolonged periods of time, opt for natural fabrics, such as bamboo and cotton, over man-made ones like polyester, says Luis Guimarães, CEO and co-founder of dancewear company Ballet Rosa. The Ballet Rosa masks are made from a blend of bamboo and stretchy cotton, which are natural fabrics that work well at filtering particles while also allowing breathability.

Focus on fit

From a practical perspective, your mask needs to cover your nose, mouth and chin, with no gaps where respiratory droplets could easily escape, Baker says. "The biggest thing is you just want to make sure it fits your face," she says.

Of course, buns and other dance hairstyles can make mask straps awkward. Ballet Rosa offers four masks that have slightly different straps to accommodate different hair needs: one with an adjustable single strap; one with double elastics; one that loops around the ears; and one with an adjustable over-ear drawstring. The idea is that you can choose how to position the mask around your bun and keep it secure throughout your day.

These details matter, because once you have your mask on, you shouldn't fidget with it or remove it. Touching the outside of the mask can cause contamination.

Wash it well

Many fabric face masks that are intended for exercise are treated with antimicrobial agents to ward off germs from your sweat. Bloch's B-Safe face mask, for example, is made from a cotton-polyester blend that's designed to control odor and keep the fabric fresh as you dance, explains Cathy Radovan, COO of Bloch. The Under Armour Sportsmask, another popular pick for athletes, has an inner fabric liner that wicks away sweat and keeps bacteria from growing on the mask.

Even with these special features, it's important to wash your mask after every use, or when it becomes visibly soiled. The CDC suggests machine-washing your mask with regular laundry detergent and warm water, and drying it on the highest heat setting.

Keep your mask in a plastic or paper bag when you're not using it to prevent further contamination. If you dance most days, you may want to have more than one mask so you can always have a clean mask at the ready.

Do a "dress rehearsal"

Exercising in a mask takes practice, just like everything else in dance, Baker says. It's completely safe to cover your nose and mouth with fabric while dancing or exercising, but a little discomfort is to be expected, she says.

Research suggests that masks and face coverings may increase "breathing effort" during exercise, but not to a degree that it would affect your performance, explains Dr. William O. Roberts, a family medicine and primary care sports medicine physician and professor at the University of Minnesota, who's a past president of the American Council of Sports Medicine. "You're not going to have any problems with oxygenation, increased CO2 retention or anything like that," he says.

If you're having difficulty breathing, or if you feel short of breath while dancing, that's a sign that you need a different mask, Baker says. You might want to explore either a more breathable fabric that is still effective or an alternative fit that allows you to get more oxygen, she says. (Keep in mind that wearing a mask or face covering can be dangerous for people who have medical conditions that affect breathing, such as asthma, she says. Talk to your doctor if you're not sure what the best option is for you.)

Kati Simon has worked as a teaching assistant with ADRENALINE Dance for more than four years. Though the convention circuit has been put on pause by the COVID-19 pandemic, in the past, she's had the chance to dance alongside industry notables like Sonya Tayeh, Nick Bass, Sarah Reich, and more. And according to Simon, there's much more to the job than just dancing. As you look forward to your next convention, read about what it's really like to spend a weekend as a convention assistant.

As told to Cadence Neenan

Thursday

Because I've been doing this for a while now, my packing routine is about the same every weekend: dance clothes, a couple of nicer outfits for competition, and, of course, all my dance shoes.

I also do some meal prepping. I usually bring snacks for breakfast, since I'm busy while classes are being held, and I try to bring a homemade meal for dinner, too. I try to pack food since if I don't, I usually only have time to get food from the hotel. Then, I head to the airport.

On my flight, I'll put together the schedules for all of the assistants—I'm the lead assistant, so creating our schedules is part of my job. I try to spread it out so we're all teaching different genres, different levels.

I land in L.A. around 6 pm. Once we get to the hotel, we (the assistants) work with the front desk team to put together the front desk area: the merchandise, the welcome bags, all of that. Once we're finished organizing everything, we try to get to sleep early.

Friday

We start our day at 7:30 am. We usually meet about half an hour before competition actually starts, so we can all talk about what our roles will look like during the day.

For the first part of the day, I'm on awards prep. I sit backstage at the competition and write down the score each routine gets. It can get a little tedious, just because I'm sitting alone in the dark backstage.

After awards prep, I'm on auditing, which is my biggest responsibility. When I'm auditing, I sit with the judges during competition and configure all the awards. I make sure there aren't any mistakes with the judges' scoring, and write down all the stats for competition. There's a lot of pressure, because I'm constantly triple-checking that all of the stats are entered correctly and all the awards are configured correctly.

As you can see, on Friday, I don't actually do any dancing. To be honest, I would say the teaching-and-assisting side makes up maybe 40 percent of the job. A lot of it is running competition—stuff like awards prep and auditing.

For my last shift of the day, I'm on break. I don't always get breaks like this. It depends on the schedule for the weekend and how many assistants come out, since the fewer assistants there are, the more time we have to spend working. ADRENALINE is really good about bringing out extra assistants so we're all able to get breaks. After that, I get to bed early.

Saturday

Saturday morning is the first time the whole team is together, so we run through what the rest of the weekend is going to look like. Then, we open the doors to the ballroom, hold the welcome ceremony, and the convention officially begins!

For the first part of my day, I work with the Sparks, our youngest age group. I teach their very first class of the weekend, which is really fun. They get the opportunity to perform at our closing show, so I teach them their dance. At the end of class, we give them all shirts that say "Sparks" on them, and most of the students ask me to sign their shirt or take a photo—so cute!

From there, I assist Caroline Lewis-Jones with theater jazz, Nick Palmquist with jazz-plus and Nick Bass with hip hop. For long days like this, the physical aspect is probably the most challenging part—dancing five, six hours a day, and being able to do it consciously. Some people think of assisting as just taking class and dancing onstage, but it's so much more than that. I have to demonstrate every single thing full-out for the full hour of the class, and on top of that, I have to pay attention to the room. Are the students and the teachers all OK? Are the music levels OK, or should I adjust the sound system? Or, if a child gets a bloody nose, it's my job to guide them to the right person or to the bathroom.

After that, I help teach our scholarship audition class. I start by teaching everyone the audition phrase. All of the winners for these scholarships perform in our final show, so we're looking for dancers we know we can work well with. We go into rehearsal right after we pick the scholarship winners, which is really fun. It's a big production with dancers from all different age groups and studios, who have never danced together before.

After that, I go up to my room, shower quickly, and change into my competition clothes. Then I have to get right back in to competition—more awards prep, tonight. On Saturday, we're focused on group competition, so I'm in charge of organizing studio awards.

By the end of Saturday, I'm a little relieved to be done. Competition is really cool, getting to watch numbers from all different studios and cities. But the hours are really long, so by Saturday night, I'm ready to go to bed right after we finish up.

Sunday

Sunday morning, I mainly assist—Jason Ambrose with ballet, Chris Jacobsen with lyrical, another ballet class with Jason, and then Nick DiNicolangelo with tap. Going between classes like that can be stressful, but once class starts, it's usually pretty easy for me to be present. My last class of the day is with the Sparks, reviewing our dance for the final performance.

During our Sunday lunch break, the other assistants and I rehearse with the scholarship winners for the final show. After we finish rehearsal, we're able to chill out for a second to eat and socialize.

After that, we get ready for the performance. I meet with the Sparks, and I get them ready to go backstage. It's a really fun moment, right before the show starts. Once the show ends, we announce a couple more awards and scholarships, and then the faculty come back out to conclude the show.

After the show, I say goodbye to our guests and to the team. Me and a few of the other assistants usually Uber to the airport together, and sometimes we'll grab dinner and catch up about how the weekend went.

When I get home, I usually go straight to bed. I might unpack a little bit, but honestly, I usually don't even open my suitcase until the next morning. I try not to plan anything for Monday so I can use that day to recover. But by the time Thursday comes, I'm ready to go again.

After months of dancing in your living room, bedroom, or kitchen, you finally get to go back to the studio! And for the safety of you and everyone else, you're required to wear a mask. No sweat, right? Well, quite a bit of sweat, actually—but it's well worth it. Here are the eight stages of your first dance class in a mask.

Stage One: Celebrating!

It's the best news you've heard all year! You can't wait to head back to the studio with your teachers and classmates IRL, instead of floating in those Zoom rectangles. You make sure to read all of the studio's safety guidelines carefully—especially its rules about mask-wearing.

Stage Two: Choosing exactly the right mask

What style is best for dancers? What material should it be made of? Should it have over-the-ear loops or tie behind your head? Can you match it to your class look? Decisions, decisions...

Stage Three: Grinning at literally everyone back in class (or trying to, anyway) 

Your face may be covered, but your excitement is undeniable. It's so good to be home!

Stage Four: Feeling the heat

Whether it's from the mask or being a little out of shape after months away from the studio, you're getting a bit winded by the end of the warm-up. Don't worry: Everyone is adjusting as we return to in-person dance classes.

Stage Five: Feeling the frustration

Your face is hot and sweaty under your mask, but you know you shouldn't touch it. You miss seeing the expressions on the faces of your classmates and teachers. You're getting a little overwhelmed.

Stage Six: Taking a (safe) break

Find an isolated corner or head to your studio's approved area to grab some water and switch to a fresh mask. Take it easy—dancing in a mask will require some getting used to.

Stage Seven: Diving back in

New mask on, breath recovered, ready to roll (or whatever the choreo requires)!

Stage Eight: Remembering the "why"

Social distancing and mask guidelines are meant to protect you and your fellow dancers, teachers, accompanists, and studio office staff, not to mention everyone they come in contact with. Yes, wearing a mask is inconvenient—but it's a small way to do your part, so we all can return to normal classes and performances sooner rather than later!

Multitalented movement artists Sheopatra Jones and Yorelis Apolinario first met while auditioning for Season 12 of "So You Think You Can Dance." They connected immediately. At the time, Jones was forming a new all-female collective called The Council, a safe space for women to develop their art, and she knew she wanted Apolinario to be a part of it. Eventually, the duo's friendship and artistic alliance turned into a romantic relationship. Today, they're engaged, and their work together is often inspired by their commitment to social justice. Dance Spirit spoke to Jones and Apolinario to learn more about The Council, why dancers are such an important part of the Black Lives Matter movement, and what dancer-activists can do to keep the momentum going.

What inspired The Council?

Sheopatra Jones: I was having a moment where there was very little relatability between me and my male crew members. I felt like I was not being fully heard or respected, and I really wanted to be in a space with other women who had similar gifts. It was a long shot that someone else would create that space. If I want to see change, I have to be the change. So, I started reaching out to women who I admire, who make me want to be better.

There's so much propaganda about what women, and especially women of color, are supposed to be. I wanted everyone to see us—to see that we come in all shapes and sizes, and that we're powerful. It's important to have that space, not just for other women, but younger girls as well.

Yorelis, did you have the same experience?​​​

Yorelis Apolinario: Definitely. In Florida, I was one of three women in my crew, and it was exactly like that. When we went against other crews, the women in the groups were pitted against each other. It didn't feel like there was a group of women in the freestyle community, at least in Florida, to really connect with, to share and grow with.

How does your commitment to activism inspire your dance work?

SJ: I think who we are has consumed what we do. So, a lot of our projects are inspired by what we're going through or what we see others going through. We've definitely been working on projects that we feel will be impactful, even if it's not specifically about race, but about showing Black people in a different light, or women in a different light. No matter what we do as a group, we definitely strive to spark change, and to help people gain knowledge

YA: And confidence. If I'd seen the girls in The Council when I was a little girl, I probably would've felt more confident in the way that I carry myself. Everyone has different things to offer and is representative of larger groups of people. If I'd seen that in shows, it would've shifted the way I thought about myself growing up.

SJ: Dance is at its peak right now, in my opinion. It is our responsibility to create things that won't just be here for a moment, but will last and become blueprints. It's things that are built to last that will inspire, that will help people way after we're gone.

What do you mean when you say dance is at its peak?

SJ: Dancers have millions of followers. They're able to put out work and it doesn't have to be a million-dollar production. More people are teaching classes than ever before. There's more access. And the most popular apps, like TikTok and Dubsmash, are dance apps.

Now, are we at our peak in terms of pay and respect? No, not even close. But people are taking an interest in dance. Average people will ask, "Do you dance at Millennium? The studio with the red wall?" If that's going to be happening, then we're going to be doing our part.

Why is it important for dancers to play a role in the Black Lives Matter movement?

SJ: Black dance and Black art make people rich every day. Anything and everything that we've been part of creating should be both hands into this movement. Right now, one of the cultures that has the biggest voice is hip hop. And I think hip hop is Black. It's our folklore. It's part of the way that we express ourselves. It's pushing the narrative that Black lives matter, because it shows how beautiful we are—look at us spin on our toes and pop our chest. With that power comes responsibility. Not everyone knows how to fight through petitions or laws. You have to use every force possible to fight against something as evil as systemic oppression.

YA: I saw a lot of popular dancers who don't usually say anything about social justice take a stand and say, "This is what happened to me." It put a familiar face to the story. People will feel more inspired to research and understand injustices because their favorite dancers are talking about them.

What advice do you have for dancer-activists who want to effect change?

SJ: First, remember that fear is not the absence of courage. You can be courageous and be afraid—that's OK. There are a lot of others who will have your back. Never shut up. Be annoying. Even if you feel like only 50 people will hear you, never stop speaking up. It will always impact at least one person.

YA: Don't stop, like she said. It's not about the number of people listening, it's about who those people are, and the quality of your message. If two influential people hear you and push your message, then it still gets out there. Stay consistent.

Eleven years ago, Jeanine Mason won over our dancing hearts with her impeccable technique and passionate stage presence, and was crowned the Season 5 "So You Think You Can Dance" champion. But rather than go the typical dancer route postshow, Mason used her newfound accolades to launch herself into the acting industry. That's why these days, you probably know her as the star of the CW's science-fiction drama "Roswell, New Mexico."

Growing up, Mason looked up to triple threats like the legendary Rita Moreno for inspiration. "I always trained with the idea that if you wanted to be a performer, you had to do it all," she says. "I started thinking like an actor early on in my dance career because, to me, it was all about storytelling." Putting herself out there as an actress was one of Mason's early keys to success. "I had no connections in Hollywood, not even a cousin of a cousin. But in one of my 'SYTYCD' packages, I got to say that I was pursuing acting, and that's how I met my manager, who still reps me to this day," she remembers.

After the whirlwind of winning the show and going on tour calmed down, Mason found herself taking multiple acting classes a week, attending college part-time, and figuring out how to break into the acting industry. Despite Hollywood's hurdles, Mason felt she had a leg up (literally) thanks to her dance experience. "At first, I was so afraid I would be isolated into just one medium, and not seen as an artist that could cross over like so many greats do," she explains. "But so many casting directors reflected back to me that they wanted me in the room because I was a dancer. That title gives you huge currency and respect in the acting industry." From applying corrections to thinking on your feet and being able to push through long rehearsals, the dance skills she learned naturally prepared Mason for the demands of her acting career.

Mason's first major gig came as a guest appearance on Nickelodeon's "Big Time Rush." "My character was a fighter, and super-physical," Mason recounts. "I had to jump over hedges and do fan kicks. In the beginning, those were the kind of jobs I focused on, because I knew I had an edge there." Case in point: One of Mason's next gigs was a recurring role in ABC Family's "Bunheads." "It was a show about dancers, but still, I was hired as an actress," she says. "It was then that I started to really believe in my abilities and stopped counting myself out of all the big roles I wanted. Making that connection for yourself is huge as an artist." Mason's growing confidence paid off. Her next recurring role was as Dr. Sam Bello on "Grey's Anatomy," where she had the opportunity to cross paths with dance legend Debbie Allen, an executive producer for the show.

"Starting out, everyone has this mentality of grabbing whatever they can get. But that's never a good energy to introduce into your career," she says. "You want to make sure you're taking care of yourself and aligning yourself with people who are going to take care of you." This has been one of Mason's guiding principles throughout her career, and it's led her to some pretty incredible people and opportunities. "In the last five years, I've connected with this group of actresses called Fiercely Latinas. It's amazing to have a group of strong women all rooting for each other, and to see how everybody has something specific to offer. There's abundance and space for all of us in this field," she says.

These days, "Roswell, New Mexico" keeps Mason plenty busy. "It's fascinating how even now, after 10 years, I can whip out my dance training for a specific role or moment," she explains. "I approach acting from the outside in, always exploring ways that my body language can inform my characters—the way they walk, the way they hold themselves. Physicality is everything to me, and as a dancer, I have a heightened awareness of how I can use my body to tell my character's story."

What's next for Mason? "I feel like I have command of my dancing and acting, so singing is next for me," she says. "I would love to try eight shows a week on Broadway at some point, or act in a straight play, but ultimately, I'm most excited about finding people I love to work with, wherever that may be.

You've probably heard of the astrology app Co–Star. Maybe you've even been on the receiving end of some of its notoriously meme-worthy, bordering-on-shady push notifications. But what if the stars could give you dancer-specific advice? Here's what your alerts might look like if Co–Star were made just for dancers.

Is it fear or complacency that keeps you from trying that new dance style?

Channel your nervous energy into petit allégro today.

Be your own choreographer.

Treat yourself to a smoothie and a date with your foam roller.

Don't let comparison interfere with your performance.

Pay special attention to the transition steps today.

Think about why you admire that famous dancer on Instagram.

Answer honestly: Are you ignoring corrections because you don't think they apply to you?

If you can't turn en dehors, try turning en dedans.

Challenge yourself to dance at the front of the room.

Do you find yourself improv-ing to the same songs every day?

A few years ago, friends Laney* and Kate,* along with two other fellow dancers, were called into a meeting with their studio's owner and manager. "They started yelling at us, saying they were going to take away our solos," Laney recalls. "They said we didn't deserve what we'd been given, and that we needed to change who we saw in the mirror."

After a talk with their parents, Laney and Kate realized that they'd been treated poorly for some time—they'd just been too dedicated to their competition team to notice. They'd been punished for taking vacations and expressing interest in nondance activities. They'd been negatively compared to their peers. Kate was even singled out for not having a crazy enough hairstyle on "crazy hair day." Burned out and broken down, both teens ended up taking time off from dance.

They're now at a new studio, and they're thriving. "I never knew how much your mental health can affect your dancing," Laney says. "Because the environment here is positive, I've grown so much. I'm not being put down. I'm being lifted up."

As a dance student, you rely on your teachers to guide and mold you. Personal attention and rigorous instruction are necessary for improvement. Still, there are lines that shouldn't be crossed. If you're being targeted or manipulated, or if you're being spoken to or touched in a way that makes you uncomfortable, it's time to speak up.

Spotting Red Flags

"There's an inherent power inequality between teacher and student," says psychologist Linda Hamilton, who works with performing artists in NYC. How can you tell if a teacher or director is abusing their power? "For a start, you should feel free to say no, without worrying about repercussions," Hamilton says. Those repercussions can take many forms. At Kate's old studio, her request to drop a few classes in order to focus on schoolwork was met with a threat to pull her from competition numbers. This dynamic can also play out at a more intimate level, with roles, promotions, or other perks tied to establishing some kind of personal relationship.

Another behavior to watch out for: "A teacher shouldn't take you into a room alone," Hamilton says. "Whatever's happening should be able to be interrupted." For private lessons and office hours, doors should remain open or a parent or another teacher should be present. The same rules apply to texts, emails, social media, and remote class sessions. You and your teacher shouldn't be interacting one-on-one without anyone else's knowledge.

Study how the teacher acts around others. Does she berate you until another teacher enters the room, at which point she's suddenly supportive and kind? Is he physically affectionate, offering hugs and friendly touches, until your parent appears? "If behavior changes completely in front of other adults, that's a sign something's off," Hamilton says.

Handling Crossed Lines

When it comes to physical, emotional, and sexual abuse, it is not your responsibility to avoid being targeted. "Creating a safe environment starts from the top," Hamilton says. "The school administration must set clear guidelines for student-teacher interactions that outline what is and is not permitted."

At The Dance Zone in Henderson, NV, the faculty handbook cautions teachers against creating personal relationships with students, either in person or online. "I do my best to watch interactions," says co-owner Jami Artiga. "I also encourage students to talk openly with myself or my business partner, if they ever feel like they're put in a bad position or if someone says something they're unsure about. It's my job to listen."

If the perpetrator is the person in charge, enlist a trusted adult to intervene. Laney and Kate went to their parents after their devastating meeting, and their parents' outside perspective helped them realize it wasn't a one-time issue. That validation gave them the courage to leave.

It's not always easy to see when a line has been crossed—and the line between constructive and destructive may be different for different people. That's where Hamilton says you have to follow your instincts. If you don't want to be touched or spoken to in a certain way, "you should feel safe to say, 'I don't want this to happen,' " she says. A teacher who won't respect your boundaries is not the right teacher for you.

When Touch Becomes Toxic

As the tide of awareness surrounding sexual misconduct rises, many dance schools are evaluating how much touch is truly needed in order for training to be effective. At the very least, "dancers should be informed that they can request not to be touched," says Hamilton. You should have control over your own body and personal space in the classroom.

If a situation has already moved past what's professional and safe, talk to someone you trust: a parent, another teacher, an administrator, or even a peer. That person can help get your story to the necessary authorities and provide support as you move forward.

Finding a Safe Space

"I didn't realize how stressed I'd been until I left that studio," Kate says. After a dance-free summer, she felt ready to try again. A former teacher had just launched her own school, and there, Kate found a loving dance home. A few months later, she invited Laney to join her.

It's no surprise that both girls feel like they're experiencing new growth in their new setting. "Research shows that when you're being targeted or bullied, you're less likely to excel," Hamilton says. "You're more likely to work injured, to experience stage fright, and to self-sabotage."

Leaving a school isn't easy, especially if you have friends there who aren't leaving with you. But it's vital to find a space where you feel nurtured and safe. "You have to go with what your gut's telling you," Kate says.

*Names have been changed

The Duels continued on last night's episode of "World of Dance," but this time, it was all about the Junior Division. And we have to say, our fave 18-and-under acts brought the heat. We sure hope the Upper Division dancers are ready to face off against these talented youngsters on the "WOD" stage next week.

In case you missed last night's episode, here are some of our fave performances—and what the judges thought of each one.

The Young Cast

As Derek Hough said, The Young Cast was "ready to fight" last night. The hip-hop dance crew was all sharp edges and hard-hitting movement, and we couldn't get enough of it. This is the energy we're looking for in The Duels, folks: cutthroat! But while Hough picked The Young Cast as his winner, judges Jennifer Lopez and Ne-Yo were more impressed by their opponent, GRVMNT. We'll hold out hope for another performance by The Young Cast in the redemption round.

Savannah Manzel

Though she be but little, 9-year-old Savannah Manzel is fierce. After an unfortunate run-in with her mic pack, Savannah was able to perform her routine uninhibited—in every sense of the word. She tapped into her emotions, performing with all the energy and attitude the judges were hoping to see. The judges gave her performance a standing ovation, so we weren't surprised to see her voted through to the next round.

MDC3

We are never not going to be excited to see Dance Spirit Cover Model Search finalist Diego Pasillas on our TV screens, TBH. Of course, it helps that Diego and his MDC3 teammates are performing totally gorgeous routines week after week. MDC3 picked up where their last performance left off—in the midst of a love triangle drama that, frankly, we would like to see turned into its own TV show. (Hello, network executives!) The judges gave MDC3 a standing O, sending them on to dance another week.

Earlier this week, Vanity Fair dropped a gift into our laps. The magazine released a 25-minute long YouTube video of Julie Kent reviewing ballet scenes from 60 years of feature films, spanning from 1948's The Red Shoes to 2018's The White Crow. While she certainly isn't the first pro to give her take on dance in film (we're still not over Isabella Boylston's hilarious recap from last year), as the longest-serving ballerina in American Ballet Theatre's history Kent is able to offer an unprecedented amount of insight into each scene...never mind that she herself stars in one (ahem, Center Stage).

Some of our favorite tidbits from the video include the fact that Kent was actually a consultant on Black Swan. She talks about working in the studio in pre-production with director Darren Aronofsky to help him understand the progression of the dual roles of Odette/Odile. For inspiration, Aronofsky even watched a performance of Kent in Swan Lake with ABT from backstage. We also love that Kent gives her former colleague Sarah Lane her due as Natalie Portman's dance double (a controversy we're honestly still not really over).

When talking about The Red Shoes, Kent describes the cast of the seminal film, which included Moira Shearer, Léonide Massine and Sir Robert Helpmann, as the ballet stars of the day. She compares them to today's Misty Copeland, James Whiteside, Isabella Boylston and David Hallberg. Now that's a remake we'd give anything to see!

For all you Center Stage superfans, Kent describes the process of shooting the Romeo and Juliet balcony scene with Ethan Stiefel, and even tears up talking about the importance of the role of Juliet in her career. She dives into detail on the famous kiss, reminiscing on how young ABT dancers used to run into the downstage wings to watch their favorite stars smooch.

Kent also delves into some criticism, such as pointing out that Julia Stiles' character's boyfriend in Save the Last Dance would certainly not be allowed in the wings during her Juilliard audition, or that the young girls in Billy Elliot's ballet class would not show up to the studio each day in white tutus. And she points out what's changed in the ballet world since its salacious portrayal in The Turning Point, discussing the ongoing fight for respect for artists, and tying it into the #MeToo movement.

So don't wait; watch the full video below. And like Kent, we can't wait to see what the next 60 years of dance on film will bring.

Onstage and off, Pressley Hosbach is a bundle of personality, positivity, and passion. Technique, too, as shown by the challenging solos she nailed on "Dance Moms" Season 8. Pressley also performed on Justin Bieber's Purpose World Tour at Madison Square Garden in 2016, and danced on the Brooklyn Nets Kids team for four seasons. Catch Pressley on TikTok or YouTube, or starring in Brat TV's new show, "Stage Fright."

Fast Facts

Full name: Pressley Isabella Hosbach

Age: 13

Birthday: October 10, 2006

Hometown: Florham Park, NJ

Trains at: The Crew in L.A., Steps on Broadway and Kanyok Arts Initiative in NYC, and Abby Lee Dance Company

How she started dancing: "I was basically born into the arts. My mom owns a dance studio, and I even had a crib there."

Three words to describe her dancing: Strong, passionate, energetic

Favorite styles: "Jazz, lyrical, and hip hop. They're all so different that I can't choose just one."

Nondance hobbies: "I'm a huge sneaker collector. I also love fashion, reading, drawing, makeup, vlogging, and TikTok."

Favorite TikTok trend:" 'Out West.' I do it all the time."

Favorite movies: The Parent Trap and Mean Girls

Dance idols: Autumn Miller and Maddie Ziegler

Favorite teachers: "So many! Mark Meismer, Mollee Gray, Laurie Kenyok, Daniel Catanach, Abby Lee Miller, Gianna Martello, Guy Groove, Sabrina Phillip, and Travis Wall."

Advice for fellow dancers: "Follow your dreams, stay humble, and work hard, and you'll do amazing."

Favorite performance: "Performing with Justin Bieber at Madison Square Garden."

Dream superpower: "Reading minds. Like what the judges are thinking when you're onstage."

Strangest thing in her dance bag: "Somehow, I always have a smushed banana at the bottom."

Favorite foods: "Tacos, pasta, and the New Jersey classic: a Taylor ham, egg, and cheese sandwich."

Our favorite season? Awards season, of course! Congratulations to the six choreographers who received Emmy nominations for their fabulous television work. This year, the Emmys thought outside the usual "So You Think You Can Dance" and "World of Dance" box, and we're delighted to see some of our fave choreographers getting recognition.

Here are all the works up for Emmys this year:

"I'll Be Seeing You," Al Blackstone, "So You Think You Can Dance"

"Mambo Italiano," Al Blackstone, "So You Think You Can Dance"

"The Girl From Ipanema," Al Blackstone, "So You Think You Can Dance"

"Enough Is Enough," Travis Wall, "So You Think You Can Dance"

"Come Alive," Jemel McWilliams, The Oscars

Savage X Fenty Show, Parris Goebel

"Dos Jueyes," Jefferson Benjumea and Adrianita Avila, "World of Dance"

"El Ray Timbal," Jefferson Benjumea and Adrianita Avila, "World of Dance"

This week, the remaining Junior dancers took the stage to duel for a spot in the Semifinals, and tWitch gave two more acts on the chopping block a chance for redemption. Here are the winners of the final round of duels.

Bailey and Kida

These two are no strangers to the TV-dance competition world, but they are fairly new to dancing as a pair. The judges were concerned that the duo lacked chemistry, especially when compared to their opponents, James and Harris. However, the quality of their isolations and their commitment to the performance propelled them into the Semifinal round. tWitch called them "architects of sound," and challenged them to push their dancing even further in future weeks of the competition.

Keagan Capps

The judges said that between Keagan Capps and Maddy Penney, whichever dancer best moved the judges in their heart would win the round. As soon as Keagan hit her first impressive extension and turned her face to gaze at the audience, the judges were sold on both her emotional connection and her stellar technique. Derek did warn her that her future routines would need more dancing between each beautiful picture.

The Young Cast

tWitch selected contemporary pair James and Harris and Canadian hip-hop crew The Young Cast to battle it out for the final spot in the Semifinals. James and Harris once again showcased their amazing connection, but after a few tiny bobbles and timing issues, the judges ultimately chose The Young Cast for the final spot in the Semifinals, thanks to their "Super Bad, Super Slick" James Brown routine.

Tune in next week as the dancers hit the "WOD" stage for the first round of the Semifinals.